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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 LooksCAMERAS: Food Fights with the FS700CAMERA MATH: The Importance of RatiosGEEK-OUT: The Matrix, ReloadedLighting Fire and Liquids: Playtime with the Sony FS700LED Light Tests: Flesh Tone and Color Comparison ShootoutBEHIND THE SCENES: Smoke in the Woods with the Canon 5DLED Light Tests: PRG Sponsors an LED Light ShootoutCANON C300: Trimming White Balance, Plus a Look at Daylight vs. Tungsten ColorCAMERAS: Now It’s Rocket ScienceLights, Camera, Kids: Shooting a Childish Spot for T-Mobile on the Canon 5DGEEK OUT: The Non-Technical Technical Guide to Sony OLED MonitorsLIGHTING 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 Color
May 2012April 2012March 2012January 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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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 »
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Most recent comments by:
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Ryan Damm,
Art Adams,
Ryan Damm,
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larry,
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Busy Person’s Guide to Color Correcting the Canon 5DIn which I take some pretty footage and make it a lot prettier
The 5D is fast and portable, but it’s not a professional camera—so know going in that you’re going to have to color correct whatever you shoot. more »
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Porsche Spot VFX BreakdownDirector Ian McCamey shows how many layers it took to create one shot in our “Porsche: Magnet” spot
Shot by shot, this breakdown shows all the steps required to pull off a single shot for “Porsche: Magnet,” a spec spot I shot several months ago for director Ian McCamey. more »Click to audio / video »
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Tiffen DFX 2 Digital FiltersTake your footage to the next level with this simple post option
Tweaking footage for your reel is a huge advantage. Here’s how to take your footage to the next level without taking on a second full-time job as a colorist. more »
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Advertisement 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 »
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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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Schneider Optics Sings the BluesSchneider’s new 1/2, 1/4 and 1/8 CTB filters have “RED” and “Phantom” written all over them
All silicon sensors are daylight native, although most cameras hide this fact so well it’s never an issue. Not so with cameras like the RED and Phantom HD, which may need a little help under tungsten light. more »
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My First Shoot with the Sony F35In which a series of tests becomes the fastest spec spot shoot in history
About a week and a half ago I received an email from Leigh Blicher, partner at Videofax in San Francisco. “Just wanted to let you know our F35 has arrived.” My response read something like this: “Ooo! Oh! Oh oh oh! Ooooo oh oh OH! Oh! OHHHHH! Can I come over and PLAY?” more »
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Final Cut Pro X Multicam Editing webinar now available on-demand
Plus a little screencast in this blog post on a topic we didn’t get to cover.
I had great fun last week presenting the Final Cut Pro X multicam editing webinar for Moviola Filmmaking Webinars. It was a lightning fast 90 minutes and we covered a lot of ground but we didn’t get through everything I wanted to cover. The On-Demand version can be purchased and I recorded an extra screencast about one topic that I didn’t get to cover in the webinar. Check it out after the jump.
CAMERAS: Food Fights with the FS700
You want 240fps 1920x1080? I’ve got your high-speed HD right here… for less than $10K.
When Adam Wilt and I shot “Fire and Ice” together on a prototype FS700 we had no idea that it would be shown at NAB… and that it would be hit. We wanted to do more, so we pitched Sony a commercial concept for a local company that involved high speed “veggie baseball.” Guess what: they sent us an FS700 again. Edible baseball never looked so good.
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