December 12, 1967 



Memorandum 



R o: The_Sgeo d of Zapruder 's camera and FBI Agent Barrett's report 

Cn pago 184 of Harold Weisberg's book, "Whitewash II: The 
FBI-Secret Sorvic© Ccverup (Hyattstown,Md . : Harold Weisberg, 1966) 
is published the FBI report 6f .Agent Robert M. Barrett, dated 
12/4/63, of an Interview with Abraham Zapruder. The report contains 
tho following statements: "He stated his camera was fully wound, 
was set, manually, on maximum zoom-ions. The camera was sot 

speed movie film or 24 frames per second." (emphasis 

- added). 

Lyndal ohaneyfelt testifies ( 5H160) that Zaprudor's camera. 

was clocked, in the FBI lab, at 18.3 frames per second. 

m, t ^Zaprudsr ' g camera 

dOoiah Thompson's research indicates that /didn't ©von have 

a 24 frame per second speed. In his book, "six Seconds in Dallas" 

(New York: Bernard Gels Associates, 19677 he states (page 16): 

"On Decomber 8 wo learned from Mr. Jones, Boll & Howell's 

public relations director, that Zapruder ' s camera had four settings : 

(1) "Single Frame') (2) "stop," (3) "Run"— set at the factory 

at 18 frames per second— and (4) "slow motion"— 48 frames per 

second. Mr. Jonas also told us that the Bell & Hcwell Company checked 

tha speed of the camera and found it to run within .1 second of 

tho FBI-determined 18.3 frames per second." 

In view of the fact that Zaprud©r's camera had no 24 framos/second 
setting, and in vie w of tha fact that both tha FBI AND Bell & Sowell 
each tested tha camara and found that it ran at 18.3 frames/second, 
the question remains as to how FBI agent Barrett came to write 
the confusing and erroneous statements that appear in his report. 

The purpose of this memorandum is to shew that this probably 
cams about because FBI agent Earnest confused camera speed with film 
speed. 




The author in no way condones the fact that the Commission 
die! not publish the Barrett report, or deal with the information 
therein, which apparently contradicts Shanoyfelt 1 s testimony 
regarding the Zaprud e r camera speed. The purpose of this memo is 
to explain, in the clearest and simplest way, what the author 
thinks arc those technicalities which, confused Barrett in his 
interview with Zapruder. 

At the end of the memo, we deal with tho fact that a 
certain reenactment film ran " 30 % faster" than the Zapruder film, 
a point also stressed by Mr. Welsberg. 

Here are the various points Involved in the explanation 
referred to above. 

(1) l' There is film speed and there is camera speed. They 
are different entities, to wit: 

a ) Camera speed tells you how many frames per second a 
motion picture camera is exposing. This refers to the actual 
mechanical speed of the motion picture camera, and does HOT 
a PPly to still cameras. It is a parameter that applies to 
movie cameras, only. 

b) Film speed has to do with the light-sensitive, properties 
of photographic film (both movie film, and still film.) 

There is "fast film" and there is"slow film". If you were taking 
pictures In a brightly lit room, indoors, you would need to use 
film that was more sensitive to light than if you were taking- 
pictures outdoors, in bright sunlight. Therefore, you might want 
to use "faster" film. 

Thus, there is FAST film and SLOW film. This is quite different 
from whether a particular moving picture camera runs FAST or SLOW. 

(2) Tho parameter that is a measure of a film's "film speed" 
is its "ASA number". This is called its "ASA rating", or its 
"ASA number", or simply, its "film speed". 




(3) It is a fact that Kodachrome Daylight Type II filn has an 
A,S.At number of 25. (See Memorandum Exhibit 2) 

(^ ) It is also a fact that Kodachromo Type Ha film, a film 
used for indo 0 r photography, has an A.S.A. number of 40 o 
(See Memorandum Exhibit 2) 

(5) Kodachrome Typo IIA film is a film do signed for indoor uso 0 
That is why it has a higher A.S.A. number. It is more sensitive t 0 
light; this i3 what makes it an indoor film. This indoor film can 

bs used outdoors, when an appropriate (salmon colored) filter 
is put in place over the Ions of the camera. (This can be dnno 
manually, or a control can bo operated on the camera which 
inserts such a filter in front of the Inns, if tho photographer 
has indoor (ASA 4o) film in the camera, but is taking pictures 
outdoors . ) 

(6) In taking pictures, ono uses a light meter to determine the 
proper lens oponing. Cno points tha light motor at tha seen® 

to bo photographed , takes a reading, and' sots the lsns on tho 
camera accordingly. Tho lens opening is read on a scale of tho 
light meter. 

