The Physical Film
Generally, people studying the Patterson-Gimlin Film (PGF) tend to focus their attention on the
subject figure walking through it, but the physical film itself has a lot of valuable information that may help us make a final determination
about the question of whether the filmed subject is a real biological entity as it appears, or a human in a fur costume.
So this
aspect of the report and website is focusing on the physical film itself, and the specific topics and issues included in that general
category of study. I will begin with a description and analysis of the PGF itself, as a physical film, and the significance of this
information on the question of its authenticity. That will be followed by Reference Material, which explains how the film is studied,
especially how various copies and still images are made and used. The Reference material will also describe related film footage that
factors into this discussion.
In each topic, I have included a brief statement of relevance, so the potential importance of this
topic can be appreciated from the start, as you read. The single bolded word "Relevance" will be followed by the statement about why
this specific topic is of some significance to the film study.
Some of the material in this topic (particularly in the Reference
Section 3.2.4) was originally presented in earlier Report Releases. So the inclusion of this data here is intended as part of the
re-organization effort to consolidate the information under topics for easier access by future researchers. In some cases, the original
material has been revised or expanded.
3.2.2 - The PGF, Described and Studied
Relevance - Any film invariably captures not
only the image content we see in the frame, but some information about the camera itself, and if handheld, then information about
the camera operator's actions during filming. In this regard, the film can actually tell us some facts about what Roger Patterson
did while he was filming.
Images include examples and explanations of identifying a camera start by the over-exposure which it
generally has, followed by images and examples of the 6 camera starts found in the PG Film.
A discussion of the implications
of the camera starts, and particularly camera start #3, a two frame segment, are presented, leading to a conclusion they indicate
an accidental start/stop (for start #3) and a spontaneous filming activity, not one done with deliberation and preparation. THIS SECTION
IS ALL NEW.
This section also compares data from the film with the remarks of Roger Patterson and Bob Gimlin transcribed from
a radio interview shortly after the filming at Bluff Creek. The data taken from the film tends to corroborate many remarks by the
two men, and contradicts none of the remarks.
3.2.3 - Frame Inventory, Artifacts and Splice Analysis
The value of an inventory, especially one that includes multiple copies
of the film, is that it allows for comparisons of the same frame across multiple copies, which is necessary to make determinations
about film image anomalies (odd shapes, marks, and light patterns which were not on the original, but introduced in the copy process)
and also necessary to address the issue of splicing. In the absence of the camera original to inspect, claims or questions of the
original being spliced can best be handled by looking at multiple copies of the film, the same specific frame (where the inventory
helps immensely to identify the frames), if we find a splice on one copy version but not on others, we can reasonably deduce that
the original camera master was not spliced on that frame in question, and the splicing seen on one copy (but not another) occurred
on a copy, not the original.
The Inventory system is described in detail, and also shows the value when analyzing image anomalies
and splicing questions. THIS SECTION IS EXPANDED TO INCLUDE NEW MATERIAL.
Images include examples and explanations of two film
image anomalies, the "hand" and the "muzzle flash". One splice on a film copy (but not on the original) is also illustrated.
3.2.4.1 - Film Type,
Basic Film Specifications, Full Frame and Cropping
Relevance - The film type used by Roger Patterson becomes important in discussions
of the film processing timeline (Section 3.5.5.2, Hoax Analysis Notes), because Kodachrome is harder to get processed on a weekend
rush order than Ektachrome, and questions of how the film was processed linger over the film's history.
Basic 16mm Film
Specifications.
Relevance - Finding the height of the filmed subject has been an ongoing challenge, and measuring the subject
in relation to the film frame size is part of that equation. So understanding basics about 16mm film specifications can help if you
take an interest in that issue.
Full Frame and Cropping
Relevance - In a Photogrammetry analysis, which includes both
building a high quality digital model of Bluff Creek and for solving the height issue, a true full frame version of the film is necessary.
Cropped versions can be used for most study of the filmed subject, but it helps to know how much of the picture you are actually looking
at. It is important for a researcher to know what kind of version is being studied. This cropping guide illustrates the options.
In
this section, all the common film versions and any cropping of the image to something less than full frame, are illustrated and described.
