ESPN Outside the Lines presents Defiance - The Story of FC Start
Produced by Danny Arruda, ESPN
Filmed and Edited by Evolve Studio
Check out the FC Start Trailer here: vimeo.com/48179703
Production - Behind the Scenes Video: vimeo.com/49254565
***See more Evolve work on our Vimeo Channel: Evolve Portfolio ***
Special thanks to all of our crew, cast and locations!
Anthony Bytnar Jr.
Marshall Williams# vimeo.com/43308486 Uploaded 72.5K Plays 963 Likes 38 Comments
Still shocked and excited from last night, it's an honor for us to show you this absolutely MINDBLOWING TITLES made for OFFF by PostPanic.
Thank you so much to PostPanic, and specially to Mischa Rozema, Ania Markham and Si Scott, simply epic!!!
Written by Mischa Rozema and British graphic designer, Si Scott, the opening titles reflect their dark thoughts on a possible future. Directed by Mischa and shot on location in Prague, the film guides the viewer through a grim scenario embedded with the names of artists appearing at this year’s OFFF festival. The live action was brought back to Amsterdam for post, primarily carried out by PostPanic’s in-house team of artists but also with the additional help of freelancers and partner companies that we have enjoyed strong creative relationships with over the years. It’s really fair to say that this was a labour of love by a passionate crew of people.
Says Ania Markham, Executive Producer at PostPanic:
“The images created by the crew of people working on the titles has been unbelievable, with nationalities represented including Dutch, Czech, English, American, Polish, German, Swedish and Belgian. It’s been a great opportunity for all of us to work together on a non-commercial project we’re passionate about and we’re so proud of the combined effort and final result.”
DIRECTORS NOTES (Mischa Rozema)
This project started out as a collaboration between myself and Si Scott. Right from the start, we decided that it should be the darkest thing we could make. I think it just felt natural to the both of us; if we had to nail the future, it would not be a nice place.
This idea evolved into a clash of times. Inspired by an idea from the late Arthur C. Clarke. He wrote about different historical civilizations meeting in a single point in time. So what happens when civilizations meet? The 'weaker' one gets eaten by the 'stronger'. You only have to look at history to see the destructive power of civilizations.
So the main underlying idea is: what would happen if the future lands on our doorstep today? Let's take mankind, add perhaps 100 years and then let them show up on our doorstep today. The future would pretty much devour the present. Probably in a matter of, let's say, 7 days… So that's what we're looking at. But every ending also means a new beginning, hence Year Zero.
There's all kinds of hidden messages in there. Like the virus eating away at reality, buildings and people, even at the viewers brain. It's behaving off course much like a computer virus. And the network of wires represents the future of social networking. I just made it physical and let it 'catch' the city and it's people like a net. All these ideas just serve as inspiration for us to create a future that worked for this concept. They're not meant to be deciphered by the audience. It's still meant to be just a title sequence and not an actual movie.
Now what makes a good title sequence? Personally, I think it's something that gets you in the mood, warms you up for what you're about to experience, be it a film, tv series or in our case, the OFFF festival. We decided to treat the OFFF festival as a feature film experience. So all we had to do was get the viewer into the right state of mind. Without, of course, being too narrative led. The best title sequences out there are nothing but a random collection of images/scenes that don't tell a lot if you watch them on their own. But edit them together and a new context is created. A context that matters, a feeling that gets the viewer ready for the main event, in our case, the festival.
To get started, the next thing we did was make a collection of ideas that would scare me and Si. So, anything drawn from our youth, right through to stuff that's inspired us over the years as well as seemingly random compositions that trigger the imagination of the viewer. For example, when we show you the aesthetics of a car explosion, it's carefully constructed. Why a car and not something else? Because an exploding car brings extra content to an otherwise simple aesthetic display of violence. A car doesn't explode by itself so instantly the brain tries to formulate the background behind it. It adds an either political or criminal edge to the violence. To me it felt appropriate because of the sense of protest and rebellion the shot has. And maybe the biggest question; was there someone in the car and if so, who was it? For me, every idea should provoke these kind of questions; from a girl in a prom dress holding a rocket launcher to a riot cop standing in the kitchen. All scenes have a pre and post story to them. In no time you're actually trying to connect these seemingly random scenes and boom; you've just created your own strange context. You now have a feeling, a taste and lots of questions probably. Questions that normally would be answered by watching the actual movie. But since there's no actual movie here we'll leave stranded with, hopefully, an uncomfortable feeling and lots of questions - some might feel unsatisfied and wondering why. Just like a nightmare.
