Chris Bristow

I used the HSCA schematic too. I think the trunk is pretty accurate except for the distance between the hand holds which is marked 36". But when I size the image to match the width at 76.8" and the length at 256/ 258" the dist between the hand holds measures 38". As I mentioned before the placement of the windshield(Visors) is about 12" too far forward. Any lines of sight calculated using the windshield in the HSCA diagram compared to photos of the limo will be wrong. Because we know Z's exact elevation above the limo and his angle off in all frames of the Z film we should be able to create a very accurate map of the trunk. Even if we have to adjust the HSCA length vs width I think it could be determined within 2 inches. but it would take considerable effort. I think as it stands the lines of sight of Jackie on the trunk in Nix and Z are so close that it refutes this particular alteration theory.

That Costella website also allows you to downloadall the Z frames in one zip file. The lightbox site allows you to download the Groden version which is clearer. It does not provide all 485 frames though. https://sites.google.com/site/lightboxzframes/

Why Oswald did not bring his handgun to work is definitely odd. Pretty much agree with your post overall. I took a close look at the ghost cutout images "white silhouette "cutout" and the story behind them and I believe I have an explanation for all of it. Here is a re post from another thread I did. First the two cutout images are using two of the Dallas PD backyard photos 91-001/140 and 91-001/1 as the backgrounds. The camera position is correct in both and the shadows on the bottom of the door behind the stairs are perfect matches. In other words if they are not the same photo they were both taken at the exact minute on only one or two possible days of the year and from the exact same position. I used to think the cutouts may be related to the forging of the original backyard photos. But because the background in the cutouts was taken after they found the original backyard photos, the cutouts must be an attempt to fulfill the SS request to duplicate the BYP's. This attempt must have been a half hearted endeavor, maybe a first draft, because the shadows in the backyard are nowhere near a correct match for the shadows on Oswald. Secondly Oswald in the cutout is placed several inches too low. Roscoe, I assume, lined up the roof line in the background to Oswald's head which comes close to matching 133a and 133c. But if you compare Oswald's height to the post on his right it is obvious that he was placed about 4 inches too low. The camera in the Dallas PD images is positioned very low like maybe 18 to 24 inches off the ground. That caused objects like the roof line in the background to drop when compared to objects in the foreground like the post to Oswald's right. Lowering the cutout created some big perspective problems because when lowering Oswald his feet appear lower in the image. When the feet get lowered they land on a spot of grass that is closer to the camera. Creating the effect of Oswald being closer to the camera means you would have to increase his size as you move him closer. But his head is lower in relation to the post. Moving forward would have increased his size relative to the pole. So the perspective is all messed up. Regarding Oswald's lean it seems Roscoe did a decent job on the cutout that matches 91-001/140. But in the other he tilted the cutout about 6 degrees too far. Because of the perspective problems and misaligned shadows I am inclined to think that Roscoe may have just made a sloppy mistake when he leaned the cutout 6 degrees too far left. He did much better on the other cutout and it is interesting that he cropped the feet off. Maybe he was trying to hide the perspective problem he created by placing it too low. I had considered that Roscoe may have stolen 133c before it got into evidence. But I know now that the copy found by his wife in the 70's was a first generation copy not the original. I also read that copies were made of the BYP's for some of the cops involved. Roscoe White and Stoval (maybe wrong spelling) both received copies of 133c. I can only guess that the original 133c somehow got lost in the shuffle before the rest were entered into evidence. Roscoe white had his own copy of 133c and would have been able to pose LT Brown to match 133c. And he would have used it to trace out the same pose in the cutouts.

Thank you and your wife for the input. Jackie was 5'7", you nailed that. I found it hard to get anything accurate about the distance between the handholds. The Limo drawing from the HSCA that I used puts the distance as 36" and the width of the limo at 76.8". But when I size the limo to a 76mm width the distance between the hand holds measures 40" which left me confused. The HSCA drawing has many things wrong with it including the position and length of the windshield. I put the antenna at 30" to err on the side of caution. The farther the antenna is from the center line the easier it is to support my theory on her position so I placed the antenna more inboard. There are certain facts we can be sure of because we have 2 different lines of sight from very different directions. I used two lines of sight for Nix to give a range of possible locations for the front of Jackie's hat. Her hat has to fall in that range somewhere. The photo comparison puts her hat between 5" and 14" back from the base of the hand holds depending on how far the hat is from the center line. Her right hand appearing behind the left side of the right hand hold in fr 377 tells us the palm of her hand is somewhere between 2" and 5" back from the base of the hand holds. The fact that the palm of her right hand appears behind the base of the handhold in 377 and the fact Z's line of sight is around 28 degrees means the palm of her right hand has to be several inches back from the base of the hand holds. You put her shoulders about 12" back from the hand holds. I will subtract just 8" for the head because I am measuring to the front of the hat. That puts her hat 4" back from the hand hold. Does that match your estimate? I get 5" to 12". I think the photographic evidence may not allow for her hat to only 4" from the hand holds. The point at which Z's blue line of sight is 4" from the hand hold occurs when the blue line is directly behind the hand hold.

