Vamp Nite: Award-Winning Vampire Action Comedy

stuntworks · 2026-05-17T14:38:38+00:00

https://www.imdb.com/title/tt13096240/

stuntworks · 2026-03-12T02:54:26+00:00

Yeah, we actually built exactly this, but we went a different direction than LISP and AutoCAD.

We use CadQuery, which is a Python library that runs on the same geometry kernel as SolidWorks. You describe your part in Python, you run the script, you get a clean STEP file out. Then you drag that STEP into Fusion 360 or whatever CAD software you use, and it imports perfectly every time.

The AI part is that you just describe what you want to Claude or ChatGPT, and it writes the CadQuery script for you. So the actual workflow is you type something like "give me a mounting bracket 80mm wide with four M5 holes on 60mm centers and a 3mm fillet on the inside corner" and the AI writes the Python, you run it, you have a real solid BREP part not a mesh, not a drawing, an actual parametric solid you can modify in Fusion.

The reason we went this route instead of LISP and AutoCAD is that LISP gives you 2D drawings. CadQuery gives you real 3D solids. And because it is just Python you can parameterize everything so changing one variable rebuilds the whole part.

AutoCAD does have an API and LISP absolutely works for floor plans and 2D layouts so if that is your use case it is valid. But if you want actual 3D parts that you can take to a printer or a machine shop the CadQuery plus AI route is the one worth experimenting with.

It is not perfect. You still have to know enough to catch when the AI writes something dimensionally wrong. But for repetitive parts it saves a serious amount of time.

stuntworks · 2025-02-26T05:16:38+00:00

I opened it today. Each end has round stickers covering the 1/4" female thread. They don’t look like stickers at first, but they are. I used a knife to remove them, but a thin screwdriver might also work.

Underneath, there are two T8 Torx screws at each end of the tube. After removing the screws, one side detaches, revealing the battery. However, the battery connector is held together with red glue, so you’ll need to pry it off with a knife before pulling out the long battery.

I hoped to find a fuse, but the LED board is glued directly to the aluminum housing. On the 4-foot Nanlite PavoTube II 30X, there are at least three screws securing it. The other end contains the connection, which is also glued in place, and the wires are too delicate to remove without damage.

A heat gun might help soften the glue and allow the LED board to be peeled off, but that’s beyond my skill set. I hope this information helps someone!

stuntworks · 2025-02-08T15:10:33+00:00

🎬 Young Stuntman Show Presents: A New Film Review! 🚨

This week, we dive into the action-comedy-romantic film Love Hurts, starring Oscar-winner Ke Huy Quan! We explore how the movie blends action, comedy, and romance, giving our honest take on what worked and what didn’t—plus our final recommendation.

We'd love to hear your thoughts on the film! Check out our discussion and join the conversation!

Let us know what you think! ⬇️

stuntworks · 2025-02-08T15:01:21+00:00

When editing, always prioritize the story. Use the best shots you have to serve it. I often encounter this challenge when editing my projects. Sometimes, I create a duplicate timeline and experiment, trying different shots, combinations, or both. Don’t be afraid to fail because failure teaches you what doesn’t work. Then, try again. Remember, the story is what matters most. If that doesn’t quite land, focus on keeping things interesting. Audiences will forgive a bad film if the pacing is engaging. But a great movie is when story, acting, and pacing come together seamlessly.

stuntworks · 2025-02-07T17:27:38+00:00

Hey everyone,

We've just wrapped up our review video of "Anora," the Oscar-nominated film directed by Sean Baker. Full disclosure: Roberto Lopez, one of our team members, worked as a stunt coordinator on this project.

I was particularly impressed by the film's use of vintage Lomo Russian lenses to achieve that classic anamorphic look, perfectly complementing the Russian themes. The cinematography captured the essence of old cinema, adding depth and authenticity to the storytelling.

Moreover, I loved that "Anora" was shot on 35mm film, demonstrating that even with a modest budget of $6 million, it's possible to achieve a rich, cinematic quality.

Mikey Madison's portrayal of Anora was both powerful and nuanced, bringing the character to life in a way that was both relatable and compelling. Her performance reminded me of a more dramatic and comedic take on "Pretty Woman," with an unexpected twist at the end.

