Math Part 3

[David Josephs]

Chris...

Starting to make sense to me... a little.

Not sure if it matters but the 164 thru 483 frames is 320 minus 1 damaged is 319. If you had frames 164 thru 165 you would have 2 frames, not the 1 when you subtract the 2 numbers... fwiw.

And I still don't see how the Nix and Muchmoore films stay in sync with the "revised" Zfilm with the removal of a limo stop. I saw the few frame skip in Nix AFTER the headshot but that was not more than 3-4 frames... not long enough for a limo stop I'd guess.

Again, thanks for bringing in the quantifiable...

this thread gets more interesting every day

DJ

Edited February 15, 2011 by David Josephs

[Chris Davidson]

Chris...thanks, but you take us for a lot smarter than we are.

You have got it all figured out so YOU UNDERSTAND IT but that

does not mean all of us do.

I am a bottom line person. WHAT IS THE BOTTOM LINE?

After all your figuring, what is the conclusion? What does it

mean?

Like...

...was the limo stop edited out?

...was the limo farther west at the head shot?

...was the film shot at 24fps and reduced to 18.3fps?

...were altered films made to conform with each other by changing frame count?

...what is the significance of the numbers you have come up with?

Math has always been my poorest subject. Too abstract. I like things

which make conclusions clear, and I can understand. When you just give me

calculations, my brain does not relate them to a complete picture.

Please tell us the conclusions from the calculations...the bottom line.

Thanks.

Jack

Jack,

So far, I would say 1 film, 2 versions, one at 18.3 FPS, the other at 24.3.

Both versions used to create the final version.

This would allow the excising of frames and control of timing and the synchronization with other films.

Short stints between splices. The ability to distinguish the viewing difference in FramesPerSecond in these short stints, very difficult.

2 head shots, one at the physical film location 313, and one at the physical film location 353.

So far, the 353 head shot was excised.

Not enough info for limo stop determination, yet. But, 2 seconds or so, would probably be a good guess if it did!!!

chris

[Chris Davidson]

Chris

I am like Jack

Maths was never my best subject at school.

I could stare at this all night, and i still wouldn't get it.

Tom,

Learning to flip a triangle so I have a level base, makes a big difference.

As for specific locations, I've been working on this one:

Frame161-166 is a 5ft adjustment.

A 5ft adjustment added to figures in (WC CE884) gives me approx (WC frame 208).

Adding the "line of sight rifle to JFK" would now = approx 180ft.

180ft/22.19ft per sec(15.1 mph)=8.11 sec.

8.11sec x 24.3 FramesPerSec=197frames

197frames-40frames(difference between 313+353)=frame 157 =splice.

WC frame 208-197=11frames

11 frames+40 frames=51 frames

51 frames = difference between a camera running at 18.3FPS/24.3 FPS through 157 total frames.

157frames/18.3=8.57sec

8.57sec x 24.3FPS =208.4frames

208-157=51frames

chris

P.S. Thanks for the geometry tips!!!

Robin,

I can simplify the explanation of the numbers for you, just let me know what your having difficulties with.

chris

[Chris Davidson]

Chris...

Starting to make sense to me... a little.

Not sure if it matters but the 164 thru 483 frames is 320 minus 1 damaged is 319. If you had frames 164 thru 165 you would have 2 frames, not the 1 when you subtract the 2 numbers... fwiw.

And I still don't see how the Nix and Muchmoore films stay in sync with the "revised" Zfilm with the removal of a limo stop. I saw the few frame skip in Nix AFTER the headshot but that was not more than 3-4 frames... not long enough for a limo stop I'd guess.

Again, thanks for bringing in the quantifiable...

this thread gets more interesting every day

DJ

David,

Frame161-166 is a 5ft adjustment.

A 5ft adjustment added to figures in (WC CE884) gives me approx (WC frame 208).

Adding the "line of sight rifle to JFK" would now = approx 180ft.

