Ultimate Bigfoot Footage. Proof Todd Standing’s Critics Were Wrong (and Lying)
There are stories that refuse to die—tales that haunt the margins of wilderness and the edges of belief. For decades, the legend of Bigfoot has been a battleground, not just of science and myth, but of personalities and proof. In this world, every piece of evidence is scrutinized, every witness doubted, and every frame of footage dissected with both hope and skepticism.
Among the most controversial is the work of Todd Standing, a man whose name sparks debate, derision, and devotion in equal measure. His footage—faces in the forest, eyes blinking in the shadows—has been both ridiculed and revered. The accusations against him are as persistent as the mystery itself. But what if the truth is stranger than the accusations? What if the evidence, when truly examined, points not to a clever hoax, but to the existence of something that has eluded humanity for generations?
The Faces That Shouldn’t Be
Robert, a Canadian filmmaker and researcher, found himself drawn into this vortex after his own encounter with Sasquatch in September 2024. Determined to unravel the truth, he set out to examine Todd Standing’s infamous collection of Sasquatch footage—especially the faces known as Jake and Jane.
The first step was to look past the noise. Todd’s critics had long claimed that the faces in his videos were nothing more than prosthetic masks, worn by Todd himself. The evidence? A side-by-side comparison of Todd’s face and the face called Jake, with lines drawn to match eyes and mouths, suggesting a perfect fit.
But Robert was not content with speculation. He wanted evidence. So he turned to the forest itself, to the Rocky Mountain Douglas fir needles visible in Todd’s footage. These needles, he learned, are remarkably consistent in length—between one and one-and-a-half inches, no matter the tree’s age or size. Using these needles as a measuring stick, Robert began to scale Jake’s head in the footage.
He drew a line over a needle, cloned it, and laid them end-to-end across Jake’s head. Fifteen one-inch ticks spanned the width of the skull. No human head is fifteen inches wide. The average is six or seven. Jake’s head was more than double that, and even angled away from the camera, the measurement was conservative.
He repeated the experiment with Jane, the purported female Sasquatch, using the needles of an Engelmann spruce. Even at the lowest possible estimate, Jane’s head spanned thirteen inches—again, far beyond human possibility.
To drive the point home, Robert superimposed a standard twelve-inch ruler over the images, and then compared his own head, holding a ruler, to the footage. The results were unsettling. The beings in Todd’s footage were not human. Not even close.
The Anatomy of Mystery
But the critics persisted. Was it possible, they asked, that Todd’s face had simply been morphed and manipulated to match Jake’s? Robert dug deeper. He compared the facial feature ratios—eye spacing, nose width, mouth position—between Todd and Jake. Where humans typically have one eye-width between their eyes, Jake’s face showed nearly two. The proportions were fundamentally different.
He repeated the test with Jane, and found the same result. The anatomy did not match any human, nor any mask that could be worn by a human. The case was open and shut.
But what about the infamous morphing photo—the one used by critics to claim Todd was Jake? Robert examined it closely, overlaying a recent photo of Todd on the blurred, stretched image used in the morph. The facial features matched, but the head shape in the morph was wider, taller, and distorted. It was clear: the image had been deliberately manipulated to make Todd’s face fit the Sasquatch. Morphing, Robert concluded, was not evidence—it was artifice.
The Nature of Difference
Another accusation was the difference in hair and facial features between Jake and Jane. Critics argued that if these beings were the same species, their appearance should be identical. But Todd and Robert both pointed out the obvious: sexual dimorphism is common in the animal kingdom. Males and females of the same species can look dramatically different—beards, hairlines, size, and even skin color can vary.
Todd explained that cloud cover and lighting also played a role. Jake was filmed under diffuse light, revealing more detail; Jane was caught in direct sunlight, her mane appearing brighter and her skin more exposed. The physiological differences were not evidence of fakery, but of nature.
