Thursday, January 7, 2016

"Cinque is giving a false description to the film.  It has the very same edit as was used in every documentary that shows Oswald coming off the elevator and going into the Homicide and Robbery Bureau.  This same edit is in the "Three Shots That Changed America." So, this "edit" is nothing new, nor unique to what I'm showing."

Oh yeah? Well, it's not the same edit as this one. And why is this so much better, Backes? I thought you said there were portable lights flooding the hallway. 
Not spliced, Brad? Here is the frame of Oswald being led off the elevator. Note the time.

Then, 5 seconds later, Oswald has now got his shirt on properly, and instead of being led by a cop in uniform, he's being led by a detective in a suit and a Stetson hat.

Next Oswald is being led into the Homicide bureau, supposedly, but the camera is on the other side of him. Remember before that the camera was behind and all we could see was the hat of the big tall cop which was at the bottom of the screen. But here, we've got a camera on the opposite side shooting Oswald.

And then inside the Homicide Division, it looks totally different again. Now, there is a camera in front of Oswald. We didn't see that in the other one. And it can't be the same camera as the previous frame because how could that guy be in position to take both?

And you didn't address any of the issues, I raised, Backes. Why is the camera field so high in this frame? To the point that all we can see is the tall cop's hat, which is at the bottom of the frame?

Give me your technobabble excuse for that one, Backes.

And note that this definitely is a splice. It jumped to this. 

And why is the quality so bad once they get inside when there are versions that are much better.

I call this the "Mother frame" because in most versions, it precedes the squad room scene. But these look great compared to the crap Backes put up.

Now, don't be talking about floodlights or any of your bull shit because these look good. You hear me? These look good.

What comes next is bizarre: a jump from where the camera is way behind the big cop to in front of him.

That's within 1 second that it jumps from behind to in front, where we are seeing his face. The same cameraman did that? In less than a second?

Once inside it jumps to the bait and switch.

So first, we get a glimpse of the Lovelady I call DeNiro. Then it' s the curtain frame. And then, wahlah, the linebacker cop steps aside, and we have the Embedded Lovelady. Different men.

On the right, where's his collar, Backes? Why don't we see it like on the guy on the left? More floodlights?

And why are their sideburns different?

On the right, the sideburn is shorter (trimmed higher) but the hair is longer. So how can it be the same guy, Backes?

You're bloodied, Backes! You swim in the blood of John Kennedy every day of your miserable life. You didn't address these issues before. So, address them now. Otherwise, I'll keep putting them up. 

No comments:

Post a Comment

Note: Only a member of this blog may post a comment.