180ft/22.19ft per sec(15.1 mph)=8.11 sec.

8.11sec x 24.3 FramesPerSec=197frames

197frames-40frames(difference between 313+353)=frame 157 =splice.

Use this to tie it back into the above:

197 frames(throat shot) + Life Magazine article 74 frames later (Connally shot) + Life Magazine article 48 frames later (head shot).

197 + 74 + 48 = 319 frames.

There are no coincidences in any of this.

From previous posting:

The slides in the original set were made by Time-LIFE. The set included frames 164 through 483, except for the missing frame 349.

I would assume that if the only missing frame among 164-483 was 349, then the damaged/missing frames at approx 208-212 are intact among this set, correct?

Now, when were those frames damaged and when were the slides created?

Just something to ponder among other things.

chris

P.S. Doesn't have to be exact, but it's going to be darn well close.

[Thomas H. Purvis]

Chris...

Starting to make sense to me... a little.

Not sure if it matters but the 164 thru 483 frames is 320 minus 1 damaged is 319. If you had frames 164 thru 165 you would have 2 frames, not the 1 when you subtract the 2 numbers... fwiw.

And I still don't see how the Nix and Muchmoore films stay in sync with the "revised" Zfilm with the removal of a limo stop. I saw the few frame skip in Nix AFTER the headshot but that was not more than 3-4 frames... not long enough for a limo stop I'd guess.

Again, thanks for bringing in the quantifiable...

this thread gets more interesting every day

DJ

David,

Frame161-166 is a 5ft adjustment.

A 5ft adjustment added to figures in (WC CE884) gives me approx (WC frame 208).

Adding the "line of sight rifle to JFK" would now = approx 180ft.

180ft/22.19ft per sec(15.1 mph)=8.11 sec.

8.11sec x 24.3 FramesPerSec=197frames

197frames-40frames(difference between 313+353)=frame 157 =splice.

Use this to tie it back into the above:

197 frames(throat shot) + Life Magazine article 74 frames later (Connally shot) + Life Magazine article 48 frames later (head shot).

197 + 74 + 48 = 319 frames.

There are no coincidences in any of this.

From previous posting:

The slides in the original set were made by Time-LIFE. The set included frames 164 through 483, except for the missing frame 349.

I would assume that if the only missing frame among 164-483 was 349, then the damaged/missing frames at approx 208-212 are intact among this set, correct?

Now, when were those frames damaged and when were the slides created?

Just something to ponder among other things.

chris

P.S. Doesn't have to be exact, but it's going to be darn well close.

Digging the hole deeper!

http://mcadams.posc.mu.edu/russ/testimony/shaneyf2.htm

Mr. SPECTER. Were you able to ascertain the speed of the Presidential limousine at the time of the assassination?

Mr. SHANEYFELT. Yes; because we were able to determine the speed of the camera, and thereby accurately determine the length of time it takes for a specific number of frames to run through the camera at this 18.3 frames per second, and having located these frame positions in the street, we took the farthest distance point we had in the Zapruder film which was frame 161 through frame 313.

This was found to run elapsed time from the film standpoint which runs at 18.3 frames a second, runs for a total of 8.3 seconds.

This distance is 136.1 feet, and this can be calculated then to 11.2 miles per hour.

Mr. SPECTER. Is that a constant average speed or does that speed reflect any variations in the movement of the car?

Mr. SHANEYFELT. That is the overall average from 161 to 313. It does not mean that it was traveling constantly at 11.2, because it was more than likely going faster in some areas and slightly slower in some areas. It is only an average speed over the entire run.

Mr. DULLES. Over the entire run between what points?

Mr. SHANEYFELT. Between frame 161 and 313.

Mr. DULLES. Yes; but where, could you place that on that chart, for example?

Mr. SHANEYFELT. Yes.

Mr. DULLES. And describe the points?

