A Proper Gander At Propaganda


PLEASE NOTE: This is not a conspiracy theory blog.

This website exists to serve as public resource for reverse imagineering world-wide culture, one that takes a critical look at the numerous artifacts and other types of relics that represent our shared collective international heritage. This blog is dedicated to examining social engineering and the use of tax funded governmental propaganda, and the mainstream media, as international human resource management tools.

About The AA Morris Proper Gander At Propaganda Podcast: Coming to you from one of the suburban metropolitan melting pots of international culture, outside of one of the multimedia capitals of the world, New York City, the Proper Gander at Propaganda podcast is meant to be a filter free look at our shared international cultural heritage, our shared social media infused and obsessed present, and what our children and their children could be looking forward to. This link will bring you to the podcast page of this website, with embedded squarespace audio: link: http://www.aamorris.net/podcast/

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AA "The Proper Gander" Morris

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The Ghost Army


"Then he held up a great big picture
So every mouse could see
What a three eyed Siamese cat looked like
The face of the enemy."

Read more:  Bobby Darin - The Proper Gander Lyrics | MetroLyrics


The Governmental backed team of Hollywood artists are the real WMD.

The Ghost Army Trailer


The real "Atomic Weapon" of the 20th Century was the Hollywood Film "Traveling" Matte!


This article explores the faking of the images of War sold to the public as real. It also explores how such war game simulation theater is conducted outside. Please keep an open mind as you read on if the ideas presented here are new to you. and please excuse the occasional typo. Autocorrect is evil.


The Military is More Interested in Programming Human Behavior Than You Might Know


The Military is interested in getting groups of young and impressionable men together, terror conditioning them, and then they like to see what happens next. The Military indoctrinates and propagandizes and programs soldiers who they send home and abroad among the public to influence the behavior of all of us. Some of these people become your mothers and fathers, teachers and police. Some become corporate leaders and social butterfly twitters. Some manage large business interests and some work in advertising shaping public opinion. This conditioning is so foundational to society that anyone who is not even in the Military but who has worked for a corporation, in a very real way, has been exposed to the same kind of "Human Resource" conditioning. Please keep in mind there is internal and external propaganda. There are also many layers of noise and lies, designed to disguise the way things really work.

And no not everyone in the military ends up a mindless preprogrammed drone anymore so than anyone who has been though any of the social systems would. The fact is we are all conditioned to perform rituals like the pledge allegiance to the flag as young children in school. The public education system started off with logical local school house based control. The further away the control goes, the less say as a parent you have over both how your child learns and how your tax money is spent. The money we pay off to Government, comes back attached to governmental strings of cement.

Special Services (entertainment) - Wikipedia

First Special Service Force - Wikipedia



 Evacuations of civilians in Britain during World War II - Wikipedia

 Run For Donald Duck & Cover: The Real Deal of The "Deep State" Revealed!


How To Fake The Physically Improbable: V2 Rocket Strikes The Minds of the Hiding Masses. Hide Underground like Rats and Mice!

“The London deep-level shelters are eight deep-level air-raid shelters that were built under London Underground stations during World War II.”

Obviously when you are scared out of your minds and running away from danger, and especially when hiding underground, you are not going to have any idea about what is really happening above your heads. All you can do is hear noise. When it’s all over the News and Government tell the same story and the few people who didn’t run and hide and who tell you they saw simple deceptions and rigged demolitions will not be believed. It is as simple as that. There is a long history of this exact kind of deception. The Paris Gun myth from World War One is the story that inspired the World War Two one. This is a sequel to that story. Upgraded and reimagined like Hollywood always does. Can you see the same old modus operandi? These events would seem to always have to be inside jobs, with scripted fear based conditioning and ensuing labor and reconstruction of the destruction. We are wage salves who must work to rebuild what was wrecked.

Evacuations of civilians in Britain during World War II - Wikipedia

Paris Gun - Wikipedia

The Blitz - Wikipedia

London deep-level shelters - Wikipedia


Whatever explosives fell from the sky, and whatever flashes their might have been, they would not be what really took the buildings down anymore so than the cartoon passenger jets on 911 could.


Operation Pied Piper:



Zepped makes an appearance on The One Show. Another instance of the worldwide fascination with this unique and mysterious film.


Hollywood Loves Remaking Older Product: Especially War Comic-Comedies


"Zepped is a 1916 propaganda comedy short film about a German Zeppelin attack on London during the First World War. Charlie Chaplin appears in the film, although it is unlikely he himself was involved in the production;[3] Zepped uses previously unknown outtakes of three[3] or four[1] earlier Chaplin films: His New Profession (1914), A Jitney Elopement (1915) and The Tramp (1915), and according to Bonhams, also By the Sea (1915). Another notable feature is the very early use of stop-motion animation.[1]
The only known copy was unknowingly purchased by Morace Park, who bought an old film reel tin on eBay for £3.20 (about $5) in September 2009 and found the nitrate film inside.[1][2][3] He put it up for auction in June 2011 with Bonhams, but the sole bid did not reach the reserve price of £100,000 ($160,000). 
Although the owner discovered a 1917 advertisement in the Manchester Film Renter announcing a trade viewing, it may only have been shown in Egypt.[1] An October 1917 entry in the British Board of Film Censorship's Ledgers says it was "For Export Only", and a Ministry of Interior film censorship certificate displayed at the beginning of the film states it was "Passed for Exhibition in Egypt".  "

Led Zepped - Wikipedia

Led Zeppelin - Stairway to Heaven Live (HD)

Words have Two Meanings. Music is not the same as song. If Music is your Master, there are no lyrics but your own.

song - Online Etymology Dictionary

Music - Online Etymology Dictionary


Operation Pied Piper:



Move and shuffle people around and nobody is there when the bombs “fall”.

Those that are left behind, are underground cowering.


"The evacuation of civilians in Britain during the Second World War was designed to protect civilians in Britain, particularly children, from the risks associated with aerial bombing of cities by moving them to areas thought to be less at risk. Operation Pied Piper, which began on 1 September 1939, officially relocated more than 3.5 million people. Further waves of official evacuation and re-evacuation occurred on the south and east coasts in June 1940, when a seaborne invasion was expected, and from affected cities after the Blitz began in September 1940. There were also official evacuations from the UK to other parts of the British Empire, and many non-official evacuations within and from the UK. Other mass movements of civilians included British citizens arriving from the Channel Islands, and displaced people arriving from continental Europe."


Child evacuees from Bristol arriving at Brent in Devon in 1940

"The Government Evacuation Scheme was developed during summer 1938 by the Anderson Committee and implemented by the Ministry of Health. The country was divided into zones, classified as either "evacuation", "neutral", or "reception", with priority evacuees being moved from the major urban centres and billeted on the available private housing in more rural areas. Each zone covered roughly a third of the population, although several urban areas later bombed had not been classified for evacuation. In early 1939, the reception areas compiled lists of available housing. Space for a couple of thousand people was found, and the government also constructed camps which provided a few thousand additional spaces."

"In summer 1939, the government began to publicise its plan through the local authorities. They had overestimated demand: only half of all school-aged children were moved from the urban areas instead of the expected 80%. There was enormous regional variation: as few as 15% of the children were evacuated from some urban areas, while over 60% of children were evacuated in Manchester and Belfast and Liverpool. The refusal of the central government to spend large sums on preparation also reduced the effectiveness of the plan. In the event over 1,474,000 people were evacuated."

Evacuations of civilians in Britain during World War II - Wikipedia

"The Blitz, from the German word Blitzkrieg meaning 'lightning war', was the name used by the British press to describe the heavy air raids carried out over Britain in 1940 and 1941, during the Second World War.
The German air offensive was concentrated, aimed at the direct bombing of industrial targets and civilian centres which began with heavy raids on London during the latter phase of the battle for air superiority over the United Kingdom which became known as the Battle of Britain."

"By September 1940—two months into the battle—faulty German intelligence suggested that the Royal Air Force (RAF) was close to defeat at the hands of the Luftwaffe. The German air fleets (Luftflotten) were ordered to attack London, thereby drawing up the last remnants of RAF Fighter Command into a battle of annihilation.[4][5] Adolf Hitler and commander-in-chief of the Luftwaffe (German Air Force) Reichsmarschall Hermann Göring, sanctioned the change in emphasis on 6 September 1940."

"From 7 September 1940, one year into the war, London was systematically bombed by the Luftwaffe for 56 out of the following 57 day and nights.[6] On 15 September 1940, a large daylight attack against London was repulsed with significant German losses. Thereafter, the Luftwaffe gradually decreased daylight operations in favour of nocturnal attacks, to avoid RAF defences. The Blitz became a fundamental night bombing campaign after October 1940, when it had become clear the Luftwaffe had failed to meet preconditions for a 1940 launch of Operation Sea Lion, the provisionally planned German invasion of Britain."

"Ports and industrial centres outside London were also attacked. The main Atlantic sea port of Liverpool was bombed. The North Sea port of Hull, a convenient and easily found target or secondary target for bombers unable to locate their primary targets, was subjected to raids in the Hull Blitz during the war. Other ports including Bristol, Cardiff, Portsmouth, Plymouth, Southampton and Swansea were also bombed, as were the industrial cities of Birmingham, Belfast, Coventry, Glasgow, Manchester and Sheffield. More than one million London houses were destroyed or damaged and more than 40,000 civilians were killed, almost half of them in the capital.[1]

The Blitz - Wikipedia


Wars Are Cover For Building Things Like Coca Cola Bottling Plants



Excerpts from the PBS documentary. A summary of what the hour-long video is about. Full video may be available on YouTube. Occasionally available at http://www.pbs.org/program/ghost-army/, or you can buy the DVD.

BOO! Did I Scare You?

Don't buy into the political spin and damage control. Inflatable tanks would quickly reveal the deception once the Nazi's starting attacking the work of the Ghost Army. The real targets were the European human being's mind and the soldiers who were sent overseas to be run through a war game Disneyland style simulation experience. World War Two is more fake than most know. It was a literal theatre of war. It's not that things like friendly fire and other more believable incidents do not happen, it's that the scale and power of the military might has been completely and fantastically exaggerated to cartoonish proportions. Soldiers of different sides killing each other with weapons like guns and conventional explosives makes sense. Magical fleets of magical weaponry, that is obvious Hollywood product, do not.

