Posts Tagged ‘jon salvia

31
Dec
11

two red scarlets for salviascope

Scarlet-X #00366 & Scarlet-X #00572

2011 has been an incredibly busy and exciting year. I’m pleased to announce 2012 will see the launch of a new business venture, Salviascope, a family affair combining the production talents of myself, my brother Jon and my father Tory.  And just in time to cheer in the New Year, we’re ecstatic to have received two Scarlet-X cameras, #00366 and #00572 (names pending), from RED Digital Cinema.

We will have many updates coming soon detailing Salviascope services and strategic production and post partnerships.  In addition to offering this two camera package for commercial, broadcast, documentary & feature film production, these two Scarlets are destined for native 3D acquisition.  Wanted to start spreading the word here first, again more details to come in the coming days and weeks.

It goes without saying that I’m incredibly proud to be a member of the IdentityFX team.  Leo Vezzali, David Scott and Alison Savitch have put together an amazing portfolio of work and artists.  With access to these cameras, Identity FX, Inc. offers an industry leading, closed-loop workflow for managing full RAW, full 3D story telling from on set acquisition to final 4K theatrical deliverable.

Look for workflow diagrams outlining cutting edge pipelines for on set and near set  quality control and data management solutions, a front of line stereo 3D tech pass, full 3d offline editorial options, 2D to 3D conversion for traditional and hybrid stereo productions, fully optimized VFX tracking and execution for MochaPro and Nuke, native stereo 3d optimization and more (as if that isn’t enough) in the coming weeks.

REDucation December 2010. Photo by Ted Schilowitz.

I’d like to give a big shout out to Ted Schilowitz from RED and Mark Pederson from OFFHOLLYWOOD for their continued support.  You couldn’t ask for two better people to know in the RED community and I feel lucky to consider them my colleagues.  Humbly following in Ted and Mark’s footsteps, I look forward to doing my part to make 2012 the best year yet for everyone involved in the RED community.

The last 48 hours have been quite exciting, receiving word that the Scarlets were available, making the drive to Irvine to pick them up, and then un-boxing them with my good friends and IdentityFX co-workers Neil Thompsett & Seth Martin.  Here’s a few obligatory un-boxing pics for posterity:

Neil manned the 5dmarkii with a 16-35mm 2.8L.

This very quickly degenerated into the-cheesiest-un-boxing-pic-contest.  You may know Seth from a recently published article on Imagineer System’s website where he was listed as Roto and VFX Supervisor.

And you may know Neil from such animated classics as Finger City Dreaming and Alexander the Straight.

I think Seth won the cheesy pic contest with this gem.  I believe the paper wrap from Red is some of the highest resolution packaging I’ve ever seen.

We were all acting like a bunch of kids.  I felt like Ralphie opening his brand new Red Ryder BB gun.

Eventually, the cheesiness wore off.  Shock and awe were all that remained.  These cameras are pure sexiness, I am so happy to be a Scarlet owner.  Slowly working my way through the manual, Neil and Seth have some scripts in the works, and I believe a native 3D short film should be in production by middle of Q1 2012.  In the meantime, a big Happy New Year to everyone out there!

proactively • stereoscopically 4k capable • peter

30
Apr
10

slaughter across the water

My brother Jon’s film is a 2010 Visions Awards nominee for Outstanding Documentary Production.  He’s in the running for the audience favorite and needs your vote.  Cast your vote here!  In fairness you can see all the nominee videos here.

The film was shot on a collection of Canon HV30’s, equipped with the Sennheiser MKE 400 boom mic (with the Sennheiser MZW 400 wind-muff, makes all the difference on windy days like this!) and the Panasonic VW-W4307H 0.7x wide angle converter.  Posted entirely in Final Cut Studio 3, I think SATW is an excellent example of getting great picture and sound out of an inexpensive filmmaking setup.  Not to mention, the story telling ain’t half bad (which always helps).

proactively • proud • peter

27
Nov
08

youtube – widescreen!

Happy Turkey Day from Youtube, 16×9 widescreen is now the default viewing experience.  Here’s an embed of the In Studio show my brother Jon produces for 103 WRNR in Annapolis, MD.

Embeds are still letterboxed but if you check out this video on YouTube’s site you will see it displayed in its native 16×9 widescreen glory. Note, I am embedding the high quality version by adding “&fmt=18″ to the tail of the video’s YouTube url.

The footage is captured on Canon HV20, HV30, and HF10 cameras as available (thanks again Mike the Mailman!).  Shot with a 23.98 frame rate and edited as a multiclip sequence in Final Cut Pro, the key to taking advantage of YouTube’s new widescreen presentation is choosing the appropriate Compressor export setting:

compressor-iphone-640x480

Name: H.264 for iPod video and iPhone 640×480
Description: H.264 video @ 1500 kbps, progressive, multi-pass. Audio is 44.1 kHz, stereo
File Extension: m4v
Estimated file size: 644.17 MB/hour of source
Device: iPod/iPhone VGA
Frame sync rate: 5 seconds
Video Encoder
Format: QT
Width and Height: Automatic
Pixel aspect ratio: Square
Crop: None
Padding: None
Frame rate: (100% of source)
Frame Controls: Automatically selected: Off
Codec Type: H.264
Multi-pass: On, frame reorder: Off
Pixel depth: 24
Spatial quality: 50
Min. Spatial quality: 50
Key frame interval: 120
Temporal quality: 50
Min. temporal quality: 50
Average data rate: 1.5 (Mbps)
Maximum data rate: 4 (Mbps)
Audio Encoder
Format: MPEG4
Sample Rate: 44.100kHz
Channels: 2
Bits Per Sample: 16
AAC encoder quality: high
Data rate: 128 Kbps

Or if you wanted to be super efficient, you could use this setting…

compressor-apple-tv

…and upload the same compression to YouTube and Vimeo.

So WTG YouTube, now can we get 720p already?

proactively • all HD all the time • peter




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