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The Nix Film : Proof Of Alteration


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I posted this at Duncans forum but I know it will interest a few of you..

These are rough notes and observations that can be followed. You will need a frame by frame copy of the Nix film, preferably on USB, then to HD TV if possible, for best results.

This is a brief outline of the alteration of the Nix film. All frames are referenced as N1 (Nix frame one), etc.

N1. Gunshots have already cracked the air. The limo is already in the advanced stages of slowing greatly. The feint white line that appears around two-thirds of the screen and remains throughout the film is a registration mark, cue and splice point for the shifting of time and events. Notice also that in almost every frame, the front of the limo is split into three, sometimes more, separate segments. The very front of the limo is fuzzy black and usually includes some of the flag. The second part is shiny black and usually includes other parts of the flag and parts of the wheel. The third section is usually more blue in colour. These change throughout but are easily distinguishable by quality, angle and other factors.

N15. Paying close attention to Gayle Newman, keep your eyes on the dark, horizontal line on her front. Also keep your eyes on what looks like a dark line on the left side of Moormans head. Watching Newman, click four frames to N19 and watch the helmet of Chaney fill the same pattern on the front of Newman. If you are sharp, you will also see the vague figure of Clint Hill appear between Moorman and Chaney. Toggle back and forth if need be. Hill is from this point blended into Chaney as 'they' move forwards past Moormans position.

N20. The first version of Hill/Chaney have now been 'released' into motion. His movements are disguised as being the first bike cop. He appears for six frames, N20 - N26, until he is obscured by Hargis/Foster.

N22. The second bike on the far side is level with Newman, Hargis has just appeared from behind Moorman. Click to N23 and pay attention to the fact that the second bike is also Chaney, inserted a little higher and that he also brings with him the 'second' Clint Hill starting from N23, depicting exactly the same motions as the first Chaney/Hill figures. Toggle b/f between the frames until your eyes pick it out. They appear from N22 - 31 until they too are obscured by Foster/bike. Now go back to N15 and start again.

N15. Now keep watching Moormans head at the line mentioned earlier whilst advancing to N27.... watch for what is the third version of Clint Hill that's been waiting since N14 to be 'released' next to Moorman. By N35, Hill version three has caught his second version of Chaney/Hill, thus becoming number two. By N36, C/H version two, are now left behind. Four frames later, N40, Hill version three has hit the splice point with Hill version one. From N41, C/H version one has now been passed and is now version two. Between N35 & N40, Hill's left hand side has been obfuscated using a bike aerial as a slice point. This is to hide his outstretched arm. The white line referred to earlier becomes the splice point. The two Chaneys catch up with each other at N49. You can still see the faint image of Hill left behind on the bikes.

Throughout all that segment, you'll slowly pick out where the rear of the limo actually was. If you can tell your mind that the limo is not a single entity, it will make sense.

That is basically how the limo stop was obscured and for me constitutes definite proof of alteration. Closer inspection will reveal so much more. Bear in mind that all this took place at a different location. Also bear in mind that Foster has been 'inserted' to help obscure the actions. As have the bikes. You can tell plain as day by the quality dip. They look like they're in black and white.

Starting from N38, notice the white stripe that creeps over the hood, to the trunk, of the limo until N66...when Jackie appears to climb out of the limo. Now, place the limo starting point at roughly the back of the guy with the grey jacket on who is positioned behind Altgens/Bothun. The white line that creeps is actually from when the limo starts accelerating at the steps area, further down Elm St.

When you look at the limo wheels throughout the film, especially when they are in relation to people appearing in the foreground, you can occasionally see when they take on a 'normal' appearance between folks legs, eg N66, N70, N77 and the front wheel at N80+. The rest of the time I suspect they are pasted in to disguise motion, angle, etc. This ties back to the limo being in sections. Close inspection reveals the limo to be at differing directions of travel at points that are at total odds with the position on the road and also when compared to Nix's LOS. I don't profess to having a technical understanding of the film processes involved but it doesn't change the fact that I'm right, does it? I may be wrong on a few points but know i'm right on more. I believe that when you 'click' to the process and realise what's been done, it makes it easier to catch the rest of the alterations. Soon, you can't 'unsee' them. You can work out that Greer actually turned because he heard a shot.....a shot that hit right in front of Bill Newman that '..blew his ear off', followed by a second shot that made Jackie jump out the car, etc. You can also see remnants of Jackies actual movements, despite the attempt to try and disguise them. You CAN see parts of it. If you see one bit, the rest of it will follow. This is also true for Zapruder. I've worked a fair bit of it out but any logical analysis is beyond me at this point...though I suspect someone else to cash in soon when they get their chance. Heh. Well, a few people were on the right track after all, props will be given in due course. A boat load of related stuff makes sense to me now. Again, this IS definite proof in my book. A game changer. This should keep all sorts of folk busy, eh?

Take the time to properly check this out, please and thanks.

Hope it made sense. Now, about those Life transparancies, eh....

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