Of course, the Zapruder film was heavily altered to hide that. And fortunately, recognition of Zapruder film alteration is widespread in the JFK community.
But, I want you to think about something: if they altered the Zapruder film, why would they stop at that? If they had the mindset to alter images, they wouldn't have limited it to one film. If they were going to alter ANY film, it means they were ready, willing, and able to alter EVERY film- as needed.
The Head Explosion:
As discussed earlier in this paper, Dino Brugioni opined during his July 9, 2011 interview with the author that the head explosion seen today in the extant Zapruder film is markedly different from what he saw on 11/23/63, when he worked with what he is certain was the camera-original film. The head explosion he recalls was much bigger than the one seen today in frame 313 of the extant film (going “three or four feet into the air”); was a “white cloud” that did not exhibit any of the pink or red color seen in frame 313 today; and was of such a duration that he is quite sure that in the film he viewed in 1963, there were many more frames than just one graphically depicting the fatal head shot on the film he viewed in 1963. Mr. Brugioni cannot, and does not, accept frame 313 of the extant Zapruder film as an accurate or complete representation of the fatal head shot he saw in the camera-original Zapruder film on the Saturday evening following President Kennedy’s assassination.
He is supported in this view by two other opinions.
Erwin Schwartz, Abraham Zapruder’s business partner, told interviewer Noel Twyman on November 21, 1994 that when he viewed the original film on Friday, November 22, 1963, he saw biological debris from the head explosion propelled to the left rear of the President when he viewed the film. This debris pattern is not visible on the film today, but dovetails with the consistent recollections of motorcycle officer Bobby W. Hargis, who was hit with great force at the time of the head shot by debris travelling to the left rear.[32]
Similarly, professional surveyors Robert West and Chester Breneman performed the first of several site surveys of Dealey Plaza that they participated in on Monday, November 25, 1963—for LIFE magazine. Breneman was quoted in the Fort Worth Star-Telegram on April 14, 1978 as saying that in using the color prints of individual Zapruder frames provided by LIFE, he could see in some of the prints “large blobs of blood and brain matter flying from Kennedy’s head to the rear of the car.”[33] Whether his remembered date for the LIFE-sponsored survey is precisely accurate or not, the important factor here is that he sawdebris traveling to the rear of the President in enlargements made from individual frames of the Zapruder film—imagery that is not seen in the extant film today. If his recollection that those images were provided by LIFE was correct, it suggests covert collusion between some at LIFE magazine and the U.S. government—namely, a joint effort to determine exactly what did happen in Dealey Plaza, apparently using frames from the unaltered Zapruder film.
Given the decades-long ties between LIFE’s publisher, C. D. Jackson, and the U.S. Intelligence Community, such collusion would not be surprising, particularly given LIFE magazine’s history of false reporting in its December 6, 1963 issue about the imagery in the Zapruder film, and its suppression of the film as a motion picture for almost 12 years.[34] It seems clear to me that David Wrone got it all wrong in his book when he assessed LIFE’s primary motive in its dealings with the Zapruder film as profit-driven. On the contrary, spending an additional $100,000.00 dollars on Monday, November 25th (beyond the original $50,000.00 spent on Saturday, November 23rd) to secure motion picture rights and total ownership of the film, and then never exploiting the film commercially as a motion picture for twelve years, speaks to suppression as the primary motive, rather than profit.
Altered Head Wound Imagery:
California resident Sydney Wilkinson purchased a 35 mm dupe negative of the Zapruder film from the National Archives in 2008—a third generation rendition, according to the Archives—and with the assistance of her husband, who is a video editor at a major post-production film house in Hollywood, commissioned both “HD” scans (1920 x 1080 pixels per scan) of each frame of the dupe negative, as well as “6K” scans of each frame. Because the Zapruder film’s image, from edge to edge, only partially fills each 35 mm film frame obtained from the Archives, the so-called “6K” scan of each frame is therefore ‘only’ the equivalent of a “4K” image, i.e., 4096 x 3112 pixels, for each Zapruder frame imaged. Each Zapruder frame scan still constitutes an enormous amount of information: 72.9 MB, or 12.7 million pixels per frame. These “4K equivalent” scans of the Zapruder film used by this couple to conduct their forensic, scientific study of the assassination images are 10-bit log color DPX scans, otherwise known in common parlance as “flat scans.” These logarithmic color scans bring out much more information in the shadows than would the linear color normally viewed on our television screens and computers. Therefore, much more information in each Zapruder film frame is revealed by these logarithmic scans, than would be revealed in a linear color scan of the same frame.
