+ Reply to Thread
Results 1 to 5 of 5

  1. #1
    Join Date
    Oct 2008
    Posts
    454

    Zapruder Film Alteration

    THE ZAPRUDER FILM / Its Alteration

    Altering the Zapruder Film

    David Healy


    [Editor's Note:The first to hear the news in Saigon, where he was stationed
    with the US Army Military Assistance Advisory Group, David Healy has spent
    more than 30 years in video and film production and post-production. The film
    "feels wrong" to him, which has led him to consider the question of whether
    it could have been edited with the technology and expertise available at the time.
    ]


    Over the past 6 months I've built a few graphics that look into: IF!!! IF the Zapruder film is altered, HOW? Was the technology ,and operators available to do it?

    I'm posting this SAMPLE image (it has considerable detail), it's 800x600 [all images in this series will be 800x600 ,jpeg @ 72dpi] it's rather large I know, for your review and comments. My hope? Novices regarding film processing and film optical printing equipment amongst us will/can grasp what in fact (I believe) was done to the JFK Assassination camera original film.

    Film traveling mattes and counter-matte(s) can be a confusing issue, my challenge is to show the process in plain old ENGLISH and not doublespeak of which so much surrounds the "Zapruder Film". .

    It's my opinion that we'll NEVER know the the true fate of the Zapruder 8mm camera original (Double 8mm-Split) film and I stress THE camera original, Zapruders and OTHERS btw! Zapruders more than likely never got out of Dallas. Then again it [Zapruders] could be in a thousand pieces at the bottom of a landfill in Central California somewhere.

    Again, thanks ALL for YOUR TIME AND INTEREST, yours in particular Jack White, eventually this whole series of images will be dedicated to YOU and your tenacity in searching for the truth rin dealing with... through the morass called the Zapruder film.

    I'm not forgetting Jim Fetzer, who's got the balls to shake up a few of the institutions involved (past and prersent) and demanding answers to some serious questions! Good job Dr. Jim...

    I'm not a writer - so bear with me and the ramblings, then again you've probably figured that out!.

    ================
    Original Message: WHAT the Optical Printer Technican/Operator does ---

    Thought it might be interesting for anyone to see just what the job requirements are for 'Film Optical Printer' technician. I ran across this job description on a website dealing with post production issues in the commercial film industry. BTW, various forms of this photographic craft have been around since the 1890's, we're NOT talking rocket science here. A confusing medium? YES! WHY? Because there's so many different way's to arrive at the same PRODUCT.
    =================
    1. Sets up and operates optical printers and related equipment to produce fades, dissolves, superimpositions, and other optical effects required in motion pictures, applying knowledge of optical effects printing and photography:

    2. Reads work order and count sheet to ascertain optical effects specifications and location of subject material on original photography film.

    3. Analyzes specifications to determine work procedures, sequence of operations, and machine setup, using knowledge of optical effects techniques and procedures.

    4. Loads camera of optical effects printer with magazine of unexposed film stock. Mounts original photography film in transport and masking mechanism of optical-printer projector and moves film into designated position for optical effect, using counter and film markings to determine placement.

    5. Adjusts camera position, lens position, mask opening, lens aperture, focus, shutter angle, film transport speed, and related controls, using precision measuring instruments and knowledge of optical effects techniques to determine settings.

    6. Selects designated color and neutral density filters and mounts in filter holder to control light and intensity.

    7. Sets controls in automatic or manual mode, moves control to start camera, and observes printer operation and footage counter during filming.

    8. Adjusts controls during filming operation when operating in manual mode, and stops camera when designated counter reading is observed.

    9. Moves controls to rewind camera film and original photography film and repeats select portions or entire operation number of times necessary to produce designated effect. Sets up and operates animation and matte cameras and related equipment to photograph artwork, such as titles and painted mattes.

    10. Sets up and operates single pass optical printers when enlarging or reducing film or performing related operations.

    11. Sets up and operates subtitle camera and related equipment to photograph film subtitles.

    12. Examines frames of film exposed with different combinations of color filters (wedges) to select optimum color balance based on experience and judgment.

