![Cars 2 (2011) Official Trailer 2 [HD]](http://web.archive.org./web/20121028003336im_/http://i.ytimg.com/vi/-xbgdSwshhg/default.jpg)
published: 28 Jul 2010
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2:55
Lamborghini "Aventador"
Our latest car porn introduces Lamborghini's new super sports car Aventador with its 700 H...
published: 26 Apr 2011
Author: Sehsucht
Lamborghini "Aventador"
Our latest car porn introduces Lamborghini's new super sports car Aventador with its 700 HP bull power - powerful and classy just like his namesake, Spanish bull legend Aventador - relentlessly fighting the forces of nature in a 3-minute special effect thunderstorm, shot in the Californian desert Coyote Dry Lakebed and directed by Ole Peters.
C r e d i t s :
Client: Automobili Lamborghini S.p.A., Sant’Agata Bolognese, Italy
Brand Marketing Manager: Douwe Hilarius
Agency: Philipp und Keuntje, Hamburg, Germany
Creative Direction: Diether Kerner, Soenke Schmidt
Copywriter: Sandra Eichner, Adrienne Tonner
Art Direction: Rouven Steiman
Agency Producer: Felicitas Stahnke
Consultant: Steffen Schwab
Production: Sehsucht GmbH Hamburg, Germany
Service Production: Slim Pictures L.A, USA
Director: Ole Peters
DOP: Jordan Valenti
Aerial DOP: Kurt Soderling
Pilot: Lance Strumpf
Precision Car Driver: Rich Rutherford
Set Supervisor: Timo von Wittken
Concept Design: Anja von Harsdorf
Art Department Post: Anja von Harsdorf, Axel Brötje, Niklas Ohlson, Stephan Wever
Head Of 3D: Timo von Wittken
3D Artists: Maurice Panisch, Peter Balicki, Hannes Geiger, Felix Geremus, Vitaly Grossmann, Christian Keller, Stefan Galleithner, Christian Schnellhammer
Head of Compositing: Florian Zachau
2D Artists/Compositing: Yacoob Essack, Markus Gratl
Mattepainting / Look Development: Marco Iozzi
Storyboard Artist: Malte Romainczyk
Technical Director: Martin Chatterjee
Editor: Stephan Wever
Executive Producer: Martin Woelke
Producer: Andreas Coutsoumbelis, Jan Tiller
Music: DamienDamien
Sound Design: Supreme Music
4:11
Midnight Sun | Iceland
BEST VIEWED IN HD AND FULLSCREEN (with scaling off)
Midnight Sun: A natural phenomenon oc...
published: 15 Oct 2011
Author: SCIENTIFANTASTIC
Midnight Sun | Iceland
BEST VIEWED IN HD AND FULLSCREEN (with scaling off)
Midnight Sun: A natural phenomenon occurring in the summer months north of the Arctic Circle and south of the Antarctic Circle where the sun never fully sets and remains visible 24 hours a day.
This short time lapse film was shot during the Icelandic Midnight Sun in June of 2011.
For 17 days I travelled solo around the entire island shooting almost 24 hours, sleeping in the car, and eating whenever I had the time. During my days shooting this film I shot 38,000 images, travelled some 2900 miles, and saw some of the most amazing, beautiful, and indescribable landscapes on the planet. Iceland is absolutely one of the most beautiful and unusual places you could ever imagine. Especially during the Midnight Sun when the quality of light hitting the landscape is very unusual, and very spectacular.
Iceland is a landscape photographers paradise and playground, and should be number 1 on every photographers must visit list. Iceland during the Midnight Sun is in sort of a permanent state of sunset. The sun never full sets and travels horizontally across the horizon throughout the night, as can be seen in the opening shot and at the :51 second mark in the video.
During the Arctic summer, sunset was at midnight and sunrise was at 3am. The Arctic summer sun provided 24 hours a day of light, with as much as 6 hours daily of "Golden light". Once the sun had set it wouldn't even get dark enough for the stars to come out, and they don't start to reappear until August.
My advice to everyone out there, photographer or not, is simple... You MUST visit Iceland sometime during your lifetime. You will never regret it.
Interview with Michael Levy Studio about the film:
http://www.michaellevystudio.com/midnight-sun-an-icelandic-timelapse-by-joe-capra/
PRINTS AVAILABLE: http://shop.scientifantastic.com/
If you want to follow my future photographic events you can find me at:
Google+ (http://gplus.to/scientifantastic)
Twitter (http://www.twitter.com/scientifantasti)
Vimeo (http://www.vimeo.com/scientifantastic)
Facebook (http://www.facebook.com/pages/Scientifantastic/163137190447579)
500px (http://500px.com/scientifantastic)
GEAR
Motion Control System:
The motion controlled shots in this film were shot using the Stage Zero dolly system made by Dynamic Perception (http://dynamicperception.com/)
Cameras and Lenses:
2 Canon 5DII DSLR cameras
1 Canon 7D
Various Canon lenses
Music by This Will Destroy You
Song: "The World is Our"
Website: http://www.myspace.com/thiswilldestroyyou
Buy It on iTunes: http://itun.es/iBv9NS
Special Thanks to:
REYKJAVIK RENT A CAR (http://www.reykjavikrentacar.is/)
Dynamic Perception (http://www.dynamicperception.com/)
Jag35 (http://www.jag35.com/)
Kessler Crane (http://www.kesslercrane.com/)
LRTimelapse (http://www.lrtimelapse.com)
Timescapes (http://www.timescapes.org)
Michael Levy Studio (www.international-photographer.com) for his Icelandic eROADBOOK
(http://www.international-photographer.com/_roadtrips/iceland_2009/iceland_days_index.htm)
6:22
OFFF Barcelona 2011 Main Titles
Still shocked and excited from last night, it's an honor for us to show you this absolutel...
published: 12 Jun 2011
Author: OFFF, let's feed the future
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,
6:22
Year Zero - OFFF Barcelona 2011 Main Titles
Following in the footsteps of Prologue Films and The Mill, PostPanic have created this yea...
published: 09 Jun 2011
Author: 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
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