Nate Yolles

Paul, I would love see you pull that off. B)

Matt's Email is mcomp@sbcglobal.net if you want to donate for the ad; I think it is a good idea.

It?s with a heavy heart that I write this. Since learning about this tragedy this morning I haven?t been able to stop thinking about how fragile life is. I know many of you on this board have had the pleasure of knowing Neal, and I?m sure you can all testify to his good nature; always eager to help and willing to give advice. Neal was a young man taken from us before his time. Yet despite his youth, he was already an accomplished cinematographer having shot over 25 feature films. Film was his life and he was living his dream. Like many of us, his home is filled with motion picture paraphernalia; posters, trinkets and antiques. On the dashboard of his car he proudly displayed an oversized beanie of his most recognized effort, ?The Blair Witch Project.? Everywhere he went, he brought his portable DVD player so that he would never be too far from the classics. He simply loved film and although disastrous, he died doing what he loved. Nevertheless, Neal Fredericks did not lose his life in vain for I have taken a valuable lesson; as I hope that all of you do as well. Stop waiting, stop procrastinating and do those things that you have always wanted to do. Instead of delaying for the right time, make the time. I personally have found the motivation to go and shoot my personal project in a timely manner as there is really no sense in delaying. I want to give me deepest regards to the family and friends of Neal Fredericks. He was a good man and a good friend. His name will live long after we all pass away in the films that he has made. Neal Fredericks taking readings of Edward Furlong in El Intermedio

I've heard of people using very thin diffusion - opal or hampshire - placed between the subject and the background to simulate a shallow depth of field. It sounds like it could be a clever idea in certain situations. I've never personally seen it done though.

I don't think the budget of the show has anything to do with the use of Polaroids. It's about whether you as a DP get any benefit from looking at them. Bottom line, nothing more, nothing less.

I'm sure you have no problem telling people to get away from your eyepiece. Tell them to get away from your polaroid.

The Polaroid is just another tool to use if you wish. If used, it should be treated just like a light meter. To quote many people on this board - "don't be a slave to the light meter." You take your reading and just because the meter says five six doesn't necessarily mean you set the lens at 5.6. You take what the tool says and you make judgments based off of it. Likewise with the Polaroid; you make judgments from whatever it is that you personally see on the picture; and that could be different for different people.

Matt is right, the Angeniuex zoom lens is horrible. You can't really pull focus. The lens' breathing is so great that it almost looks like a zoom.

Mr. Pytlak has a nice section over at Kodak.com, but I don't think I saw anything about proper color temperature.

http://www.kodak.com/US/en/motion/newslett...d=0.1.4.9&lc=en

To properly evaluate your work, whether it be still slides or moving pictures, it would seem necessary that your projector be set at the correct level. So, I break out my light meter and my color temp meter and I measure. But what levels am I looking for? I think I remember 16 footlamberts, but I'm not sure. As for color, should the projector be balanced at 3200? Now as I type this, I realize that you can always project a grey card & color chart and compare to the actual charts. I'd still like to know the correct levels.