#*max kaspar

[localthumbcache]

baby, why you look so scared?

[rwpohl]

https://www.youtube.com/embed/PDvCx-xCsAo?si=IViK5aNIVp6PRV8L

tatort 1044: bausünden, kaspar heidelbach 2018

[pwlanier]

Witchcraft and magic: a man conducting magic rites, devils and a ghost appearing, and a hunter cowering in terror. Coloured etching. 1830.

An episode in the opera Der Freischütz, act 2, scene 6, by Carl Maria von Weber: Kaspar and Max in the Wolf's glen. The character Kaspar forges magical bullets with the aid of the evil spirit Samiel. In the background, huntsmen with horses and hounds fly through the night sky

Left, Kaspar inside a protective circle of flaming stones, tends to a fire in a brazier. A human skull is on the ground beside him. Outside the circle, hostile animals (a snake, a boar, an owl, a bat). Right, the ghost of Samiel materializes in the flame-coloured opening to a cave.

Wellcome Collection

[simbleleven]

1,2,14 & 15 for simblr ask game! 🫶🏻

HIII thank you for dropping by!✨

1. how big is your mods folder? 38.48GB, which is crazy to me, but I have seen the numbers of others, and they're enough to make me CRY.

2. how would you describe your style? MaxisMix, I think it's called? I used to be not super big on Alpha CC, but now I tend to use Clothes and Genetics of it and just go ham. I like the blend of being semi-realistic, but also stylized in a way.

14. who is your current favorite sim? How dare you make me choose between my babies, I would never play favorites. It's Shay.

15. who is your current favorite sim that is not by you? Somehow this question is worse, I literally have a whole shelf of Sim Blorbos from other people, that I've stuffed into my pockets. If I had to pick, it would be a hard choice between Max Kaspar from @localthumbcache and Ursula Coronado by @flovoid. Like, I see them and start clapping and cheering, and if they don't have any fans left in the world, then I'm dead.

[etymology-of-the-emblem]

Freikugel / フライクーゲル

Freikugel (JP: フライクーゲル; rōmaji: furaikūgeru) is the Hero's Relic tied to the Crest of Goneril. Rather than pulling from classic Norse and Germanic folklore, this axe references far more modern legends. The Freischütz, literally meaning "the free shooter" but often localized as "the marksman," refers to a man that made a deal with the devil. He is provided with a collection of magic bullets called Freikugeln (singular: Freikugel; lit. "free bullet") that will always strike their target. However, at least one of these bullets will be controlled by the devil, often causing the marksman's downfall. The earliest forms of this legend, traced to at least the late fifteenth century in Malleus Maleficarum in written form, had a man shoot a cross with an arrow in an attempt to gain three that he could guide when used. This would morph into the myth of forging bullets at night with the aid of witchcraft.

The most famous version of the story, written by Johann August Apel and Friedrich Laun, would be adapted into the opera Der Freischütz by Carl Maria von Weber and Friedrich Kind. In the story, the forester Max needs to prove himself in marksmanship before the prince to take his beloved Agathe for a wife. His friend and senior forester Kaspar, who longs for Agathe but was rejected, shows Max in private the ability of his last Freikugel, swaying him to cast more bullets so he can guarantee his marriage. In truth, Kaspar sought revenge against Agathe and the dead of Max. When he convened with his forbidden connection of Samiel, he sold Max's soul for seven bullets and a promise that one of them would be dead the next day. Before they arrive at the ceremony, Max and Kaspar used six Freikugeln: only the devil's bullet remained. When that bullet was loosed, it struck Kaspar, leaving Max to reveal the sin they committed.

The reference to the Freischütz is likely meant to relate to the character of Hilda, the only character able to use it at full strength. After all, she's the type of girl to take the easy way out, and gets others to do things for her. By using Freikugeln, Max and Kaspar tried to take the easy way out, rather than actually proving themselves.

