Chris Davidson

Would love to have viewed those still photos:

There is an alternative variation related to 8°

Moving Connally leftward, I believe Knott's Lab was trying to show something like this alignment. So why not use what the WC provides. JBC was approx 1" lower in height (WC testimony) sitting in the limo, than JFK was. Use your imagination for the downward path. Much more faith in Dr. Shaw than the WC.

Those pesky boxes. The man in the gif is placing a pylon at would equate to the limo front at extant z235. This would put JFK's physical position in the limo 15.1ft back from there. If you care to look at CE884 entry for z235, it will show you a station # of 396.8 15.1 ft back from 396.8 = 381.7 The WC determined the SBT occurred at station # 381.3 = 4/10ft difference in placement. Robert Shaw said No No, there was a Connally shot at approx extant z235/236 according to his viewing of the extant zfilm and his experience with bullet trajectories through the body. But, from the west end of the TSBD. The final WC method was to survey JFK's actual physical location in CE884. Do you understand how using the limo front and JFK's physical location in the limo would confuse the truth as to not enough time in between for those shots? PS. The WC also documented a shot that was at approx extant z203.

I find it more interesting to piece together the WC BS story and then use it against them:

Take the same 33 frame gif above and apply a frame removal sequence to end up at 14 frames again, below. Note the difference in movement between foreground/background between the two gifs. Now take a look at a completely different extant z version and compare that same foreground/background relationship to the two gifs.

I wonder how the WC went about adjusting for the alignment problem.(see page bottom) Why don't we just vary the limo's path from where the professional surveyor had plotted JFK every 25ft. Credit to Tom purvis:

Here's an (Optical Flow) example from FinalCutPro. This segment from the extant zfilm is 14 frames. The gif consists of 33 frames for the same segment with each frame consisting of movement. I sped up the playback rate to have it approximate what the extant zfilm naturally looks like.

Not sure when Keyvan's frame was created. In Final Cut Pro you can create new(in-between) frames using "Optical Flow". The example I'm providing is an "interlaced" frame on the left side(notice the horizontal lines through Jackie's face). The right side is the same frame(using Photoshop) with a gaussian blur of 2 pixels, followed by an unsharp masking with an amount of 500 and radius of 1.

The Warren Commission created their own false evidence. Start with CE884 and JFK's head height at extant z313.

Agree completely.

I don't see any movement on his part. Maybe a slight torso twist to the east bringing that side out of the shadow? Hard to tell. Jones bending over, a lot easier to see.

Obviously later than Wiegman. First few frames have a shadow, not covering as much of Lovelady? as we see in Wiegman. Large gif is approx. five frames apart. As the cameraperson moves slowly past the steps, the shadow disappears. It's the same man in Willis.

Speaking of comparisons:

Clean lines can be another problem for "touch up" artists. In fact, just look for someone within the same photo to use for a comparison. Besides the impossible shoulder dilemma appearing, you can decide what that (red arrow) area is.

From the crossing elbow "touch up", follow the arm that runs back through the top half of the shadowed face and into Lovelady's head. Note the indention in Lovelady's head where they meet.

Next up: Straight down(at the photos bottom) under the "dso" in Davidson is the mask for the woman who is shading her eyes with her right arm/hand. See previous gif.

The next artist "touch up" mask is for the crossing elbows.

The Carl Jones touch up mask is straight down from the letters avi in the word Davidson. Once you realize that aspect, look at the whole metamorphosis again, but from a "touch up" alterationist artist perspective instead. Lovelady's favorite song I believe was "Stuck in the Middle With You"

Take some time to grasp the entire picture (double entendre). If you still don't understand what is being presented, I'll help with the details in a little while. Photos are just individual film frames. You stabilize film frames by aligning the same object in multiple frames. Sometimes, you can apply that same concept to individual photos that have been (touched up) altered. In terms of a photograph, it would be the object and its mask that align. The Carl Jones mask was the first, obvious clue for me.

They can start with this back/forth stabilization. Wasn't taken from anyone.

Whole heartedly agree. Place cursor on outside shoulder edge(red shirt)while it plays. Imagine that part of the shoulder shielding objects behind it. If you don't like the Poser? models (I didn't create it) body orientation, use the person next to Lovelady?

No Sandy, I've never wavered on my position. You can read my previous response to Paul and apply that position to the latest gif I presented. If you still don't understand what is being shown, then I can't help you with this angle.(no pun intended)

Increased speed:

Let's not forget about its sibling "the impossible shoulder" either. It's all about the body orientations relationship to the cameraman. Sometimes it helps to consider the horizontal flipping of photos for comparisons. Compare ALL shoulders carefully.