Post by Gil Jesus on Feb 11, 2022 14:15:56 GMT -5
“It is difficult to understand why the [presidential limousine] came to a complete stop after the first shot. The natural inclination… would be to step on the gas and accelerate as quickly as possible. However, if the driver were under the impression that the shots were from the front, one could understand his hesitation in not wanting to drive closer to the sniper or snipers.”—Mark Lane
The Zapruder Film
Only one person filmed from start to finish the assassination of President John F. Kennedy, which occurred in a matter of seconds at 12:30 p.m. on Nov. 22, 1963 on Elm Street in Dealey Plaza in downtown Dallas, TX. That person was a 58-year old Dallas dress manufacturer, Abraham Zapruder, who died in 1970. His silent color 8 mm film of JFK being shot to death in broad daylight while riding in an open limousine is the most historically momentous home movie in history.
Incredibly, the Zapruder film was withheld from the American public for nearly 12 years. The first opportunity Americans had to see it was on Mar. 6, 1975, when a bootleg copy of the film was broadcast on nationwide TV on ABC’s “Goodnight America” show, hosted by Geraldo Rivera.
The shocking revelation of Kennedy's head going backward and to the left resulted in a public outcry so great that Congress created the House Select Committee on Assassinations two years later.
Alteration of the Zapruder Film
Until a few years ago, the authenticity and reliability of the extant Zapruder film was accepted by almost all JFK assassination researchers, even the severest critics of the Warren Report, myself included. The provenance of the Zapruder film was firmly established and the film was regarded as the single most reliable piece of assassination evidence.
Today, however, things are different. There are serious doubts about whether the film is original and an accurate depiction of the assassination.
For years we were deceived about the chain of custody of the Zapruder film. What we now know but didn’t know previously is that for at least half a day during the weekend following the assassination the film was at a top secret CIA photo lab at the Kodak facility in Rochester, NY, where it may have been altered in various ways. This lab was so secret that even its code name (“Hawkeye Works”) was at the time highly classified. We also know that the CIA destroyed its records of the film’s stay at that lab.
At first glance, the notion that the Zapruder film might have been tampered with seems far-fetched. But critics have pointed out those things that make the film’s provenance suspect; its images are chock-full of unexplained anomalies as well as inconsistencies between the Zapruder film and Dealey Plaza eyewitness testimony.
In addition, the motion picture film experts who have had access to the Zapruder film in the past and pronounced it to be unaltered have all had connections to the suspected forger, the CIA.
Furthermore, it is indisputable that various official documents as well as other key assassination-related materials have been falsified, replaced or destroyed.
Under those circumstances, why should we not explore the possibility that government officials might also have altered the Zapruder film ?
When we contemplate the possibility the Zapruder film was altered, we tend to think first of the type of alteration accomplished by replacing authentic frames with forged or composite frames.
But a film can also be altered by simply deleting frames.
Some of the alterations in the Zapruder film, therefore, may have consisted of simply deleting certain frames, making copies of the edited version and renumbering the frames.
Such an act of forgery would be impossible to prove unless the original version or a copy of it was still in existance.
Evidence Of Film Editing: The Witnesses Who Claimed To Have Seen The Original
Some years ago, the late JFK researcher/author Jim Marrs interviewed a man named William Reymond, a JFK author/researcher from France who claimed to have seen another version of the Zapruder film. In this version, claimed Reymond, the turn onto Elm WAS included as was the limousine stop for about 2 seconds.
Reymond also claimed that he had seen the version through a friend of his who was a member of a right wing group in France called ETEC. ( pronounced Itek ) He believed that this was a copy from an original film owned by H.L. Hunt, the Dallas oil man.
Verification of the existence of another version of the film comes through the revelation by the late JFK researcher Rich Dellarosa on an episode of Black Op Radio. Dellarosa claimed to have seen the same version and described what he saw in detail, that the limo had a difficult time navigating the turn from Houston onto Elm and that the limo completely stopped.
Dellarosa said that the limousine just didn't slow down, it stopped and driver William Greer was looking straight at JFK when the bullet hit him in the head.
Dellarosa was emphatic in his observation that the limo came to a complete stop.
The Turn Onto Elm St.
