Stash 130 trailer | STASH MAGAZINE

Preview Stash 130 and be Amazed!

Possibly our most dynamic issue so far, Stash 130 packs in a vast array of motion design, animation, and VFX plus behind-the-scenes features and exclusive interviews. [Read more]

A Report Of Connected Events PostPanic Mischa Rozema | STASH MAGAZINE

“A Report of Connected Events” by Mischa Rozema

Directed by PostPanic CD/founder Mischa Rozema, A Report of Connected Events explores “iconic moments in film and television history, blurring the lines between our reality and some of our favorite stories.” [Read more]

Ash Thorp Lost boy | STASH MAGAZINE

Ash Thorp and Anthony Scott Burns Unleash “LOST BOY”

The creative power-duo of Ash Thorp and Anthony Scott Burns team with venerable Amsterdam post and production company PostPanic to take you deep into their stark a-punk-alyptic future in this ominous proof of concept short film called “LOST BOY.” [Read more]

PostPanic’s Manic “30 Seconds”

UK sound designer Simon Pyke’s ongoing 30 Seconds project (challenging filmmakers to freely interpret a supplied audio clip) causes three directors from PostPanic in Amsterdam to abandon any sense of impropriety in what the studio calls “an x-rated cocktail of cell animation, stop motion, motion graphics and a lot of genitalia.” [Read more]

Be So Glad aimeo Brown | STASH MAGAZINE

Fons Schiedon and PostPanic: Jaimeo Brown “Be So Glad”

A snowy night in New Jersey and some skeletal matchmoves lend an otherworldly aura in this stark and unvarnished music video from PostPanic’s Brooklyn-based director Fons Schiedon for jazz drummer and crossover artist Jaimeo Brown’s track called “Be So Glad.” [Read more]

Behind the Scenes with PostPanic on TNT “The People Network”

Take a look at the immense and painstaking effort behind the TNT “The People Network” by director Mischa Rozema and his production/post crew at PostPanic in Amsterdam thru agency Etcetera.

Mischa Rozema: “There was just no way to turn a script like that down, even though it had ‘IMPOSSIBLE’ written all over it. The complexity, the size, the craziness. Maybe that’s what really pulled me in to this. I just loved stepping into the unknown and finding out how we could make this work.”

“We decided to really push what could be achieved in camera by actually creating a full size human truck on the set. It worked by having a huge, truck-sized, metal rig that could be pulled by an actual truck. We then filled it with an incredible Czech stunt team (famous for big Hollywood blockbusters) that had been rehearsing for weeks and gave the whole project a realistic approach.”

[Read more]