    =============
    Sean wrote:
    Let's cut to the chase and let us know which frames in Zapruder were altered, around what date, and by which means-what kind of process. Give an example as you pick a Z-frame that's altered. Also, if you can, who was most likely to do the altering.

    ====================
    AGREED, if the optical printing definitions and idea[s] hasnít gotten through at this point it wonít make any difference anyway

    Couple of paragraphs of background, Iím one of those been there - done that kind of television guyís, 30+ years of this stuff, first camera I used in televion work that didnít need to roll around on a ton and a half pedestal was the CP-16 16mm film camera used for shooting news when I was at a ABC O and O station. Iíve virtually operated EVERY handheld camera made for the broadcast industry at one time or another since then up to and including todayís Panasonic and Sonyís new 16:9 High Definition handheld camera systems. Iím was an FCC licensed broadcast Engineer for 15 yearís (after 3 license renewalís I didnít bother anymore), I could field strip any camera handheld/studiohead, repair it and have it up and running again in hours provided I had access to scopes and parts.

    My first film edit was on a Moviola Flatbed in 1967, first electronic *edit* in 1968 on two Ampex 1200ís running 2Ē videotape with Editec function, more commonly known then as Punch Ďn crunch editing. Iíve been editing ever since.When I wasnít busy editing over the next 15 years I was shooting tape and or film for ALL three national networks AND a few television stations in the 5th rated market place in the country. Getting the globe trotting newscamera bug out of my system in 1982 I started doing programming for myself instead of others. I also engineered, designed and built 2 television production studios, engineered ,designed and built 2 editing facilities and field tested 2 ENG news camera packages for a Japanese camera manufacturer. (couldnít buy American then - RCA got out of the business, but their old TK-76 3 tube Plum-i-con was a great handheld camera, they sold a ton of them. During the past 18+ years Iíve produced, directed,operated camera, editied over 600 pieces for various clients (companies, corporations and or governmental agencies (NASA).

    For the [ast 13 years my specialty has been video post production for Silicon Valley High Tech corpís and a few other Fortune 50 companies (not their AD agencies) with heavy emphasis on using a film/video/digital media COMPOSITING program called Adobe After Effects, a program with itís current widespread usage has probably put most of the film high-end industryís Optical Printing houses out of business).So do I know a little about this industry? Yeah. Can I draw paralells between how thingís weíre done in the film optical business of 61-64 and video compositing post production troday? Yeah.

    My initial interest in JFK? My father was a union president in Boston, Mass for many yearís, I was born there. He personally knew JFK, delivered thousands of votes for him in his statewide elections. Was invited personally by JFK to his presidential inaugaration. I was in the USArmy and served from 2/63 thru 2/64 with MAAG [Military Assistance Advisory Group] -Vietnam. My CIC was murdered in Dallas.

    My interest in this has been for sometime now. I saw the Zapruder film sometime around the Geraldo showing, it was a bootleg copy some cameraman came across, the first time I saw it maybe 5 or 6 other television cameramen saw it, to a man we felt it was bullshit. Every man in the room had combat zone camera experience and the comments can be summed up as, either Zapruder knew what was coming down or he was stone *ing * deaf. If he was unaware AND forward of any muzzle blast (from his right rear) especially within 50 feet he and whoever was up there with him would of been off the wall in a flash. Is that my opinion? Well, sometimes ignorance is bliss, in actuality I had and still have a tough time disagreeing with that point of view.

    My kneejerk summation to the JFK Zapruder film? He was shot at by more than one rifle, from more than one position, possibly 3 positions but at least 2. I donít give much credence to the so-called *jet effect*. Intellectualy - 2 guns from the rear, Gut level - 2 from the right rear and one from the right front, probably a insurance position (from the limo driverís front facing perspective).