An example of this type of forgery would be to remove any frames depicting the limousine making the sharp turn from Houston Street to Elm Street.
Statements by Zapruder and Marilyn Sitzman, the woman who assisted him while he operated his camera, suggested that he DID film the turn onto Elm Street.
"I started shooting--- when the motorcade started coming in, I believe I started and wanted to get it coming in from Elm St." (Testimony of Abraham Zapruder, 7 H 571)
Sitzman said that, "He (Zapruder) started filming....just before they came around the corner."
Dellarosa described what the turn looked like in detail:
Why do we now have a Zapruder film in which the first we see of the limousine is when it suddenly appears on Elm Street?
Abraham Zapruder was never asked by the Warren Commission why the film begins with the limousine already on Elm St.
In fact, during his testimony, Zapruder was shown individual frames of his film and asked to identify them, but never shown his film in its entirety in order to authenticate it as the film he took.
Why not?
The Limousine Stop
Critics have offered a large number of credible reasons for concluding that the version of the Zapruder film now preserved in the National Archives is not the untouched camera original.
The extant Zapruder film shows JFK’s limousine gliding forward at a steady speed of about 11 mph, it definitely does not depict a stop or slow down.
However, numerous Dealey Plaza witnesses reported that during the time the limousine was under fire it came to a complete but brief stop. Some described it as a pause, a halt or a hesitation. These witnesses included Dallas police officers, news media personnel and civilian spectators.
Twenty-two minutes after the assassination, CBS correspondent Walter Cronkite broke into normal broadcasting with a news bulletin and said that "the car stopped momentarily."
The first researcher to call attention to the possibility of a limousine stop was Mark Lane, who in his book A Citizen’s Dissent (1968) wrote: “A considerable body of testimony before the [Warren] Commission indicated that the limousine slowed abruptly and then accelerated rapidly when the shots were fired.”
In chapter 8 of his outstanding book Survivor’s Guilt: The Secret Service and the Failure to Protect President Kennedy (2013), Vince Palamera counted 59 witnesses who reported that the limo stopped or slowed down.
In his interview with the late Jim Marrs, William Reymond claimed that the limo came to a complete stop BEFORE the head shot and then took off.
This claim is significant, because if the limo had stopped AFTER the shooting sequence, it could be argued that it stopped because Jackie was on the trunk or to give agents on the followup car a chance to reach the limo.
But a stop DURING the shooting sequence, at a time when Jackie was neither on the trunk nor Clint Hill had started toward the rear of the limo, could either be a sign that the driver realized he was driving into an ambush in front of him, or more sinisterly, making it easier for the shooters to kill JFK.
The latter suggestive that there was Secret Service complicity in the assassination of President Kennedy.
Reymond's depiction of what he saw in the "other" Zapruder film is verified by Dellarosa, who described it in more detail:
But the reports of these two witnesses are not the only reports that the limousine stopped. There were several other reports made by witneses in or near Dealey Plaza during the assassination.
J.W. Foster was a Dallas policeman stationed on the railroad overpass at the corner of Elm, Main and Commerce Streets. In a statement to the FBI made on Mar. 26, 1964, he said: “Immediately after President Kennedy was struck with a second bullet, the car in which he was riding pulled to the curb …” (CD 897, pg. 20)
Foster testified before the Warren Commission but was never asked about what he told the FBI.
This movement of the limousine is verified by witness Roy Truly, who testified that, "I saw the President's car swerve to the left and stop." (3 H 221)
Dallas police officer Marrion L. Baker, a Dallas police motorcyclist who was on Houston Street when the first shot was fired, testified to the Warren Commission that shortly after the assassination “Several officers said it stopped completely.” When then asked whether he had heard from other Dallas police officers that the limousine had stopped, he testified: “Yes, sir; that it had completely stopped, and then for a moment there, and then they rushed on out to Parkland.” (3 H 266)
One of those officers who spoke to Baker was motorcycle officer James Chaney who told him that “from the time the first shot rang out, the car stopped completely, pulled to the left, and stopped.” (ibid.)
Chaney was the inside rider at the right rear of the limousine. Two days after the assassination he was quoted in the Houston Chronicle as repeating what he had told Baker; that the limousine stopped immediately after the first shot.