The combat art Apocalyptic Flame has a few layers to its name. Firstly, in invokes the concept of the apocalypse, the end of the world as we know it. Typically the word apocalypse invokes the Judeo-Christian interpretation of the world's conclusion. Most prominent of these is the Book of Revelation from the New Testament, an event often depicted with fire raining upon the earth (said to occur after the first of the seven trumpets is sounded). Interestingly, the events of Revelation are supposed to bring the end of the devil Satan and sin, despite the axe being named after what he has dominion over.

In Japanese, Apocalyptic Flame is called 劫火 (rōmaji: gōka). This is a term used in Buddhism and Hinduism to refer to the fire that destroys the world in those faiths' apocalypses. In both the Buddhist apocalypse and the Hindu Pralaya, after a kalpa or aeon (JP: 劫; rōmaji: kō)—a bit longer than four-billion years in Hinduism—feature the world engulfed in the heat of seven suns. For the Buddhists, those who survive the destruction of the earth are the faithful. According to Hinduism, all life on earth would die out in a hundred-year drought prior to the entire universe being set ablaze. After total destruction, the god Vishnu brings a century of rain to bring an end to the fires, and Brahma creates the universe anew. Additionally, the name 劫火 is pronounced similarly to the word 豪華 (rōmaji: gōka), which refers to a showy life of luxury, appropriate for Hilda's character.

This was a segment from a larger document reviewing the name of most every weapon and item in Three Houses and Three Hopes. Click Here to read it in full.

[operaportugues]

Der Freischutz (O franco-atirador) (Weber) - filme-ópera "A Noiva de Hunter" 2010

Filme-Ópera completo com legenda em português: vídeo; legenda. Muitíssimo obrigado ao Henrique pela legenda gentilmente doada!

A Noiva de Hunter é um filme-ópera baseado na ópera romântica Der Freischütz, de Carl Maria von Weber. Os sonhos e esperanças da juventude são contados neste requintado conto de fadas. Max e Kaspar, ambos caçadores, lutam lado a lado nas Guerras Napoleônicas, ao mesmo tempo que disputam o amor de Agathe.

A história cultural europeia ganha vida em um panorama histórico opulento, acompanhado por uma das mais belas composições musicais. As imagens do diretor de fotografia norueguês Harald Gunnar Paalgard conferem uma dimensão espacial única ao som inigualável da London Symphony Orchestra, cuja gravação foi realizada nos lendários Abbey Road Studios.

Interpretado por renomados solistas de ópera — Juliane Banse, Michael König, Michael Volle e René Pape —, este filme-ópera foi um grande sucesso de público nos teatros europeus. Filmado em 35mm em locações originais na Alemanha, A Noiva de Hunter dramatiza esse conto encantado com imagens deslumbrantes, enquanto o som surround revive a música para os olhos e ouvidos da audiência.

Mergulhe na atmosfera sombria e romântica de A Noiva de Hunter. Com uma impressionante recriação histórica e cinematografia envolvente, transporta o espectador para um mundo de amor, destino e forças sobrenaturais.

🎼 Sinopse: Em uma aldeia germânica do século XIX, o jovem caçador Max enfrenta um desafio para conquistar a mão de sua amada Agathe. Para garantir seu sucesso, ele recorre a um pacto perigoso envolvendo balas mágicas – mas o preço pode ser alto demais...

🔹 Uma fusão magistral entre ópera e cinema 🔹 Figurinos e cenários autênticos 🔹 A poderosa música de Weber em uma nova abordagem visual

📽️ Não perca essa envolvente interpretação da primeira grande ópera romântica alemã!

Weber (1786-1826) projetou a ópera germânica na nova estética da época: o romantismo. Combinando o folclórico ao clássico, sua maior obra, Der Freischutz, abriu caminho para a ópera germânica em direção a Wagner.

