1. OFFF Barcelona 2011 Main Titles


    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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    • GRID Main Titles by Ouchhh


      from Kurye Video / GRID Agency / Added

      12.3K Plays / / 16 Comments

      GRID, Digital Culture and Moving Images Festival Istanbul has become an exciting new destination for art and design of late; this new festival aims to celebrate that development with a fitting new format that helps facilitate networking and collaborations. Hopefully, the festival will earn itself a good place in the usual circuit of European design festivals helping further integrate Istanbul with the European design scene and providing easy access for creative professionals from Balkans, Middle East and beyond. GRID will create an important platform for training and networking providing designers, artists, advertising and cinema professionals of Turkey the chance to get together and benefit from the experiences of the best names over a broad spectrum of design –ranging from web design to typography, illustration to post-production, interaction and experience design to social media campaigns. Meanwhile, it will provide international ad and design community the chance to get to know better the much-coveted Istanbul scene and make valuable contacts there. The festival will have two editions every year –one in spring and the other in fall. The line-up for the second edition will take place in next fall. www.gridthefestival.com Main Titles Credits: Direction & Design: Ouchhh Director: Ferdi Alici 3d Artists and Designers: Bahadir Dagdelen, Caglar Ozen, Ferdi Alici, Emre Onol, Yusuf Emre Kucur, H. Kerem Kose, Roto Artists: Selay Karasu, Ozgur Alici VFX Technical Director: Caglar Ozen Typography: Eylul Duranagac Sound Design: Selcuk Can Guven, Ferdi Alici Project Manager: Dilan Regal Video Production Director: Dilek Altan Models: Meltem Bakan, Robbie-Lee Valentine Hair: Fikret Tanrıverdi Make-Up: Meltem Açmazzambak Clothes by Nu ouchhh.tv Festival organization: Kurye Video and Grid İstanbul www.kuryevideo.org www.gridistanbul.com Thanks to Clay Mills | W+K Amsterdam Dvein Evan Boehm | Nexus Interactive Arts Ilia Uvarov | R/GA London Menno Fokma Onur Senturk Serial Cut Si Scott United Visual Artists Kingdom of Netherlands Yapı-Endüstri Merkezi Derin Design Bigumigu Gongo Visio-Vox

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      • Smoke & Mirrors v.4 // Green edition


        from Dan and Dave / Added

        11.8K Plays / / 3 Comments

        The fourth edition Smoke & Mirrors or the Green edition takes us back to our roots and represents our minimal style. With an all new retro, simplified back design and unique – never before been done – metallic ink. Dressed to impress with a dark green shimmer – they are no longer just black and white. Interest in the decks has been unrivaled since word first emerged of their existence. The First, Second, and Third Editions sold out almost immediately after their release. The Box, Ace of Spades, Joker, and Back design was illustrated by Si Scott. Our goal was to create an eco friendly deck of cards crafted from recycled paper. The result lead to a new type of feel and finish that has since been applauded by industry professionals David Blaine, Derek Delgaudio, and Chris Kenner. Durable and smooth, they fan perfectly right out of the box and last longer than your average store bought deck. Due to our unparalleled quality control, these took nearly six months to produce. 6,000 decks were recycled in January when they did not meet our quality standards. Now, we can proudly say Green is our favorite edition thus far. Available at http://www.dananddave.com/

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        • Smoke & Mirrors by Dan and Dave


          from Dan and Dave / Added

          5,499 Plays / / 7 Comments

          The newly refined and much anticipated Second Edition Smoke & Mirrors are finally here. llustrated by renowned artist Si Scott, the Smoke & Mirrors playing cards were developed by Dan and Dave Buck. The First Edition sold out quickly and - with some revisions - we are pleased to announce the second Special Edition printing of the cards. Now available in limited quantities at dananddave.com

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          • The Secret of Drawing | Si Scott


            from DIGITAL TEMPLE Magazine / Added

            1,511 Plays / / 1 Comment

            DIGITAL TEMPLE Magazine | #3 Issue : Union. SI SCOTT : The Secret of Drawing. digital-temple.com

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            • The Year Zero at OFFF Barcelona


              from Amsterdam Ad Blog / Added

              376 Plays / / 1 Comment

              This leader for the OFFF festival, held in 2011 in Barcelona, was written by Post Panic's Mischa Rozema and Si Scott and directed by Rozema. Line production by Savage and sound by Hecq. More info on www.amsterdamadblog.com (June 2011)

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              • The Mill Co. Model


                from Mill Co. / Added

                1,615 Plays / / 0 Comments

                Mill Co. is a full service creative agency & virtual community of freelance and independent creative collaborators. This short animation about Mill Co. was inspired by an illustration done for us by Si Scott and is animated by Lewis Kyle White with sound from Mo Creatives, all members of the Mill Co. community. We have also just launched our brand new website. Follow the link at the end of the film. Hope you like them!

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                • Smoke & Mirrors Luxury Edition - Halloween preview


                  from Dan and Dave / Added

                  979 Plays / / 1 Comment

                  A new brand of cards illustrated by renowned artist Si Scott in association with Dan & Dave. Engineered with the highest quality stock and finish available and manufactured with the US Playing Card Companies latest printing technology. http://www.dananddave.com/

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                  • Si Scott - The Secret of Drawing


                    from Jacky Winter / Added

                    575 Plays / / 2 Comments

                    Full Credits TK

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                    • Si Scott @ the Threadless Gallery


                      from Threadless.com / Added

                      2,613 Plays / / 0 Comments

                      Bob interviews amazing artist Si Scott, sitting among his work, up in the Threadless gallery! Hear about his song lyric fascination, his most recent Select tee, and the lonely swan outside of his studio window!

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