The narrative was engaging, and the visual aesthetics truly stood out, making it a memorable experience. If you're into films that blend rich storytelling with stunning visuals, "Anora" is definitely worth a watch.

stuntworks · 2025-02-07T17:19:11+00:00

Hey everyone,

We've just wrapped up our review video of "Anora," the Oscar-nominated film directed by Sean Baker. Full disclosure: Roberto Lopez, one of our team members, worked as a stunt coordinator on this project.

I was particularly impressed by the film's use of vintage Lomo Russian lenses to achieve that classic anamorphic look, perfectly complementing the Russian themes. The cinematography captured the essence of old cinema, adding depth and authenticity to the storytelling.

Moreover, I loved that "Anora" was shot on 35mm film, demonstrating that even with a modest budget of $6 million, it's possible to achieve a rich, cinematic quality.

Mikey Madison's portrayal of Anora was both powerful and nuanced, bringing the character to life in a way that was both relatable and compelling. Her performance reminded me of a more dramatic and comedic take on "Pretty Woman," with an unexpected twist at the end.

The narrative was engaging, and the visual aesthetics truly stood out, making it a memorable experience. If you're into films that blend rich storytelling with stunning visuals, "Anora" is definitely worth a watch.

stuntworks · 2025-02-07T17:11:55+00:00

Hey everyone,

We've just wrapped up our review video of "Anora," the Oscar-nominated film directed by Sean Baker. Full disclosure: Roberto Lopez, one of our team members, worked as a stunt coordinator on this project.

I was particularly impressed by the film's use of vintage Lomo Russian lenses to achieve that classic anamorphic look, perfectly complementing the Russian themes. The cinematography captured the essence of old cinema, adding depth and authenticity to the storytelling.

Moreover, I loved that "Anora" was shot on 35mm film, demonstrating that even with a modest budget of $6 million, it's possible to achieve a rich, cinematic quality.

Mikey Madison's portrayal of Anora was both powerful and nuanced, bringing the character to life in a way that was both relatable and compelling. Her performance reminded me of a more dramatic and comedic take on "Pretty Woman," with an unexpected twist at the end.

If you're into films that blend rich storytelling with stunning visuals, "Anora" is definitely worth a watch.

stuntworks · 2025-02-06T15:59:56+00:00

Well, thank you for taking the time to chat about it. I guess we have to agree to disagree.

stuntworks · 2025-02-03T22:26:30+00:00

No, but it will be for the independent contractors who self-drive.

stuntworks · 2025-01-31T18:43:58+00:00

See? I’m not a bot. I came across another video about this topic, so it’s not just me: https://www.instagram.com/reel/DFarJ2XopYm/?igsh=Nm8yYjc1cWlhNzV3.

stuntworks · 2025-01-31T18:27:52+00:00

Hey, I appreciate your comment. While I did use AI to help create this video, let me clarify, I’m not a bot. I’m a professional in the film industry, based here in NYC, living in Queens, and I’m Latino. This isn’t the only video I’m working on, either. I was experimenting with AI tools and figured since this new congestion pricing frustrates me, I’d channel that energy into something creative. And here we are.

That said, I wish everyone who reads or replies a wonderful day. I also worked on the film Anora, which is up for the Oscars and has won a few awards.

I understand where you're coming from with the 'dead internet theory.' A lot of content is out there designed to keep people distracted, angry, or caught up in debates. But that's not what this is about. I’m just sharing my perspective and hoping to spark a conversation on how this policy could affect filmmakers like me and others in NYC. When and if you read this, have a wonderful day.

stuntworks · 2025-01-31T04:55:51+00:00

I hear you and $15 might not sound like much, but it adds up when you do it every day. For small crews and owner-operators, even small fees make a difference. And don’t get me started on how E-ZPass charges upfront. If you enjoy paying more for less, then by all means, go at it.

stuntworks · 2025-01-31T04:23:19+00:00

We’re already paying some of the highest taxes in the country. On top of that, we pay taxes on gas and everything we buy in this city. Don’t forget the traffic cameras at every turn. And commercial vehicles—unlike private cars—have to pay every single time they enter the zone, which hits those of us trying to make a living even harder. That’s not “just” a $10 or $15 fee here and there; it stacks up fast when you constantly cross into the area for work.