Inspirada na história folclórica de um homem que vende a alma por amor, esta arrojada obra-prima teve sucesso imediato na estreia em 1821. Capturava toda a força diabólica das paixões e medos humanos. Vários compositores, incluindo Wagner, foram profundamente influenciados por sua temática alemã e sua brilhante orquestração. No cerne dramático desta ópera estão temas universais: a luta entre o bem e o mal, a providência e o acaso, os sonhos e a realidade, o amor e a morte. Apresenta também encantadores solos, canções tradicionais e coros arrebatadores. Mas algumas de suas passagens musicais mais impressionantes, inclusive a abertura, são instrumentais.

Der Freischutz marcou o advento da ópera romântica alemã. Ao longo do séc. XIX, óperas de Heinrich Marschener, Richard Wagner e Engelbert Humperdinck evocariam elementos originalmente integrados por Weber à sua obra-prima operística. Destacam-se entre eles os poderes sobrenaturais; a sombria ambientação florestal; poderosas forças naturais, como a tempestade; a vida rural, na forma de caçadas, festejos e elementos folclóricos.

As florestas alemãs são selvagens e densas, assim como a natureza das óperas românticas. Nada de jardins bem cuidados. Os românticos preferem a natureza selvagem, e Weber deixou isto claro na abertura de Der Freischutz. A floresta é muito importante para Weber. Apesar de os protagonistas nesta ópera serem os moradores, eu diria que a floresta também é um personagem. E, talvez, o mais importante.

É uma ópera feita para o povo. As pessoas se identificam com ela. O povo é fundamental nas óperas românticas. E logo na primeira cena, Weber nos mostra um festival. Hoje, isso é normal, mas naquela época isso era inédito. Até então, as óperas só falavam dos clássicos, da aristocracia. Weber começou uma revolução. Weber foi muito hábil ao escolher um campo de tiro como cenário da ópera. O tiro ao alvo era um dos hobbies favoritos na Alemanha. 

Weber nesta ópera inaugura o gosto pela fábula e magia. O pacto com qualquer entidade se faz com fé. E, claro, se faz com rituais, invocações e orações. Em geral, os humanos são muito simbólicos, precisamos de rituais para tudo (batizar, casar, etc). O pacto clássico remonta ao século XV, quando se estabelece a Inquisição e a bruxaria era praticada. Desde então, toda coisa incompreensível era um pacto com o Diabo. Nesta ópera o ritual de pacto com o Diabo ocorre na floresta, porque a floresta é a catedral suprema de todas as religiões primitivas. Em todas as culturas pagãs havia deuses da vegetação. Quando o cristianismo se espalha pela Europa, esses deuses, que eram muito venerados, não puderam ser cristianizados, então foram transformados em diabos.

Der Freischutz tem um final feliz. Mas como assim? Óperas românticas sempre terminam mal. Então porque esta tem um final feliz? Porque é a primeira ópera romântica e Weber não ousou dar-lhe um final trágico. Até então, no Classicismo, as óperas sempre terminavam bem. É isso o que Weber faz aqui.

Der Freischutz é uma ópera fundamental. Ela marca o antes e o depois. Sem ela, não haveria, por exemplo, Wagner.

Weber nos diz algo universal com sua música: ame suas raízes pois elas são parte de você. Aprenda a amar sua cultura, sua tradição, suas lendas, porque elas definem quem você é.

