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1. PostPanic - Showreel

  • Published: 2011-07-15T10:35:28+00:00
  • Duration: 263
  • By PostPanic

2. PostPanic Postman

  • Published: 2009-11-13T13:01:58+00:00
  • Duration: 102
  • By PostPanic
PostPanic Postman

Director: Mischa Rozema Production: PostPanic We often get asked where our company name comes from and so we decided to base our house style on a possible interpretation. This film was originally intended as part of our showreel, but due to popular demand, we edited it together to make a stand-alone piece as well.

3. PostPanic Showreel 2009

  • Published: 2009-11-11T11:32:52+00:00
  • Duration: 273
  • By PostPanic

4. Postpanic: Tatrabanka

  • Published: 2010-02-05T14:52:03+00:00
  • Duration: 30
  • By DDD Kralev
Postpanic: Tatrabanka

A commercial I worked on with the team of PostPanic. Director: Chris Staves Head of 3D: Ivor Goldberg 3D: Jeroen, Marnix, Jurrien, Mathijs, Dimitar 2D: Miro, Aras, Stef, Jord Project done with the team of PostPanic. I contributed with modeling and unwrapping, basic lighting. For more - check

5. Postpanic: Holland Casino

  • Published: 2010-02-05T14:40:37+00:00
  • Duration: 40
  • By DDD Kralev
Postpanic: Holland Casino

A commercial I worked on with the team of PostPanic. Art director: Mischa Rozema. Head of 3D: Ivor Goldberg 3D: Jeroen, Mathijs, Dimitar 2D: Erwin, Aras, Stef I contributed with modelling, shading, lighting, a little bit of animation and dynamic simulations. For more - check

6. TatraBanka I - PostPanic - 2009

  • Published: 2010-04-14T21:46:05+00:00
  • Duration: 30
  • By Marnix
TatraBanka I - PostPanic - 2009

Being the first collaboration with PostPanic I joined their team for 3 weeks to work together on creating the first cinema commercial for Tatrabanka. When I joined the production had already started and I helped the team by creating one complete shot a number of elements for different shots according to the designs and animatic created by PostPanic. role - modeling of objects for the first short - modeling, texturing and animating the second (factory) shot - rendering for factory shot with team assistance - modeling of the machine in the fifth shot visit for more info

7. TatraBanka II - PostPanic - 2010

  • Published: 2010-04-14T22:39:46+00:00
  • Duration: 20
  • By Marnix
TatraBanka II - PostPanic - 2010

PostPanic asked me to join their team for 3 weeks to work together on creating a second cinema commercial for Tatrabanka. The production had already started and I helped out the team by creating a number of elements for different shots according to the designs and animatic by PostPanic. role - working with the team to create (particle driven) animation and rendering - creating the last shot based on the animatic using 3d assets from the other shots for more info visit

8. Dutch Digital Design #1: Jules Tervoort & Mischa Rozema (PostPanic) - Sundays

Dutch Digital Design #1: Jules Tervoort & Mischa Rozema (PostPanic) - Sundays

Dutch Digital Design is all about the best interactive and digital design work from the Netherlands. On May 22, the first event took place in Pakhuis de Zwijger in Amsterdam. Agencies Achtung!, PostPanic, Lust, MediaMonks, DDB & Tribal Amsterdam and Momkai showed the best digital design made in Holland. Video's by Lifely - animation: - art direction: Daniel Sytsma (Achtung!) - 3D scans: (Random Studio) - original music & sound design: Follow Dutch Digital Design:

9. Postpanic: Asics Runing

  • Published: 2010-02-05T14:02:02+00:00
  • Duration: 72
  • By DDD Kralev
Postpanic: Asics Runing

A commercial I worked on with the team of PostPanic. Director: Mischa Rozema. Head of 3D: Ivor Goldberg 3D: Jeroen, Onno, Barek, Mathijs, Dimitar 2D: Erwin, Aras, Stef, Chichi Project done with the team of PostPanic. I contributed with modeling and unwrapping, camera tracking, various work on the render passes, rayfire fragmentations and very little animation. For more - check

