Film School Is In Session

Well, it's been a busy few weeks for me as I work on the VFX for my first feature film The Quantum Terror. As promised I've been live streaming a lot of my work, which you can watch in the following videos.

First off, we have the beginnings of using green screen, UltraKey, and Adobe After Effects to place actor Matt Blackwell into a practical effects, miniature environment, involving a creature puppet.

That one is "to be continued" as I still have to record some video assets that will factor into that scene. However, I was able to take water assets that I took video of at a park and incorporate them into a miniature tunnel scene, to make it appear to be flooded.

I also used UltraKey and After effects to incorporate a "Stranger Things" like alien creature (which I designed and shot way before the premiere of the show) into a scene with actresses Kristin Cochell and Paula Solinger.

At this point, I was feeling rejuvenated. It's been a while since I've been able to play around with VFX in the ways I had grown accustomed to in the past, so I decided to revisit another project that (for reasons I won't' get into here) I had to leave unfinished, for now. It's called Girl In The Window and this next video is a run-through of the some of the work I created for the film. I plan to revisit it after The Quantum Terror is done.

However, my main focus will be The Quantum Terror until it's done. In these next two videos, I show how I use green screen shots where the set alone won't do and needs to be extended.

If you enjoy these tutorials and find them useful, please consider supporting me on Patreon by CLICKING HERE.

...or if you'd rather support me through PayPal you can do so by CLICKING HERE.

Thanks, everyone. We're going to have fun and accomplish some lifelong goals here. Now, let's get to work.

My Other social media...
https://www.facebook.com/christophermoonlight/
https://twitter.com/MoonlightArtMag
https://www.linkedin.com/in/christophercooksey/
https://www.instagram.com/christophermoonlight/

Ray Bradbury's The Groon: Speed Sculpt

Christopher Moonlight Making Of Ray Bradbury Groon from Christopher (Moonlight) Cooksey on Vimeo.

For Live Forever: The Ray Bradbury Odyssey (liveforeverthemovie.com/) I had to show Ray's childhood monster, The Groon, which he used to imagine seeing at the top of the stairs, late at night. The solution was to build a rod puppet, which was then shot against a green screen, and added to footage of a staircase, shot by Scott Smith (lighthousevideoservices.com) under the direction of Micheal O'Kelly. O'Kelly and smith were also responsible for videoing child actor Zachary Meade (imdb.com/name/nm5282501/) against a green screen for me to composite with the other footage for the final moment in the film. 

Watch until the end for a special comment from Malcolm McDowell.

Music by Bartok, Roumanian Dance No. 1 musopen.org/

If you have trouble viewing this video CLICK HERE for the You Tube version. 

2013 Show Reel for Christopher Moonlight Productions

Christopher Moonlight Productions 2013 Show Reel from Christopher (Moonlight) Cooksey on Vimeo.

Having trouble viewing the Vimeo version? Watch the You Tube version by CLICKING HERE.

It's been a busy and trying year for Christopher Moonlight Productions, with the completion of the Michael O'Kelly directed documentary, Live Forever: The Ray Bradbury Odyssey and the production wrap of my all green screen sci-fi short film, Girl In The Window (directed by Christopher Cooksey and Jeremy Hanes... now in post) but I wanted to make sure and get a few examples of my work on the web for 2013. Also on the way, Moonlight Art Magazine, featuring interviews and comics, which I show some of the pages of in this video, and at the bottom of this post.

For more info, go to: christophermoonlightproductions.blogspot.com I am available for hire.

Please, contact me at christophermoonlightproduction@gmail.com

Thank you to Rich Goddard, who originally taught me how to use After Effects, and is always there to talk through the creative process with me. I couldn't have done it without him. Also, to Jeremy Hanes for being a brilliant an invaluable co-director. Also, to Michael O'Kelly for giving me permission to use footage from his authorized documentary about his friend Ray Bradbury in my reel.

