20-08-2013, 09:36 PM
John...
While I hear what you are saying... I can't put myself into Greer's mind. And I've tried to stay away from conclusions just because "I" don't understand the "HOW" or "WHY"...
Greer stared at JFK while he was slowing the car AFTER shotws had been fired, he saw his head blown off and then lied to the WC about it.... but he was not in on it...
Not the conclusion I draw.
Either
1) he was put into a position where he HAD to slow/stop the limo at a certain place, or else OR
2) he did it by accident at the worst possible moment (he heard a shot at z220 yet this was not enough to cause him to accelerate away?) OR
3) he did it on purpose but for some other reason (shots coming from the front that he did not want to ride into??)
Albert... GREAT question and what I;ve been working on for quite some time...
We must assume that the in camera original had intersprocket images....
After the film is altered (frames are removed and a handful are painted over) we are left with 486 frames from the original film that are photographed in sequence onto Kodachrome II film
- the Assassination film in the Archive does NOT have 0183 on it. PERIOD. There is simply no way to connect the in camera original to the first day copies since the "original" in the Archives does not match the supposed first day copies...
(this again ihas to be THE SINGLE MOST IMPORTANT PIECE OF EVIDENCE supporting alteration. Without 0183 on the extant original film... that it matches what we see on the COPIES is once again not evidence that what we see was what was developed IN TOTAL from that camera.)
When the "original" frames are copied to the film Homer sees, the IS images are intact and match from frame to frame... HOW?
2 theories:
1 - the IS area was added in - either when altered or at some later date,
2 - MY THEORY is that a section of the film, from about 133-385, was filmed at 48fps. That the splice after the 6'3" and 2'7" sections of the assassiantion footage is followed by 19 feet of BLACK film which is PHYSICALLY CONNECTED to the original film via a splice. Why splice after the assassination only to add back 19 feet of Black film other than to support the story that "the rest of the film was run off".... The math is pretty straight forward as well:
Assume for a minute that the Zfilm was really 16fps.
Let's say we have 144 frames at 48fps - total 3 seconds of film in SLO-MO
If we remove 2 of every 3 frames we are left with 48 frames at 16fps = total 3 seconds of film REGULAR SPEED
Since every third frame is kept and represents the same movement IN TIME, the IS images are very, very close, we only lose 2/48th of a second's movement by removing two sequential frames.....
It is my opinion that enough frames were removed to change 48fps to 18.3fps.... and this constant disregards the winding mechanism and the natural 16fps speed of the camera. If anything as the spring winds down the rate would SLOW, not speed up. Now some quick math
z385-z133 = 252 frames at 18.3 = 13.77 seconds of film
48/18.3=2.623
2.623 x 252 frames = 661 frames at 48fps = 13.77 seconds of film
There was well more than enough film (with the 19 feet supposedly blank) to have taken the entire motorcade at 48fps...
Each frame is .149" high. 19 feet plus the 6'3" and 2'7" = 334 inches / .149 = 2241 frames from start to finish of the assassination and black film that is spliced to this section
We only needed to keep 486 of them and not remove so many as to have a huge jump in the IS area...
The smoothness we see as we watch the limo moving, to me, shows an effort to create a fluid motion in the altered film by removing enough frames to even it out.
The STOP was reduced to a severe slowing down (proven by a number of means - see Twyman's Bloody Treason) and could not hide the rapid head movement of Greer and others in frame (man falling to the ground)
There are no movies that give us all the info.... WHEN Hill leaves the Queen Mary is not shown in a film of photo... One of the people closest to the limo at the time was Brehm... it was his impression from no more than 20 feet away that the limo slowed to a stop or very slow crawl... enough so he felt that it moved a very short distance between z224 and z313.
Finally, I believe it was Muchmore who tells us she did not film the limo as she moved from her original position toward the GK.. so who knows whether that sequence is from her or not....
=====
I came to this theory after realizing that if filmed at regular speed, the process of removing info could not be accomlished unless the IS area was added after, and even then the finished film would appear to jump from frame to frame.
It's the theory I am working on and working with... and seems to be IMO, one of the easiest ways to accomplish what was needed...
If someone has info from the handful of people who saw the film pre and post alteration... I'd love to hear it... as I understand, other than mention of the red halo over JFK's head... the only MAJOR differences are recorded by those who saw a differet version of the film. NONE of the people from that weekend offer insight into whether what they see now was the same as that weekend.
