Adam H Films

Adam Holoubek is an NYC based DP, Gaffer, and Key Grip originally from Bratislava, Slovakia

03/27/2026

Please check out a new article “Sculpting In Time between Halsey St and the Stars” by on our substack. A musing on Kantian metaphysics, the nature of time and perception, Tarkovsky, and Buddhism. The work aims to weave these subjects in a way which will supply light to the vast darkness of the universe.

Article substack link in bio.

is an NYC-based filmmaker originally from Bratislava, Slovakia. With a technical foundation in cinematography and G&E, his work is rooted in visual design across both narrative and experimental film. His projects include The Gallerist, Lens-Muse, and Time is Breath, reflecting a focus on image-driven storytelling and formal control of light and composition.

03/23/2026

As we enter Spring 26 I wanted to release my favorite video from the Marta’s Vineyard series. Thank to for believing in me and making this campaign possible. I always consider it a privilege to work only with natural light during golden hour, having to work quickly in a rapidly changing environment. There is so much nuance, texture, and context to be gained when shooting exteriors it just makes the process so much more rewarding for me.

📹🎞️🎬

03/10/2026

🎬 Underground Director’s Roundtable – Live Recording

Extremely honored to be taking part in the Underground Director’s Roundtable this Friday, 3/13 at 9pm in Brooklyn, NY. Join us for a lively discussion with fellow filmmakers working in the war-torn trenches of independent cinema, the Fitzcarraldos the content machine left behind.

📍 The roundtable will take place in the back room of a bar.
🎟 Admission is free, and we’ll also be screening a selection of short films.

For the address, RSVP by DM to the e-mail.

Featuring filmmakers:

Yours truly

🍻 Come drink and be merry in true underground fashion as we share Bukowskian tales of indie film suffering and meet fellow soldiers of cinema working on the very edges of the industry — pushing the medium forward in the face of algorithmic oblivion.

In the age of “content” over cinema, the underground remains the last bastion of sincere artistic expression.

independentcinema filmcommunity shortfilms filmroundtable nycfilm cinemaculture supportindiefilm

10/06/2025

My second of three videos shot for FW25 fashion campaign. It was exciting to shoot both verically and horizontally as well as using the re-housed Leica-r Summicron 35mm f2 courtesy of .mov. The RS4 Pro gimbal and Tilta Ring courtesy of made it possible to move quickly and having as 1st AC ensured focus was always sharp.

The beach location, Aquinnah Cliffs is sacred to Indigenous people and I feel humbled and fortunate to have been able to shoot there.

09/02/2025

So excited to finally share a few stills from on which I worked as Key Grip. It was an absolute privilege to work with such a dedicated and highly professional cast & crew. I thank DP for furthering my knowledge in shaping light and also thank Gaffer for showing me how to place the perfect hair light. Of course a big thank you to and for bringing me onto this project as well the rest of the team!

✍️ Writer & Director

🎬 Producer

📋 Line Producer
Clara Peterson

🎥 Assistant Director

👥 Cast
(lead)emily.gilmore.era (lead)
Pat Nesbit      .c .blasius 

👗 Costume Design

🎨 Production Design

📷 Director of Photography

🎥 Steadicam

🎞️ 1st AC evoraaa

🎞️ 2nd AC / Media Manager
Jay Jackson

💡 Gaffer

✂️ Editor / Colorist / Additional Scoring

🎼 Composer astuto

08/20/2025

A couple stills from an experimental project I recently DP’d for the amazing featuring her and . We got to play with timelapses, slow motion, and other cool effects. Big thank you also to for providing the gear and helping us out.

📹🎞️🎬

04/15/2025

How many of you shoot in Infrared?
And if you do, what filters do you use?

This post is the result of an experiment.
I rented a full spectrum pocket 4k and a 77mm screw on IR-Chrome filter from the visionary and tested out two lenses. The first being the 24-105mm f/4L IS USM and the second being the helios 44-2. I wanted to test out the lenses + filter and stop down vs. test out the lenses + filter + nd and compare the results. Using the nd on top of the IR-chrome filter did not retain as much contrast and skin tone as opposed to stopping down.

The IR-Chrome filter is based on Aerochrome which was initially developed for the US military in WWII in order to better detect enemy camouflage in aerial photography. In the 1960’s Aerochrome was released for civilian use and made famous by the pioneering work of on psychedelic album covers for bands like The Jimi Hendrix Experience, Cream, and Donovan.

In 2007 Kodak discontinued Aerochrome but in 2019 was resurrected in digital form as the IR-Chrome filter by in partnership with . The IR-Chrome provides a convenient way of shooting Infrared without having to do a lot of post processing.

After my field tests with the IR-Chrome filter, I wanted to experiment with the different Kolari LUT’s in post and see how they would look layered on top of the IR-Chrome footage.
First, I just did a BM Film to R709, and then a custom grade off of that. Separately, I tried the deep IR-chrome, deep Pink, and deep NDVI which bore interesting results. The important thing for me during this process was to experiment and not try to make the images look perfect.

I hope this post has inspired you and I’m looking forward to hearing about your experiences with IR-Chrome and Kolari LUT’s in the comments below.

Also thank you to for the canon lens and to for being my model.

03/18/2025

In what order do you approach lighting a day-for-night interior?

I like to start with the background first. I know this sounds counterintuitive to many, but after watching an old interview with legendary French DP Sacha Vierny, in which he advised “to always light the background first,” I felt inspired. Lighting the background first sets the boundaries of the world you are playing in, making lighting the subject easier. Plus, building texture and bokeh is my favorite part of the process.

The bar location for this scene was dark and intimate, with candles in red glass jars dispersed throughout. In the scene, the male lead sits by an L-shaped bar and spots the female lead. He then gets up and walks over to her.

The camera provided by was on a doorway dolly behind the bar, being pulled backward while simultaneously panning with the male lead as he walked to his end position by the female lead.

We had 3x Arri 150’s rigged overhead, striking the paintings on the back wall, and another 2x 150’s striking the tables to the left of the bar. .lighting MC Pro’s were used to uplight the curtains.

The talent was backlit by 3x Arri 300’s—2x with ½ CTO and 1x on a strong arm. The key lights were a series of skirted lanterns suspended overhead from mini booms. Accent light was created using string lights and practicals with intricately detailed patterns.

How would you have approached lighting this differently? Let me know in the comments below!

I’m grateful for the privilege of working on this project with such an inspiring and dedicated team!

🎬 Producer
🎬 Director
🎬 AD
🎬 DP .prevost
🎬 1st AC .evoraa
🎬 2nd AC/DIT Victor Fraga
🎬 Gaffer
🎬 Key Grip 👋 me
🎬 Best Woman
🎬 Prod Design Mary Marxen
🎬 Key PA Gustavo Flores
🎬 PA

Also, big shoutout to .rentals for providing us with the G&E gear!

🔦

Address

Bushwick, NY
11206, 11207, 11221, 11237

Website

https://www.adamhfilms.com/

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