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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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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 »
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Lighting Against The Wind: The Making of a Mime Music VideoIf your first response to a low-budget music video contest is to cast one actress in three different parts, all of whom appear onscreen at the same time and interact with each other, then this article is for you.
In the last two years I’ve often described myself as a “reel-building whore.” If I’m asked to do a low-budget and “reel worthy” freebie by a trusted director/collaborator I jump at the challenge. When director Ian McCamey asked me to shoot a freebie music video with three interactive mimes who were all played by the same actress, I couldn’t say no. more »
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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 »
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The Tiger Lillies Finally Set SailThe Tiger Lillies video you read about on my blog is finally here. And it’s a mind-blower.
Back in November 2009 I spent three days with director Mark Holthusen, producer Jason Santos, camera assistant Adam Wilt and a cast of dozens on the Meets the Eye stage in San Carlos, CA. There we set sail with the Tiger Lillies for their interpretation of “The Rime of the Ancient Mariner,” and then we waited months for Mark to work his pictorial magic. He didn’t let us down. Here it is: more »
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filmrot,
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Advertisement World’s Only “Death Oompah” Band Gets Virtual Reality Music VideoThe Tiger Lillies sail to a virtual arctic wasteland for their new album “Rime of the Ancient Mariner”
An accordion-playing lead singer; a drummer who occasionally uses a doll instead of drumsticks; and a song based on the “Rime of the Ancient Mariner.” Just another day on set with one of the most macabre bands in existence: the Tiger Lillies. 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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Porsche F35 Spec Spot RevealedPVC readers get an early look at my finished F35 spec spot
About a month ago I shot a spec Porsche spot at night on the Sony F35 at ridiculously low light levels. Here’s the finished piece. more »Advertisement |
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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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