Archive for March, 2008

20
Mar
08

A Case For Color

Just came across this Scott Simmons article in the archives of StudioDaily blogs:

A Case Against Color

http://www.studiodaily.com/blog/?p=125

For anyone out there not familiar with the history of Color, its initial industry reception, etc., this article sums it up for you. Even more valuable is the comments section where you get some great perspective from two industry experts and technocrats Frank Capria, moderator of the FCP-L, and Mike Curtis, infamous HDforIndies blog-o-phile.

proactively • peter

19
Mar
08

Matrox MXO Arrives!

Drove to the UPS delivery center in Laurel to pick up my Matrox MXO.

This has been a purchase 4 months or so in the making. My setup of a MacBook Pro 17″ Santa Rosa, Dell 2407WFP LCD monitor, Matrox MXO, and Color makes for the most portable and versatile entry level color grading suites for broadcast that smart money can buy. IMHO.

Bought the Leopard family pack so I can install 10.5.2 on the laptop and dual 2.7 G5 tower to host the Matrox MXO 2.1.1 driver.

Trader Joe’s chicken burrito’s just came out of the oven, so fo those of you interested in reading more about what the Matrox MXO can do, check out the Creative Cow forum. I’ll work on the setup tonite and tomorrow and hopefully will have some pics and first impressions by the weekend.

proactively • peter

19
Mar
08

Steve Hullfish Color Tutorial

Steve Hullfish recently posted a link to his video tutorial for secondary corrections in Color on the FCP-L:

I wanted to give some “props” to the guy that taught me almost
everything I know about color correction.

Bob Sliga, my mentor, created a set of short tutorials on FinalTouch
that are still applicable to Color.

They’re available for free in the iTunes Store. Just do a search for
FinalTouch under Podcasts.

Also, though many people were able to view my podcast with no
trouble, there were many more who couldn’t see it, so I put it in two other places. One was on my .Mac site as a podcast, and the other – through the suggestion of Martin Baker – was on a video site I’d never heard of called Vimeo.

so:



If I am veering to the “commercial,” I apologize and will desist.

Veer away, Mr. Hullfish. And please, veer often!

digitalcolorcorrection.jpg

I just received his new book, The Art and Technique of Digital Color Correction, and I’m psyched to have a tome that delves into the theory and technique of the colorist’s dark art with Color as the bell weather application. As an Apple Color Certified Trainer and working Editor / Colorist I’m sure this book will prove to be an invaluable resource.

Look forward to reviewing quotes from this book in upcoming posts. And check back for Color video tutorials by yours truly.

proactively • peter

16
Mar
08

Ryan Bingham’s New Single

Tell My Mother I Miss Her So


Credits

Jon Salvia …………………… Camera & Producer

Chris Hartman ……………. Camera & Sound

Peter Salvia ……………….. Cuts Color Compression

As far as I know this is the only recording of this song anywhere on the internets as either audio or video. This is our best guess as the title. Alternate title could be Distant Lands but we went with Tell My Mother for good measure.

So my 40min DVCam tape spools out but the crowd wants more from Ryan. For his encore he drops this diddy, which he lets us know he hasn’t recorded yet and will be on his new record (wow!).

I decided to do a split screen of Chris running through the green room and then the crowd. Trying to add as much of a documentary element to these live performances as we can.

Truth be told I was really frustrated with the production of this performance. The wait staff kept walking in front of my camera and at one point people in the audience asked me to move out of their way. The Ram’s Head in Annapolis only holds about 150 people and I guess it’s a testament to Ryan’s fans that they packed it to the brim. Simply put there was no breathing room for me and my hand held PD150.

But I couldn’t be happier with how these clips turned out. Heads walking past the camera adds to the raw feeling of the show and to the energy of some of the cuts. Chris did an unbelievable job monitoring the house sound and shooting with his GL2 simultaneously. As hand held camera number three he single handedly saved the show. Thanks Chris!

And another round of thanks to Bob Waugh, Rob Timm, and Alex Crotright from 103WRNR for making this show happen. IMHO this is the best Private Artist Showcase to date.

proactively • peter

15
Mar
08

YouTube Multi-Video Upload Tool Known Issues

Saw posts on the FCP-L where users running Mac OS 10.4.11 and installing YouTube’s Mulit-Upload Tool are experiencing the same difficulties I did. Apparently there can be problems installing with Safari.

