This just in from Doug Horne:
First, I want to thank Jeff for posting this interview (without yet watching it) in spite of the fact that he has always been skeptical about the Zapruder film’s supposed alteration (which I believe really did happen, for a host of reasons). This speaks well to his attitude about evidence; i.e., his willingness to consider new evidence and to follow wherever it may lead, and to permit and even encourage open debate, rather than suppressing uncomfortable or opposing opinions expressed by others. Thanks, Jeff, for supporting the scientific method.
Second, some of the comments in this thread following the video reveal that others are simply not as familiar with this material as I am, or that they may not have fully paid attention during the interview. I hope the points I make below are useful to anyone who watches the video:
(1) This video, as useful as it is, is not intended to be the “final word” on the 2 NPIC events. It complements a 19,000 word footnoted research paper, or essay, that I posted on the Lew Rockwell site back in 2012, which I encourage everyone who is interested in this video to read, in its entirety. Subjects are covered in more detail in the essay than was possible in this interview. In particular, you will learn much more about the “other” NPIC event with the Z film, event # 2, from the essay. Here is the link:
(2) The 8 mm projector: Bill Banfield procured the 8 mm home movie projector late Saturday night at the Fuller d’Albert photo shop in downtown D.C. after asking the owner to open up the shop for important govt. business that night. The NPIC, according to Dino, already had a good business relationship with that store. I do not know whether Bill Banfield (the Head of the Graphics Dept.) paid for the projector with his own money and got reimbursed, or whether he gave a verbal IOU to the shop owner and then cut a govt. purchase document after the fact. The bottom line is that one way or another, the NPIC paid for the projector. The NPIC was a joint-service national intelligence asset, administered by the CIA.
(3) One comment incorrectly stated that the 8 mm projector was used again the next night at event # 2 to view the Z film again. This is not correct, and in fact would have been impossible. Only the Z film delivered Saturday night, 11/23, for event # 1, was a “slit” 8 mm film. The Z film delivered the next night, on 11/24 (what I call event # 2), was an UNSLIT double-8 film which was 16 mm wide. It mimicked an out-of-camera, as-yet-unslit camera original double 8 home movie, and as far as Homer McMahon was concerned, WAS an “out of camera” original.
What the video does not cover (but which my long essay does cover) is that NPIC had installed, on-site, both 16 mm and 35 mm film projectors. The source of this information was Homer McMahon, the Head of the Color Lab, who presided over NPIC event # 2, starting late on 11/24. (I interviewed him 3 times in 1997, and one of the interviews was recorded on audiotape and is available from the Archives.)
(4) Zapruder did not have “four copies” on 11/22. He had an out-of-camera ORIGINAL, and three “first-day copies” exposed on a contact printer at the Jamieson Lab, and then developed at the Kodak Lab after Zapruder returned there with the 3 undeveloped contact prints. Zapruder’s out-of-camera original was flown to Chicago by LIFE on Saturday afternoon (11/23), and Zapruder kept one of the first day copies all weekend (and showed it to Dan Rather on Monday, 11/25 according to Richard Trask). The other two first day copies were loaned by Zapruder to the Secret Service in Dallas on Friday night. (I misspoke in the interview and said this happened Saturday. It really happened Friday night.)
One was flown to Secret Service HQ late Friday night and arrived early Saturday morning, before dawn, according to David Wrone. The second “first day copy” loaned by Zapruder to the S.S. on Friday night was loaned to the local FBI office Saturday morning. They (the FBI) flew it to Baltimore Saturday night (11/23) and it was being viewed by Cartha DeLoach and others at FBI HQ early Sunday morning just after midnight (11/24). Just as Dan Rather observed on Monday, Cartha DeLoach wrote in his memoirs that JFK’s head went sharply FORWARD when he watched the film. (These two corroborating observations are strong indicators that the extant film in the Archives today is an alteration.) The loaned first-day copy at FBI HQ was returned to Dallas on Tuesday, 11/24, I believe.
