Missing Nix frames

[Bill Miller]

Frank, I keep coming across reasons to think the headshot occurred around 36. The Mfilm is the first film I've looked at that have some very curious features that indicate real frame tampering.

Work it out, John, because Muchmore had her film in her possession until Monday the 25th of Novemeber where upon it was sold to UPI sight unseen - then flown to NY - then developed and aired on TV. Any tampering after that would have been disasterous considering the local TV station had already aired it.

Bill Miller

[Robin Unger]

[John Dolva]

I don't post this lightly. It's too imortant to F around with. The measurements and alignments are made carefully on a virtual-wallsized window. It's about 65 Mb. Do it yourself. Please. This needs debunking or confirmation and not just with words that bend fact to suit. I don't do this for fun or cred. If I have made a real mistake then it needs to be known.

There's a transistion which indicates a camera shift around. M15 +- 5 frames (approx. see for yourself I know it's there, I haven't paid much attention to frame numberings or previous peoples work which is always possibly faulty, if my findings confirms previous findings, fine, if not...

Don's map shows the wrong position of M at the time of the headshot. I suspect that this location was worked out using the officially stated HS frame 42.

At the time of the headshot her camera was almost exactly where Bonds was in Bond 6.

The correct HS Mframe is 37.

The M film is doctored to hide this fact, or subsequent generations have had the ejecta washed out with saturation changes. However there are some very interesting matters regarding a number of frames that support the idea of masks used to recreate a number of frames. Fortunately the B/W sequence of M2 to M60 is available to show pre-doctoring.

This means we can say how his head moved from three locations. We have a triangulation, which gives an exact 3D location.

\

The Oliver film is probably not with us because it would show this very clearly.

Edited December 27, 2006 by John Dolva

[Frank Agbat]

...awesome link...

Robin,

Thank you very much. I will now re-do the table to show 18.5fps and see what that does.

Another interesting side-effect is that the NFV/Groden DVD contains 65 (not 66) Muchmore frames. It seems commonplace to anchor the headshot at frame 42, however it seems to occur in the 41st frame in the copy from the DVD. This tells me that there is one frame missing from my set of frames. The color and B&W versions are in perfect sync (although the B&W version starts on what I would call "frame 2") --this leads me to believe that either the first frame is missing from the DVD or I erred in the extraction process. I will double-check later on today.

Supposedly the MM film was to be restored in 2002 and available for media uses in 2003. Has anyone seen the restored version? Is it available and complete on the Discovery Channel "Death in Dealy Plaza" DVD? We could really use a copy of the restored film for this research.

[Frank Agbat]

I don't post this lightly. It's too imortant to F around with. The measurements and alignments are made carefully on a virtual-wallsized window. It's about 65 Mb. Do it yourself. Please. This needs debunking or confirmation and not just with words that bend fact to suit. I don't do this for fun or cred. If I have made a real mistake then it needs to be known.

...

John,

With all due respect, what are we seeing in frames 41 & 42 (by my frame numbering), if it isn't the headshot?

[John Dolva]

Frank, I don't know what frame 41-42 shows.

WC has misnumbered all the frames by one. So: is 41 42 and are there 66 frames or are there 42 frames before what we know as 41 and 67 frames in total???

What I can say is that :

"Don's map shows the wrong position of M at the time of the headshot. I suspect that this location was worked out using the officially stated HS frame 42.

At the time of the headshot M's camera was almost exactly where Bonds camera was in Bond 6.

The M frame that corresponds with this location is 37, or possibly 37-38."

Presumably then 41 42 whatever, 40? (fps?) should show what 316 317 shows.

[Frank Agbat]

John,

I have worked out one of the problems to my own satisfaction... (and, thankfully, it was completely my fault!)

I used the Groden/NFV DVD for the source frames for the Muchmore work I've done so far. On his DVD, he shows the film several times. Most of the other films on this DVD have at least one full-speed, unstopped run-through. This is not the case with the Muchmore film. In the first playing, he pauses the film at the damaged section and then allows it to continue on. He also plays a "slowed down" version of the shooting sequence. I used this version for extracting frames.

