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1. PostPanic - Showreel

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

2. 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


3. Stardust

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

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


4. 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.


5. SUNDAYS

  • Published: 2015-03-16T15:20:13+00:00
  • Duration: 890
  • By PostPanic
SUNDAYS

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


6. LOST BOY

  • Published: 2016-10-24T12:21:09+00:00
  • Duration: 541
  • By PostPanic
LOST BOY

Year unknown. Population Zero. Welcome to LOST BOY. Following in the footsteps of SUNDAYS, their debut concept short success which turned heads worldwide last year, comes LOST BOY, the hugely awaited punk sci-fi feature project which is next in-line from visionary outfit PostPanic Pictures. Directed by Ash Thorp and Anthony Scott Burns, this LOST BOY concept short lays down the gauntlet once again by showcasing the creative ambitions of Hollywood’s next generation of storytellers. LOST BOY is an ambitious sci-fi concept heavily influenced by the American action classics and Japanese samurai films. LOST BOY represents the second feature in a series of director-driven film projects from the Amsterdam-based production company, PostPanic Pictures. postpanic.com/lostboy www.lostboyworld.com POSTPANIC PICTURES present - a ASH THORP & ANTHONY SCOTT BURNS film produced by MISCHA ROZEMA & JULES TERVOORT and starring NEREA REVILLA - WASTECLEY MORALES “LOST BOY” - original score by ANGUS MACRAE & PILOTPRIEST - director of photography ARNAU VALLS COLOMER - edited by ANTHONY SCOTT BURNS - vfx supervisor IVOR GOLDBERG - co-producers JONAS HENDRIX - ALVARO WEBER - costume design PATRICK RAZO - associate producer ANNEJES VAN LIEMPD - consulting producer ANIA MARKHAM - sound designer JOCHEN MADER - producers JULES TERVOORT - MISCHA ROZEMA - story, screenplay & directed by ASH THORP & ANTHONY SCOTT BURNS Copyright @ 2016 by PostPanic Pictures B.V. All Rights Reserved


7. SUNDAYS VFX BREAKDOWN

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

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


8. Year Zero - OFFF Barcelona 2011 Main Titles

  • Published: 2011-06-09T10:23:12+00:00
  • Duration: 382
  • By PostPanic
Year Zero - OFFF Barcelona 2011 Main Titles

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.


9. Sundays Teaser #1

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

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.


10. MTV Rocks! - Ident Series 2

  • Published: 2010-10-01T14:04:02+00:00
  • Duration: 38
  • By PostPanic
MTV Rocks! - Ident Series 2

MTV Rocks Series 2 Director: Mischa Rozema Production: PostPanic Agency: MTV World Design Studio (Milano) PostPanic create 3 new stories for MTV Rocks bringing the total to 8 idents. The three new idents, ‘Loop-the-Loop’, ‘Bugs’ and ‘Fly-by’ are a continuation of director Mischa Rozema’s theme for the channel. The initial brief for PostPanic was to encapsulate the mood and emotion associated with alternative music and create a series of idents to serve the MTV Rocks branding established by the MTV World Design Studio (Milano). Rozema developed a central theme of an on-going film that the viewer drops in and out of, and wrote a set of scripts based in an imaginary landscape populated with surreal characters and situations. Shot on location in Northern Spain, the footage was then brought back for some CG trickery back here in Amsterdam. Massive Music worked on the audio side of things. Mischa Rozema explains further, ‘My main idea was to create the opposite of what you would expect on a music channel. MTV has always been about extreme visual and musical diversity – it’s a constant change in pace. I wanted to create idents that did the opposite, that literally formed an underlying ‘film’, something you might stumble across while channel hopping. When you come across this reoccurring film, it should evoke questions, just as if you found it while flicking the remote. What is this film? What’s happening in it? What’s the relationship between the scenes? And before you can answer anything, it changes but the viewer wants to know what’s going on and they continue watching and waiting for the next one. So basically it’s about filling the screen with as many unanswered questions as possible within 12, 10, 5 and 3 seconds, as long as it was visually stunning and conveyed the energy that’s attached to MTV Rocks.’ FULL CREDIT LIST FOR MTV ROCKS (For PostPanic) Production Company: PostPanic Director: Mischa Rozema Executive Producers: Ania Markham, Jules Tervoort Producer: Annejes van Liempd DOP: Steve Walker Styling: Charissa Bos Location: Hotel Aire de Bardenas (Spain) Animal Handler: Zooko Producciones (Spain) Model: Miro Klasinc Post-Production: PostPanic Editor: Mischa Rozema CG Supervisor: Ivor Goldberg VFX Supervisor: Chris Staves Matte Painter: Wieger Poutsma 3D Artists: Manuel Ferrari, Jeroen Aerts, Onno van Braam, Matthijs Joor, Dimitar Kralev, Jurriën Boogert 2D Artists: Miro Klasinc, Jord Veerman, Erwin van den IJssel Compositing: Chris Staves, Ivor Goldberg Music & Sounddesign: MassiveMusic Amsterdam  (Guy Amitai, Fred Kienhuis and Lodewijk Pöttker) (For MTV World Design Studio - Milano) VP Creative Director MTV International: Roberto Bagatti Art Director: Dylan Griffith, Carlos Carrasco Associate Creative Director: Anna Caregnato.