(7) Tho Ions opening determines how much light will feat through 

to tho film insido tho camera. It is a fact that, for given lighting, 
there would be different satisfactory lsns openings, depending on 
the light-sensitive properties of tho film that is insido tho camera. 
Tho noedlo of tho photocell of the light-meter swings out to a certain 
point, depending upon the illumination. But tho light meter does 
rot know what type of film is in tho camera. This is information 
that must ba '’told" to the light mater . This is why light maters 
have a variety of different "scales" which can bo read. 

The scale chosen on the light meter (tha scale on'which one roads 
the lens opening) is determined by tho film used. Specifically, 
it is determined by the film speed , or the "ASA number". 




Many light rasters are designed so that one turns a knob which 
causes all but OKS scale to bo masked off. An instruction sheet 
tells the user of the light meter which seal© he should bo using 
for different ASA numbers ogj the various films. 

Choosing the scale on the light mater is equivalent to telling 
the light meter what type of film is in ths camera (is: what 
ASA number). With that information, ths light meter thn than 
give tho correct Ions opening for the scene at which is is pointed. 

(8) Sloctric-oyo cameras 

In elceti'ic © ye camer a s, th© light motor functi c n is incorporated 
directly into the camera itself. When one points the camera at 
a scene to bs filmed, an electric cyo photocell sets the lens of 
tho camera to 1st tho proper amount of light fall on the film. 

Again, fob given lighting intensity, different Ions© openings 
would be required depending on ths typo of film (ie : film speed) 
that is being used. In other words, different lenso openings would 
bs required, for giv a n lighting, depending on th© ASA number of 
ths film insido ths &lecti'i , c eye camera. 

Just as the user of a light meter has to know which 3 calo 
to read (depending on tho ASA number of tho film being usod), 
sc tho oloctric oyo mechanism of an elsctSic eyo camera has to 
bo told ths AS A number of tho film insido tho camera, so that it 
can set th® lsnso corractly. 

T h©refore, alectric eyo cameras have a knob, associated with 
tho electric eyo mechanism, which ono turns to the film speed 
number of tho film being usod inside ths electric oyo camera. 

This is distinct from (and not to be confused with) the 
knob one turns to set the mechanical spaed at which the camera 
runs (in frames por second). 

Electric eye cameras which run at mor© than one spaed will 
have BOTH knobs— —on* for film speed, ono for camera spssd. 



— kl 




(See Memorandum Exhibit 2; Not © "film speed dial� on top of 
camera on page 8 of tho instruction- booklet that is reproduced 
thore. This camera doss net run at different camera speeds, 
and so has no "camera speed" knot. This is a Keystone K 810 
instruction booklet. Orville Nix was using this type of camera.) 

(9) Non electric eys cameras only havo a camera spool, on the camera. 

In this case, the photographer is aware of th© fact that ho has 

sat his lenso for the given light (and film speed) when he uses 
his light mater, and reads that scale designed to give Ions 
openings for tho particular film spood involved. 

(10 ) Gonsider, for the moment, the Nix camera. 

Shanoyfelt testifies (5 H l6o): "Th© Nix and Muchmore cameras • 
wore both found (to run) around 18.5 frames par second. " 

Whereas Robert M. Barrott interviewed Zaprudor, the FBI ssnt 
out Joo Bo Abernathy to interview Orville Nix. His report 
of the interview is dated 12/2/63, and is published as 
Commission Exhibit No. 2109 ( 24 H 539). (See Memorandum Exhibit 1). 

FBI Agent Abernathy writes; " Nix further advised that tho 
camsra spopd with which he took the abov e movie was believod to 
ba 40 frames per soccnd. He was using a Keystone ‘Zoom lens, 8 millimeter 
camera and had the spood sot on normal. It was also set on automatic 
eyo." (Emphasis added.) 

