Posting on Decktechs Post
Filmmaking is hardly ever an instantaneous process. This is especially true for an independent, visual effects heavy Sci-Fi television pilot like Decktechs. Even after the crucial decisions of preproduction and production have been executed, there is the vast blank canvas of postproduction waiting on the horizon. I use the term “blank canvas” because even though a film’s final cut often echoes what was written in the script, creative decisions made in post enhance the original notion. Multitudes of technical, artistic and critical choices culminate in post to make the picture complete. This, of course, can’t happen without a tremendous team effort by a skilled postproduction crew.
When our picture was locked, a talented visual effects team was assembled. Once in place, they went to work on such tasks as 3D modeling, compositing, lighting, texturing and animating components of the episode’s 270 visual effects shots.
All of this was occurring parallel to a quite rigorous sound design venture. Rob Miller, SCAD Sound Design Professor, graciously agreed to assign his graduate level postproduction class to the project. He then split the show’s four acts up equally amongst his students and the work began. Their job was managing the editing of dialogue with sound designers working in remote locations around Savannah and as far away as Seattle, Washington.
Working “in the cloud”, each of the students acted as a sound editor working under the umbrella of Nick Gough who took the role of Decktechs Supervising Sound Editor.
Today, the Decktechs pilot episode is in the final phases of postproduction. Throughout, we have witnessed students and professionals alike, use their special skill sets to deliver stunning visuals, sounds, and musical compositions. We are humbled at the amount of dedication each of these artists have shown and are absolutely thrilled with the work they have done. We can hardly wait to get everyone together for the premiere!