In all probability, the photographer does not know Leavelle. He doesn't know anybody- except Oswald, the person he is there to film.
So, that's Harold Wolf on the right, the assistant to the ambulance driver Michael Hardin. I don't know who the other guy is who is conveniently covering up Oswald. It's the same guy who had his arm outstretched in the first frame. Then, we see his arm outstretched again.
So, I presume that he is someone in law enforcement. Notice that he has his arm outstretched perpendicular, like Christ on the Cross.
So, we should see that in the other film, right? Because, after all, this is real.
So, there you see that there was a cop there, and he had his arm out, but it's not perpendicular, like Christ on the Cross. And, it never is. And, from this angle, shouldn't we see the other photographer? Shouldn't he be behind him? Let's go back:
So, the photographer has to be behind him, and he can't be too tall. So, why don't we see him in the other frame? Shouldn't we?
OK, returning now to the newly discovered footage, he continues keeping his arm out.
But then, it puffs up.
That's a fraction of a second later there, so what happened? Did the photographer move in closer to the cop? Why? What for? The camera can't see through him.
Now, Dhority is starting to get out. The arm seems lower. After this, there is a film break; a cut; a splice to something else. There is definitely a break.
It very suddenly jumps to that. But, how could it? Our photographer had his movie camera running, right? He didn't stop it, did he? So, what does it mean that it should suddenly jump to this? Was this done in post-production? Was the film edited? Was it clipped? But, that doesn't make sense? Why would anyone clip it? To save a second or two because it was eating into commercial time? And what kind of camera is that that guy is holding? He's really shooting down, isn't he? So, we should see him in the other footage too, right? I found this, but it was much later.
That's the Bieb in the center and Graves on the right. And that cameraman seems to be shooting straight down. But, going back to the other:
I tell you, the guy who took this had to be the all-time loser among media photographers. He had to settle for taking pictures of other photographers taking pictures of what he should have been taking pictures of.
But, we are no longer at the back of the ambulance. So, what happened? Why the break?
Then, it goes to a herd scene.
Oh, that is so valuable. Historic.
After that, it jumps to inside the hospital, but for some reason, he pointed the camera at the ceiling:
Then, he gets a nice shot of someone else getting a nice shot.
What's clear is that this is a propaganda piece whose purpose is to make you think you've seen something, when you haven't. Think about it a moment: this is footage of Oswald arriving at Parkland hospital which shows not the slightest glimpse of Oswald.