7.Anthony Imel — Direct/Cross/Redirect
620 linesANTHONY IMEL, duly sworn.
COURT CLERK: Have a seat. State your name, spell your last name for the record, keep your voice up and speak into the mic so everyone can hear you.
ANTHONY IMEL: Anthony Imel, I-M-E-L.
DIRECT EXAMINATION BY MR. WEINREB:
MR. WEINREB: Good afternoon, Mr. Imel.
ANTHONY IMEL: Good afternoon.
MR. WEINREB: Where do you work?
ANTHONY IMEL: I work for the Federal Bureau of Investigations at the Forensic Audio, Video and Image Analysis Unit in Quantico, Virginia.
MR. WEINREB: Okay. I'll ask you in a minute what that meant, but how long have you been at the FBI?
ANTHONY IMEL: Four and a half years, sir.
MR. WEINREB: And have you worked all that time in the Digital Evidence Laboratory?
ANTHONY IMEL: I have.
MR. WEINREB: What does the Digital Evidence Laboratory do?
ANTHONY IMEL: The Digital Evidence Laboratory is the forensic laboratory for the FBI that deals with digital evidence. It can be cell phones, computers, and in my case, digital imagery.
MR. WEINREB: What does "forensic" mean?
ANTHONY IMEL: Forensic is a type of science that we use for criminal investigations.
MR. WEINREB: So the lab examines digital evidence in connection with criminal investigations?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: Do you focus on a particular kind of digital evidence?
ANTHONY IMEL: My focus is on digital video and still imagery.
MR. WEINREB: Where does that video and still imagery typically come from, what types of devices?
ANTHONY IMEL: It comes from closed-circuit television systems, cell phones, digital cameras, anything that actually records digital images.
MR. WEINREB: During the past four years during your work in the lab, have you analyzed a lot of videos and photos?
ANTHONY IMEL: Yes, I have, sir.
MR. WEINREB: When you analyzed them, what are you typically looking for?
ANTHONY IMEL: It really depends on the case. So for video, typically I will just enhance the video to ensure that those individuals who view it see it clear. With images, I have the ability to do facial comparisons, image comparisons, make model comparisons, height determinations, things of those sorts.
MR. WEINREB: And just in the general sense, though, when the lab is investigating or looking at photos and videos in connection with a criminal investigation, what are the kinds of things you're looking for in the video? What makes them useful?
ANTHONY IMEL: Basically you're looking for identifiable marks: people's faces, the types of crimes that are being committed, enabling us to go back and find those individuals and show the purported crime that has been recorded.
MR. WEINREB: Have you had any specialized training related to your work?
ANTHONY IMEL: Yes, sir. I've gone through two years worth' of training through the FBI. I've gone through a multitude of tests, reviews. I have to be able to speak in front of court systems. I've gone through several contracting courses outside of the FBI through video forensics, through image analysis and comparisons, facial comparisons. I've gone through Photoshop courses, Adobe Premier courses, an extensive training period over my lifetime as a forensic examiner.
MR. WEINREB: Are you trained in how to preserve the integrity of digital evidence?
ANTHONY IMEL: That is one of the beginning courses that I take within the FBI.
MR. WEINREB: What does it mean to preserve the integrity of the evidence?
ANTHONY IMEL: To ensure that there's no damage to the original evidence, to be able to go back to the original evidence if there's a question as to its authenticity.
MR. WEINREB: Have you taught others how to analyze images and video?
ANTHONY IMEL: Yes, sir, quite a few.
MR. WEINREB: Before working at the FBI lab, did you do the same type of work elsewhere?
ANTHONY IMEL: Yes, sir. I ran the video forensics laboratory for the State Department for two years.
MR. WEINREB: Were you assigned to the Boston Marathon bombing investigation?
ANTHONY IMEL: I was, sir. I was requested to come up onsite the day after the explosion.
MR. WEINREB: When did you arrive?
ANTHONY IMEL: It would be April 16th. The night of April 16th. I drove up.
MR. WEINREB: So when you say "the night of April 16th," are you saying -- well, what time on April 16th?
ANTHONY IMEL: It was around midnight. I actually drove a van from Quantico. They had me pack the van up. I was on the road from about two o'clock on. 2 p.m.
MR. WEINREB: So when you arrived -- did you leave on April 15th?
ANTHONY IMEL: No, sir. The next day.
MR. WEINREB: Okay. And when you arrived, what was your job?
ANTHONY IMEL: My job was essentially to go to Black Falcon, which is a warehouse that the FBI acquired to process some of the imagery -- or all of the imagery. I was requested to go onsite, set up viewing stations. I set up -- I think it was approximately ten viewing stations and several forensic stations. As the video was coming, or being received there at the evidence collection unit, it was passed to me. I was basically set up to put them on the computers and allow different analysts and examiners to review the video as it was coming in and identify any subjects that were identified on the video.
MR. WEINREB: What's a view station?
ANTHONY IMEL: A viewing station was several Mac systems, Mac computers, that I set up in the Black Falcon area. And basically, a lot of the video that was coming in was proprietary video. I had to install those proprietary videos on the systems so we could view the video as it was recorded.
MR. WEINREB: Say more about that. What do you mean by proprietary system?
ANTHONY IMEL: Each digital video recorder has its own proprietary system inherent into that system. When you export that video, many of the players, instead of having like a normal Windows operating player like an MOV or WMV, it's actually in its proprietary format. It's just a recording system that the manufacturer makes to allow you to view what has been recorded on that DVR.
MR. WEINREB: Okay. So basically for different types of surveillance systems, for example, you might need different types of software to play the video?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: What -- you said before you set up ten viewing stations and two forensic stations?
ANTHONY IMEL: Approximately.
MR. WEINREB: What's a forensic station?
ANTHONY IMEL: So the forensic station was there for my use. When a subject was identified on the video, that proprietary video was then reestablished onto my forensic viewing station. I processed the video, basically took it out of its proprietary format into an open format, took stills -- still images of that video, produced prints, put that video on a DVD or a CD, and then sent it up to our headquarters that we had there in Boston.
MR. WEINREB: What's an open format?
ANTHONY IMEL: An open format is simply a video format that any open player can actually use. So, again, your media -- Windows media player, is an open format player.
MR. WEINREB: How many others were working with you doing this?
