Robin Unger Posted December 22, 2006 Share Posted December 22, 2006 (edited) Similar positions re: Newman's in Nix and Muchmore frames. Edited December 22, 2006 by Robin Unger Link to comment Share on other sites More sharing options...
John Dolva Posted December 22, 2006 Author Share Posted December 22, 2006 Using Franks Table N11=Z301 and using a suggested M17 as Z287 then N11 would be M31. The M frame posted is M16 so that would be Z286 or N-5 which doesn't exist. Link to comment Share on other sites More sharing options...
Frank Agbat Posted December 23, 2006 Share Posted December 23, 2006 The Muchmore film has a splice/break right around the location of the headshot (naturally...). Mr. Groden's DVD has a Black and White version that was made before the original(?) film was broken. This version, although very poor quality, allows us to establish whether any Muchmore frames were lost as a result of the break/splice. On the DVD, the B&W version starts one frame later than the Color version. However, in both cases, the films run in sequence with one another. In other words, the splice appears to be repair due to a break, rather than deletion of frames. For the purposes of frame numbering, I am calling the splice frame "MS-42" (where MS-1 is the first frame in the "shooting sequence" portion of the Muchmore film). The color version of the NFV/Groden DVD runs from MS-1 to MS-65. Lacking any more precise information in the interim I'm going to work under the assumption that the camera operates at 18.0 fps, and will adjust accordingly if better information becomes available. Link to comment Share on other sites More sharing options...
Ed O'Hagan Posted December 24, 2006 Share Posted December 24, 2006 2. something moves behind the pergola and light glints John, From what I can see, light was being reflected from camera lenses in that location. Link to comment Share on other sites More sharing options...
Frank Agbat Posted December 26, 2006 Share Posted December 26, 2006 I've been observing various aspects of the Nix film. For this example, I have stabilized a series of frames. The source of these frames is the NSV/Groden DVD, 1st-generation copy of the Nix film. *NOTE* - I *have* adjusted the saturation and luminance values in these frames to make the background more visible. The frames have also been run through a deconvolution filter using a Gaussian blur model. (This filter is similar, but vastly superior, to an "unsharp mask" or sharpen algorithm. It is useful to correct small focus problems without the nasty artifacts and edges that normal sharpen filters create. The downside is that this type of filter is painfully slow) Please consider the following sequence, and note especially the motorcycle cops: Source frames NS23 - NS70 ...and a close-up of the sequence: Source frames NS23 - NS66 ...two of them brake HARD shortly after the headshot and look directly to their right. They react almost simultaneously, presumably in reaction to a shot. For those keeping track of time, their reaction starts about 25 frames after NS22 (~1.3 seconds). Link to comment Share on other sites More sharing options...
Frank Agbat Posted December 26, 2006 Share Posted December 26, 2006 I found myself with the rarity that is known as "free time" today... The Muchmore film (at least the version on the Groden/NFV DVD) has a break in frame #42 (where 1 = camera restart). The film has been repaired, via a splice, and comparison to an intact (but poor quality) B&W version of the film, no frames have been lost. The result is that the color film has a large gap in the center of one frame (MS-42). Other frames have damage (bulb heat, most likely). The good news is that the limo area is not included in the damage or in the splice. Here is the damaged frame: I got the crazy notion that most of this image is actually intact, and that the splice introduces an inordinate amount of white gap. I split the damaged frame into two images, and aligned the top and bottom halves against fixed landmarks. The result of that is: The following mini animation is very much a work in progress and is far from final. However, it shows a stabilized sequence of Muchmore frames. In this sequence, I started with the "de-spliced" frame 42 and had a little fun filling in the gap area. It isn't perfect (I'm pretty good with digital image processing, etc, but am not much of an artist!), but it does allow viewing the limo without the splice causing the frames to jump. The frames have also been through my favorite deconvolution filter... Link to comment Share on other sites More sharing options...
