Bigfoot Society - The importance of Film Analysis and The Patterson-Gimlin Film | Film Analysis | M.K. Davis

Episode Date: October 26, 2022

M.K. Davis is best known for his work with analyzing the Patterson-Gimlin Film and his attention to detail going over it frame by frame. Enjoy this interview where we talk about the importance of thinking critically and more.Youtube channel - https://www.youtube.com/user/Greenwave2010fbThe Davis Report blog - https://thedavisreport.wordpress.com/Join the only Facebook group for Van Meter Visitor fans - “Van Meter Visitor Believers” - See you there!https://www.facebook.com/groups/vanmetervisitorbelievers/?ref=shareFOR MORE INFO ON THE VAN METER VISITOR FESTIVAL:https://www.facebook.com/vanmetervisitorfestival/_____________________________Join us over on Patreon! Get access to a whole library of extended shows, exclusive merch like a membership card and stickers, watch me interview guests weekly live on video, a Patron-only Discord and more.https://www.patreon.com/thebigfootsocietyPick up a Bigfoot Society shirt to rep the podcast!https://www.etsy.com/shop/BigfootSocietyTune in for new episodes of Bigfoot Society!https://www.youtube.com/channel/UC8Qq45W6iaTU8FE9kelxT7QIG: https://www.instagram.com/bigfootsociety/Full links: https://bit.ly/bigfootlinks

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Looked up and there was a monkey man. And the monkey man jumped down out of the tree. It started running away. And suddenly they're right in front of the car. He slams on the brakes and manages to stop and he's skidding because it's not quite, you know, graveling. And literally for about a second and a half, they just stood there because they don't know where to go. And you tell them panicking, they're like, roof dropping. Their face is like twitching.

Welcome back to Bigfoot Society, a podcast where we focus on cryptids, the strange and the unexplained of this world. If you've got a story or something weird to share, send an email over to me at BigFefa. So, Bigfoot Society at gmail.com. And if you'd like to support this show, head on over to patreon.com forward slash the Bigfoot Society. And now on with the show. All right, Bigfoot Society. We've got a Mr. M.K. Davis with us today. How is it going, MK?

Oh, doing great. How are you doing? I'm doing good. We've got a nice, nice fall day out here in Iowa and not too bad. You know, can't complain. I'm able to talk to some fun people today. So it's a good day for me, sir. And how about yourself? Well, it's a really nice day down here in Mississippi. The sun is shining. It's warmed up real nice. We've had some cooler weather. But this is my time of the year. I love the fall. Oh, yeah. Perfect. M.K., take if you wouldn't mind taking a few minutes and telling people about what it is they should know about yourself. Okay, well, basically, I kind of backed into the Bigfoot world.

I was doing astro photography, and this was back when it was done with film. And I came across a couple of photos. You know, the Internet is like a big vacuum cleaner. Yeah. It just people leak stuff out onto it. And there was these two wonderfully produced photographs. They were so strikingly clear that it caught my attention. I said, everything I'd ever seen of the Patterson Bigfoot film was dark and grainy and shaky.

And I recognized that people had used some of the techniques that you use in astrophotography, you know, to rescue faint detail. and I could see that that had been employed on these photos, and I became interested in them. I started making inquiries about where these came from, and, of course, there's a general rule is you can't get a good picture from a bad film. If that film truly was no good, where did these photos come from? and so I began an inquiry into that, and I began to collect images, and I made connections. I spoke at a couple of conferences up there in Oregon and made connections with some people from Canada who were able to get access to the better images. So I began a collection of the better images they sent them to me

because they realized that I was making an honest effort to, to deep dive into the film. And I felt like that the film would, when you got the best versions of it, and then you did some of the things that you can do to film to stabilize it. Sure. It removes the planes, all the,

it's got four or five planes of motion. You know, the hand motion's shaking. The legs are up and down when you're running. and it's all over the place and you can take that out of there. And so I said it should tell its own story. It may not need me to do any explaining, just put it together in its best form

and let people look at it. And I think it by and large has done that. The film is much more widely accepted and so in that form, that is. You know, when it's shaky and grainy and dark and all over the place, you can pretty much say what you want to say about it. You know, if you're a skeptic, you know, you could say what you want or if you believe it's this or that or the other.

But when it's in its best form, most of that is eliminated, and it leaves you with just a jaw-dropping piece of center. There's so many different questions. So, I mean, you look at the Patterson Gimlin film, and it is not a clear piece of film. But then you said you're able to get these shots of the film that are pretty clear. I just want to make sure, did I understand that correctly? Right, right. It's amazing.