By the way demolitions is something the Military teaches, right? Demolitions is an art that requires care. Buildings are not demolished from the top down, but in a more careful and deliberate manner. Any real things dropped from airplanes were more than likely flash grenade type fire works pyrotechnics, sort of like what many of us watch on the Fourth of July.


Live Explosives Demolition Training | Military.com

One would think that these people have accidents from time to time, resulting in very real loss of life and limbs and other injuries.



H.G. Wells could not only magically predict an Atom bomb, he could also predict the Blitz of London & World War Two:




"The story of a century: a decades-long second World War leaves plague and anarchy, then a rational state rebuilds civilization and attempts space travel."

Things to Come (1936) - IMDb




Dresden - Wikipedia

Things to Come 1936 - HG WELLS

"This is a Powerful, yet spooky and somewhat cheesy science fiction film made in 1936, produced by Alexander Korda based on the H. G. Wells classic book & brought to the silver screen as a vision of what warfare will bring mankind in the century to follow."  Lushscreamqueen - Schlock Treatment.


Great shades 1960's Era Moon Trips, JFK and the Lee Harvey Oswald-cabal!

cabal (n.) 

1520s, "mystical interpretation of the Old Testament," later "society, small group meeting privately" (1660s), from French cabal, in both senses, from Medieval Latin cabbala (see cabbala). Popularized in English 1673 as an acronym for five intriguing ministers of Charles II (Clifford, Arlington, Buckingham, Ashley, and Lauderdale), which gave the word its sinister connotations.

Cabal - Online Etymology Dictionary

"...All is not well, however. The sculptor Theotocopulos (Cedric Hardwicke) incites the populace to demand a "rest" from all the rush of progress, symbolised by the coming first manned flight around the Moon. The modern-day Luddites are opposed by Oswald Cabal, the head of the governing council and grandson of John Cabal. Oswald Cabal's daughter Catherine (Pearl Argyle) and Maurice Passworthy (Kenneth Villiers) insist on manning the capsule. When a mob later forms and rushes to destroy the space gun, used to propel the projectile toward the Moon, Cabal launches it ahead of schedule.

Later, after the projectile is just a tiny light in the immense night sky, Oswald Cabal delivers a stirring philosophical monologue about what is to come for mankind to his troubled and questioning friend, Raymond Passworthy (Chapman), the father of Maurice. He speaks passionately to progress and humanity's unending quest for knowledge and advancement as it journeys out into immensity of space to conquer the stars and beyond. He concludes with the rhetorical questions, "All the universe or nothingness? Which shall it be, Passworthy? Which shall it be? ..."

Things to Come - Wikipedia

The World Set Free - Wikipedia

  The Special effects for HG WELLS Things To Come were done by these guys:

Special Effects by

Lawrence W. Butler...assistant special effects (as Lawrence Butler) 

Edward Cohen...special effects photographer 

Ned Mann...special effects director 

Ross Jacklin...special effects (uncredited) 

George J. Teague...special photographic effects (uncredited) 

Wally Veevers...assistant special effects (uncredited) 

Harry Zech...special effects (uncredited) 


The 2001 Space Odyssey Novel Makes The Meaning of The Monolith Clear


"To take one specific, in the novel the black monolith found by curious man- apes three million years ago does explicit things which it doesn't do in the film. In the movie, it has an apparent catalytic effect which enables the ape to discover how to use a bone as a weapon-tool. In the novel, the slab becomes milky and luminous and we're told it's a testing and teaching device used by higher intelligences to determine if the apes are worth helping. Was that in the original screenplay? When was it cut out of the film?" Interviewer

"Yes, it was in the original treatment but I eventually decided that to depict the monolith in such an explicit manner would be to run the risk of making it appear no more than an advanced television teaching machine. You can get away with something so literal in print, but I felt that we could create a far more powerful and magical effect by representing it as we did in the film." S. Kubrick

The Kubrick Site: Kubrick's Interview by Joseph Gelmis

Advanced TV = PC


Arthur C. Clarke Predicts the Internet & PC

In 1974 Arthur C. Clarke told the ABC that every household in 2001 will have a computer and be connected all over the world. Courtesy of Australian Broadcasting Corporation.


Welcome to The Machine

 We program your sweet dreams and all your nightmares too, oh and by the way, the World is going to end, coming soon... stay tuned, after this commercial message (break) from our sponsor, we'll be right back...

Charlie Chaplin Eating Machine: A clip from the 1936 film "Modern Times" starring Charlie Chaplin as "The Tramp" struggling to live in modern industrial society with the help of a young homeless woman.

Tragedy and Hope - Wikipedia

"Tragedy and Hope: A History of the World in Our Time is an epic and scholarly work of history written by Carroll Quigley. The book covers the period of roughly 1880 to 1963 and is multidisciplinary in nature though perhaps focusing on the economic problems brought about by the First World War and the impact these had on subsequent events. While global in scope, the book focusses on Western civilization, because Quigley has more familiarity with the West.

The book has attracted the attention of those interested in geopolitics; Quigley asserted that a secret society initially led by Cecil Rhodes, Alfred Milner and others had considerable influence over British and American foreign policy in the first half of the twentieth century. From 1909 to 1913, Milner organized the outer ring of this society as the semi-secret Round Table groups."

John Taylor Gatto discusses Carroll Quigley and Tragedy and Hope: A History of the World in Our Time



Although the 23rd Headquarters Special Troops consisted of only 1,100 soldiers, the contingent used equipment pioneered by British forces such as dummy tanks and artillery, fake aircraft and giant speakers broadcasting the sounds of men and artillery to make the Germans think it was upwards of a two-division 30,000 man force. The unit’s elaborate ruses helped deflect German units from the locations of larger allied combat units.
— Ghost Army - Wikipedia

"..One Night Stands and like Ghosts Disappear..." &  “In 1942 They Began Exploring the In’s and Out’s.."

Two quotes from the Ghost Amry documentary Voice over Narration: Please Watch

Coming out - Wikipedia

The Ghost Army English Movie New Action Movies 2015 full English Full HD ✘✘ Sniper Ghost Warrior After glorious victories, old soldier Thomas Beckett returns to life with commonly leisurely .

Is any of this "Ghost Army" Narrative really logical? It all seems very childish to me.

We have a bunch of non-combat trained artists who are making fake weaponry to act as a real targets for the infamous Nazi Power! Does this make any real sense at all? Logic and reason have to mean something. This is all very silly mass produced early 20th Century pulp-comic strip inspired nonsense. The "Ghost Army" seems like a Saturday Morning Cartoon Show more so than a serious threat to anything but common sense. How long do you think decoy targets would last against real enemy firepower? This is a Hollywood joke.


General Eisenhower and Coca-Cola plants: The Coca-Cola Company


How to Fake War Outside:


"The Ghost Army was a Allied Army tactical deception unit during World War II officially known as the 23rd Headquarters Special Troops (operation quicksilver). The 1,100-man unit was given a unique mission within the Allied Army: to impersonate other Allied Army units to deceive the enemy. From a few weeks after D-Day, when they landed in France, until the end of the war, they put on a "traveling road show" utilizing inflatable tanks, sound trucks, fake radio transmissions, scripts and pretence. They staged more than 20 battlefield deceptions, often operating very close to the front lines. Their story was kept secret for more than 40 years after the war, and elements of it remain classified. The unit was the subject of a PBS documentary The Ghost Army in 2013."

"Inspiration for the unit came from the British units who had honed the deception technique for the battle of El Alamein in late 1942, as Operation Bertram. The unit had its beginnings at Camp Forrest, Tennessee, and was fully formed at Pine Camp, NY (now Fort Drum), before sailing for the United Kingdom in early May 1944. In Britain they were based near Stratford upon Avon, and troops participated in Operation Fortitude, the British-designed and led D-Day deception of a landing force designated for the Pas-de-Calais."

"Some troops went to Normandy two weeks after D-Day, where they simulated a fake Mulberry harbour at night with lights which attempted to draw German artillery from the real ones. After which the entire Unit assisted in tying up the German defenders of Brest by simulating a larger force than was actually encircling them.

As the Allied armies moved east, so did the 23rd, and it eventually was based within Luxembourg, from where it engaged in deceptions of crossings of the Ruhr river, positions along the Maginot Line, Hürtgen Forest, and finally a major crossing of the Rhine to draw German troops away from the actual sites.

Ghost soldiers were encouraged to use their brains and talent to mislead, deceive and befuddle the German Army. Many were recruited from art schools, advertising agencies and other venues that encourage creative thinking. In civilian life, ghost soldiers had been artists, architects, actors, set designers and engineers.

Although the 23rd Headquarters Special Troops consisted of only 1,100 soldiers, the contingent used equipment pioneered by British forces such as dummy tanks and artillery, fake aircraft and giant speakers broadcasting the sounds of men and artillery to make the Germans think it was upwards of a two-division 30,000 man force. The unit's elaborate ruses helped deflect German units from the locations of larger allied combat units.

The unit consisted of the 406th Combat Engineers (which handled security), the 603rd Camouflage Engineers, the 3132 Signal Service Company Special and the Signal Company Special."


Visual deception

"The visual deception arm of the Ghost Army was the 603rd Camouflage Engineers. It was equipped with inflatable tanks,[5] cannons, jeeps, trucks, and airplanes that the men would inflate with air compressors, and then camouflage imperfectly so that enemy air reconnaissance could see them. They could create dummy airfields, troop bivouacs (complete with fake laundry hanging out on clotheslines), motor pools, artillery batteries, and tank formations in a few hours. Many of the men in this unit were artists, recruited from New York and Philadelphia art schools. Their unit became an incubator for young artists who sketched and painted their way through Europe. Several of these soldier-artists went on to have a major impact on art in the post-war US. Bill Blass,[6] Ellsworth Kelly, wildlife artist Arthur Singer, and Art Kane were among the many artists who served in the 603rd."




Can you begin to see how crafted, preluded to and pre-faced or rather, pre thought out, this all is? If one can accept the pre-planning of 9/11, which does make a lot of sense, because when one actually looks into the history and details of the construction of the World Trade Center, and notices the fact it was an actual Military Industrial Banking Complex, (all of the tenants were connected to government in one way or another) one can see how pre con(job) figured out everything we consider to be New, might actually be.

