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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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Monday, March 24, 2008
I’ve now had independent confirmation from a couple of people who watched my RED build 14 exposure tests and have had great luck treating their RED as a daylight film stock. Apparently clipped highlights are significantly less of a problem and noise in the shadows drops way down. It’s a much smoother look.
If you haven’t had a chance to test your RED before shooting to see how well you can recover clipped highlights, it might be a good idea to go HMI or daylight if at all possible. I’m hoping to test recovering clipped highlights and blue filtration by the end of the week, so stay tuned.
Meanwhile, look back a couple of posts in this blog if you need to learn how to recover clipped highlights in Red Alert, and remember that the same control in Red Cine, called “highlight,” does work—but you need to “jiggle” or double-click another control before the new value takes effect. That is slated to be corrected in the next build.
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