Chaney was never called to testify before the Warren Commission.
Officer Bobby Hargis was the inside rider at the left rear of the limousine. According to an undated, unpublished transcript of an interview he had with the Dallas Times-Herald, Hargis told repeated: “I felt blood hit me in the face, and the presidential car stopped immediately after that and stayed stopped about half a second, then took off at a high rate of speed.”
Officer B.J. Martin was the outside rider at the left rear of the limousine. He was interviewed by researchers Fred Newcomb and Perry Adams and told them, as reported in their unpublished 1974 manuscript Murder from Within, that he observed the limousine stop for “just a moment.”
William Newman and his family were the closest to Kennedy when he was shot. Newman said in an interview with William Law and Ian Griggs that, "the car momentarily stopped. Now everywhere you read about it, you never read about the car stopping. And when I say stopped, I mean very momentarily, like they hit the brakes and just a few seconds passed and then they floorboarded and accelerated past." ( Dealey Plaza Echo, Volume 2, Issue 1, pg. 7 )
In his affidavit, Billy Lovelady, an employee of the Texas School Book Depository, said "I recall that following the shooting, I ran toward the spot where President Kennedy's car had stopped." (22 H 662)
Hugh Betzner was taking pictures on Houston St. near Elm and tried to run after the limo to get more pictures as it proceeded down Elm. He was interviewed after the assassination in the Dallas County Sheriff's Dept. and told them that "I could see the President's car and another one and they looked like the cars were stopped. Then I saw a flash of pink like someone standing up and sitting down in the car." (Decker Exhibit 5323, 19 H 467)
Betzner's description indicates that the cars were stopped BEFORE the head shot.
Maurice Orr, a Wamix Ready-Mix Concrete employee was standing on the north side of Elm St between the lamposts, one of the last spectators on that side of the street. He indicated that the motorcade had stopped.
www.maryferrell.org/showDoc.html?docId=40392#relPageId=82
Senator Ralph Yarborough ( D-Texas ), who was riding two cars behind Kennedy, was interviewed by Geraldo Rivera in 1975. Twice during that interview, he said that the car stopped.
The vagaries of eyewitness testimony are well known. But it's difficult to believe that all of these witnesses could have simply been mistaken about what they observed.
Were they all suffering from the same mass hallucination?
This seems extremely unlikely, however, because the film itself may hold the answer to whether or not it was edited.
More Evidence Of Editing: Blurred vs. Sharp Frames
In his testimony before the Warren Commission, Zapruder said that the cause of the blurred frames was because he was moving the camera.
"..they weren't very clear, for the simple reason that on the telephoto lens it's good to take stills---when you move---did you ever have binoculars and every time you move everything is exaggerated in the move---that's why they are kind of blurred---the movement." (7 H 572)
So if the blurred frames were caused by Zapruder moving the camera in order to keep up with the movement of the limo, by his own admission the "clear" frame ( 312 ) must have been caused by the camera taking a "still". And that clear frame could not have been created by the camera being still and the limo moving at the same time.
The limo would had to have been stopped as well.
I wondered if it could have been possible to edit out the stop and would the finished product look like the limo just slowed down?
I decided to do an experiment using my home computer and editing software.
I recorded my index finger ( simulating the movement of the limousine ) from left to right. Part way, I stopped it for about two seconds, then resumed the movement.
I then copied the video and edited out the 2 second stop. I combined the two versions:
This editing out of the stop resulted in my finger looking like it just slowed down.
I believe that this experiment proves that the stop could have been edited out and the resulting film would show that the vehicle had only slowed down when it completely stopped.
More Evidence Of Editing: Missing Frames
The extant Zapruder film is missing frames 208-211. These frames are significant because it is within these frames that the Warren Commission said the first shot was fired. (Z-210)
How did they know that the first shot was fired at Frame 210 when frame 210 isn't in the film?
If the Zapruder film was altered, why for example, does it still show a headshot throwing JFK to the left and backward, indicating the shot came from the right front?
It would have been impossible to alter the film in such a way as to depict the movement of the head as being anything other than what it was. For example, you couldn't have the head moving forward without running the frames in reverse.
That would have required starting with the wound and ending up with no wound. It just couldn't be done.