(11) If true, the above report would bo much worse for tha Commission's 
case than the Barrett report. After all, the difference between 

18 and 24 frames per second is "only" 3Q^. The difference 

between 18 frames per second and 40 frames per second is about 130/] 

At 40 frames per second, the elapsed time between frame 210 and 

frams 313, for example, would-be only 2.58 sscondl At that camera 
second 

s Feed, the 2 .3/minimuni firing tims of tha rifis would bo 92 film frames. 
Thus, the entire assassination would bo over in 2.58 seconds, and 




the "4.2 frame. constraint" would now become a gigantic �92 frame 
constraint" . 

The Carcano operator would barely be able to operate the 
bolt once before frame 3l3 rolled around, and all shots had 
been fired! 

Therefors, if y 0 u want to cits obstanlss to the Commission's 
case, tho place to start is with th© published .Abernathy report- — - 
which boosts tha sps 9 d of the assassination 130$--—- not tha 
unpublished Barrett report, which "only" boosts the speed by 30$. 



Wo now have the thoroughly mixed up situation in which 
Shanoyfelt , Abernathy, ana Barrett all give mutually inconsistent 
camera speeds. 



Ths timo between frame 210 and frame 313 is :: 



ia) 5.6 seconds (Shanoyfolt, using Zaprudor camera at 18.3) 
(Shanoyfelt, using Nix camera at 18.5) 

b) 4.3 seconds (Barrett, using Zaprudor camera at 24) 

c) 2.58 seconds (Abernathy, using Nix camera at 40) 

What is really amazing is Specter's total equanimity in tho 

facs of two FBI reports which contradicted Lyndal Shansyfolt's 
testimony regarding ths camera speeds. 

(12) Apparently, Abernathy had second thoughts about his FBI 
report of December 2, 1963, with its galloping camera speed 
of FORTY framss per second. Besides, if Abernathy contacted the 
Keystone people, he wo&Bd find that their popular Zoom lens 
camera with ths electric eye, the model K 810 , only runs at 
16 frames per second and at NO OTHER SPEED . (Ses Memorandum Exhibit 
2 and 3. There is only one operating position shown on page 9. 

This is "run". A factory rap told mo this is factory sot at 16 
frames per second. Furthermore, not® that there is no other 
control on tho camera to sot at any other camera speeds.) 

Therefore, Abernathy wont bach and interviewed Nix again. 

This report is dated 1/29/64. it is CS 2110.(24 H 539). (See Memorandum 

.... “ 6 — 




Exhibit 1). 



This report states two facts that are important. 

a) Camera typo and model; 

...Keystone Auto Zoom, Model K-810, 8 mm movie camera...� 

b) The type of film used: 

In addition to information previously furnished by him 
on_Doc emb er 1, 1963 , he said the sotting was at 40 and ho was 
using the zoom lens with Type A film when he photographed the 
Presidential Mot 0 rcado in Dallas on November 22, 1953.� (Emphasis added.) 

It is interesting to note that Abornaty actually goes to the 
trouble of protecting himself by using language that suggests 
that Nix "withheld" information at thoir first interview. 

So much for the psychology of FBI agents. 

(13) £r 0 ra the Keystone K-810 instruction booklet, wo loarn that: 

. a) Type A film has an ASA number of' 40 (see page 8 reproduced 
in Memorandum Exhibit 2 ) - 

b) Built into tha came a is an A.S.A. Film Speed Dial. This 
dial enables you to set the "Electric Eye� to agree with 
the speed of the film to be used in the camera." 

(See page 8 of booklet, Memorandum Exhibit 2) 

c) The camera comes equipped with a filter to that indoor 
film {AS A 40, "Type A" film) can be used outdoors,, The booklet 
says (see page 8, Memorandum Exhibit 2): 

"When using indoor film outdoors move the filter lever 
to "TYPE A" position..." 

(i^> Tungsten illm is in the camera, one would then set tha 
ASA film dial on 40). 

(14) A perfectly reasonable explanation of Abernathy’s first FBI 
.report is that he confused f lira speed and camera speed. 

