Point.360 WEST provided postproduction services for the four-part Spike TV event Super Dave's Spike-tacular. Camouflage Films, the production company, turned to Point.360 WEST for services including previsualization, visual effects, dailies, graphics, edit, titles, audio mixing and delivery.

Point.360 WEST collaborated with executive producer Bob Einstein, director Morris Abraham and Camouflage Films to streamline production and post. 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 pre-vis 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 10 p.m. and dailies were ready for viewing at 7 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, footage was shuffled over to the colorists for final insert and laid off to multiple formats and delivered to the client. Justin Hixon, executive producer at Point.360 WEST, says, "When the tapes were sent to Spike, it was the only time the show ever left the secure building."