Under those circumstances, those responsible for the editing of the original Zapruder film ( CIA ) would have been forced to retain the headshot frames.
Keep in mind that this film was never intended to be released to the public.
However, the chance of a leaked version ever seeing the light of day showing images of the limousine stopping during the assassination would have been infinitely more devastating to the Secret Service and would have been proof of SS complicity.
What would Americans say or think about conspiracy theories if they were to watch a film showing the President’s car suddenly stopping to allow bullets to blow his brains out?
Why Would You Alter The Zapruder Film, But Not The Other Films?
There IS evidence that other films of the assassination have been tampered with as well.
Orville Nix was filming the motorcade from the plaza on the south side of Elm St., on the opposite side of the limo from Zapruder. He turned his film over to the FBI on December 1, 1963. In 1966, he was interviewed by attorney/author Mark Lane. He told Lane that his film "got lost in the processing plant" and that when he got it back, it was missing frames.
The film being "lost in the processing plant" destroys its chain-of-possession. There's no telling who possessed it or for how long and leaves open the possibility that this film was indeed tampered with.
For decades, the Warrennati have cried out that the Zapruder film could not have been altered because it synchronizes with the Nix and Muchmore films.
But if the Nix film was missing frames, how could that be?
Marie Muchmore filmed the motorcade from the same side as Nix, on the south side of Elm. Like Zapruder, her video has an interesting anomaly just before the head shot.
This anomaly begins with a frame with two large black lines across the entire image.
In a subsequent frame, the image then appears to separate into a top half and a bottom half.
Then there is a following frame with the same two large black lines across the image.
I found this very interesting, especially the frame that appeared to be split. I noticed that the motorcycle antennas on the top half were askew from the antennas on the bottom half.
I wondered what would happen if I lined them up so I did. The problem with lining up the images in the frame is that it leaves the edges of the frame itself misaligned.
I believe that this proves that this frame is a composite frame, the top half from one frame and the bottom half of another. This is why the images don't line up in the frame and why the edges of the frame don't line up when the images do. I believe the top half is the limo stopped and the bottom half when they get going.
It's funny how the Warren Commission apologists have no problem believing ONE witness who says it was Oswald, but can't bring themselves to believe 10 or 20 witnesses who claimed to have seen the same thing.
The Zapruder Film
Only one person filmed from start to finish the assassination of President John F. Kennedy, which occurred in a matter of seconds at 12:30 p.m. on Nov. 22, 1963 on Elm Street in Dealey Plaza in downtown Dallas, TX. That person was a 58-year old Dallas dress manufacturer, Abraham Zapruder, who died in 1970. His silent color 8 mm film of JFK being shot to death in broad daylight while riding in an open limousine is the most historically momentous home movie in history.
Incredibly, the Zapruder film was withheld from the American public for nearly 12 years. The first opportunity Americans had to see it was on Mar. 6, 1975, when a bootleg copy of the film was broadcast on nationwide TV on ABC’s “Goodnight America” show, hosted by Geraldo Rivera.
The shocking revelation of Kennedy's head going backward and to the left resulted in a public outcry so great that Congress created the House Select Committee on Assassinations two years later.
Alteration of the Zapruder Film
Until a few years ago, the authenticity and reliability of the extant Zapruder film was accepted by almost all JFK assassination researchers, even the severest critics of the Warren Report, myself included. The provenance of the Zapruder film was firmly established and the film was regarded as the single most reliable piece of assassination evidence.
Today, however, things are different. There are serious doubts about whether the film is original and an accurate depiction of the assassination.
For years we were deceived about the chain of custody of the Zapruder film. What we now know but didn’t know previously is that for at least half a day during the weekend following the assassination the film was at a top secret CIA photo lab at the Kodak facility in Rochester, NY, where it may have been altered in various ways. This lab was so secret that even its code name (“Hawkeye Works”) was at the time highly classified. We also know that the CIA destroyed its records of the film’s stay at that lab.
assassinationofjfk.net/the-two-npic-zapruder-film-events-signposts-pointing-to-the-films-alteration/
At first glance, the notion that the Zapruder film might have been tampered with seems far-fetched. But critics have pointed out those things that make the film’s provenance suspect; its images are chock-full of unexplained anomalies as well as inconsistencies between the Zapruder film and Dealey Plaza eyewitness testimony.
