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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. 
November 2008October 2008September 2008August 2008July 2008June 2008May 2008April 2008March 2008February 2008Complete ArchivesCategory Archives
My First Shoot with the Sony F35The RED OutdoorsLighting Simply for the REDThe RED Camera and Green ScreenMore Fun with REDWhat I’ve learned about the RED in the last three daysThe HVX-200 Strikes AgainNo on Prop 8 (California)—shot on REDGreen, Magenta and RED“Conversation”: Anatomy of Another HD SpotI Decide: Anatomy of a No-Budget HD SpotThe Thorons: Anatomy of an HD SpotWhy “Exposing to the Right” Works on the REDRED Workflow ReduxToo Much Data!The Secret of P2 SlatingRewiring WiredComposition Occurs in both Space and TimeWhat Wired Didn’t Understand about Depth of FieldWired Magazine Gets the RED Totally WrongRGB and the F23The Swing of ThingsAdvice to a Camera TraineeThe Fine Art of NegotiatingMake the Entrance Pupil Your Friend |
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Saturday, August 16, 2008What Wired Didn’t Understand about Depth of FieldIt’s not about analog vs. digital, it’s frame size vs. focal length
In the Sept. ‘08 issue of Wired Magazine, in an article about the RED camera called “A Star is Born,” the author states that the difference in depth of field between film cameras and HD cameras is due to “analog versus digital,” with no other explanation. I’ve written this for him and for anyone who wonders why 35mm film and large sensor HD cameras have so little depth of field. more » Cameras • Training • (5) Comments • Most recent comments by: David S, billS, David S, david_winters, billS, • Permalink Page 1 of 1 pages |
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What Wired Didn’t Understand about Depth of FieldIt’s not about analog vs. digital, it’s frame size vs. focal length In the Sept. ‘08 issue of Wired Magazine, in an article about the RED… Advertisements |
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