This Prelude to War means more than just World War Two. This was the beginning of a scripted sequel to a prior scripted War that would lead to the Atom Age Space Race and so much more...

World War One and all the prior wars as we understand them by way of media and governmental filter might as well be just Disney and Warner Brother Children's cartoons. The mass public has long been shepherded by the Horseman of War and the other three legendary threats that keep us as sheep.

Don't be shocked if they fake a Mars landing or Space Station Space Invader Attack! If it's on a screen with an official News Logo, the public has been long programmed to buy it as reality, especially when backed up by officially sanctioned  Governmental officials. And God forbid if both parties come together and sing a song on the Capitol's Steps, boy are you in for it then!


Myths like Watergate are created to perpetuate the Myth of the Independent News Media.


"Prelude to War" 1942 Chapter I of Frank Capra's "Why We Fight" Documentary series that examines the difference between democratic and fascist states, and covers the Japanese conquest of Manchuria and the Italian conquest of Ethiopia. 

FIVE legendary Hollywood directors secretly faked combat footage in ­Second World War documentaries that have been considered genuine for almost 70 years, a book claims.

John Huston's Fake Documentaries Of World War II - KnowledgeNuts

World War Two Documentary Footage Turns Out to be Fake – Daily ...

Orson Welles - Wikipedia


If the repeated terror based conditioning is not enough to get you on your knees to Government, this song will:

Congress sings "God Bless America" - 2001.09.11

terrorism (n.) 

1795, in specific sense of "government intimidation during the Reign of Terror in France" (March 1793-July 1794), from French terrorisme, from Latin terror (see terror).

If the basis of a popular government in peacetime is virtue, its basis in a time of revolution is virtue and terror -- virtue, without which terror would be barbaric; and terror, without which virtue would be impotent. [Robespierre, speech in French National Convention, 1794]

General sense of "systematic use of terror as a policy" is first recorded in English 1798 (in reference to the Irish Rebellion of that year). At one time, a word for a certain kind of mass-destruction terrorism was dynamitism (1883); and during World War I frightfulness(translating German Schrecklichkeit) was used in Britain for "deliberate policy of terrorizing enemy non-combatants."


Spooking Uncle Sam's "Spook"-ey Ghosts

Inspiration for the unit came from the British units who had honed the deception technique for the battle of El Alamein in late 1942, as Operation Bertram.
— https://en.wikipedia.org/wiki/Ghost_Army
Operation Bertram was a major Second World War deception operation practised by the allied forces in Egypt led by Bernard Montgomery in the months leading up to the Second Battle of El Alamein in 1942. Bertram was devised by Dudley Clarke to deceive Erwin Rommel about the timing and location of the allied attack. The operation consisted of physical deceptions using dummies and camouflage, designed and made by the British Middle East Command Camouflage Directorate led by Geoffrey Barkas. These were accompanied by electromagnetic deceptions codenamed “Operation Canwell” using false radio traffic. All of these were planned to make the enemy believe that the attack would take place to the south, far from the coast road and railway, and about two days later than the real attack.
— https://en.wikipedia.org/wiki/Operation_Bertram

We are supposed to believe that the Nazi's wouldn't notice that the fake forces could not fire any kind of artillery back at them.


There doesn't seem to be any concern that the deception would be revealed for what hit was. There is no concern that the Nazi's would figure thee ruse out. Does this really make sense? Is this really how men fought wars back in the mid 20th Century? How can this be anything but cartoon scripted live action film silliness?  


I guess these guys wouldn't send spies to see what was what and to verify things. That wouldn't make sense at all, would it?


Military camouflage and deception tactics are as old as warfare. Are we really to believe that so-called legendary Military minds are so easily led and manipulated? These men do not seem too bright nor very smart.  Either these myths are promoted to get us to copy and emulate such dumb behavior or the people that run the show are very stupid. In any case when one looks into the details of these War narratives, history begins to melt away into the propaganda Hollywood, childish noise, which is all it ever was anyway.


What would have happened if the Nazi's simply attacked the dummy tanks?

Barkas and Ayrton went out onto the beach dunes to sit and think. Barkas recalled the sacked Jasper Maskelyne, a stage magician who had briefly worked for him, saying he needed his vanishing tricks now. Ayrton agreed, suggesting they use Sunshields to make the tanks seem to be trucks, and vice versa. By the end of that afternoon they had typed up a plan and presented it to de Guingand and Richardson. They proposed to create two dummy armoured brigades to deploy in the south. They would give the appearance of not being ready by making it seem the tanks had not moved from their forming-up areas (Murrayfield and Melting Pot). Dummy tanks would replace them there; while they would mimic trucks when they arrived in the forward Martello area.
— https://en.wikipedia.org/wiki/Operation_Bertram

Jasper Maskelyne - Wikipedia

Jasper Mask-elyne is not regarded as very trustworthy by critics of his biography, or so the wikipedia entry explains. The recruiting of this stage magician seems more like a joke and a version of the Bob Hope USO Tour than a real strategy. This stage illusionist's story  seems to be one designed to add noise to cover the truth that the World War Two footage shown to everyone was fake. Wars cover for huge engineering projects like building roads, airports, and Coca Cola plants, which is what they were doing in North Africa at the time. Coca Cola is proud to show off the cartoon absurdity and how they ripped off the tax payer. But maybe believing Hollywood and the Military, which are known liars, is a better way to go.

You hire a stage magician to create Hollywood illusions not to fight real wars.

Highly edited footage is not reality, but we have been conditioned to think it is. Whatever real violence does go on, you can be sure the Military is not going to film it for you to watch it all later on. Does that make any sense? Does it make sense to show us all real pictures of war and to explain how to actually conduct real war? That is like the magician telling you how the lady floats.



General Eisenhower and Coca-Cola plants: The Coca-Cola Company

History of Coca-Cola | The war and what followed | Coca-Cola GB



World War Two Also Was A Good Way To Get Some "Military Exercise"

A Cross Dress Rehersal Instead of Real War: Military Theatre Indeed, All The World is a Staged Event

  "The more typically thought of exercise is the field exercise, or the full-scale rehearsal of military maneuvers as practice for warfare. Historical names for field exercises in the military services of the British Commonwealth include "schemes," while those of the military services United States are known as Field Training Exercises (FTX), or, in the case of naval forces, Fleet Exercises (FLEETEX). In a field exercise or fleet exercise, the two sides in the simulated battle are typically called "red" (simulating the enemy forces) and "blue", to avoid naming a particular adversary.[1] This naming convention originates with the inventors of the table-top war-game (the "Kriegsspiell"), the Prussians von Reiswitz; blue was the Prussian uniform colour, so friendly forces were depicted by the color blue."

German troops playing games with American troops. All on a magical mystery tour complete with stage magic and card tricks, dancing Bob Hope girls and USO Tours that would grow into things like the Grateful Dead concert tour behemoth. "Let's give them a hand, YEA! - We don't want that cat invading our land! No Way! We're not scared, we're prepared!"

The Military Indoctrination As Social Experiment & Cultural Manipulation

Send the boys overseas and get them to live with each other, instead of being home with their girlfriends. Geta bunch of Hollwyood special effects experts and artists to craft a whole Disneyland for them to experience. The Germans and the Brits, and the US can all join in.

Military exercise - Wikipedia

Best-Kids-Party-Entertainers-in-Southeast-Michigan copy.jpg

"Jasper Maskelyne (1902–1973) was a British stage magician in the 1930s and 1940s. He was one of an established family of stage magicians, the son of Nevil Maskelyne and a grandson of John Nevil Maskelyne. He is most remembered, however, for his entertaining accounts of his work for British military intelligence during the Second World War, in which he claims that he created large-scale ruses, deception, and camouflage."

"Maskelyne joined the Royal Engineers when the Second World War broke out, thinking that his skills could be used in camouflage. A story runs that he convinced sceptical officers by creating the illusion of a German warship on the Thames using mirrors and a model."  

 Jasper Maskelyne - Wikipedia








View topic - V1 and V2 NAZI rockets (WW2): another old hoax ...



The public is conditioned to repeat what the sacred journalist or trusted politician tells them. Too many of us echo what we have been told and taught to parrot,  like good little programmed puppets. We might want to question all of the assumptions we overlook. A ventriloquist has a harder time fooling the audience than the Government backed highly edited Hollywood product does.

Magic (1978 film) - Wikipedia


Two Big Back To The Future (II) Candles For A German General's Birthday! Hurray!



Wilhelm Josef Ritter von Thoma Born on The Eleventh of September!



A 911 Chatty Cathy Exposed!

Ritter is connective tissue. What coincidence! We have to believe a decorated and experienced Military man can't keep his mouth shut. If these guys are this stupid, well I can take over the world with a spoon and a cow. This is Jesuit/Free Mason/University style scripted silliness and not much more.


"Wilhelm Josef Ritter von Thoma (11 September 1891 – 30 April 1948) was a German officer who served in World War I, in the Spanish Civil War, and as a general in World War II. He was a recipient of the Knight's Cross of the Iron Cross."


So "Indiscreet" For An Iron Cross Kind of German Guy


"Thoma is known for his indiscretion while a POW in the British captivity, whereas he unwittingly revealed the details of the V-1 flying bomb and the V-2 weapons program. He was subject to surveillance by the British intelligence and, while speaking to another German officer, was recorded discussing rockets that were being tested at Kummersdorf West, which he observed while on a visit that also included Generalfeldmarschall Walther von Brauchitsch, the Commander-in-Chief of the Army. British reconnaissance flights over Peenemünde Army Research Center in May and June 1943 brought back unmistakable images of rockets at the facility; the subsequent bombing of the site severely disrupted the program."

Thoma received the Knight’s Cross of the Iron Cross. In September 1942 Thoma was transferred to serve with the Afrika Korps in North Africa, where he took part in the Second Battle of El Alamein in October 1942.
— https://en.wikipedia.org/wiki/Wilhelm_Ritter_von_Thoma


History is One Long Never Ending Film Serial


This comes across as very conveniently contrived. This is "predictive programming", which is not so magical is it? It's easy to craft the scenes when you know how the story is going to continue to turn out. This particular fable leads to "Duck and Cover". Only the truly despicable and evil terrorize children, but the powers that be have a history of doing exactly that. The history we are sold is very contrived and crafted. It is very fake. V2 rockets lead to Disney and Wernher von Braun going on ABC TV to sell the world on the fantasy of huge rockets and nonsensical orbital theory.

