Schreiber’s Images From the Other Side
Klaus Schreiber (d.1988) was the first ITC researcher who received clear images from the other side. Using a technique he perfected, Schreiber introduced video looping ITC, also known as transvideo, to the masses starting in 1985. Lately, there has been a lot of renewed interest in video instrumental transcommunication. Following in the footsteps of Frank Sumption and his video ghost boxes, current ghost box creators are attempting new ways to sweep televisions to obtain video ITC images. Video ITC as it was traditionally done by Klaus Schreiber is still being done by researchers like Grupo TCI Seattle who have appropriated Schreiber’s methods and are continually obtaining images on a weekly basis that are nothing short of stunning.
“Oscillation fields are the pre-requisite for transmissions from the Beyond to our world on our time-bound level. Without these, the entities in the Beyond would not be able to impart themselves to us. Certainly, they are always present and try to find contact with us, but only when we open ourselves in love and long for contact, the vibration fields can unite on the spiritual level, and the Beyond is able to communicate with this world.” – Klaus Schreiber
Schreiber received EVP’s from his daughter Karin, who died at the tender age of 18, that instructed him on how to achieve transvideo ITC. After a few weeks of experimentation, Klaus developed an opto-electronic feedback process that produced two types of transimages hidden in the dark and light patterns obtained by the video looping method. The first type of transimage was what he called the ‘incident images.’ These ‘incident images’ produced clearly recognizable forms without further processing. The second type of image was a ‘processed image’ which only suggested human-like contours at first glance, but over several transfers of tape to tape, these images became much clearer through generation loss. During his brief experiment time, from September 30, 1985 until he passed from a heart attack in January, 1988, Klaus Schreiber obtained more than 100 transvideo ITC images.
Schreiber’s method has been explored by many ITC researchers and most have met with success. Images of the known and unknown deceased, landscapes and buildings have all made appearances through video looping ITC.
The method of Schreiber’s video looping ITC required one (black-and-white) TV set or monitor, a black and white video camera, as well as two recorders, VTR1 and VTR2, with the ability to freeze frame clearly. Color television sets may also be used, but then the color regulator must be turned to zero.The TV set or monitor was used without an antenna, and the camera and VTR1 were hooked up to each other as one would for normal video recordings. Schreiber pointed the camera is pointed at the TV screen “from an oblique angle” at a distance of approx. 2 m (approx. 6.1/2 ft). He then worked with the lighting, shutter and aperture settings, brightness, contrast, and camera position to produce a slowly fluctuating light-and-dark pattern on the television or monitor. He also utilized UV rays (‘black light lamps’) and IR rays (‘red light lamps’) along with instable sound fields generated by means of acoustic feedback; these seemed to be favorable for image formation. After a very short recording of patterns on VTR 1 (1 min = approx. 1500 pictures!), he then examined every frame for any possible ‘paranormal’ image. Clear ‘incident’ images were photographed with a Polaroid camera. The ‘processed images’ were copied to VTR2, and then back to VTR1 and repeated until the clarity of the image revealed itself through this series of dubbings. With enough transference, a ‘vague’ light fleck may possibly be ‘processed’ into a clear image. With the stress put on the tapes, only hi-quality tapes of minimum available length should be used.
Ernst Senkowski noted that “To every physicist it is absolutely clear that the improvement of the quality of a picture by repeated duplicating – here another example – contradicts one of the ‘fundamental principles’ of physics, that of ‘entropy’. So, in such negentropic formation of pictures a shape building field must have effect which stepwise generates ‘order out of chaos’. We here have not to do with a technically reproducible formation of geometric patterns, spirals, infinitely feasible repetitions, or similar structures, but with clear pictures, mainly (but by no way exclusively!) of deceased who during their earthly life were relations of or had relations with the experimenter. The formation of a ‘processed image’ is comparable with a sculpturer’s work, who creates a perfect sculpture out of a rough block of marble.” (Instrumental Trancommunication, 9.7 Transvideo Image)
With today’s modern technologies, VTR’s are no longer used in video production as most things reside in a digitized form. Unless VTR’s are utilized with analog tape, one cannot process an image in the same way as Schreiber. This means that transimages from the Others may never be seen as the modern ITC researcher looks for ‘incident’ images only. Modern technology is a boon though as it allows for the transvideo ITC researcher to look at each frame in a digitized form. Incident images can be copied from an individual frame without ever losing quality. The use of digital video also allows for the sharing of images between researchers.
3 Methods of Achieving Transvideo ITC Images
The following description can be found in the book Bridge between the Terrestrial and the Beyond: Theory and Practice of Transcommunication by Hildegard Schaefer.