Robert consulted wildlife biologists, anthropologists, and anatomists. They agreed: variation in hair, skin, and facial structure is normal, even expected, among primates and humans. Dr. Jeff Meldrum, a respected researcher, noted that the differences between Jake and Jane were no greater than those seen between brother and sister.
The Animatronic Argument
If not masks, then perhaps animatronics? Critics cited Hollywood special effects artists who claimed the faces behaved like robotic props—eyes that didn’t blink, lips that looked like latex, seams beneath the nose. But Robert and his experts countered: wild primates often fix their gaze when threatened, and direct eye contact is avoided. Jane Goodall herself had documented this behavior.
Todd explained that the creatures in his footage were aware of his presence, and their stillness was a sign of vigilance, not fakery. He described the conditions—filming after a snowstorm, switching cameras as snow melted, capturing fleeting moments before his batteries died. The lack of blinking was not evidence of glass eyes, but of an animal on alert.
As for the lips and seams, Robert found dozens of examples of humans and primates with similar features—dry, cracked skin, scars, wrinkles, and folds that could easily be mistaken for mask seams. The critics’ anatomical arguments fell apart under scrutiny.
The Question of Bodies
Why, some asked, were only faces filmed? Why not full-body shots? Todd’s answer was simple: he filmed what he could. Early videos showed bodies, not faces, and critics demanded faces. Later, he captured faces, and critics demanded bodies. The forest is not a studio; branches, rocks, and terrain obscure everything but fleeting glimpses. Todd zoomed in, focused on what he could see, and gave the world what he had.
The Personal Attacks
When anatomical arguments failed, critics resorted to personal attacks. They claimed Todd’s family worked in special effects, that he owned gorilla gloves and costumes, that he orchestrated elaborate hoaxes. Todd explained the origins of the gloves—a Halloween costume for his nephew, discarded in the back seat, never used for filming. He laughed off the accusations about his sister being a makeup artist, a claim easily disproven by anyone who cared to check.
Robert found no evidence to support the rumors. He noted that it’s far easier to prove someone is a special effects expert than to prove they aren’t. The burden of proof lay with the accusers, and they had nothing but hearsay.
The Evidence in the Wilderness
More compelling than any argument was the evidence gathered in the field. Dr. Meldrum recounted his own experiences with Todd—finding tracks, hearing vocalizations, witnessing something approach camp in the night. The footprints were massive, deeply impressed, far larger than any human. The moss did not rebound after the creature passed. The vocalizations were unlike anything known, and the glimpses through night vision hinted at something extraordinary.
The Man Behind the Camera
In the end, Robert was convinced not just by the evidence, but by Todd himself. In interviews, Todd came across not as a liar, but as a man exhausted by years of accusations, passionate about his work, and devoted to the search for truth. He was open, willing to share footage, answer questions, and invite skeptics into the field.
The Bigfoot community, Robert realized, had become a place where it was fashionable to attack Todd Standing, to repeat accusations without evidence, to dismiss his work out of hand. But dislike is not proof of hoaxery. The truth, Robert believed, emerges only when the evidence is examined with rigor and fairness.
The Search for Truth
Todd’s advice to expeditioners was simple: focus on discovering the truth, not on proving Bigfoot exists. The truth, he said, will set you free. The faces in his footage, the tracks in the moss, the voices in the night—all pointed to a reality that defied easy explanation.
As Robert closed his investigation, he invited others to join him—not just as spectators, but as participants in the search. His new research team, open to all, promised deeper dives, behind-the-scenes footage, and a community of seekers devoted to answers.
The Unanswered Question
So, what do you think? Is the Todd Standing footage the real deal, or does skepticism still hold sway? The evidence is compelling, the arguments airtight, but the mystery remains. In the end, the forest keeps its secrets, and the faces in the shadows continue to watch, waiting for the next witness, the next believer, the next skeptic to step into their world.
The search goes on, and the truth—whatever it may be—waits in the silence between the trees.
