Salviascope, LLC Los Angeles

Posted in L.A., News, Red, Salviascope, Scarlet with tags , , , , , on April 16, 2012 by Jon

So its been a while since a real update and I’m no longer living and working in DC. I’ve ventured out to L.A. to freelance in film and video production and post production. I’ve also formed a production company, with my brother Peter, called Salviascope, LLC. This project has actually been years in the making and I’m proud to present our new web site!

Now for the most exciting part: We’re owners of 2 Red Scarlets! This camera is capable of incredibly high end motion capture at a price point pretty much unheard of until a few months ago. We’ve got accessories and Canon EF lenses. If you’re interested in hiring us for a production, renting the cameras, or both you’ll find rates & package info here. Did I mention we do 3D?

We’ve got a combined 15 years of production and post experience.

Our first narrative production, from Writer/Director Neil Thompsett, is being shot by your’s truly on Scarlet with Canon glass.

On the run.

Expect more updates here and on soon.


Movies I Watched During The End Times

Posted in Movies, Tumblr with tags , , , on March 31, 2012 by Jon

Movies I Watched During The End Times

Tumblr is what happens when WordPress meets Twitter: minimalist, graphics friendly micro blogging. This is an experiment to see if I can keep track of the movies I watch. I was inspired by Amanda Zubillaga’s Movies I Watched in 2012. Let’s see if I can keep this going throughout the End Times.

Demo Reel

Posted in American University, Canon 5D Mark II, DC with tags , , , , , on January 19, 2012 by Jon

Mainly focusing on my editing and cinematography. A little directing thrown in at the beginning as well.

Automatic Duck For Free

Posted in How To, News with tags , , , on November 2, 2011 by Jon

The Original Port Huron Statment. (Not the compromised 2nd draft)

I’ve recently found myself finishing in After Effects more and more. Anything to do with motion graphics is just easier to use in AE than in FCP7 and much more intuitive than Motion. Not to mention there’s the weirdness of After Effects created titles rendering really badly in FCP7. Anyone else notice that? Automatic Duck recently made free their industry standard plugins Pro Import AE, Pro Import FCP, and Pro Export FCP. Co-owner Wes Plate was hired by Adobe (good news for Premier Pro users I’ll wager!) and can’t offer enough support to justify charging for his plugins.

You mark that frame an 8, and you're entering a world of pain.

Here’s the link to his customer thank you. These plugins used to cost ~$500 each. Trying out the Pro Import AE plugin was a breeze. Simply export your FCP7 (or FCPX) project into XML format. Then open up After Effects and click Import Automatic Duck Pro Import AE. It references all the media from your FCP project file without creating any new media. This is a boon for those of us still using FCP7 or FCPX with After Effects. It should be noted this will only be good through AE 5.5 after which I can’t imagine it will be updated, but who knows. FCP7 is certainly a dead end anyway. I’m gearing up to take my Premier Pro training at Future Media Concepts here in DC as I think it’s poised to take the place of FCP in the Professional NLE Wars.

In related news Popcorn Island released the latest version of their Final Cut 2 After Effects script for After Effects. Now this is a script and not nearly as simple to use as Automatic Duck plugins. However, it does provide for some nice control over how your FCP project displays in the After Effects timeline. For instance, the default setting is to hide all of the audio tracks and filters. This really cleans up your timeline in a big way. And, this one will probably continue to receive updates and support. However, according to one commenter on Popcorn Island’s web site, the script is still a bit buggy. Use with caution.

Avid. November 3rd. Bleeeaaaarrrrg!

Posted in News with tags , , on November 1, 2011 by Jon

Not exactly a lightweight.

If you’re reading this you probably know about Thursday’s Canon and RED announcements. Now Avid enters the November 3rd fray with a webcast for what will be a look at Media Composer 6. Based on past screengrabs and Avid’s recent realization that they should start listening to their user base instead of dictating…well damn if this doesn’t look like it could be kind of awesome.

Don't run away from this, Dude! Goddamnit, this affects all of us!


It appears details on Media Composer 6 have been leaked ahead of Thursday’s webcast.

Rarevision Releases 5DtoRGB Batch Application

Posted in Canon 5D Mark II, DSLRs, How To with tags , , , , on October 31, 2011 by Jon

It seems like every DSLR shooter I know uses a different program to convert their footage to an editable format. There’s Mpeg Streamclip, Canon EOS plugin for FCP, and Compressor.  Or some people just edit the raw h.264 file in FCP X or Premier Pro. I don’t know what Avid folk use. I’m a big believer in the “it’s all about the efficient post production workflow”. Even for projects that may be personal or don’t have a “due date”, who wants to spend more time than they have to on a project? So it’s a balance between time and quality for those h.264 conversions. I’m a big believer in Rarevision’s 5DtoRGB.

I’ve seen several reviews from people who don’t seem to quite understand the benefits of this software. Rarevision’s site provides a laundry list explanation of why it’s the best thing to use on your HDSLR footage, but from my experience here’s the biggie – it does chroma smoothing. This helps get rid of the chunky chunks in your blacks. Big time. Anyone who shoots with a Canon DSLR knows what I’m talking about. The noise is one issue, but the way the blacks and other darker colors come out in ugly pixelated blocks can really take away from an otherwise beautiful shot. It also does things like provide increased latitude and more color information. We’re talking superior image quality.

5DtoRGB Pro Res conversion

h.264 from camera

Big gripes about 5DtoRGB include no batch processing and slowness. The improvements in quality don’t outweigh the increased transcoding times. Me don’t like fire. Yadayadayada. Recent updates take advantage of your computer’s GPU. Additionally, Rarevision released a pay version of their software to the Mac App Store ($50) called 5dtoRGB Batch. So now you’ve got high speed batch conversion software that maintains the highest image quality of your DSLR images throughout the post production workflow. You make the pretty picture, now keep the picture pretty. No more excuses. And for those of you (like me) living through the current Great Depression II, Rarevision is keeping 5DtoRGB free! Albeit as 5DtoRGB Lite. And it remains to be seen what the differences in support are. But for now one could get away with using the free version and Remi Sello’s brilliant 5DtoRGB Batch Python script and still GPU-accelerate-batch-process like a rock star for free.

That’s A Swiss Fucking Watch

Posted in News with tags , , , , on September 23, 2011 by Jon

Scientists recently discovered how to record the way the brain sees/processes images in the “mind’s eye”.

Anyone remember the 1991 movie “Until The End Of The World” with William Hurt and Sam Neill?

It’s an ok movie, nothing great, but it does talk about scientists developing the technology to record dreams. And a quote from the ABC article above:

If you can decode movies people saw, you might be able to decode things in the brain that are movie-like but have no real-world analog, like dreams,

The implications for filmmakers of the future is staggering. What if you didn’t need cameras, lights, a crew, or actors? What if every night you could create a feature length movie, record it, and distribute it the next day on the Internet? Time to start working on my lucid dreaming.

What do you do for a living, son? I’m a dreamer sir. Large and small.