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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 »
Business•
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DSC Labs Hawk Chart: The Simplest Color Chart That You Can’t Live WithoutWouldn’t it be great if someone designed an easy-to-use color chart that could be quickly and easily used in the field? Well, someone did. And they call it The Hawk.
It wasn’t until I worked at the DSC Labs booth at NAB that I discovered The Hawk… and it blew me away. It’s a very simple chart, but it offers a colorist (professional or amateur) the most critical information necessary to accurately neutralize your raw, log, or even WYSIWYG images. more »
Cameras•
GentryMedia Sister Sites•
ProVideo Coalition•
Post Production•
Production•
Tips•
Training•
(15) Comments•
Most recent comments by:
IEBA,
IEBA,
Stephen Taylor,
Adam Wilt,
Art Adams,
Adam Wilt,
Adam Wilt,
Art Adams,
Stephen Taylor,
Art Adams,
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The Secret Art of Slating: 25 Tips to Help You Slate Like a ProTake these to heart and become the editor’s best friend.
Slate training was my introduction to one of the most important tenets of filmmaking: always think of the next person down the production line. In the case of slating, this means taking care of the poor assistant editor who has to sync and track dailies based on your notes and your slating technique. more »
GentryMedia Sister Sites•
ProVideo Coalition•
Post Production•
Production•
Tips•
Training•
(5) Comments•
Most recent comments by:
Mitch Lewis,
mgilna,
Scott Simmons,
Art Adams,
Steven Bradford,
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My Love Affair with AlexaWhen the camera sees more than my light meter does, it’s time to acknowledge that the game has truly changed.
My dream HD camera records footage with log-encoded gamma to ProRes for a fast, easy and accessible post workflow and cost-effective color grading. It has the simplest control interface ever. It sees in the dark. And it’s built by a company whose gear I learned to trust early in my career when I started out as a camera assistant. The company is ARRI, and the camera is Alexa. more »
Cameras•
Lighting•
Post Production•
Production•
Tips•
Training•
(13) Comments•
Most recent comments by:
Art Adams,
Allan,
Art Adams,
IEBA,
watcher_skys,
evandroc,
Art Adams,
Scott Simmons,
cineshashank,
Art Adams,
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Advertisement Step into the Matrix: What I Learned from Examining RED’s Build 30 Color ScienceRED says the MX sensor uses the same colorimetry as their old M sensor. Others say the improvements are so dramatic that this can’t be. A search for the truth led me deep into the heart of The Matrix…
The RED ONE MX is finally here, and it looks great—better than it should, considering that RED says that it hasn’t changed the colorimetry of its sensors, only its sensitivity and noise levels. How could software alone make such a huge difference? I found out… the hard way. more »
Cameras•
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Production•
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(3) Comments•
Most recent comments by:
Art Adams,
BBuijsman,
Rob,
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VFX Tell the Story in California State Fair SpotsA RED ONE, a barn, seven kids, a guy in a yellow bear costume, the setting sun, an animated dinosaur and dozens of visual effects elements combine to create dazzling imagery on a moderate budget.
A bit of prior planning, some clever visual effects and a new RED software build help a talented production team get maximum bang for minimum bucks. more »
Cameras•
Editing•
Lighting•
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Production•
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Visual Effects•
(3) Comments•
Most recent comments by:
DaneH,
Art Adams,
Jerry Rojas,
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Low-Budget PSA’s, Shot on RED, Prove that Budget is Not a Barrier to ExcellenceFast, cheap and good—normally you can pick any two. For these PSA’s we got all three.
“Dad has a barn and mom can sew—let’s put on a show!” Production budgets aren’t what they used to be, but that doesn’t excuse sloppiness. There’s almost always a way to do good work as long as your creativity extends beyond lighting and framing into the realm of “making do.” more »
Cameras•
Lighting•
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Production•
Tips•
(3) Comments•
Most recent comments by:
marco,
mikeburton,
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RED’s Blue Noise: Where It Went, and Other Color Anomalies You Should Know AboutWhat you didn’t know you didn’t know about color and the RED ONE
RED software build 20 boasts new colorimetry that eliminates blue shadow noise under tungsten light. When asked how they did it, RED only said “We aren’t using noise reduction algorithms.” I love a challenge, and I think I figured out how they did it. more »
Cameras•
Post Production•
Production•
Tips•
Training•
(13) Comments•
Most recent comments by:
Art Adams,
Ryan Damm,
Art Adams,
Ryan Damm,
Art Adams,
Graham Futerfas,
www.DANCAD3D.com,
Jeff Kreines,
larry,
Art Adams,
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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