Cinematographer Art Adams shoots spots, visual effects, web/interactive/mobile and high-end marketing projects. His website is at http://www.artadamsdp.com.

Art has been published in HD Video Pro, American Cinematographer, Australian Cinematographer and Camera Operator Magazine He is a current member of the International Cinematographers Guild, a past member of the Society of Camera Operators (SOC), and an industry consultant and educator. He lives in the San Francisco Bay Area.

ARRI Signature Primes: the conscious design of softness

ARRI Signature Primes: the conscious design of softness

This is a story about a lens family whose soft focus backgrounds were consciously designed, and the lens mount that made them possible. For the last six months I&#8217…

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

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

A few years ago, when high quality LCD monitors didn’t exist, I found myself in the wonderful position of mentally averaging every monitor on the set. The on…

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

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

The film look is an elusive thing. Everyone has their favorite flavor, but there are two basic, yet opposite, techniques in vogue right now—and I think I’ve…

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

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

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

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

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

My last article resulted in some new input on color gamuts. Here’s what I think I know now. Before I start, if you haven’t read my…

Your camera does not have a color gamut

Your camera does not have a color gamut

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

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

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

“My assistant says it’s impossible,” said the Steadicam operator over coffee at Arri headquarters in Burbank. “The DIT wants a LogC output, but I need…

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

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

Panavision’s DXL2 is a unique offering, backed by a unique color pipeline. This is not your average Monstro. When I started out in the film business—at a time…

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

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

I’ve been getting some play time with RED’s new Weapon camera with a Monstro sensor at Videofax in San Francisco. Jim Rolin, one of Videofax’s owners and…

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

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

What’s the big deal about large format cinematography? Shallow focus on wide shots. It’s a big deal. One of my local rental houses, Videofax, recently took…