25-08-2013, 03:50 AM
This unpopular opinion should, I suppose, be its own thread. Here is what I have to say on this topic:
Zapruder film alteration scenarios seem to have originated with a need to account for a) a slow down and/or complete halt of the limousine, described by many witnesses, but which is not readily apparent in the existing Z-film b) inconsistencies within the frames, including what appear to be body movements which are too quick.
I claim that a slow down of the limousine is actually visible in the Zapruder film. The ability to see it for what it is has been difficult because an illusion of constant pace is created by the combination of the moving vehicle and the panning movement of the camera. A clue to seeing the slow down resides in attention to the pace of Zapruder's pan.
I also have claimed that the quick body movements can be explained by the mechanics of the spring-wind motor of Zapruder's camera in conjunction with the frame rate.
If the above points adequately explain perceived problems with the Z-film, the logic of alteration is challenged. There are a number of technical difficulties inherent to alteration scenarios which suggest that extensive alteration to the Z-film is an unrealistic proposal.
These difficulties include but are not limited to:
1) creation of internegatives and prints results in generation loss with corresponding image degradation. This degradation intensifies with each successive generation. Alteration scenarios which rely on the creation of numerous internegatives introduced in various phases of the work, are not realistic as the image degradation visible on the final print would be too obvious.
2) film stocks have unique characteristics related to color, exposure, and grain. Since an altered Z-film would need to be finally re-photgraphed back onto 8mm Kodachrome, maintaining Kodachrome's characteristics on the other film stocks would be a major, possibly unassailable challenge.
3) Excision of frames is relatively simple, but care would have to be taken to ensure that resulting playback is smooth. Excision of numerous successive frames is unrealistic as the resulting jump or disruption in the Z-film's panning would be visible.
4) claims that figures or objects in the frame have been removed or moved to another position within the frame is extremely unrealistic. The optical printer is not Photoshop and its capabilities have been severely overstated in some alteration scenarios.
5) other than a possible patch on back of JFK's head and perhaps something at Z313, there is no visible evidence or trace of any alteration work.
6) even if the technical limitations involving mattes or object removal had been overcome, a realistic time scenario for this work would conservatively run to hundreds of hours. Alteration scenarios would need to account for swapping prints of the Z-film many weeks later (and somehow confirm no further copies had been struck).
7) I am not aware of any shot or sequence done anywhere at anytime, utilizing an optical printer, which approaches the technical accomplishment claimed for Z-film alteration scenarios beyond frame excision.
Zapruder film alteration scenarios seem to have originated with a need to account for a) a slow down and/or complete halt of the limousine, described by many witnesses, but which is not readily apparent in the existing Z-film b) inconsistencies within the frames, including what appear to be body movements which are too quick.
I claim that a slow down of the limousine is actually visible in the Zapruder film. The ability to see it for what it is has been difficult because an illusion of constant pace is created by the combination of the moving vehicle and the panning movement of the camera. A clue to seeing the slow down resides in attention to the pace of Zapruder's pan.
I also have claimed that the quick body movements can be explained by the mechanics of the spring-wind motor of Zapruder's camera in conjunction with the frame rate.
If the above points adequately explain perceived problems with the Z-film, the logic of alteration is challenged. There are a number of technical difficulties inherent to alteration scenarios which suggest that extensive alteration to the Z-film is an unrealistic proposal.
These difficulties include but are not limited to:
1) creation of internegatives and prints results in generation loss with corresponding image degradation. This degradation intensifies with each successive generation. Alteration scenarios which rely on the creation of numerous internegatives introduced in various phases of the work, are not realistic as the image degradation visible on the final print would be too obvious.
2) film stocks have unique characteristics related to color, exposure, and grain. Since an altered Z-film would need to be finally re-photgraphed back onto 8mm Kodachrome, maintaining Kodachrome's characteristics on the other film stocks would be a major, possibly unassailable challenge.
3) Excision of frames is relatively simple, but care would have to be taken to ensure that resulting playback is smooth. Excision of numerous successive frames is unrealistic as the resulting jump or disruption in the Z-film's panning would be visible.
4) claims that figures or objects in the frame have been removed or moved to another position within the frame is extremely unrealistic. The optical printer is not Photoshop and its capabilities have been severely overstated in some alteration scenarios.
5) other than a possible patch on back of JFK's head and perhaps something at Z313, there is no visible evidence or trace of any alteration work.
6) even if the technical limitations involving mattes or object removal had been overcome, a realistic time scenario for this work would conservatively run to hundreds of hours. Alteration scenarios would need to account for swapping prints of the Z-film many weeks later (and somehow confirm no further copies had been struck).
7) I am not aware of any shot or sequence done anywhere at anytime, utilizing an optical printer, which approaches the technical accomplishment claimed for Z-film alteration scenarios beyond frame excision.