How Did Bart Kamp Create The Lovelady Image?

[Royell Storing]

  You continue placing the car in the Wrong place alongside the Island. The car's front bumper is a little bit BEHIND THE SIGNAL LIGHT POLE. The car stretches BACK from that point 17.5 feet toward the railroad yard. This "getaway" car can be seen in the same position alongside the Island on: (1) Darnell Film, (2) Couch Film, (3) Hughes Film, and (4) Martin Film. Same car, same location. You need to closely examine these films in order to understand the position of the car and why it does NOT appear on the Wiegman Film. That car is simply Not There yet. The Sixth Floor Museum's recently released 1st Generation Copy of the Darnell Film is extremely helpful. Relative to each other, the viewer can see the position of the Signal Light Pole vs The Car vs Officer Baker, vs the curving edge of the Island.

[Tom Graves]

You continue placing the car in the Wrong place alongside the Island. The car's front bumper is a little bit BEHIND THE SIGNAL LIGHT POLE. The car stretches BACK from that point 17.5 feet toward the railroad yard. This "getaway" car can be seen in the same position alongside the Island on: (1) Darnell Film, (2) Couch Film, (3) Hughes Film, and (4) Martin Film. Same car, same location. You need to closely examine these films in order to understand the position of the car and why it does NOT appear on the Wiegman Film. That car is simply Not There yet. The Sixth Floor Museum's recently released 1st Generation Copy of the Darnell Film is extremely helpful. Relative to each other, the viewer can see the position of the Signal Light Pole vs The Car vs Officer Baker, vs the curving edge of the Island.

Dear Comrade Storing,

I "get it" that your MYSTO "ABANDONED" GETAWAY CAR was parked a little bit behind the "Signal Light Pole" / "No Parking Pole" in Hughes and Martin clips. I'm just saying that from the perspective of the Couch-Darnell and Wiegman films, the front of the very same car is visible to us to the right of the "Signal Light Pole" / "No Parking Pole," and that the reason we can't see it in the latter is because the gaggle of spectators is hiding it from view.

(If it's the same car that's in the National Geographic video, it's a 1958 Pontiac)

Question: Do you think the way James spliced together two half-second-apart Wiegman frames in his Couch-Darnell / Wiegman overlap montage was devious or misleading?

Ya gotta scroll down to it:

https://www.jfkassassinationforum.com/index.php/topic,4597.40.html

-- Tom

[Royell Storing]

  You seem to believe that Wiegman ONLY filmed the Fedora Man from 1 Single Angle. WRONG! This is why I continue urging you to study the assassination films. You are operating from a position of ignorance until you familiarize yourself with the Wiegman Film along with the other films. For starters, I believe you have to be looking at a substandard copy of the Wiegman Film. The overwhelming majority of the Wiegman Film copies in circulation are horrid. And the still frame used by Hackrotte in the overlay is not the best Wiegman still frame of Fedora Man and the backdrop behind him.
   All someone has to do to disprove my discovery is post an image of that car being in that position alongside the Island BEFORE the JFK Limo entered Dealey Plaza. That image does Not exist. If that car had been parked in that "No Parking At Any Time" zone before the JFK Motorcade entered Dealey Plaza, DPD would have had it towed outta there immediately. I continue to issue the blanket challenge, "Prove Me Wrong". The Elm St Ext was an overlooked assassination hotbed on 11/22/63. You had: (1) Shot(s) from the bushes, (2) "Wide Open" Huge Gates, and (3) "Getaway" Car rolling down the Elm St Ext while the JFK Limo was still on Elm St.     

[Tom Graves]

The still frame used by Hackrotte (sic) in the overlay is not the best Wiegman still frame of Fedora Man and the backdrop behind him.

Dear Comrade Storing,

James Hackerott spliced together two frames from Wiegman (that were taken about half-a-second apart) in order to make the montage sufficiently wide as to show both "Fedora Man" on the left and the area to the right where the front of your MYSTO "ABANDONED" GETAWAY CAR would be visible if it wasn't hidden by the gaggle of people.

Regardless, you haven't answered my question:

Do you think James' splicing together those two Wiegman frames and his juxtaposing the finished product with the Couch-Darnell frame in his overlay montage was disingenuous or misleading?

