![]() ![]() I somehow secured permission to use two songs from a ska band, because it was the ’90s. In 1999, I “finished” the film, including a better score than it deserved by Mike Berkley, and sound design by Last Birthday Card composer David Levison. I kept all the files on that single 5GB hard drive. So during breaks from animating Naboo Starfighters, I picked away at the over 130 Skate Warrior VFX shots, using ElectricImage and After Effects, between 19. Years later, lavishing this sophomoric albatross with the same VFX resources I was using on a Star Wars movie was only going to make people ask, “Why the hell did you do that?”īut the busier I am with my day job, the more intensely I pursue my side interests - and I was very busy indeed in those days. If I had finished Skate Warrior in college, on tape, with the incredibly limited post tools available to me at the time, it would have been an impressive, “how the hell did you do that” accomplishment. We were kids when we shot it, and it showed. As my AVID practice sessions morphed into long, late nights cutting the entirety of Skate Warrior, I was constantly questioning whether the effort was warranted. Keeping VHS tapes in a cardboard box for five years, dragging them across the country from Minnesota to LA to Northern California - often in checked luggage or the back of a pickup truck - is not exactly a recipe for improving the already questionable image quality of half-inch magnetic tape. Forest Key, who would go on to co-found Puffin Designs and create the seminal Commotion rotoscoping software with ILM veteran Scott Squires, taught me the basics of editing on a computer, and the footage I digitized for practice was from those Skate Warrior tapes - which were already five years old. There, as I learned the ways of the VFX pipeline created for Jurassic Park, I decided to take advantage of a friend’s access to ILM’s editorial AVID systems and learn non-linear editing as well. But I never got around to the monumental task of editing over eight hours of footage into a finished film, so those camera originals traveled with me to the start of my film-industry career and adult life: my life-long dream job at Industrial Light & Magic. ![]() This was the post methodology that I planned to use on Skate Warrior. The only visual effects we could manage were either in-camera, or superimposed with by-hand sync via a genlocked Amiga 500 running Deluxe Paint III. We would shoot on Hi-8, and edit in a linear tape-to-tape suite where it was nearly impossible to go back and correct mistakes. ![]()
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