Then went outside to watch P. parade ( Parts 1 & 2 )

[Alan Ford]

Friends, when Mr. Organ writes "Less manipulated versions of Hughes show dark-bluish reflections off the glass doors and not a reddish blob", he is of course talking utter nonsense, based on studious inspection of non-relevant frames in the sequence. Anyone with eyes to see can see the red which appears momentarily to the left of young Ms. Toni Glover (yellow arrow):



Why does Mr. Organ try to gaslight us in this way? Because----------as always----------he is interested not in truth but in defending the official story, which needs Mr. Oswald kept away from those steps.

However! In the course of making a ridiculous claim (no red, only blue), he has inadvertently hit upon a fact that forces ME to make new sense of that blue and that red, and to acknowledge an interpretive misstep of my own. And for that I'm grateful, because-------------unlike Mr. Organ--------------I care only about getting things right.

The bluish person way back on the landing is NOT (as I had thought) Mr. Bill Shelley standing just in front of the glass. It is the reflection of a person dressed in blue who is standing on the landing, several feet from the glass. We also see the reflection of that person's head (as well as their actual head just over Mr. Oswald's).

This person may be Mr. Shelley, but is probably PrayerWOMAN.

And! The red which appears momentarily (marked above by yellow arrow) is NOT Mr. Lovelady leaning over from his standing position on the landing or one step down. It is the reflection of Mr. Oswald's right arm as he moves it right of his body.

So! I'm back to my original conclusion: Mr. Lovelady does not show in Hughes because he is blocked from view by Ms. Glover's body. He is standing on the fourth step up, not far from the center rail.

'Having' Mr. Lovelady in Hughes was a delicious bonus, but if it ain't him it ain't him. If anything, understanding that bit of red as a reflection re-simplifies matters, for it means Mr. Lovelady does not need to move down a couple of steps in the very short interval of time between Hughes and Towner/Bell. All he does is lean to his right, and then (as shown in Bell) return to his upright posture:



What's the betting that Mr. Organ will now suddenly forget all his authoritative talk of "manipulated" Hughes frames and instead 'discover' 'high-quality' frames that confirm that yes, there is after all an appearance of red in front of the blue?

 

[James Hackerott]

   Here is my latest simulation of the Book Depository doorway, featuring Mr. Billy Lovelady’s changes of location and posture from the beginning of Wiegman’s film (W1) to four to five seconds (IIRC) later for his second sweep of the doorway (W2). Ike Altgens took his famous image #6 showing Mr. Lovelady in a somewhat twisted configuration.. My 3D simulation is taken from Wiegmans’s camera as it moves in the moving motorcade. A comparison with the Altgens position is also modeled, capturing the transit of Lovelady from the landing to one step below. Note, without the bending and twisting he could not be standing erect in the final Wiegman scene (W2), as he would be too tall (relative to the hat of Mrs. Ruth Dean portrayed in black here. And too short to be on the second step below). Also note that I did not model the actual articulations necessary to drop a step but used a simple line-of-site from the landing to second step locations. Lovelady’s white undershirt is not something I can model with my software. I’m using a ‘checker’ pattern of large red and white tiles. The chest tiles meet at the vertical center of the models torso.

[Charles Collins]

   Here is my latest simulation of the Book Depository doorway, featuring Mr. Billy Lovelady’s changes of location and posture from the beginning of Wiegman’s film (W1) to four to five seconds (IIRC) later for his second sweep of the doorway (W2). Ike Altgens took his famous image #6 showing Mr. Lovelady in a somewhat twisted configuration.. My 3D simulation is taken from Wiegmans’s camera as it moves in the moving motorcade. A comparison with the Altgens position is also modeled, capturing the transit of Lovelady from the landing to one step below. Note, without the bending and twisting he could not be standing erect in the final Wiegman scene (W2), as he would be too tall (relative to the hat of Mrs. Ruth Dean portrayed in black here. And too short to be on the second step below). Also note that I did not model the actual articulations necessary to drop a step but used a simple line-of-site from the landing to second step locations. Lovelady’s white undershirt is not something I can model with my software. I’m using a ‘checker’ pattern of large red and white tiles. The chest tiles meet at the vertical center of the models torso.