ANTHONY IMEL: There was one other forensic examiner that last -- that was there onsite for about four days, and then just myself as far as a video examiner. There were a multitude of different analysts that came in from several agencies. We were working 24 hours a day, seven days a week until the subject was found.
MR. WEINREB: How were the video images getting to Black Falcon?
ANTHONY IMEL: Different officers and agents were collecting them throughout the city and then bringing them over to Black Falcon. And that's where they were processed in and signed in as evidence.
MR. WEINREB: And what was that intake procedure like for the evidence?
ANTHONY IMEL: The first place they could go as soon as they walked in the door was the evidence collection unit. Any media that they had or -- excuse me -- forensic media that they had, they would actually sign it in, and we would start a chain of custody right then and there, and then it was logged in to the FBI evidence logs.
MR. WEINREB: And what kind of information was kept track of in connection with each of these things?
ANTHONY IMEL: The individual who collected the information, the individual actually signed in the information, where it was collected, what type of video we were expecting to see, whether it was images, video. And again, there was over 655 different types of submissions so -- brought in from all over the city. So it was numerous different types of information.
MR. WEINREB: All right. So among the information, did it include where the video images came from?
ANTHONY IMEL: Yes. Yes, there was a standard sheet that they filled out requesting that information, as much as they could provide.
MR. WEINREB: And were these items assigned some kind of number to track them?
ANTHONY IMEL: Yes. As it came in, it was assigned a D number, or digital number, 1 through a continuous number until we shut down the operating area sometime in mid-May.
MR. WEINREB: And after items came in and were processed in this fashion, what's the next thing that happened to them?
ANTHONY IMEL: Usually those pieces of evidence were logged in. Once they were logged in, they came over to my station. I either uploaded them or ensured that the individual who checked it out uploaded it onto the system, made sure that those viewing systems were operational, and that that individual could actually view the video clearly without any problems, after which they were sent back into evidence. The viewing system continued on, and then at some point the computer folks would come in and actually upload those systems to a larger hard drive, which we could draw multiple videos at any point in time without actually having to get ahold of the original evidence.
MR. WEINREB: How long were you at Black Falcon doing this?
ANTHONY IMEL: I was there for approximately one month.
MR. WEINREB: What were your hours like during those days?
ANTHONY IMEL: My hours usually started out about between 6 and 7 a.m., and I usually got out of there about midnight.
MR. WEINREB: Did you follow the evidence-handling procedures that you've described throughout?
ANTHONY IMEL: I did, sir. There were three or four young ladies that were very adamant in the evidence collection system that I did not touch it without a signature.
MR. WEINREB: And so to the best of your knowledge, did everybody else working there that you could observe follow the same evidence-handling procedures?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: How many videos and images were analyzed at Black Falcon?
ANTHONY IMEL: By my count, I took in 655 submissions.
MR. WEINREB: And how many actual distinct images and videos were in those submissions?
ANTHONY IMEL: Are you asking about as far as which ones contained the subject?
MR. WEINREB: No, just total.
ANTHONY IMEL: Total? Well, so one submission could include a single image. I found one submission that included up to 22,000 images. Over the course of three to four months, I actually reviewed every one that was submitted through Black Falcon.
MR. WEINREB: Every single video and digital image you personally reviewed?
ANTHONY IMEL: Yes, sir. Yes, sir.
MR. WEINREB: In the course of reviewing these videos and images, did the FBI identify suspects in the marathon bombings?
ANTHONY IMEL: They did.
MR. WEINREB: Now, when they were initially identified, did the FBI know who the people pictured were?
ANTHONY IMEL: No, sir, they did not.
MR. WEINREB: How were they referred to at that time?
ANTHONY IMEL: At that point we referred to them as "white hat" and "black hat."
MR. WEINREB: And is that because of the colors of the hats each one was wearing?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: Did you, in fact, find images of these two suspects in more than one video and photo?
ANTHONY IMEL: Yes, sir, quite a few.
MR. WEINREB: What did you do when you found videos or photos of the suspects?
ANTHONY IMEL: So during the review process at Black Falcon, if myself or one of the examiners actually viewed one of the subjects, again, that system or that video would be processed over to my forensic system. Individual images were taken of those subjects, an open format video was extracted from the proprietary format, if it was in the proprietary format, and then we sent it up -- sent it up to Boston to the command post for their knowledge base. While I was back at Quantico, during the review process if, again, I did find or identify one of the images that was not previously identified, again, I would process it and alert the folks at -- in Boston.
MR. WEINREB: And when these videos and images were copied from the original devices they came in on onto the system and the hard drive, did you do that copying?
ANTHONY IMEL: Can you state that again, sir?
MR. WEINREB: Sure. When these images and videos came in, were copied from the -- extracted from the devices that they originally came in to Black Falcon on, and were copied or uploaded onto the system or copied onto a hard drive, did you do that personally?
ANTHONY IMEL: No, sir. The computer forensics folks there were hashing the systems, one for one. So we kept two folders: One which was a complete hash, or an identical copy of the originals, and one working copy that we processed our images from. Myself, during the process there at Black Falcon, there were many times that identified problems with the upload over onto the open format, which I actually fixed by pulling the original evidence back out.
MR. WEINREB: Okay. And were you overseeing this whole process?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: So the copies that were made of the images and videos from the original devices they came in on to where everybody could view them, was that done to preserve the images in a fair and accurate manner?
ANTHONY IMEL: Yes, sir. That's one of the processes that the FBI has set up to ensure that we're not always working with the originals, that we are working with a forensic clone of the digital imagery.
MR. WEINREB: A clone meaning an exact copy?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: Is it possible to tell from the videos and the images that you received there exactly what time they were taken?
ANTHONY IMEL: They're approximate. On many of the videos and images there are date timestamps that are associated with those videos or images. That is limited to whoever records that video and what time that they put in on that individual system or the camera itself.
MR. WEINREB: When you have video and images that are overlapping or depict some of the same things, is it possible to use that information to reconcile the times and come up with a more accurate account of the timeline of the events?
ANTHONY IMEL: So if there's an action within the video that you can see or visualize and you can actually account that to a specific time period that is recorded with a true and accurate clock, there is ways to back that up and find out exactly when that picture image is taken. In this case, a lot of the runners had numbers across them, and as they crossed the finish line, you could actually adjust the time for those individuals.
MR. WEINREB: And did you do that?
ANTHONY IMEL: Me personally? No, sir.
MR. WEINREB: But was that done, to your knowledge?
