1. Playgrounds vs Submarine Channel 2011: an impression

    02:37

    from Submarine Channel Added 524 5 0

    It was super exciting to team up with The Playgrounds Festival for a unique, single day event in Amsterdam on October 5, 2011. It turned out to be better than we had hoped for, leaving us as well as the audience with lots of stuff to think about, new inspiration and new friends. This video gives you an impression of the Amsterdam event @Pakhuis de Zwijger. More info about the event: http://www.submarinechannel.com/visual/playgrounds-vs-submarine-channel Credits Director: Christiaan Grammer Produced by: Submarine Channel 2011 Thanks to: the artists featured, Pakhuis de Zwijger The Forget the Film, Watch the Titles presentations and screening program have been made possible by SNS Reaal Fonds, Prins Bernhard Cultuurfonds and Mondriaan Foundation.

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    • Onitsuka Tiger - Kobe + Aisen + Winter

      00:45

      from PostPanic Added 6,272 228 4

      Director: Chris Staves Production: PostPanic Agency: Jake Noakes Director Chris Staves was asked by Art Director Jake Noakes, to create a series of 3 stop-motion, animated mood films for Onitsuka Tiger's new range of footwear. Chris developed a central idea of a table top installation where the essential ingredients of each shoe are shown interacting with each other.

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      • FBTO - Car

        00:30

        from PostPanic Added 1,839 31 0

        Director: JP Frenay Production: PostPanic Sound Design: Audentity Agency: Only FBTO 'Car' is the second of two spots directed by JP Frenay and produced by PostPanic for Amsterdam agency, Only. Based on a central theme developed by Only, the spots focus on individual consumers and their own personal worlds. A mixture of live action, 3d and VFX - the actors were shot against green screen here in Amsterdam and then composited into the photo-realism-based animated world.

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        • FBTO Brand song + Soundlogo

          00:30

          from Findelmusic Added 303 0 0

          Music: Bart van Dalen (Findelmusic) and Robert Beld Commissioned by: Audentity

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          • FBTO - Vacation

            00:30

            from PostPanic Added 10.2K 359 11

            FBTO 'Vacation' is the first of two spots directed by JP Frenay and produced by PostPanic for Amsterdam agency, Only. Based on a central theme developed by Only, the spots focus on individual consumers and their own personal worlds. A mixture of live action, 3d and VFX - the actors were shot against green screen here in Amsterdam and then composited into the photo-realism-based animated world.

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            • Interview Mischa Rozema / Post - Panic - Offf Barcelona 2011

              09:19

              from Association delabribeautout.net Added 943 18 0

              Founded in 1997, PostPanic is a Dutch hybrid film production company creating unique visual work for the international advertising, broadcast, retail and music industries. Our distinctive visual style has come about through a shared passion for live action, motion graphics, visual effects and 2d/3d animation. As mixed media specialists, PostPanic’s projects are creatively driven and therefore not primarily technique-led. We choose to produce, direct, design and animate ourselves so our ambitious ideas stay true to our original vision once in production. The international roster of directors share a common graphic design background and are very hands-on, often choosing to work on a certain aspect of the production such as motion graphics, animation or compositing. This is clearly reflected in PostPanic’s creative attitude and approach to a project. Supporting the directors is our Amsterdam studio, a permanent team of producers and creatives specializing in live action, motion graphics, 2d/3d animation, visual effects and print. We also have a regular network of freelancers that are pulled in depending on the nature of a project. The PostPanic studio is housed in a new building overlooking the river in central Amsterdam and has won attention worldwide for its unique interior architecture. This includes a green screen studio, edit suite and large grandstand for accommodating an audience for PostPanic events or screenings. Over the years, PostPanic has enjoyed creating work for brands including Nike, MTV, ASICS, Google, McDonalds, TomTom, Coca-Cola and Amstel. http://www.offf-webdoc.com

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              • OFFF Barcelona 2011 Main Titles

                06:22

                from OFFF, let's feed the future Added

                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. CREDITS 
 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 Prague Cast: Main Hero: Vladan Bláha Grafitti Guy: Tom Malar Main Hero Sister: Katerina Galova Post-Production: PostPanic 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

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                • Year Zero - OFFF Barcelona 2011 Main Titles

                  06:22

                  from PostPanic Added 368K 6,878 270

                  Following in the footsteps of Prologue Films and The Mill, PostPanic have created this year’s prestigious opening titles 'Year Zero' for OFFF Festival 2011 in Barcelona http://offf.ws/bcn2011/ 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. DIRECTOR'S NOTES (By 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. CREDITS 
 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, Nicole Nieuwenhuis Editor: Mischa Rozema Prague Cast: Main Hero: Vladan Bláha Grafitti Guy: Tom Malar Main Hero Sister: Katerina Galova Post-Production: PostPanic 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 About OFFF Festival 2011 OFFF is an entity in continuous transformation, alive and evolutionary. More than a decade ago, it was born as a post-digital culture festival; a meeting place to host contemporary creation through an in depth program of conferences, workshops and performances by the most relevant artists of our time. These days, OFFF keeps being a reference event throughout the world. A festival hosted in Barcelona, New York, Lisbon and Paris which has featured renowned artists such as Joshua Davis, Stefan Sagmeister, John Maeda, Neville Brody, Kyle Cooper, The Mill, Digital Kitchen, Ben Fry & Casey Reas, Golan Levin, Chris Milk, Rob Chiu, Julien Vallée, Paula Scher, Rick Poynor, Erik Spiekermann, Dvein, Erik Natzke, Vincent Moon, Ze Frank, Alex Trochut, among others…The festival where a new generation of artists has originated and developed. All of them started attending OFFF as spectators. Today, they take up its main stage.

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                  • Asics Running

                    01:09

                    from WRLK.TV / miro klasinc Added

                    Amsterdam Worldwide asked Mischa Rozema to interpret a script they'd come up with for a new Asics running shoe. Mischa chose to depict that surreal magic moment just before sunrise when anything can happen. In this case a shoe which has an existence of it's own. PostPanic produced both the live action and CG parts of the spot. Client ASICS Agency AMSTERDAM WORLDWIDE Direction MISCHA ROZEMA Production POSTPANIC Role COMPOSITING Year 2009

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                    • MTV Brand New

                      00:26

                      from WRLK.TV / miro klasinc Added

                      MTV Benelux asked to make a leader for their new MTV Brand New Chart incorporating elements from the existing channel identity, created by PostPanic. Director/Designer Miro Klasinc took on the project and developed a speaker theme still communicating the channel's alternative music style and attitude. Client MTV NETWORKS Agency MTV BENELUX Direction MIRO KLASINC Production POSTPANIC Sound Design MASSIVE MUSIC Role DIRECTION / ANIMATION / COMPOSITING Year 2009

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