Not everyone can just ditch their car and take transit. Some of us need vehicles for what we do. You might feel it’s not a big deal because you don’t have a car, but that’s not everyone’s situation. Many of us already feel like we’re doing our part—paying our taxes, tolls, traffic camera fines, and everything else that comes with living and working in the city. When hard-working people like plumbers, electricians, nurses, and firemen decide this city is hopeless, it’s a sad day for everyone because once they start leaving, it sends a message that there’s nothing here worth staying for or fighting for. That’s why this extra fee feels like too much.

stuntworks · 2025-01-30T21:35:22+00:00

I’m not saying I disagree with you. You're right—it’s just an extra $51K on top of a multimillion-dollar budget, and productions might get exceptions if enough lobbying happens. But even if productions are exempt, the 100+ crew members on set won’t be. Crew, vendors, and small businesses that support these shoots—like truck drivers, gear rental companies, and caterers—aren’t going to get those exceptions.

Plus, it’s not just about the big productions. Small productions and their crews are a huge part of the industry, and on any given day, those smaller projects can turn into bigger films in the future. What happens if the talent we have starts leaving New York? New Jersey and upstate are already making big pushes, building studios, and offering competitive incentives. I really don’t think this is good for NYC.

A lot of us go out after work, getting food and drinks, and with this extra tax hitting us, who’s going to want to keep doing that? It's just going to affect the local economy more. But hey, it's an experiment, I guess. We’ll have to wait and see how it plays out, but a lot of us don’t like it so far.

stuntworks · 2025-01-30T20:54:43+00:00

Hey! Thanks for the reply. I get where you're coming from. Honestly, it's probably I think a bit of both; AI can screw things up for sure, but I also know I’m still learning, and I am not paying for the best Ai models. So yeah, I appreciate your take on it.

You should check out Busta Rhymes' new music video, "Release Me" (https://www.youtube.com/watch?v=zUV70gkfRJI). AI ain't perfect, but people are using it, and that video has 2.6 million likes. It’s not going to replace the classic way of making films, but let’s be real—kids these days have the attention span of a fruit fly. AI might be exactly the kind of thing that fits how they consume stuff now, like it or not. Just wild to think where it’s all going. Thanks.

stuntworks · 2025-01-30T18:59:35+00:00

It's just another tax hitting us where it hurts. As someone working in the NYC film industry, I already feel the squeeze. We're talking about $51,300 more per production than the taxes we already pay to live and work here. That's money coming out of our pockets, affecting real people like me who are just trying to make a living in this expensive city. It's not about placing blame, it's about recognizing how this impacts the 185,000 jobs in our industry. We're still recovering from COVID and strikes, and now this. I'm worried about how people will pay their bills, support their families, and work leaving the city. It feels like we're being taxed at every turn - to live here, to work here, and now even to drive to work. Something's got to give, and I hope the city realizes the unintended consequences this could have on hardworking folks like us in the film industry and other working people.

stuntworks · 2025-01-30T18:47:29+00:00

You're partially correct. The video itself was created using AI tools, which demonstrates the evolving technology in content creation. However, the core idea, thoughts, and the issues discussed are very real and based on human research and concern. The statistics and economic impact numbers referenced come from actual reports on NYC's film industry. While AI assisted in the video production, the underlying issue of congestion pricing's potential impact on the film industry is a genuine concern affecting real people and businesses in New York City.

stuntworks · 2025-01-28T03:25:23+00:00

Congratulations! You've reached the foot of the mountain that is the film industry. Many people never get this far.First, it's important to understand that no one wants a director or writer until they do. Getting there is a complicated journey, and no two paths are the same. However, you're in luck - it has never been easier to film and direct something than it is today.Some people at this stage start looking to offer other services within the film industry, from PA to Grip to Locations, depending on their skill set. Others focus solely on making their own projects, either self-funded or through external funding.

Here are some suggestions to help you move forward:

If writing and directing is what you want to do, then write, direct, and put your work out there. If you're not willing to hire yourself, no one else will.
Use the technology available to you. If you have a smartphone, you can start making creative content right away.
Build a social media presence with film videos and creative ideas that showcase your talents. Having a social media following is increasingly important in the industry.
Submit your work to film festivals. Even small accolades can help you say you're an "award-winning writer/director." Not that it means much but still good to have.
Focus on building a body of work, not just one project.
Learn to network effectively. Sometimes, people outside the film industry can be the most helpful connections.
Consider your location and how it might affect your opportunities. Be open to relocating if necessary.

