Zfilm Revisited-Sliced Frame 157

[Bill Miller]

This animation shows the ghost wheel in frame 157 is actually from frame 158. Previously thought it was from 157.

Notice the matching black line shadow which runs through the bottom of the tire in both.

At this point it appears damaged (upper splice area) frame 157 consists of 3 frames minimum.

1.White car from frame 155

2.Cycle cops from frame 157

3.Ghost tire from frame 158

Still have the cycle cops alignment problem.

chris

Are you sure that there isn't a logical explanation such as its the VPs car in one frame and was not at the same location on the street as the VP SS car. Just wanting your thoughts.

[Chris Davidson]

Bill,

The whole point is to compare the damaged frame with an undamaged frame and find out what was done.

Groden has copies of the Zapruder film without the damage, thus anyone can see it. What appears to have been done is that the film was broken ... the missing frame stretched, thus cut out completely and then the frame before and after were overlaid and stuck together. Good thing that Zapruder had the smarts to have copies made of his film.

Food for thought: Had Zapruder of been part of an alteration conspiracy, then making three copies from the undamaged original on the day of the assassination seems like it would not have been a wise decision. If anything, Zapruder prevented the opportunity for altering the film or even losing it for that matter by him keeping a copy for himself.

Might as well introduce a couple of those Groden undamaged frames. How about 157/158 to start with. And then I'll work backwards.

As luck would have it, 158 JUST HAPPENS to be blurry.

So I'm sure when Groden made his copies:

1. It caused the cycle cops head to slide off his shoulder, not to mention the upward swivel movement.

2. Caused the black hat man to double image, among others. Problems with him once again, what is it with that guy.

All around that DAMAGED frame.

You know, the one that leads us into the great Z alignment frames shown in previous postings.

I think it's rather apparent what was done.

chris

Edited May 20, 2008 by Chris Davidson

[Chris Davidson]

This animation shows the ghost wheel in frame 157 is actually from frame 158. Previously thought it was from 157.

Notice the matching black line shadow which runs through the bottom of the tire in both.

At this point it appears damaged (upper splice area) frame 157 consists of 3 frames minimum.

1.White car from frame 155

2.Cycle cops from frame 157

3.Ghost tire from frame 158

Still have the cycle cops alignment problem.

chris

Are you sure that there isn't a logical explanation such as its the VPs car in one frame and was not at the same location on the street as the VP SS car. Just wanting your thoughts.

Bill,

There are only a few frames in the entire movie that have the line shadow running through both sides of the tire, as shown in the earlier comparison animation.

The line shadow belongs only to the SS VP follow-up car and is never created from the VP car itself.

If you draw a line through the ghost tire directly into the background people, it will line up with frame 158.

chris

[Chris Davidson]

This animation shows the ghost wheel in frame 157 is actually from frame 158. Previously thought it was from 157.

Notice the matching black line shadow which runs through the bottom of the tire in both.

At this point it appears damaged (upper splice area) frame 157 consists of 3 frames minimum.

1.White car from frame 155

2.Cycle cops from frame 157

3.Ghost tire from frame 158

Still have the cycle cops alignment problem.

chris

Are you sure that there isn't a logical explanation such as its the VPs car in one frame and was not at the same location on the street as the VP SS car. Just wanting your thoughts.

Bill,

There are only a few frames in the entire movie that have the line shadow running through both sides of the tire, as shown in the earlier comparison animation.

The line shadow belongs only to the SS VP follow-up car and is never created from the VP car itself.

If you draw a line through the ghost tire directly into the background people, it will line up with frame 158.

chris

Something is VERY wrong here.

The GHOST TIRE from frame 157 actually aligns with frame 161. Comparison provided.

The LINE SHADOW through the ghost tire in frame 157 is from frame 158.

chris

[Chris Davidson]

Here' another frame comparison which shows at the least, the white car in the SPLICED area of frame 157, is actually from frame 155.

chris

[Thomas H. Purvis]

Chris;

My appreciation for your work!