10. Nike Mercurial - PostPanic - 2010

  • Published: 2011-09-03T22:30:29+00:00
  • Duration: 48
  • By Marnix
Nike Mercurial - PostPanic - 2010

Joining the PostPanic team in Amsterdam for a little more then a week to work together on creating a Nike Mercurial video. The production had already started and I helped the team by creating a number of elements for different shots according to the designs and animatic created by PostPanic. role - camera tracking for the claw shot and sole shot - implementing and rendering FumeFX based on a pre-existing simulation with the other team members - R&D on converting/exporting particles to be used with Afterburn via Realflow/ scripting with Jeroen Aerts. Visit for more information

11. Essent - PostPanic - 2010

  • Published: 2011-09-03T22:15:23+00:00
  • Duration: 45
  • By Marnix
Essent - PostPanic - 2010

For this project I joined the PostPanic team for 3 weeks to work together on creating a commercial for the Dutch energy provider Essent. When I joined the production had already started and I helped out the team by creating a number of elements for different shots according to the designs and animatic created by PostPanic. role livingroom shot - adding details in models, textures and animations - assisted in rendering the livingroom shot and creating addition matte-passes landscape shot - design (under supervision), modeling, texturing and animation of the houses in front of the lake - remodeling, texturing and animating of the village houses tunnel shot - partial texturing and modeling of the underwater rings visit for more information

12. PostPanic SBTRKT

  • Published: 2015-04-14T14:11:01+00:00
  • Duration: 209
  • By Savage

13. OFFF Barcelona 2011 Main Titles

OFFF Barcelona 2011 Main Titles

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

14. Mini - Rocketman Concept

  • Published: 2011-02-24T09:16:30+00:00
  • Duration: 129
  • By PostPanic
Mini - Rocketman Concept

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.


  • Published: 2015-04-07T13:06:37+00:00
  • Duration: 610
  • By PostPanic

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.

16. Asics Running Film

  • Published: 2010-02-18T16:48:36+00:00
  • Duration: 60
  • By PostPanic
Asics Running Film

Our friends at Amsterdam Worldwide asked Mischa to direct an atmospheric spot for the latest Asics running shoe, set to launch this Spring. Set in that magic hour, just before sunrise, the film captures an unexpected moment in the shoe's existence. Filmed by us on location at the Amsterdamse bos, we then performed some CG trickery back at PostPanic.

17. Stardust

  • Published: 2013-01-31T13:43:08+00:00
  • Duration: 240
  • By PostPanic

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: 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

18. Google Adwords - PostPanic - 2010

  • Published: 2011-09-03T22:26:22+00:00
  • Duration: 235
  • By Marnix
Google Adwords - PostPanic - 2010

PostPanic asked me to join their team for 3 weeks to work together on creating the Google Adwords 10 year celebration web-video. When I joined the production had already started and I was assigned to complete a number of shots according to the designs and animatic created by PostPanic. role - design (under supervision), modelling, texturing, animation and implementation of bee wing elements for all bee shots - creation of level of detail models to optimize rendering performance, based on a previously modeled, textured bee bodies - lighting, texturing and rendering hero bee shots visit for more information

19. Sundays Teaser #1

  • Published: 2013-12-12T09:14:34+00:00
  • Duration: 65
  • By PostPanic
Sundays Teaser #1 - 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.

20. Postpanic - Philips 2014 promo videos (Director's Cut)

  • Published: 2015-03-07T21:18:46+00:00
  • Duration: 57
  • By DDD Kralev
Postpanic - Philips 2014 promo videos (Director's Cut)

This is the director's cut of a project featuring the latest Philips TVs. I joined at a later stage and helped with rendering, shading and pre-comp of a big number of the shots with the CG screens. Brand - Philips Studio - Postpanic