If he is not a photo-bug, this would be an extepmely simple thing 

for hl ° to haTO Eaoa -V- B1:t was uslns 




shows . 



he would have to set the film creed dial at 40, if it was a 
tungsten film, as the chart on page 8 of tho instruction booklet 
-An FBI agent who is not up on these things could easily think 
Fix meant Ms camera was running at 4o frames per second, 
which would, be extremely slow motion . 

(li ) Wo finally come to theBarrett report. Barrett, reaeber, 
states that Zaprduer's camera was running at 24 frames per second* 

Or does ho? His exact wording is: 

Tho camera was sot to take normal spsod movie film or 24frames 
per second." 



Zaprdder was using ordinary outdoor f ilm (Kodachromo Daylight Type II) 
Such film has an ABA number of 25, 

It Is, perfectly reasonable that Barrett made a similar 
mis tcko as | Abernathy , and mistook film speed for camora speed 0 
If this is the cause of Barrett's error, then he compounded it 
a bit by also changing 25 to 24* (And 24 'is, at least, a very 
common camera speed on SOME cameras, though it is not on Zapruder's.) 

(l£' In summary, Nix's camera only runs at cns factory seg speed. 

That speed is 16 frames per second. 

Nix was using indoor type A film, which has an AS A number of 40. 

Abernathy reported Nix's camera speed as 40 frames per second 
in his firgt report. 

Zapruder 1 s camera runs at only 18 frames per second, and at 
48 frames per second. Zapruder was using outdoor film that has 
an ASA film speed number of 25, 



Nix ) 
Each 



Barrett reported his camera speed at 24 frames per second. 

It is hh© author's opinion that both Abernathy (in the case of 
and Barrett (in the case of Zapruder) made similar errors, 
confused film speed with ca mera speed. (And Barrett subtracted 



one digit, so that at least the number would agree with a commonly 
used camera speed.) 




In Shaneyfelt ’ s testimony appears the following : 

"l found, in examining the film, that this (the tfte span 
between 222 and 313 on a reenactment film) is a shorter span of 
time than in the actual (Zapruder) film. It is a span on the reenactment 
of about three and a half seconds between 222 and 313..." (5H176) 

At 18.3 frames per second, the elapsed time for the 91 frames 
between 222 and 313 on the Zapruder film is 4.97 seconds. 

How much significance can we attach to Shaneyfelt' s admission 
that tht reenactment film o takes 3.5 seconds to do what Zapruder's 
film does in 4.97 seconds! 

Weisberg notes that this tyro of error woulcfbs consistent with 
Barrett's 24 frames per second. But it would. be "consistent with 
a whole lot of other error-introducing factors, too. 

I dcn J t think that the two are related. Note that thero 
is an independent explanation for Barrett AM) Abernathy's report, 
if they, are in enuor. 

Assuming they arc both in error, then that still leaves the 
question unabfawered as to why the FBI reenactment is off by this 
amount . 

It is important to realize that although 3.5 and 4.97 seconds 
may differ by 30#, the fact remains that wo are dealing with an 
absolute time segment her® of 1.4 seconds. Any of the following 
factors might account for this: 

1) l ? he FEI's location of " frame 210" or some other important 
marker frjame, is off by a few feat. (11 mph is 16.1 feat per second. 

'%is means that errors causing a shortening of distances totaling 
16.1 feet' would be required to account for a one second error in 
elapsed time IF the car runs exactly at 11 mph.) 

2) The FBI’s car may not have been going at exactly 11 mph. 

3) Reenactment camera speed may not have been exact. Or* 
additionally, the projection speed might- be off. 

Although all this should have been investigated and accounted for, 

I don t think the situation justifies relating t hi s issue to the 
question of Barrett's report. 

Barrett's report is provably false, simply because it is 
physcially impossible for Zapruder's camera to run at that 
speed . 

To attempt, in the light of this, to relate the 30# error 
that WOULD HAVE RESULTED, HAD IT BEEN TRUE, to a 30# error that 
apparently exists in the reenactment film, comes dangerously 
c lo 3e to being sheer numerology. There is no logics! relationship 
there . 

.Only if the BarreSt Report had stood up would it be possible 
to argue that it might be the answer to the 30# reenactment 
discrepancy. But it doesn t, so w© have no right to consider 
it in that light. 