In addition, the motion picture film experts who have had access to the Zapruder film in the past and pronounced it to be unaltered have all had connections to the suspected forger, the CIA.
Furthermore, it is indisputable that various official documents as well as other key assassination-related materials have been falsified, replaced or destroyed.
Under those circumstances, why should we not explore the possibility that government officials might also have altered the Zapruder film ?
When we contemplate the possibility the Zapruder film was altered, we tend to think first of the type of alteration accomplished by replacing authentic frames with forged or composite frames.
But a film can also be altered by simply deleting frames.
Some of the alterations in the Zapruder film, therefore, may have consisted of simply deleting certain frames, making copies of the edited version and renumbering the frames.
Such an act of forgery would be impossible to prove unless the original version or a copy of it was still in existance.
Evidence Of Film Editing: The Witnesses Who Claimed To Have Seen The Original
Some years ago, the late JFK researcher/author Jim Marrs interviewed a man named William Reymond, a JFK author/researcher from France who claimed to have seen another version of the Zapruder film. In this version, claimed Reymond, the turn onto Elm WAS included as was the limousine stop for about 2 seconds.
Reymond also claimed that he had seen the version through a friend of his who was a member of a right wing group in France called ETEC. ( pronounced Itek ) He believed that this was a copy from an original film owned by H.L. Hunt, the Dallas oil man.
Verification of the existence of another version of the film comes through the revelation by the late JFK researcher Rich Dellarosa on an episode of Black Op Radio. Dellarosa claimed to have seen the same version and described what he saw in detail, that the limo had a difficult time navigating the turn from Houston onto Elm and that the limo completely stopped.
Dellarosa said that the limousine just didn't slow down, it stopped and driver William Greer was looking straight at JFK when the bullet hit him in the head.
Dellarosa was emphatic in his observation that the limo came to a complete stop.
The Turn Onto Elm St.
An example of this type of forgery would be to remove any frames depicting the limousine making the sharp turn from Houston Street to Elm Street.
Statements by Zapruder and Marilyn Sitzman, the woman who assisted him while he operated his camera, suggested that he DID film the turn onto Elm Street.
"I started shooting--- when the motorcade started coming in, I believe I started and wanted to get it coming in from Elm St." (Testimony of Abraham Zapruder, 7 H 571)
Sitzman said that, "He (Zapruder) started filming....just before they came around the corner."
Dellarosa described what the turn looked like in detail:
Why do we now have a Zapruder film in which the first we see of the limousine is when it suddenly appears on Elm Street?
Abraham Zapruder was never asked by the Warren Commission why the film begins with the limousine already on Elm St.
In fact, during his testimony, Zapruder was shown individual frames of his film and asked to identify them, but never shown his film in its entirety in order to authenticate it as the film he took.
Why not?
The Limousine Stop
Critics have offered a large number of credible reasons for concluding that the version of the Zapruder film now preserved in the National Archives is not the untouched camera original.
The extant Zapruder film shows JFK’s limousine gliding forward at a steady speed of about 11 mph, it definitely does not depict a stop or slow down.
However, numerous Dealey Plaza witnesses reported that during the time the limousine was under fire it came to a complete but brief stop. Some described it as a pause, a halt or a hesitation. These witnesses included Dallas police officers, news media personnel and civilian spectators.
Twenty-two minutes after the assassination, CBS correspondent Walter Cronkite broke into normal broadcasting with a news bulletin and said that "the car stopped momentarily."
The first researcher to call attention to the possibility of a limousine stop was Mark Lane, who in his book A Citizen’s Dissent (1968) wrote: “A considerable body of testimony before the [Warren] Commission indicated that the limousine slowed abruptly and then accelerated rapidly when the shots were fired.”
In chapter 8 of his outstanding book Survivor’s Guilt: The Secret Service and the Failure to Protect President Kennedy (2013), Vince Palamera counted 59 witnesses who reported that the limo stopped or slowed down.
In his interview with the late Jim Marrs, William Reymond claimed that the limo came to a complete stop BEFORE the head shot and then took off.