- Informações sobre este filme-ópera - Trailer: 01, 02. - (Vídeo) Making of - This is Opera - Der Freischütz - Weber (2015) - Resumo da Ópera: O Franco-Atirador - Carl Maria von Weber Museum: Wikipedia e vídeo. - Schützenkönig é o título de melhor atirador da cidade. - Onde mora o Diabo? 16/09/2021

[minnaeatsbread]

so i'll probably do a seperate post for charles. which means you are now left with me yapping about that damn opera that barely has something to do with dead boy detectives.

first just a basic guide to "der freischütz", it's about max who is a hunter's apprentice, he tries to win the love of agathe by doing a trial shoot but he struggles with hitting anything and now is worried he can't marry her. he also has a fellow apprentice, his name is kaspar and his two main character traits are that he's also in love with agathe and that he is posessed by the devil (who is named samiel for some reason) kaspar is like "hey i can make bullets that will always hit their target :) they don't cause any problems at all and the seventh bullet is definitely not owned by the devil :)" max obviously agrees but the rest of the plot isn't that important.

now, lets talk about the devil. samiel is represented by a leitmotive consisting of a diminished seventh chord (dissonant as fuck) and three timpani strikes. these can obviously be interpreted differently; the common interpretation is that the three timpani strikes represent the devil "knocking" at the door of the mortal plane. alternatively, it could represent his footsteps as the gates of hell are being opened.

now, dead boy detectives barely has anything to do with all this, i very highly doubt that this is intentional. the rhythmical structure of the music in the sacrifice scene does however have this sort of footsteppy, BUH-bum sound. and you can definitely interpret that as well. because it has that loud-quiet-loud-quiet structure it does sound unsettling in a way because it's sort of irregular without actually being irregular. to me, it sounds like something is getting closer :)

anyways. this is my life now. "der freischütz" is actually a really fun and accessible opera. and that music education better be good for something.

let us take a second to appreciate how well done the edwin-getting-sacrificed-to-a-demon-flashback is. it's insane

First of all: switching the picture to have the borders on the side is an amazing use of medium. it's creative and shows that a) we're in a completely different context than before and b) that context is from a long time ago. the black and white not only helps that but also shows a sort of bleak atmosphere, the dark is very pronounced and this is how edwin seems to see his world at that time.

Second of all, the music? having that unsettling, "knocking" sound is already very cool (traditionally i would interpret that knocking as the devil like in the opera "der freischütz". don't ask about it i'll yap for hours) but something about the instruments makes it sound like the music for a very old movie; it's sort of distorted because of the audio quality of these old recordings. it reminds me of those silent movies that are creepy because everything is - in lack of a better word - wrong. The picture is grainy, the audio is tinny. something about it is unsettling.

In conclusion: it's cold, dark, sort of claustrophobic. And that interestingly makes it very, very, different than Charles' death scene. I love this show.

[localthumbcache]

my baby. baby boy

[rwpohl]

polski crash, kaspar heidelbach 1993

[danielleurbansblog]

Review: Lines of Deception

Synopsis: A West German nightclub owner goes behind the Iron Curtain on a desperate mission to save his brother, in this Cold War thriller by the author of Lost Kin.West Germany, 1949. Former actor Max Kaspar suffered greatly in the Second World War. Now he owns a nightclub in Munich—and occasionally lends a hand to the newly formed CIA. Meanwhile, his brother Harry has ventured beyond the Iron…

[vitapictura]

YASMYN. Clarity for a Day or Two | Documentary | Trailer from Vita Pictura on Vimeo.

Experience the captivating journey of Yasmyn (Sinencia Jasmine Kass), a visionary artist whose roots span Dominican and Estonian heritage, a fusion that reflects her unique perspective in a world still discovering diversity. Yasmyn's daring, experimental music carved a niche and won her a devoted following. However, when the pandemic brought live concerts to a grinding halt, Yasmyn faced a daunting challenge. Forced to navigate the uncertainties of her twenties, she found herself balancing a life as a nail technician while fiercely holding onto her musical dreams.

Witness her unwavering determination as she battles through the universal struggles of this pivotal age – the relentless pursuit of success in the unforgiving music industry, the quest for financial stability, and the nurturing of relationships, both onstage and off.

This gripping narrative of resilience leads to a triumphant crescendo, where Yasmyn defies the odds on the biggest awards night of the year. Experience the artist's journey from hardship to glory, in a story of creativity and perseverance.

