05-02-2016, 07:51 PM
The Bell & Howards 414PD Director Series camera will shoot in "slow motion" mode by simply flipping a switch on the camera. In this case, it will shoot at approximately 55 FPS instead of 18.3 FPS.
http://www.copweb.be/viewer/B&H/Bell&Howell-19.htm
Let us suppose for a moment that the "home movie" that was given to Dino Brugioni at NPIC on Saturday was not a 6 foot length of film containing 486 frames, but instead an 18 foot length of film containing approximately 1,458 frames. Based on the footage of Brugioni that I have watched, he noted very clearly that did they not count frames, only timing. He also noted that the head explosion was more than the one frame (Z313) in the extant film.
If this was the case, the approximately 12 hours that the Kodak Hawkeye Works (or other world class photo processing center) had the film should be sufficient to turn the 1,458 frames back into 486 frames by taking out 2 of every three frames. And then creating a new 16mm unslit film that looked like it was shot in "normal" mode. Thereby not altering the 26.6 second running time of the film.
When the film was brought back to NPIC on Sunday to be worked on by Homer McMahon and Ben Hunter, they did in fact start counting frames. I'm not aware that anyone (Zapruder, Time, the SS, etc.) had noted the length of film involved or the number of frames until that Sunday.
If in fact the Secret Service, CIA or whomever was handling the film operation wanted to hide the most egregious elements of the Zapruder film, being able to cherry pick which set of 486 frames (A, B or C) out of the 1,458 total to use would be of a great help.
This could also help explain some things on the extant film that just don't make sense, like:
-The too-rapid head snap
-People in the limo jerking forward
-Clint Hill's strange timing in running for the limo
Especially if those who were removing frames got a bit too eager with swapping out frames that they didn't like, and thus altering the natural flow of the film. I'm aware that the B&H was spring-wound and did not shoot at a consistent frame rate in the first place.
Note that this technique of alteration would pose no syncing problems with the other extant JFK films.
Thoughts?
Chris
http://www.copweb.be/viewer/B&H/Bell&Howell-19.htm
Let us suppose for a moment that the "home movie" that was given to Dino Brugioni at NPIC on Saturday was not a 6 foot length of film containing 486 frames, but instead an 18 foot length of film containing approximately 1,458 frames. Based on the footage of Brugioni that I have watched, he noted very clearly that did they not count frames, only timing. He also noted that the head explosion was more than the one frame (Z313) in the extant film.
If this was the case, the approximately 12 hours that the Kodak Hawkeye Works (or other world class photo processing center) had the film should be sufficient to turn the 1,458 frames back into 486 frames by taking out 2 of every three frames. And then creating a new 16mm unslit film that looked like it was shot in "normal" mode. Thereby not altering the 26.6 second running time of the film.
When the film was brought back to NPIC on Sunday to be worked on by Homer McMahon and Ben Hunter, they did in fact start counting frames. I'm not aware that anyone (Zapruder, Time, the SS, etc.) had noted the length of film involved or the number of frames until that Sunday.
If in fact the Secret Service, CIA or whomever was handling the film operation wanted to hide the most egregious elements of the Zapruder film, being able to cherry pick which set of 486 frames (A, B or C) out of the 1,458 total to use would be of a great help.
This could also help explain some things on the extant film that just don't make sense, like:
-The too-rapid head snap
-People in the limo jerking forward
-Clint Hill's strange timing in running for the limo
Especially if those who were removing frames got a bit too eager with swapping out frames that they didn't like, and thus altering the natural flow of the film. I'm aware that the B&H was spring-wound and did not shoot at a consistent frame rate in the first place.
Note that this technique of alteration would pose no syncing problems with the other extant JFK films.
Thoughts?
Chris