Some erroneous theories arise from comparisons of the Nix and Z films. I expect the most famous murder mystery of the last century will have many false theories surrounding it. So I would expect to find the majority of alteration theories to be wrong. But that does not mean all theories are wrong. As an example I find the theory about the lack of pincushion Distortion in the Stemmons Freeway sign to be very compelling.

I reproduced the backyard shadows photographically so I know the CGI was not faked to get the results they wanted, Anytime you have a computer model like the Dartmouth Oswald study you can't verify the accuracy. The nose shadow seems intuitively wrong but it does work. Naturally people think it has to be high noon for the shadow to fall straight down. But even if the sun was at a 50 degree elevation all you have to do is turn to face in the direction of the Sun and the shadow will fall straight down. Same is true if the Sun was at 45 degrees elevation and you tilted your head over from straight up to 45 degrees toward the Sun the shadow would again fall directly below the nose to the philtrum.

At what point in his turn back was he hit? . He never turns all the way back so then the question is where did the shot come from that took the path it did through him?

The longstanding alteration theory about Jackie's position on the trunk in the Nix film is that she is farther out on the trunk than in the Z film. I think many consider it to be just a matter of perspective. I wanted to put an accurate measurement to the Nix and Z images and see if it is just perspective. I'm using Nix frame 85 and Z 377. In the overhead diagram of the limo below Nix's line of sight is shown by the two red lines entering from the left. I drew two red lines to give a range of possible lines of sight to Jackie's pink hat because the tail light, the reference point, is blurry. The blue lines on the right represent Z's line of sight in fr 377. The blue line passes about 1 inch or two behind the right hand hold and also points to the front of Jackie's hat as the red lines do. Where these blue and red lines meet is the key. If the front of Jackie's hat sat where the red and blue lines meet then that location on the trunk would satisfy the positions we see her in in both Z and Nix. A big part of the perspective issue comes from the fact that Nix's view is so low we can't see where Jackie is along the red line. If she was close to the left side of the trunk she would be farther out on the trunk. But she could also be closer to the right hand hold as shown by where the blue and red lines meet. I think the position of her left hand next to the antenna gives a good approximation of where her head is(left to right). The two antenna that sit inboard are about 30 inches apart and are each 15 inches from the center of the trunk. Her hand is just slightly obscured by the base of the antenna and I assume her hand is maybe 3 inches from it. That puts her hand 12 inches from the center line of the trunk. She is leaning over that hand somewhat as she has taken some of the weight off her right hand to slide it forward. I will assume her head is almost over her left hand so 9 to 12 inches from center. I know that was a whole lot of estimating and assumptions so take it as a rough estimate The top red line on the trunk meets the blue line 9 inches from center, so if her head was 9 inches from center then it all makes sense. How far her head was from center is the one variable that you will have to judge for yourselves. Imo, the difference we see in Nix and Z is likely just a matter of perspective not alteration. The second issue is her right elbow appears to be way above the trunk in Z 377 with her forearm pointing upward at maybe 70 degrees. In the Nix frame it is obvious that her forearm is very low, almost parallel to the trunk. This is definitely a matter of perspective that makes her arm appear to be pointing upward in the Z frame when it is really very low as seen in the Nix frame. The image below of the wooden figure shows the same arm position from the Nix and Z perspectives. Jackie's elbow is pointing directly away from Z so we don't see any of the bending of the elbow joint. The arm looks more like one long straight limb. This makes it hard to tell if the forearm is pointing away from Z and is low or the forearm is pointing more upward. This is because in a 2d image of a 3d world moving up in the frame of the image could mean something is farther away, but it can also represent something that is higher off the ground. A good example is the left side of the limo is higher as it is farther away but obviously tall images raise up in a frame too. So when the elbow is pointing directly away from Z it will be higher in the frame because it is farther in the distance than her hand(Just about as much as two sides of each hand hold.) but if you can't see the elbow location due to a blurry image you can mistake what is farther away for being higher up), I believe the two images of the wooden model prove this effect. I also added some blur to the arm to hide the elbow joint because it is fairly blurry in Z 377 and adds to the illusion.

I was verifying the diagram before I posted and read that Shaw disagreed with the diagram in his WC testimony. He did not personally make the diagram. The article claimed he lowered the nipple AND the exit wound. But although he lowered the nipple he said the wound was in the right place, he just had to lower the nipple to reflect its position relative to the exit wound.(see below) WC CE680

The issue of the lapel flap is eclipsed by Connally turning all the way around and holding his hat after a compound break of the radius and severing the tendon to his thumb. Not to mention the nearly undamaged ce399. But I address the lapel simply because it is a claim made by the skeptics and it is always interesting trying to analyze any theory.

