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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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EX1/EX3 IR Filter Shoot-OutThe EX1/EX3 built-in Hot Mirrors suck. Or do they? One way to find out…
The Sony EX1 and EX3 are great cameras for the price, but they do have some fairly obvious issues with IR/far red when used with neutral density filters in front of the lens. This test taught me far more, though, than just what filters to use to eliminate a color problem on these cameras: I learned never to make assumptions about how a piece of equipment works until I’ve tested all possible options. more »
Cameras•
Production•
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(6) Comments•
Most recent comments by:
Michael B. McGee,
Art Adams,
Michael B. McGee,
Art Adams,
Art Adams,
DR,
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Fake Tilt-Shift CinematographyI’ve seen this in stills and it’s very convincing. Next week I’m doing to do it in motion.
Traditionally used to create the illusion of impossibly deep focus, tilt-shift effects are now being used to do the exact opposite—with surprising results. more »
CS4•
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(7) Comments•
Most recent comments by:
sellington,
Art Adams,
Andrew Smith,
billS,
Ben Richardson,
Chris Meyer,
Scott Simmons,
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F35 IR Filter Shoot-OutWe test IR filters from three major manufacturers to see which does what on the F35
Technically the Sony F35 isn’t sensitive to infrared, but it is sensitive to far red. The difference will save you a lot of money on filters. more »
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(6) Comments•
Most recent comments by:
billS,
Marcis Gasuns,
DR,
Art Adams,
DR,
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RED Hot Mirror Shoot-OutWe test Hot Mirror filters from three major manufacturers to see which does what on the RED
Not all infrared or Hot Mirror filters are made the same, and not all work the same way on different cameras. In this test we looked at filters from Schneider, Formatt and Tiffen to see how they perform on the RED ONE. more »
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(4) Comments•
Most recent comments by:
VincVis,
Michael Morlan,
Art Adams,
Graham Futerfas,
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Advertisement The Not-So-Technical Guide to S-Log and Log Gamma CurvesWhat you need to know about log curves—with hardly any math at all
For a couple of weeks I’ve been researching the mystery of Sony S-Log, and log curves in general, trying to determine what they are, what they do, and whether they are a good thing or not. After interviewing three different people (George Palmer of HDPix, Michael Bravin of BandPro and especially Steve Shaw of Digital Praxis) I finally had a sartori. I get it now. It’s really cool. And it’s surprisingly simple. more »
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Production•
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(5) Comments•
Most recent comments by:
Art Adams,
createbmx,
billS,
Steve Shaw,
Charles Angus,
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No pain? NO GAIN!What adding and subtracting gain really does, and what you need to know before you use it
All of us use gain at one point or another. Positive gain saves us when we end up shooting in a dark location, and negative gain makes us feel slightly superior because we’re giving our client an image that is remarkably noise-free. But nothing is for free - you should definitely think twice before you hit that gain switch, because it’s not just a matter of boosting or hiding noise. You’re reducing your dynamic range at the same time, and that’s not something we should do lightly. more »Page 1 of 1 pages Advertisement |
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Designer Templates for Final Cut Studio
Professionally designed templates for Final Cut Pro and Motion
Students, customers, and colleagues have been asking me for years to design templates for Motion and Final Cut Pro. I always resisted, because I didn’t want to do it unless I could do something that would really stand out.
Over the past several months I have been working with Ripple Training and a professional design team to do just that.
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