11. Jaffa - Posters

  • Published: 2012-03-30T11:26:42+00:00
  • Duration: 40
  • By PostPanic
Jaffa - Posters

Director: Mischa Rozema Production Co: PostPanic Agency: Sek Grey (Finland) The retro-feel present throughout the commercial, comes from the JAFFA brand itself. On the Finnish market since 1949, the orange drink is still in the top 3 of most popular soft drinks in the country. JAFFA is part of Hartwall which is owned by Heineken International. The internationally awarded 85 year old graphic designer Erik Bruun is best loved for his iconic posters and adverts for Hartwell and his work has been awarded the prestigious Pro Finlandia medal. You could call him a Finnish institution. Not only does PostPanic’s commercial make Bruun’s work come alive but he can be seen for the first time in the flesh, sketching the Jaffa logo. Director Mischa Rozema wanted to create a commercial based on Bruun’s legacy. This time though, Mischa had to base his visual direction on someone else’s graphic aesthetic rather than his own. The result, another trademark visually unique mixed media film, combining live action with 2d/3d animation, motion graphics, stock footage and visual effects. Director Mischa Rozema says he was inspired by the look that Bruun created: “ The story needed to be told by the means of the actual posters. We had to create more 2D landscape to imaginary landscape where we go from a poster to another one. We had to choose the posters that had the most in them landscape and storytelling wise. I was inspired by the simplicity and retro feeling which reminded me of Saul Bass’s work. Bruun’s work has that same contemporary feeling and textures use that makes it real” CREDITS Client: HARTWALL Category Marketing Manager: Leena Koskinen Jaffa Brand Manager: Outi Lahtinen Advertising agency: SEK & GREY Key Account Director: Marja Vattulainen Producer: Elina Estlander Art Director: Ville Granroth Copywriter: Sami Korjus Production service and consulting: Front Desk Oy Producer and Production consultant: Merja Metsävaara-Mildh Production manager: Noora Karhunen 1st Assistant director ( Live shoot ): Janne Launo Accountant: Elisa Lotti Production company: POSTPANIC Director: Mischa Rozema Executive Producer : Jules Tervoort Production coordinator: Elina Suhanko CG Supervisor: Ivor Goldberg 3D Animators: Patrick Chin, Jurrien Boogert, Marti Pujol 2D Graphics & Animation: Erwin van den IJssel, Doma Harkai, Kerstin Hoehne Music & Sound design: MassiveMusic Helsinki shoot: Talent: Erik Bruun DOP: Daniel Lindström Focus puller: Jarkko Liikanen DIT: Toni Panula Grip: Tommi Tikanoja Gaffer: Aki Karppinen Technician: Timo Haapasaari Runner & catering: Hanna Hälikkä Production designer: Antti Nikkinen Set build: Roland Mildh Make up, hair and wardrobe: Iiris Virranta


12. 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.


