|
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
;
|
|
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•
Post Production•
Production•
Training•
Visual Effects•
(3) Comments•
Most recent comments by:
DaneH,
Art Adams,
Jerry Rojas,
•
Permalink
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 »
Cameras•
Editing•
Lighting•
Post Production•
Production•
Training•
(2) Comments•
Most recent comments by:
Art Adams,
Adam Wilt,
•
Permalink
More Fun with REDIn which a four day corporate shoot for Sunpower goes exceedingly well
I just finished a four day shoot for solar energy company Sunpower where we used the RED for three days of location shooting and one day of green screen. More about the green screen later—here’s how I did all the live action shots. more »
Cameras•
Editing•
Post Production•
Production•
Training•
(1) Comments•
Most recent comments by:
stevesherrick,
•
Permalink
No on Prop 8 (California)—shot on REDAnother successful RED project on a shoestring budget
I’ll revisit this next week when I have more time to write (I’m about to go into a four day RED project that will shoot over this coming weekend) but I’m very proud of this spot and—as it was just released onto YouTube—I wanted to show it off. more »
Cameras•
Editing•
Post Production•
Production•
(2) Comments•
Most recent comments by:
Steven Bradford,
Scott Gentry,
•
Permalink
Advertisement 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 »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 »
Editing•
Post Production•
Production•
(6) Comments•
Most recent comments by:
Michael Morlan,
Neil Sadwelkar,
RC Fisher,
Neil Sadwelkar,
abu nusaybah,
RC Fisher,
•
Permalink
It’s not the budget, it’s where you put the camera!
Equipment doesn’t make the image; people do. I proved this on a music video recently where we had more people than equipment. more » The Compleat Idiot’s Guide to RED Post on a BudgetWritten by a complete post idiot, these RED tips may make your life slightly easier
This is by no means a definitive manual on how to post RED footage. Rather, this is how I managed to work with R3D footage while creating a spec spot using the RED. Your mileage may vary. I expect to be flamed repeatedly regarding my handling of this shoot’s post process, but from the ashes I hope to extract some knowledge as to how to do it all better next time. We did not record any sound on the shoot, so that part of the post process is not addressed. Yay! For behind-the-scenes action, see Adam Wilt’s post on the shoot itself. more »
Cameras•
Editing•
Post Production•
Production•
(14) Comments•
Most recent comments by:
Jessica,
Jason Chocianowski,
Jendra Jarnagin,
Adam Wilt,
Michael Scott,
Mike Burton,
Mike Prevette,
Mike Burton,
Mike Prevette,
Mike Prevette,
•
Permalink
Page 1 of 1 pages 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.