    The final uptake, Zapruder has it in the can, the film as it sitís in the camera, BEFORE it getís to Kodak is the LAST time we can know for sure that itís in itís original state. All bets are off when that film enters Kodak - Dallas. Weíre told Kodak canít do the optical prints, fine Jamieson Film can do them. Thatís the first RED flag for me Kodak* doesnít have any Double 8mm PRINT stock available - gottía use camera stock for printís ah, yeah... right. Let me get this straight Kodak only sells film and film processing, thatís their corporate mission, their lifeblood even. And NO print film for the film of the CENTURY? (A project that may provide a little interest is why camera original film was used for the Zapruder optical prints -- could bumping from 8mm to 16mm look a lot better if itís coming off of Kodacolor camera stock? hmm. Of course it does ! ! ! Oh... by the way, over the years weíve been told about emulsion side out stuff regarding the ZAP film canít this - that.... maybe one of these photo experts on the LN side of the aisle would provide me with the proper definition of bipack film printing more commonly called emulsion to emulsion printing.. One could make ANY camera original duplicate in a bipack setup look exactly like the original -- emulsion side out ... for the edge numbers, I hope this doesnít come as to much of a shock but there is film manufactured withOUT edge #ís and footage count indications.

    Itís back and forth between Jamieson and Kodak and eventually we end up with 3 UN-SPLIT Double 8mm optical prints on Kodak Double 8mm camerastock. Letís stop right here A conspiracy may be unfolding, but here I think it starts in earnest. Imagine what one extra (4 total) Double 8mm Un-split optical print from Jamieson would do to the equation here. Secret Service getís their 2 copies, Life gets theirís + the camera original, everyones making copies, making stills off of 8mm frame blowups, the NPIC is looking over the film for Ruskie involvement, everyone in Washinton has a lupe in their hand checking for this and checking for that. Of course this is making any film alteration time table look horrible, thereís no time for this no time for that, all copies are accounted for.... bullshit in my estimation. ... BTW

    Maybe Stolley never got the camera original, maybe he got a camera stock optical print, how would he know? Maybe he did, but thatís beside the point, maybe the Zapruder Camera Original has never left Dallas, even to this day! 4 Double 8mm optical prints + the camera original, so simple, not a thing has to change as we know the story up to today. Give me 4 matte artists, 2 optical printer journeymen, 1 effects director some 8mm Kodacolr camera stock,16mm and 35mm camera AND print stock one 4 projector head optical/aerial printer with bi-pack option,hmm - maybe even a tri-pack option, one Step Printer for making travelling mattes ... then you can swing by in 14 dayís and pick up your order. THEN WHAT?

    Well itís Christmas season, just have to make 4 deliveries exchange the 2SS copies the 1 Life Unsplit version (thatís been split undoubtedly) and the *first-day issue* Life Camera original. You say... somebodyís gonna knooooowww. Life published a few frames, so what! The few that saw the 8mm film only remember Kennedyís brains on the street, wether it was frame 313 or 613 with a stopped limo or not they could care less. The perp was caught within 12 hours was dead within 48 hours and the gov has the film, itís over and done with.... oopís I forgot something ... find a hidey-hole for a couple EXTRA altered Zapruder Films then BURN the ACTUAL Camera Original. As an aside: As evidence in a muder trial the Original Film from Dealey Plaza of the assassination could and most probably would mean execution, without it, pure speculation - maybe a conviction, but thereíll never be closure regarding this murder, not even with a confession. in my estimation the Zapruder camera original NEVER left Dallas and was destroyed 37 years ago.

    David
    =========================
    How was it editied?

    Why edit it? Simple question isnít it? WHY? Sure isnít that we want to cover up the deed hell it was done in front of everyone and GOD. Might be something as simple as editing out incriminating scenes and or frames.

    Was the film altered (1.) ? Yes! Why? Possibly remove any indication the SS as an AGENCY might of had anything to do with any assassination plot. Itís my firm belief that the SS did NOT plot and or plan this crime, they may of been lax and screwed up their job that day, but the SS as an agency did NOT conspire to murder the president. Quite frankly I think they (as an agency) weíre as much a victim of this murder as we the citizens of the USA were victims. As individuals? Eh, there may have been an agent or two that could of been persuaded to join a group that planned to ouster the president.

    So what was removed?