Mr. SHANEYFELT. This is frame 161 which is the frame where they have just gone under the tree, to frame 313 which is the shot to the head. So that it is that distance there which is 136.1 feet.

Mr. SPECTER. In referring to those points, will you specify what exhibit number you are referring to there?

Mr. SHANEYFELT. That is----

Mr. DULLES. I wonder if we could mark those points on that exhibit?

Mr. SPECTER. Of course, Mr. Dulles.

That is Commission Exhibit No. 883, is it not, Mr. Shaneyfelt?

Mr. SHANEYFELT. Yes.

Mr. SPECTER. Will you take the first point Mr. Dulles has referred to and mark it as point X. I think we already have some letter designations in the early part of the alphabet.

Mr. McCLOY. Where is that point? What significance is that point? The first point?

Mr. SPECTER. This frame 161.

Mr. McCLOY. Yes.

Mr. SPECTER. Is the first frame we have on the Zapruder film.

Mr. DULLES. It is only to get the speed and distance here.

Mr. McCLOY. It has no relation to any shots.

Mr. DULLES. No relation to shots. Speed and distance.

Mr. SPECTER. It is the first frame we have where the marksman has his last clear shot of the back of the President's neck before it passes under the tree without adjustment. Is that correct, Mr. Shaneyfelt?

Mr. SHANEYFELT. That is correct. What letter designations did you want?

Mr. SPECTER. Mark 161, frame 161, with the letter designation X, if you will, please.

Mr. SHANEYFELT. And 313?

Mr. SPECTER. With the letter designation Y.

Mr. McCLOY. The record ought to show the two points are the point which you merely calculated the speed at which the car is going, isn't that right?

Mr. SHANEYFELT. That is correct.

Mr. McCLOY. Yes.

Mr. DULLES. Between those two points the car went at an average speed of 11.2 miles an hour?

Mr. SHANEYFELT. That is correct. Between point X and Y on Exhibit No. 883 the speed of the car was determined to be an average speed of 11.2 miles per hour.

Mr. DULLES. How long did the car take to go that distance, do you know, translated into time?

Mr. SHANEYFELT. 8.3 seconds.

http://www.jfk-online.com/shaneyfeltshaw.html

Q: During the reconstruction, Mr. Shaneyfelt, in relation to the Zapruder film where did you all start, at what frame, sir?

A: We started the re-enactment at a point earlier than is shown on the Zapruder film the first frame that we designated in which the Presidential limousine appears was Frame 161, to the best of my recollection.

Q: During your reconstruction, did you have occasion to use Frame 168?

A: Yes, we did.

Q: What did you do in regard to Frame 168, what type of examination and reconstruction did you all do?

A: Could I step down and look at the plaque?

Q: Yes.

A: That is marked Frame 168.

Q: How did you all mark that frame, sir, how did you arrive at that position?

http://www.jmasland.com/wctestimony/fbi/shaneyfelt2.htm

Mr. SHANEYFELT. This is an album that I prepared of black and white photographs made of the majority of the frames in the Zapruder film----

Mr. SPECTER. Starting with what frame number?

Mr. SHANEYFELT. Starting with frame 171, going through frame 334.

Mr. SPECTER. And why did you start with frame 171?

Mr. SHANEYFELT. This is the frame that the slides start from. This was an arbitrary frame number that was decided on as being far enough back to include the area that we wanted to study.

Mr. SPECTER. Is that a frame where President Kennedy comes into full view after the motorcade turns left off of Houston onto Elm Street?

Mr. SHANEYFELT. Yes, yes.

Mr. SPECTER. And how was the ending point of that frame sequence, being No. 334, fixed?