Production Company | Vita Pictura  vitapictura.co

Film Distribution | Film Tower / Margus Õunapuu

Directors & Producers | Anastasia Zazhitskaya & Georgius Misjura Producer l Roman Pototski Cinematography | Anastasia Zazhitskaya, Kaspar Kolk, Nikita Jegorov, Nikita Kurashov Poster & Teaser | Felix Laasme

Additional Footage | Axel Barde, Clyde Sistach, Aleksei Kulikov, Feliks Laasme, Kaspar Kolk, Martin Raid, Max Kazmirevski, Serj Rimma, Georg Puhm, Kevin Kohjus, Bedwetters, ProLab, Eesti Rahvusringhääling

Post-Production Company | Vita Pictura Color Grading | Lev Kovalenko Video Editors | Isam Muhammad, Georgius Misjura, Grete-Elisabeth Lauri, Lev Kovalenko, Victoria Villig Sound Design & Mixing l Venla Rummukainen Motion Design l Henry Parelo, Sukhpal Bhogal Translators l Grete-Elisabeth Lauri, Sinencia Jasmine Kass, Roman Pototski 

Special Thanks to l FastRise, Peeter Ehala, TIKS rekords, Bon Bon Lingerie, Bedwetters, Anneli Savitski, Number One Fight Show, Igor Shinkevich, Martin Raid, ProLab

Music l YASMYN & Caspar Mágus

Listen to YASMYN’s latest album Round III:
open.spotify.com/album/2tqFO1Rq97rLFMNqDAc18Z?si=wlaSdVNPRDC3gIHqJDZtvg 

» Connect with Vita Pictura Facebook → facebook.com/vitapictura Twitter → twitter.com/vitapictura Instagram → instagram.com/vitapictura Youtube → youtube.com/vitapictura Vimeo → vimeo.com/vitapictura

Contact us via E-Mail: info@vitapictura.co

[therealimintobooks]

#Interview ~ Lines Of Deception by Steve Anderson @SteveAwriter @partnersincr1me

Lines of Deception by Steve Anderson March 18 – April 12, 2024 Virtual Book Tour Synopsis: The Kaspar Brothers Series A West German nightclub owner goes behind the Iron Curtain on a desperate mission to save his brother, in this Cold War thriller by the author of Lost Kin. West Germany, 1949. Former actor Max Kaspar suffered greatly in the Second World War. Now he owns a nightclub in…

[edwin--artifex]

<- Samiel, der schwarze Jäger (Sprechrolle)

“Der Freischütz”, romantische Oper in drei Akten von Carl Maria von Weber

Kostümbildentwürfe von Edwin Alexander Francis (Tintenfeder- und Buntstiftzeichnung auf Karton, 22x45cm zirka)

Agathe, die Tochter des Erbförsters (Sopran) + Ännchen, Agathes Cousine (Sopran)

Kaspar, erster Jägerbursche (Bass) + Max, zweiter Jägerbursche (Tenor)

[soylazaro]

Channel 4 "Idents" from ELLIOTT POWER on Vimeo.

Client: Channel 4 Agency: 4creative Production: Art Practice Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic

Directors: Elliott Power, Saman Aminzadeh, Optical Arts, Bafic, Mike Battcock, Will Dohrn, Daniel Eatock, Mike Skrgatic and James Allen, Verity May Lane, Maria Lax, The Line, Louis McCourt, Justyna Obasi, The Romantix, Dan Tobin Smith, Daniel Wolfe & Matthew Watson

Voiceover: John Joseph Holt 4Creative

Executive Creative Director: Lynsey Atkin Managing Director: Katie Jackson Executive Producer: Louise Oliver Senior Producer: Lauren Holden Production Manager: Hope Sutherland Junior Producer: Jazz Stradling Channel 4 Chief Marketing Officer: Zaid Al-Qassab Marketing Director: Amber Kirby Head of Brand Transformation: Matt Berry Marketing Lead, Brand Transformation: Simi Murthy Marketing Executive, Brand Transformation: Lana Camp Art Practice x Love Song Creative Director (Art Practice): Mike Skrgatic Creative Director (Love Song): Daniel Wolfe