ANTHONY IMEL: I believe that there were some instances where those runners' times were recorded.
MR. WEINREB: Similarly, is it possible to tell from a photo as opposed to a video what time the photo was taken?
ANTHONY IMEL: So again, depending on the camera and the individual using the camera, there are instances where the individual has the time stamped directly on the image itself. There are also ways to go in and retrieve what they call metadata, which is information that is contained within that image to extract when that image was taken. Again, this is approximate and it is limited to that individual on who sets up the time within the camera.
MR. WEINREB: When you viewed videos and images of let's say the events on Boylston Street, were you able to tell exactly where the places were that were pictured in the images and the videos?
ANTHONY IMEL: Yes, sir. On several occasions I actually went down to Boylston Street. I also used Google Maps extensively so I could get down into the street view of Google Maps while I was in Virginia so I could identify where those streets are, where those businesses were within the videos.
MR. WEINREB: Did there come a time where you put together a compilation of videos and photographs that traces the paths of the two suspects who were known then as "white hat" and "black hat" as they walked down Boylston Street and then later leave Boylston Street?
ANTHONY IMEL: Yes, sir, I've put several compilations, video compilations, together from the time the subject was arrested up until I think December of last year. Yes, I have done several timelines.
MR. WEINREB: And the one -- is there one in particular that you reviewed with me the other day?
ANTHONY IMEL: Yes, there is, sir.
MR. WEINREB: The video and photos that were used to create that, are they fair and accurate copies of the actual video and photo evidence that was seized from surveillance cameras on Boylston Street and cameras and other things?
ANTHONY IMEL: Yes, sir. I've actually gone back to the original evidence and ensured that the integrity of those images are true and accurate to the original formats.
MR. WEINREB: And are they, to the best of your ability to determine, in chronological order on that tape?
ANTHONY IMEL: Approximately with the limitation of the time and those people that actually set the times, but yes, sir.
MR. WEINREB: Now, in the video compilation that you created, are there captions added showing where the videos were taken from?
ANTHONY IMEL: Yes, sir, there are.
MR. WEINREB: And did you put those there?
ANTHONY IMEL: They are, yes, sir.
MR. WEINREB: And are those a fair and accurate account of where the videos and pictures were -- what's pictured in them, where they are?
ANTHONY IMEL: They're just title screens before each video to show you where that recording was taken and the approximate time, if I had that available to me.
MR. WEINREB: What steps have you taken to make sure that those captions are accurate?
ANTHONY IMEL: I re-reviewed them multiple times. I have been able to look at those videos. And the video timeline itself is limited as far as how many videos that we had produced. There's multiple cameras showing the same angles. I've produced the best possible pictures in this timeline, but outside of this one that you will see here later on, there are other videos and images connected to this timeline that verify, in different angles and different individuals that recorded, that accurately depict the same actions.
MR. WEINREB: Okay. And did you actually walk Boylston Street to see where the surveillance cameras are on the buildings and where they're pointed at and make sure that the -- what you're seeing in the video seems to line up with where the cameras are?
ANTHONY IMEL: I have.
MR. WEINREB: You said you looked at other videos and pictures that aren't in this timeline. Approximately how many images and videos did you examine that include the two -- one or both of the suspects?
ANTHONY IMEL: With the media that was sent down to Black Falcon that I processed the 655 submissions, there were over 70 different submissions with images depicting the subjects.
MR. WEINREB: And some of those were duplicates?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: But some of the submissions had more than one image?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: Okay. Those particular images and videos, how many times have you analyzed each one?
ANTHONY IMEL: Unfortunately, I'd have to say that I've seen each one of these videos hundreds of times. I've seen the explosions well over 500 times. It's been an interesting case for me.
MR. WEINREB: Bring up Exhibit 22 just for the witness.
Your Honor, we're going to bring up Exhibit 22 just for the witness and the Court.
MR. WEINREB: Do you recognize this as the first slide of the compilation that you put together?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: Your Honor, the government offers Exhibit 22.
MS. CONRAD: Your Honor, we have no objection to this as a chalk, but to the extent there are these cards -- title cards inserted, we do think those should only be -- come in as a chalk. The videos themselves, the pictures themselves, we have no objections to.
MR. WEINREB: Your Honor, photos and videos themselves frequently have this --
MS. CONRAD: Your Honor, I would object to this argument being heard in open court.
THE COURT: That's all right. The objection is overruled. I actually think it may be admitted. It may be admitted on the existing foundation, but I think it may also qualify as a 1,006. So it may be admitted.
(Government Exhibit No. 22 received into evidence.)
BY MR. WEINREB:
MR. WEINREB: Now, based on the information --
THE COURT: Do you want it exposed at this point or --
MR. WEINREB: No, not yet, your Honor. Thank you.
BY MR. WEINREB:
MR. WEINREB: Based on the information that you developed from analyzing all of these photographs and videos and everything else that you've said, have you been able to determine what paths the two suspects took walking down Boylston Street and then retreating from Boylston Street?
ANTHONY IMEL: Yes, I have.
MR. WEINREB: And if we could just bring up for the witness and the Court Exhibit 623.
MR. WEINREB: Just keep your eyes on the exhibit for a minute.
(Video played.)
MR. WEINREB: Okay. What you've just seen, is that a fair, accurate account of the paths that were taken by the two suspects walking down Boylston Street?
ANTHONY IMEL: It is.
MS. CONRAD: Objection.
THE COURT: Overruled.
MS. CONRAD: Well, with respect -- well, when we get to this coming in, we again maintain this is a chalk.
THE COURT: It might be.
BY MR. WEINREB:
MR. WEINREB: Now, please keep your eye on it again.
(Video played.)
MR. WEINREB: Okay. And does that accurately and fairly represent the exit paths?
ANTHONY IMEL: It is, sir.
MR. WEINREB: And now this diagram of Boylston Street, based on your acquaintance with that area, that you described having walked it and checked surveillance cameras and so on and so forth, is this a fair and accurate depiction of the section of Boylston Street that's pictured here?
ANTHONY IMEL: It is, sir.
MR. WEINREB: Your Honor, the government offers Exhibit 623.
MS. CONRAD: Again, we submit it's a chalk --
THE COURT: Yeah, I'll reserve on it. It can be used as a chalk, at least, but I'll reserve on it.
MR. WEINREB: Can we bring up 620, please.
