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 April 28, 2010, 07:07:22 AM
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Super Member
Posts: 623
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I hope everyone can now apply the approx 2 second rule to the extant Z film and understand all the other peculiarities.
For instance,
We are seeing Mysteryman (actually Croft in reality) 2 seconds before.
That is why Mysteryman is still in motion.
The two gentleman a little further down the street who appear to be looking up the street and clapping as the limo has gone by, well, move the limo back up Elm approx 33 frames and picture them at that point in relation to the limo.
chris
Please don't forget little Rosemary. She did not stop running until Z-198. SHE is the stopwatch, the Rosetta Stone.
Anthony, I think we need to determine Rosemary's position from the Martin film and work backward from there. Also, figure out if her position in Z was moved forward approx 2 sec. chris
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April 28, 2010, 05:15:00 PM
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Super Member
Posts: 623
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Reposition objects with a 33 frame spread. It would probably make it a lot easier if I had footage without the limo in it chris 
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April 28, 2010, 05:38:27 PM
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Super Member
Posts: 623
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When the SS did there investigation, they plotted the position of JFK through out the entire sequence from Houston onto and through Elm. This is represented by the limo and red lines which connect JFK at each position, turning onto Elm. Myer's plat is the base with his version of the turning radius including the yellow arrows. If you want to hide time and distance related to the limo, best place to do it is in a curve. chris 
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April 28, 2010, 06:42:59 PM
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Posts: 623
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For Tom Purvis, Tom, I think I know why West established his control point where he did and why the HSCA used the exact location on Drommer, but relabeled it as 100 T/C. Maybe that's where the limo was in the original film before they advanced it in the extant film. From 100 to 133. chris 
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April 28, 2010, 08:40:02 PM
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Super Member
Posts: 2139
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Reposition objects with a 33 frame spread. It would probably make it a lot easier if I had footage without the limo in it chris
Just watching this two frame animation for the most part
shows many things pretty much remained the same. Of
course the limo shows in 133 where it was not there in
131. But why does the lamp pole shift positions
while everything else pretty much remains unchanged?
 
Could it be due to the fact that you rotated frame 133
slightly counter clockwise?
Rick
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« Last Edit: April 28, 2010, 08:46:03 PM by Rick Needham »
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But peace does not rest in the charters and covenants alone. It lies in the hearts and minds of all people- John F. Kennedy
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April 29, 2010, 02:51:01 AM
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Super Member
Posts: 2338
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It suggests to me that Zap took a couple of steps on that wall between the 2 sequences, more forward/backward I think, then laterally and parallel to Elm St. If you watch the road stripes, or the curbs, for example, they shift slightly too. Pretty much everything fixed does, and it is more noticable on the lamp post because it is the most lateral of staionary objects that is in the foreground. The people standing beside the lamp post shift too. It is much less obvious on the stationary objects more directly in front of Zaps lens. Its a weird effect for sure, butit doesn't prove alteration
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"you're the cop, you figure it out"
-Lee H. Oswald to Dallas Police detectives, weekend
of 11-22-63.
"Part of the reason why we avoided talking about this thing, because every time you say something, somebody misinterprets what you say."
-James. J. Humes, excerpt of ARRB statement, 2-13-96
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April 29, 2010, 03:27:04 AM
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Super Member
Posts: 2139
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Chris,
I'm with you so far. How do we know
if we are seeing Betzner in the Martin film
as he is taking his famous photo of JFK?
Has the limo traveled down Elm far enough
as seen in Martin for Betzner to have already
taken his photo?
Rick
Rick, Gather all the stabilizations I created. Martin, Dorman, Bell and Z. Keep your eye on Betzner in all of them. Look at the positioning of Betzner, and his position to other people common in these films. Look at where Betzner ends up in Dorman, after the Mysteryman stop/slice. That's Betzner in Martin, he's moving toward the street to take his photo. Move the limo from it's position in Z, at the time we see Betzner appear, back up Elm 2 seconds. Does it match where we see it in Martin? In other words, where we see the limo in Z133, is that approx. where we see it in Martin when Betzner appears.? chris
You said:Move the limo from it's position in Z, at the time we see Betzner appear, back up Elm 2 seconds. Does it match where we see it in Martin?
In other words, where we see the limo in Z133, is that approx. where we see it in Martin when Betzner appears.? I can view your FLV files. This includes all the FLV files you've uploaded for downloading.
The frames within them, especially Martin & Bell, are far better than what I have on my
computer. What programs I have for extracting frames do not recognize FLV files. Is there
any way you could covert these two (Martin & Bell) into GIFS for downloading?
Your questions above are good ones. They both involve people seen from two entirely
different perspectives, which makes finding a definitive answer seemingly impossible.
But hopefully between yourself, Robin, Martin, myself and others who may chime in...
we can give it our best shot.
Thank you,
Rick
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« Last Edit: April 29, 2010, 03:33:35 AM by Rick Needham »
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