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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
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Dymo Discpainter: First ImpressionsWill a printer that does only one thing save my sanity? For quite a while I’ve used an Epson R320 printer to label my showreel DVDs, but the end of that era has come. I now own a Dymo Discpainter. more »
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The Compleat Idiot’s Guide to RED Post on a BudgetWritten by a complete post idiot, these RED tips may make your life slightly easier
This is by no means a definitive manual on how to post RED footage. Rather, this is how I managed to work with R3D footage while creating a spec spot using the RED. Your mileage may vary. I expect to be flamed repeatedly regarding my handling of this shoot’s post process, but from the ashes I hope to extract some knowledge as to how to do it all better next time. We did not record any sound on the shoot, so that part of the post process is not addressed. Yay! For behind-the-scenes action, see Adam Wilt’s post on the shoot itself. more »
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The Debut: Wii Spec Spot, shot on RED, now online at PVC
Here it is, finally finished. Phew! Now I know why I’m not in post production. I’ll write a blog entry on my stupid post mistakes later; for now, enjoy! Details that may be interesting to the reader: Shot 4k 2:1 Edited in 2k on Final Cut Pro Redcode 36 Color correction applied to RedLog-exported footage from RedCine, using Colorista Zeiss Ultra Primes, mostly at T2 Schneider True-Cut IR filter used on every shot except for the TV (16mm Ultra Prime saw some off-angle cyan vignetting) All shots daylight- or 4500k-balanced (the TV had to be shot under a daylight balance, for proper color, so I shot everything else daylight for consistency) except for the ceiling shot, which was done at 3200k to keep the light bulbs from going too warm There’s one shot that was done on a Lensbaby. See if you can pick it out. More soon.
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sam,
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My first RED shoot: The training wheels come off!
Okay, I have to admit it: I now like this camera more than I thought I would. more »
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Rendering Motion Projects in Final Cut Pro
The key to dramatically faster render times
If you have begun to explore Final Cut Studio’s application integration by embedding your Motion project files into your Final Cut Pro sequence, you may have noticed a rather large increase in render time for that sequence.
Part of the cause of the increased render time is due to the level of complexity of your Motion project, but there’s a setting in Final Cut Pro that can dramatically reduce render times with little to no impact on the quality of your Motion project—except for certain types of projects.
Cinema Craft Encoder MP for Compressor 3
High Quality MPEG-2 Encoding for Final Cut Studio 2
Cinema Craft, the industry leader in MPEG-2 encoding for DVD, is going to release a Compressor 3 plug-in by the end of this month. I wrote an article on Ken Stone’s site that takes a look at both the plug-in itself and the technology behind it…the Cinema Craft Xtream encoding engine. The majority of Hollywood releases on DVD have been encoded using the Xtream engine, and it’s the same engine that’s at the core of the Cinema Craft Encoder MP plug-in for Compressor.
In addition to high quality, Cinema Craft Encoder MP is a full Compressor plug-in (vs. a QuickTime Component) so it has access to all of Compressor’s features like frame controls and geometry.
If you’re going to be in Los Angeles on May 21st, 2008, I’m going to do a demo of the software at the May LAFCPUG meeting.
BG
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