PROXiMITY – A New Short from Ryan Connolly

Dec 10, 2013 10519 0 Share
Aharon Rabinowitz
Aharon Rabinowitz
Hey folks – our good friend, Ryan Connolly recently released PROXiMITY, a new short that tells the story of a man thrust into a deadly game in which he must fight for survival. Ryan co-wrote the film with Red Giant Films’ Seth Worley (Director of Plot Device, Tempo, Spy Vs Guy). You can watch PROXiMITY right here: (Warning: while not particularly gory, the film contains violence, and may not be appropriate for some viewers.) [youtube]http://www.youtube.com/watch?v=7J2AhMZ7wdQ[/youtube] Ryan tells us that 99% of the shots were colored with Magic Bullet Looks and Colorista II – two plug-ins from our Red Giant Color Suite – and color definitely helps in telling the gritty story. Color Matcher (from Key Correct – a part of Red Giant Keying Suite) was also used in the color correction process.

Click the image to see a larger preview.

SPOILER: The film draws it’s name from the need for the unwilling participants to stay near each other or face dire consequences. As I watched the film, it never occurred to me that lights on the main prop – an electronic shackle that is used to keep track of how far apart the characters stray from each other – weren’t practical. I just assumed they were, because it looked wholly unremarkable. But I was wrong. It turns out that Red Giant’s Harry Frank also contributed some of his own time on the film – as he was responsible for lighting up the shackle, in it’s various modes. Everything was tracked in Imagineer Systems Mocha Pro or was manually tracked, frame-by-frame. Shapes and glow effects were applied to solids and composted on the shackles. The green, yellow, and red buttons were practical, but when they lit up, it was post. It’s a really small thing, but I’m always impressed with VFX work when I don’t notice it. In fact, almost stood out in the film as VFX, even though a lot of tracking and VFX were used in the film – which only proves how much work went into making the effects blend in with the rest of the visuals – something not so easy to do in a non-studio setting, and where a camera is not locked down. We’re proud of Ryan and his team – and, though this film is entirely his production, we’re glad that some of our Red Giant Films team could help him make it happen. We know how hard it is to get a film done, and to get it done well. Congratulations! Check out Ryan’s awesome show, Film Riot – where he shows you how to create visual effects and more.

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