Then there was a different event that involved DINO BRUGIONI.
Brugioni was the
Chief Information Officer at NPIC for about 25 years.
He was known as the “Briefing Board Czar.”
Brugioni presided over a distinctly different “briefing board event” than McMahon and Hunter…at NPIC the weekend following the assassination.
Brugioni ALSO used a distinctly different Zapruder film than McMahon.
Brugioni was the
Chief Information Officer at NPIC for about 25 years.
He was known as the “Briefing Board Czar.”
Brugioni presided over a distinctly different “briefing board event” than McMahon and Hunter…at NPIC the weekend following the assassination.
Brugioni ALSO used a distinctly different Zapruder film than McMahon.
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Brugiioni’s crew was entirely different than McMahon’s.
The numbers of enlargements that were made by Brugioni…differed significantly than McMahon’s.
The number of briefing boards made by Brugioni was different than McMahon’s.
The format of the briefing boards made at Brugioni’s event was distinctly different than McMahon’s.
Most significantly…
the format of the Zapruder film delivered at Brugioni’s NPIC event was DISTINCTLY DIFFERENT than the format of the Zapruder film that was delivered at McMahon’s NPIC event!!
The numbers of enlargements that were made by Brugioni…differed significantly than McMahon’s.
The number of briefing boards made by Brugioni was different than McMahon’s.
The format of the briefing boards made at Brugioni’s event was distinctly different than McMahon’s.
Most significantly…
the format of the Zapruder film delivered at Brugioni’s NPIC event was DISTINCTLY DIFFERENT than the format of the Zapruder film that was delivered at McMahon’s NPIC event!!
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Yet each man believed, without any doubt, that he was working with the original Zapruder film.
Brugioni’s event occurred only one day apart from McMahon’s.
Brugioni’s event occurred only one day apart from McMahon’s.
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At the time, back in 1963, both McMahon and Brugioni were each led to believe they were working with the “original film,” but clearly, only one of them could have been.
Brugioni was working with the real film. Saturday.
McMahon was working with the altered film. Sunday.
☝️he didn’t know it wasn’t the original.
Brugioni was working with the real film. Saturday.
McMahon was working with the altered film. Sunday.
☝️he didn’t know it wasn’t the original.
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Zapruder immediately relinquished the camera-original film to LIFE for a six day period…and kept the one remaining “same day copy.”
By the terms of this initial contract with LIFE, Zapruder was to have the original film returned to him by LIFE on November 29th.
In exchange, he was then to give LIFE the remaining first day copy.
By the terms of this initial contract with LIFE, Zapruder was to have the original film returned to him by LIFE on November 29th.
In exchange, he was then to give LIFE the remaining first day copy.
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Sunday, November 24th:
On Sunday evening, LIFE approached Abraham Zapruder on the phone and requested that they meet to negotiate LIFE’s acquisition of additional rights to the film.
Something” had happened that caused the magazine to seek all rights to the film, including motion picture rights, and outright ownership of both the original film, and all copies!!!
On Sunday evening, LIFE approached Abraham Zapruder on the phone and requested that they meet to negotiate LIFE’s acquisition of additional rights to the film.
Something” had happened that caused the magazine to seek all rights to the film, including motion picture rights, and outright ownership of both the original film, and all copies!!!
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Something weird was going on.
Why did ((they)) want the original, his copy, and all rights to make movies off his film?
Why did ((they)) want the original, his copy, and all rights to make movies off his film?
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Briefing Boards placed in the National Archives by the CIA in 1993 are not the briefing boards that were prepared by Dino Brugioni’s team.
In the years 2009 and 2011 Brugioni was shown good photographs of each of these four briefing board panels. He consistently and emphatically denied that the four panels in the JFK Records Collection are the ones he made in 1963!!
Remember, Brugioni made “briefing boards” off the original Zapruder film.
In the years 2009 and 2011 Brugioni was shown good photographs of each of these four briefing board panels. He consistently and emphatically denied that the four panels in the JFK Records Collection are the ones he made in 1963!!
Remember, Brugioni made “briefing boards” off the original Zapruder film.
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A few of the many facts that let DINO BRUGIONI know they weren’t his Briefing Boards:
The frame numbers and the magnification factor his group placed at the top of each board, are not present on the Archive briefing boards.
The four panels in the Archive contain 28 prints…not the 12 to 15 prints he made for his briefing boards.
Why would they add more?
The 4 briefing board panels at the Archives contain different information and a different layout, than what Brugioni placed on his briefing boards.
The frame numbers and the magnification factor his group placed at the top of each board, are not present on the Archive briefing boards.
The four panels in the Archive contain 28 prints…not the 12 to 15 prints he made for his briefing boards.
Why would they add more?
The 4 briefing board panels at the Archives contain different information and a different layout, than what Brugioni placed on his briefing boards.
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The “head explosion” seen in the Zapruder film (frame 313) at the National Archives today…
IS NOT AT ALL CONSISTENT with the head explosion Brugioni saw on November 23, 1963.
Brugioni stated that the head explosion he viewed was a large “white cloud” that surrounded President Kennedy’s head,
and was not pink or red, as was seen in the Zapruder film.
IS NOT AT ALL CONSISTENT with the head explosion Brugioni saw on November 23, 1963.
Brugioni stated that the head explosion he viewed was a large “white cloud” that surrounded President Kennedy’s head,
and was not pink or red, as was seen in the Zapruder film.
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NPIC EVENT # 2 (Presided over by Homer McMahon. With Ben Hunter).
Secret Service Agent Bill Smith delivered an ”unslit, double 8” home movie film, 16 mm wide” to Homer McMahon & Ben Hunter…both who worked at NPIC… that same weekend after JFK’s assassination.
McMahon was told by Bill Smith that “a patriotic citizen in Dallas had donated the camera-original film to the Secret Service out of a sense of duty, and that the individual did not want to make any money off of the film, and so he had given it to the Secret Service for free.”
Hmmm.
Secret Service Agent Bill Smith delivered an ”unslit, double 8” home movie film, 16 mm wide” to Homer McMahon & Ben Hunter…both who worked at NPIC… that same weekend after JFK’s assassination.
McMahon was told by Bill Smith that “a patriotic citizen in Dallas had donated the camera-original film to the Secret Service out of a sense of duty, and that the individual did not want to make any money off of the film, and so he had given it to the Secret Service for free.”
Hmmm.
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Bill Smith told McMahon he had personally couriered the undeveloped film himself to a Top Secret Kodak film lab called “Hawkeyeworks,” in Rochester, N.Y. Here is where the film was developed.
The personnel at the Top Secret lab had subsequently referred Bill Smith back to NPIC in Washington DC for the making of individual frame enlargements and briefing boards.
The personnel at the Top Secret lab had subsequently referred Bill Smith back to NPIC in Washington DC for the making of individual frame enlargements and briefing boards.
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