author

Art Adams

Art Adams is a cinema lens specialist at ARRI, Inc. Before that, he was a freelance cinematographer for 26 years. You can see his work at http://www.artadamsdp.com.

Art has been published in HD Video Pro, American Cinematographer, Australian Cinematographer and Camera Operator magazines, and has written for ProVideo Coalition since its inception. He is an active member of the International Cinematographers Guild and a former member of the Society of Camera Operators (SOC).

Setting up your on-set monitor: what to look for, and what to avoid 1

Production

Setting up your on-set monitor: what to look for, and what to avoid

Posted on March 30, 2018

A few years ago, when high quality LCD monitors didn’t exist, I found myself in the wonderful position of...

The film look: what is it, and why are there two of them? 2

PVC Exclusive | Industry Experts

The film look: what is it, and why are there two of them?

Posted on March 2, 2018

The film look is an elusive thing. Everyone has their favorite flavor, but there are two basic, yet opposite,...

Alexa 65 shows that large format TV makes a difference in "Altered Carbon" 5

Experts

Alexa 65 shows that large format TV makes a difference in “Altered Carbon”

Posted on February 27, 2018

I’m eight episodes in to Netflix’s Altered Carbon, and I’ve officially become a believer in large format TV cinematography....

Your camera MAY have a color gamut: further musings on camera color pipelines 14

Production

Your camera MAY have a color gamut: further musings on camera color pipelines

Posted on February 26, 2018

My last article resulted in some new input on color gamuts. Here’s what I think I know now. Before...

Your camera does not have a color gamut 21

Experts

Your camera does not have a color gamut

Posted on February 21, 2018

Yes, it’s true: your camera has no color gamut. Don’t believe me? Good, ’cause I’m going to try to...

Split SDI ports, or: how to hack an Arri Mini 25

Experts

Split SDI ports, or: how to hack an Arri Mini

Posted on February 20, 2018

“My assistant says it’s impossible,” said the Steadicam operator over coffee at Arri headquarters in Burbank. “The DIT wants...

Panavision’s new DXL2: Monstro dialed up to “11” 28

Industry Exclusive

Panavision’s new DXL2: Monstro dialed up to “11”

Posted on February 1, 2018

Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro. When...

The large format look, continued: shallow focus and stressing old lenses 36

PVC Exclusive | Industry Experts

The large format look, continued: shallow focus and stressing old lenses

Posted on January 30, 2018

I’ve been getting some play time with RED’s new Weapon camera with a Monstro sensor at Videofax in San...

The "large format" look: Sigma primes on a RED Monstro, in 8K 40

Experts

The “large format” look: Sigma primes on a RED Monstro, in 8K

Posted on January 17, 2018

What’s the big deal about large format cinematography? Shallow focus on wide shots. It’s a big deal. One of...

Meet Me at Arri Burbank on January 19th 42

Uncategorised

Meet Me at Arri Burbank on January 19th

Posted on January 16, 2018

If you’ve got some time to spare on January 19th, and you’re near Burbank, stop by and see me...