It would appear that you are well on your way to providing an explanation for many anomalies of the Z-film (or at least what we have been "sold" as representing the Z-film) as well as the WC's slightly phony assassination re-enactment.

This may be of some service in exactly where one may want to concentrate the type work which you are engaged in.

As you are aware, this was included in with the "Altered Evidence" which is now a part of the Mary Ferrell documents.

Hopefully, it may be of some benefit.

Tom

[Chris Davidson]

Thanks Tom,

What you have just supplied, as you have many times before, is invaluable.

The "Altered Evidence" syncs nicely with the film splice area and the "before/after limo sync"

In fact, when I was doing the 6 frame comparison of the before/after limo sync (frames 100-106 with 160-165 I believe) and this latest splice work, my tunnel vision hadn't allowed me to connect your information to it. Obviously you did.

Either this is the biggest coincidence that will ever occur in my life, or we are at one very important core of the film alteration. imo

Still trying to break down the exact amount of frames, if possible with what is available.

much appreciated,

chris

[Tom Kiehl]

Props CD.....keep them coming

[Bill Miller]

Might as well introduce a couple of those Groden undamaged frames. How about 157/158 to start with. And then I'll work backwards.

As luck would have it, 158 JUST HAPPENS to be blurry.

So I'm sure when Groden made his copies:

1. It caused the cycle cops head to slide off his shoulder, not to mention the upward swivel movement.

2. Caused the black hat man to double image, among others. Problems with him once again, what is it with that guy.

There is hardly a film of that area that isn't blurred from frame to frame ... go look at Sitzman spinning around to look at Zapruder before the parade arrived.

About your points #1 and #2 ... There are several causes for motion blur. One is caused by the camera being moved and the other is from the objects seen within an image being in motion. The speed of the object - the angle at which it is seen during the jiggle are a couple of causes for such blurring. The cops shoulder and head - the double white spot in the area of the hood ornament on the Queen Mary - a man's hat changing shape - are just a few of the occurrences that take place when the image blurs. These occurrences are seen throughout the films of JFK as he rode from Love Field to the Plaza. This may not sound as interesting as pretending that something sinister was afoot that caused an image to blur, but its reality IMO.

Is it little wonder why the experts of the past who have studied these films have never raised these concerns .... its because they simply understood them to be normal effects caused by motion blur.

Bill

[Bill Miller]

Something is VERY wrong here.

The GHOST TIRE from frame 157 actually aligns with frame 161. Comparison provided.

The LINE SHADOW through the ghost tire in frame 157 is from frame 158.

chris

Regardless of what frames had to be put together because of the ones between them being damaged ... they must overlap a portion of the two frames being spliced together so they can then be glued to each other .... this is why we see the fuzzy distortion strip running through the film.

If you want to see the images without the damage/splice ... Groden has prints of the copies Zapruder made before turning his camera original over to Life Magazine.

Bill

[Jack White]

Thanks Tom,

What you have just supplied, as you have many times before, is invaluable.

The "Altered Evidence" syncs nicely with the film splice area and the "before/after limo sync"

In fact, when I was doing the 6 frame comparison of the before/after limo sync (frames 100-106 with 160-165 I believe) and this latest splice work, my tunnel vision hadn't allowed me to connect your information to it. Obviously you did.

Either this is the biggest coincidence that will ever occur in my life, or we are at one very important core of the film alteration. imo

Still trying to break down the exact amount of frames, if possible with what is available.

much appreciated,

chris

If Purvis is correct, the figures indicate THE LIMO STOPPED. A speed of 2 miles per hour is a virtual stop!

Of course this is based on the extant Zfilm, which we know is not genuine.

Jack

[Chris Davidson]

About your points #1 and #2 ... There are several causes for motion blur. One is caused by the camera being moved and the other is from the objects seen within an image being in motion. The speed of the object - the angle at which it is seen during the jiggle are a couple of causes for such blurring. The cops shoulder and head - the double white spot in the area of the hood ornament on the Queen Mary - a man's hat changing shape - are just a few of the occurrences that take place when the image blurs. These occurrences are seen throughout the films of JFK as he rode from Love Field to the Plaza. This may not sound as interesting as pretending that something sinister was afoot that caused an image to blur, but its reality IMO.