David S. Lifton 
December 12, 1967 

11818# Dorothy St., 

Los Angeles, Calif., 9004 S 







FEDERAL, BUREAU OF INVESTIGATION 











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Memorandum Exhibit 1 



539 of Volume 24 (CS 



2109 & CE 2110)' 





^ 2 



f.-.Lar' 

x~» ■; V-’ « 



sening 5*0 

is designed for use 



X:I 

i i i i j i 



K /?•) : 

* / f-'s 



8mm color or black 

,71 



Your "Electric Eye" is designed for use with 
and white film 

F !l ' in, ° th f camera is an A.S.A. Film Speed Dial. This dial enable! 
t Y OU ,0 , Se . t th L e "E-ectric Eye" to agree with the speed of the film to 
| os used in the camera. 

It is important to remember to set the dial to agree with the A.S A 
number of the film to be used in the camera. When using indoor 
film outdoors move the filter lever to "TYPE A" position and set 
A.S.A. Film Index Dial to A.S.A. 25 for Kodachrome, Type HA. 
Example: If using A.S.A. 25 (outdoor Kodachrome Type II) set the 
dial so that the marking adjacent to the number 25 lines up with the 
white dot on the top of the camera. 

The A.S.A. Film Index Dial can be set between the numbers when 
using film speeds other than those on the dial. 

The new Daylight Type Ansco Moviechrome Color Film (ASA 20) 
has been provided for by the mark between 16 and 25 on 
rilm Index Dial. 

Each film type is designated by a film index number set by 
A.S.A (American Standards Association). These indices are shown 
m table below and in the pamphlet packed with your film 



the 



the 



FILM TYPE 



A. S. A. EXPOSURE INDEX 


DAYLIGHT 


TUNGSTEN 


KODACHROME DAYLIGHT TYPE IT 


25 


12** 


KODACHROME TYPE HA 


25* 


40 


ANSCO MOVIECHROME DAYLIGHT TYPE 


20 


10** 


ANSCO MOVIECHROME TYPE A 


10*** 


16 




*WITH DAYLIGHT CONVERSION FILTER 
FOR TYPE A COLOR FILM. 

*WITH NUMBER 80B FILTER. 

‘WITH 85 (TYPE A) FILTER. 



Memorandum Exhibit 2 

(pages 2 & 8 of Keys tone Model K 810 instruction bo obi 





*» 



O j_' 0 j cJ i ! 




1. Wind camera motor. 

2. Set A.S.A. dial. (Page 8) 

3. Set lens opening dial to "AUTO" or "MAN- 
UAL". (Pages 6 & 11) 

4. Set filter lever to correct position ("No Fil- 
ter" for Outdoor Kodachrome). (Page 8) 

5. Open cover and load camera. (Pages 4 
& 5) 

6. Frame subject in viewfinder. (Page 6) 

7. Hold camera steady. 

DO NOT BLOCK ELECTRIC EYE WINDOW. 

8. Press operating lever. (Page 9) 

9. Wind camera after each scene. 



CAUTION: 

As with all movie cameras panning is not rec- 
ommended, especially in the telephoto position. 
However when following a subject (as a child at 
play) your camera will automatically expose cor- 
rectly even if you should pan or move camera 
during a scene. If panning is done hold camera 
steady and pan as slowly as possible. 




Ij 

lJ 



Before loading the film wind your cam- 
era motor. Lift the winding handle out 
of the recess in the case and flip it over 
into the winding position. Turn the wind- 
ing handle clockwise until the camera 
motor is fully wound. After winding, 
turn the winding handle counter-clockwise 
and push it into the recess in the case. 





run . . . 

The operating lever is shown in the run position. 
This is the normal operating position. 




LOCK â–º 
RUN â–º 

SINGLE â–º 



lock run ... 

The lock run position is particularly useful when 
the camera is mounted on a tripod and the op- 
erator wishes to get into the scene being taken. 




single frame . . . 

The operating lever is shown in the single frame 
position. Single frame operation is similar to that 
of a still picture in that one picture is exposed 
at a time. It is particularly useful for making 
animated titles or other special effects. 



Memorandum Exhibit 3 



(pages 3 & 9 of Keystone Model K 810 



instruct i 0 n 



booklet ) 








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y'; /. . â–  - : . 

' â– ' â–  .;â–  â– : â–  ; - 

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mmm