 Special thanks also go to associate producers Jennifer Lewis, Jack Ritchie, Jackie Estrada, Batton Lash, Jonathan Levit, Heather Lowe, Michael T Malve, Cindy Ventrice-Pearson's son Hunter, and Courtenay Stallings.

CLICK HERE FOR THE CHRISTOPHER MOONLIGHT PRODUCTIONS STORE.

If you missed my 2012 Show Reel, this is it, below...

Christopher Moonlight 2012 Show Reel from Christopher (Moonlight) Cooksey on Vimeo.

...and there's plenty more to see on this blog, so have fun and keep coming back. More exciting stuff is coming this year.

First Still from LIVE FOREVER (and my Comic Con documentary)

Just released is this still from my work on Live Forever: A Ray Bradbury Odyssey, with Malcolm McDowell as Ray Bradbury's childhood idol, Mr. Electico.

This is a moment where the two characters are flying through space (I won't give everything away) and go in front of the sun. I'm only one visual effects artist and I had about four weeks to do what should have had four months, but that's Hollywood, and I think it turned out well for the deathly deadline I had. The two actors were shot on HDV tape in front of a green screen, the bucket they're sitting in is a model, the books were also shot DV on green screen, and I had to do the rest. Can't wait to see how it looks on the big screen.

Below are some stills from my upcoming mini-documentary

WHEN HOLLYWOOD GREEN-LIT COMIC-CON

(it's going directly to You Tube, where you can watch it for free)

Here's David Mack, in his interview for the movie. 

Since this was all shot with two very cheep little consumer style video cameras, with no additional sound equipment, I knew I had to do something to really liven up the footage I shot. I decided to go black and white, with dashes of color, and do what I could to make the footage look like it was shot on something like 8 milometer film.

Here is Camilla d'Errico at her Comic-Con booth.

For more stills from the movie, go to my Facebook page.

Birds of  Play at their modeling shoot.

The spectacular Billy Martinez of Neko Press Comics, and one hell of a live painter. Check out how the light catches his necklace.

Realistic? No, but I didn't want this to be another boring old You Tube video from Comic-Con. I wanted this stuff to look hot.

Batton Lash at his booth for Exhibit A Press. Another case in point. The light above him looked pretty average, so I decided to rev it up a little, as if JJ Abrams was directing.

Here's Constance Hall from Monsterman, as I work on her interview footage. I interviewed her for another project, which is not a part of this documentary, but I just loved this shot. 

The movie should be out soon. Stay tuned.

On one last note, I have two Girl In The Window T-shirts available for order. Just click the image and get yours today.

Live Forever: A Ray Bradbury Odyssey (Extended Trailer)

This is (as the title says) an extended trailer for the documentary Live Forever: A Ray Bradbury Odyssey about the life of the writer, himself. Originally it was to be a short film, boiling down his life into fifteen minute for the You Tube Your Film Festival. Due to what was felt to be very one sided contest rules, dealing with ownership, it was decided not to enter to contest, so the movie was re-edited into what you see here.

 (Sorry, we had to take it down, due to re-editing. It'll be back soon.) 

Unfortunately, the continuity of the effects I created were meant for a short film, so they aren't entirely what I would have done for an extended trailer. However, now there is this sizzle reel, which shows (somewhat) what I had originally intended for the individual scenes, and their continuity.

(Sorry, we had to take it down, due to re-editing. It'll be back soon.) 

 This project was done on a micro budget, and wouldn't have been possible without the help of some super talented artists and producers, who's photos are below. I'll try to explain these photos, the best I can.
Here is producer Summer Potter, sitting on stage with Mr. Electrico (Dave Grave) projected behind her. Summer was a major contributor to the production, and did many thing to keep it from stalling.
Here's me (Christopher Moonlight) with Live Forever creator, writer, producer, and good friend of Ray Bradbury, Michael O'Kelly. What are we doing? Trying to figure out why his Mac isn't working how it's supposed to. Seriously, that took up half the production time.