142

Page 143

Mr. SHANEYFELT. It was fixed as several frames past the shot that hit the President in the head. Frame 313 is the frame showing the shot to the President's head, and it ends at 334.

http://assassinationresearch.com/zfilm/z334.jpg

http://mcadams.posc.mu.edu/russ/testimony/altgens.htm

Mr. ALTGENS - Because I didn't see who fired it. After the Presidential car moved a little past me, I took another picture--now, just let me back up here--I was prepared to make a picture at the very instant the President was shot. I had refocused to 15 feet because I wanted a good closeup of the President and Mrs. Kennedy, and that's why I know that it would be right at 15 feet, because I had prefocused in that area, and I had my camera almost to my eye when it happened and that's as far as I got with my camera.

There was flesh particles that flew out of the side of his head in my direction from where I was standing,

YEP! Believe it or not, three shots, three hits.

Exactly why was it that anyone believed "THE SHOT THAT MISSED"?????????????

[Ian Kingsbury]

Chris...thanks, but you take us for a lot smarter than we are.

You have got it all figured out so YOU UNDERSTAND IT but that

does not mean all of us do.

I am a bottom line person. WHAT IS THE BOTTOM LINE?

After all your figuring, what is the conclusion? What does it

mean?

Like...

...was the limo stop edited out?

...was the limo farther west at the head shot?

...was the film shot at 24fps and reduced to 18.3fps?

...were altered films made to conform with each other by changing frame count?

...what is the significance of the numbers you have come up with?

Math has always been my poorest subject. Too abstract. I like things

which make conclusions clear, and I can understand. When you just give me

calculations, my brain does not relate them to a complete picture.

Please tell us the conclusions from the calculations...the bottom line.

Thanks.

Jack

Jack,

So far, I would say 1 film, 2 versions, one at 18.3 FPS, the other at 24.3.

Both versions used to create the final version.

This would allow the excising of frames and control of timing and the synchronization with other films.

Short stints between splices. The ability to distinguish the viewing difference in FramesPerSecond in these short stints, very difficult.

2 head shots, one at the physical film location 313, and one at the physical film location 353.

So far, the 353 head shot was excised.

Not enough info for limo stop determination, yet. But, 2 seconds or so, would probably be a good guess if it did!!!

chris

Chris I beiieve we could reconstruct a montage digitally by establishing a clock running in realtime over the montage at its staggered sp

speeds and the flow would be interupted and would appear to stutter unlike the flow of the math Ian

[Chris Davidson]

Chris...thanks, but you take us for a lot smarter than we are.

You have got it all figured out so YOU UNDERSTAND IT but that

does not mean all of us do.

I am a bottom line person. WHAT IS THE BOTTOM LINE?

After all your figuring, what is the conclusion? What does it

mean?

Like...

...was the limo stop edited out?

...was the limo farther west at the head shot?

...was the film shot at 24fps and reduced to 18.3fps?

...were altered films made to conform with each other by changing frame count?

...what is the significance of the numbers you have come up with?

Math has always been my poorest subject. Too abstract. I like things

which make conclusions clear, and I can understand. When you just give me

calculations, my brain does not relate them to a complete picture.

Please tell us the conclusions from the calculations...the bottom line.

Thanks.

Jack

Jack,

So far, I would say 1 film, 2 versions, one at 18.3 FPS, the other at 24.3.

Both versions used to create the final version.

This would allow the excising of frames and control of timing and the synchronization with other films.

Short stints between splices. The ability to distinguish the viewing difference in FramesPerSecond in these short stints, very difficult.

2 head shots, one at the physical film location 313, and one at the physical film location 353.

So far, the 353 head shot was excised.

Not enough info for limo stop determination, yet. But, 2 seconds or so, would probably be a good guess if it did!!!

chris

I count 2 films given to Life.

Read the print in blue only.

Someone forgot to tell the reporter.

1 film, 2 versions.

chris

[Chris Davidson]

http://www.jmasland.com/wctestimony/fbi/shaneyfelt2.htm

Mr. SHANEYFELT. This is an album that I prepared of black and white photographs made of the majority of the frames in the Zapruder film----

Mr. SPECTER. Starting with what frame number?

