short bio
A
native of Northern California, Art Adams spent ten years in LA --
first at film school 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, VFX and blue/green screen projects. His first love is lighting faces. His second love is shooting projects that make his brain hurt with creativity and technical challenges.
If you'd like to read the long version of his bio, please click here.
Currently Art focuses his energies on shooting spots and high end corporate productions, as well as special venue, VFX and blue/green screen projects. His first love is lighting faces. His second love is shooting projects that make his brain hurt with creativity and technical challenges.
If you'd like to read the long version of his bio, please click here.
work ethic
Art
works quickly, efficiently, and pleasantly, and has a very dry
sense of humor. He likes to work with crew and vendors who are
like-minded. He's got a list.
He likes to stay current on new technology, and shoots film as well as film-style HD.* He's experienced with all flavors of HD cameras, including Arri Alexa, RED ONE, Sony F35 and F23, Phantom HD Gold, Canon 5D and 7D, Sony EX1/EX3, Panasonic Varicam (all models), and the rest.
*Film-style HD consists of capturing images with strong compositions and beautiful lighting, and really has nothing to do with film—except that, traditionally, you've seen more of it on film. But nearly any medium can yield great pictures. Hint: it's not the equipment that matters.
"The camera never lies. But watch out for the cameraman." -Anonymous
He likes to stay current on new technology, and shoots film as well as film-style HD.* He's experienced with all flavors of HD cameras, including Arri Alexa, RED ONE, Sony F35 and F23, Phantom HD Gold, Canon 5D and 7D, Sony EX1/EX3, Panasonic Varicam (all models), and the rest.
*Film-style HD consists of capturing images with strong compositions and beautiful lighting, and really has nothing to do with film—except that, traditionally, you've seen more of it on film. But nearly any medium can yield great pictures. Hint: it's not the equipment that matters.
"The camera never lies. But watch out for the cameraman." -Anonymous
affiliations
•International
Cinematographers Guild, IATSE 600
•Society of Camera Operators (SOC)
•National Writers Union, UAW 1981
•Cinematography Mailing List Steering and Ethics Committee (CML Grand Jury)
•Digital Cinema Society (DCS)
•Society of Camera Operators (SOC)
•National Writers Union, UAW 1981
•Cinematography Mailing List Steering and Ethics Committee (CML Grand Jury)
•Digital Cinema Society (DCS)
trade writing
Art
is currently a regular contributor to
ProVideo
Coalition.
Past
articles were published in American Cinematographer,
Camera
Operator Magazine, HD
Video Pro Magazine, CineSource and Film/Tape World.
consulting
Art
helped design the color profiles and user interface for the
Kelvin
Tile broad
spectrum LED motion picture light, 2006-2007. Art worked with
marketing director Rich Pierceall to bring to market the first
color accurate variable color temperature LED light. It was
originally distributed by Kino Flo and is currently distributed by
Gekko Lighting UK. The Kelvin Tile is still the best looking LED
motion picture light in existence.