(4) Clearly, anyone who is going to alter a film like this is also going to swap out the copies. You can’t copy the original and suppress it, and then have three unaltered versions of the original floating around. My hypothesis certainly does suppose that the three “first generation copies” that exist today [one at the 6FM in Dallas and the other two at the Archives] are NOT true “first day copies,” but are the swaps, i.e., copies of the altered film. And indeed, the three first generation copies that exist today do indeed mirror the content in the “extant” film in cold storage at the Archives. My hypothesis presumes the 3 copies were also made at Hawkeyeworks in Rochester, soon after the new so-called “original” (which was intended to mimic an out-of-camera original film) was created there. I presume that the swaps were done on Monday, 11/25 (the day of JFK’s funeral) because soon after that, copies began to proliferate (the FBI made copies of its copy before sending it back to Dallas on Tuesday). Any swap-outs in Washington HAD to be made on Monday; Zapruder had to give up his “first day copy” to LIFE soon after the resale of the film to LIFE on Monday.
(5) Too complicated, you say? No. Consider this. There are two strong indications that the three first generation copies today are NOT the “same day copies” being viewed the weekend of the assassination (by Rather, DeLoach, Zapruder, Swartz, and others).
First, they are “bracketed” exposures: one is too dark, one is just right, and one is a bit light. And yet the lab technician who first answered Rollie Zavada’s question in 1997/98 stated that the Jamieson lab had NOT, repeat NOT bracketed the 3 contact prints when they were exposed. The Jamieson lab used the same light pack for all three contact prints. (The ARRB’s Kodak consultant Rollie Zavada, who exhibits a bias in favor of authenticity, later jawboned Bruce Jamieson, a-la Arlen Specter, and got Jamieson to agree to a leading speculative question that the 3 contact prints “may” have been bracketed after all. But the first answer Zavada got when he posed the question was: “we did not bracket the 3 exposures.”
Now, an additional indicator that the 3 first generation copies today are not the same as the 3 “first day copies” is this: the lab techs at Jamieson thought (in 1997) that they had used a “full aperture” setting on their contact printer that would have meant the much studied intersprocket image content on the true camera original film should have been REPRODUCED on all 3 first day copies. And yet, on the 3 first generation copies today, there are NO intersprocket images, and the area between the sprocket holes is black, which means that the original was masked off when they were made. So, the three first generation. copies today are not consistent with the aperture setting used at the Jamieson lab.
(6) All three first generation copies today exhibit the same blacking out of the back of JFK’s head (frames 317, 321, 323 in particular), because they are copies of the extant film in cold storage in the Archives. So Jim DiEugenio’s comment on this score, as I read his comment, was incorrect. But the 35 mm dup. negative of the forensic copy at the Archives—purchased by Sydney Wilkinson in California—is being used to study the anomalies in image content, because it of much better quality.
(7) We do not know whether the two briefing boards made by Brugioni and his team at event # 1 still exist or not. All we know is that the CIA did not cough them up to the ARRB. (No surprise there.) They (the CIA) had no problem offering up the 4 briefing board panels from event # 2 since all the prints on those panels match the extant film in the Archives.
(8) In response to another comment in this thread, if the car stop was removed, then that optical excision also removed the forward head movement seen by Rather and DeLoach. I do not believe it would have been possible to remove the car stop without a massive “jump cut” unless Zapruder had pushed the “slow motion” button on his camera and was really filming at 48 fps instead of 16. All the camera operator had to do to triple the frame rate and shoot at so-called “slow motion” was press downward on the operating switch with a little additional pressure. I believe Zapruder shot at 48 fps, and this may explain why the turn from Houston to Elm is not present in the film today—the change in frame rate and exposure which would have been obvious for many frames, once Zapruder hit the “slow motion” switch, probably had to be removed. If they had not been, anyone studying the film today would ask, “where are the missing frames?”
(9) My work with the medical evidence and the work of most JFK researchers posits that there was not just “one head shot,” to respond to another question in this thread. Dr. David Mantik and I believe there were three (3) head shots that hit President Kennedy: one low in the back of the head, from behind; one high above the right eye (high in the forehead, at the hairline, which was hidden by his bangs at Parkland Hosp.), from the right front; and one in the right temple just forward of and slightly above the right ear, also from the right front (a different location), which caused the big blowout in the back of the head seen by Clint Hill and everyone at Parkland.
I think that is enough for this venue. I strongly encourage anyone who wants to study the 2 NPIC events in more detail to use the link above and read the long essay posted at Lew Rockwell.