Just saw a diagram recently made by Shaw and it had the bullet traveling at a 28 degree downward angle. connally must have been leaning back about 16 degrees if the trajectory was straight.

There is a small mistake in your math. From frame 229 to 313 is 84 frames / 18 frames per second is 4.6 seconds. I find Greer and Kellerman to be most reliable as they not only heard the muzzle blast and shock wave they heard the rounds come zinging into the car. Greer "The last shots were almost simultaneous." Kellerman "The last rounds came in as a flurry of shells".

Yes and I always thought their argument was about kinetic energy dispersed into the coat and causing the lapel to flap. Can that happen? If the front of his coat between the bullet exit and the lapel was tight against his chest at that second then the energy from the bullet into the coat could transfer along the tight portion and then Express that energy in the lapel which is free to move. Admittedly I'm reaching a bit.

Yes there are much greater issues with regard to the magic bullet theory than the lapel flap. Connally turns around almost a hundred and eighty degrees after losing four in of rib on the right and sustaining a punctured lung. At Parkland one of the nurses remark that it was a sucking chest wound that was spraying out blood. He also holds on to his hat after having the radius bone broken in two near the wrist. He even articulates his wrist downward as he turns to the right. I believe he also had his tendon to the thumb severed. The condition of ce 399 after breaking all that bone makes no sense and has never been duplicated in 50 years. I heard Latimer reproduced it..

Ya it was an Imperial reflex top view camera and the height of the camera in the BY photos matches the height she would have held a top viewfinder. The difference is over 10 inches. The WC or HSCA proved it was the Imperial reflex by the scratches on the negative that matched the camera they got from Oswald's brother. I assume they just made a mistake about it being the the Minox. That video shows an angle of the computer model of Oswald I had not found before. It shows clearly that they placed Oswald's left leg way forward of where it was in 133a.

I have been looking at the Groden copy and it is clearer for viewing the lapel. In frame 222 the lapel looks like it has already flipped over most of the way, but in 223 it is back to normal. Then in 224 it is flipped again. Is it possible that the lapel is flipping due to Connally's wrist or hat rubbing against the lapel? In frame 222 we see his right sleeve cuff coming up into view. Then in 223 the arm drops back down below the door and the lapel returns to normal for one frame. (The glint of sunlight off his right shirt cuff is barley visible just above the door near the bottom of the lapel.) His wrist is higher in 222 with lapel partially flipped. his wrist drops in 223 and the lapel is not flipped. His wrist rises back up in 224 and the lapel is flipped again. The right cuff is identifiable in frames 229/230, if you flip back and forth you see the cuff move down with his hat.) In frame 238 thru 239 it looks like his other lapel has flipped over. This happens as he drags his right arm and hat back to the right which may be catching the left lapel and flipping it over. Or maybe his left arm is dragging across his lapel as he tries to turn to the right. The left arm naturally drags across the chest if you try and twist your torso to the right in a seated position. In 238 and 239 the left lapel looks like it is flipped. Regardless of whether it is flipped or it is an anomaly due to lighting or something. how do we know the right lapel flip in 224 is due to a bullet if we see the same phenomena in frame 238 and 239?

The Warren Commission meeting about Waggoner carr is in the executive sessions of the Warren Commission report. The sessions are listed by the date they occurred so it will be easy to find January 27th. They took the report seriously. One reason I would doubt that Oswald was a high-level spy is that I assume they would set up a low-level person as a patsy. The more sophisticated they are the greater chance they will catch on to being set up.

There's an overriding theme at Fox News about the corrupt "Deep state" The cover up in the JFK assassination fits their narrative so I don't think they are out to get Oliver Stone and Jim. Although they could play it both ways and say something like " Even liberals get it right once in awhile". I think a lot of people feel that RT is a more subtle version of Pravda. It also fits their narrative that attempts to drive wedges between different groups of Americans I'm still very happy to see this new documentary getting promoted . The issue is too important and has been swept under the rug by journalists for decades.

I am not attempting to be an advocate or a critic for the process just wondering how it could have been achieved. I used 36 frames simply because I am assuming a 2 second stop for the sake of argument. It is one of those unknowns that make it hard to create a model. Many witnesses said 'The limo stopped or almost stopped' it makes me think it may have just slowed to such a crawl that it was hard for people to quickly assess whether it fully stopped. I like the matte theory but am not sure just how complicated it might get.

Below is a crop of fr359 and a blurry image that looks like a blue arrow or wedge icon. It is just to the left of the comp icon I inserted. It looks like it has a white border around it. The question is do modern optical printers place icons on the screen that do not appear in the final product? Note; after posting the image it looks much worse than on my PC.