This has been expanded with two more examples than previously shown in this Report.
3.2.4.2 - Inventory of Materials, Copies, and Prints
Relevance - Some image materials are limited in their analysis potential,
so knowing what type of material you are seeing is useful to define the analysis potential.
This section includes a new description
of how frame captures from DVDs may be distorted, and how they should be rectified for correct proportion. A captured frame from the
LMS DVD using Power DVD Player is offered as an example.
3.2.4.3 - Copy Quality and Genealogy
Relevance - Copy quality affects
the quality of any analysis, so an appraisal of any copy's quality is important, in relation to the type of analysis being performed,
and the film's genealogy (copy family tree, so to speak) will be useful for future studies of this film, by helping finalize copy
quality determinations.
Two analysis methods are shown and described for determining the quality of a PGF copy.
First is
the study of spatial accuracy, or lack of distortion. To explain the technique, a copy generally regarded as superior and complete
in image frame area (such as the Patterson Archive Copy and abbreviated PAC) is used as a baseline standard. Another copy (in the
example below, from a scan of one of John Green's copies) is compared. Four Charts illustrate the method.
A second comparison
is image sharpness and detail, as illustrated below, using a cropped portion of the frame from five copies, and the PAC as baseline
standard. A chart also illustrates this process with comparative examples of 5 copies of the PGF compared.
3.2.4.4 - Analysis
Processes, including Image Stabilization and Animated GIF's
The usage of computer imaging software to analyze the film frame
images from the PGF has greatly expanded our capabilities and allowed us to discover things about the film we might never otherwise
have noticed or been able to document. As noted above, in discussing the camera starts, and also in the section comparing copy quality,
we are using tools that Roger Patterson could never have imagined would exist, much less be applied to analyzing his film and trying
to settle the issue of whether or not it is authentic. THIS SECTION IS NEW.
In that sense, these new technologies are revealing
aspects of the film which are far less likely to be hoaxed or falsified data, because we would not expect a person perpetrating a
hoax to falsify things which the technology of the time could not analyze.
3.2.4.5 - The Camera used, and Camera identifications
This
section describes the Kodak K-100 camera and camera identification shapes built into camera aperture plates. THIS SECTION IS NEW
3.2.4.6 - Camera Runouts and End of Roll Film Washout
The description that Patterson had only about 23 feet of film left on his
100' roll when he encountered the Filmed Subject (PFS) at Bluff Creek, and that he filmed continuously until the full roll of film
was exposed (generally called a camera runout), is not an unusual claim in any respect, but still it is challenged.
These
discussions include frame scans of the various footage, along with explanations of why they have relevance to the PGF study.
3.2.5.1 - First Reel scenes
3.2.5.2 - Second reel scenes (the Trackway)
3.2.5.3 - John Green's Re-enactment with Jim McClarin
NEW PDF in Two Parts P1 P2
3.2.5.4 - Roger's documentary footage - An extensive description of Patterson Documentary Footage
Some Images and material here
are new.
3.2.6 - Copy 8 Analysis
Copy 8 is a 100' segment on 16mm film made from the edited program produced in 1971 by American National
Enterprises (ANE), titled "Bigfoot: Man or Beast". It can still be purchased on DVD today.
Roger Patterson did assist ANE in
the making of this program, and provided some of his footage for program use. Once the actual program was edited and the program print
was made (including some scene cross-dissolves, which must be done with A/B rolls of picture and printed on an Optical Printer), this
show print was then edited to a 100' (about 4 minutes projection time) segment, and an interview of Janos Prohaska was edited out.
The material is otherwise intact as compared to the DVD content. Analysis of this copy (which includes some PGF creature footage,
as well as footage of Roger on horseback, casting a footprint, and a brief trackway segment) has some very helpful material for analysis.
Release 3.2.6B is an in depth analysis of
the film copy data, and will be released soon.
3.2.7 - Revised VFC System
This material describes the new VFC -2 Frame inventory system which I have upgraded, and explains that the current frame count
is 954 frames, differing from the traditional reports of 953 frames. This update also lists the various copies I have scanned or examined.