Archive for December, 2011


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


the process that’s yielded creative success for me so far

On the heals of this nofilmschool post, I thought I’d share this semi-rant outline I sent to my  friend and talented colleague Neil Thompsett in the midst of talking about writing the script for the short we will produce in stereoscopic 3D once I receive my two RED Scarlets:

Write prose
Convert to production script format
Re-write prose in left column, update descriptions in right column
Update shot list in left column
Establish minimal confidence in on set usability of dialogue in right column
Review script with client for sign off
Change whatever is required
Convert production script to shoot schedule, send actors scripts
Pre-production = coordinate dates and times, obtain location permits, identify catering
Minor Panic
cross t’s and dot i’s
Send call sheets to cast and crew
No sleep night before shoot
Get to set early
Make something happen with light touch and least resistance
Trust the smarter people around you and let them do their job
Watch the clock
Only let things go one hour longer than planned.  This includes break for lunch and end of day. Period.
Get the effing footage in your hand and take it directly to the place you will load it into computers and what not.
Confirm there is footage.
Major Panic
Confirm you are not effed
Calm down and have a coffee
Look at everything
Consider sleeping
Do other things
Realize you should really get some sleep.
Do one or two more things.
Eff off for 12 hours
Come back and start putting the story together
Lots of things happen
Look at the story
Change one or two things
Look at the revised story
Get the VFX
Confirm the story makes sense to a regular person, definitely someone who isn’t in the industry
Make changes to the stupid shite you tried and doesn’t work whatsoever
Color Grade (and stereo sweeten)
Export to tape, DCP, YouTube, what have you
Show it to your friends who have to like it and be nice to you regardless
Detect if they are lying to you and just being nice
Maybe change something
Show it to people who are actually your audience
Try not to kill yourself
Receive praise and adulation
Move the eff on and do the next one.
proactively • outlined • peter

December 2011
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