On the other hand, blurring can also be used to hide movement/size manipulations.

But for this example, let's take frame 154 and 161 and take the blurring variable out of it.

While I'm at it, I'll use some non MPI frames so we don't have to worry about the sham job they did either.

So now we have two frames that are 7 frames apart.

If something is coming towards/closer to the filmer, that object tends to enlarge.

If stationary objects remain in the SAME location, let's say people in the FOREGROUND, they should remain the same size.

Or let me guess, Zapruder had a setting on his camera for foreground zoom only.

Time to test that theory.

I believe we have another problem around the splice frames.

Looks as if the foreground people (primarily on the left) are different sizes and all within 7/18 of a second.

Maybe they all jumped backwards toward the camera at once.

I believe the correct frame would look more like the animation with the red inset borders. ( Percentages provided for proper fit)

MORE THAN LIKELY, SOME PARTS OF THE FILM HAVE BEEN RESIZED.

Why would they do it:

Well, I think Tom has provided that bit of information in his previous post. Any mathematicians in the house.

I'll keep digging, but the dirt is coming out quickly.

BTW, take a look at the left side background (red border animation) as it too does not fit, while the rest of the composite does.

chris

Edited May 21, 2008 by Chris Davidson

[Thomas H. Purvis]

Thanks Tom,

What you have just supplied, as you have many times before, is invaluable.

The "Altered Evidence" syncs nicely with the film splice area and the "before/after limo sync"

In fact, when I was doing the 6 frame comparison of the before/after limo sync (frames 100-106 with 160-165 I believe) and this latest splice work, my tunnel vision hadn't allowed me to connect your information to it. Obviously you did.

Either this is the biggest coincidence that will ever occur in my life, or we are at one very important core of the film alteration. imo

Still trying to break down the exact amount of frames, if possible with what is available.

much appreciated,

chris

If Purvis is correct, the figures indicate THE LIMO STOPPED. A speed of 2 miles per hour is a virtual stop!

Of course this is based on the extant Zfilm, which we know is not genuine.

Jack

If Purvis is correct

Surely you would not be also doubting my work Jack!

After all, your colleague Professor Fetzer, as well as JFK Lancer, were most impressed with it long ago when they were of the impression that it came from some CTer.

the figures indicate THE LIMO STOPPED

Correction! The computations, were the assassination re-enactment legitimate, would serve to indicate that the limo practically stopped.

Which of course we know that it did not!

Of course this is based on the extant Zfilm, which we know is not genuine.

Well, we would certainly have a prime indicator that something most assuredly is not "genuine".

-----------------------------------------------------------------------------------------------------------------------

And, methinks that the cat is almost out of the bag!

Either this is the biggest coincidence that will ever occur in my life, or we are at one very important core of the film alteration. imo

The "vehicle speed"/aka elapsed frames of the Z-flim v. distance covered, has always been an EEI (essential element of information) relative to the WC; the Z-film; and the assassination re-enactment.

As with other items, mistakes were made, and although an effort to "correct" some of these mistakes was also made (the altered survey data), it merely compounded their mistakes as well as pointed directly back at their intent in this little game.

Mr. West, the gentleman that he was, and I, had some truly good laughs about some of this.

[Bill Miller]

On the other hand, blurring can also be used to hide movement/size manipulations.

But for this example, let's take frame 154 and 161 and take the blurring variable out of it.

While I'm at it, I'll use some non MPI frames so we don't have to worry about the sham job they did either.

So now we have two frames that are 7 frames apart.

If something is coming towards/closer to the filmer, that object tends to enlarge.

If stationary objects remain in the SAME location, let's say people in the FOREGROUND, they should remain the same size.

Or let me guess, Zapruder had a setting on his camera for foreground zoom only.