BY MR. WEINREB:
MR. WEINREB: Mr. Imel, do you recognize this?
ANTHONY IMEL: I do, sir.
MR. WEINREB: Okay. Is this the same diagram of Boylston Street we were just looking at?
ANTHONY IMEL: It is.
MR. WEINREB: There are dots on the diagram. What does each one of those represent?
ANTHONY IMEL: Each one of those dots represents a security camera that was recording at the time of the explosion, sir, during the marathon.
MR. WEINREB: And do those fairly and accurately represent the locations of the cameras?
ANTHONY IMEL: They do, sir.
MR. WEINREB: All right. And I'm going to click on one of the dots right now. And a frame has popped up. What is that?
ANTHONY IMEL: So this is the security camera that recorded from the Whiskey's bar and grill. This is the initial point where the subjects enter Boylston Street rounding this corner.
MR. WEINREB: Okay. And if I click on the "play" button in that little box -- first I can enlarge it here. And if I click on the "play" button, what are we seeing here?
ANTHONY IMEL: It is a time-lapsed video, basically a recording that was recorded at the Whiskey's bar of the -- what was going on at that time period during the marathon.
MR. WEINREB: And then when I click on one of the dots representing the cameras, if you look at the dot, there's a blue sort of fan-shaped image connected to the dot. What does that represent?
ANTHONY IMEL: So that would be the field of view of the camera. So every camera has a point at which it records from the far left and the far right. So it's just a view of the camera.
MR. WEINREB: And does the directional -- the direction of the cameras, as reflected in those blue images, is that a fair and accurate representation of the direction of the cameras at the time the videos were taken?
ANTHONY IMEL: It is, sir.
MR. WEINREB: And are the videos themselves fair and accurate copies of the videos that were taken by those cameras that you analyzed?
ANTHONY IMEL: They are.
MR. WEINREB: I'm going to offer Exhibit 620.
MS. CONRAD: Wait. I'm sorry. Same objection. It's a chalk.
THE COURT: All right. Same ruling for the time being.
MR. WEINREB: Very well.
Can we have 623?
BY MR. WEINREB:
MR. WEINREB: So 623 again, please --
COURT CLERK: I just have to check the mics here.
THE COURT: All right.
MR. WEINREB: Your Honor, may we have 623 for the jury? That's what's up there right now.
BY MR. WEINREB:
MR. WEINREB: Mr. Imel, is this the diagram you referred to earlier that shows the paths of the two suspects as they walked down Boylston Street?
ANTHONY IMEL: It is, sir.
MR. WEINREB: All right. And yellow was the path of the suspect who later was identified as Jahar Tsarnaev?
ANTHONY IMEL: It is.
MR. WEINREB: And orange, the path of the suspect later identified as Tamerlan Tsarnaev?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: And then clicking on this arrow that I've highlighted right here, does that show their combined paths?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: At this point I'm going to play...
(Video played.)
MR. WEINREB: So just for the record, this shows the two suspects rounding the corner of Gloucester and Boylston, onto Boylston Street, and then walking eastbound towards the marathon finish line?
ANTHONY IMEL: It does, sir.
MR. WEINREB: And can you -- using the pad of your finger, can you circle the finish line?
ANTHONY IMEL: I believe the finish line is right there (indicating).
MR. WEINREB: And using the pad of your finger, can you circle the Forum restaurant?
ANTHONY IMEL: (Witness complies.)
MR. WEINREB: Now, by clicking on the arrow again, I'll show the paths taken by the suspects as they left the location. So again for the record, this shows the suspect identified as Tamerlan Tsarnaev walking back along the original direction on Boylston Street, rounding the corner on to Exeter?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: And then going north, correct?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: All right. And there's a building pictured on the map where the last dot shows him. What building is that?
ANTHONY IMEL: That's the Montessori school.
MR. WEINREB: And was surveillance video taken at the Montessori school?
ANTHONY IMEL: There were two video cameras at that location, yes, sir.
MR. WEINREB: And then the animation shows the suspect identified as Jahar Tsarnaev going back the same way he came and rounding the corner onto Fairfield Street. Is that correct?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: And it stops. Why does it stop there? Is that --
ANTHONY IMEL: There were no other video cameras or images recorded past that point.
MR. WEINREB: Let's have 620, please.
MR. WEINREB: So this is the exhibit that has been identified as 620. I'm clicking on camera locations. And are these the pink dots that we were discussing earlier?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: And I'll just click on one here. And for the record, I'm clicking on one that is -- moving from the left of the image to the right, the second building. There's a bunch of dots representing cameras and then a break, and then we see some more. And I'm clicking on the first of the others. And what is that?
ANTHONY IMEL: That would be an internal camera to the Bank of America.
MR. WEINREB: And clicking on the right-hand corner of it, I'm enlarging it. And then clicking on this "play" button at the bottom, do you see what that camera captured?
ANTHONY IMEL: Yes, sir.
(Video played.)
MR. WEINREB: May we now have Exhibit 22, please.
MR. WEINREB: Now, is this the timeline video that you created?
ANTHONY IMEL: It is, sir.
MR. WEINREB: So I'm playing it now.
(Video played.)
MR. WEINREB: What are we looking at here?
ANTHONY IMEL: This is the corner of Boylston and Gloucester, the Whiskey bar. Throughout this, to show where exactly this is, I took Google Maps' images to identify this location just because it's easier to follow the videos themselves.
MR. WEINREB: So this is a photo you took just to illustrate what the corner looks like?
ANTHONY IMEL: It's one that I took off of the Internet from Google Maps, yes, sir.
(Video played.)
MR. WEINREB: What are we seeing here?
ANTHONY IMEL: You're seeing the two subjects approach the corner of Gloucester and Boylston.
MR. WEINREB: And have those circles been drawn around them to make it easier to keep track of where they are in the frame?
ANTHONY IMEL: Yes, sir. It's easier to identify subjects in a crowd if you highlight them or circle them.
MR. WEINREB: Now, as we move forward during just this little section here, what are we going to see happen?
ANTHONY IMEL: You're going to see this camera fade over to then come across the corner and then enter Boylston Street.
MR. WEINREB: And then do you then just switch from one camera on Whiskey's to another as they round the corner and begin walking away?
ANTHONY IMEL: Yes, sir, as they round the corner and continue up Boylston.
(Video played.)
MR. WEINREB: Okay. Now, focusing on the individual in the white hat, is he carrying a bag over his shoulder?