Users who run Firefox and Mac OS 10.4.11 seem to be free and clear of upload freezes.

proactively • peter

13
Mar
08

Spoon’s First Ever Performance…

…of their cover of Paul Simon’s Peace Like A River.

Credits

Jon Salvia ……………………… Camera Producer

Chris Hartman ………………. Sound

Peter Salvia …………………… Camera Cuts Color

Tory Salvia ……………………. Sage Advice

This is the first public posting of Spoon’s performance at 103 WRNR’s Private Artist Showcase back on 23 October 2007. This video also represents the first production my brother, Jon Salvia, and I worked on together professionally.Jon came to me two weeks prior to this performance, tells me “Spoon’s coming to Annapolis, we’re [103 WRNR] gonna have them do a Private Artist Showcase! This is gonna be huge!”

I was reluctant, to say the least, my knee jerk “…we don’t have a release” production mindset kicking in. “We need them to sign a release, we need a release from the record company, we need a note from their parents to let them ride on the bus…” I threw everything plus the kitchen sink at Jon. He would have none of it. And 103WRNR would take care of everything.

Having just finished a whirlwind tour of Boston and then Santa Monica to complete my Final Cut Pro 6 and Motion 3 training certifications from Apple, I woke up a bit jet lagged, swung by Mom & Dad’s, Dad faithfully handed me his PD150 (fully charged overnight) and I headed to the Ram’s Head on West Street.First time shooting there and I walk through the door and see Chris Hartman working house sound. I played baseball with Chris back in High School, and we pick up where we must’ve left off on the field and get to lighting the stage. Chris also brought his GL2 and is happy enough to lend it to the production camera for the wide lock down.

I make sure all three cameras (PD150, GL2, and HV20 which recorded HDV in 24f cinematic mode) are set to anamorphic. Then I scout the layout and figure out positions for me and Jon to get good shots and be least intrusive for the audience. Mid set up, Dad swung by with an extra tape for Chris’s camera that we hadn’t expected to be there (thanks again Dad!).

Jon’s HV20 was set to auto focus, camera stabilization on, and auto exposure. Set the PD150 to full manual and set zebras to 90. Set focus on the GL2 and locked it down wide and set it to record. People had started filtering in and were already ordering their lunches (Private Artist Showcases are usually midweek noonish). Somewhere in there Jon reminds me that Spoon was on The Late Show or something the night before. “This is gonna be HUGE. Things are coming together I can FEEL it.”

“Ok, Jon. Just hold the camera steady and DON’T ZOOM,” I said. I knew he would zoom regardless, I just wanted to minimize it so we’d have a consistent, medium hand held shot to cut to. And it was our first pro gig so lets just keep it simple, stupid.”

Just make sure you start the cameras before they come on and don’t stop recording no matter what. We’re on TV all the time,” I remember telling Jon, as we say in the biz.

5 minutes later Spoon takes the stage, 28 minutes later we’re with Alex Cortright shooting the post performance interview (soon to come), and two days later I was instructing at Michael Rosenblum’s Travel Channel Academy at Discovery’s headquarters in Silver Spring, MD. I took a cut of The Underdog with me back to Santa Monica in November for the Color T3. Found out there’s a few gotchas sending multiclip sequences to Color and ended up accidentally deleting the media I had intended to use for my presentation at the end of the seminar.

So the above video, maybe you’re still listening to it now, takes me back. It reminds me of that first wild twinkle in Jon’s eye, his words “Spoon’s coming to town,” and how that started all this crazy live indie music moonlighting we’ve been doing these last four and a half months. Josh Ritter, Spoon, the Bird and the Bee (coming soon), Rilo Kiley, Mike Doughty, George Stanford, Jose Gonzalez, Alice Smith

…and there’s going to be a lot more to come. Check back soon for our cut of The Underdog. And hey, if you’re an indie band out there and you dig our work, drop me a line.proactively • peter

10
Mar
08

YouTube Multi-Video upload continued

Ok, so my internet connection is really slow (thank you Comcast!) and the Jose Gonzalez DV NTSC anamorphic quicktime, weighing in at 771.6 mb, still hasn’t uploaded. So in the meantime I’ve updated the blog to include a new page with a copy of my resume for your entertainment. Also, I’ve updated the blog title to pro•active•ly.

Why the suffix? It’s an ode to my English major roots. Think of that extra -ly as a metaphor for the extra tidbits of info I might tack on to a rather mundane Compressor explanation, or the extra tangent that leads to a link to the Videospace widget.