Frank Agbat Posted December 26, 2006 Share Posted December 26, 2006 The following table is proposed, but I lack the certainty of it that I had for the Nix frame alignment, as I cannot find a definitive frame-rate for the camera. Lacking this, I have it currently operating at 18.0 frames per second, as that is the published spec for the model of camera used (Keystone K7 s/n 20648). This table assumes that MS17 is most closely aligned with Z289, which is necessary to make the head shot work. Lacking any solid alignment point, I set MS-41 = Z313. The numbers are then back-reconciled to be expressed in terms of the Z325 zero-time. John Dolva postulated MS17 = Z287 based on the child's hand position. The problem with this alignment and an 18fps camera is one of simple math. If these frames are in perfect alignment, this creates the situation where MS39 falls closest to Z313. Over 26 frames (1.421 seconds), there could be nearly 1/2 frame worth of drift due to differences in frame rate (assuming 18.0 for Muchmore) -- less if the cameras have more similar frame rates. So the most that could possible happen is Z313 aligning to MS40... However, there is no evidence of head injury or ejecta/splatter in MS39 or 40. The result of this theory is the following sequence of events: MS-40, Z312, N22, -- MS-41, Z313, N23, -- MS-42, Z314, N24 MS-Frame Time (Z-325 reference) 01 -2.8888888889 (closer, timewise, to Z272 than to Z273) 02 -2.8333333333 03 -2.7777777778 04 -2.7222222222 05 -2.6666666667 06 -2.6111111111 07 -2.5555555556 08 -2.5000000000 09 -2.4444444444 10 -2.3888888889 11 -2.3333333333 12 -2.2777777778 13 -2.2222222222 14 -2.1666666667 15 -2.1111111111 16 -2.0555555556 17 -2.0000000000 (close to Z-289, which is at -1.9672131148) 18 -1.9444444444 19 -1.8888888889 20 -1.8333333333 21 -1.7777777778 22 -1.7222222222 23 -1.6666666667 24 -1.6111111111 25 -1.5555555556 26 -1.5000000000 27 -1.4444444444 28 -1.3888888889 29 -1.3333333333 30 -1.2777777778 31 -1.2222222222 32 -1.1666666667 33 -1.1111111111 34 -1.0555555556 35 -1.0000000000 36 -0.9444444444 37 -0.8888888889 38 -0.8333333333 39 -0.7777777778 40 -0.7222222222 41 -0.6666666667 (Head shot) 42 -0.6111111111 (Splice due to break) 43 -0.5555555556 44 -0.5000000000 45 -0.4444444444 46 -0.3888888889 47 -0.3333333333 48 -0.2777777778 49 -0.2222222222 50 -0.1666666667 51 -0.1111111111 52 -0.0555555556 53 0.0000000000 (NS-35 / Z325 - our reference) 54 0.0555555556 55 0.1111111111 56 0.1666666667 57 0.2222222222 58 0.2777777778 59 0.3333333333 60 0.3888888889 61 0.4444444444 62 0.5000000000 63 0.5555555556 64 0.6111111111 65 0.6666666667 Link to comment Share on other sites More sharing options...
John Dolva Posted December 26, 2006 Author Share Posted December 26, 2006 Frank, this will be interesting to resolve as 17 and 287 are ones where the hand is extended and the frames on either side it is not. I wouldn't automatically assume the headshot is 41-42. (there are as yet puzzling reasons to consider even 36-37) however, am looking for a second matchpoint. There's also reason to think that she took a step forward at about halfway through the filming. More later. Link to comment Share on other sites More sharing options...
Frank Agbat Posted December 26, 2006 Share Posted December 26, 2006 Frank, this will be interesting to resolve as 17 and 287 are ones where the hand is extended and the frames on either side it is not.I wouldn't automatically assume the headshot is 41-42. (there are as yet puzzling reasons to consider even 36-37) however, am looking for a second matchpoint. There's also reason to think that she took a step forward at about halfway through the filming. More later. John, I think there may be a parallax issue to consider, based on the location of the two cameras. To my eye, in MS-16, the young man's right hand is extended outward. In MS-17, it moves closer to his body (perhaps he is clapping -- uncertain). In MS-18 it has vanished from Muchmore's viewpoint. It remains hidden in MS-19. In Z-287, his hand is well outside his body, and in Z-288 it is *still* outside his body area, although it has moved closer. Unfortunately Z289 and Z290 are both blurry AND under the sprocket. However, by 290, even with the blur, it is obvious that his hand it no longer extended. Because of angles, I think his hand will disappear from Muchmore's view *before* it will be in front of his body from Zapruder's view. This is why I felt that 289 was a better candidate than 290. However, I think 287 is too early for the match point. I could very easily be wrong about this, though... Another potential match point that I looked at, but was unable to resolve to my satisfaction is the wind-gust that puff's the right-side of Jean Hill's bright red coat. However, this area seems to be obscured by one of the motorcycle cops... Link to comment Share on other sites More sharing options...