ANTHONY IMEL: Yes, sir. It appears to be a backpack.
MR. WEINREB: So this image, we see Whiskey's here on the left. Where is the Back Bay Social Club in relation to Whiskey's?
ANTHONY IMEL: The Back Bay Social Club is right next to Whiskey's. It's the building right -- yes, sir, right there, with "867" printed on the outside.
(Video played.)
MR. WEINREB: So now these -- I'm going to just point here. These captions here, "Back Bay Social Club," is that the same Back Bay Social Club that we were just seeing in the video?
ANTHONY IMEL: Yes, sir. I just put these in just to allow you to see where they progress through the video walking up Boylston Street just to identify that location.
MR. WEINREB: All right. And where is the Bank of America that was just referenced in the caption?
ANTHONY IMEL: Just to the right of the Back Bay Social Club.
(Video played.)
MR. WEINREB: And the Walgreens, where is that in relation to the Bank of America?
ANTHONY IMEL: It's just to the right side of Bank of America. It's the next door over.
(Video played.)
MR. WEINREB: Which suspect is that crossing in front of the monitor?
ANTHONY IMEL: This would be Tamerlan, the older brother.
(Video played.)
MR. WEINREB: The caption said "Crate and Barrel." And for the record, the Crate and Barrel is pictured in the screen we're looking at now, just to the left of center?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: And where is the Forum restaurant in comparison to that?
ANTHONY IMEL: So you have the Crate and Barrel, you'll have the Atlantic Fish Company, and the Forum is on the right side of that.
MR. WEINREB: These are images taken of the suspect pictured in front of the Crate and Barrel?
ANTHONY IMEL: It is.
(Video played.)
MR. WEINREB: Now, I want to stop this for a moment. Is the backpack still on this person's shoulder?
ANTHONY IMEL: It appears to be, sir, yes.
MR. WEINREB: In all of the videos and images that you saw of him leading up to this point, does he have the backpack on his shoulder?
ANTHONY IMEL: Yes, sir.
(Video played.)
MR. WEINREB: After that momentary dip to the right and then back up, do we ever see the backpack on his back again?
ANTHONY IMEL: Not on his back, no, sir.
MR. WEINREB: Where do you see it in future pictures?
ANTHONY IMEL: There is an image with the backpack at his feet.
(Video played.)
MR. WEINREB: Do you see the backpack in that photo?
ANTHONY IMEL: Yes, sir, down at his feet through the crowd.
MR. WEINREB: Can you circle it, please?
ANTHONY IMEL: (Witness complies.)
(Video played.)
MR. WEINREB: Now, throughout the video that you said you've watched hundreds of times, are there people moving behind the defendant -- I'm sorry -- behind the person pictured in the video?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: But the people in front of him are stationary?
ANTHONY IMEL: Pretty much. They move around left to right, but they don't seem to exit the area.
MR. WEINREB: And is that true of the children standing on the railing facing the street?
ANTHONY IMEL: Yes, sir.
(Video played.)
MR. WEINREB: What just happened with the subject there?
ANTHONY IMEL: It appears that he made a phone call.
MR. WEINREB: Okay. I'm going to pause the video here for a minute and then ask Mr. Bruemmer to bring up Exhibit 1170.
MR. WEINREB: If we could have the second page of it, please.
MR. WEINREB: Now, does this -- if you could just tell us, who is the -- looking to billing account name, the third line down, who is this phone billed to?
ANTHONY IMEL: Tamerlan Tsarnaev.
MR. WEINREB: And looking further down to where it says "mobile number name," who is the person using the phone?
ANTHONY IMEL: Again, it's Tamerlan Tsarnaev.
MR. WEINREB: And the telephone number of the phone, what are the last four numbers of it?
ANTHONY IMEL: 4634.
MR. WEINREB: And if we could have the next page, please.
MR. WEINREB: Now, who is the -- looking at the third line down, who is this phone billed to?
ANTHONY IMEL: Jahar, I believe it's Tsarni. I'm not sure really how to say that name.
MR. WEINREB: And then looking down to the mobile number name, is it the same?
ANTHONY IMEL: It is.
MR. WEINREB: And what -- looking at the "date account established," when was that phone account established?
ANTHONY IMEL: That would be April 14, 2013, the day before the marathon -- two days before the marathon -- one day before the marathon, yes.
MR. WEINREB: Just one day before the marathon?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: What are the last four numbers of the phone?
ANTHONY IMEL: 9151.
MR. WEINREB: And if we could have Exhibit 1172, please.
MR. WEINREB: If I could direct your attention to this call right here that I'm underlining, what does it indicate about the phone that made that call?
ANTHONY IMEL: It indicates an outgoing call at 2:49:06 from number -- excuse me -- connected to 4634, would be the last four.
MR. WEINREB: And so it was originated by the 9151?
ANTHONY IMEL: 9151. So Jahar actually called Tsarnaev [sic].
MR. WEINREB: And it's a voice call?
ANTHONY IMEL: Yes.
MR. WEINREB: And it lasts for 19 seconds?
ANTHONY IMEL: Yes, sir.
MR. WEINREB: If we could go back to Exhibit 22, please. And now continue playing the video.
(Video played.)
MR. WEINREB: Now, what did you just see the crowd do in that video?
ANTHONY IMEL: They were alerted to the first explosion, so everybody was turning left towards that explosion.
MR. WEINREB: Now I'll ask you to keep your eyes on the individual in the white hat.
(Video played.)
MR. WEINREB: Can you tell us what the individual is doing at this point?
ANTHONY IMEL: He's looking back to where he was standing prior to.
(Video played.)
MR. WEINREB: Your Honor, if we could have the ELMO just for the witness for a moment.
MR. WEINREB: Okay. Showing you Exhibit 15-11, do you recognize that?
ANTHONY IMEL: I do.
MR. WEINREB: Is that one of the images you analyzed in connection with making this video?
ANTHONY IMEL: It is, sir.
MR. WEINREB: And what does it depict?
ANTHONY IMEL: This depicts the second explosion at the Boston Marathon.
MR. WEINREB: The government offers Exhibit 15-11.
MS. CONRAD: Objection to the caption, your Honor.
THE COURT: I think it's all right. It will be admitted.
(Government Exhibit No. 15-11 received into evidence.)
MR. WEINREB: And if we could publish it to the jury, please.
Your Honor, if we could return to the...
