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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.
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Friday, April 11, 2008
The idea behind this test was to underexpose a neutral reference and see at what point the RED’s noise becomes too much of an issue. Using Colorista in Final Cut Pro, I put 18% gray at 50 units on the waveform monitor for each exposure, effectively “printing up” each exposure to see how much “grain” (noise) showed up. Some of this is exaggerated by compression artifacts, but I think you can get a good feel for what’s going on.
I’m not sure how this would look on a film out, but to me there isn’t a ton of difference between noise levels at 320 and 640, although I think I’m more comfortable rating the camera at 320. I start seeing reduced contrast at EI 1280, which I really wouldn’t want to try on a paid job.
Compressed via FCP Compressor, H.264.
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