|
crowd sourcing the experts |
||||||||
 |
||||||||
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
;
|
|
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•
Cameras•
Hardware•
Lighting•
Post Production•
Pre-Production•
Production•
Software•
Tips•
Training•
•
Permalink
BOOK REVIEW: “How to Shoot Movies Without Shooting Yourself in the Foot”The best books about cinematography aren’t necessarily about the art of cinematography. They’re about getting all the other stuff out of the way so you can practice cinematography. This is the book that tells you what you didn’t know—but need to know—about becoming a cinematographer.
This book is not for everyone. If you don’t eat, breathe and live cinematography… maybe you should read something else. Seriously. This book may not be for you. (But if it is… you’d better not miss it.) more »
Cameras•
GentryMedia Sister Sites•
ProVideo Coalition•
Lighting•
Tips•
Training•
(0) Comments•
•
Permalink
For You, a Panel DiscussionTake a break from reading and listen to us for a change: PVC writers speak at the 2011 Entertainment Technology Expo in Burbank. A rabble of PVC writers (yes, that’s the collective term) spoke at this year’s Entertainment Technology Expo in Burbank. If you want to see some of the people behind the ProVideo Coalition content curtain, including myself, this is a “must see.” more »The Simplest, Fastest Interview Lighting Setup—Ever.Years in the making, this technique works in almost every situation and makes almost everyone look great. That’s about the best you can hope for when shooting talking heads on a tight schedule.
For a long time my primary source of employment was shooting corporate marketing communications videos. As these consist primarily of “talking head” interviews, I tried every lighting setup I could think of to make people look their best quickly, as many of these shoots have tight schedules and not much turnaround time between interviews. This setup is the result of years of experimentation. more »
Cameras•
GentryMedia Sister Sites•
ProVideo Coalition•
Lighting•
Production•
Tips•
Training•
(34) Comments•
Most recent comments by:
Review Maze,
Chris Lawes,
Art Adams,
Chris Lawes,
Art Adams,
Chris Lawes,
Art Adams,
Chris Lawes,
Art Adams,
Chris Lawes,
•
Permalink
Advertisement Blue Nile Shines Thanks to the Canon 5D and Apple ColorOne more chapter in my “It’s not the camera, it’s the creativity behind the camera” series.
One of the best things about this business is that greatness lurks around every corner. If you are resourceful and creative you’ll find it well enough. more »
Cameras•
compression•
Distribution•
GentryMedia Sister Sites•
HDSLR•
ProPhoto Coalition•
ProVideo Coalition•
Lighting•
Production•
Software•
Tips•
(7) Comments•
Most recent comments by:
M. Turner,
Art Adams,
M. Turner,
test123,
Adam Wilt,
Art Adams,
Adam Wilt,
•
Permalink
Anatomy of a Spot: T-MobileWhat’s the best camera to use when shooting in an elevator? A small one. Hellooooo Canon 5D…
Over time I’ve come to respect the Canon 5D. It’s not the most user friendly of cameras, and it has some fairly serious faults, but if you can avoid the pitfalls it can make very pretty images. more »
Cameras•
GentryMedia Sister Sites•
ProVideo Coalition•
Lighting•
Production•
Tips•
Training•
Web Video•
(1) Comments•
Most recent comments by:
Howard Newstate,
•
Permalink
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,
•
Permalink
Arri Alexa and Rosco LitePads Come Through for OnLive’s First National SpotThe project started out as a web-only teaser. When the client saw it they added another shoot day and turned it into a national spot. Here’s why, and how.
Originally slated to be a web-only spot, the first shoot day went so well that when the client saw the results they ordered a second shoot day, added an actor and made a $1m+ national ad buy. more »
Cameras•
GentryMedia Sister Sites•
ProVideo Coalition•
Lighting•
Production•
Tips•
Training•
Visual Effects•
(0) Comments•
•
Permalink
Page 1 of 14 pages 1 2 3 > Last » Advertisement |
|
|
||||
|
|
|||||||
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.
To be considered for listing, contact pr (at) provideocoalition (dot) com
Copyright © 2011, HD Expo, LLC a division of Diversified Business Communications. DBA Createasphere
All rights reserved. HD EXPO, High Def EXPO, Createasphere, E-Tech, Entertainment Technology Exposition, 3D Production Workshop, VariCamp, P2 Camp, ColorCamp 101, and Lighting, Filters & Gels for HD are all trademarks of HD Expo, LLC.