Hint: Ya gotta scroll down to it:

https://www.jfkassassinationforum.com/index.php/topic,4597.40.html

-- Tom

PS You forgot to mention the fake policeman with only one glove.

[Royell Storing]

Dear Comrade Storing,

James Hackerott spliced together two frames from Wiegman (that were taken about half-a-second apart) in order to make the montage sufficiently wide as to show both "Fedora Man" on the left and the area to the right where the front of your MYSTO "ABANDONED" GETAWAY CAR would be visible if it wasn't hidden by the gaggle of people.

Regardless, you haven't answered my question:

Do you think James' splicing together those two Wiegman frames and his juxtaposing the finished product with the Couch-Darnell frame in his overlay montage was disingenuous or misleading?

Hint: Ya gotta scroll down to it:

https://www.jfkassassinationforum.com/index.php/topic,4597.40.html

-- Tom

PS You forgot to mention the fake policeman with only one glove.

   You and Hockerott are focusing on the (R) of Fedora Man. The car stretches BACK to Fedora Man's (L). Roughly 17.5 FEET to the (L) of Fedora Man. The overlay does NOT show us 17.5 feet to the (L) of Fedora Man. We have already covered this.   

[Tom Graves]

You and Hockerott (sic) are focusing on the area to the right of Fedora Man. The car stretches back to Fedora Man's (L). Roughly 17.5 FEET to the left of Fedora Man. 

Dear Comrade Storing,

It's too bad that the longitudinal axis of your MYSTO "ABANDONED" GETAWAY CAR (and the parallel "island") weren't perfectly perpendicular (or should I say parallel?) to the lenses of Couch's, Darnell's and Wiegman's cameras, but it wasn't, and therefore, the front part of the car appears to be well to right of the traffic light pole in Couch and Darnell. The important thing is that James' spliced-together Wiegman frame lines up well with the pertinent frames from Couch and Darnell (i.e., Couch, Darnell, and Wiegman shot the scene from almost identical positions in the Elm Street / Houston Street intersection, and therefore objects in Couch and Darnell can be compared location-wise, with objects in Wiegman to see whether or not they moved from where they were about twenty seconds earlier in Wiegman, and if so, how much and in which direction.

I contend that if the gaggle of about ten shoulder-to-shoulder people had remained in place for about twenty seconds after the final shot, we wouldn't be able to see any part of your MYSTO "ABANDONED" GETAWAAY CAR in any part of Couch-Darnell.

-- Tom

[Royell Storing]

Dear Comrade Storing,

It's too bad that the longitudinal axis of your MYSTO "ABANDONED" GETAWAY CAR (and the parallel "island") weren't perfectly perpendicular (or should I say parallel?) to the lenses of Couch's, Darnell's and Wiegman's cameras, but it wasn't, and therefore, the front part of the car appears to be well to right of the traffic light pole in Couch and Darnell. The important thing is that James' spliced-together Wiegman frame lines up well with the pertinent frames from Couch and Darnell (i.e., Couch, Darnell, and Wiegman shot the scene from almost identical positions in the Elm Street / Houston Street intersection, and therefore objects in Couch and Darnell can be compared location-wise, with objects in Wiegman to see whether or not they moved from where they were about twenty seconds earlier in Wiegman, and if so, how much and in which direction.

I contend that if the gaggle of about ten shoulder-to-shoulder people had remained in place for about twenty seconds after the final shot, we wouldn't be able to see any part of your MYSTO "ABANDONED" GETAWAAY CAR in any part of Couch-Darnell.

-- Tom

     The ONLY Film that matters in this discussion is the Wiegman Film. Specifically, the Wiegman Film snippet showing Fedora Man. What the Darnell/Couch film shows of the car is Not Important. We see this same car on the Hughes Film and the Martin Film. Same Car, Same Spot. The Darnell/Couch Films are not the sole source for verifying this car was parked alongside the Island. What DOES MATTER is the Wiegman Film NOT SHOWING any trace of this car on the (L) of Fedora Man. A 17.5' X 4'  automobile. And why is that? This car was NOT THERE Yet!