About & Contact

Brainstorming, research, write. Connect with emotion. The film follows.

Founders

Skye Stout at the monitor, working on a script

Filmmaker & science researcher

Skye Stout

IT expert. Science researcher for fun. Storyteller. Baby writer and filmmaker. Let's accomplish worlds!

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I've worked in the IT industry for two decades. My approach in storytelling is still human, though I've got the heart of an engineer. I've studied astronomy, cosmology, space time, biology, and neuroscience. I am an INFJ.

In books by Frank Herbert, Isaac Asimov, Arthur C. Clarke, and Stephen Baxter, you'll notice that world-building was highly involved. For example, Mr. Clarke was skilled in blending compelling narrative with solid science. What they started carried into film — Nature series on the Planets, 2001: A Space Odyssey, Close Encounters, Avatar, The Expanse. What Cameron and Lucas built on screen proved that science fiction could feel immersive.

This is my approach to storytelling and discussing science. Hard science fiction with heart. Immersive worlds where the technology feels inevitable, not invented. Ad Astra — without the depressing solitude of the universe. Documentaries that make science relatable.

I am a survivor. Of motor-neuron disease. Of unimaginable trauma. Of quantum weirdness.

And yet… I love to bake sourdough from ancient grains. Conduct science experiments. Make hard science easy. Approach biology with a systems engineer's perspective.

My greatest inspiration is Jose-Luis Reyes. Jose makes costumes, props, ship models. He acts. He shows up and builds whatever the story needs. That's the standard.

Spaceships are just toys, but bigger. With stellarator fusion, MIMS Drives, or possibly Warp Drives. I don't do hyperdrive. Sorry Star Wars fans.
Jose-Luis Reyes seated by the keyboard in the studio

Musician, writer, engineer & props maker

Jose-Luis Reyes

Jose-Luis Reyes was born in San Diego, California in 1951. He holds an engineering degree — which explains why the things he builds actually work.

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He designs and fabricates wardrobe, costumes, ship models, and practical props using custom molding, repurposed materials, and whatever the story demands. The James Webb mirror array in Alliance Arrival? The earpiece? That was Jose. He also starred in the film as the alien — because when you need someone who can build the set and perform on it, you call Jose.

He is also an accomplished cosplayer, a self-taught composer, and a multi-instrumentalist who plays synthesizer keyboard, classical guitar, 7-stringed electric violin, baroque cello, Turkish Oud, and duduk. He writes comedy, inspirational essays, and screenplays.

He is an Honorably Discharged United States Army veteran — Regular Army, volunteer, 1972–1976, Vietnam Era.

He is a survivor. Of cancer. Of unimaginable trauma.

And yet… he designs and makes toys. He sews costumes. He composes music. He teaches about the principles of truth and the need to live by them — to stand firm in one's integrity, to never back down, and to always hope. In oneself.

He raises his eyes to the night sky and dreams of the infinite stars there, and the worlds that are with them.

He cooks a mean shrimp-bacon and SPAM fried rice, heavy on the green onions. On occasion, he sings — after a couple of good brandies in his coffee.

He is your neighbor. He asks for nothing. He never has. And he will do everything he possibly can to help anyone.

Jose is the greatest inspiration behind Skybird Science Films. He shows up and builds whatever the story needs — and he reminds us why we tell these stories in the first place.

Ride the light. All the way home.

Is this plausible?

Every world we build starts with a question: is this plausible? Not "is this possible someday," but is this plausible within the timeline of the story, based on what we know now and where the science is heading?

That discipline is what makes the fiction immersive. Limit the variables, build with intention, and what plays out in unexpected ways is what makes the story relatable.

We produce across three pipelines — practical filmmaking with real actors and fabricated props, CGI rendering composited with live footage, and AI-augmented visual production — and combine all three within a single project. Our experience has shown that hybrid production delivers stronger results than any single approach alone.

Practical

Real actors and fabricated props on set.

CGI

Rendered elements composited with live footage.

AI-augmented

Selective generation woven into the same pipeline.

Start a project

Tell us your story: project type, goal and audience, and any references. Or call (206) 690-7593.

Case studies

How two concept films were made: props, sets and post.

Case study

Alliance Arrival

2026Under 3 minutes45 hours from planning to final edits

A short concept film with a SIRI Bot prop, an alien arrival, and practical JWST-inspired set pieces — proof that you can make a short clip from things on hand for next to nothing, except time.

This is proof that you can make a short clip from things you can find on hand for next to nothing—except time. Just get the ideas on paper, brainstorm, and above all, have fun!

The alien approaches planet Earth in a black interstellar vessel, transforms into a human, then converts a carrying case from a silver container to a black grid case.

Jose-Luis Reyes made the helmet, the ear pieces, and the James Webb Space Telescope mirror array props.

SIRI Bot

AI version of SIRI, concept circa 2040 (not humanoid). The animation played on a Wacom screen.

Why a black bar on top? Inspired by Xbox and other human-interface concepts — assuming SIRI would have LIDAR and stereo cameras.

  • Wacom screen with on-screen animation playing
  • Power chair base
  • LG air conditioner
  • Wacom pen case mounted on top

Alien Vessels

Concept vessels and transfer-node designs for the arrival sequence.

Case study

Interstellar Backup

20268:53

A concept film that builds on Alliance Arrival, with a digital actor as the alien, practical set props, and hybrid concept art composited in DaVinci Resolve.

This has a 'digital actor,' which plays the role of the 'alien.' If you saw the previous video, this will seem familiar, because it builds on it.

We used a combination of props — a table, plastic crates, and set lighting. The "drill" was a white LED light guitar pick inside a rubber stamp maker, which rattled around and flashed.

Photoshop works well for editing concept art. You can then layer in DaVinci Resolve. There was an instance where the prop fell forward toward me. Sometimes emotions happen in realtime — and then I just go with it if it fits the plan.

Set Designs

In the film studio. These made it into the film after edits — including when the ship goes "crunch."

Concept Transfer Node

Jose gave the ideas for this design: an upside-down pyramid transfer node.

The Little Satellite / transfer-node motion study