As reported in the author’s book, numerous Hollywood film industry editors, colorists, and restoration experts have viewed the “6K” scans of the Zapruder film as part of the couple’s ongoing forensic investigation. In the logarithmic color scans there are many frames (notably 317, 321, and 323) which show what appear to be “black patches,” or crude animation, obscuring the hair on the back of JFK’s head. The blacked-out areas just happen to coincide precisely with the location of the avulsed, baseball-sized exit wound in the right rear of JFK’s head seen by the Parkland Hospital treatment staff, in Dallas, on the day he was assassinated. In the opinion of virtually all of the dozens of motion picture film professionals who have viewed the Zapruder film “6K” scans, the dark patches do not look like natural shadows, and appear quite anomalous. Some of these film industry professionals—in particular, two film restoration experts accustomed to looking at visual effects in hundreds of 1950s and 1960s era films—have declared that the aforementioned frames are proof that the Zapruder film has been altered, and that it was crudely done.[35] If true, this explains LIFE’s decision to suppress the film as a motion picture for twelve years, lest its alteration be discovered by any professionals using it in a broadcast.
The extant Zapruder film also depicts a large head wound in the top and right side of President Kennedy’s skull—most notably in frames 335 and 337—that was not seen by any of the treatment staff at Parkand Hospital.
The implication here is that if the true exit wound on President Kennedy’s head can be obscured in the Zapruder film through use of aerial imaging (i.e., self-matting animation, applied to each frame’s image via an animation stand married to an optical printer)—as revealed by the “6K” scans of the 35 mm dupe negative—then the same technique could be used to add a desired exit wound, one consistent with the cover story of a lone shooter firing from behind.
The apparent alteration of the Zapruder film seen in the area of the rear of JFK’s head in the “6K” scans is consistent with the capabilities believed to have been in place at “Hawkeyeworks” in 1963.
In a recent critique of the author’s Zapruder film alteration hypothesis, retired Kodak film chemist (and former ARRB consultant, from 1997-1998), Roland Zavada, quoted professor Raymond Fielding, author of the famous 1965 textbook mentioned above on visual special effects, as saying that it would be impossible for anyone to have altered an 8 mm film in 1963 without leaving artifacts that could be easily detected. I completely agree with this assessment attributed to professor Fielding, and I firmly believe that the logarithmic color, “6K,” 10-bit, DPX scans made of each frame of the 35 mm dupe negative of the Zapruder film have discovered just that: blatant and unmistakable artifacts of the film’s alteration.
Critics of this ongoing forensic investigation in California have tried to dismiss the interim findings by displaying other, dissimilar images from the Zapruder film that have been processed in linear color (not logarithmic color), and in some cases are also using inferior images of the Zapruder film of much poorer resolution than the 6K scans, or images from the film in which the linear color contrast has been adjusted and manipulated (i.e., darkened). Saying that “it just isn’t so” is not an adequate defense for those who desperately cling to belief in the Zapruder film’s authenticity, when the empirical proof (the untainted and raw imagery) exists to back up the fact that it is so. Anyone else who purchases a 35 mm dupe negative of the Zapruder film from the National Archives for $795.00, and who expends the time and money to run “6K” scans of each frame, will end up with the same imagery Sydney Wilkinson has today, for her scans simply record what is present on the extant film in the National Archives; she and her husband have done nothing to alter the images in any way. Their scans simply record what is present on the extant film.
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