DJ
While I hear what you are saying... I can't put myself into Greer's mind. And I've tried to stay away from conclusions just because "I" don't understand the "HOW" or "WHY"...
Greer stared at JFK while he was slowing the car AFTER shotws had been fired, he saw his head blown off and then lied to the WC about it.... but he was not in on it...
Not the conclusion I draw.
Either
1) he was put into a position where he HAD to slow/stop the limo at a certain place, or else OR
2) he did it by accident at the worst possible moment (he heard a shot at z220 yet this was not enough to cause him to accelerate away?) OR
3) he did it on purpose but for some other reason (shots coming from the front that he did not want to ride into??)
Albert... GREAT question and what I;ve been working on for quite some time...
We must assume that the in camera original had intersprocket images....
After the film is altered (frames are removed and a handful are painted over) we are left with 486 frames from the original film that are photographed in sequence onto Kodachrome II film
- the Assassination film in the Archive does NOT have 0183 on it. PERIOD. There is simply no way to connect the in camera original to the first day copies since the "original" in the Archives does not match the supposed first day copies...
(this again ihas to be THE SINGLE MOST IMPORTANT PIECE OF EVIDENCE supporting alteration. Without 0183 on the extant original film... that it matches what we see on the COPIES is once again not evidence that what we see was what was developed IN TOTAL from that camera.)
When the "original" frames are copied to the film Homer sees, the IS images are intact and match from frame to frame... HOW?
2 theories:
1 - the IS area was added in - either when altered or at some later date,
2 - MY THEORY is that a section of the film, from about 133-385, was filmed at 48fps. That the splice after the 6'3" and 2'7" sections of the assassiantion footage is followed by 19 feet of BLACK film which is PHYSICALLY CONNECTED to the original film via a splice. Why splice after the assassination only to add back 19 feet of Black film other than to support the story that "the rest of the film was run off".... The math is pretty straight forward as well:
Assume for a minute that the Zfilm was really 16fps.
Let's say we have 144 frames at 48fps - total 3 seconds of film in SLO-MO
If we remove 2 of every 3 frames we are left with 48 frames at 16fps = total 3 seconds of film REGULAR SPEED
Since every third frame is kept and represents the same movement IN TIME, the IS images are very, very close, we only lose 2/48th of a second's movement by removing two sequential frames.....
It is my opinion that enough frames were removed to change 48fps to 18.3fps.... and this constant disregards the winding mechanism and the natural 16fps speed of the camera. If anything as the spring winds down the rate would SLOW, not speed up. Now some quick math
z385-z133 = 252 frames at 18.3 = 13.77 seconds of film
48/18.3=2.623
2.623 x 252 frames = 661 frames at 48fps = 13.77 seconds of film
There was well more than enough film (with the 19 feet supposedly blank) to have taken the entire motorcade at 48fps...
Each frame is .149" high. 19 feet plus the 6'3" and 2'7" = 334 inches / .149 = 2241 frames from start to finish of the assassination and black film that is spliced to this section
We only needed to keep 486 of them and not remove so many as to have a huge jump in the IS area...
The smoothness we see as we watch the limo moving, to me, shows an effort to create a fluid motion in the altered film by removing enough frames to even it out.
The STOP was reduced to a severe slowing down (proven by a number of means - see Twyman's Bloody Treason) and could not hide the rapid head movement of Greer and others in frame (man falling to the ground)
There are no movies that give us all the info.... WHEN Hill leaves the Queen Mary is not shown in a film of photo... One of the people closest to the limo at the time was Brehm... it was his impression from no more than 20 feet away that the limo slowed to a stop or very slow crawl... enough so he felt that it moved a very short distance between z224 and z313.
Finally, I believe it was Muchmore who tells us she did not film the limo as she moved from her original position toward the GK.. so who knows whether that sequence is from her or not....
=====
I came to this theory after realizing that if filmed at regular speed, the process of removing info could not be accomlished unless the IS area was added after, and even then the finished film would appear to jump from frame to frame.
It's the theory I am working on and working with... and seems to be IMO, one of the easiest ways to accomplish what was needed...
If someone has info from the handful of people who saw the film pre and post alteration... I'd love to hear it... as I understand, other than mention of the red halo over JFK's head... the only MAJOR differences are recorded by those who saw a differet version of the film. NONE of the people from that weekend offer insight into whether what they see now was the same as that weekend.
DJ
Once in a while you get shown the light
in the strangest of places if you look at it right..... R. Hunter
in the strangest of places if you look at it right..... R. Hunter