Freelance Work Available for local indie film “Do Not Disturb”, a paranormal-horror film

Blog / MGLV

Hey Guys,

I love supporting local Las Vegas indie projects. This is an indie film that is looking for some KILLER motion graphics work from some outstanding CG artists out there. I know you guys can kill it if you want to. There is even a budget attached to each shot between $200 – $500 US dollars. Please take a look and if you’re interested, please contact James Horton, the film’s producer. Here’s his work summary:

Detailed below are various visual effects shots required for our feature production of “Do Not Disturb,” a paranormal-horror film. Compensation for each shot ranges from $200-500, but is also negotiable. A link is provided to the raw video for each shot, and please note the start time reference for each.

For further information about the project, please visit, or check out our new extended preview at

For comments, questions and further discussion, please contact James Horton, producer, at 702-242-4300, or at

Thank you kindly.

SCENE 1, PAGE 2. 8 seconds approx. Ghostly shadows walks out one door, through another, closes door. Should not appear cartoonish or clearly defined – almost like something “real” you’d see on Ghost Adventures, for example – part shadow, part haze, part mist. Footage is shot on a steadicam so tracking is required. “Enhanced realism” is the defining term.

SCENE 15, PAGE 41. 4 seconds approx. Start at 3:27 when she starts to take off her shirt and looks to the left, and ends when she looks back at the mirror. A slight shadow on the bathroom mirror as the ghost enters. Or maybe an unusual fog or glare or whatever – something to show that it has entered the room with her while she’s in the shower. If that section is too short to do anything worthwhile, take a look at the section of 3:06 – 3:15 – much longer.

SCENE 15, PAGE 50 – WALL SHADOW. 3 seconds approx. Starting around :27. A shadow approaches Koco out of the dark area screen left, and moves upward. Will be edited in close proximity to the shot below.

SCENE 15, PAGE 50 – CEILING SHADOW. 3 seconds approx. Starting around :44. The shadow slips into a hole in the ceiling just as he points the flash light upward.

SCENE 16, PAGE 51. 2 seconds approx. Starting around :37. A shadow walks past a doorway opening in the frame background.

SCENE 16, PAGE 52. 3 seconds approx. Use the same shot as scene 16, page 51. Both pieces should be no more than a second, two at the most. For the page 51 shot, the shadow that he doesn’t see, it would start around :37 just as the camera pan stops as he’s leaning back up from looking at the floor. For the page 52 shot, start right around :38 – :39 as he sets down the flashlight, or maybe right after he lets it go. You may actually use a small part of the same shot twice – which is okay – with intercuts, no one will know. maybe even crop the page 52 image a little if it may be noticeable. The editor can also do the same if needed.

SCENE 17, PAGE 53. 5 seconds approx. Starting around :18 when the lighting effect glow and flicker kicks in. The companion shot, “scene 17, page 53-as a color reference” is attached as a color reference only, to match the color of the fire in the actual scene 17, page 53 shot to the glow seen on the actor in this shot. The fireplace in the old corner house comes alive with a paranormal “fire.” This effect was not specifically scripted, and would occur after he sees the images in the camera viewfinder and before he’s attacked. Color of the “fire” effect need to match the orange flickering glow we see on Max’s face on other shots.


SCENE 21, PAGE 64. 4 seconds approx. Starting around 2:35 – right before the headlights go out. The headlights on an approaching vehicle turn a ghostly bright red with flare effects before going dark.

SCENE 23, PAGE 70. 4 seconds approx. Starting around :33, and should end by :36 when he glances to screen left. We sit the hint of shadow movement behind Koco in the back seat of the car.

SCENE 24, PAGE 72. 5 seconds approx. Starting around :49, which is right after the camera tilts up to level in addition to 5 seconds of nothing happening yet – stated another way, the start point for the effect itself should be about 5 seconds into the shot, and about 6-7 seconds after the camera tilts up to level. A full body ghostly figure enters the forest clearing. Depending on how this scene is eventually cut, related incidental shots may be required. The shadow on the battery was done as a practical effect, as was the battery movement.–go9Y

1 Comment

  1. Beth
    02 December 13, 9:43pm

    Hey James…
    Looking good…hope you found that awesome cg artist… I know of one even more local to you. Let me know.
    Was good to find your blog.

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