More Darnell Film of the Three Young Women

[James Hackerott]

James,

1) Just curious -- How did you go about showing that?

2) If Darnell was changing lenses in Towner, could said action while running, and at a distance look similar to windin' 'er up?

3) Do you think the "clips" in Denis' recent youtube video "Darnell Film Compilation, April 18, 2019" are in the correct sequence, particularly "Parking Lot" then "Cop at the Fence/Crowd at the Base of the Grassy Knoll" then "Sitzman/Wiseman" then "Jacob/Holt/Simmons Stepping Down From The Pergola Patio" then "Jacob/Holt/Simmons Walking On The Grass Towards The TSBD"?

--  MWT   

Thomas,
1)
All of the scenes, except for the rail yard/parking area, were created and compared in my 3D model, in which I tweaked various camera locations while varying lens focal length. The Sitzman and Team JHS scenes were particularly useful as they both contained Pergola cutouts in the background that assisted in placing both the subjects, background, and camera distances. I can post those scene recreations if you like.

2)
Sure, with the video resolution we have of that Towner film he could be rotating the lens turret, winding the camera spring, or just holding the camera while jogging. The point I was wanting to make was that per (1) above the lens was not changed from Sitzman to JHS scenes. If he was playing Russian Roulette with the turret then by chance the same lens ended up in the same place .

3)
The only scene sequences I am 100% confident are the scenes as Darnell first strolls down Elm and the Sitzman/JHS scenes. The Sitzman/JHS dots are connected by Darnell in the Tina Towner film. After crossing Elm I'm not positive about his path and continue to try to figure it out.

James

[Thomas Graves]

Thomas,
1)
All of the scenes, except for the rail yard/parking area, were created and compared in my 3D model, in which I tweaked various camera locations while varying lens focal length. The Sitzman and Team JHS scenes were particularly useful as they both contained Pergola cutouts in the background that assisted in placing both the subjects, background, and camera distances. I can post those scene recreations if you like.

2)
Sure, with the video resolution we have of that Towner film he could be rotating the lens turret, winding the camera spring, or just holding the camera while jogging. The point I was wanting to make was that per (1) above the lens was not changed from Sitzman to JHS scenes. If he was playing Russian Roulette with the turret then by chance the same lens ended up in the same place .

3)
The only scene sequences I am 100% confident are the scenes as Darnell first strolls down Elm and the Sitzman/JHS scenes. The Sitzman/JHS dots are connected by Darnell in the Tina Towner film. After crossing Elm I'm not positive about his path and continue to try to figure it out.

James

Thanks James.

You wrote: "The Sitzman/JHS dots are connected by Darnell in the Tina Towner film."

Question:  Other than the fact that he used the same lens for Sitzman and for the two JHS segments, how do we know for sure that Sitzman then JHS is the correct sequence, with no other segment intervening? 

Just because in Towner we see him coming from the area where Sitzman was "captured" talking with Wiseman?

Couldn't he have been coming directly from a different scene (like the "parking lot" or the "cop at the fence") in which he'd used a longer focal-length lens?

-- MWT   

[Royell Storing]

For one thing, to me the two mentioned Deputies does not mean "mass numbers of law enforcement standing on the corner of Main/Houston" being "attracted to the railroad car area well behind Zapruder/The Pergola", as your question asks. What "same area somehow becomes" what "The Scene as I call it"? Your timing statements need a little more corroboration, and try to remember, "Motorcades" tend to move along much faster than "Parades", and pedestrians. And, the first thing I recall noticing about DealeyPlaza was the 'smallness' in person compared to film and photos.

Maybe you failed to notice, Mr Storing, but my post, and Mr Graves post, both provided corroboration for what we both posted.