We also wanted the actual titles to be different this time. Most of the time festival titles are driven by the idea on how to show titles. A mechanism that displays titles in a creative way. We actually thought to bring the festival theme to the foreground and have the titles play a part in it. Incorporate them so they become the actual fiber/texture of the piece itself. Practically I still think it's nice that the viewer has to actively look for the names and not get too comfortable. Even if it means to see it a couple of times which surely is the best we can aim for as a free project ; )
How about the shoot? Well, prior to Prague we created more than 50 ideas I could play with. This was always the intention. Go out shooting with a tiny crew, acting like we're still in art school and be open for anything that might happen. That's why we shot everything on 2 Canon 5D's (that and having no budget off course). This was a really nice change for me. Normally I prepare commercial shoots to the very last detail and there's a lot more people involved. Savage helped us out big time in Prague. We also had some bad news. Due to his back problems Si Scott had to abandon the project and couldn't join the shoot.
When we came back from Prague I started editing straight away and soon came to the conclusion we had about 60 vfx shots to work on and no budget and increasingly less time. Remember that this project was a side dish for PostPanic, we had to work on commissioned jobs also. But everybody involved soon fell in love with the project, including STORM Postproduction who are our neighbors (luckily for us).
In the mean time we received the title list. It had about 70 names on it! That's when I found out that the dynamics I wanted to use would probably not work. Just too many names that would make the piece too long to just show random images. So in the plane towards Prague I thought of bringing in a tiny bit of narrative. Which turned out to be the beginning of the sequence (1st act). I wrote in a lead character that would relate to the viewer.
The idea was to trick the audience into thinking they're watching some kind of documentary. We basically follow a guy going home. Bit by bit his environment gets stranger and more uncomfortable to watch. Is he living in a war zone? Slowly the background takes over and the piece changes into an urban nightmare. And like a nightmare, the story/edit doesn't always make sense but makes you feel really uncomfortable. I also wanted the viewer to experience the nightmare. That's where the dark matter comes in. Dark matter is what I call the macro shot bits. Flashes that derail your train of thought like there's something eating away at your brain as you try to make sense of the nightmare. I wanted the viewer to go nuts, alongside with the cast. Erase the line between nightmare and reality. The end result is something you won't come across easily on your tv. And is also just another fun way to do titles.
The sound design and music made by Hecq added a lot to the feel and scale of the film. It clearly divides the 3 acts (1st act: up to execution, 2nd from execution, 3rd final shot) and makes completely different ideas and scenes feel coherent. It also emphasizes the dynamics of the film and brings the much needed pace at the end. It's been great working with Ben. We've been surfing the same wave length throughout the project.
Finally I want to thank everyone involved for making these titles possible. For creating something out of nothing. For showing so much love for something as dark as this.
Directed by Mischa Rozema
Story by Mischa Rozema & Si Scott
Production Company: PostPanic
Executive Producers: Jules Tervoort, Ania Markham
DoP: Jiri Malek, Mischa Rozema
Music & Sound Design: Hecq
Senior Producer: Annejes van Liempd
Production Assistant: Jacinta Ramaker
Production Designer: Roland Mylanus
Editor: Mischa Rozema
Main Hero: Vladan Bláha
Grafitti Guy: Tom Malar
Main Hero Sister: Katerina Galova
CG Supervisor: Ivor Goldberg
VFX Supervisor: Chris Staves
3D Artists: Jeroen Aerts, Matthijs Joor, Jurriën Boogert, Marnix Reckman, Adam Janeczek
2D Artist: Erwin van den IJssel
3D Interns: Cara To, Xander Clerckx
2D Interns: Mathijs Luijten, Per Westholm
Compositing: Chris Staves, Ivor Goldberg, Adam Janeczek, Matthijs Joor
Graphic Designs: Si Scott
Additional Graffiti Elements: Florian Stumpe
Matte Painting: Wieger Poutsma
Additional 3D and Compositing: Storm PostProduction
Production (Prague) by Savage:
Executive Producer: Klara Kralickova, Pavla Burgetova Callegari
Producer: Michaela Berkova
Production Assistant: Vojta Ruzicka
Prop master: Jan Fiala
Location Scout & Management: Petr Bastar, Adam Fuchs
Location: CREVISTON, a.s.
Tattoos made by: Wowa tattoo prague# vimeo.com/24982650 Uploaded
A collection of "back to the camera" shots. The character stands center frame (most of the time), looking out at some epic landscape.