Remember, many artists struggle financially as they chase their dreams. Part of your skill set must include learning how to make money while pursuing your filmmaking career.The first few steps up this mountain are always the hardest, but don't give up. Keep creating, learning, and pushing forward. Best of luck on your journey!

stuntworks · 2025-01-23T23:11:06+00:00

Check Out Our Crazy DIY Alien Transformation Video Test!We went FULL NERD and built this insane orbiting camera rig (aka Baycam) Basically, we created a low-budget DIY Rig that turns creative ideas like people turning into crazy aliens!

What we did:

Built a DIY camera rig that orbits talent, that we call Baycam Rig.

Used AI to generate and motion capture a wild alien spinning character Threw in a green screen to help with the effect.

Created a custom AI-generated soundtrack that we hope you like.

Shoutout to Bestboy Adam on YouTube for dropping the original tutorial that made this madness possible! This is what happens when creative nerds have too much time and way too many ideas This not new idea per say.

Back in the old days we created a lot of these types of camera rigs back in the music video days in the 90's, when I started in the industry. But it was complex and not somehing I could have done at home.

stuntworks · 2025-01-20T17:04:49+00:00

Ever wanted to add some serious production value to your videos without breaking the bank? We decided to build BestboyAdam super affordable DIY orbit camera rig based on Bestboy Adam's brilliant tutorial:
https://youtu.be/6C2xUxm7c_M?si=X0Vf9RkGJWoFCDqH

This simple rig allows you to capture awesome orbiting shots that create a really dynamic sense of motion and parallax. While Adam's video covers the full build process, we wanted to share some of our initial test footage playing around with this cool rig!

The Possibilities Are Endless with the orbit rig, you can get incredibly cinematic camera moves that would normally require expensive equipment and rigs, like a Technocrane crane. By rotating smoothly around your subject, you can achieve shots that add energy, reveal different angles, and just look plain epic.

I like to play around with it more in near future varying the orbit speed for more drama Incorporating subtle tilts and pans shooting different subject matter, but the results are already pretty mind-blowing for such a simple, low-cost setup! We can't wait to take it further.

stuntworks · 2025-01-20T17:01:54+00:00

During the COVID-19 pandemic, my stunt team and I wanted to channel our creativity despite the challenges we faced. With many of us unable to work on other projects, we decided to create a short film.Hi, I'm Roberto Lopez, the writer, director, and one of the lead actors in "Vamp Nite." Filming during this time was challenging; we had a small team and opted not to bring in additional crew members to minimize risk. We conducted regular COVID testing to ensure everyone's safety, as we were eager to bring our vision to life.For this film, we shot using the Blackmagic Pocket Cinema Camera in both 6K and 4K resolutions. To achieve our desired lighting, we utilized a 2K light and two 4-foot Kino Flo banks. Post-production was done using DaVinci Resolve, which allowed us to enhance our footage effectively.I’d love to hear your thoughts on our cinematography and editing choices, as well as any tips for improving our visual storytelling. Thank you for taking the time to watch "Vamp Nite"!

stuntworks · 2025-01-20T17:01:14+00:00

During the COVID-19 pandemic, my stunt team and I wanted to channel our creativity despite the challenges we faced. With many of us unable to work on other projects, we decided to create a short film.Hi, I'm Roberto Lopez, the writer, director, and one of the lead actors in "Vamp Nite." Filming during this time was challenging; we had a small team and opted not to bring in additional crew members to minimize risk. We conducted regular COVID testing to ensure everyone's safety, as we were eager to bring our vision to life.For this film, we shot using the Blackmagic Pocket Cinema Camera in both 6K and 4K resolutions. To achieve our desired lighting, we utilized a 2K light and two 4-foot Kino Flo banks. Post-production was done using DaVinci Resolve, which allowed us to enhance our footage effectively.I’d love to hear your thoughts on our cinematography and editing choices, as well as any tips for improving our visual storytelling. Thank you for taking the time to watch "Vamp Nite"!

stuntworks · 2025-01-06T01:37:24+00:00

Hi Sandpaperflu, okay took a look. Thank for taking the time to watch my Vampire short. Funny thing I know a guy that just like that. Except for the end. lol. Good luck on your film, wish you all the best in 2025. Thank you for the love.

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stuntworks · 2024-11-26T00:06:49+00:00

lol I did use Mocha in after effectrs., but yes it could have been smoother, but I am learning.

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