Thomas M. Atkins

[John Iacoletti]

In any photographic image that even mildly threatens to challenge his "The Evil, Evil, Evil CIA Did It" CT, all Iacolletti can see is blobs.

Tommy likes to make up stories about what people believe and what photographic blobs are.  It's sad, really.

[Thomas Graves]

Even if it only remotely threatens his precious, anti-CIA Conspiracy Theories, Iacoletti even has a hard time distinguishing:

1) Black-plastic-framed-glasses from disconnected tree branches/floating shadows/and-or an ounce or two of really badly applied mascara,

2) dark-skinned American Indians from lilly-white Caucasians,

3) and ... oh my god ... WOMEN FROM MEN!!

-- MWT 

[Larry Trotter]

Added to the actions of the PersonImages in CameraCar3 (2nd SteelBlue ChevroletConvertible), just after passing the entrance to the DallasCountySheriff'sBuilding on Main St, with a number of SheriffDeputies outside observing the Motorcade, and then turning onto Houston St, is to me indicative of a response to something.

Bob Jackson (right rear of that car) had just tossed an envelope with a roll of film in it to a coworker on the corner. The wind caught it and the coworker had to chase it. They were watching and laughing when the first shot sounded.

Most likely what was happening, thanks.

In any event, if indeed the reference to BobJackson (right rear of that car) is indicative of CameraCar3 (2nd steel blue '64 Chevrolet Convertible), is there any information about the arm waving/tossing motion of the GentlemanImage in CameraCar2 (1st steel blue '64 ChevroletConvertible)?

[Royell Storing]

In any photographic image that even mildly threatens to challenge his "The Evil, Evil, Evil CIA Did It" CT, all Iacolletti can see is blobs.

-- MWT 

    Multiple people on this Forum saying they do Not see what 2 of you Claim to see on Blurry Images has Nothing to do with the CIA or a Conspiracy Theory of some sort. Stop chasing after things that go bump in the night.

[Royell Storing]

In any event, if indeed the reference to BobJackson (right rear of that car) is indicative of CameraCar3 (2nd steel blue '64 Chevrolet Convertible), is there any information about the arm waving/tossing motion of the GentlemanImage in CameraCar2 (1st steel blue '64 ChevroletConvertible)?

    Please remember the Camera Men in all 3 cars are Jammed into these vehicles amidst jostling with their cumbersome cameras, winding them, loading them, and even sometimes lighting & going through the motions of smoking cigarette(s). Their arms and bodies in general are frequently in motion.

[James Hackerott]

Charles,
This stabilized version shows a little more detail, but I still wouldn't want to say he is checking his watch (he could be, but I can't tell). There is a slight 'interference' just as the motorcycle rider (McLain) leaves the frame to the left. There is a film splice just at this time when Atkins appears to jerk his head.

When composing the stabilized GIF in reply #4, I saw something I've not noticed before. At 18 frames in the full Hughes clip, Camera Car #3 is smoothly ending its turn to Houston street but then abruptly takes a jump forward of about 3 feet in just 1 frame. This is about 3 times faster than the film's rate. At a frame rate of 18.3 fps (Dale Myers} each frame clocks about 55 ms. A car speed of 10 mph would advance 14-15 ft per second (0.8 ft per frame), or 3 feet in 206 ms. At 5 mph the interval is still less than half a second.

Basically, the film is missing 3-4 frames during this forward jump, which would be typical of a simple frame splice. But here is the rub. There is no splice bracketing this event. A careful analysis of the scene frames, as well as for 20 or more scenes filmed by Hughes, shows a startup frame (first frame overexposure) for the first frame following the jump. Meaning Hughes released and then enabled the shutter in the blink of an eye. Intentional, or reflexive actions? The head turns noted by Charles Collins of  Atkins and his left side passenger in Camera Car#1 follow by about 1 second.

James

[Charles Collins]

When composing the stabilized GIF in reply #4, I saw something I've not noticed before. At 18 frames in the full Hughes clip, Camera Car #3 is smoothly ending its turn to Houston street but then abruptly takes a jump forward of about 3 feet in just 1 frame. This is about 3 times faster than the film's rate. At a frame rate of 18.3 fps (Dale Myers} each frame clocks about 55 ms. A car speed of 10 mph would advance 14-15 ft per second (0.8 ft per frame), or 3 feet in 206 ms. At 5 mph the interval is still less than half a second.

Basically, the film is missing 3-4 frames during this forward jump, which would be typical of a simple frame splice. But here is the rub. There is no splice bracketing this event. A careful analysis of the scene frames, as well as for 20 or more scenes filmed by Hughes, shows a startup frame (first frame overexposure) for the first frame following the jump. Meaning Hughes released and then enabled the shutter in the blink of an eye. Intentional, or reflexive actions? The head turns noted by Charles Collins of  Atkins and his left side passenger in Camera Car#1 follow by about 1 second.

James

Interesting, it appears to me that the car hesitates at this point. Is that only due to the slowed speed of your clip? Or, are there multiple frames of the car in that same position?

[James Hackerott]

Interesting, it appears to me that the car hesitates at this point. Is that only due to the slowed speed of your clip? Or, are there multiple frames of the car in that same position?

Sorry, I did not explain the entire animation was slowed 5x for the two frames (last of first segment and first of second segment) slowed 5x slower yet. This was done to help draw the eye to where the jump is most obvious but also to allow the viewer time to estimate just how much the motorcade moved during the pause. I used CC2's left rear tire to estimate a forward movement of about 1.5 tire diameters. Of course, it is not just CC2 affected by the pause. Look at the stabilized animation from reply #4. Watch how CC1 smoothly decreases in size as it moves further from the camera until there is a subtle but sudden change in apparent size as if frames were removed. Not removed but never filmed. The shift forward comes before the splice that follows.  Here is the last animation slowed consistently 5x.