Executive Producer: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Coordinator: Shirley Crawford Production Assistant: Katie Reid

Directors of Photography: Daniel Landin, Eponine Momenceau Moco Supervisor: Simone Tartaglia Moco Operator: Tomi Keeling 1st Assistant Director: Rob Blishen Production Designer: Arthur De Borman Art Directors: Matthew Fraser, Imogen Grant Toner Casting Directors: Kharmel Cochrane, Claire Catterson, Found Casting, Belinda Norcliffe Costume Designers: Hannah Edwards, Bratsk Collective, Ella Lucia Hair & Makeup: Lu Hinton, Ainslie Currie Editor: Fouad Gaber, Trim Editing VFX and Post Production: Time Based Arts Audio Post Production: String and Tins

Time Based Arts

Producer: Chris Aliano 2D Supervisors: Stephen Grasso, Leo Weston, Miguel Wratten CG Supervisors: Mike Battcock, Sam Osborne, Nick Smalley 2D Team: Manolo Perez, Jamie Crofts, Olivia O’Neil, Lucy Lawrence, Valeria Scalamandre, Eleonora Laddago, Bernie Varela, Chris Fraser, Dan Cowley, Tom Robinson CG Team: Ben Cantor, Nigel Timms, Bethan Williams, Ian Baird, Jordan Coles, Maxime Ponsart, Joe Ibbett, Teodora Retegan, Quentin Corker-Marin, Stephen Ross Grading: Max Ferguson Hook, Simone Grattarola

String and Tins 

Audio Post Production: String and Tins Sound Supervisor: Will Cohen Sound Designers: Lawrence Kendrick, Culum Simpson, Jim Stewart, Kaspar Broyd, Adam Smyth, Joe Wilkinson, Adam Hare, Will Cohen, Mike Bamford Music Composers: Will Cohen, Culum Simpson, Adam Smyth, Jim Stewart, Kaspar Broyd, Miink, Cal Swingler, J. Caesar, Matthew Watson, Daniel Freeman, Anthony Moore Music Supervisors: Laura-Leigh Smith and Mike Bamford Audio Producers: Laura-Leigh Smith and Rachel Hough

Optical Arts & Dan Tobin Smith

Founder / Creative Director: Dan Tobin Smith EP / Studio Director: Hannah May Creative Directors: Fabrice Le Nezet, Martin Pryor, Joe Jackson CG team: Nicolas Damour, Flora Macleod Creative Assistant: Minna Griffiths Production Assistant: Stephanie Skarbek

The Line 

Directors: Tim McCourt, Max Taylor Executive Producer: Laura Breaden Producer: Macarena Gaset

[mergingonthefreeway]

Channel 4 "Idents" from ELLIOTT POWER on Vimeo.

Client: Channel 4 Agency: 4creative Production: Art Practice Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic

Directors: Elliott Power, Saman Aminzadeh, Optical Arts, Bafic, Mike Battcock, Will Dohrn, Daniel Eatock, Mike Skrgatic and James Allen, Verity May Lane, Maria Lax, The Line, Louis McCourt, Justyna Obasi, The Romantix, Dan Tobin Smith, Daniel Wolfe & Matthew Watson

Voiceover: John Joseph Holt 4Creative

Executive Creative Director: Lynsey Atkin Managing Director: Katie Jackson Executive Producer: Louise Oliver Senior Producer: Lauren Holden Production Manager: Hope Sutherland Junior Producer: Jazz Stradling Channel 4 Chief Marketing Officer: Zaid Al-Qassab Marketing Director: Amber Kirby Head of Brand Transformation: Matt Berry Marketing Lead, Brand Transformation: Simi Murthy Marketing Executive, Brand Transformation: Lana Camp Art Practice x Love Song Creative Director (Art Practice): Mike Skrgatic Creative Director (Love Song): Daniel Wolfe