    A. The limo left turn problems, probably 100-140 frames

    B. The limo stop (momentarily or extended) 10-40 frames


    What're the totals? Say 6 seconds to 8 seconds of material, out - immediately before any other considerations are made. No big deal easily accomplished, take about an hour, but whatís the rush? The only thing we need here if an alteration is under way is a frame count and THAT is very easy to provide.

    Was the film altered (2.) ? To create a lone nut killer! Why? We donít need an assassination conspiracy at this time to go along with ALL the other problems weíve got on a international scale (Communism in general - Moscow in particular, Havana specifically). Remove all frames that show indications of another discharged weapon in the Plaza:

    So what was removed?

    A. These frames could be found in the *limo stop* extracted frames above.

    Was the film altered (3.) ?

    To prove the lone nut scenario! How? First any indication to prove the film was altered during the kill zone frames had to be eliminated. (Think about it what had to be eliminated? Anything that did NOT move in the ďbackground layerĒ of the limo that was in direct photo coverage area of Zapruders lens. From the Zapruder camera POV what wasnít moving that can be construed as a point of reference? The traffic on the other side of the lawn wasnít moving. (continued)

  2. #2
    Join Date
    Oct 2008
    Posts
    454

    Re: Zapruder Film Alteration

    Altering the Zapruder Film

    (Page 2)

    This is image number 02. I'm not doing anything in sequence just throwing things up here for your perusal.The image on the left is a reconstituted Z256, as you can see when it comes to optical printing NOTHING and I mean *NOTHING* is sacred and that includes sprocket hole areas. I digress. The leftside image is in 4 elements, background, foreground and 2 mattes, male and female OR matte counter-matte. It appears normal (with the exception of cleaning up the lawn - look at the image on the same image on the right, you'll notice the background area has gotten smaller, hmmm how'd you do that on a optical printer you might ask. It's a very simple, actually the projector that has the background laced up on is moved in just a little, nothing else, just slide it in on it's guide rails and wallah,

    Move proj #1 to the right and the background get's bigger, back to the left it get's smaller it can be done automatically over any number of frames you want in realtime OR the operator can control it one frame at a time. You might ask, how do they get this stuff lined up... that's simple too, there's a viewfinder at the side of the process camera just befor the shutter gate it show's ALL the elements in composite form (all put together to make up a single image i.e., one full frame such as you see in this graphic the viewfinder which is at the far right (follow the red line from Proj#1 to the Process Camera. A test for those interested ZAP 250, 251 and 252, put all 3 in sequential order (one on top of the other) rotate through them as quickly as you can (maybe 4 or 5 cycles, pay particular attention to the left side of the frame and notice the rear of the Limo rotate about 5 degrees around the y*axis in other words it swing a bit to the right-center.... this may be an entry point for a optical effect that is coming.... namely enlarging the grassy area for whatever reason was deemed important. What amazes me is this is 2nd year film school stuff, there's plenty of so-called experts on the otherside of the fence here that should know better.

    You may also want to check out Raymond Fielding's The Technique of Special Effects Cinematography Hastings House 1965 Lib of Congress #64-8116 it's not at your usual bookstore but you'll probably find it at your neighborhood University Library.

    Another one... the elements on the left make up the image on the right... 2 laced up bi-pack heads and there it is, add another projector head and we'll have enough to do some blood spray and a skull flap... that one won't come for 10 day's or so.... Not ALL frames in the Zap film have to be altered to get the desired effect. Which in my estimation was to cover up a massive exit wound at the rear of JFK's head. Best case scenario 120 frames needed changing (not including excised frames - which by the way is easier to accomplish than enlarging the background are of Zap256, that's done a on a step printer... but that's for another day.

    I now understand why Oliver Stone is so *villified* by the LN camp, He KNOW'S ... It's no more complicated than that ...
    This is the last we'll see of Zap-256 for awhile. It's a pain in the ass trying to find a way to present these elements in such a way that little or NO dialogue is needed. The main idea here is to display 4 seperate film elements (you'll notice I'm not using the term 8mm here - I'll deal with that a later) combined to make a *composite* image, soon I'll be displaying 6 elements.