There had to be a way to delver the fantastic threat of the Atom Bomb and the Nuclear Rocket or Warhead that would become the Magic Kingdom Magic Mouse Phallus Of a Happy Coca Cola drinking Mouse Ear-Hat Wearing, Militarized America.




“On 4 November 1942, Thoma was captured by the British forces, and for the remainder of the war he was a prisoner in several senior officer prisoner-of-war camps in Great Britain, including Trent Park, Wilton Park, Grizedale Hall and Island Farm. Thoma was subject to surveillance by the Secret Intelligence Service and while speaking to another POW, General Ludwig Crüwell, he was recorded discussing rockets that were being tested at Kummersdorf West, which he observed while on a visit that also included Field Marshal Walther von Brauchitsch, the Commander-in-Chief of the Army, and other technical program details.[6]

Following his indiscretion, further British reconnaissance flights over Peenemünde in May and June 1943 brought back unmistakable images of rockets at the facility which was developing guided missiles and long-range ballistic missiles better known as the V-1 flying bomb and the V-2. When reconnaissance and intelligence information regarding the V-2 became convincing, Churchill’s War Cabinet directed the first planned raid (the Operation Hydra), the attack of Peenemünde in August 1943, as part of Operation Crossbow, the Anglo-American campaign against the German long-range weapons programme.”

— https://en.wikipedia.org/wiki/Wilhelm_Ritter_von_Thoma



Operation Bertram

battle of El Alamein



The "flying objects" you are about to see are the result of Hollywood fakery. "That's All (it is) Folks!"


Operation Crossbow (1965) Trailer


Operation Cross Bow Special Effects

Please notice that the flame coming out of the rocket does not act as if it is actually in the result of rocket propulsion, it looks like it is simply a normal regular burning candle like flame.

When people put forth the idea that Stanley Kubrick, Hitchcock, or Orson Welles, might have been involved with faking the NASA footage from that era, people forget all the special effects wizards who toil away behind the scenes in near secret. These clever crafters of illusions would be the most valuable artists who would then go from Governmental project to Hollywood and back again. Hollywood and the Government are both run by the same banking industry. Hollywood is the Weapon of Military Mass Mind Altering Destruction. We have all been programmed by the weaponized psychological multimedia war-noise machine.


Operation Crossbow Special Effects by

Tom Howard    ....    special effects

Martin Gutteridge    ....    special effects (uncredited)

Jimmy Harris    ....    special effects (uncredited)

  Garth Inns    ....    special effects (uncredited)

Operation Crossbow (1965) - IMDb


Oscar winning Special Effects expert Thomas William Howard was born in England in 1910 and was to become one of the most influential and pioneering men in movie making, taking the development of special visual effects to a new level through the golden age of the 40's 50's and 60's. Tom began his career at a young age working as a runner and theatre projectionist before joining the Special Effects department at 'Denham Studios' under 'Alexandra Korda'. Denham Studios was the largest facility of its type in the UK, developed by Korda in 1936 and spanning an area of 165 acres on the outskirts of Denham Village in Buckinghamshire. "

"The site would later be merged with 'Pinewood Stuidios' before final closure in 1952. Tom Howard was to mastermind the special photographic effects on many of Korda's early productions including the magnificent 'The Thief of Bagdad' (1940) working closely with Lawrence Butler to create arguably the most spectacular movie of the time. By 1945 Tom had become a major force within the industry winning his first Academy Award for his special photographic effects in David Lean's 'Blithe Spirit'. His pioneering work had come to the attention of MGM and Tom was appointed Director of Special Effects for MGM British Studios in Borehamwood producing a number of movies still well loved today, from epics such as 'Ivanhoe' and 'Quo Vadis' featuring his spectacular effects of the burning of Rome, to the thrilling spectacles of 'Where Eagles Dare' and the legendary '2001 A Space Odyssey' working as a Special Effects Supervisor with 'Stanley Kubrick' and the multi talented team of 'Con Pederson', 'Douglas Trumbull' and 'Wally Veevers'.

"Tom Howard was in charge of special effects at the MGM Studios in Borehamwood for a total of 15 years, working closely with a number of fellow experts in their field, including the Cinematographer 'Freddie Young', expert matte artist 'Peter Ellenshaw' and close friend 'A W Watkins' a specialist in sound recording whom he had worked with since the early days of Korda. Tom Howard was in demand throughout the film industry and an example of this would be in 1958 when he was recruited by Director 'George Pal' to work on the special photographic effects for 'Tom Thumb' starring 'Russ Tamblyn' for which he was awarded his second Academy Award, with Oscar presented by 'Gary Cooper' and announced by a young 'Shirley MacLaine' and 'Peter Ustinov' at the 1958 (31st) Academy Awards. In 1967 Tom Howard invented and patented a version of Front Projection Composite Cinematography which would be utilized in movie making for years to come. Tom's later work included The Haunting, Where Eagles Dare, The Man Who Haunted Himself, Young Winston and The Little Prince. In total he was responsible for the special photographic effects in over 150 movies from the early 40's to the late 1970's. He also appeared in an extended two part episode of a TV series entitled 'Clapperboard' hosted by Chris Kelly and aired in the late 70's, this two part special featured Tom explaining the magic of Special Effects in the film industry. He was a founder member of the British Society of Cinematographers and a fellow of both the Royal Photographic Society and the British Kinematograph, Sound & Television Society. Thomas William Howard FRPS died at the age of 75 on the 30th August 1985 in Hertfordshire, England.”

Tom Howard IMDB


Operation Crossbow (1965) - IMDb


Hollywood is Obsessed With Remaking The Same Scripted fictions Over & Over: This Is Highly Contrived  Repetitive Mythology


Take a look at the "look back at crossbow" :

The footage of the fleets and the zeppelins is fake. What you are seeing is just early photographic Hollywood darkroom magic. 

There's a a good reason for the coincidence of the development of film and special effects wizardry and technology and the images of war people were shown. There’s a good reason Howard Hughes a filmmaker would become an aerospace guy. Fakery.

A look back at Crossbow


Mattes and models, different kinds of camera lens and different film speeds are the ingredients of this Wizardly brew.

Military Budget Means: More Money More Time More Effort Means Better More Believable Special Effects

Wage slave tax payers foot the bill for illusion manufacture. 

Real rockets are smaller and designed like spears. We cannot simply scale up the design of a rocket as the atmosphere does not scale as well. Atmospheric drag would be a real problem for the huge rockets of NASA & Hollywood myth. The rocketry special effects work is simply more massaged for Military applications than for normal Hollywood fare. Either a more expert artist is employed or a team of experts. Either the choice is based on one of perception management or cost. 


Hollywood and the Military are as one at the highest levels.


 Older and earlier Cold War era special effects films might purposefully be commissioned to show off lower quality special effects so people do not think for a moment that it is possible to fake images of war, rocketry and outer space.

Seems reasonable that this is part of the modus operandi, or at least used to be. Today films like Gravity give us a real good idea about how they have been faking the Space Station (and the rest) for years.

The News Media obviously is in on the Hollywood Magic Trick, just like any good audience plant would be.


Today Hollywood product can be indistinguishable from reality, never believe what you see on a screen.




Mattes allow for layers of flocks of bird like airplanes and fleets of ships at sea complete with Led Zeppelins to guide the way.

Mattes allow for images of rocket ships flying through the air like Magic Supermen.

Matte (filmmaking) - Wikipedia

"Mattes are a very old technique, going back to the Lumière brothers. Originally, the matte shot was created by filmmakers obscuring their backgrounds with cut-out cards. When the live action portion of a scene was filmed, the background portion of the film wasn’t exposed. Once the live action was filmed, a different cut-out would be placed over the live action. The film would be rewound, and the filmmakers would film their new background. This technique was known as the in-camera matte and was considered more a novelty than a serious special effect during the late 1880s."

"Computers began to aid the process late in the 20th century. In the 1960s, Petro Vlahos refined the use of motion control cameras in bluescreen and received an Academy Award for the process. "






"The 1980s saw the invention of the first digital mattes and bluescreening processes, as well as the invention of the first computerized non-linear editing systems for video. Alpha compositing, in which digital images could be made partially transparent in the same way an animation cel is in its natural state, had been invented in the late 1970s and was integrated with the bluescreen process in the 1980s.

"Digital planning began for The Empire Strikes Back in 1980, for which Richard Edlund received the Academy Award for his work to create an aerial-image optical printer for combining mattes, though this process was still analog. The first fully digital matte shot was created by painter Chris Evans in 1985 for Young Sherlock Holmes for a scene featuring a computer-graphics (CG) animation of a knight leaping from a stained-glass window. Evans first painted the window in acrylics, then scanned the painting into LucasFilm’s Pixar system for further digital manipulation. The computer animation blended perfectly with the digital matte, something a traditional matte painting could not have accomplished."

"In the modern era, nearly all modern mattes are now done via digital video editing and the compositing technique known as chroma key - a digital generalization of the bluescreen - is now possible even on home computers."

LIES- Matte Painting/Set Extension (SFX TODAY)

Tutorial with Assets: http://full.sc/1gDF2Ma Here is a test with compositing on fish eye footage. This was shot with the Blackmagic Pocket Cinema Camera attached to a POV Helmet rig, found here: http://full.sc/1h2W10m Using the Adobe After Effects built in camera tracker and the Element 3D plugin from Video Copilot.

Operation Crossbow (film) - Wikipedia

"In May 1943 Allied surveillance observed the construction of the first of 11 large sites in northern France for secret German weapons, including six for the V-2 rocket. In November it discovered the first of 96 "ski sites" for the V-1 flying bomb. Officials debated the extent of the German weapons' danger; some viewed the sites as decoys to divert Allied bombers, while others feared chemical or biological warheads."

Operation Crossbow - Wikipedia


Disney Nazi Man Says Be Afraid From Birth Until You Are In Your Grave


"An appeal to fear (also called argumentum ad metum or argumentum in terrorem) is a fallacy in which a person attempts to create support for an idea by using deception and propaganda in attempts to increase fear and prejudice toward a competitor. The appeal to fear is common in marketing and politics."

