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).

This week: ARRI at Koerner Camera in Seattle and Portland

This week: ARRI at Koerner Camera in Seattle and Portland

Technical Sales Rep Chase Hagen and I will be showing off the Alexa Mini LF and ARRI Signature Primes at Koerner Camera facilities this Wednesday, October 9 (Portland) and Thursday…

Focus ramping: when T-stops go bad

Focus ramping: when T-stops go bad

Years ago, while assisting on a sitcom, I helped the director of photography shoot exposure tests on all of our zooms. The closeups were darker than expected, and she wanted…

The secret life of behind-the-lens nets

The secret life of behind-the-lens nets

“What’s with the pattern in the headlights?” I asked the first camera assistant, as I looked through “B” camera on a feature film set…

ARRI Signature Prime and Mini LF Event: Sim Video, Vancouver

ARRI Signature Prime and Mini LF Event: Sim Video, Vancouver

Come see me on June 6th at Sim Video in Vancouver, B.C., where I’ll co-present a session on ARRI Signature Primes with product manager Thorsten Meywald…

Four lenses: a visual comparison, part 2

Four lenses: a visual comparison, part 2

It’s time to name names. I’m going to tell you what lenses you’ve been looking at for the last few days, and offer my…

Four lenses: a visual comparison, part 1

Four lenses: a visual comparison, part 1

We live in an age of lens choice. Because of this, we also live in an age of lens tests. Done properly, such tests are hugely valuable. The best way…

Quantifying the Large Format Look

Quantifying the Large Format Look

Large format is no longer out of reach of the average filmmaker, but the look is difficult to quantify. Naturally, that means I’ll give it a try. I…

Behind-the-lens nets: a lost art makes a comeback

Behind-the-lens nets: a lost art makes a comeback

I’ve always been a little different. That’s the only explanation I have for cutting gels out of Rosco and Lee swatch books and putting them behind…

An interview with moi, now at Production Hub

An interview with moi, now at Production Hub

Not to give away any of PVC’s thunder, but Production Hub interviewed me a few weeks ago and the result is now live. You can see it here…

Chromatic aberration: hard edges, hue shifts, and storytelling

Chromatic aberration: hard edges, hue shifts, and storytelling

Accidents yield interesting truths. This is especially true in lens and camera tests, where it’s hard to know what to test for but there’s always something…