Mr. SHANEYFELT. Starting with frame 171, going through frame 334.

Mr. SPECTER. And why did you start with frame 171?

Mr. SHANEYFELT. This is the frame that the slides start from. This was an arbitrary frame number that was decided on as being far enough back to include the area that we wanted to study.

Mr. SPECTER. Is that a frame where President Kennedy comes into full view after the motorcade turns left off of Houston onto Elm Street?

Mr. SHANEYFELT. Yes, yes.

Mr. SPECTER. And how was the ending point of that frame sequence, being No. 334, fixed?

Tom,

Looks like someone else didn't feel like starting with anything earlier than 171, also.

chris

[Chris Davidson]

Chris...thanks, but you take us for a lot smarter than we are.

You have got it all figured out so YOU UNDERSTAND IT but that

does not mean all of us do.

I am a bottom line person. WHAT IS THE BOTTOM LINE?

After all your figuring, what is the conclusion? What does it

mean?

Like...

...was the limo stop edited out?

...was the limo farther west at the head shot?

...was the film shot at 24fps and reduced to 18.3fps?

...were altered films made to conform with each other by changing frame count?

...what is the significance of the numbers you have come up with?

Math has always been my poorest subject. Too abstract. I like things

which make conclusions clear, and I can understand. When you just give me

calculations, my brain does not relate them to a complete picture.

Please tell us the conclusions from the calculations...the bottom line.

Thanks.

Jack

Jack,

So far, I would say 1 film, 2 versions, one at 18.3 FPS, the other at 24.3.

Both versions used to create the final version.

This would allow the excising of frames and control of timing and the synchronization with other films.

Short stints between splices. The ability to distinguish the viewing difference in FramesPerSecond in these short stints, very difficult.

2 head shots, one at the physical film location 313, and one at the physical film location 353.

So far, the 353 head shot was excised.

Not enough info for limo stop determination, yet. But, 2 seconds or so, would probably be a good guess if it did!!!

chris

Chris I beiieve we could reconstruct a montage digitally by establishing a clock running in realtime over the montage at its staggered sp

speeds and the flow would be interupted and would appear to stutter unlike the flow of the math Ian

Ian,

Could you give me a brief example, say from frame 133-157.

It sounds something along the lines of the multiple film syncing I've done in the past.

thanks

chris

P.S. Remember the "MysteryMan" (Croft more than likely) discussion on Duncan's forum and why he was still moving in Dorman, when less than a quarter second later (Martin film ending), according to Meyer's latest film sync revision, we see him at Zframe 133, set to take his photo. That's what occurs when you can't quite sync multiple films changing frame speeds.

Looking back, my guess would be I probably adjusted it somewhere around 9 frames to make it work for what I had to go on at the time.

Looks like I ended up adjusting it 7 frames to z140.

Frame 100-133=33 frames-.25sec (1/4 second)=4.5 zframes=frame 100-frame 128 approx.

28frames/18.3 FPS= 1.53seconds.

1.53seconds x 24.3 FPS=37 frames

37-28=9 frames.

I'll get back to the film syncing aspect as I move along.

[Chris Davidson]

Chris...

Starting to make sense to me... a little.

Not sure if it matters but the 164 thru 483 frames is 320 minus 1 damaged is 319. If you had frames 164 thru 165 you would have 2 frames, not the 1 when you subtract the 2 numbers... fwiw.

And I still don't see how the Nix and Muchmoore films stay in sync with the "revised" Zfilm with the removal of a limo stop. I saw the few frame skip in Nix AFTER the headshot but that was not more than 3-4 frames... not long enough for a limo stop I'd guess.

Again, thanks for bringing in the quantifiable...

this thread gets more interesting every day

DJ

David,

Frame161-166 is a 5ft adjustment.

A 5ft adjustment added to figures in (WC CE884) gives me approx (WC frame 208).

