Introduction to the Report
I have been aware of the Patterson-Gimlin film since it was first announced over 40 years ago, and
I have kept a passing interest in it over the years. But in January 2008, I decided to take a more focused look at the film, and discussions
about it on the internet. My original intention was to simply study the film's subject from the standpoint of a professional artist
who had made creature suits for films, TV and commercials for many years, applying my knowledge of suits, masks, prosthetics, and
the like to this analysis.
But as I immersed myself in the discussions and reviewed the film and still image material, I began
to see that there were issues and controversies of the film beyond the mere discussion of the subject walking through that film. And
I observed that there was an intense debate between people who argue the subject is a real Bigfoot creature, and people who argue
that the subject is a human wearing a fur costume and merely performing a hoaxed event for the camera. But what intrigued me the most
is that this debate seemed to make no progress either way, regardless of how passionately people on both sides of the issue argued
their evidence and theories. I would have thought that after 40 plus years of intense debate and astonishing depths of research not
only on the film but as well in the lives of the people associated with it, the problem would have been solved. It has not.
So
my own research analysis shifted to a different level of focus. I chose to approach the film as a problem needing a solution, and
I applied problem-solving methodologies to the analysis. My report on this analysis is still a work-in-progress, but I have chosen
to release some information in steps, rather than the full and final report in one release.
This website will be the centralized
location for information about the report, and information about any programs, lectures, or other media projects where the report
may be described.
The REVISED Release
Log page will be the main location of actual Report material, and contains information about licensing the Digital Model and material
for other purposes, or use by other parties. The OVERVIEW Page will also assist you in navigating through the material.
In terms
of my qualification and professional background, a brief summary is HERE. For a more complete resume, I have another website of my
career achievements ( The Bill Munns Creature Gallery ) and so I believe it will suffice here to merely link to that site, rather
than duplicate it on this site. So for all information on my professional and artistic endeavors, go to:
www.billmunnscreaturegallery.com
If you have any questions about this report, or licensing the Digital Site Model data for research
or media endeavors, you may contact me at:
Acknowledgments
I want to extend my appreciation to the following people for their assistance in my research and this report:
Chris
Murphy, for his invaluable advice, photo archives, knowledge of the film, and graciously loaning me the K-100 camera for my filming
tests.
John Green, for consenting to let me scan one of his film copies showing the film in its original full frame form, essential
for the photpogrammetry work.
Patricia Patterson, for her consent to allow me to do the scanning work
Daniel Perez, for
providing me with the 15mm lens needed for my camera tests, so essential to verify my lens discovery, and for his invaluable assistance
during the filming tests I conducted.
Matt Thomas, a friend, who helped in the filming tests
and I reasonably should acknowledge
the Skeptical community, because they have on occasion asked an intelligent question which challenged me to re-think my work and assumptions,
and strengthen my research work.