“Three different methods of recording are known which furnish well recognizable up to excellent images from the Beyond. A feature common to all methods is the provision of energy in form of visible light and of ultra-violet and infrared light. For this purpose black-light lamps and infrared lamps are arranged in the recording room in a manner to feebly light the screen. Household-type aluminium foil is fixed in such positions where it ensures that the light reaches the screen on different ways.
For video recordings suitable equipment is needed. Here below all the possibilities are listed, and depending on the respective method, the appliances are shown on diagrams.
- black-and-white camera with zoom lens
- special TransCom amplifier
- VHS recorder with super still picture, streak-free slow-motion device and stop-motion switching. Backward stop-motion switching and backward slow-motion device are recommended.
- TV set with remote control, black-and-white or colour, approx. 39 cm image diagonal
- VHS recorder of good quality
- black-and-white receivers featuring good framing control and contrast
- low-noise Elektret microphone
- low-noise TransCom microphone amplifier with level limiting
- UV lamp with special light, two black-light lamps with different wave lengths, brand TransCom
- infrared radiation lamp, current on the market
- household-type aliminium foil
- holder for basic structure
The UHF output of a video recorder (3) is in the usual way connected to a TV set (4) in such manner that a good picture is received when playing a tape carrying a recording (colour regulator at TV set on zero position). Then a video camera (1) is – via a special video amplifier (2) – connected to the video input of the recorder (3). The microphone incorporated in the camera is – via an audio amplifier in the video amplifier (2) – also lead to the video recorder. A separate microphone (7) with pre-amplifier (8) may be used as well (ill. 1). Via the recorder, the camera now delivers a picture which the TV set represents. Now the camera is directed onto the screen and on a print (temporarily) fixed on the screen for sharp camera adjustment. Now the camera “sees” on the screen the picture recorded by it like a picture visible on two mirrors placed one opposite to the other. The room is not made dark. Regular, not too light, reflections on the screen’s glass surface are mostly useful for the formation of an image. Initially one should see the screen on the screen, again and again, till arriving at a bright point.
By extremely sensitive adjustment of the diaphragm, the sharpness and the focus of the zoom lense of the camera, the brightness of the picture on the TV set (contrast set to maximum) as well as the video amplifier’s amplification go to the limit of vibration of this closed electro-optical circuit. In doing so, one should have patience in searching for the best distance and the most favourable lateral displacement of the camera in the situation given for each of the devices. In the state near natural vibration even the approaching of hands to the amplifier or to the camera causes changes to the “picture”, slow vibrations. With the adjustment of focus, sharpness and of the diaphragm of the camera’s objective, and with the adjustment of the amplifier, it is tried to obtain on the screen a kind of “wavering clouds”. The microphone pre-amplifier (8) and the volume at the TV set (4) are adjusted so as to constantly hear a low whistling (retroactive whistling). With a great lot of patience and by turning one’s chief attention to one’s actions, one now observes what happens on the screen. After having got some practice, one soon recognizes in the images an indication of faces and shapes. Not before having reached this point, the recorder (3) is set on “recording” for a few minutes.
The work actually requiring patience begins when analysing this video tape. Proceeding with stop-motion steps, clearer pictures must be searched on the material carrying dilusive images. When finding such, we arrive at the decisive moment. They are supplied from the recorder (3) as freezing frames and are recorded with the camera from the TV set’s screen (4) by using a second recorder (5) – to which a second TV set (6) is connected to serve as a monitor (Ill. 2).
Again, all possibilities of adjustment are used in order to obtain the pictures on the monitor (6) as clear as possible. And again a low retroactive whistling, adjusted at the amplifier (8) and the receiver (6) should be hearable. On the second monitor it already now shows, if it is a paranormal image what we see, or if we “saw” something “into” the image. If it is a paranormal image, it will come into prominence remarkably clearer on the monitor, if not it will appear fully blurred. The new tape of recorder (5) is now introduced into recorder (3), and with patience we search it for pictures suitable for further treatment. Having found such pictures, we again use the camera to record them with the recorder (5) as freezing frames from the screen (4). This procedure is repeated till a clear picture has come off. It may happen that, during a recording, suddenly an almost finished picture appears, which at normal video tape playing speed is recognizable only as a flickering, or not at all. Most times we find only one single image on the video tape with its 1500 pictures per minute! Klaus Schreiber calls these images “drop-in pictures”(“Einfallbilder”).