Appeal to fear - Wikipedia

Space rocket story: "The Race for Space" (rare footage) with Mike Wallace, 1959

Compare this television propaganda from 1959 to the earlier Newsreel based film propaganda from World War Two. The theme is the same. The same fear mongering and the same nonsense is sold as reality to an unsuspecting public who would become conditioned to accept highly edited Hollywood footage, with authoritative narrative voice over, as reality. The Television News Journalist would become a Priest to many of us, these men and then women, would go on to program many minds. We are supposed to believe live action cartoons are real.



Why would an American Television News program show the public the weapon and power of the enemy? Hmmm… FEAR! No…we are to really believe this was to inform us, and the journalist is independent of government and the so-called Nation States are real. We are to really think borders matter and that the Russians were and maybe still are some kind of existential cartoon threat. As an adult I simply cannot take any of this seriously. The public is still sold Hollywood special effect products that are comprised of nothing more than very short special effects sequences strung together with authoritative narrative voice over, some live action shots and a whole bunch of “massaging”, to create a very false image of reality.


Do Not Be Surprised If NASA fakes A Mars Attack: People Trust The News & Government


von Braun was supposed to be an SS Nazi war criminal kind of guy. Consider that bit of fear propaganda. He was also a Fritz Lang Science Fiction film buff. He was into special effects, model rockets and movie making. The man looks like an actor and was one. von Braun is another Elon Musk, Donald Trump, just another public relations persona sold to the public as a real person. What we know about these highly crafted personalities is what the media noise machine wants us to know.

"In his twenties and early thirties, von Braun worked in Germany's rocket development program, where he helped design and develop the V-2 rocket at Peenemünde during World War II. Following the war, von Braun worked for the United States Army on an intermediate-range ballistic missile (IRBM) program before his group was assimilated into NASA. Under NASA, he served as director of the newly formed Marshall Space Flight Center and as the chief architect of the Saturn V launch vehicle, the superbooster that propelled the Apollo spacecraft to the Moon.[5] In 1975, he received the National Medal of Science. He continued insisting on the human mission to Mars throughout his life."

Wernher von Braun - Wikipedia


Hollywood = Military + Government + Technology + Art + Psychology


"Sonic deception
The 3132 Signal Service Company Special handled sonic deception. The unit coalesced under the direction of Colonel Hilton Railey, a colorful figure who, before the war, had “discovered” Amelia Earhart and sent her on her road to fame.

Aided by engineers from Bell Labs, a team from the 3132 went to Fort Knox to record sounds of armored and infantry units onto a series of sound effects records that they brought to Europe. For each deception, sounds could be “mixed” to match the scenario they wanted the enemy to believe. This program was recorded on state-of-the-art wire recorders (the predecessor to the tape recorder), and then played back with powerful amplifiers and speakers mounted on halftracks. The sounds they played could be heard 15 miles (24 km) away.[2]

Radio deception
"Spoof radio", as it was called, was handled by the Signal Company. Special Operators created phony traffic nets, impersonating the radio operators from real units. They were educated in the art of mimicking a departing operator’s method of sending Morse Code so that the enemy would never detect that the real unit and its radio operator were long gone.

To complement existing techniques, the unit often employed theatrical effects to supplement the other deceptions. Collectively called "atmosphere", these included simulating actual units deployed elsewhere by the application of their divisional insignia, painting appropriate unit insignia on vehicles and having the individual companies deployed as if they were regimental headquarters units. Trucks/Lorries would be driven in looping convoys with just two troops in the seats near the rear, to simulate a truck full of infantry under the canvas cover. "MP's" (Military Police) would be deployed at cross roads wearing appropriate divisional insignia and some officers would simulate divisional generals and staff officers visiting towns where enemy agents were likely to see them. A few actual tanks and artillery pieces were occasionally assigned to the unit to make the "dummies" in the distance appear more realistic."


Ghost Army - Wikipedia

History of Bottling: The Coca-Cola Company

Fanta - Wikipedia


This is about Cultural Creation: USO Tours Become The Modern Pop Concert Tours


Bob  Hope "Morphs" Into a Dead Head

United Service Organizations - Wikipedia


"A Studs Salon"


The Military is interested in getting groups of young and impressionable men together, terror conditioning them, and then they like to see what happens next. The Military indoctrinates and propagandizes and programs soldiers who they send home and abroad among the public to influence the behavior of all of us.




Hey Ai

 It’s Ok If You “identify” as “Gay”

Don’t be offended, Top Gun Sky Miles Catalog Marshall

Just want you to know the evidence points to the fact that the Military wanted you that "way."

We are all intelligence artificial.

We are all



Mother Jones Magazine - Feb-Mar 1983 - Google Books Result


(a decoder clue: dp bd pd db 69)



"In Seoul, most gay bars were originally congregated near the Itaewon area of Seoul, near the U.S. military base. But in recent years, more clubs have located in the Sinchon area, indicating that 'safe spaces' for Korean LGBT people have extended beyond the foreign zones, which were traditionally more tolerant. One male bar patron said Korean bar culture was not as direct as in the United States, with customers indicating their interest in another customer by ordering him a drink through a waiter. The oldest lesbian bar in Seoul is Lesbos, which started in 1996. "

Gay bar - Wikipedia


Just The "Tip" of The "Rocket-in My Pocket-Lie"




"every warm body was needed " indeed


Do Not Close Your Eyes To The Military's Gay Agenda: It's Been Going On a Long Time - Hollywood & The Military Are One Theatrical Troop


"Long before the signing of DADT in 1993, homosexual activity was explicitly targeted in the United States military. As far back as the Revolutionary War, sodomy was forbidden in the military and, in many instances, punished harshly. After World War I, when homosexuality was just trickling down into public discourse from medical professionals who had defined the homosexual as a "sexual invert," the military began to make efforts to exclude gays and lesbians from service. This continued throughout the 1930s.

Then, Pearl Harbor happened and the United States went to war. Suddenly, excluding gays and lesbians from military service wasn't as important. After all, every warm body was needed to win the war. Women were allowed to enlist in the Women's Army Corps (WAC), and every patriotic American was expected to join in the war effort in some way. This isn't to say that gays and lesbians were well-treated or allowed to be open in the military. But, from 1939 to 1945, they were policed much less and, in many cases, allowed to flourish within the confines of the military."

Remembering LGBT History: How World War II Changed Gay and ...



Escape To Nowhere: Steven Spielberg




The Military like the Clergy, traditionally separate the natural genders in unnatural ways. Men living with other men is not really the Natural way of things, is it? The University System, the Church and the Military all encourage the same antifamily and anti-local authority in favor of centralized Governmental power. Bow and kneel before Government authority. Pledges of allegiance and National Anthems are not what Freedom looks like. That is what an indoctrination scheme looks like.

The most complete version of Spielberg's 1961 war film. The original was 40 minutes long.

The men who fabricated 9 11 3d Specialists, CGI Movie Makers


Please notice that the retrospective Hollywood produced documentary about the special effects of a film quickly becomes political. False and plastic political choices are offered to the mass public. The hippie peace rallies of the Vietnam era were controlled and configured to create manufactured social and cultural chaos. The next generation gets mentally separated from their families and are encouraged to join the cult of the United States of Zombified Gratefully Dead Stupid, and to sort themselves into one manufactured and controlled community or another.

We must not color outside the lines nor ask any unofficially sanctioned questions. We can mutilate our bodies and do all sorts of other obviously insane and officially sanctioned things, but it's ok because some talking head said it was, over and over, and other heads agreed, so we must believe it too. What we aren't supposed to do is to question the need for Government in the first place and we are not supposed to notice that most of the News is a tabloid cartoon joke.

We must sort ourselves into easily shepherded “tribes, right?  Controlled war protestors also means the idea of war is perpetuated and business plans expand. War is a great way to get people to labor for you. It is another form of slave labor like prison labor is. We are slaves. Never forget that.

All of this 1960’s noise seems to hide the reality about the so-called peace movement. War is a scam. It is a complete joke and the reason why we are paying taxes today. The same rationale gets the faithful to put cash into the basket after Sunday Mass. We all can recall with tears, how Jesus would pass the magic hat around after every magic rabbit hat trick and levitation gig.

Existential threats have always been used to manage the mass public and to get us to build things like walled cities and roads to Rome and fake Nation States in the first place.


"Pharaoh's Army Got Drowned"


Music video by Bruce Springsteen performing O Mary Don't You Weep. (C) 2005 Bruce Springsteen


"World War II saw rapid technological innovation in response to the needs of the various combatants. Many different weapons systems evolved as a result."

List of World War II weapons - Wikipedia


DC= Damage Control & Limit The Damage and Hang Out Of Information: How Many of These Weapons Were Real In The First Place?

Whatever Happened the all the World War II Weapons?


Where in The World is Carmen Santiago?


"During the first week of January 2017, there were no American aircraft carriers deployed at sea anywhere in the world."


Where are the Carriers?

Carl Vinson Carrier Strike Group departed San Diego for a regularly scheduled deployment to the western Pacific, 05 January 2017.

During the first week of January 2017, there were no American aircraft carriers deployed at sea anywhere in the world.

According to Fox News, this the first time since World War II that there has not been a single US carrier deployed anywhere in the world.
— http://www.globalsecurity.org/military/ops/where.htm


Where are the Carriers? - GlobalSecurity.org


"Special Report : Aircraft carriers, championed by Trump, are vulnerable to attack"


REUTERS WORLD NEWS | Thu Mar 9, 2017 | 7:48pm EST
Special Report : Aircraft carriers, championed by Trump, are vulnerable to attack
By Scot Paltrow | WASHINGTON
Last week, President Donald J. Trump chose the deck of the newest U.S. aircraft carrier, the $13 billion USS Gerald R. Ford, for a speech extolling his planned boost in military spending.

Trump vowed that the newest generation of “Ford Class” carriers - the most expensive warships ever built - will remain the centerpiece of projecting American power abroad.

“We’re going to soon have more coming,” Trump told an enthusiastic audience of sailors, declaring the new carriers so big and solidly built that they were immune to attack.