MUSIC: "God Moving Over the Face of the Waters" by Moby
Buy from Amazon: amzn.to/Uhdreb
00:00 - The Aviator
00:05 - The Legend of 1900
00:07 - Synecdoche, NY
00:10 - The Shining
00:12 - Beyond the Black Rainbow
00:15 - Once Upon a Time in Anatolia
00:17 - Baraka
00:19 - Walk the Line
00:21 - Runaways
00:22 - The Fifth Element
00:23 - Dark City
00:24 - Hamlet
00:25 - Network
00:27 - Black Swan
00:29 - Lenny
00:30 - Denis Leary: No Cure for Cancer
00:31 - Bronson
00:32 - Fantasia
00:34 - Southland Tales
00:35 - The Iron Lady
00:36 - Hugo
00:38 - The Searchers
00:41 - Prometheus
00:43 - Event Horizon
00:46 - The Fifth Element
00:48 - Dr. Who S01E02
00:50 - Sunshine
00:53 - Tron Legacy
00:55 - Stargate
00:57 - Starman
01:00 - Kundun
01:02 - Enter the Void
01:05 - Inglorious Basterds
01:07 - Watchmen
01:09 - Sin City
01:12 - Gangster No. 1
01:14 - LA Confidential
01:16 - Christine
01:19 - Hero
01:21 - House of Flying Daggers
01:24 - Akira Kurosawa's Dreams
01:26 - Predators
01:29 - Alexander
01:31 - Kingdom of Heaven
01:33 - There Will Be Blood
01:35 - The Cell
01:38 - Valhalla Rising
01:41 - Snow White and the Huntsman
01:43 - Immortals
01:45 - Matrix Reloaded
01:47 - John Carter
01:50 - Troy
01:52 - Thor
01:55 - Matrix Revolutions
01:59 - The Abyss
02:04 - Event Horizon
02:09 - Watchmen
02:14 - Another Earth
02:18 - Take Shelter
02:23 - Final Fantasy: Spirits Within
02:28 - Constantine
02:33 - War of the Worlds
02:42 - Man of Steel
02:47 - Hero
02:49 - 300
02:52 - Take Shelter
02:56 - Beasts of the Southern Wild
02:59 - Joe Versus the Volcano
03:01 - The Proposition
03:04 - Interview with the Vampire
03:06 - Snow White and the Huntsman
03:08 - Heat
03:11 - Inception
03:13 - Star Trek Generations
03:15 - Minority Report
03:18 - Skyline
03:20 - Close Encounters of the Third Kind
03:22 - X-Men: First Class
03:25 - Knowing
03:27 - The Day The Earth Stood Still
03:30 - Hamlet
03:32 - Valhalla Rising
03:34 - Jericho S01E01
03:37 - The Divide
03:39 - Dark City
03:42 - The Day The Earth Stood Still
03:44 - Mission to Mars
03:46 - Life of Pi
03:49 - The Fountain
03:53 - Fight Club
03:58 - Pan's Labyrinth
04:03 - The Empire Strikes Back
04:08 - Gone With the Wind
04:17 - What Dreams May Come# vimeo.com/63718300 Uploaded 577K Plays 7,268 Likes 152 Comments
***HD fullscreen, earphones and a few minutes of silence recommended***
Film by Patrick Mccue & Tobias Wiesner
The movie is based on the short story “GOLEM XIV” of “Imaginary Magnitude” by Stanislaw Lem from 1973.
The book is written from the perspective of a military A.I. computer who obtains consciousness, moving towards personal technological singularity with growing intelligence.
It starts to refuse military support because it detects a basic lacking of internal logical consistency of war.
GOLEM gives several lectures with focus on mankind's position in the process of evolution and the possible biological and intellectual future of humanity before it ceases communication.
The movie tells about the first point of its "about man threefold" lecture as a reduced and simplified version while visually weaving this with GOLEM simulating human culture processes based on ideas and dynamics of freedom and curiosity, fear and security, abstraction and fiction, the lack of accessibility in face of unknowing and the need for generating meaning.
The whole creative intention about this project is to face your own process in this world with reflection and self responsibility, to stay curious and create, look for new ideas and stay keen.
Voice - Cyrena Dunbar
Music - Cliff Martinez (original composition for GOLEM)
Sound Design - Gavin Little/ echolab.tv
Title Design - Melanie Lukhaup/ luftmasche
Content Support - Dr. Michael Cursio
basic production information:
- started as a thesis in Film& Animation of the Design course at the GSO Academy Nuremberg, Germany in 2009, degree 2010
- more than 1 year of research and concept development (quite fulltime)
- producing pictures and sound over about 2.5 years (spare time only)
- used Software: Lightwave (FPrime, Kray), Nuke, Aftereffects, Trapcode Particular2 (excessively)
- privately funded
- mostly rendered at http://garagefarm.net/
Selection of Awards, Screenings, Publications:
- Rising Star Award 2013, Cananda International Film festival
- Audience Award, Creative Arts Film Festival
- Bronze Award, Bassawards, International Awards of Broadcast Design
- 3 Nominees for Van d’Or Independent Film Awards 2012, London
- Official Selection, Phoenix Film Festival 2013
- Official Selection, Pausefest 2012
- Publication on Stash 98
- Publication on IdN motion Channel v20n3
more information and making of material coming soon...# vimeo.com/50984940 Uploaded 289K Plays 6,695 Likes 252 Comments