1. 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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    • Stardust

      04:00

      from PostPanic Added 684K 11.1K 327

      PostPanic director Mischa Rozema's new short film, Stardust, is a story about Voyager 1 (the unmanned spacecraft launched in 1977 to explore the outer solar system). The probe is the furthest man-made object from the sun and witnesses unimaginable beauty and destruction. The film was triggered by the death of Dutch graphic designer Arjan Groot, who died aged 39 on 16th July 2011 from cancer. The entire team at PostPanic (the Amsterdam-based creative company) pushed themselves in their own creative post techniques to produce a primarily CG short film crafted with love. The film's story centers on the idea that in the grand scheme of the universe, nothing is ever wasted and it finds comfort in us all essentially being Stardust ourselves. Voyager represents the memories of our loved ones and lives that will never disappear. From a creative standpoint, Rozema wanted to explore our preconceived perceptions of how the universe appears which are fed to us by existing imagery from sources such NASA or even sci-fi films. By creating a generated universe, Rozema was able to take his own 'camera' to other angles and places within the cosmos. Objects and experiences we are visually familiar with are looked at from a different point of view. For example, standing on the surface of the sun looking upwards or witnessing the death and birth of a star  - not at all scientifically correct but instead a purely artistic interpretation of such events. Rozema says, 'I wanted to show the universe as a beautiful but also destructive place. It's somewhere we all have to find our place within. As a director, making Stardust was a very personal experience but it's not intended to be a personal film and I would want people to attach their own meanings to the film so that they can also find comfort based on their own histories and lives.' Rozema turned to his regular audio partner, Guy Amitai, to create the music for the film. 'I approached Guy to make the music because I trust him and knew he would instinctively understand what I wanted to communicate with this film.'  Their long-term collaboration over the years helped them explore different musical approaches before finally settling on a musical journey featuring analogue instruments. Amitai explains, 'Once we started working on this project and I told people about Stardust and what Arjan meant to us all, the offers started pouring in. Musician friends and friends-of-friends all wanting to join in and record even the smallest parts. It was an incredibly emotional and personal journey for us all - not something you can professionally detach yourself from.' The track is now available for purchase, with all proceeds going to the KWF (Dutch Cancer Society) Download the song here via iTunes: http://tinyurl.com/a6j2f34 Credits: A PostPanic Production Written & directed by Mischa Rozema Produced by Jules Tervoort VFX Supervisor: Ivor Goldberg Associate VFX Supervisor: Chris Staves Senior digital artists: Matthijs Joor, Jeroen Aerts Digital artists: Marti Pujol, Silke Finger, Mariusz Kolodziejczak, Dieuwer Feldbrugge, Cara To, Jurriën Boogert Camera & edit: Mischa Rozema Production: Ania Markham, Annejes van Liempd Audio by Pivot Audio , Guy Amitai Featuring "Helio" by Ruben Samama copyright 2013 Post Panic BV, All rights reserved

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      • SUNDAYS

        14:50

        from PostPanic Added 807K 10.8K 277

        Mischa Rozema and PostPanic Pictures' debut film project SUNDAYS completes a first step towards its Feature Film goal with the release of this ambitious proof-of-concept short. Much-anticipated and widely-supported by the international creative community (over 50K US Dollars was donated on Kickstarter alone for the live action filming part in Mexico City), SUNDAYS is directed by Mischa Rozema. Set in Mexico City sometime in the future and starring US actor Brian Petsos and Mexican actress Sofia Sisniega, SUNDAYS is an ambitious philosophical science-fiction proof-of-concept short. The end of the world seems like a nightmare to Ben. A memory of a past life that doesn’t belong to him. When Ben starts to remember Isabelle, the only love he’s ever known, he realises she’s missing in his life. An existential descent into confusion and the desperate need to find out the truth begins. This reality depicts a stunning, surprising and dark world. A world that is clearly not his. www.sundaysmovie.com story & directed by MISCHA ROZEMA - cast BRIAN PETSOS - SOFIA SISNIEGA - score composed by BEN LUKAS BOYSEN - director of photography JON GAUTE ESPEVOLD edited by MISCHA ROZEMA - vfx supervisor IVOR GOLDBERG - co-producer mexico STACY PERSKIE KANISS - production designer mexico ROBERTO BONELLI associate producer ANNEJES VAN LIEMPD - screenplay by KEVIN KOEHLER - sound designer JOCHEN MADER - producers ANIA MARKHAM - JULES TERVOORT