13. MTV Rocks! - Ident Compilation

  • Published: 2010-10-28T16:31:31+00:00
  • Duration: 101
  • By PostPanic
MTV Rocks! - Ident Compilation

MTV Rocks Series 2 Director: Mischa Rozema Production: PostPanic Agency: MTV World Design Studio (Milano) PostPanic create 3 new stories for MTV Rocks bringing the total to 8 idents. The three new idents, ‘Loop-the-Loop’, ‘Bugs’ and ‘Fly-by’ are a continuation of director Mischa Rozema’s theme for the channel. The initial brief for PostPanic was to encapsulate the mood and emotion associated with alternative music and create a series of idents to serve the MTV Rocks branding established by the MTV World Design Studio (Milano). Rozema developed a central theme of an on-going film that the viewer drops in and out of, and wrote a set of scripts based in an imaginary landscape populated with surreal characters and situations. Shot on location in Northern Spain, the footage was then brought back for some CG trickery back here in Amsterdam. Massive Music worked on the audio side of things. Mischa Rozema explains further, ‘My main idea was to create the opposite of what you would expect on a music channel. MTV has always been about extreme visual and musical diversity – it’s a constant change in pace. I wanted to create idents that did the opposite, that literally formed an underlying ‘film’, something you might stumble across while channel hopping. When you come across this reoccurring film, it should evoke questions, just as if you found it while flicking the remote. What is this film? What’s happening in it? What’s the relationship between the scenes? And before you can answer anything, it changes but the viewer wants to know what’s going on and they continue watching and waiting for the next one. So basically it’s about filling the screen with as many unanswered questions as possible within 12, 10, 5 and 3 seconds, as long as it was visually stunning and conveyed the energy that’s attached to MTV Rocks.’ FULL CREDIT LIST FOR MTV ROCKS (For PostPanic) Production Company: PostPanic Director: Mischa Rozema Executive Producers: Ania Markham, Jules Tervoort Producer: Annejes van Liempd DOP: Steve Walker Styling: Charissa Bos Location: Hotel Aire de Bardenas (Spain) Animal Handler: Zooko Producciones (Spain) Model: Miro Klasinc Post-Production: PostPanic Editor: Mischa Rozema CG Supervisor: Ivor Goldberg VFX Supervisor: Chris Staves Matte Painter: Wieger Poutsma 3D Artists: Manuel Ferrari, Jeroen Aerts, Onno van Braam, Matthijs Joor, Dimitar Kralev, Jurriën Boogert 2D Artists: Miro Klasinc, Jord Veerman, Erwin van den IJssel Compositing: Chris Staves, Ivor Goldberg Music & Sounddesign: MassiveMusic Amsterdam (Guy Amitai, Fred Kienhuis and Lodewijk Pöttker) (For MTV World Design Studio - Milano) VP Creative Director MTV International: Roberto Bagatti Art Director: Dylan Griffith, Carlos Carrasco Associate Creative Director: Anna Caregnato.


14. Google Adwords - Thank You

  • Published: 2010-12-09T13:47:01+00:00
  • Duration: 235
  • By PostPanic
Google Adwords - Thank You

