Art Adams

A native of Northern California, Art Adams spent ten years in LA--first at film school (Loyola Marymount) and then working in the film industry. He started out as a camera assistant on low budget features and worked his way into spots, music videos, features, sitcoms and episodic television shows. He transitioned from assistant to operator to DP by the time he returned to the San Francisco Bay Area in 1993.

Currently Art focuses his energies on shooting spots and high end corporate productions, as well as special venue and blue/green screen projects. He likes jobs that make his brain hurt with ingenuity and cleverness. He has been published in HD Video Pro, American Cinematographer, Camera Operator Magazine and Film/Tape World.

September 2008

August 2008

July 2008

June 2008

May 2008

April 2008

March 2008

February 2008

Complete Archives

Category Archives

I Decide: Anatomy of a No-Budget HD Spot

The Thorons: Anatomy of an HD Spot

Why “Exposing to the Right” Works on the RED

RED Workflow Redux

Too Much Data!

The Secret of P2 Slating

Rewiring Wired

Composition Occurs in both Space and Time

What Wired Didn’t Understand about Depth of Field

Wired Magazine Gets the RED Totally Wrong

RGB and the F23

The Swing of Things

Advice to a Camera Trainee

The Fine Art of Negotiating

Make the Entrance Pupil Your Friend

Tip from the Trenches

Wevi’s wobble but they don’t break up

Lighting diagrams for the Mac: Omnigraffle

Go craaaaazy: fill from the key side!

It’s still not the camera!

Ooops, we did it again

RED Build 16: A Camera Whose Time Has Come

Dymo Discpainter, Part Deux

Untrustworthy

It’s not the budget, it’s where you put the camera!