In a combat exercise off the coast of Florida in 2015, a small French nuclear submarine, the Saphir, snuck through multiple rings of defenses and “sank” the U.S. aircraft carrier Theodore Roosevelt and half of its escort ships. In other naval exercises, even old-fashioned diesel-electric submarines have beaten carriers.
— http://www.reuters.com/article/us-usa-trump-carriers-specialreport-idUSKBN16G1CZ


The Government seeks to SIMULATE your mind


"All told, since the early 1980s, U.S. and British carriers have been sunk at least 14 times in so-called “free play” war games meant to simulate real battle, according to think tanks, foreign navies and press accounts. The exact total is unknown because the Navy classifies exercise reports."


Washington DC =Damage Control & Limit The Damaging Fallout

Imagine that, the Military has finally figured out that having a bunch of jets parked like a flock of used cars in a parking lot, floating out at sea makes for an easy target. Think they'll figure out that it's also not a good idea to fly fighter jets all together like flocks of birds? Maybe they'll also begin to see the absurdity of things like trench warfare and all the rest of the simulated reality they sell as History. 


Special Report : Aircraft carriers, championed by Trump, are ... - Reuters

Sitting Ducks? All Active U.S. Navy Aircraft Carriers Currently Sitting in ...

No US aircraft carriers deployed for first time in at least 17 years ...

USS Intrepid (CV-11) - Wikipedia

2015-U.S.S. Intrepid Aircraft Carrier CV-11-THE MAIN DECK-1


Are Aircraft Carriers Just Huge Real World Theatrical "Ghost Army" Props, Like Dinosaur Bones & The NASA  Space Race Artifacts In Museums Are?


 Aircraft carrier footage is more questionable than some might wish to consider. Obviously a lot of money rides on the deceptive practices of the Military Industrial Complex, and this complex is online and interactive and seeks to ensure its own existence. That does make sense. In any case, the footage on YouTube and shown on TV is what the Military wants us to see. What we do see is that the horizon never seems to move and that seems to tell us that the camera could not be on a ship at sea. But hey what do I know, I could be wrong, after all I used to believe in Santa Claus and the official 9/11 story too. I never did believe in WMD though...

USS Intrepid

It’s interesting how the older and slower aircraft can take off and land in the same manner that the newer jets can. The World War Two era propeller based aircraft are obviously supposed to be slower than modern Jets. Consider that. Apologists can claim that newer Jet aircraft possesses the power (structural design) and speed to take off and land on the aircraft, but what about the slower and older (and less durable) propeller aircraft?

Howard Hughes - Wikipedia

Imagine the Power of the Dark Side of The Unlimited Governmental Budget and What Jet-Sony Photographic Cartoons Could Be Crafted!

Wage Slave Rejoice - We Pay For Our Own Cartoon Prison Mickey Mouse Guard-Force

Jet Pilot is a 1957 Cold War romantic comedy film starring John Wayne and Janet Leigh. Written by Jules Furthman, the Technicolor movie went through several directorial changes. Josef von Sternberg directed between October, 1949 and February, 1950.

Jet Pilot (film) - Wikipedia

Jet Pilot Special Effects by 

Daniel Hays...special effects (uncredited) 

Jack Lannan...special effects (uncredited) 

Visual Effects by 

Harold E. Wellman...process (uncredited) 


Chuck Yeager...aerial stunts (uncredited)

Jet Pilot (1957) - IMDb

Movie Clip from Hell's Angels, 1930 by Howard Hughes.

Hell's Angels (film) - Wikipedia

"Jealously guarded secrets of the amazing Zeppelin crash in “Hell’s Angels” now revealed to Dick Cole by Howard Hughes, the producer of this spectacular movie.

“Wasn’t it marvelous! How in the world did they ever take it?”

Such exclamations and questions are heard on every side as a teeming crowd pours forth from a theater after seeing “Hell’s Angels” -—the outstanding aerial war picture of the day. And it is little wonder! For several hours the spectators have been soaring 10,000 feet above the earth in a huge, wartime Zeppelin, or they have been sky-riding in a giant bombing plane.

As on a magic carpet, the spectators are carried from the Zeppelin just before a heroic, Allied pilot—his machine-gun jammed—dives his plane into the gas bags of the airship. The aerial juggernaut comes hurtling out of the skies, a huge, flaming hulk; crashes to the earth with a deafening roar—-a twisted mass of glowing wreckage.

This is but one of the breath-taking scenes from “Hell’s Angels.” Again the puzzling question: “How in the world did they take it?”

Of course, anyone’s ordinary reasoning power tells one that it was not a full-size, man-carrying Zeppelin that fell from out the skies. But, to believe so, is no more erratic than to believe the know-it-all, wise guy, who tells you in tones of belittlement: “Huh! It was just faked! I know! That was just a toy balloon that they used.”

Both beliefs are wrong. It was done by scale model photography. This is not comparable at all to the crude miniature stuff that is injected from time to time in pictures, and which often changes a tragic situation into a comic farce. Nor are scale models employed solely to keep down production cost. The primary purpose is to put across a scene with greater realism and finer photographic values. The use of scale models should not imply belittlement.

In producing “Hell’s Angels,” it was entirely within the range of the pocket-book of the producer, Howard Hughes, to buy and to wreck a full-size Zeppelin. But, even so, the film record would not be comparable with that recorded with the use of the scale model. In the latter case, the entire set was under the complete control of the director; the set was lighted to give the best photographic values; close-up shots of the Zeppelin falling in flames and its ultimate crash to the earth were taken with precision; all of which would have been impossible if a full-size airship were used, to say nothing of the hazard to life and property.

To produce the Zeppelin scenes, Mr. Hughes gathered about him a staff of the cleverest technicians in the United States. A model Zeppelin was built—an exact replica of a German, wartime dirigible. This was built to a scale of one foot equals one inch. So the model was approximately 60 feet long and 6 feet in diameter. Quite a sizeable “miniature”! Even the framework followed closely the true Zeppelin design."

Crashing a Zeppelin for Fun | Modern Mechanix




Kenny Loggins' official music video for 'Danger Zone'. From The Film Top Gun.


Led by a Hollywood Zeppelin

"The huge dirigible hangar at Arcadia—-adjacent to Los Angeles—was leased from the government, and in this building all the scenes of the Zeppelin were shot. Lights giving millions of candle-power were installed. Miniature sets were laid out on the floor to give suitable back-ground for vertical shots of the “Zep.” Chemical apparatus was installed to create clouds. A steel cable was stretched from one corner post to the middle of the opposite wall. The Zeppelin was suspended from a trolley which traveled on the cable. It could move along the cable about four times its length. Other cables permitted the Zeppelin to be raised or lowered at the will of an operator at an electric winch. Runways—or balconies—completely around the inside walls of the hangar, were vantage points for the numerous cameras. In addition, portable, parallel platforms could be moved anywhere on the floor. A cat-walk near the roof of the hangar was utilized for vertical shots.

In presenting the picture on the screen, the Zeppelin makes its first spectacular appearance emerging from a fleecy, cumulus cloud. The clouds are seen to roll back as the nose of the airship pushes through. This is a close-up shot, and so real that it seems the Zeppelin must leave the screen and soar into the auditorium of the theater."

"How was it done? The Zeppelin is at the end of the cable farthest from the camera. Immediately in front of the airship a dense cloud of “liquid smoke” is released. This is the chemical used for laying down a smoke screen or for “sky-writing.” This gas remains as a gaseous mass for some time before diffusing into the air. The Zeppelin is slowly drawn through this “smoke.” Vivid lighting effects reproduce the smoke as a cumulus cloud.

Next, the spectator is permitted to ride in the “Zep” and see its inside workings; the skeleton framework; the gas bag; the power gondolas.

The motors are running—real motors. One sees the rocker-arms rock, and hears the clicking tappets. On the model Zeppelin, the propellers are turned with quarter H.P. motors. The interior sets of the Zeppelin were built full size."

"The “Zep” cruises on its way. London is its objective. A member of the crew is lowered thousands of feet in a gondola suspended by a slender cable to get their bearings. The object is to drop bombs on Trafalgar Square. The observer revolts at bombing a sleeping city. He telephones misinformation to the Zeppelin, and the bombs drop and explode harmlessly in a lake. But the Allied flyers are aroused. They take to the air in their fighting planes to battle the Zeppelin. A terrific aerial battle rages. The “Zep” fights off all planes — but one. This one climbs high above the Zeppelin. The pilot’s machine-gun jams. In heroic desperation, he dives his plane into the vitals of the Zeppelin. The giant dirigible buckles up with a broken back and bursts into flames.

How was it done? Part of this scene is a sample of exceptionally clever double exposure. A drawing explains. First, a miniature airplane is swung from a wire against a flat black back-ground. This is shot with a high-speed camera—about ten times normal. When reproduced at normal speed, this would represent a full-sized plane in the distance taking a power dive of several thousand feet.

The undeveloped negative of the miniature plane is rewound into the camera magazine, and a shot of the Zeppelin, moving slowly, is recorded on the same film. The composite picture is shown in the enlarged frame. The moment the airplane hits the Zeppelin the film is “cut,” and the sequence of the picture is resumed when the Zeppelin is fired.

During part of the heroic dive toward the Zeppelin, seemingly the spectator is riding in the plane. This illusion was created in the hangar. The Zeppelin was suspended about half way between the roof and the floor, and the camera-man was lowered toward it. A miniature, pictorial set on the floor gave a suitable back-ground; the high-speed camera did the rest.

Now comes the big, breath-taking scene— the fall of the flaming Zeppelin. To make sure of suitable film, fourteen cameras shot the scene.

The covering of the gas bag is sprayed with kerosene. Everything is ready. Comes the director’s cry: “Camera!” A special prop in the “in’ards” of the “Zep” is jerked out. The dirigible sags in the middle, and then bursts into flames. All the cameras are in action. The man at the electric winch slowly lowers the flaming hulk. It passes into and out of the range of the cameras. When the flaming wreck is about eight feet from the floor, it is dropped with a crash. To make the falling act very vivid, a pair of cameras are in a pit in the floor covered with plate glass, and shoot the vertical fall. And the fall of a burning Zeppelin from the skies is a celluloid record. In the cutting room, the best of the shots are compiled into the finished film which the spectator sees on the screen.

