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).

Lens coverage, sensor size, and pushing the limits

Lens coverage, sensor size, and pushing the limits

Sensors and lenses don’t always get along. In the HDR and UHD world, it’s important to test, test, test. Recently I shot a diffraction test meant…

Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide

Signature Primes vs. Ultra Primes: The Pixel-Peeper’s Guide

For nine months I’ve been working periodically as a trainer for the ARRI Academy. Recently we added an Alexa LF to the class, accompanied by a set of…

Casting the look of a camera into glass

Casting the look of a camera into glass

Recently I had the pleasure of meeting with ARRI’s senior color designer, and I asked him the question I like to ask all camera manufacturers: “Why?&#8221…

Large sensor lens coverage: taking old glass to the “breaking” point

Large sensor lens coverage: taking old glass to the “breaking” point

 Old glass and large sensors need a lot of testing. The results may surprise you. In this article I took a look at how older S35 lenses performed on a…

The simplest interview setup ever: the modern update

The simplest interview setup ever: the modern update

Many years ago I wrote about the simplest interview lighting setup ever. Here’s my modern take on that same setup. The TL;DR version is: I still use…

Speed lighting: more lessons from the ARRI Academy

Speed lighting: more lessons from the ARRI Academy

The ARRI Academy isn’t only about learning how cameras work. We also teach how to use them. I’ve never seen a class as motivated as the…

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…