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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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I Decide: Anatomy of a No-Budget HD SpotWherein a great group of people come together for a good cause
This was the first project shot for California’s No on Prop 8 campaign. In an attempt to reach out to young voters I recruited my cousin Catherine, and her best friend Austin, to record an appeal for youth to get up and vote down Prop 8. They’re both politically active and immediately said “yes” to the project. more »The Thorons: Anatomy of an HD SpotIf you live in California you’ve probably seen this already. Here’s how we did it.
I shot this spot a few weeks ago and it hit the air in a big way on Sept. 22. more »
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Most recent comments by:
Scott Gentry,
Mark Spencer,
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Why “Exposing to the Right” Works on the REDThis white paper from Adobe explains it all without making my eyes bleed.
There’s been a lot of talk about “exposing to the right” in the RED community: instead of relying solely on your meter, the idea is to watch the RED’s histograms and use whatever room is available on the right side. If your meter says to shoot at 2.8, and there’s nothing hitting the right side of the histogram, open up the stop and move all the values over until something clips or you run out of stop. I did this on my last two RED shoots and it worked great. Using REDSpace as my color and gamma preset allowed me to see more-or-less exactly how the image would be seen once processed using those settings in post, and by setting the zebras to come on at their maximum of 103 (I assume that’s 103 ire on a scale of 0-109) I could use them the same way I would on any other HD camera. Processing the footage through RedRushes using the REDSpace preset resulted in images that were very close to what I saw on location while still offering me all the grading latitude that I’d expect from RED raw footage. This white paper on Adobe’s web site explains what “expose to the right” is and why it works. I highly recommend it.
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Most recent comments by:
Art Adams,
billS,
Art Adams,
Stephan,
stephen v2,
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RED Workflow ReduxI might be just winging it, but darned if it don’t work!
I haven’t yet found a manual for working with RED footage. The methods that I’ve discovered have been cobbled together by searching through thousands of posts on Reduser.net (which has a very low signal-to-noise ratio), hundreds of posts on the Cinematography Mailing List, and just making stuff up. more »
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(7) Comments•
Most recent comments by:
Adam Wilt,
c-pup,
George Kroonder,
Adam Wilt,
George Kroonder,
Art Adams,
Adam Wilt,
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Advertisement Too Much Data!In a world where tape is disappearing, how do I inexpensively backup all my data shoots?
I’m going into a RED shoot this weekend and I’ve realized my hard drives are full. Now what? more »
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Most recent comments by:
Michael Morlan,
Neil Sadwelkar,
RC Fisher,
Neil Sadwelkar,
abu nusaybah,
RC Fisher,
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Motion Quick Tip: Cleaning Up With Crop
Getting Rid of Those Dirty Edges
When you blur elements in Motion, sometimes your edges can become “tainted” - here’s how to fix them quickly and easily.
Animating Photoshop Layers in Motion Redux
A follow-up video with some more tips
If you missed my original video tutorial that shows you how to take a multi-layered Photoshop file, quickly and easily spread the layers out in z-space in Motion, and then animate a camera through the layers, check it out here. I had a few follow-up questions from viewers, so this video provides a few more tips that I hope help everyone out.
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