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        • Year Zero - OFFF Barcelona 2011 Main Titles

          06:22

          from PostPanic Added 368K 6,886 270

          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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          • Sundays Teaser #1

            01:05

            from PostPanic Added 51.5K 1,923 78

            www.sundaysmovie.com - PostPanic's long-awaited film project 'SUNDAYS' releases its first teaser online. Directed by PostPanic co-founder Mischa Rozema, 'SUNDAYS' is an intelligent sci-fi film which promises to challenge the viewer with philosophical questions about the future of humanity. Filmed in Mexico City, the short 'SUNDAYS' stars US actor Brian Petsos and is currently in post-production, due for release in the first quarter of 2015. "Gravity" Written and performed by Ben Lukas Boysen, Published by Erased Tapes Music Taken from the album "Gravity" Courtesy of Ad Noiseam.

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            • Linus Lundin - Showreel 2010

              00:44

              from Linus Lundin Added 46.3K 1,067 73

              A collection of my (Old 2010) work including commercial and self initiated projects. Enjoy! Music: Confessions of a Toothpaste Machine - Third Dimension Doorknob Credits: MTV - Valtifest Postpanic My role: Modeling, texturing and animation as an intern. Electrolux Home Direction: Sam Brandhildh & Fredrik Ekholm Post Production: The Chimney Pot My role: Modeling, texturing, animation, compositing. Dirty South ft. Rudy - Phazing Direction: Maceo Frost My role: 3D Animation

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              • Mini - Rocketman Concept

                02:09

                from PostPanic Added 85.2K 2,871 65

                Director: Mischa Rozema Production: PostPanic Agency: BSUR Director Mischa Rozema returns with another trademark visually unique mixed media film, combining live action with 2d/3d animation, motion graphics, stock footage and visual effects. BSUR approached PostPanic to help them create an extra special product launch film to match the distinctive new MINI Rocketman concept. Most staggering is that the whole production took just 4 weeks from start to finish, including two studio shoots in Amsterdam and Munich.

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                • SUNDAYS VFX BREAKDOWN

                  10:10

                  from PostPanic Added 31.6K 1,571 44

                  This is the official SUNDAYS VFX breakdown from the PostPanic Pictures headquarters in Amsterdam. Produced primarily by the in-house specialist CG team at PostPanic, the breakdown also contains elements from guest contributors worldwide who supported on the post side. Directed by PostPanic co-founder, Mischa Rozema, SUNDAYS was filmed in Mexico City and then brought back to PostPanic’s studio for the mammoth task of creating Mischa’s world. An intertwined, organic work flow defines the post production which creates PostPanic’s highly aesthetic artistic signature. Headed up by VFX Supervisor Ivor Goldberg, the VFX team all share an obsessive attention to detail and a passion for their craft is clear to see on this detailed breakdown. sundaysmovie.com

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                  • NIKE // Mercurial Vapor Superfly III

                    00:00

                    from JP Frenay Added

                    Client: Nike Brand Design Global Football Production Company: PostPanic Director/Editor/Compositing: Jean-Paul Frenay Creative Director : Mischa Rozema Executive producer: Ania Markham, Jules Tervoort Senior Producer: Annejes van Liempd PostProduction: Condor Digital, Brussel Sound designer/Music Composition: Echolab PostProduction: Condor digital, Brussel 3D supervisor Condor & compositing: Sandro Paoli 3D team Condor: Sebastien Desmet, Sylvain Jorget, Stanislav Shcherbakov Post Production Producer: Greet Van Thillo Agency : Nike Brand Design EMEA Creative Director: Eric Duvauchelle Art Director: Kevin Coatman Agency Producer: Penny Pijnenburg, Christian Downes www.frenayjp.be http://www.facebook.com/jpfrenay

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                    • WRLK.TV / MONTAGE

                      01:29

                      from WRLK.TV / miro klasinc Added

                      This is a montage of projects I have worked on throughout the past few years. The edit contains expansive studio projects as well as independently directed and crafted pieces of work. I am available for commissioned work, collaborations as well as experimental and charitable projects all over the world. Contact / hello@wrlk.tv Portfolio / http://wrlk.tv Audio Composition & Sound Design by Philipp Pacher (www.philipppacher.net)

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