This claim is significant, because if the limo had stopped AFTER the shooting sequence, it could be argued that it stopped because Jackie was on the trunk or to give agents on the followup car a chance to reach the limo.
But a stop DURING the shooting sequence, at a time when Jackie was neither on the trunk nor Clint Hill had started toward the rear of the limo, could either be a sign that the driver realized he was driving into an ambush in front of him, or more sinisterly, making it easier for the shooters to kill JFK.
The latter suggestive that there was Secret Service complicity in the assassination of President Kennedy.
Reymond's depiction of what he saw in the "other" Zapruder film is verified by Dellarosa, who described it in more detail:
But the reports of these two witnesses are not the only reports that the limousine stopped. There were several other reports made by witneses in or near Dealey Plaza during the assassination.
J.W. Foster was a Dallas policeman stationed on the railroad overpass at the corner of Elm, Main and Commerce Streets. In a statement to the FBI made on Mar. 26, 1964, he said: “Immediately after President Kennedy was struck with a second bullet, the car in which he was riding pulled to the curb …” (CD 897, pg. 20)
Foster testified before the Warren Commission but was never asked about what he told the FBI.
This movement of the limousine is verified by witness Roy Truly, who testified that, "I saw the President's car swerve to the left and stop." (3 H 221)
Dallas police officer Marrion L. Baker, a Dallas police motorcyclist who was on Houston Street when the first shot was fired, testified to the Warren Commission that shortly after the assassination “Several officers said it stopped completely.” When then asked whether he had heard from other Dallas police officers that the limousine had stopped, he testified: “Yes, sir; that it had completely stopped, and then for a moment there, and then they rushed on out to Parkland.” (3 H 266)
One of those officers who spoke to Baker was motorcycle officer James Chaney who told him that “from the time the first shot rang out, the car stopped completely, pulled to the left, and stopped.” (ibid.)
Chaney was the inside rider at the right rear of the limousine. Two days after the assassination he was quoted in the Houston Chronicle as repeating what he had told Baker; that the limousine stopped immediately after the first shot.
Chaney was never called to testify before the Warren Commission.
Officer Bobby Hargis was the inside rider at the left rear of the limousine. According to an undated, unpublished transcript of an interview he had with the Dallas Times-Herald, Hargis told repeated: “I felt blood hit me in the face, and the presidential car stopped immediately after that and stayed stopped about half a second, then took off at a high rate of speed.”
Officer B.J. Martin was the outside rider at the left rear of the limousine. He was interviewed by researchers Fred Newcomb and Perry Adams and told them, as reported in their unpublished 1974 manuscript Murder from Within, that he observed the limousine stop for “just a moment.”
William Newman and his family were the closest to Kennedy when he was shot. Newman said in an interview with William Law and Ian Griggs that, "the car momentarily stopped. Now everywhere you read about it, you never read about the car stopping. And when I say stopped, I mean very momentarily, like they hit the brakes and just a few seconds passed and then they floorboarded and accelerated past." ( Dealey Plaza Echo, Volume 2, Issue 1, pg. 7 )
In his affidavit, Billy Lovelady, an employee of the Texas School Book Depository, said "I recall that following the shooting, I ran toward the spot where President Kennedy's car had stopped." (22 H 662)
Hugh Betzner was taking pictures on Houston St. near Elm and tried to run after the limo to get more pictures as it proceeded down Elm. He was interviewed after the assassination in the Dallas County Sheriff's Dept. and told them that "I could see the President's car and another one and they looked like the cars were stopped. Then I saw a flash of pink like someone standing up and sitting down in the car." (Decker Exhibit 5323, 19 H 467)
Betzner's description indicates that the cars were stopped BEFORE the head shot.
Maurice Orr, a Wamix Ready-Mix Concrete employee was standing on the north side of Elm St between the lamposts, one of the last spectators on that side of the street. He indicated that the motorcade had stopped.
www.maryferrell.org/showDoc.html?docId=40392#relPageId=82
Senator Ralph Yarborough ( D-Texas ), who was riding two cars behind Kennedy, was interviewed by Geraldo Rivera in 1975. Twice during that interview, he said that the car stopped.
The vagaries of eyewitness testimony are well known. But it's difficult to believe that all of these witnesses could have simply been mistaken about what they observed.