(Video played.)
BY MR. WEINREB:
MR. WEINREB: Now, is this the building you referenced earlier when you were describing the exit path of Tamerlan Tsarnaev?
ANTHONY IMEL: It is. This is the Montessori school.
(Video played.)
MR. WEINREB: And is this the corner you referenced earlier when you were discussing the exit path of the suspect identified as Jahar Tsarnaev?
ANTHONY IMEL: It is.
(Video played.)
MR. WEINREB: I have no further questions.
MS. CONRAD: I do have some cross, your Honor. I don't know if you want me to start now or after lunch.
THE COURT: How long -- well, so you won't feel pressured, we'll do it after lunch.
MS. CONRAD: Thank you.
THE COURT: We'll take the lunch recess, ladies and gentlemen.
COURT CLERK: All rise for the Court and the jury. The Court will take the lunch recess.
(The Court and jury exit the courtroom and there is a recess in the proceedings at 1:04 p.m.)
(The Court and jury entered the courtroom at 2:09 p.m.)
CROSS-EXAMINATION BY MS. CONRAD:
MS. CONRAD: Good afternoon, Mr. Imel. My name is Miriam Conrad. I'm one of Mr. Tsarnaev's lawyers.
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: You said you put together several of these composites or more than one composite?
ANTHONY IMEL: Over the last two years, yes, ma'am.
MS. CONRAD: And how many did you put together?
ANTHONY IMEL: I would say, round-about figure, probably about 20 of them.
MS. CONRAD: The one that we're seeing today is the last one you put together?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: You told us that the times that appear on the cards that are interspersed with the different scenes that we see are not a hundred percent accurate, correct?
ANTHONY IMEL: No, ma'am. It really depends on who set up the actual times on those video cameras or the cameras themselves. It was just an approximate as the information that I had for me at that time.
MS. CONRAD: And just to make sure I understand, you took a lot of different images from a lot of different cameras, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And some of those cameras had timestamps on them, right?
ANTHONY IMEL: They did, yes.
MS. CONRAD: Like the Forum video has a timestamp?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: You don't know if that timestamp, for example, on the Forum video is accurate?
ANTHONY IMEL: No, ma'am.
MS. CONRAD: And with respect to some of the still photos, you said that you took metadata from the camera images that you found, correct?
ANTHONY IMEL: I did, yes.
MS. CONRAD: And metadata is basically internal information from that camera that tells you a little bit about the creation of that image, right?
ANTHONY IMEL: Yes. The definition of metadata is basically data about data.
MS. CONRAD: And, again, that depends on each individual camera that was used to take those pictures, right?
ANTHONY IMEL: Yes. The information placed on there is usually defined by the user and the manufacturer of the camera.
MS. CONRAD: And so each of these different sources may have different times even if they were taken at the same time?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And when you put these together, you just put times on the cards that we see in between the scenes that you thought best represented the sequence of events, correct?
ANTHONY IMEL: That was given to me from that imagery at that time, yes. It is all approximate, yes.
MS. CONRAD: I'm sorry. When you say given to you from that image --
ANTHONY IMEL: Derived from the evidence that I received.
MS. CONRAD: Okay. If we can just take a look at Exhibit 22 for a moment, and I'm just going to --
MS. CONRAD: If I could just have my laptop hooked up to the display, if I can get it plugged in, which I hope I can.
MS. CONRAD: So where we see here, this is in front of Whiskey's, is that right, or Back Bay Social Club?
ANTHONY IMEL: That would be the Back Bay Social Club, yes.
MS. CONRAD: The times that we see on the lower left hand, where did that time come from?
ANTHONY IMEL: That would be derived from the metadata.
MS. CONRAD: You wrote that down somewhere?
ANTHONY IMEL: That would be -- yeah. That would be from the metadata itself. If you go onto the imagery, a right click and do properties, you can receive the metadata from there.
MS. CONRAD: My question is: Did you keep a record somewhere of that metadata as you compiled this?
ANTHONY IMEL: I can go back to the original imagery and extract it any time I need.
MS. CONRAD: Can you just tell me whether you wrote it down?
ANTHONY IMEL: No, ma'am. Other than on the imagery, no.
MS. CONRAD: If we go forward from here just to the Bank of America image, now, Bank of America, as someone's heading east on Boylston Street, is after Back Bay Social Club, right?
ANTHONY IMEL: Can you state that again, please?
MS. CONRAD: Sure. As someone walks east on Boylston Street, they would get to Bank of America after Back Bay Social Club, right?
ANTHONY IMEL: Yes, if you go towards the finish line.
MS. CONRAD: Right, okay. So this is -- you see both locations in this image, correct?
ANTHONY IMEL: Yes.
MS. CONRAD: Just for the record, that's at 1:44 on the timeline.
ANTHONY IMEL: Okay.
MS. CONRAD: And on this, the time and date that appears sort of in the lower portion of that image, indicates 2:28:53 p.m., right?
ANTHONY IMEL: 2:28, yes, ma'am.
MS. CONRAD: And so that's the time that was recorded by that camera, right?
ANTHONY IMEL: If it was on there, yes. Again, that is outside of what I would apply on there, yes.
MS. CONRAD: I'm sorry. Can you just explain that to me for a minute?
ANTHONY IMEL: So with the proprietary players, you have the ability, some of them, to actually apply the date/time group or not apply the date/time group. I was asked during the processing, that if it did have a date/time group, to ensure that that date/time group was visible regardless if the time was correct or not.
MS. CONRAD: So 2:28:53 would actually -- if that time were accurate, would place that image before the previous image we saw, which was in front of Back Bay Social Club, correct?
ANTHONY IMEL: Correct.
MS. CONRAD: We know that's probably not true because one wouldn't get to Bank of America until after passing the Back Bay Social Club, correct?
ANTHONY IMEL: Correct.
MS. CONRAD: Did you insert a time down here? It's a little hard for me to see. But on the bottom, it says, "Boylston Street office" --
ANTHONY IMEL: No, ma'am. That was probably off of the proprietary as well.
MS. CONRAD: Now -- and you told us that you put these in order as best you could, right?
ANTHONY IMEL: I could, yes.
MS. CONRAD: And you put the image of the Montessori -- that's not where I want to be. That's in front of the Montessori, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: Those legs that are circled, that's Tamerlan Tsarnaev, right?
ANTHONY IMEL: They are, yes.