Adding the "line of sight rifle to JFK" would now = approx 180ft.

180ft/22.19ft per sec(15.1 mph)=8.11 sec.

8.11sec x 24.3 FramesPerSec=197frames

197frames-40frames(difference between 313+353)=frame 157 =splice.

Use this to tie it back into the above:

197 frames(throat shot) + Life Magazine article 74 frames later (Connally shot) + Life Magazine article 48 frames later (head shot).

197 + 74 + 48 = 319 frames.

There are no coincidences in any of this.

From previous posting:

The slides in the original set were made by Time-LIFE. The set included frames 164 through 483, except for the missing frame 349.

I would assume that if the only missing frame among 164-483 was 349, then the damaged/missing frames at approx 208-212 are intact among this set, correct?

Now, when were those frames damaged and when were the slides created?

Just something to ponder among other things.

chris

P.S. Doesn't have to be exact, but it's going to be darn well close.

Some more numbers for you:

There appears to be 2 pre-assassination segments of the Hester's and Sitzman. See attached!!!

One consists of 117 frames while the other is 14 frames.

The first generation SS copy has a 10ft/27 inch film segment which = 980 total frames.

Within these 980 frames are 117 Hester/Sitzman frames.

The motorcycle sequence of 132 frames.

The assassination sequence.

Blank film.

A little math:

117 + (132 + 354) = 486

117 + 486(total frames at18.3 fps) = 603

603 + 363=966

363=18.3fps x 19.87

19.87 sec is the amount of time it would take to create 483 frames at 24.3 fps.

966 + the other 14 Hester/Sitzman frames=980 total frames=10ft/27inches of film.

Besides the 14 Hester/Sitzman frames, I wonder what else was in the original space for 10ft/27inches!!!

How about the 18.3 FPS film at 19.87 sec.

19.87 sec is the amount of time it would take to create 483 frames at 24.3 fps.

chris

P.S. Where is the 117 frame segment of Sitzman/Hester's in the camera original at the National Archives.

117 frames is very close to 120 frames, which is the difference between 483-363, which is the difference between a film shot at 24.3 fps and 18.3 fps.

A 3 frame difference might be the difference between 483 and 486 total frames.

P.S.S 117+14=131 frames which is very close to 132 pre limo frames.

Edited February 22, 2011 by Chris Davidson

[Thomas H. Purvis]

Not a problem Greg,

I created this next document for comparison purposes. Posted awhile back, but here's the link again.

On the left is the original WC 884 exhibit, I have added the red lines and numbers.

On the right are my recalculations, I will explain this going forward.

chris

From Mary Ferrell website:

http://www.maryferrell.org/mffweb/archive/viewer/showDoc.do

Yep!

Makes one wonder exactly why some "low-life" non-CTer would allow altered evidence to be published in order to begin the discrediting process of the Warren Commission.

Tom

P.S. Extration from "foot-in-mouth". Went back to the survey data and it was 28-feet in separation from the SS second shot (Z313) impact to the third/last/final/ shot impact down in front of James Altgens.

(4+95 minus 28 = 4+67) stationing for the SS determination of second shot impact.

Warren Commission stationing for Z313 impact:----4+65.3

Difference (WC v. SS)= 1.7 feet

[Ian Kingsbury]

Chris...thanks, but you take us for a lot smarter than we are.

You have got it all figured out so YOU UNDERSTAND IT but that

does not mean all of us do.

I am a bottom line person. WHAT IS THE BOTTOM LINE?

After all your figuring, what is the conclusion? What does it

mean?

Like...

...was the limo stop edited out?

...was the limo farther west at the head shot?

...was the film shot at 24fps and reduced to 18.3fps?

...were altered films made to conform with each other by changing frame count?

...what is the significance of the numbers you have come up with?

Math has always been my poorest subject. Too abstract. I like things

which make conclusions clear, and I can understand. When you just give me

calculations, my brain does not relate them to a complete picture.