Never did Klaus Schreiber make his work and his results a secret. He allowed insight into his recording studio to everyone visiting him in Aachen. He readily informed about every detail of the equipment and appliances used, agreed to every publication and tolerated the many visits of journalists, scientists and other – partly believing, partly sceptical – persons. He felt particularly close to Rainer Holbe because of their harmonic understanding.
Regrettably, malice was borne to him despite of this, and his success was assailed according to the principle “that not can be what not must be”. One might even suppose that his friends in the Beyond, especially his passed daughter Karin, recommended him a recording method in which the utilization of a TV set and of the other appliances so far used was absolutely superfluous.
This method based exclusively on light frequencies and UV light. On a linen screen fixed by Schreiber in his studio, mirrored light caused the generation of energy fields and paranormal pictures came off, exactly as they did with the usual video recordings. Initially it were only shadows that slurred over; later Schreiber used stronger spots which produced mirrored light by oscillation fields – till the shapes and faces became clearly recognizable. The manifestations composed of the individual light spots and became recognizable for everybody.
By this last described recording technique Klaus Schreiber could prove that his pictures from the Beyond had not come off through any technical manipulations. Anyway, he had no notion of any video technique. Would it have been otherwise, probably the images would never have become reality, because every technically versed person would have pooh-poohed the indications received from the Beyond as a nonsense. Same as with the tape-recorded voices, we, also with the video recordings, have to do with a phenomenon impossible to explain from the technical viewpoint.
For all technical possibilities of transcommunication therefore applies that technique alone is not decisive. A technical arrangement allowing to easily and immediately establish contacts with the Beyond does not exist. Of course, there are men who succeed rather fast in communicating with the Beyond, but there are also persons who succeed in it only after a very long time, and there are others who are never successful in it.
Klaus Schreiber, again and again, adverted to “love”, and we can proceed from love contributing in fact essentially to our being successful in making contact with the Beyond. Even beyond their death, Klaus Schreiber was most intimately associated with all his deceased family members, and it was mainly his daughter who gave him the necessary help from the other side. On January 7th, 1988, Klaus Schreiber was callen away from this world. In his obituary we could read:
There is no death – there is only a passing to an other level of existence. I am with you.
(Es gibt keinen Tod – es gibt nur ein Hinuebergehen in eine andere Daseinsebene. – Ich bin bei Euch.)
The last sentence found confirmation even immediately after his passing. Already during his burial he got in touch with an acquainted via her magnetic tape. From that moment on we could hear from many experimenters that they had contacts with Klaus Schreiber. In his humorous, unmistakable way he got in touch with his friends and relatives.
Video recordings of Martin Wenzel
During several years, Dipl. Ing. Martin Wenzel cooperated closely with Klaus Schreiber. But he also did research work off his own bat, and he engaged in video recordings by himself. Martin Wenzel, too, achieved considerable success with his experiments.
In applying his method he works according to the basic principle of Klaus Schreiber, though with a little change. The camera is connected via a video recorder as described and as illustrated in Ill. 1. Immediately at the side of the screen a strip of “basic structure” of approx. 20 cm width is arranged on a support (pls. see Ill. 3: Procedure according to Wenzel).
This strip shall overlap the screen a little bit. As material may serve a piece of wallpaper of fine structure, a piece of fine-mingled cloth, coarse-grain abrasive paper, or a photostat copy of semilog/coordinate paper. The important is that the material features sufficient contrast, is to say, is composed of very dark and very bright elements. The camera is directed to this basic structure and adjusted to high definition. It is recommended to illuminate exactly this basic structure. A still projecter fed with one empty diapositive frame suits excellently, because it furnishes an exactly delimited field of light.
Now the camera is swung to the screen so that it “captures” the basic structure and part of the screen. When selecting the distance between camera and screen and the focus of the zoom objective correctly, several strips of the basic structure, which the camera has recorded again and again from the screen, will be seen.
The adjustment of camera, amplifier and televisor is done as described for Schreiber’s recording method. In the third strip, now feebly visible shapes may appear which by and by come out clearer and clearer. They often appear in a great number, frequently even in, or above, one another.
However, up to this point, a lot of patience and the assistance of entities in the Beyond are needed. Now Martin Wenzel begins recording. Thereafter the tape is carefully analysed in slow motion. The single pictures are often clear and of different contents. Parts of pictures that are of particular interest are then selectively improved by him according to the first procedure (Ill. 2). Sometimes he finds on a video tape an individual drop-in picture filling the full screen size.”
Schreiber Demonstrating His Transvideo ITC Set-Up
Klaus Schreiber Video Technique
Klaus Schreiber’s Transvideo Image Captures
Schreiber left a legacy of over one hundred images when he passed. These are some of the clearest transimages he recorded using his video looping technique.