Post Production & Technology Details

Embracing new technology, the movie was filmed in HD, at 1080P/24 resolution, using the Sony HDW-F900 camera, the same camera George Lucas brought to the forefront with the last Star Wars film.

The production company had hired editor Schy Gleason before filming began. One week after the shoot was “in the can”, post-production kicked into gear.

“It was a hectic editing schedule,” stated Eisner, “and it was compounded by the fact that I had returned to my fulltime position as a consulting physician with Chiron Corporation.”

Gleason, a transplanted editor from Los Angeles, had been primarily working on short projects (many for Microsoft) in the Seattle area and Muffin Man would be his first feature length film.  Stepping into the role of post-production supervisor was a big leap.

“I was very excited about the opportunity of working in the High Def world,” stated Gleason.  “There is a real difference working in HD at 23.97fps; it’s not video. There are visible and psychological differences for the viewer.”

Pickle Tub Productions partnered with the Seattle branch of Key Code Media to finish the film. An Avid DS/HD Edit System was used and more than 2.3 terabytes of hard drive space was required. Gleason had his hands full familiarizing himself with the footage and managing memory while Eisner added the editorial assistant duties of coordinating the incorporation of documentary and dramatic footage to her producer and director responsibilities.


Once the basic edit was in place Gleason also had the task of compositing and creating a few final “in box” special effects and animations.

“It was great that our system could handle the work of what might normally require 4 or 5 systems,” stated Gleason.  “Because the DS could handle all of our graphic needs, we could do it more efficiently and all in just one box”

The limited budget and new technology made many demands on the post-production team.  Emmy award-winning Sound Editor, Scot Charles, was in charge of sound design.

“We were working on the bleeding edge of technology,” said Charles.

Several of the problems encountered (particularly with software) had never even been seen before. Solutions often involved an international network of web-based editing “help-sites” as well as lots of trial and error.

“Despite her lack of extensive editing experience, Jessica had a clear vision of what she wanted,” said Gleason “and because of her professional background she was very willing to learn, make decisions, and move on despite the demanding schedule.”

The surround sound mix was done on ProTools A/V and used Windows Media 9 Series for approval and composer previews.

Despite the obstacles, the production was completed in a rapid time frame and reasonably close to its allotted budget.

“The production value of this film is remarkable,” concluded Gleason. “By being efficient they probably doubled the value of the production at the very least.”  

Scot Charles mixes the sound for the film in his studio

Muffin Man - Copyright © 2003 to 2015 Pickle Tub Productions, Inc. All rights reserved.

This site last modified 07/26/2015
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