(Source: mag.awn.com) Are you old enough to remember Eerie Magazine? Then your hair is sliding off your head and down your back and you probably also remember Creepy Magazine and Uncle Creepy. Not old enough? Good news, Creepy is back and your hair will probably stay in place for a while.

Creepy Magazine was a great collection of black and white horror stories in the 1960’s. Cover art was produced by such greats as Frazetta, Williamson, Crandall, Evans, Angelo Torres, Gray Morrow, Joe Orlando, John Severin and others.

In 2007, a group of investors lead by Craig Haffner founded New Comic Co. bought the rights to Creepy and Eerie Magazines. They have started releasing hardbound archive editions in a partnership with Dark Horse. In July 2009 the new Creepy Comic #1 was released.

Haffner wanted to have a video teaser of Creepy at ComicCon to draw attention. “As a fan of Ray Harryhausen and having first worked with the Chiodo brothers 25 years ago, I approached them to produce an animation for us.”
The Chiodo Bros are also fans of Harryhausen and are masters of stop motion animation. You will recognize their work as the producers of the classic Killer Klowns from Outer Space, the puppet producers on Team America and the stop motion producers in Will Ferrell’s hit movie Elf.

The brothers, Stephen, Charlie and Edward, were all fans of Creepy Magazine in the 60’s. “It was a horror/monster Twilight Zone magazine, an anthology of horror and science fiction with Uncle Creepy as Rod Serling,” says Stephen Chiodo.

Stephen directed the Uncle Creepy short. “We all felt strongly that stop motion was the best technique for Uncle Creepy’s world. Both Uncle Creepy and stop motion were from an era of traditional storytelling and film making styles. Stop motion has a hand made, textural quality and charm similar to the classic monster movies we all loved.”

Stephen decided to shoot all the elements in layers against a green screen and composite them together in post. Notice in Figure 3 the how the various foreground and background set elements are on separate, moveable tables. This allowed the animators to work on the puppet without any set obstructions.

The set for Uncle Creepy was shot in layers on green screen to give the animators more room to work.

Full Article: mag.awn.com

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