Unfortunately, this introduced a one frame error -- right at the beginning as I postulated. On the slowed-down version, he starts with what is really sequence frame #2. I mistakenly labeled this as frame #1. I will use Irfanview to rename appropriately, and re-do the timing table with the correct quantity of frames and fps. I'll correct the numbering on Photobucket so that we all have the correct numbering.

Additionally, when he shows the B&W version, it starts at what is really frame #3. The B&W version also ends early -- at frame #61.

I've ordered the DVD of "Death in Dealy Plaza" from the Discovery channel. According to Gary Mack, this DVD contains the Muchmore film from a 16mm copy made prior to the damage occurring. The copy had faded badly, so some work was done to attempt to correct for this. The frame-rate is apparently all out of whack, too, but I'll reduce it to progressive and hopefully have an alternate source for this analysis.

[Paul Rigby]

Muchmore had her film in her possession until Monday the 25th of Novemeber where upon it was sold to UPI sight unseen - then flown to NY - then developed and aired on TV. Any tampering after that would have been disasterous considering the local TV station had already aired it.

Bill Miller

Oh dear, not still making that tired old claim, eh, Bill?

Either substantiate it - simply tell us in which afternoon New York paper of November 26, plus the edition, article title and page reference, the showing of the Muchmore film is recorded - or retract the claim!

Couldn't be simpler, what?

Paul

[Frank Agbat]

Possible Nix-Muchmore sync point to consider.

In Nix frames 44 to 45, one of the motorcycle cops make a quick head-turn to his right. I noted this in a previous example posted to this thread.

I've been investigating the possible sync of this event to the Muchmore film. I have found it exceedingly difficult to find a solid sync point between Muchmore and Zapruder (although I'm not done looking). Instead, I though of investigating sync between Muchmore and Nix. This, too, has proven difficult. I think, however, I may have isolated an event that may qualify.

Please consider the following frame pair. I'm comparing the head-turn of the motorcycle cop in N44->N45 with M62->63 (the correctly numbered 62 and 63).

Thoughts?

[John Dolva]

OK according to the old numbering I have on the frames sent.(could you spell out again which framaes these are in the correction, please?)

The event is a good pick.

I get N44 45 46 47 - M 61 62 63. (Pity the frames aren't just a little bit wider or we could see the far cop turning his back to the N camera.)

[John Dolva]

Here's a layered composite of the last 20 odd frames when centered on the SS cars. (as the other objects like Jean 'move' they become washed out into a blur (in Jenas case a red smear)) It's helpful (IMO) in noting relative movements. Things that keep pace with the SS car are sharp, others blurred depending on how much they keep pace. Also it's possible to see whether frames are missing. In this case: no.

_________________________

just a note on interpreting head turns.

firstly a little story from pre Dunkirk days that funnily enough has Dallas/63 connections.

In France, while the Brits had their fledgeling (modern) airforce still stationed there, a pilot from the China Theatre joined a squadron. The Waffen were having success of a nature born of their Spanish experiences.

To bring the Brits up to speed the Chennault pilot arranged for a group photo. He arranged (unknown to the rest of the squad to have a gun fired from centre rear of the group and took the photo. In briefing he shopwed the photo and all the squad, irrespective of whether the shot was from rear left or rear right, turned to look over their right shoulder.

This is a universal human physiological response to such events. (why, I don't know, possibly it brings the jaw bone over the jugular?)

Anyway all head turns and remembered shot directions must be considered in the light of this. (when knowing this the Brits could deny the Waffen an advantage of sneaking up on the left rear and have extra moments to shoot as the trained pilot thereafter in not finding a right rear plane, evades as if it was from the left.)

When it comes to an experienced motor cyclist, perhaps more so on a thumper like a harley, and remembering the unique acoustics created by a helmet (though the ears are covered by the strap arrangement and partially by the shell), it might be reasonable to assume that the experienced police cyclists sense of direction is pretty accurate.

[Bernice Moore]

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).

*****************************

Frank:

Thought.....Keep in mind, that in Abraham Zapruder's, testimony to the Warren Commission, July 22.1964....only eight months it only took them. to finally

get around to him. He states, " I heard the first shot and I Saw the President lean over and grab himself like this"..