    Next, the primary graphics are completed for images regarding 8mm, Double 8mm Split, 16mm definitions. I'll follow the processing trail of the Zapruder Film in Dallas that day. This isn't going to be minute by minute account, it'll be general so the novices like myself can really get a handle on the *film* chain of event's immediately after the shooting.

    I'll be expressing personal opinion[s] and raising issues that deal with the Zavada Report also. After the processing trail and film definitions are completed, I'll then attempt to take some of the voodoo out of film editing AND printing. I'm sure there are quite a few of you folks that already know this information, again, this is for the uninitiated and quite frankly, ME! (continued)

  3. #3
    Join Date
    Oct 2008
    Posts
    454

    Re: Zapruder Film Alteration

    Altering the Zapruder Film

    (Page 3)

    The deed in Dallas has been done, history has been made, now we've got to *develop* the history. Zapruder's camera is on the left (picture is from NARA), the magazine above and to the right of the camera -- holds the film for the camera (from Zavada - I think)
    No.1 is a depection of standard 8mm film, the standard roll is 50' long and lives on a spool. In general you'd have to load the film in a dark area and correctly thread the film up, on some camera make and model's this is an automatic threading process. Can things can go wrong? Yes most certainly, and they do, but after you do this a few times it does get easier. When your through shooting the 50' of film, it's back to a darkroom or other dark place, maybe a camera bag to remove the exposed film and send for processing.

    No.2 is a bit more confusing, in it's FINAL form it's 8mm but as the depection show's, it's in it's current Double 8mm (16mm) Split configuration. What's Double 8mm (16mm)? It's actually the same kind of film but with a twist.

    See the top frame in #1, with an *A* in it? That's a *single* frame of 8mm film, it's entire frame width is 8mm. In number #2 look at the top red and blue frame, these 2 8mm frames side-by-side represent a total of 16mm size in width. Because you've got *2* 8mm frames side by side it's called DOUBLE 8mm, and because the total width measures out to 16mm, that's where the film description DOUBLE 8mm Split(16mm) comes from.The Double 8mm film in the magazine is 25' long (plus a few extra). When the 25' has been exposed, you pop out the magazine, turn it over, put it back in, windup and shoot for another 25' when that's done, pop the magazine out and send the film magazine to the processor. Bingo - no more dark and dirty places to load film ... (tsk-tsk)

    We'll deal with the Dallas film processing next and that's where the *Split* angle will be defined and start down the road on HOW this Double 8mm Split film becomes (physically) the infamous 8mm Zapruder film
    After the assassination it appears Zapruder used some common sense by leaving the film in the camera. When Zapruder and Associatesshowed up at Kodak-Dallas,Tx. front door, Phil Chamberlin and Richard Blair (both of Dallas - Kodak) cite that was when the film was removed from the camera (Zavada 3a.pdf). I'm assuming here it was STILL in it's Double 8mm Split format, based on what I've read, it WAS.

    The film was then processed (developed) at Kodak - Dallas in the Double 8mm - 16mm width config. Of course ALL interested parties waited around, none of this drop it off and we'll call you when it's ready stuff. The developed Zapruder Double 8mm filmstrip was given Kodak perforation ID #0183, I believe the perf # is located at the headend of the film.

    Zapruder ALSO wanted 3 copies (at whose request? His? I hardly believe that BullShit) in the Double 8mm-16mm width config - he was told by Kodak - Dallas Chamberlin, nope, not here, it'll have to go to Kodak - Rochester, NY. No one was going to stand for that, so, Kodak-Dallas Pat Pattist contacted Jamieson Film Co of Dallas and made arrangement for them (Jamieson) to do the 3 copies of Zapruder Double 8mm Split. (I want to explain something here, making copies of a motion picture film, means in it's purist form one thing and one thing only: *Optical Printing*, I don't care how many copies -- they're optically printed 1 at a time, in THIS case using the Camera Original Double 8mm Split 16mm width as the NON-destructive
    Optical Print [I'll define the NON dest... stuff later]

    Jamieson Film Company agreed to do the deed, they had handy a 2-or-3 Optical Printer (you've seen one of these here shown in graphics earlier) with a 16mm width gate assembly for the Zapruder Double 8mm Split 16mm. SO, we can do ALL this right here in Dallas. And they DID. Dallas - Kodak - Blair provided Zapruder with 3 rolls of Kodacolor II Type A camera original film to be used for PRINT stock ...

