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PROXIMITY 3:30

A Victorian gentlemen and a sixties cowgirl explore the kitschy depths of love and betrayal in a world where everything seems fragile. Never betray a girl with a gun.

Credits:
Director: Joshua Cox
Animation: Galen Beals, Joshua Cox
3d Artists: Joshua Cox, Gina Burgess, Duncan Beck, Isabel Garcia Jaen, Javier Leon
Compositing: Joshua Cox
Editor: Joshua Cox
Foley: Galen Beals, Joshua Cox
Color: Jalal Jemison
Music: “If It Rains Who Cares” Preformed by Conee Boswell
Written by: Edgar Leslie, Joe Burke

As the name indicates, this short directed by US artist Joshua Cox makes extensive use of one of the essential elements of filmmaking: the juxtaposition of elements to create meaning that does not exist in the isolated elements themselves, a technique known as montage (the term refers to the editing technique but in this case the juxtaposition of elements also takes place within the frame). The film avoids using common codes for transmitting characters’ emotions to the audience (facial expressions, body language, sound, etc.), relying heavily on montage to create narrative and conflict. It’s interesting to note that the restrained performance and lack of mobility actually increases the tension in some of the shots.

Staged in two rooms of a house populated with old furniture and ceramic statues, the short employs a photorealistic aesthetic that makes notable use of CG. Most of what shows up on screen has been created using 3D software. The film makes great use of timelapse sequences and changes in lighting and weather to depict passage of time, and with that it introduces supernatural elements that drive the narrative towards the unexpected, adding a great element of surprise. Humor, expressed with restraint, is also present throughout the short, right up to the ending.

Due to the lack of mobility of the ceramic statues, visual rhythm is handled mostly via editing and changes in lighting (plus a few camera moves and the duster that shows up in some shots).

According to the director, knowing that he would have no animators at his disposal for producing the short helped him come up with the idea to make a film dealing with ceramic statues. The focus on human relationships helps give the short a wider appeal.
-filmnosis

Below: Livingroom set environment renders. Rendered in Vray


Below: Early storyboard exploration


Below: Kissing scene from "Proximity" Rendered in Vray


Below: Bedroom set development renders. Rendered in Vray


Below: VFX lighting breakdown



Below: 3d renders of material development and modeling stages. Rendered in Vray

Below: Texture painting development. Paint strokes and surface color.

Below: 3d renders of Apple Girl. Trying to nail the ceramic material reflections. Vray

Below: Unwrapped texture for Apple Girl. Trying to mimic brush strokes and painted airbrush reference.
WOLF IDENTITY



Credits:
Director: Joshua Cox
DP: Galen Beals
3d Artists: Joshua Cox Garcia Jaen, Javier Leon
Compositing: Paul Desilvia
Music: SoulSupernova


CREDITS:
DIRECTED BY: JOSHUA COX
PRODUCED BY: BRIAN DANIELSON
DOP: THOMAS OLIVER
HAIR / MAKEUP: JAYME HANSEN
STYLISTS: JAYME HANSEN & LAURA MERTON
VFX SUPERVISOR: JOSHUA COX
ADDITIONAL VFX: JASON FLYNN / PAUL DESILVA / BRIAN DANIELSON
COLORIST: JALAL JEMISON
AD: MATT O’ CONNOR
AC: RODRIGO MELGAREJO
GRIPS: ALAN WOODS / CHARLIE JAMES / BRIAN DANIELSON
MOTHER: ELISA BURRIOS
FATHER: SAMUEL CAUTHORN
BROTHER: LIAM SHAW
SISTER: EVIE COX


ABOUT THE VIDEO:

When I heard the first rough recording of "Beach Monster" my mind directly went to thinking about the Beach Boys. But in a different way. A different connection if you will. Not campy. It was a crazy kind of psychedelic Beach Boys sound for me. It was rumored that the beach boys used to hang with the Manson's so those associations started making there way into the plot. Immediately, the most interesting thing to me was to portray those 60's pitch perfect beach fantasies and then slowly turn them into horror. I was excited thinking about the how the chorus could shift from pleasant melodic high tones that put you at ease and then transform into a disturbing type of horrified screams. I'm a big fan of contrast in film and the art of leading the audience into something they might not otherwise be ready for. Directors like Hitchcock and Polanski that start out like romantic comedies or sweet dramas and turn into carnage and chaos in such a graceful way. The art of leading an audience into an enjoyable minefield. It was a bit challenging to do it with a song just over 2 min. I think it was a great exercise for learning how to communicate a message with an economy of scenes.

For the band sequences with STRFKR I watched a lot of old Ed Sullivan Beatles footage and Monkeys show re-runs. To me the bands appear to be a bit under pressure, hot, and harassed. So I wanted to give a feeling of heat and tension building up into a surreal moment of terror connecting the idea of calm in the midst of horror. Not unlike Hitchcock and Polanski scenes. It's funny, I toured with the band on this album for a week. You get to a venue...unpack, do sound check, and wait. Wait to be heard...kind of an eerie feeling...but it's also a rush. Guess I was kind of tapping into the idea of the heat of the stage lights on those that are in front of us who are onlookers.

In terms of filming, It was sort of funny thinking about how we were filming peaceful shots with little children, one being my daughter, just playing in the sand and digging trenches. And these shots when taken into the visual fx realm would transform the subject matter into a horrifying surrealistic spectacle. I have been a technical FX director for over 10 years now. It's just fun, at this point, being able to affect live action footage by adding fire that you generated via post in such a realistic way to create a surrealistic believable moment without ever having to actually set people on fire. It's an exciting time for ideas.




CREDITS:
DIRECTED BY: JOSHUA COX AND CHEL WHITE
CG ARTISTS: JOSHUA COX,GALEN BEALS,KAYDEN COOK
AGENCY: WIEDEN AND KENNEDY
PRODUCED BY: BENT IMAGE LAB


CREDITS:
Director/ Designer of titles for the 2014 One Show Awards in NYC.






 
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