Point.360 WEST Performs Full Post of
"Super Dave's Spike-tacular"
January 13, 2010
Source: Point.360
Point.360 WEST, a
leading provider of integrated media management services company
to the entertainment industries, provided 100% post-production
for Spike TV’s series “Super Dave Spike-tacular.”
Emmy-award winner Bob Einstein reprised his role as Stuntman
Extraordinaire, Super Dave Osborne, in a four-part Spike TV
event following the Super One as he prepared for a death-defying
stunt each week. Camouflage Films turned to Point.360 WEST
to piece the individual components together – previsualization,
visual effects, dailies, graphics, edit, titles, audio record/
mix and delivery.
Point.360 WEST collaborated with Executive Producer Bob Einstein,
Director Morris Abraham, and Camouflage Films, to streamline
the various complex steps of production and post production.
Jeff Hixon, General Manager at Point.360 WEST, says, "The
process may sound as easy as - if you have all the technology
and talent under one roof. Well that's only half the battle.
What really brings the show together is being able to collaborate
with the production company from the beginning, so you don't
have to fit a square peg in a round hole".
Point.360 WEST worked with Camouflage at the beginning creating
previz and storyboards for the visual effects. This helped
Abraham to correctly compose his shots for editorial. Once
production started, WEST was on set supervising visual effects
and continuity issues. This alleviated all concerns when it
came to post.
Dailies started at Point.360 WEST for overnight digitizing.
Hixon recalls, "the schedule was tight so we needed to
work out getting all assets to the bays as soon as each tape
was finished." Shooting wrapped at 10pm and dailies were
ready for viewing at 7am the next morning. At the end of the
second day, visual effects supervisor Jason Hearne and artist
Jeff Kaplan assembled and completed a "clown car"
shot (Episode 1, hundreds of immigrants pour out of Super\'s
Mini Clubman) to prove concept on the angle that Abraham shot.
"It looked amazing", says the director, "once
we saw how the shot worked and how good it was, we had no
issues pushing forward.”
Other VFX shots include, Dave getting crushed by a wrecking
ball, shot with arrows, thrown from a car, shot through a
wall, and driving his motorcycle into a brick wall, and many
others were completed in the next room while Abraham worked
with WEST editor Bradley Warden.
VFX worked closely with offline (approximately 20 feet away)
to achieve a sense of early completion. Hearne says, "instead
of the editor having to slug white text on black holes to
make up for the lack of the shot, we were able to quickly
get a rough version ready to play with so Morris could lock
his cut earlier".
The offline was split up across multiple workstations which
consisted of Final Cut Pro and Avid with media accessed via
a Unity server. Senior mixer at Point.360 WEST, Mitch Lindskoog
recalls, "Bob [Einstein] was concerned about his voice
in a number of shots, so we scheduled time for ADR in the
Record booth. After seeing the audio replaced over his picture,
he just about gave me a noogie he was so happy".
After sweetening it was shuffled over to the colorists for
final insert and laid off to multiple formats and delivered
to client. Justin Hixon, EP at Point.360 WEST, says, "When
the tapes were sent to Spike, it was the only time the show
ever left the secure building."
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