    The film footage attributed to Darnell which shows Deputy Sheriff Roger Craig in the train car area behind the Pergola also shows numerous/"Mass" members of law enforcement also being back there. This is Not in dispute.  It is your "smallness" of Dealey Plaza and the minimum length of distance from the corner of Elm/Houston down to the The Steps which ran down from the Shelter that stood immediately behind Zapruder, which makes it obvious that for whatever reason Darnell was progressing down Elm St at a snails pace. Darnell should have easily been able to go from the corner of Elm/Houston down to The Steps area and Not be passed by a Press Bus which was Sitting at a Dead Stop and well Behind him on Houston St. The footage of Deputy Roger Craig behind the Pergola in the railroad car area amidst that throng of law enforcement already back there makes its' accepted timeline as being Bogus. Remember, Deputy Craig examined the Man Hole Cover area on the (S) side of Elm St. BEFORE he crossed Elm and went back behind the Pergola into the train car area where we see him on the film footage. Another consideration is that we really do Not know if we are seeing the film footage in the chronological order it was actually filmed. Is it possible that the filming of the 3 ladies walking across the Knoll, and that of Sitzman standing by the Zapruder Perch were actually filmed Before the Deputy Roger Craig segment?. Much of the current film footage attributed to Darnell has been discovered in bits and pieces and patched together over the course of 55+ years 

[Thomas Graves]

    The film footage attributed to Darnell which shows Deputy Sheriff Roger Craig in the train car area behind the Pergola also shows numerous/"Mass" members of law enforcement also being back there. This is Not in dispute.  It is your "smallness" of Dealey Plaza and the minimum length of distance from the corner of Elm/Houston down to the The Steps which ran down from the Shelter that stood immediately behind Zapruder, which makes it obvious that for whatever reason Darnell was progressing down Elm St at a snails pace. Darnell should have easily been able to go from the corner of Elm/Houston down to The Steps area and Not be passed by a Press Bus which was Sitting at a Dead Stop and well Behind him on Houston St. The footage of Deputy Roger Craig behind the Pergola in the railroad car area amidst that throng of law enforcement already back there makes its' accepted timeline as being Bogus. Remember, Deputy Craig examined the Man Hole Cover area on the (S) side of Elm St. BEFORE he crossed Elm and went back behind the Pergola into the train car area where we see him on the film footage. Another consideration is that we really do Not know if we are seeing the film footage in the chronological order it was actually filmed. Is it possible that the filming of the 3 ladies walking across the Knoll, and that of Sitzman standing by the Zapruder Perch were actually filmed Before the Deputy Roger Craig segment?. Much of the current film footage attributed to Darnell has been discovered in bits and pieces and patched together over the course of 55+ years

Battles Royell,

Just curious: Are you an Alterationist?

-- MWT   

[Thomas Graves]

This scene is burned in my mind as representing the three women Stella Jacob, Karen Holt and Sharon Simmons. The following animation frame count was thinned by about 75% to manage size while still capturing the action which lasts almost 4 seconds in real time. This scene follows the frames included in Denis Morissette's Darnell compilation showing the women while still on the pergola patio, which after duplicate frames are removed lasts a little more than 1.4 seconds.

The women have now left the pergola patio and are on the grass still walking eastward. Off camera to the right there seems to be one or more people interacting with the women. Sharon points with her left hand's index finger over her right shoulder ? perhaps indicating where they stood during the shooting. Karen displays her horror of the event while raising her open right hand to her chest as if to punctuate what she is saying. Stella is more animated yet, boldly splaying her hands while rolling her eyes skyward, seemingly with a slight grin grimace on her face.


While a little  hard to detect in the very late frames, Darnell and the women stop walking but the women continue to interact with those hidden figures out of frame. Are they being interviewed by reporters or law enforcement? Obviously, I don't know, but at some point Jacob, Holt and Simmons talked with Deputy C.L. ?Lummie? Lewis of the Dallas County Sheriff's Department. In his supplemental investigation report November 23, 1963 he specifically wrote on page 1 that he talked with these three women.



James

Bumped.

To break the "Who took this film of Amos Euins" monotony, and because it's another excellent Iacoletti-deflating post by James Hackerott.

-- MWT   

[Bill Chapman]

So do it, already!

Repeating a claim doesn't make it more true.

So who's "we"? No answer?

He, himself, and him

[John Iacoletti]

Isn't it funny how everything looks blob-ish to Iacoletti?

No, just blobs.

Isn?t funny how much detail Graves pretends to see in blobs?