Be it said that all those in the hangar during the “fire” were not sorry when it was all over. The camera-men up on the cat-walk had no occasion to take a Turkish bath for six months.

“Hell’s Angels” is an outstanding example of the far-reaching possibilities of the model technician’s art. Because a real Zeppelin was not used, and the crew not incinerated in the fire, should not detract the spectator’s interest in the picture. In the wild and wooly “westerners,” one knows that the Indians are not really shot off their mustangs. But if they tumble off and “bite the dust” in realistic fashion, the spectators howl their delight.

For realism, “Hell’s Angels” stands out alone in its class."

Crashing a Zeppelin for Fun | Modern Mechanix

BUSH SHOOTERS Just another day at the office!

Motion control photography - Wikipedia

"Motion control photography is a technique used in still and motion photography that enables precise control of, and optionally also allows repetition of, camera movements. It can be used to facilitate special effects photography. The process can involve filming several elements using the same camera motion, and then compositing the elements into a single image. Other effects are often used along with motion control, such as chroma key to aid the compositing. Motion control camera rigs are also used in still photography with or without compositing; for example in long exposures of moving vehicles.[1][2] Today's computer technology allows the programmed camera movement to be processed, such as having the move scaled up or down for different sized elements. Common applications of this process include shooting with miniatures, either to composite several miniatures or to composite miniatures with full-scale elements.

The process is also commonly used when duplication of an element which cannot be physically duplicated is required; motion control is the primary method of featuring multiple instances of the same actor in a shot that involves camera movement. For this technique, the camera typically films exactly the same motion in exactly the same location while the actor performs different parts. A blank take (with no actor in the shot) is sometimes also taken to give compositors a reference of what parts of the shot are different in each take. This, in common film-making language, is also known as shooting a "plate".

In today's film, the reference take is also useful for digital manipulation of the shots, or for adding digital elements. A simple duplication shot confines each "copy" of an element to one part of the screen. It is far more difficult to composite the shots when the duplicate elements cross paths, though digital technology has made this easier to achieve. Several basic camera tricks are sometimes utilized with this technique, such as having the hand of a body double enter a shot to interact with the actor while the duplicate's arm is to be off-screen. For the sake of compositing, the background elements of the scene must remain identical between takes, requiring anything movable to be locked down; the blank reference take can aid in resolving any discrepancies between the other shots.

Similar technology in modern film allows for a camera to record its exact motion during a shot so that the motion can be duplicated by a computer in the creation of computer generated elements for the same shot."

"Modelmaking for scenery has long been used in the film industry, but when a model is too small it often loses its illusion and becomes "obviously a model". Solving this by building a larger model introduces a dilemma: larger models are more difficult to build and often too fragile to move smoothly. The solution is to move the camera, rather than the model, and the advent of compact lightweight 35mm cameras has made machine-controlled motion control feasible. Motion-control also requires control over other photographic elements, such as frame rates, focus, and shutter speeds. By changing the frame rates and the depth of field, models can seem to be much larger than they actually are, and the speed of the camera motion can be increased or decreased accordingly.

Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled slit-scan photography, which required precise camera motion control during the exposure of single frames. The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error.

In the UK The Moving Picture Company had the first practical motion control rig. Designed and built in-house, it used the IMC operating system to control its various axis of movement. Peter Truckel operated it for several years before leaving to pursue a career as a successful commercials director.

Motion control photography - Wikipedia

10 Scenes you didn't know were CGI - Here's our list of ten Scenes in film that you might not know where special effects CGI All videos on BBTV Trailers are created or co produced with partners from the BBTV Network.

"The simultaneous increase in power and affordability of computer-generated imagery in the 21st century, and the ability for CGI specialists to duplicate even hand-held camera motion (see Match moving), initially made the use of motion control photography less common. However film producers and directors have come to realise the cost-saving benefit of using motion control to achieve the effects in a reliable and realistic way. 

With the resurgence of 3D as a medium motion control has also an important role to play, especially in the production of 3D background plates on scaled-sets. Using high resolution still cameras, backgrounds can be easily shot for further use with live action and CGI character animation."

Motion control photography - Wikipedia




"A rostrum camera is a specially designed camera used in television production and filmmaking to animate a still picture or object. It consists of a moving lower platform on which the article to be filmed is placed, while the camera is placed above on a column. Many visual effects can be created from this simple setup, although it is most often used to add interest to static objects. The camera can, for example, traverse across a painting, and using wipes and zooms, change a still picture into a sequence suitable for television or movie productions.

The controls of the camera differ considerably from those of a regular motion picture camera. The key to its operation is one or more frame counters. These enable the camera operator to roll the film backwards and forwards through the film gate, and to know exactly which frame is being exposed at a given time. Also key is the way the operation of the shutter is completely independent from the film transport, so a given frame may be exposed a number of different times, or not at all. Very long exposures are also possible, so that title streaks, zooms and other special effects can be created by keeping the shutter open while moving the camera head up and down the column; rotating or moving the lower platform from side to side; or doing both at the same time. For some of these types of effects, the artwork may be a transparency, which is back-lit by a light source below the table surface.

The camera's film gate is also different from that of a regular motion picture camera, in that fixed pins hold each film frame in place while it is being exposed. This "pin-registered" gate means that the film can be wound backwards and forwards through the camera head many times, but will always return to exactly the same place without any shifts of the film frame. Such precise repeatability is required for multiple exposures, traveling mattes, title superimposition, and a range of other techniques.

The camera is connected to a mechanism that allows an operator to precisely control the movement of the lower platform, as well as of the camera head. The lower platform is often called an animation compound table.[1] In a modern setup a computer controls the horizontal, vertical and rotational movements of the compound table, the "zooming" (lowering and rising) of the camera head on the column, and the lens bellows.

Early rostrum cameras were largely adapted from existing equipment, but after World War II industry pioneer John Oxberry made some key refinements to the design. His company, Oxberry Products, then went on to produce some of the best-known models, which were used by leading film and animation studios around the world. Other manufacturers included Acme, Forox, Marron Carrel, Mangum Sickles, the German company Crass, and Neilson-Hordell in the UK. Some of these machines were somewhat smaller and more cheaply built than the Oxberry models, but were ideal for general purpose work, such as producing titles and copying artwork to film.

In the UK, Ken Morse is well known for his rostrum camera work in television and film, and his name is often seen in the closing credits of UK productions. In United States-based documentary film making, the use of a rostrum camera for a particular type of panning and zooming effect is sometimes called the Ken Burns effect.

An animation camera or animation stand, used for single frame shooting on film is similar. With a multiplane camera, a 3-dimensional effect can be obtained."

Rostrum camera - Wikipedia

Flight operations aboard the USS Harry S. Truman (CVN-75) include multiple takeoffs and landings of F/A-18 Hornets and one takeoff of an E-2 Hawkeye. Film Credit: Seaman Apprentice Ethan Schumacher




The Final Countdown is a spellbinding sci-fi action hit filmed on locaton aboard the U.S.S. Nimitz. The time is now, the place is aboard the U.S.S.. Nimitz. Suddenly, a freak electrical storm engulfs the ship and triggers the impossible: the Nimitz is hurtled back in time to Dec. 1941

"Modelmaking for scenery has long been used in the film industry, but when a model is too small it often loses its illusion and becomes "obviously a model". Solving this by building a larger model introduces a dilemma: larger models are more difficult to build and often too fragile to move smoothly. "

"The solution is to move the camera, rather than the model, and the advent of compact lightweight 35mm cameras has made machine-controlled motion control feasible. Motion-control also requires control over other photographic elements, such as frame rates, focus, and shutter speeds. By changing the frame rates and the depth of field, models can seem to be much larger than they actually are, and the speed of the camera motion can be increased or decreased accordingly.

Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. The film's model photography was conducted with large mechanical rigs that enabled precise and repeatable camera and model motion. The film's finale was created with mechanically controlled slit-scan photography, which required precise camera motion control during the exposure of single frames. The first large-scale application of motion control was in Star Wars (1977), where a digitally controlled camera known as the Dykstraflex performed complex and repeatable motions around stationary spaceship models. This enabled a greater complexity in the spaceship-battle sequences, as separately filmed elements (spaceships, backgrounds, etc.) could be better coordinated with one another with greatly reduced error.

In the UK The Moving Picture Company had the first practical motion control rig. Designed and built in-house, it used the IMC operating system to control its various axis of movement. Peter Truckel operated it for several years before leaving to pursue a career as a successful commercials director.

The simultaneous increase in power and affordability of computer-generated imagery in the 21st century, and the ability for CGI specialists to duplicate even hand-held camera motion (see Match moving), initially made the use of motion control photography less common. However film producers and directors have come to realise the cost-saving benefit of using motion control to achieve the effects in a reliable and realistic way." 


"H.G. Wells' Things to Come" 1936 Theatrical Trailer 



IN THE NAVY 1980-81 Mediterranean Cruise, Fighter Squadron VF-14(Tophatters) aboard the Aircraft Carrier John F Kennedy Cv-67








"Early attempts at motion control came about when John Whitney pioneered several motion techniques using old anti-aircraft analog computers (Kerrison Predictor) connected to servos to control the motion of lights and lit targets. His film Catalog (1961) and his brother James Whitney's film Lapis (1966) were both achieved with John's pioneering motion control system. The 1968 film 2001: A Space Odyssey pioneered motion control in two respects. " 

Motion control photography - Wikipedia




"The Kerrison Predictor was one of the first fully automated anti-aircraft fire-control systems. The predictor could aim a gun at an aircraft based on simple inputs like the observed speed and the angle to the target. Such devices had been used on ships for gunnery control for some time, and versions such as the Vickers Predictor were available for larger anti-aircraft guns intended to be used against high-altitude bombers, but the Kerrison's electromechanical analog computer was the first to be fast enough to be used in the demanding high-speed low-altitude role, which involved very short engagement times and high angular rates."

"By the late 1930s, both Vickers and Sperry had developed predictors for use against high-altitude bombers. However, low-flying aircraft presented a very different problem, with very short engagement times and high angular rates of motion, but at the same time less need for ballistic accuracy. Machine guns had been the preferred weapon against these targets, aimed by eye and swung by hand, but these no longer had the performance needed to deal with the larger and faster aircraft of the 1930s.

