Orpheus isn't happy. Orpheus isn't happy.

I originally planned to edit the film using a steenbeck 6 plate flatbed. But that class at the New School was cancelled due to lack of enrolment. So I had to edit on an AVID instead. I am glad, in retrospect, that this happened because I was able to finish the film with the same level of refinement.

The film was developed at the lab and then telecined onto a Beta SP tape. I had them sync up the dialogue at the lab (though it is really easy to do yourself so I don't recommend paying for it) and then captures in the AVID and started to edit it.

I found the AVID interface intuitive. I had used premiere and Final Cut Pro before, so it wasn't a giant leap. In fact, there was only one thing that I had to ask the instructor about. After a number of rough cuts I was happy with the edit.

Blood bath. Blood bath.

I created the titles in flash, exported them to illustrator and then printed each frame on acetate. I was planing to use the schools animation stand but I learnt it was broken. So I had to shoot them off a light box mounted on the wall. I was not pleased with results, so I tried correcting them in the optical printer but that too wasn't satisfactory. I created the freeze frame on the optical printer (which is out of registration). I decide to cut my losses and use the crooked titles for the film, and fix them for the video and web version.

I exported the six audio tracks and brought them into my studio's computer and opened them into Pro Tools. To keep sync, I had put a beep tone at the start of each track (3 stereo tracks) with a copy of the film in quicktime format. Greg mixed the soundtrack of the entire film and composed the music, including an audio logo for the alien resident presents logo.

Inside the train. Orpheus and Eurydice inside the train.

I sent the EDL, the final edit on Beta, the source Betas and the negative to the negative cutter Nick. He confromed it to the Beta and the EDL. I then brought the A and B rolls to the lab. They created a silent print so I could have the sound transfer people check the sync, before they made the optical soundtrack, the soundtrack came from a CD of the soundtrack that Greg and I had created. Then back to the lab to print the final answer print. I talked to the colour timer a number of times until we a got a reasonable looking print. The final print arrived on the day of it's world premiere.