Well done as usual. Thanks!

[Alan Ford]

   Here is my latest simulation of the Book Depository doorway, featuring Mr. Billy Lovelady’s changes of location and posture from the beginning of Wiegman’s film (W1) to four to five seconds (IIRC) later for his second sweep of the doorway (W2). Ike Altgens took his famous image #6 showing Mr. Lovelady in a somewhat twisted configuration.. My 3D simulation is taken from Wiegmans’s camera as it moves in the moving motorcade. A comparison with the Altgens position is also modeled, capturing the transit of Lovelady from the landing to one step below. Note, without the bending and twisting he could not be standing erect in the final Wiegman scene (W2), as he would be too tall (relative to the hat of Mrs. Ruth Dean portrayed in black here. And too short to be on the second step below). Also note that I did not model the actual articulations necessary to drop a step but used a simple line-of-site from the landing to second step locations. Lovelady’s white undershirt is not something I can model with my software. I’m using a ‘checker’ pattern of large red and white tiles. The chest tiles meet at the vertical center of the models torso.

I have been looking forward to this for a long time, Mr. Hackerott, so thank you very much for doing it! I am particularly appreciative of your having taken the trouble to go some way (within the limits of the software) towards marking the white tshirt.

Could I trouble you to give us a simple scaled two-image GIF going back and forth between
a) your final frame here
b) the 'target' Wiegman frame?

This would be most helpful, as there seems to be a marked lack of correspondence in several key points



 

[Alan Ford]

Is Mr. Lovelady still in transit? It doesn't look at all like it------------------the height/location of his head relative to other stationary markers does not change from frame to frame

[Alan Ford]

The great merit of this 3D simulation is that it does not pretend that Mr. Lovelady can possibly be catching natural shadow. As we know, that way madness lies!

However, its alternative approach----------trying to disappear most of the right half of Mr. Lovelady's upper body by going all in on (i) the Wiegman angle and (ii) a most improbably awkward posture for Mr. Lovelady in the lower frames-----------just ends up showing the extremes one has to go to to reverse-engineer a result even remotely resembling what Wiegman actually shows.

This imagined movement is (in every sense) quite a reach..................



And even then, even keeping the contortion of Mr. Lovelady's upper body constant while simply pushing it downward, without moving the position of his feet, does not yield a credible reconstruction of what we see in the Wiegman frames, where Mr. Lovelady's posture clearly changes between 'upper' to 'lower' frames:



Here's a much more promising point of comparison for the lower frames:



Mr. Lovelady, his body facing forward.

Cf! The one useful contribution which Mr. Mytton (he of 'It's a natural shadow! Maybe Lovelady's bending down to tie his shoelaces!' fame) made to the debate:



The undoctored frames showed the distinctive pattern of Mr. Lovelady's shirt------------------something the cover-up 'investigators', at the time of their 'investigation', did not want people to see.

 

[Dan O'meara]

Is Mr. Lovelady still in transit? It doesn't look at all like it------------------the height/location of his head relative to other stationary markers does not change from frame to frame

I may be wrong, but I don't believe that's what James is saying at all.
As Weigman's camera sweeps in front of the TSBD there are two distinct moments the area of the front steps are shown.
One is as the camera naturally sweeps around going past the the area of the steps (WI) and a second time when the camera suddenly pans back to that area for a very brief moment (W2).
In WI (as James shows in his graphic) it appears that Lovelady is on the top step. When the camera pans back to the steps it seems as if Lovelady has moved down a step or two.
I'm assuming that James' graphic is showing that movement between W1 and W2.
And, even though I've examined Altgens 6 dozens of times, I haven't taken on board how Lovelady's body is twisted so that it is almost front-on to Altgens' position. This would make it side-on to Weigman's position.
All we have to do is imagine that Lovelady's body position is the same as in Altgens 6 but, instead of looking towards Altgens, Lovelady is looking to his left. And Hey Presto! This is what we see in Weigman's frames (W2).
Exactly as I've been saying all along.