Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

Continuing now with the comparisons, this is 2 seconds later.

So, Zapruder had his camera turned up a little more, catching more of the wall beyond the grass. But, the reenactor captured all of the street, whereas Zapruder didn't catch any of the street. He barely caught the side of the limo. So, to me, this is already a non-credible view. It isn't the natural way that people film a subject. Your natural instinct tells you to center him. Not perfectly, necessarily, but reasonably. That isn't reasonable. So, I think they started cutting the bottoms of the frames as part of the process of excluding the real Stemmons freeway sign from the film.  

After this, as I continued in 2 second intervals, I lost the wall, and it was just grass and road. 

So, that's 3 jumps, with a 2 second interval between jumps, so 6 seconds. The white vertical line on the right represents when he had the camera squarely in front of him, corresponding to 313.  After that, he was starting to turn right; shooting from behind. 

It's well accepted that it was right at 313, the fatal head shot, that JFK was even with Zapruder. That's how it's drawn on the plats. So, I went to the Zapruder film to get what there is from 252 to 313. 

Notice that it took a while to get to grass only. Because of their shenanigans with the phony sign, the limo was ahead of the background.  For the background, that is a greater distance from where we left off (252) to where we wound up (313). They had more background to cover between 252 and 313 than they had road to cover for the limo. So, how did they get JFK to arrive at 313 in line with Zapruder? They deleted frames from the background, and they probably had the background running at a faster speed than the limo. It's like they created two separate films; then adjusted the speed of each; and then re-stacked them, letting each run at its own speed. 

This was a very high-tech thing, and the means to do it did not exist in 1963. Ironically, electronic editing was born in 1963 with the Ampex EDITEC allowing the editing of video without physical cutting or splicing, but, it was still rudimentary. The big jump came in 1971 with the CMX 600, also known as the RAVE machine  (Random Access Video Editor). It was the first computer-powered, non-linear film editor. It cost $250,000, and that was in 1971 dollars. So, figure what? About $2 mil today? It's disc drives were as large as washing machines. 

The Zapruder film wasn't shown to the public until 1975, and it was because they had to wait on technological advances before they could accomplish all the editing they needed to do in order to tell the story they wanted to tell. 

I don't think there is any need for me to continue with this because they had it cinched up at 313, and after that, it was pretty straightforward and smooth-sailing (for them). But, what a quest, evil as it was.