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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. 
The Best of Stunning Good LooksLIGHTING STRATEGIES: Rough Guide to Illuminating a Bounce CardLIGHTING STRATEGIES: Exploiting a Single Light SourceBOOK REVIEW: “How to Shoot Movies Without Shooting Yourself in the Foot”LIGHTING STRATEGIES: Placing the Fill Light for FacesLIGHTING STRATEGIES: What Makes Soft Lights Cast Soft Shadows?For You, a Panel DiscussionLIGHTING STRATEGIES: Soft Light vs. Hard LightPulse Width Modulation is NOT Your FriendLIGHTING STRATEGIES: Placing a Hard Key LightThe Simplest, Fastest Interview Lighting Setup—Ever.The Future of Technology is YouFill Light: The Underdog of LightingBlue Nile Shines Thanks to the Canon 5D and Apple ColorYou’ve read my writing, now hear my talkingAnatomy of a Spot: T-MobileDSC Labs Hawk Chart: The Simplest Color Chart That You Can’t Live WithoutArri Alexa and Rosco LitePads Come Through for OnLive’s First National SpotThe Secrets of the Chroma Du Monde, Explained Live (on tape) at NAB!A Mix of Film and HD Doesn’t Scare Arri’s AlexaWhere I’ll Be at NABThe Secret Art of Slating: 25 Tips to Help You Slate Like a ProiPhone Apps: The Short List for the Average CinematographerPanasonic AF-100: The Good, The Bad, and The UglyCareer Advice for the Young DP
January 2012December 2011November 2011October 2011September 2011July 2011June 2011April 2011February 2011January 2011December 2010October 2010September 2010August 2010July 2010June 2010April 2010March 2010February 2010January 2010November 2009October 2009September 2009August 2009July 2009June 2009May 2009April 2009March 2009February 2009January 2009November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008Complete Archives
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The Best of Stunning Good LooksA directory of my best articles, sorted by topic.
This entry is a guide to my best articles, sorted by topic. Enjoy! more »
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LIGHTING STRATEGIES: Rough Guide to Illuminating a Bounce CardLighting a bounce card is easy, right? Right… IF you know the basics. Here they are.
Is bounce light really just about aiming a light at a white card and walking away? No. There are a couple of tricks to getting the most out of your bounce source, and I can show them to you fairly quickly using a 4’x4’ bounce card as an example. more »LIGHTING STRATEGIES: Exploiting a Single Light SourceSometimes all it takes to make a beautiful picture is placing one light—as long as it’s the proper light source. This still photo shows an example of one style of soft lighting that’s been in use for centuries, and for good reason: it works.
There are few things more elegant than lighting a shot with a single light source. It doesn’t always work, but when it does—it’s magical. more »
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BOOK REVIEW: “How to Shoot Movies Without Shooting Yourself in the Foot”The best books about cinematography aren’t necessarily about the art of cinematography. They’re about getting all the other stuff out of the way so you can practice cinematography. This is the book that tells you what you didn’t know—but need to know—about becoming a cinematographer.
This book is not for everyone. If you don’t eat, breathe and live cinematography… maybe you should read something else. Seriously. This book may not be for you. (But if it is… you’d better not miss it.) more »
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Advertisement LIGHTING STRATEGIES: Placing the Fill Light for FacesPlacing a fill light properly is possibly more important than placing a key light… and I can prove it!
In this article I wrote about classical key light placement and classical portraiture to illustrate how artists and cinematographers have traditionally gone about lighting faces. Fill light is often derided as the light that simply opens up the shadows, but it can do much more than that. It can have a shape and beauty all its own, and it can save you when your key light placement is not optimal. more »
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LIGHTING STRATEGIES: What Makes Soft Lights Cast Soft Shadows?When it comes to soft light, size matters.
It’s one thing to understand that soft sources make soft shadows. It’s another thing to understand why. Fortunately a friend from the insect world can help us if we will look at soft light through his eyes. more »
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For You, a Panel DiscussionTake a break from reading and listen to us for a change: PVC writers speak at the 2011 Entertainment Technology Expo in Burbank. A rabble of PVC writers (yes, that’s the collective term) spoke at this year’s Entertainment Technology Expo in Burbank. If you want to see some of the people behind the ProVideo Coalition content curtain, including myself, this is a “must see.” more »LIGHTING STRATEGIES: Soft Light vs. Hard LightHard lights are great for textures, but soft lights are great for defining spaces.
In a previous article I described how to place a hard key light. In this article I’ll look at why soft sources are a bit more realistic in color cinematography, require less precise placement, and can help define the volume of a space. more »
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Revisiting the RED workflow, Smoke 2012 style
My love affair with RED Digital Cinema began in 2007, when my brief stint as demo artist in the NAB RED booth turned into a regular gig at events and trade shows. When I joined Autodesk as Product Designer to help bring Smoke to the Mac, I was quickly assigned to construct our first RED workflow. Back then, building a RED workflow meant exploring unchartered territory, but since then things changed rather quickly in the last couple years.
Avid now lets you edit video on your iPad for US$4.99. Should you?
A first look at Avid Studio for iPad, and an extrapolation as to what it can mean for pro video editors in the short and longer term.
I was privileged to find out a few hours in advance of the public announcement of Avid Studio for iPad, since Avid contracted me to translate and localize the press release, as fortunately they often do. There was something about this press release that really intrigued me. It wasn’t so much the specific advantages that Avid Studio for iPad has over other editing apps for iPad, like offering both Storyboard and Timeline views in a single iPad app, or being able to import source material from anywhere inside or outside of the iPad. It was more the fact that the announcement was coming from Avid, and the spirit of the two quotes that appear at the end of the press release. In this article, I’ll give a first look at the app, define what it is (and what it isn’t), and extrapolate about what this can mean for video editing in the short, mid, and long term. Of course, I’ll include those two quotes that intrigued me so much.
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