Blurring is something that happens when movement is involved either with the camera - or the subjects/objects in the film are in motion - or a combination of both.

The change in tilt of the camera above and below the horizontal plane can also cause objects to appear to move/lean one way or the other when in realty it didn't happen at all.

I don't think that blurring is used to hide anything ... and I hope one doesn't get so ridiculous as to say Zapruder was jiggling his camera certain ways so to hide something while filming. I think that first understanding the history of the copy print being viewed must be considered, as well as the variables and/or combinations thereof that could offer an explanation for what is being seen before being so quick as to start making false claims. Much of the things that I hear are things that many others before us have seen, but understood so not to make a big deal out of nothing. At the present time there seems to be a modus-operandi at play where the claimant will take anything they don't understand and call it an alteration before seeking out any other reasonable avenues that would be more plausible.

Bill

[Thomas H. Purvis]

On the other hand, blurring can also be used to hide movement/size manipulations.

But for this example, let's take frame 154 and 161 and take the blurring variable out of it.

While I'm at it, I'll use some non MPI frames so we don't have to worry about the sham job they did either.

So now we have two frames that are 7 frames apart.

If something is coming towards/closer to the filmer, that object tends to enlarge.

If stationary objects remain in the SAME location, let's say people in the FOREGROUND, they should remain the same size.

Or let me guess, Zapruder had a setting on his camera for foreground zoom only.

Blurring is something that happens when movement is involved either with the camera - or the subjects/objects in the film are in motion - or a combination of both.

The change in tilt of the camera above and below the horizontal plane can also cause objects to appear to move/lean one way or the other when in realty it didn't happen at all.

I don't think that blurring is used to hide anything ... and I hope one doesn't get so ridiculous as to say Zapruder was jiggling his camera certain ways so to hide something while filming. I think that first understanding the history of the copy print being viewed must be considered, as well as the variables and/or combinations thereof that could offer an explanation for what is being seen before being so quick as to start making false claims. Much of the things that I hear are things that many others before us have seen, but understood so not to make a big deal out of nothing. At the present time there seems to be a modus-operandi at play where the claimant will take anything they don't understand and call it an alteration before seeking out any other reasonable avenues that would be more plausible.

Bill

I don't think that blurring is used to hide anything ... and I hope one doesn't get so ridiculous as to say Zapruder was jiggling his camera certain ways so to hide something while filming.

As amazing as it may seem, there are those of us who recognize that we ARE NOT looking at the Zapruder Film.

Now! BM, for the enjoyment of the reading public, would you mind enlightening us as to exactly when it was that you saw the ORIGINAL of this film?

Blurring is something that happens when movement is involved either with the camera - or the subjects/objects in the film are in motion - or a combination of both.

As amazing as it may seem, there are those of us who recognize that there are a multitude of means and variations in which one can create "blurring" on a piece of film.

Beginning with the chemical processing/developing of the film.

As example, one can merely increase the temperature of the developer and thus have to develop the film too rapidly.

Or, for that matter, one can, totally affect the film by inadequate "stop bath".

Or, even the final "fix" can ultimate create a "blurring" affect.

Some of these can create an virtual "instantaneous" blurring, while others, if left to "age" will, by the nature of the failure to fully cease the developing process, etc;, create "blurring" with age.

Makes one wander exactly why it took so long to get to even see the "copies" of the film which we are now "fed to believe" constitutes something original.

P.S. Ever conduct filming from a fixed and stable camera position only to have some big truck (or other such item) come by and "shake" the ground and the "stable" camera.

Personally, as little as I know about the subject matter, I can reproduce motion picture films all day long and create "blurring" merely by stomping my foot near the projector which is running the original item.

Won't "blurr" the original, but the COPY will most certainly be a little fuzzy.

P.P.S. Forgot to mention that emulsion "grain size" in conjunction with exposure time (light source) can also easily create a "fuzziness" which few would recognize and/or understand.

But of course, one must always take into consideration that I am not that reliable!