Saturday, June 18, 2005
Arturo Robles Gil
Several interesting video clips have been made public by Arturo Robles Gil. His clips appear to show large numbers of strange lights floating through the sky. The explanations offered to debunk these clips include balloons (as in a mass balloon release or launch), or bird flocks too far away to be resolved as such by the camera.
The balloon explanation is hard to accept because balloons in a mass release move in random patterns...a fractal pattern...based on winds, weight, drag, etc. The objects in Robles Gil's clips move in very apparent unison, with an occasional flock member making arbitrary movements. Some have characterized the movements as if "in a liquid". The uniformity of motion in the clips makes balloons a far-fetched culprit.
Bird flocks often move in large seemingly unorganized groups at high altitudes, as during mass migrations. What distinguishes them is the uniformity of motion, with the occasional flock member falling out of formation for one reason or another. While this is compelling vis a vis the Robles Gil clips, there are other traits of bird flocks that are not represented in all of Robles Gil's clips. When video-taping bird flicks, the distance from the camera to the flock plays a role in how visible the flovk will be. But more important is the part played by sunlight. From even a great distance, sunlight reflected off a white or gray bird can cause a flaring that is quite visible. At the extreme limits of a digital camera sensors ability to resolve an image, flocks of such birds might very easily appear as they do in Robles Gil's clips. In order to ensure this, however, many factors must be in perfect alignment to produce a suitably "strange" effect. While bird flocks might explain the clips, I believe there is a simpler solution, and one which might explain a great number of contemporary, and even some very old UFO cases.
My hypothesis is that Arturo Robles Gil, who is known to be a professional photographer by trade, uses a few tools and tricks to create his clips, and is very aware that his clips do not represent true UFOs; that he uses discrete light sources, reflected through clear glass, against the sky, to record his clips; that the camera sees the light reflection against the sky and the images merge to form a whole; that once the parts are aligned properly, the scene can be zoomed in or out, focused or de-focused; that the "objects" move across the sky in perfect unison by turning the glass pane on its vertical axis.
In order to test this hypothesis, I have assembled the following equipment...readily available from any photographic supply house, or presumably in possession of (or readily available to) any professional photographer:
Camera - Minolta Dimage 7xi 5.2 Megapixel digital with video capability
Tripod - Generic tripod from ebay, with braced legs, weight hook at bottom, and pan/tilt head and quick-release adapter
Pane of glass - acquired from a typical photo frame with glass layer
Flash bracket - commonly used, adjustable-length, slotted metal bracket that attaches between the camera and the tripod head, and which has a similar attaching means at the far end. Note: typically the flash bracket is extended to the left of the camera, to accomodate a flash distant enough from the lens to prevent "red-eye" efffects. In this application, the bracket is swung straight out in front of the camera, and a thumbscrew is inserted through the slot in the far end of the bracket and threaded into a thin frame holding the glass pane. The attachment point is at the bottom center of the frame, so that the pane can be turned smoothly left or right in relation to the camera lens.
Light source for "fleet" - a string of spherical white christmas lights...approximately 24 bulbs, with a dark green cord running to an extension cord connected to electrical power. Battery-powered lights are also available when power is not readily available.
Once the parts are assembled, the camera can be moved via the pan/tilt head of the tripod, and the glass pane will remain at a fixed distance and relative position to the camera lens, until the glass pane is swiveled left or right.
The string of lights is laid out on the lawn behind me, and I aim the camera up into a brightly lit sky, and turn until the lights behind me are reflected in the glass pane. Looking through the viewfinder (a direct view from the lens...not an optical viewfinder) I move the camera until the reflections are clearly visible in the camera view, and slowly move the glass pane relative to the camera, causing the reflections to move slowly across the field of view. The camera is capable of recording 60 seconds of video at a pass, whcih seems sufficient to test the hypothesis.
Prior to performing this experiment, a few preliminary tests were done to determine the viability of the hypothesis before exerting the effort to assemble the above parts. Holding the glass in one hand, and my camera in the other, I was able to record the reflected lights and was fairly impressed with the results. It was these "proof of concept" clips that made me confident both in the hypothesis, and my ability to adequately reproduce the Robles Gil clips.
I will provide these preliminary clips in the next couple of days for download, but keep in mind these points...
The glass used was a smoked glass table top from an end table. (As I said, I didn't want to spend any money if I wasn't sure of my testability)
I intentionally moved the glass pane out of frame to show that there was in fact a glass pane there. Without showing the obvious difference between the view through the smoky glass and the view without it, I was leery that someone might use the clips to SUPPORT Robles Gil. Can't have that. But remember that the key is the lights, and their appearance in the clips. This was the only goal of these clips, and in that respect you will see why my confidence in the hypothesis was elevated.
After this experiment is over, and the results of all testing published in this space, I will move on to another contemporary clip that I believe was produced in much the same way...the Bessent clip from Phoenix.
Estoy a sus órdenes.
Arturo Robles Gil.
Muchas gracias por su comentarios.
And that about exhausts my available Spanish. My apologies.
Placing your comments in the Babel Fish did little to impart what I'm sure were some cogent arguments. I await a better translation, but with regard to analysis of photos and clips...there is NO method of validating an object in a filmed image that is foolproof, or even demonstrably infallible.
Get one of your UFO videos with a dozen witnesses, with distant separate simultaneous cameras, with film of you filming them, and I'll give the issue a second look. But if I create video clips that look just as yours do, what would the analysts say? Either I film UFOs too, or you do not.
Right, you may be. But think so, I don't. *S*
p.s. arturo lo escribo en ingles para que mas personas lo entiendan.
Any way we need that more people be aware of this.
Es un fotografo profesional con muchos reconocimientos Algunos de sus mas grandes fraudes fue cuando Intento pasar por evidencia una de sus fotografia tomada aun jugete chino de plastico semitransparente que algirar se ilumina en su interior ( lo llamamos la pirinola china) de manera artera y malintencionada con el afan de enganar y presentarlo como una inrefutable evidencia de un OVNI..A este sujeto le encanta la fama y le gusta el protagonismo muy bien demostrado en el programa MUFON donde lo atraparon y quedo al descubierto sus mentiras .