The amount of degradation takes place when you make a copy. And different copies are made different ways. And you also change film stocks. So if you starts off with a 25-speed coat of color too, which is the second best that is code of chrome too, that code I made, it was the only technicaler was better. At 25-speed, you can make a mural in the size of the side of a barn, and it'll be clear.

uh so you know but if you transfer it over to something else that's like say 500 speed then you got grain and you you brought you you project that you got a grainy film and then it you you copy it you build contrast so each time you copy it the the whites become whiter and the the darks become darker and so you end up with a silhouette walking across a white sandbar yeah that's not that's not And it's grainy. You see what I mean. The handling of the film is probably the worst thing that happened to the film. If that film had been treated correctly, we would probably have it in textbooks now.

But, you know, it's getting there. So you're saying you had these certain stills. Are these things like you had, you know, when I think of the PG film, I'm thinking, like, thinking of stills. I'm thinking like frame 352, stuff like that. Like what kind of stills were you getting? What was in these shots that you uncovered? Well, I got some from Mrs. Patterson that was just Sterling. They were transparencies.

four by five transparency. Wow. They were so wonderfully clear. I mean, it make a lump come up in your throat. When she got them down, she said, well, let me show you guys some of his Rogers stuff here. And she pulled this shoebox out of the top of a closet. Oh, my goodness. And she put it on a table, and she went to pick an envelope out of it.

and caught a hole to these transparencies and dumped them in the floor. I picked them up. She says, oh, those are Rogers negatives. I said, no, ma'am, these are not negatives. They're positive transparencies. I held it up to the light, and, I mean, my jaw just dropped at their quality and the clarity of them. It was what I thought it would be. you know, if you could get back closer to the master.

Yeah. So, you know, that, that, you know, opened a lot of people's eyes. I published it. It was framed 352, which I got, I think, seven frames from her, and I got frames that were created from the master by a man named Bruce Bonnie, who was employed by Renee DeHenndon. to do that. And they were fabulous photos as well.

And so some came from Canada. You know, others came from the West Coast. So I actually had a copy of the film to work with for a couple of years. So it has, I've been gradually able to, to improve the film, improve the stability of it. Take that hand motion out because we're only made to interpret one plane of motion at a time. You know, you've got all those different planes of motion. We know it's walking, so it's doing some motion.

And the background's going from right to left. And then the person holding the camera has got moved. movement. You know, all of that movement, it causes the mind to freeze. It can't interpret it because it's looking at too much information from too many angles. So when you put, bring it all to center and you make it stable, then you can see the minute details, the minutia. You can see the things that you recognize in your daily life. The motion, the movement of muscle. under the skin and things like that, which are biomechanical, you know, that's what we trust our eyes for, you know, to tell us. We don't, we don't think that the people we see every day are hoaxes. You know, it's only when you can't see it good that you can call it a hoax or any other thing you want to call it. it all goes away when you can see it could so here's a here's a direct question for you being so you're

you say you're able to see it extremely clear you know through over the years so in your personal opinion do you think that we are dealing with a hoax or something that is real the real creature it's it's absolutely for certain real it's no hoax uh it's it is you know, exactly what it's portrayed to be what they call a Sasquatch. Interesting. Looking over, you know, you've analyzed this film so many times, so many different ways.

Have you noticed things from the film that, you know, maybe other people haven't caught, you know, the way that they're looking at it or any details that jumped out to you? well i mean aside from the the subject of the film you know there's there's other things going on anytime you film a live event you know you pick up things the camera part picks up things that that were you know if you had produced a hoax you would be in total control of what's on the film but if you're in a live event you're not you're not in control of anything you're filming the world as it is, as it is occurring in front of you.

There's behind the stump, there's something behind the stump that moves, but it doesn't show enough of itself to get an ID. Okay. When she's walking by, it makes a move on, you see it on the right, the left side of the stump first, then the right side of the stump, And then a little bit comes to the top. Like it's squatted down behind it. But it doesn't give you a complete idea on it, but it doesn't stand up.

So you think it might be another another maybe adolescent creature. Yeah, yeah, it's most likely. That's what it is. And, you know, coupled together with some of the, things you should see, especially her back. You can see these muscles under that shoulder blade. You can see the shoulder blade moving, you know, the two sides of the glutes. Yeah, a lot of people.

Yep, yep. That's been a subject, you know, people have used that as kind of a way of objecting to the film. They say it looks like a pillow, but that's only because they're looking at a bad copy. of him. If you look at the good one, you could see that split, and it's moving, they're moving independently. Interesting. And some of the early parts of the film, which they don't show much on TV, because it is so shaky and grainy, when you stabilize it, you can see the glutes very well.