MS. CONRAD: The Montessori school is a greater distance from Marathon Sports than Fairfield and Boylston Street is from the Forum, is that correct?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: So -- and the time that you have on here of -- it says, "14:50:24"?
ANTHONY IMEL: Yes.
MS. CONRAD: Again, that's information that came from the camera, and you don't know if that's accurate?
ANTHONY IMEL: Correct.
MS. CONRAD: And so you don't know whether Tamerlan Tsarnaev passed the Montessori school on Exeter Street before or after Jahar Tsarnaev turned the corner of Fairfield and Boylston?
ANTHONY IMEL: No, I do not. Again, this was just a timeline video that I placed on there: first explosion, second explosion, and then the exodus of the two subjects, the first individual and then the second individual.
MS. CONRAD: And it's at least possible, if not even likely, that Jahar Tsarnaev passed the corner of Fairfield Street before Tamerlan Tsarnaev passed the Montessori school?
MR. WEINREB: Objection.
THE COURT: It's a bit of a compound question.
MS. CONRAD: Okay. I'll break it down.
MS. CONRAD: So you decided to place the image of Jahar Tsarnaev passing the corner of Fairfield and Boylston Street after the image of Tamerlan Tsarnaev passing the Montessori school, right?
ANTHONY IMEL: I did.
MS. CONRAD: And what was that based on?
ANTHONY IMEL: It was just the proper way that I laid it out. There was no specific reason why I placed one in front of the other.
MS. CONRAD: And did you take into account the distances involved?
ANTHONY IMEL: No, I did not.
MS. CONRAD: And you did not have any images of Tamerlan Tsarnaev between the point where he was in front of Marathon Sports to the point where he passed the Montessori school?
ANTHONY IMEL: Not a positive image, no, no, ma'am.
MS. CONRAD: Well, you certainly don't see one in here, right?
ANTHONY IMEL: No.
MS. CONRAD: If we could see Exhibit 620 for a moment, please?
THE COURT: Is this switching back to the other computer?
MS. CONRAD: To Mr. Bruemmer who has kindly offered to assist me.
MS. CONRAD: So looking at what's -- has not been introduced but the jury has seen as Exhibit 620, the red dots over to the right of Exeter Street near the finish line, that's approximately in front of Marathon Sports, is that right?
ANTHONY IMEL: It is.
MS. CONRAD: And then the two red dots we see a little past the corner of Exeter and Newbury Street are other cameras, right?
ANTHONY IMEL: Correct.
MS. CONRAD: And so the -- there are no cameras between the finish line and --
MS. CONRAD: Oops, I didn't mean to do that. How do I clear this? Thank you. Thank you, Mr. Watkins.
MS. CONRAD: So there are no cameras between those two points, right?
ANTHONY IMEL: I believe there might have been some interior cameras but not exterior.
MS. CONRAD: But you don't have any images showing exactly where or how Tamerlan Tsarnaev went from Point A, being Marathon Sports, to Point B, being the Montessori school, right?
ANTHONY IMEL: No, ma'am.
MS. CONRAD: Now --
MS. CONRAD: If we could have Exhibit 623, please? And if you could play the combined path, please? If you could pause if that's possible? Thank you. Oops. It's not possible? Okay. I'll do the best I can with this, then. Thank you very much, Mr. Bruemmer.
MS. CONRAD: So this animation, if you will, shows Mr. Jahar Tsarnaev and Tamerlan Tsarnaev walking in a path where they are side by side from Gloucester Street going down to Boylston Street, correct?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And that's not what the videos show, right?
ANTHONY IMEL: I believe their positions switched several times throughout the walk between those places.
MS. CONRAD: I'm sorry. When you say "switched," what do you mean?
ANTHONY IMEL: Yes, sir -- yes, ma'am. One would be in the lead, and then the other one would be in the lead.
MS. CONRAD: There's actually no images where Jahar Tsarnaev is in the lead, are there?
ANTHONY IMEL: I do believe, outside of the Back Bay Social Club, he was in front of his brother at some point.
MS. CONRAD: Okay. Well, let's take a look at that then. Actually, Back Bay Social Club is about where they split up, isn't it?
ANTHONY IMEL: No, ma'am. They split up just before the Forum.
MS. CONRAD: Okay. Well, let's just --
MS. CONRAD: If I could have the laptop on the display, please?
MS. CONRAD: Is that the image you're talking about?
ANTHONY IMEL: No, ma'am. Again, if you go through those images one after the other, you can see their positions switch back and forth.
MS. CONRAD: Okay. Let's just play that.
(Video played.)
MS. CONRAD: At that point, it looks like Jahar is by himself, right?
ANTHONY IMEL: He's actually -- his brother is off to the left as we look at it. So he's behind that first runner.
MS. CONRAD: Can you just circle where you see him?
ANTHONY IMEL: Yes.
MS. CONRAD: I'm sorry. I'm not seeing. Did you circle it on the screen?
ANTHONY IMEL: Oh, I would say that he is right behind there
(indicating).
MS. CONRAD: Okay. Actually, let me back up a little bit more first.
(Video played.)
MS. CONRAD: So as they're coming onto Boylston Street, would you agree with me that Tamerlan is in the lead?
ANTHONY IMEL: Of course, yes, ma'am.
MS. CONRAD: By about five feet?
ANTHONY IMEL: I wouldn't have any area of measure on this.
MS. CONRAD: And as they continue along, that distance at some point gets much greater, right?
ANTHONY IMEL: Actually, it closes because you can see right there that Tamerlan -- or, excuse me, Dzhokhar, he actually goes to the left, and his brother is to the right.
MS. CONRAD: But would you agree with me that they are not in lockstep the entire way down Boylston Street?
ANTHONY IMEL: It depends on when you're talking because there's several places where they stop and they are standing together.
MS. CONRAD: Okay. But in the video -- excuse me. In the animation that's been introduced as 620 -- -3, excuse me, it appears that they are walking side by side the whole time?
ANTHONY IMEL: That is correct.
MS. CONRAD: And that is not accurate, correct?
ANTHONY IMEL: There are several positions where they actually do stop and then switch places. But in the videos that I have seen, he is -- the older brother is leading these two individuals.
MS. CONRAD: And that's not what's shown on 623, right?
ANTHONY IMEL: Correct.
MS. CONRAD: Okay.
MS. CONRAD: If I could just go a little further along. Thank you.