The British Army's new Bofors 40 mm guns were intended as their standard low-altitude anti-aircraft weapons. However, existing gunnery control systems were inadequate for the purpose; the range was too far to "guess" the lead, but at the same time close enough that the angle could change faster than the gunners could turn the traversal handles. Trying to operate a calculating gunsight at the same time was an added burden on the gunner. Making matters worse was that these ranges were exactly where the Luftwaffe's dive bombers, which were quickly proving to be a decisive weapon in the Blitzkrieg, were attacking from.

The Kerrison Predictor was a relatively simple device compared to high-altitude predictors and was designed to meet these particular requirements. It was designed by Major A.V. Kerrison at the Admiralty Research Laboratory, Teddington, in the late 1930s. After the war, Kerrison went on to become Director of Aeronautical and Engineering Research at the British Admiralty."


A park side view of the Midway Aircraft Carrier Museum and a walk through the Bob Hope Memorial and around "The Kiss" sculpture. This is part of The Greatest Generation Art walk on the San Diego Bay. The Bob Hope Memorial features audio from some of his many USO tours performing for the troops overseas.

Multiple Planes Landing and Taking Off From a Moving Aircraft Carrier


This could be a matte based composite. Motion controlled cameras make even compositing complex movement easier than one might think. The clip above "Multiple Planes Landing and Taking Off From a Moving Aircraft Carrier" does not look real to me. The ship does not seem to be really moving and the horizon does not move relative to the flight deck. The whole thing looks like a photographic composited live action cartoon, an updated version of the Zapruder film. 


In general my opinion after watching many hours of this kind of footage is this:


I'm not sure what to think. I do not trust anything on screens. I do not trust anything I cannot verify for myself, and when there are things that I am shown that make little sense to me, I become suspicious. There is no reason to trust the Military.

I know that footage can be faked and I know how they can fake these aircraft taking off and landing.

It doesn’t seem like this is really at sea as the horizon does not seem to move relative to the ship’s deck.

The tail hook wire does not seem to get tight enough when the aircraft land, and the runway distance seems to be too short. If anything these jets could be radio controlled smaller craft or any of a number of things. Hollywood trickery is hard to spot when we are looking at highly edited video and seeing only what the Military censors want us to see. 

Having people standing about on the flight deck makes no sense. I don't buy into the idea that the jet pilots need these people and think that what we are seeing is some kind of ritualistic dance designed for us the audience more so than the pilot's eyes.

Consider how large the aircraft is supposed to be and how dangerous it would be to be on the flight deck when these aircraft were taking off and landing. But hey these guys love danger, right? Well what about the expensive aircraft and the hours of effort and cost that gees into training these highly skilled people? Why put any  of that in any kind of harms way needlessly? In other words why have the crew on the floating airfield at all. 

Normal airports are not anything like this. When you take off and land you do some from a safe distance far from the parking lot and far from people milling about.

Consider how when we fly, how far the plane has to travel before taking off, and how far it has to travel after it lands, consider the force that is applied to stop the movingplane, and how it feels on your body. Think about what it would be like to be landing a plane on a runaway too short and having to have motion stopped by a tail hook. Why don’t they just use the same idea for passenger Jets and personal aircraft?

Why all the needless long runways? Why waste the precious real estate? Compare the design of an aircraft carrier to an airport. Does any of this make sense? Landing and taking off and all sorts of other problems are supposedly engineered away. The basic concept of a ship at sea, which constantly rocks, making for a good landing and takeoff strip, especially under combat conditions, seems absurd to me.

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Computers make creating special effects easy. But keep in mind these same techniques are based on older Hollywood darkroom techniques and what can be done now with a computer could have always been done with models, film photography and non-digital techniques. Also keep in mind the use of computer for manipulating digital imagery goes back to at least the 1970's, if not earlier.

I doubt that the governments are going to show us all how to conduct real warfare, so I tend to think all the images we have of wars are meant to fear propagandize us and deceive us as to the real capabilities of the Military and how they go about doing the "magic' they do. Like any good stage magician, I doubt the Military is really going to show us how they conduct war. Does that really make sense? Deception and security clearances would seem to have to mean something, no? 


The Hobbit: There And Back Again

This Explains How The Master & Slave Cameras can Create Aircraft Carrier And Other Effects Footage


"This left the director with only one alternative: To conjure a community peopled with hobbits and dwarves, he would have to resort to the cumbersome process of filming man and halfling separately and uniting them digitally in postproduction. Jackson had occasionally used that technique in TheLord of the Rings, but The Hobbit was filled with dialogue—often two or three script pages in succession—between Gandalf and his pint-size pals. "It's very difficult for them to have a conversation that feels natural," says Jackson, citing his early attempts to unite the wizard with hobbits. "We would have Ian do half the conversation and then Elijah would have to fill in the hole Ian had left him. It was a stilted way of doing it."

So before filming began on The Hobbit, Jackson asked his team to come up with a better approach—one that would allow him to direct every scene in real time. The answer arrived in the form of an innovative motion-control system. Instead of shooting the actors one at a time, the director placed them on two different sets—50 feet apart—and recorded them with different cameras. The live, or master, rig was outfitted with encoders that measured the pan and tilt of the camera, the motion of the boom that held it aloft, and the speed and movement of the dolly beneath the whole setup. This data was crunched, scaled, and instantly relayed to a slave-rig camera on a green-screen set, allowing it to move on three axes in perfect harmony with the first."

"In this way, Jackson could place the slave camera much closer to Gandalf and—with the magic of software—remove the green background and merge the images from the two sets so it appears as if the wizard towers above the dwarves. One challenge was to create a green-screen set that precisely mirrored the live set—archway, walls, chandelier, etc. If Gandalf rested his hand on a green-screen table, it could not appear to float above the top of the table on the live set. To precisely position everything, the crew invented a device called the Pinger. Think of it as a laser-beam protractor: It measures distances and angles, allowing the crew to pinpoint the critical contact spots common to both sets."

"Once those spots were aligned, the live-set and slave-set cameras worked together to generate the proper perspective. The system included a monitor that supplied Jackson with a live composite of the two shots so he could watch the scene unfold. The actors on both sets used green tennis balls to locate their sightlines and hidden earpieces to follow the dialogue.

In the system's trial run, Gandalf pays a visit to Bilbo's Bag End home with a company of dwarves clustered around him. In the course of the shot, he has to duck below an archway, bump his head on a chandelier, greet each character by name, lay the dining room table with forks and knives, and accept a cup of wine from a cohort.

The live set was built to human scale. The table, the plates, the drinking cups were all of normal size since they would be filmed next to average-size actors. The items on the green-screen set were scaled down by 25 percent. In Gandalf's hand, the wine cup looks tiny. But because the slave camera was placed closer to him, the cup and the hand both appear much larger on film. In fact, when the two images were combined, the cup looks exactly like those in the hands of the dwarves."

The Secrets Behind The Hobbit's 3D Wizardry - Digital Hollywood




Where is the camera supposed to be? 

George W. Bush is an actor playing make believe on a very real Ghost Army Theatrical Set

This guy is supposed to be a Skull and Bones-man "Spook", right?




Bush: "Mission Accomplished" -- REAL Speech

Please notice all the quick cuts we are all conditioned to accept as normal. These edits tell us what we are seeing is controlled and contrived. This could haven shot on an outdoor green screen set for all we know for sure. This technology and capability goes back to the World War Two era of film making. What we are seeing is what the Government wants us to see.


"In 1917 the government of the United States took charge of the patents owned by the major companies involved in radio manufacture in the United States to devote radio technology to the war effort. All production of radio equipment was allocated to the U.S. Army, U.S. Navy, U.S. Marine Corps, and the U.S. Coast Guard. The War Department and the Navy Department sought to maintain a federal monopoly of all uses of radio technology. The wartime takeover of all radio systems ended late in 1918, when the U.S. Congress failed to pass a bill which would have extended this monopoly. The war ended in November of that year."

"The ending of the federal government's monopoly in radio communications did not prevent the War and Navy Departments from creating a national radio system for the United States.[5] On 8 April 1919, naval Admiral W. H. G. Bullard and Captain Stanford C. Hooper met with executives of the General Electric Corporation (GE) and asked them to discontinue selling the company's Alexanderson alternators (used in the high-power AM radio transmitters of that era) to the British-owned Marconi Company, and to its subsidiary, the Marconi Wireless Telegraph Company of America."

"The proposal presented by the government was that if GE created an American-owned radio company, then the Army and Navy would effect a monopoly of long-distance radio communications via this company. This marked the beginning of a series of negotiations through which GE would buy the American Marconi company and then incorporate what would be called the Radio Corporation of America.[6]"   "

RCA - Wikipedia

British Security Co-ordination - Wikipedia

William Stephenson - Wikipedia

Rockefeller Center - Wikipedia

Hornet recovered the astronauts from the first moon landing mission, Apollo 11, on 24 July 1969.

President Nixon was on board to welcome the returning astronauts back to Earth, where they lived in quarantine aboard Hornet prior to transfer to the Lunar Receiving Laboratory at Houston.

The first steps on Earth of returning moonwalkers Neil Armstrong and Buzz Aldrin, with Command Module Pilot Michael Collins, are marked on her hangar deck, as part of her Apollo program exhibit.

USS Hornet (CV-12) - Wikipedia

It's mostly a mind war.

I cannot personally verify that any of the footage (some of it looks fake to me) below is real, but it is both more believable and makes more sense than jet planes landing on aircraft carriers. Even if somehow the Military does land (and deploy) jets as claimed, there's no way that this is any kind of real way to deploy aircraft in a rapid manner without a lot of obvious and needless risk. Jet based aircraft carrier would seem to be more about museum pieces and artful propaganda  than about physical combat.

U.S. Army Helicopters Join Up with the U.S. Navy at Sea

What else could they be lying about?




Elton John In Edimburgh Scotland 1976

This is the launch scene from Fritz Lang's lesser-known 1929 science fiction film "Frau im Mond" set to "Gemini X" by Consortium 499. It is, in my opinion, an absolutely stunning achievement of classic cinematography in both quality and accuracy. It is quite clear Lang's attention to detail was both painstaking and precise.
Sausalito (Governors Song) By Bobby Darin