 ...and this dapper fellow (he's single, ladies) is the AMAZING Rich Goddard, who acted as FX supervisor for the video portion of the original stage play, and consultant to me, for the extended trailer. He's a little camera shy, so this is the only photo I have of him.
Here is Mr. Electrico himself, Mr. Dave Grave. Not only is he front man for the death rock band Frankenstein, the builder of that epic Ferris wheel you see in all the videos, the actor who plays Mr. Electrico, but he's also a fantastic grip. Oh, and we shot all the green screen at his home.
These sketches are an example of Dave's mad genius. I give him the simple task of building a spooky old Ferris wheel, and suddenly I'm getting page after page of notes and design ideas. If you want a model builder who can take an idea and run, and run, and run with it. Get Dave Grave.
  Jeremy Hanes (who is first and foremost and actor) was also instrumental in the production of this project, working as director of photography, sound recording engineer, and stand in actor. Like Rich and Dave, I couldn't have made this project happen without him.
Here's some more on set silliness for you, (makes a great desktop) of us sitting behind the fish tank that was used for all of our puppeteer work, as well as the dining room chair that was converted, using cardboard, into Mr. Electrico's electric chair. I know, it's way budget, but did you notice, when watching the video? I don't think you can honestly say you did.

For all the extended behind the scenes work, click here and scroll down. Being resourceful on a budget is my specialty, and the specialty of all of my crew. There's plenty of videos, photos, and links that will show you just how brilliant they are. You can also read news stories on the project HERE and HERE. Enjoy.

Christopher Moonlight Productions Sizzle Reel for 2012

Christopher Moonlight 2012 Show Reel from Christopher (Moonlight) Cooksey on Vimeo.


This is my Sizzle Reel for the first part of 2012. It contains scenes from my upcoming short film Girl In The Window, staring Jeremy Hanes. I also hope it shows my skills as a production designer, digital composite artist, matte painter, model builder, and puppeteer... just to name a few. I've worn many hats and my only regret is that I couldn't put the other two thirds of the projects I've been working on, in it. I'd like to submit (in this post) a few stills of the models and puppets I've built, so you can spend a little more time looking at them. I find its always best (for me) to find practical solutions to visual effects challenges first, and let the computer be there to enhance what those solutions are. When working on a budget, I find that the blend can be better than satisfying.

e mail me:
christophermoonlight (at) gmail (dot) com

Be sure to "Like" Girl In The Window on Facebook.

Let's start with a few of my digital matte paintings. These are a combination of digital painting, and photography... with the last pic being a concept painting to be developed into a two and a half D matte painting.

Next up are my models and puppets, which I create from Sculpy and latex (as in my monsters and goblins) painted with acrylic and polyurethane or in the instance of my space ships and robots, are put together from found objects. It's the best way to work, on a budget.

  My daughter really enjoys my work, by the way.

Storyboarding isn't an intricate part of what I do, but I do like to rough out a general idea of what I have in mind for a scene. These days, it's more practical to rough out ideas in Adobe After Effects, animate them, and let them evolve within the computer.

From drawing, to painting, to digital, its always good to visualize not only the look of a character but that character's mood. Sometimes choosing a medium will dictate that mood.

Painted:

Sketched:

Digital:

Bloom by Christopher Moonlight

Special thanks to Rich Goddard who has been my adviser in a lot of my work, and did the 3D background for the vampire bride puppet, and Dave Grave who built the monster head (to my specifications) which I animated. Also, to Jeremy Hanes who not only acts for me, but has been my director of photography, though all of this. Also, thank you to Richard Hines for loaning me one of his DV cameras and light kit to shoot my short film. You can learn more about their work, by checking out other posts on this blog.

Working On The Ray Bradbury Odyssey: Part 4 (Why Mars?)