    So now the Zapruder camera original is in the hands of Jamieson Film Company, Dall Tx. (the company does not exist by the way , did up till '98 anyway) of course Zapruder and associates are ALL right there ...

  4. #4
    Join Date
    Oct 2008
    Posts
    454

    Re: Zapruder Film Alteration

    Altering the Zapruder Film

    (Page 4)
    Now that we've got the film magazine/film reel issue cleared up (thanks again to Phil) let's move on.

    After the assassination it appears Zapruder used some common sense by leaving the film in the camera. When Zapruder and Associates showed up at Kodak-Dallas,Tx. front door, Phil Chamberlin and Richard Blair (both of Dallas - Kodak) cite that was when the film was removed from the camera (Zavada 3a.pdf). I'm assuming here it was STILL in it's Double 8mm Split format, based on what I've read, it WAS.

    The film was then processed (developed) at Kodak - Dallas in the Double 8mm - 16mm width config. Of course ALL interested parties waited around, none of this drop it off and we'll call you when it's ready stuff. The developed Zapruder Double 8mm filmstrip was given Kodak perforation ID #0183, I believe the perf # is located at the headend of the film.

    Zapruder ALSO wanted 3 copies (at whose request? His? I hardly believe that BullShit) in the Double 8mm-16mm width config - he was told by Kodak - Dallas Chamberlin, nope, not here, it'll have to go to Kodak - Rochester, NY. No one was going to stand for that, so, Kodak-Dallas Pat Pattist contacted Jamieson Film Co of Dallas and made arrangement for them (Jamieson) to do the 3 copies of Zapruder Double 8mm Split.

    (I want to explain something here, making copies of a motion picture film, means in it's purist form one thing and one thing only: *Optical Printing*, I don't care how many copies -- they're optically printed 1 at a time, in THIS case using the Camera Original Double 8mm Split 16mm width as the NON-destructive Optical Print [I'll define the NON dest... stuff later]
    Jamieson agreed to do the deed, they had handy a 3 head Optical Printer (you've seen one of these here shown in graphics earlier) with a 16mm width gate assembly for the Zapruder Double 8mm Split 16mm. SO, we can do ALL this right here in Dallas. And they DID.

    Dallas - Kodak - Blair provided Zapruder with 3 rolls of Kodacolr II Type A camera film to be used for PRINT stock ...

    So now the Zapruder camera original is in the hands of Jamieson Film Company, Dall Tx. (the company still exists by the way - pretty sure it does, did up till '98 anyway) of course Zapruder and associates are ALL right there ...
    Well everyones here -- Jamieson Film Company, Dallas. The whole megallah, all these people. I know, I know it's the *chain of evidence* stuff, amazing how serious they took the film, would of been nice if the authorities took the same care with the other evidence but I digress...

    The Double 8mm_unSplit processed Zapruder Film Kodak perf #0183 has arrived at Jamieson, 3 (Three) prints were struck and *NOT* processed at Jamieson. I've got a few, what I consider important questions here:

    1) WHY only 3 (Three) copies? Why not 5, 6, 8, 10?

    2) Little housekeeping here -- What happened to Kodak #0184?

    I understand Kodak-Dallas did free processing for any assassination related photo's that day[s], so IF the perf. number was assigned to someone else's film, who and what film was it? Well, it's time for the parade to move back to Kodak - Dallas for processing the 3 - optical prints of the Zapruder Double 8mm_unsplit 16mm width camera original. The un-processed prints are processed perforation numbers assigned ; 0185, 0186, 0187. I understand there's an affidavit signed somewhere that there was problems with one of these numbers, I believe it was 0187, if someone knows please jump on in. At this time the Zap Double 8mm film and the Double 8mm 16mm width prints were compared, declared close enough for government work, next we're going to SPLIT the Double 8mm_Split 16mm width camera original.