Speaking of the Videospace widget, it made me realize that I could derive the precise amount of DV NTSC and HDV 1080i material that would fit in the 1024mb window for YouTube:

DV NTSC

videospace-youtube-dv-ntsc.png

HDV 1080i

videospace-youtube-hdv-1080i.png

So boys and girls, it looks like we can upload longer videos using HDV quicktimes! Makes me feel a bit silly that I down-converted the Jose Gonzalez piece from a 1440×1080 ProRes 422 timeline to DV NTSC for upload to YouTube. Ends up I could have had Color render my media as HDV instead of ProRes 422 and then simply exported a self contained quicktime movie to upload directly to YouTube.

Of course, it remains to be seen which quicktime would result in a better YouTube compression. Or if uploading the HDV quicktime might result in the coveted Apple TV “HQ” tag for high quality movies. Sounds like a test is in order. And my first upload still isn’t done…

10
Mar
08

YouTube Multi-Video Upload tool for Mac

Just saw a post on the FCP-L that YouTube has made its Multi Video Upload tool available for mac users. Here’s the link for the installer. From YouTube’s website:

Multi-Video Upload requires the YouTube Uploader

Have a bunch of videos to upload at one time? We want to make this easier for you!

  • Upload multiple files at once
  • Small install required
  • Each uploaded video is limited to 10 min and 1 GB

The YouTube Uploader is a small piece of software which will allow you to upload multiple videos without having to use the standard upload form.

Glad YouTube finally made this available for us Apple folks. According to Digital Heaven’s Videospace widget 5 minutes of DV NTSC should come in right at the 1024mb file size limit:

videospace-youtube-dv-ntsc-5min.png

No longer do you need to upload an intermediary compression for youtube to recompress and make your movie look like crap. Now, you can upload an anamorphic DV NTSC quicktime file and let youtube create its compression directly from source media. I’ll post results from uploading Jose Gonzalez later tonite…

*UPDATE*

If you’re experiencing upload problems, check out the troubleshooting post here.

And, if you’d like to learn the optimum compression settings for YouTube’s new widescreen format check out this post.

proactively • peter

07
Mar
08

Jose Gonzalez

We (Jon & Tory) shot this at the Embassy of Sweden in Washington, DC this past Tuesday. From the footage this looks like an awesome venue. Tory shot with his new HV20, Jon with his HV20, and Alex guarded the PD150 locked down wide.

Post-production workflow:

• digitize dueling Canon HV20 footage with Sony HVR-M10U VTR. FCP easy setup is HDV-Apple ProRes422 1080p24.

• digitize Sony PD150 footage with Sony HVR-M10U VTR. Export clip using Compressor and upconvert to Apple ProRes 1440x1080i.

• hand sync three cameras to sweetened Marantz audio record.

• create multiclips based on in points.

• edit

• media manage song sequence.

• send sequence to Color for grading, send back to FCP.

• export Color’s graded FCP sequence using Compressor with custom H.264 setting based on Vimeo’s specs.

• upload to Vimeo.

Following the show Alex interviewed Jose for 103WRNR. I’ll cut that this weekend along with a few more songs from the performance. You can watch the show in glorious full screen HD here or press play to see the not nearly as impressive embedded SD version below.

Check back soon for more.

Credits:

Jon Salvia ………………. Camera & Producer

Tory Salvia …………….. Camera & Sage Advice

Peter Salvia ……………. Cuts Color Compression

05
Mar
08

Ryan Bingham

Here’s some clips I cut for 103WRNR. I’m working with my brother Jon, promotions director at the station, to develop WRNR’s New Media offerings. You can check out their feed here. Ryan Bingham performed live at the Ram’s Head in Annapolis, MD. His music is described as Americana. Hard to believe the guy is only 25 years old.

We shot 4 cameras (PD150, HV20, GL2, XL1 lockdown wide) and I hand synced in FCP’s timeline to a marantz recording of the house board’s monitor output. It’s pure joy to work with Bingham’s material. Hope you like it a tenth as much as I do.

I could put together a DVD of the entire performance if there’s enough interest out there. Let me know what you think.

 

Hard Times

 

Bread and Water

 

Southside of Heaven

 

Ghost of Travelin’ Jones

 

Credits

Jon Salvia ……………………. Camera & Producer

Chris Hartman ……………. Camera & Sound

Peter Salvia ………………… Camera Cuts Color Compression




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