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
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