Were they all suffering from the same mass hallucination?
This seems extremely unlikely, however, because the film itself may hold the answer to whether or not it was edited.
More Evidence Of Editing: Blurred vs. Sharp Frames
In his testimony before the Warren Commission, Zapruder said that the cause of the blurred frames was because he was moving the camera.
"..they weren't very clear, for the simple reason that on the telephoto lens it's good to take stills---when you move---did you ever have binoculars and every time you move everything is exaggerated in the move---that's why they are kind of blurred---the movement." (7 H 572)
So if the blurred frames were caused by Zapruder moving the camera in order to keep up with the movement of the limo, by his own admission the "clear" frame ( 312 ) must have been caused by the camera taking a "still". And that clear frame could not have been created by the camera being still and the limo moving at the same time.
The limo would had to have been stopped as well.
I wondered if it could have been possible to edit out the stop and would the finished product look like the limo just slowed down?
I decided to do an experiment using my home computer and editing software.
I recorded my index finger ( simulating the movement of the limousine ) from left to right. Part way, I stopped it for about two seconds, then resumed the movement.
I then copied the video and edited out the 2 second stop. I combined the two versions:
This editing out of the stop resulted in my finger looking like it just slowed down.
I believe that this experiment proves that the stop could have been edited out and the resulting film would show that the vehicle had only slowed down when it completely stopped.
More Evidence Of Editing: Missing Frames
The extant Zapruder film is missing frames 208-211. These frames are significant because it is within these frames that the Warren Commission said the first shot was fired. (Z-210)
How did they know that the first shot was fired at Frame 210 when frame 210 isn't in the film?
If the Zapruder film was altered, why for example, does it still show a headshot throwing JFK to the left and backward, indicating the shot came from the right front?
It would have been impossible to alter the film in such a way as to depict the movement of the head as being anything other than what it was. For example, you couldn't have the head moving forward without running the frames in reverse.
That would have required starting with the wound and ending up with no wound. It just couldn't be done.
Under those circumstances, those responsible for the editing of the original Zapruder film ( CIA ) would have been forced to retain the headshot frames.
Keep in mind that this film was never intended to be released to the public.
However, the chance of a leaked version ever seeing the light of day showing images of the limousine stopping during the assassination would have been infinitely more devastating to the Secret Service and would have been proof of SS complicity.
What would Americans say or think about conspiracy theories if they were to watch a film showing the President’s car suddenly stopping to allow bullets to blow his brains out?
Why Would You Alter The Zapruder Film, But Not The Other Films?
There IS evidence that other films of the assassination have been tampered with as well.
Orville Nix was filming the motorcade from the plaza on the south side of Elm St., on the opposite side of the limo from Zapruder. He turned his film over to the FBI on December 1, 1963. In 1966, he was interviewed by attorney/author Mark Lane. He told Lane that his film "got lost in the processing plant" and that when he got it back, it was missing frames.
The film being "lost in the processing plant" destroys its chain-of-possession. There's no telling who possessed it or for how long and leaves open the possibility that this film was indeed tampered with.
For decades, the Warrennati have cried out that the Zapruder film could not have been altered because it synchronizes with the Nix and Muchmore films.
But if the Nix film was missing frames, how could that be?
Marie Muchmore filmed the motorcade from the same side as Nix, on the south side of Elm. Like Zapruder, her video has an interesting anomaly just before the head shot.
This anomaly begins with a frame with two large black lines across the entire image.
In a subsequent frame, the image then appears to separate into a top half and a bottom half.
Then there is a following frame with the same two large black lines across the image.
I found this very interesting, especially the frame that appeared to be split. I noticed that the motorcycle antennas on the top half were askew from the antennas on the bottom half.
I wondered what would happen if I lined them up so I did. The problem with lining up the images in the frame is that it leaves the edges of the frame itself misaligned.
I believe that this proves that this frame is a composite frame, the top half from one frame and the bottom half of another. This is why the images don't line up in the frame and why the edges of the frame don't line up when the images do. I believe the top half is the limo stopped and the bottom half when they get going.
It's funny how the Warren Commission apologists have no problem believing ONE witness who says it was Oswald, but can't bring themselves to believe 10 or 20 witnesses who claimed to have seen the same thing.