On the inside of the, kind of up in the crack of the glutes. You can see the hair is worn off. So she's done a lot of scooting around in tight places, you know, maybe in a cave, maybe an overhang, that type of thing. So, you know, that, to me, it's, it's only 60 seconds, but it's a fantastic 60 seconds. It's absolutely, absolutely wild. I mean, I remember the first time I saw it on TV and it was like a in search of rerun or something. but even then with that copy of it, I mean, it's just like what is going on.

Have you gotten the ability to have you been able to go out to the film site? I've been out there probably 15 times. Oh, wow, from Mississippi? Yeah. Yeah. Wow. For various reasons. I go out there.

I did some compression tests on the sand. And I analyzed the sand so that I could know a little bit more about, you know, the impressions that she left behind. The sand is shale sand. It's not the round sand like you get with quartz crystals and stuff that rolls. It'll roll out under your feet. Shale is made of tiny little platelets, and they bind together. and they don't they don't uh it's hard to put a deep print in shale sand it it would have to be like very very loose and fluffy bluffed up to do it if it's been sitting there any length of time

you can't hardly stomp a print in it wow and uh and so well in the she was she made a pretty sizable den in it you know uh some of her prints are pretty deep hmm so it gives you an idea weight. It's far heavier than we are. I'd have to be to make an impression and, you know, sounds like in sand like that, you know. Well, that was one of John Green's assertions was that he offered $100,000 to anybody who could make a footprint out there as deep as hers. No one collected. Because no one could. That's crazy.

You know, in that type of sand. You know, using your, the way you've looked at the film and your film knowledge and things like that, how, is it possible? Like, what's the next step with the film? Can we make it even better than, you know, the best version we have right now? Or are we at the point where, you know, it's probably not going to get any better the way that we can look at it? well i have this to say about it that's what people were saying before i got a hold to it okay interesting yeah so so you it's you know you you technology improves and when technology improves if i find another method or angle for processing this film i'll go back through the whole thing

again and and i have i have discovered or or developed some processes that worked pretty well. The film was taken at a very slow frame rate. In other words, only about half the event was actually filmed. The rest is lost between the frames. If you think about, you know, it's only a capture of an instant of time, each frame. Sure. And what's between them was missed.

So, but you can still go back. and there's some processes that you can use that will link those two frames together, all the frames, in such a way that it makes a gradual transition rather than an instant jump. MK, this sounds like an AI thing, easy. You know, I don't know if you've looked into the AI stuff that's going on right now. Well, the only thing about AI is they use a prediction software. and that's not scientific. Okay.

That's used for creating the Disney cartoons and stuff that are so lifelike. Yeah. The artist will have two frames, and then the computer will fill in the rest with about 58. That's crazy. Yeah. So you can't, if the computer is making most of the film, you have to dismiss it as a scientific.

thing is just artistic. Science you have to use only the film. If you try to predict and the computer only predicts what people tell the computer to predict. So

minutia, things that are important that would tell you this is an actual organic, you know, living thing, might be missed by the computer. Interesting. You know, so it's not scientific.

So for the sake of science, you know, you stay with the film. Although it produces wonderful, I call it eye candy. There's nothing wrong with using AI. I think that the film should be, all the work on the film should be non-AI. and then when you have a final product, use the AI on it to create an even more aesthetic version of it. With the disclaimer that, hey, this is AI, but doesn't it look cool? Right, exactly.

Yeah. You have to, you have to discont. When this man did, he did predictive software a while back, and people were sending me copies of it, and I love to look at it. but I had to explain, you know, to people that you can't, he was recommending to be used for research purposes. And I said, you can't because your film shot at 16 frames a second and it adds up to 60. So, you know, what, 44 frames are computer generated. You know, they're not, they're not part of the film.

They were just guesses at what lied between the frames. You know, so that has to, you know, be put aside for another day. And you have to go with what's absolutely on the film 100%. And because you're trying to identify this one way or another as, is it real? And if it is, what is it? You know, so you need all of that minutia. thinking back to the you know the times you were able to go out to bluff creek you know or even the first time that you were able to go out there was there anything that you were in the area for the first time and that really opened your eyes you're like oh i never thought of it that way but now that i'm here this makes sense well you get a good idea of the remote number one of just how far back this was, you know, from civilization.

And even if you, even if you went to town, you'd only be going to a little small town of Orleans. Right. You know, which is, I mean, it's just, you could blink and miss it. So, you know, you're out in an area that seldom gets visited. I think that it was getting some visits at the time because of an effort to construct a road through there, which they call the Go Road from Gascette on the coast to Orleans back in the interior. And that's a road that they have a hard time with to this day. That road is closed most of the year.