    (there's one thing I want to check, that's who got what as far as the optical prints went)

    For old time argument sake; I posit 4(Four) optical print's were struck at Jamieson Film Company. BTW, where was Zapruder during this time? Maybe at the television station? This may create a fire storm in some circles, but then again it's only a theroy.
    As an aside Roland Zavada's report ALSO cites; after further conversation with Jamieson Film Company the 3 optical prints of Zapruders Double 8mm_Split 16mm width were NOT created on Jamieson's 3 head optical printer, they were in fact created on a Jamieson's Bell & Howell Model J optical printer. How many people know B & H got an Academy Award for technical achievement in the creation of a COLOR optical printer for the film industry in 1962> These guy's are busssss -ey ( note: Anyone got a picture of the Model J? I can't get a copy of the Zavada addendum that has the manual and the operator's guide for this thing? )

    I've been informed by a source that Roland Zavada is NOT a fan of Zapruder film alteration - editing time factors or some such. Nor is Mr. Jamieson. Mr. Jamieson's film facility in Dallas has evidently closed, possibly last year or 1999, but in any event closed. Thanks for the info ...
    Okay we're back here at Kodak - Dallas, it's a couple of hours after the deed, the optical prints have been made and processed, NONE have been split, the Secret Service has blessed the prints in that they're good enough for their purposes, which is: Evidence of ther assassination and for making COPIES, which means theirs will be split at sometime. So what's left here with all this film business at Kodak Dallas, well let's SPLIT Zapruders film (the graphic is self explanatory)

    It's done, I think the accompanying graphic is all the explanation anyone need to understand the results of splitting the Double 8mm film ...

    note: Side A of the Zapruder film is what could be classified as "around the home filming" (there are a few affidavits (or film content notes) around regarding just what is on this A-side of the Double 8mm Split film, to the best of my knowledge nobody has ever seen that footage, nor the footage that precedes the assassination footage on Side-B (which maybe more than we think). 50 feet of the most viewed film footage in the history of film and nobody gives a shit what's on half of it, ... Incredible! When I find those affidavits or notes in the next few day's I'll post where you can find them. If memory serves me they are part of the Zavada addendum[s] attached to the final Zavada report.

    Let's recap:

    Zavada accidently films the assassination
    Zavada and film taken to Kodak - Dallas - camera original film into the soup -------pref #0183
    Zavada and film taken to Jamieson Film Co. Dallas for striking 3 Optical Prints
    Zavada and film and Optical prints to Kodak - Dallas Optical prints into the soup --pref #0185, pref #0186, pref #0187
    (time span = a few hours)

    ===
    Secret Service satisfied with the prints
    Zavada camera original Split
    ===

    Secret Service left with Optical Print pref #0186 (at least)
    Zavada left with pref #0183
    ===

    ? pref #0185 (who has it)
    ? pref #0187 (who has it)
    ? pref#0184 (out of sheer curiosity who has this one)

    That about rounds this out, I'll get to the simple and NOT so simple optical film printing stuff next and how the basic printers work. You only have to remember one thing, forget all the esoteric bullshit and voodoo about film printing, the basic[s] are this: One (1) film projector (transmitting) aimed (by various means) into a film camera (recieving -- more commonly called a process camera). We'll make a few comparisons with your home VHS deck and camera ...

  5. #5
    Join Date
    Oct 2008
    Posts
    454

    Re: Zapruder Film Alteration

    Altering the Zapruder Film

    (Page 5)
    So, where were we?

    Out of the gate sort-of-speak, film editing has been around since the first picture was taken I think, seems as though we can't stand the real image, we gott'a change it, make it more palatable for whatever reason. Who the hell knows, I do know what I'm NOT going to do and that's give you a history of film editing, libraries have been written about the craft.

    As you can tell by now I'm not a writer, videotape production is my game, lot's of 2D and 3D computer generated graphics and lot's of editing. Things have changed a lot over 30 years, went from 16mm/35mm film to 2 inch reel-to-reel videotape, 1 inch reel-to-reel videotape, then to 3/4 inch, and 3/4 inch SP cassette videotape, then to 1/2 Beta and Beta SP cassette tape, and now DVCam, DVT and Mini-DV (about 1/8th of an inch) digital videotape cassette tape[s].