I would like to start with some questions about using separate mattes for the limo movement and the background movement(camera panning) in order to remove a limo stop. The only way we know the limos speed or lack of it is the how the background moves by. So by altering the speed of the background with a separate matte for the background and the limo you could remove the limo stop all together. Here is a list of problems that would need to be addresses to accomplish such an edit. 1. If the limo completely stopped for 2 seconds there would 36 frames that have to be completely removed(This is assuming Zapruder would stop panning and stay fixed on the limo which would stop the background from moving across the frame). If the printer was capable of frame by frame compositing then you would stop the process and do a fast forward through the background that was not moving then restart the process of compositing the 2 mattes into one film after forwarding past the background stop. Maybe those stopped frames would be removed on the background copy before combining the two elements in the printer. Does anyone know the method that would be used with an optical printer? 2. Would it be more difficult to handle the slowing of the limo to a stop and the acceleration from the stop than just taking out the fully stopped frames? Lets say the limo slowed very quickly from 8 mph to 4 mph in a single frame(Maybe not possible but it simplifies this thought experiment). You could take out every other frame starting at the 4mph transition frame and the limo would double it speed and continue at what looked like 8 mph. That works out fine. But what if the limo slows from 8 to 4 mph for 9 frames before changing speed again? Now I have to double the speed but I don't have an even number of frames. How do I remove half of 9 frames? I can't just run one of the mattes a little faster because the film is just a series of single photos strung together. Each frame of the mattes has to be married to another single frame. Even a single extra frame would cause a momentary jerk of the motion. How would the edit be accomplished? 3. I have seen theories in which the limo movement was re timed from a point well before the slowing or stopping like when it was behind the Stemmons or just after. Would changing more of the limos timing down Elm help in dealing with the limo stop? If it was re timed that early it also presents some new problems that more mattes may have fixed. A big problem is the reflections from the limo's trunk show Brehm and a very tiny and distorted but identifiable para-style behind him. It later shows Mary Ann Moorman and Jean Hill and the same para-style around them. Altering the limo's position on Elm more than maybe 4 feet would create a big mismatch of the trunk reflections. Would that require another matte for the trunk? changing the limos position on Elm would also create incorrect lines of sight through the limo like where the rear handholds on the trunk line up next to JFK, Jackie and the side windows too. Rotating the image of the limo in the matte can give the impression that the limos was facing the correct direction as you look at it's angle down Elm. But the rotation will not correct the lines of sight through the limo. If a rear handhold is sticking of out of JFK's ear rotating the image will not change those relative positions of JFK to the handhold.

I find the subject of optical printers and mattes very interesting and would like to go deeper into it. Don't want to hijack this thread so I will start a new topic. I hope you can weigh in. I had a couple years of film school in the 70's and have pondered the process as it relates to the Z film many times. Having the shadow atop the curb as the demarcation appealing because it is just so perfect a place to separate elements.

Does anyone have any ideas on what a 3D computer Recreation of Dealey Plaza and the limo movement could reveal? A few months ago I noticed that frame 312 definitively shows that the limo was not aligned with the direction of the Lane markers. The proof is in the relative positions of the small side window frames. The one on the left side of the car sits slightly to the right of the one on the right side of the car. This is only possible if the car was either about 6 to 8 feet farther east than is depicted in the film, or the limo is turned six or seven degrees to the right of the direction of Elm Street at that point. It's possible that Greer veered to the right a bit as he looked over his right shoulder. The biggest implication of the limos position is that the shot from the West End of the Knoll fence no longer works. Other than Sherry Fraser's Theory I have never seen the limo represented as being at an angle in the street.

The theory that he was a paid FBI Informer has some Merit. The Attorney General of Texas telling the WC that his trusted source said Oswald was getting 200 dollars a month from the f b i. As I recall there was similar testimony by someone who worked in the New Orleans FBI office. If this is true he could have been thoroughly controlled, manipulated and groomed for his role as a patsy. He could have been instructed to go to the Texas theater that afternoon to me to contact. He could have been told to take the bag into the TSB that morning. He could have been told to bring a handgun to the theater. He could have been given a specific route to walk to the theater to put him near The tippet Killing at the correct time. They may say walk this specific route and if a car pulls up next to you and gives the code word get in the car. If they don't show up proceed to the theater and be there by 1:15 p.m. . Maybe they tell him to keep his Hidell I D in his wallet because he might need it. I'm reaching pretty far with those scenarios but the point is if he was a low-level intelligence operative he could have been very tightly controlled.

If I see a person with super clean white straight teeth I trust them less. Maybe the whole rotten teeth thing was a KGB ploy. I'm kidding except for the first part.