It's got folders on it, you know, and all kinds of. They'll clear it off for a month or so and start snowing again. You know, it's wetting the high elevations of Siskieus. So they don't get a lot of visitors through there most of the year. That's Bigfoot country. Gotcha, yeah. You know, I've talked to a lot of different guys about that area, and it sounds like those roads are, they're always messing up cars.

You've got to be careful for sure. Yeah. Yeah, they really weren't. The Indians, they consider that area to be sacred. Okay. And they didn't want that constructed. They even formed human chains to try to prevent equipment. Oh, wow.

Prevent equipment from going in there. They believed, and I'm quoting what I read in black and white, they believe that at one time there was another type of human on the earth or in that area and that they returned to the stars from two mountain peaks one called doc they call it doctor rock or medicine peak and the other is chimney rock and they return through a hole in the sky And that's why that area is sacred to them. And they don't want the timber cut out of it or invasion of woodcutters or really much of anyone in there because, well, it's probably because of the presence of these things, Bigfoot or Sasquatch. When I think, I was just thinking of the phrase, hole in the sky, what do you know,

I know what I might think of, man, I'm thinking of like, is that our version of what we call portals today? I don't know. That's a good question. Yeah. A hole in the sky, if you think of that term, you know, that would fit the bill for what they call a portal or a way of entering into a number. into another dimension or another area in a way that that, you know, it's non-mechanical.

You know, you're leaving, but you're not leaving in a car. Yeah, no, you're not. You know, it was only from those two, and they trained their shamans on those two peaks to this day. They go and sit and fast and try to become a shaman by spending time out there on those two peaks. So they didn't want nobody coming out there and bother them. That is, I'm always fascinated by Native American, you know, legends and lore and stories.

And that's just, that's very, very cool stuff. before we you know in our last few minutes do you have any advice for let's say individuals that are getting into you know analyzing their own bigfoot footage or you know footage of bigfoot that they've been given by others any any advice that you have well my advice is don't be intimidated uh if if you if you think there's potential there try to learn what you can do. We have a lot of things available to just the average film with a good computer. And if you're creative, you can learn to custom fit those programs to your unique problems with that film. Every film has its own good and bad points. They're middle of the road, mostly.

the films are they got a lens and the media and all's middle of the road so when it comes to you want to look at minutiae the very small tiny things you want it to be clear then you have to develop a scheme for for filtering to boost the contrast to boost the sharpness They have lenses, like the normal middle of the road lenses, they don't bring to focus all the colors to one point. That's called chromatic aberration. So you can find the ones, the colors that are not completely and properly focused, and if they're digital, you can delete them from the image.

If you're dealing with real film, you can use a filter and expose the end. image through a filter and take that color out. And then the film will sharpen up. It'll be a false color in the sense of the real film. In the digital, it'll show it in black and white. But you boost sharpness 20, 30%, 1% will, you'll see 10 new things. Oh, wow. So you get an idea why it's worth the effort in the Patterson film to go back and do

again when a little piece of technology is made available that will boost it. Even if you don't give a 1%, 10 new things when you've got to film that's like that, that's a very important. It could be a game changer for sure. Yeah, surely could. Wow. I feel like this is definitely an interview that could give people a lot of rabbit trails to go down, and that's a good thing.

but MK, thank you so much for, it's crazy to think it's already the end of half an hour, but thank you so much for taking some time out to chat with me today. Before you go, is there, you know, if people wanted to keep up to date with what you're doing, any different ways that they can do that? Well, you can go to my YouTube channel, which is Greenwave FB 2010. and it's an old football channel that I converted up brought my big foot stuff over there it's fairly popular

I hadn't put much on it lately I've been doing more Facebook stuff if you want to go to just MK Davis you'll see me on the picture and put in a request to be a friend and you can see all of that and then I have a WordPress site which has got some pretty really good stuff on it.

It's, let's see, what did I call that? WordPress.com. I can also, I'll look it up as well, and I'll put in the show notes. I was looking at that earlier, yeah. So I'll make sure that's all linked for you, no problem. The Davis Report, I'm sorry. I just gotten kind of fired today. The Davis Report.org.com, and it'll take care of it.

Awesome. Well, thank you so much again, MK, for hanging out with us today and have a great rest to your weekend, sir. Thank you. The views and opinions expressed are those of the guests and do not necessarily reflect the official policy or position of Bigfoot Society. Any content provided by our guests are not intended to malign any religion, ethnic group club organization company, individual. PNC Bank brings you Call of the Wild Money Moves You hear that? YOLO

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