    Acquiring media changes over the years but techniques stay the same. The game of editing is all about taking information from one media source and transferring it to another like source or EVEN a different source, via light/optics, BNC cables -NTSC video RFcables- SCSI cables and finally Firewire cables. All these cables and doing only one thing: providing a conduit for transferring information in a *NON-destructive editing* mode, from one source (playback - machine) to another source (record - machine).

    What's NON-destructive editing? Here's an example: Your on a family outing at the park and you've got your VHS camera with you, taking some pictures of the kids doing their thing. When you got to the park, you notice that the tape in the camera has about 15 minutes of footage recorded on it already, it's a 60 minute tape, eh, you've got 45 minutes to play with. You've been recording for about 10 minutes and suddenly a fire alarm goes off, the park office is on fire. You see to the safety of your family then go tape (record) some of the fire. Fire trucks show up, you got some of that footage, ambulances take away the injured you got some of that too, people told you what they saw, you got some of that and so on and so forth... The event is over, finally, the TV ENG remote satellite truck arrives... it's to late, they're outt'a luck. Someone tell's them you got a bunch of tape of the fire and surrounding event's. Well, YOU'VE got something they'll never get, they need it - you've got it, so, they make an offer to buy - you agree to sell. You name a price - they agree, under the condition you get your tape back in the same shape you gave it to them in. They guarantee it.

    Here's what THEY do: your VHS tape is taken to the studio, inserted into a VHS deck for playback, the VHS video/audio output ports are connected via cable to the BetaSP video/audio input ports, load the tape up in a VHS deck, fast forward to where the fire footage starts (15:00 minutes from the head of the reel), put the deck in pause, set up a record BetaSP deck, put a videotape in the deck, hit play,record and pause ... then hit pause again on BOTH decks and watch the transfer till completion (they'll edit this later to conform to the story as related on the newscast. In short, a non-destructive transfer/edit of electronic data from one videotape to another via a simple cable hook-up has been performed, I might ALSO add from one videotape format to another (VHS to BetaSP). So, who got what? TV Station got a exact duplicate of what you shot for the 6:00 o'clock news, you got a few bucks and your tape back. with ALL the footage intact, EXACTLY as you gave it to them. Fact's being what they are, you can't even tell that they USED your videotape NO SIGNS - NO CLUES. ... Tsk-tsk, if this were film, we've just witnessed a optical print being struck (made - created)

    In the video trade it's making a *dub*.

    NOW, for the REAL reason we're here; let's say you were using a 8mm camera instead of the videocamera while at the park with the family (they hold seconds of unexposed film as compared to 10's of minutes of re-usable videotape stock) you were lucky in this instance, you got the most exciting 10 -15 seconds of footage during the fire so lucky in fact the TV station want's it real bad. Well, you gott'a get the film developed (it's Double 8mm Split) then processed and THEN split. Strike a print to 16mm for the TV stations usage and for good measure (after all your an astute businessman) you tell the TV station have the Optical Print house strike a print from 16mm to 35mm. Why that? Hell -- maybe Hollywood'll be interested ...

    This is sounding familiar ...

Similar Threads

  1. The Zapruder Film
    By theme in forum Conspiracy Theories
    Replies: 129
    Last Post: 05-24-2016, 04:31 PM
  2. Zapruder Film
    By theme in forum Conspiracy Theories
    Replies: 8
    Last Post: 11-25-2009, 07:00 AM
  3. Zapruder Film
    By eflteacher in forum Conspiracy Theories
    Replies: 28
    Last Post: 09-30-2009, 08:31 AM
  4. The Zapruder Film
    By theme in forum Corporate Scams
    Replies: 0
    Last Post: 11-22-2008, 01:58 PM
  5. If we had the Zapruder Film in the 60's....
    By theme in forum Government Scams
    Replies: 1
    Last Post: 11-15-2008, 11:31 AM

Tags for this Thread

Bookmarks

Bookmarks

Posting Permissions

  • You may post new threads
  • You may post replies
  • You may not post attachments
  • You may edit your posts
  •