On the good side, I'm done with all the color correction and fixing and fiddling. Barring catastrophe, of course, but I think we're good there. And that means I can relax a bit, but only a little since there is other stuff that is screaming to be done.
The months before CONvergence/Fringe tend to be a busy, busy time.
It's also the same time as the 48 Hour Film Festival. Which is partly why it's not in my schedule, at least this year. And that whole stab-me-in-the-liver-with-a-fork thing.
I love the idea of the 48. I just don't love the exhaustion and the not sleeping. Were I actually going into it and had time to prepare beforehand (like sleeping), I'd probably be much more into it.
But I've also done a lot of shooting under time pressures. Hell, all of Horror Incorporated was done under ridiculous time pressures; we would usually shoot four episodes in two days, which averaged over 20 air minutes per episode-- which means we essentially shot a feature film every weekend for two seasons. We got really good at fast production stuff. It's far from my favorite mode of operation which actually provides time to compose and light a scene.
So for the challenge part of the 48-- I know I can do it. I think it's more the cameraderie and immediate involvement in the creativeness of the project that would draw me, and most of that I can get with a project that's not under the time pressure of 48 hours.
Of course with the 48, your time committment is just a weekend. That has a lot of draw.