Though within the film that carries his name, the President is behind the sign, when he receives the first shot, and Zapruder could not see him, according

to the film...he also becomes somewhat confused when they show him some frame photos,in an album, from his film, he cannot understand it seems ,why that sign is hiding the President...

Reported by an SS agent re his first statement " According to Mr.Zapruder the position of the assassin was behind Mr.Zapruder"..WC V11 pp: 570-571..XX p. 183.

Four times, during his testimony Abraham expressed his opinion, that shots came from behind him over his right shoulder..to his right..as he is filming.

Approximately where the motorcyclists turn to look..in the Nix film.

He also mentions that policemen were running behind him.

You may have this previously, as it has been kicked around the forums many timess over the years...but it is in the same general area to the right of

Zapruder, where something draws their attention....

B

Edited December 28, 2006 by Bernice Moore

[John Dolva]

"Mr. ZAPRUDER - Yes--after the shots--yes, some of them were motorcycle cops--I guess they left their motorcycles running and they were running right behind me, of course, in the line of the shooting. I guess they thought it came from right behind me.

Mr. LIEBELER - Did you have any impression as to the direction from which these shots came?

Mr. ZAPRUDER - No, I also thought it came from back of me. Of course, you can't tell when something is in line it could come from anywhere, but being I was here and he was hit on this line and he was hit right in the head--I saw it right around here, so it looked like it came from here and it could come from there.

Mr. LIEBELER - All right, as you stood here on the abutment and looked down into Elm Street, you saw the President hit on the right side of the head and you thought perhaps the shots had come from behind you?

Mr. ZAPRUDER - Well, yes.

Mr. LIEBELER - From the direction behind you?

Mr. ZAPRUDER - Yes, actually--I couldn't say what I thought at the moment, where they came from--after the impact of the tragedy was really what I saw and I started and I said--yelling, "They've killed him"--I assumed that they came from there, because as the police started running back of me, it looked like it came from the back of me.

Mr. LIEBELER - But you didn't form any opinion at that time as to what direction the shots did come from actually?

Mr. ZAPRUDER - No.

Mr. LIEBELER - And you indicated that they could have come also from behind or from any other direction except perhaps from the left, because they could have been from behind or even from the front.

Mr. ZAPRUDER - Well, it could have been--in other words if you have a point--you could hit a point from any place, as far as that's concerned. I have no way of determining what direction the bullet was going.

Mr. LIEBELER - Did you form any opinion about the direction from which the shots came by the sound, or were you just upset by the thing you had seen?

Mr. ZAPRUDER - No, there was too much reverberation. There was an echo which gave me a sound all over. In other words that square is kind of--it had a sound all over."

The important thing here is that Zap's behind for the headshot was the collonade structure. The fence is directly right. Not behind in any way. He says behind.

The type of sound he did hear was "too much reverberation. There was an echo which gave me a sound all over"

The collonade is a sound lens. It's symmetrically curved surface with regular holes on the top half directs sound in particular ways.

green dot, sound event. colored lines, sound directions. "all over"

[John Dolva]

Frank. I've maybe thought of a way of creating (or at least approximating) same clip syncs that take into account differing framerates. It's labor intensive but perhaps doable.

Let's say each frame is a .025 second moment. in between there are, depending on which camera, roughly the same time gap, (you've probably grasped the idea by now, but to spell it out:)

break each moment into a number of repeating frames. eg ten frames between each 18.3 fps frame start. So using the Table you have moments to start a five frame sequence, so you might have

...nnnnn.....

.zzzzz.....zz

then adjust the gif frame rate accordingly. ???

Edited December 28, 2006 by John Dolva

[Frank Agbat]

OK according to the old numbering I have on the frames sent.(could you spell out again which framaes these are in the correction, please?)

The event is a good pick.

I get N44 45 46 47 - M 61 62 63. (Pity the frames aren't just a little bit wider or we could see the far cop turning his back to the N camera.)

John,

To correct numbering schemes, simply add one (1) to my previous number. The frame I missed was the very first one. Thus, "old" MS-1 is really MS-2.