AKQA San Francisco asked PostPanic to help create a unique 10th anniversary thank you film to more than 1 million Google AdWords clients worldwide. The agency's idea was to individually address each of the clients by incorporating their company name in the film visuals. PostPanic took on the challenge of creating the main film which would then be handed over complete to Google's customization agency for clients' name integration. Director Mischa Rozema developed AKQA's script to include a fictitious Google research department trying out ambitious experiments to feature each advertiser. A combination of live action and vfx, the footage was filmed by PostPanic in around Google HDQ in California, before being brought back for post in Amsterdam. CREDIT LIST FOR GOOGLE ADWORDS: (For PostPanic) Production Company: PostPanic Director: Mischa Rozema Executive Producers: Jules Tervoort, Ania Markham Senior Producer: Annejes van Liempd DOP: Joost van Starrenburg Line Producer: Joy Czerwonky Casting Director: MaryClaire Sweeters 1st AD: Annie Spiegelman Post-Production: PostPanic Editor: Rocky Bazemore CG Supervisor: Ivor Goldberg VFX Supervisor: Chris Staves Matte Painter: Wieger Poutsma 3D Artists: Jeroen Aerts, Matthijs Joor, Adam Janaczek, Simeon Patarozliev, Jurriën Boogert, Marnix Reckman, Luc Thijssen, Ruud Coenen 2D Artists: Erwin van den IJssel, Giso Spijkerman [matchmoving] Compositing: Chris Staves Music & Sounddesign: Bluwi (For AKQA San Francisco) Executive Producer: Nancy Cardillo Group Creative Director: Neil Robinson Copywriter: Vinit Patil Account Manager: Christina Wong (For Google) Head of AdWords Product Marketing: Jon Diorio


15. Pause Cribs

  • Published: 2012-11-23T08:38:17+00:00
  • Duration: 278
  • By PostPanic
Pause Cribs

Pause Digital Festival brings some of the world's best and brightest leaders in the digital industries to Melbourne, Australia. For their 2012 edition, Pause asked Postpanic to contribute to their popular Pause Cribs section - a series of films made by individual studios to show where they work and create. In typical Postpanic fashion, we got over-excited and threw ourselves into the challenge unleashing the dark directing force of Doma Harkai, the Hungarian member of our in-house motion design team, onto the project. Shot entirely at Postpanic with only the slightest hint of some VFX, Doma welcomes you to Pause Cribs Postpanic-style.


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. Sundays Teaser #2

  • Published: 2014-04-25T09:40:34+00:00
  • Duration: 45
  • By PostPanic
Sundays Teaser #2

www.sundaysmovie.com - PostPanic's long-awaited film project 'SUNDAYS' releases its second 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 online release on 23rd of March 2015.


18. MTV - Change 'M

  • Published: 2010-06-02T13:13:28+00:00
  • Duration: 76
  • By PostPanic
MTV - Change 'M

Director: Dvein Production: PostPanic Agency: MTV Benelux As part of their MTV Oooh rebrand, MTV commissioned leading Dutch creative outfits to come up with short films to communicate the new philosophy. Dvein's short film is one of two films made by PostPanic. Their treatment is based on a sphere, a basic shape found all around us. It can react, transform, convert into different shapes and generate other geometry.


19. Asics - MetaRun

  • Published: 2015-11-27T09:48:57+00:00
  • Duration: 93
  • By PostPanic
Asics - MetaRun

Produced by PostPanic, MetaRun is a futuristic take on the intensive testing facilities found at ASICS headquarters in Japan. Commissioned as an integrated product film by 180 Amsterdam, PostPanic stepped up determined to push the boundaries once again since their last award winning ASICS film, Running Expansions, back in 2010. This time Turkish director Onur Senturk took on the challenge from their side, chosen primarily for his highly aesthetic and future-facing graphic eye. 180 Amsterdam's script appealed directly to Senturk's aesthetic and allowed PostPanic to play to their strengths applying a mixed media approach combining live action with high-end VFX to communicate the intense testing process the MetaRun is put through. Filmed in Amsterdam with athletes, actors and product against green screen, the post-production then required extensive design and animation of bespoke training facility interiors and technology, combined with a seamless transition between real and CG elements. Brand: Asics Client: Global Brand Manager - Running: Mike Brabant Agency: 180 Amsterdam President and Chief Creative Officer: Al Moseley Creative Director: Dan Treichel, Dave Canning Creatives: Joe Craig, Tony Bartolucci Producers: Bethany Papenbrock, Jo Kelly Account Director: Kim Waugh Production Company: PostPanic Director: Onur Senturk Executive Producer: Annejes van Liempd Music Composition & Sounddesign: Audionerve, Jochen Mader DoP: Hessel Waalewijn Post Production: PostPanic


20. PostPanic Showreel 2009

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