Please tell us the conclusions from the calculations...the bottom line.

Thanks.

Jack

Jack,

So far, I would say 1 film, 2 versions, one at 18.3 FPS, the other at 24.3.

Both versions used to create the final version.

This would allow the excising of frames and control of timing and the synchronization with other films.

Short stints between splices. The ability to distinguish the viewing difference in FramesPerSecond in these short stints, very difficult.

2 head shots, one at the physical film location 313, and one at the physical film location 353.

So far, the 353 head shot was excised.

Not enough info for limo stop determination, yet. But, 2 seconds or so, would probably be a good guess if it did!!!

chris

Chris I beiieve we could reconstruct a montage digitally by establishing a clock running in realtime over the montage at its staggered sp

speeds and the flow would be interupted and would appear to stutter unlike the flow of the math Ian

Ian,

Could you give me a brief example, say from frame 133-157.

It sounds something along the lines of the multiple film syncing I've done in the past.

thanks

chris

P.S. Remember the "MysteryMan" (Croft more than likely) discussion on Duncan's forum and why he was still moving in Dorman, when less than a quarter second later (Martin film ending), according to Meyer's latest film sync revision, we see him at Zframe 133, set to take his photo. That's what occurs when you can't quite sync multiple films changing frame speeds.

Looking back, my guess would be I probably adjusted it somewhere around 9 frames to make it work for what I had to go on at the time.

Looks like I ended up adjusting it 7 frames to z140.

Frame 100-133=33 frames-.25sec (1/4 second)=4.5 zframes=frame 100-frame 128 approx.

28frames/18.3 FPS= 1.53seconds.

1.53seconds x 24.3 FPS=37 frames

37-28=9 frames.

I'll get back to the film syncing aspect as I move along.

Ian,

Could you give me a brief example, say from frame 133-157.

It sounds something along the lines of the multiple film syncing I've done in the past.

thanks

chris

Chris

It would not work on a section only a length long enough for the brain to recognise a stutter in the "flow of the film"

To show the differing speeds the 18fps section gets played at the same speed as the 24fps .The only thing on the screen running at a constant would be your timer overlayed.

Sorry if I am not explaining very well but I remember watching a crash at Santa pod raceway one of the cars crashed at 280 mph it was not till I watched it on the news later that I saw the Wobble on the rearend I did not see this live at the track perhaps it is something to do with recognition and what we are expecting to happen.

Ian

[Chris Davidson]

Ian,

2 differing speeds.

Just an example.

chris

http://72.130.170.43:8443/B587C/1824FPS.flv

[Chris Davidson]

BTW,

For comparison purposes.

Here's the same film.

No differing frame speeds in this one.

The original film was shot at 24FPS.

A total of 136 progressive frames.

Starting and ending comparable to Z133-313.

chris

http://72.130.170.43:8443/93378/24FPS.flv

P.S. A little math coming up !!!

Edited March 2, 2011 by Chris Davidson

[Chris Davidson]

Recreation Film Math:

136 Recreation Frames = Z133-313=180 frames =same distanced traveled.

136/180=3/4=.75

Car in Recreation film travels 165FT in 5.67 seconds=19.79 mph

15mph/19.79 mph=3/4=.75

11.3 mph (WC average limo speed) / 15 mph=3/4=.75

Frame Z100=Elev 428.94

Frame Z133=start of limo in film

100/133=3/4=.75

18.3fps/24.3fps=3/4=.75

Frame 157 (splice) to frame 207 (splice) =3/4=.75

Frame 231+(Life Magazine 74 shots later)=frame 305 231/305=3/4=.75

483 frames @24.3 FPS = 19.87 sec. 19.87sec x 18.3FPS=363 frames 363frames/483 frames=3/4=.75

Zframe313 to Z353 =40 frames =30ft apart 30ft/40frames=3/4=.75

chris