MS. CONRAD: Now, this is in front of Crate & Barrel. And you only see Jahar in that image, right?
ANTHONY IMEL: Correct. Tamerlan has actually continued past the Forum past this point.
MS. CONRAD: So they split up before the Forum?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: I'm sorry. I thought you said a few minutes ago they split up at the Forum.
ANTHONY IMEL: No, prior to the Forum. They stopped here. He went forward on the Forum that we can see in the video, and then he follows on.
MS. CONRAD: And, in fact, when you look at the Forum video, you actually see Tamerlan go through the frame alone before you see Jahar go through, correct?
ANTHONY IMEL: Correct. This is -- his brother has actually already continued on before this.
MS. CONRAD: Okay, thank you. And the image -- maybe I asked you this already, in which case I apologize. But the image of Fairfield and Boylston does not have a time on it, correct?
ANTHONY IMEL: Well, listed, no. However, I did go back this morning; and in the -- within the metadata, there is a timestamp in there of 2:49 and then one past it; there was one at 2:50.
MS. CONRAD: Of 2:50, right?
ANTHONY IMEL: Yes.
MS. CONRAD: Again, the image of Tamerlan in front of Montessori school is also 2:50, right?
ANTHONY IMEL: Correct.
MS. CONRAD: Again, those are individual to those cameras and do not necessarily reflect the relevant -- the relative period of time?
ANTHONY IMEL: The accurate time, no, ma'am.
MS. CONRAD: You testified about a phone call that's visible on the Forum video at the time that shows on the Forum video as somewhere around -- I think it's 4:49?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: Again, you don't know that that's the actual time, right?
ANTHONY IMEL: No, ma'am. That was precisely what the phone records list.
MS. CONRAD: And if I could just have a moment to get to that image. Again, could I have the laptop for presentation purposes? Actually, let me back up a little bit from that.
MS. CONRAD: Now, we're watching -- that's Jahar within the circle, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And just for the record, we're approximately 14:48:21 on the Forum timestamp?
ANTHONY IMEL: Yes, ma'am. 14:48:27, yes.
MS. CONRAD: And the original Forum video had the times down to hundreds of a second, right?
ANTHONY IMEL: I would have to look at it. Depending on what player you have, depending on what outline you laid, you could switch it out. This was a very simple timestamp that was displayed on the proprietary player.
MS. CONRAD: Okay. Well, we'll go back to that in a second. This is at 14:48:44, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And it looks like it's -- Jahar is looking down, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: Then he's looking up. He's not on the phone, right?
ANTHONY IMEL: He is on the phone now.
MS. CONRAD: And you don't know if this phone call actually occurred at 14:49, do you?
ANTHONY IMEL: No, ma'am. I would have to go back to the phone records to see what timeline they have.
MS. CONRAD: You looked at the phone records before. And here's Exhibit 1172. And there's an out-going call at 2:49:06, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And that would be from Jahar to Tamerlan, right?
ANTHONY IMEL: Yes, ma'am.
MS. CONRAD: And there's an incoming call at 2:51, correct?
ANTHONY IMEL: I see three -- which one are we talking about?
MS. CONRAD: The one right under 2:49.
ANTHONY IMEL: Okay. Yes, I see it. Yes, ma'am.
MS. CONRAD: Do you see that there's an incoming call at 2:51, correct?
ANTHONY IMEL: Yes, yes.
MS. CONRAD: And same phone numbers, right?
ANTHONY IMEL: Yes.
MS. CONRAD: Is it fair to say that appears to be a phone call from Tamerlan to Jahar?
ANTHONY IMEL: Let's see here. Incoming, yes.
MS. CONRAD: Is that correct?
ANTHONY IMEL: I believe so, yes.
MS. CONRAD: And so you don't know, as you sit here today, whether the phone call that we just saw on the Forum video is a phone call from Jahar to Tamerlan or from Tamerlan to Jahar?
ANTHONY IMEL: Again, it's all about time, and then I don't have a relative time that's accurate. So I can only tell you what I see on the records versus the video.
MS. CONRAD: But, again, those two times don't correlate with each other necessarily, right?
ANTHONY IMEL: Correct.
MS. CONRAD: So your answer to my question is, no, you don't know which of those two phone calls is depicted?
ANTHONY IMEL: No, ma'am.
MS. CONRAD: Thank you very much.
MR. WEINREB: Just briefly, your Honor.
REDIRECT EXAMINATION BY MR. WEINREB:
MR. WEINREB: You were asked on cross whether the time depicted on the video at the Montessori school was 2:50?
ANTHONY IMEL: Yes.
MR. WEINREB: And the answer is yes?
ANTHONY IMEL: That was the depiction, yes.
MR. WEINREB: And then you were asked whether the time in the metadata for the photograph of Jahar Tsarnaev rounding the corner onto Fairfield Street was 2:50?
ANTHONY IMEL: Yes.
MR. WEINREB: And the answer to that was also yes?
ANTHONY IMEL: One of the images are, yes.
MR. WEINREB: Okay. And it may well be that those are both accurate?
ANTHONY IMEL: It's possible, yes.
MR. WEINREB: You just can't necessarily -- you can't say for sure that it's accurate?
ANTHONY IMEL: No, sir. I did not actually extract these videos, and I wasn't on-site during that time period.
MR. WEINREB: Similarly, the Forum video shows the explosion take place at a particular time, correct?
ANTHONY IMEL: Correct.
MR. WEINREB: And the phone record shows that the call that took place right before that explosion was from Jahar Tsarnaev to his brother Tamerlan Tsarnaev, correct?
MS. CONRAD: Objection to --
THE COURT: Sustained.
MS. CONRAD: Thank you.
MR. WEINREB: And the -- there was a time on the Forum video for the explosion?
ANTHONY IMEL: Yes.
MR. WEINREB: And there was a time on the phone call from Jahar Tsarnaev to Tamerlan Tsarnaev?
ANTHONY IMEL: There was.
MR. WEINREB: And how did they -- in what order do they take place according to those records?
MS. CONRAD: Objection.
THE COURT: He may answer it.
ANTHONY IMEL: They correlated.
MR. WEINREB: Which happens first? The phone call?
ANTHONY IMEL: The phone call and then the explosion.
MR. WEINREB: That's all. Thank you, your Honor.
THE COURT: All right, sir. Thank you. You may step down.
MR. WEINREB: The government calls James Hooley.