Art Adams
A native of Northern California, Art Adams has been in the film industry for 22 years--including the last 17 as a director of photography. After spending ten years in Hollywood, Art is now based in the San Francisco Bay Area.
He has been published in HD Video Pro, American Cinematographer, Camera Operator Magazine, Film/Tape World and CineSource.
Art is a member of the International Cinematographers Guild (IATSE 600), the Society of Camera Operators (SOC), and is a trustee of the National Writers Union (UAW 1981).
His web site is at www.artadams.net.
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Monday, August 30, 2010
A directory of my best articles, sorted by topic.
This entry is a guide to my best articles, sorted by topic. Enjoy!
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Tuesday, May 15, 2012
You want 240fps 1920x1080? I’ve got your high-speed HD right here… for less than $10K.
When Adam Wilt and I shot “Fire and Ice” together on a prototype FS700 we had no idea that it would be shown at NAB… and that it would be hit. We wanted to do more, so we pitched Sony a commercial concept for a local company that involved high speed “veggie baseball.” Guess what: they sent us an FS700 again. Edible baseball never looked so good.
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Thursday, May 03, 2012
I’m better with words than equations, but once in a while a math technique is so useful that I can’t help but use it. Here’s one that I find invaluable.
I remember very little math from my high school days, but what I do remember are the tricks that I was able to apply to my daily life. One formula, determining ratios, has served me better than any other. Here’s how I’m using this formula to create custom frame lines for an upcoming web banner shoot.
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Sunday, April 15, 2012
What the heck is a matrix, anyway? It’s only one of the most important aspects of what makes your camera look the way it does. Take a look inside if you dare…
After years of wondering what exactly the user matrix does I think I’ve figured it out. I’m not sure I can explain it, but I’m going to try. Put on your propellor hat and rub your brain with soothing salves, ‘cause it’s gonna hurt…
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Friday, April 13, 2012
Water, ice, fire and a prototype Sony FS700 slow motion camera. What could POSSIBLY go wrong?
Adam Wilt gets to play with the best toys, in this case a prototype Sony FS700 slow motion camera. He invited me over to play, and the results were really, really interesting. Adam’s article talks about some of the technical issues he ran across, so in this article I’m going to focus on the lighting side of what we did.
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Monday, April 09, 2012
There’s one color that will always bother us if it’s wrong: flesh tone. We tested ten common LED lights against a tungsten Inkie and a Kino Flo… come see the results!
Color comparison tests are hard. Color science is witchcraft, and objective color is exceedingly difficult to quantify. Comparison is really the only way to judge color, so we tested ten LED lights against two tungsten Tweenies and a 3200K 2’x4 Kino Flo. The results are… interesting.
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Friday, April 06, 2012
Where there’s smoke there’s fire… or a production company shooting a PSA for a non-profit. This is how you create a high-end look on a budget.
When production companies ask me to shoot spots on the Canon 5D MkII I don’t flinch anymore. Sure, it’s not the most user friendly camera in the world, but I can’t complain about the images I can make with it. And no one else does, either.
In this case, half the battle was putting the camera in the right place at the right time—and quickly. It was the perfect camera for a small, fast-moving project.
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Monday, April 02, 2012
A dozen lights, an Arri Alexa, an intrepid crew… what could go wrong? Lots, which is why we had to work extra hard. Tests are never easy, and comparison tests are among the hardest of all.
“LED Light Shootout” sounds so dramatic, as if a collection of motley illuminants met in a dusty western town to settle their differences with bullets instead of marketing. It’s actually tedious, mind numbing work… and a real eyeopener.
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Scott Simmons
Plus a little screencast in this blog post on a topic we didn’t get to cover.
Art Adams
You want 240fps 1920x1080? I’ve got your high-speed HD right here… for less than $10K.
Matt Jeppsen
Use a boom mic and some common sense!
Chris and Trish Meyer
Taking advantage of parenting, multiple 3D views, and AE’s built-in calculator to coordinate a multi-layer animation.
Mark Spencer
Motion Magic on MacBreak Studio
Scott Simmons
These are a few of the things that I found myself searching for as I’ve been moving over to Premiere Pro CS6 as a FCP 7 replacement
Allan Tépper
If you agree, please sign the online petition requesting the required updates.
Michelle Gallina
CS6 Production Premium Road Show
Rich Young
New videos from Brian Maffitt
Allan Tépper
Michelle Gallina
Allan Tépper
Now you can compare the field of view of just about any camera and lens, free of charge!
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