Improved Views of the Quick Forward Snap
9 December 2003
Mr. Alexandre le Bienheureux of Brussels has provided the best
graphical view of JFK's quick forward snap that I have seen so far. He has been
gracious enough to allow me to post it here. He took images of frames 312
through 315 from John Masland's site (http://www.jmasland.com/z_frames.htm).
To the image of a given frame he then added the images of the next frame in four
25% steps. Each transitional image appears for 1/2 second, the images of the
starting and ending frames for 1 second. Here is the result. You can clearly see the
head snap forward between 312 and 313. You can then see the head and body begin
to lurch rearward around 315.
I had to view this sequence many times to absorb all of its
detail. Don't be surprised if you have to, as well. Good luck! This is important
stuff, for it shows that the killing shot came from the rear.
This work is also important because it allows anyone to see the reality of the forward snap, which has come under some revisionism lately from David Wimp and others. But they are wrong, as you can see for yourself here.
12 December 2003
Here is a broader and longer view of the forward snap and the
beginning of the rearward lurch, also provided by Alexandre. He used better
images for this work. The sequence starts at 311 and continues through 317. View
it repeatedly, and you will see not only JFK's motions, but the lack of
corresponding motions by any of the other passengers. This gives the lie to
ideas that an deceleration of the car caused any of the motions—it
didn't happen that way.
I also think I see a quick little rearward snap in 314 (sort
of a "pop-back") right after the forward snap. If so, it would likely be a
visible manifestation of the jet effect. Comments by viewers would be
appreciated.
311–317
Alexandre has also provided separate small-scale animations for 311–316, 312–313, 313–314, and 314–315. I encourage anyone who wants to focus on details (where the Devil is in this case) to study these little sequences. To my eye, they show even more strongly the snap in 313, a little pop-back at 314, and the beginning of the big lurch in 315.
311–316
312–313
313–314
314–315