Out space is a particularly fun thing for me, to animate in After Effects. I've actually found that creating the elements in Adobe Photoshop can make for just as convincing stars and planets, as the 3D programs. That may be a bold statement, but when you're working on a project that can't budget for expensive 3D rendering, it can be done, and it can look good.

In this case, producer Michael O'Kelly wanted a slow run through the solar system while Malcolm McDowell read the Ray Bradbury poem, "Why Mars". A problem arose, though. The animation which was being crated by a 3D artist didn't look very convincing. In addition, the concept wasn't fitting the Mars theme of the poem in quite the way that was hoped, as well as the fact that the render time was far longer then we had. Action had to be taken. The result is this animation...

Why Mars? from Christopher (Moonlight) Cooksey on Vimeo.

Okay, so, that went by fast. You didn't think I was going to make you sit through a slow zooming vista of Mars, did you? No. You get the idea though. So, what did you just see? After talking with Michael, it was decided that we would use several moments from the script that we liked, but had to be cut for time. Ray has a love of old Sci-Fi movies so we wanted to show some of those, but didn't see how it fit in the play. Ray also ha a vision of Martians that wore golden masks to hide there emotions, but we didn't know how to fit that in, anywhere. I suggested that since the whole play is a journey into metaphor, we might be able to show these things as we slowly descend into the red planet. It could be as if Mars was sending them out to us. The final moment also inspired one of the two finished posters for the play.


An aside note, worth mentioning here is the look of the mask. Ray had always thought that the Martians were very much like the ancient Egyptians, so I based my design for their masks on the sarcophagus of King Tut.

Working on the Ray Bradbury Odyssey: Part 3 (Of Groons and Ghosts)

Of Groons and Ghosts from Christopher (Moonlight) Cooksey on Vimeo.

This video is of some moments from the effects shoots for Live Forever: The Ray Bradbury Odyssey. It demonstrates how I created the underwater puppet effects (with green screen) for such Ray Bradbury creatures as "The Groon" and "The Monster on the Stairs." Family members from Ray's past were also a big part of the story, so we had to come up with a way to make them look ghost like (ghosts from his past) using only some green felt, and a 7D camera. 7D is a great camera for shooting actors, but is hard to deal with when it comes to keying out green, because of the way that it compresses files. In the end, we ended up using some of the noise that compression caused as part of the look, instead of spending time outside the budget, trying to clean it all up. The results turned out very nice, if I do say so myself. As always, I had my loyal team of visual effects supervisor Rich Goddard, co-director and DP Jeremy Hanes, and model builder, grip, and actor Dave Grave, to aid me in making the magic happen. Written and produced by Michael O'Kelly.







These photos are of my creature design for "The Groon" and the staircase I photographed at Dave Grave's home. I then broke the staircase down into layers, so that Rich Goddard could more easily blend the puppets into the scene.

Working on the Ray Bradbury Odyssey: Part 2 (Mr. Electrico)

Mr. Electrico Demo from Christopher (Moonlight) Cooksey on Vimeo.


Ray Bradbury's story of how the carnival magician Mr. Electico sat in an electric chair and knighted him with an electric sword, was another very important part of the play. It is indeed the moment where the young stage actor playing Ray as a boy, stands before his projected image on stage, and is told "Live Forever." That's the name of the play, so we needed to get this right. The only problem was that all we had was a piece of green felt, some lights, an old aluminum lamp, and Dave Grave's (whom we got to step in as Mr. Electrico at the last minute) back patio to shoot the whole thing on. Again, I had Jeremy Hanes as my DP and Rich Goddard as my Effects Supervisor, who I worked with, using After Effects, to get the results you see above. The producers where happy.



I also created this mock carnival poster, for the show. Here are some photos from on set...




It's also worth mentioning that Jeremy Hanes was in charge recording the sounds of Malcolm McDowell, who read four poems by Mr. Bradbury, that aided in telling the story of his life.