John Dolva Posted December 26, 2006 Author Share Posted December 26, 2006 I should stop saying good work, it seems invariably to be so. So, plain 'business' language. I ride bikes, though never a harley, and never on the right side of the road. Curious about what the cop does with his hand? Is there some reason to reach like that? Debris to dislodge, comm switch? I'll just mention there seems there may be reason to consider more frames missing in M. Just mention incase similar indications are found. Interesting also it's the three far cops that react, by slowing down, changing the formation from the arrow to a diagonal running north. Link to comment Share on other sites More sharing options...
Robin Unger Posted December 26, 2006 Share Posted December 26, 2006 Hi Frank/John Is this the same SPLICE frame. Link to comment Share on other sites More sharing options...
Ashton Gray Posted December 26, 2006 Share Posted December 26, 2006 (edited) Frank, your work is technical expertise realized as artistry without the slightest compromise to the technical expertise—which combination approaches real magic. Please consider the following sequence, and note especially the motorcycle cops: Source frames NS23 - NS70 ...and a close-up of the sequence: Source frames NS23 - NS66 ...two of them brake HARD shortly after the headshot and look directly to their right. They react almost simultaneously, presumably in reaction to a shot. For those keeping track of time, their reaction starts about 25 frames after NS22 (~1.3 seconds). Without wanting to take anything at all away from the "reaction to a shot" hypothesis, I still feel it responsible to amend as follows: 1. I don't know of any testimony of any of the policemen at issue saying that they saw or heard or reacted to a shot from there. If it exists, I would like to be directed to it. And I think it would make a valuable augmentation to what you've shown above.2. Reaction to a report (shot-like sound) might be a more comprehensive statement, leaving other possibilities in consideration, such as possible intentional misdirection.3. At the end of the first sequence above, at least two of the three men who were on the knoll steps have started running up those steps, one of them pretty far up them by the time the camera tracks there. That running away motion, in the confusion and the apparent shooting of the President as Clint jumps onto the back of the limo, could have commanded police attention to some degree.4. Several of the motorcycle policemen had been hit with considerable debris from the head shot.5. This is the most troublesome: at some point very soon after the shooting, Sheriff Decker broadcast on DPD channel two for all available men to go immediately to the railroad tracks east of Elm—which is the direction that the motorcycle cops look. The only time stamp for Decker's broadcast that I know of is 12:30. That embraces 60 of the longest seconds conceivable, and there is no record that I know of that would allow verification of how soon after the head shot he made this broadcast. That makes it troublesome. That, and the fact that I don't even know if the motorcycle cops were monitoring that channel. Maybe it's irrelevant to what is shown in the sequence, but I thought it at least should be mentioned. (In fact, I'd love to know just how quickly Decker made that broadcast. But that's something else entirely.)Really outstanding work that defies adequate thanks and acknowledgment. Ashton Edited December 26, 2006 by Ashton Gray Link to comment Share on other sites More sharing options...
Robin Unger Posted December 26, 2006 Share Posted December 26, 2006 Link to comment Share on other sites More sharing options...
John Dolva Posted December 26, 2006 Author Share Posted December 26, 2006 Robin, Frank may have to answer. I haven't reached that yet. Off hand it looks a composite of two frames where the limo is centered and the top frame is semitransparent. Very nice second frame, is it from a complete set? Link to comment Share on other sites More sharing options...
Robin Unger Posted December 26, 2006 Share Posted December 26, 2006 Motorcycle cop already looking RIGHT at z-312 Link to comment Share on other sites More sharing options...
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