Executive Producer: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Coordinator: Shirley Crawford Production Assistant: Katie Reid

Directors of Photography: Daniel Landin, Eponine Momenceau Moco Supervisor: Simone Tartaglia Moco Operator: Tomi Keeling 1st Assistant Director: Rob Blishen Production Designer: Arthur De Borman Art Directors: Matthew Fraser, Imogen Grant Toner Casting Directors: Kharmel Cochrane, Claire Catterson, Found Casting, Belinda Norcliffe Costume Designers: Hannah Edwards, Bratsk Collective, Ella Lucia Hair & Makeup: Lu Hinton, Ainslie Currie Editor: Fouad Gaber, Trim Editing VFX and Post Production: Time Based Arts Audio Post Production: String and Tins

Time Based Arts

Producer: Chris Aliano 2D Supervisors: Stephen Grasso, Leo Weston, Miguel Wratten CG Supervisors: Mike Battcock, Sam Osborne, Nick Smalley 2D Team: Manolo Perez, Jamie Crofts, Olivia O’Neil, Lucy Lawrence, Valeria Scalamandre, Eleonora Laddago, Bernie Varela, Chris Fraser, Dan Cowley, Tom Robinson CG Team: Ben Cantor, Nigel Timms, Bethan Williams, Ian Baird, Jordan Coles, Maxime Ponsart, Joe Ibbett, Teodora Retegan, Quentin Corker-Marin, Stephen Ross Grading: Max Ferguson Hook, Simone Grattarola

String and Tins 

Audio Post Production: String and Tins Sound Supervisor: Will Cohen Sound Designers: Lawrence Kendrick, Culum Simpson, Jim Stewart, Kaspar Broyd, Adam Smyth, Joe Wilkinson, Adam Hare, Will Cohen, Mike Bamford Music Composers: Will Cohen, Culum Simpson, Adam Smyth, Jim Stewart, Kaspar Broyd, Miink, Cal Swingler, J. Caesar, Matthew Watson, Daniel Freeman, Anthony Moore Music Supervisors: Laura-Leigh Smith and Mike Bamford Audio Producers: Laura-Leigh Smith and Rachel Hough

Optical Arts & Dan Tobin Smith

Founder / Creative Director: Dan Tobin Smith EP / Studio Director: Hannah May Creative Directors: Fabrice Le Nezet, Martin Pryor, Joe Jackson CG team: Nicolas Damour, Flora Macleod Creative Assistant: Minna Griffiths Production Assistant: Stephanie Skarbek

The Line 

Directors: Tim McCourt, Max Taylor Executive Producer: Laura Breaden Producer: Macarena Gaset

[tonin-terets]

Channel 4 Idents from Optical Arts on Vimeo.

Optical Arts worked with 4creative and Art Practice to direct and create five new idents for Channel 4, following their new masterbrand launch.

The idents consist of 25 unique looping scenes, designed to reflect what life is like in the UK today – through the eyes of 17 creatives, artists, and filmmakers. Each scene was developed from an open brief which invited each creator to interpret one of five themes: Identity (who we are), The Land (where we live), System (what controls us), Release (how we escape) and Love (all that really matters), with the idents being divided up into 5 sets of 5 films, each with its own distinct style and voice.

Our work is included alongside that of a diverse range of hugely talented directors, creating a unique and ambitious project, portraying a snapshot of Britain today.

Two of our scenes highlight some of the dark realities that technical advancement brings - widespread digital observation, and machine control. Whilst the other two address more human themes - the effect of serotonin on the brain and the experience of a broken heart.

We are thrilled to see our work within these idents as part of this epic and memorable project. Channel 4 have made some of the most iconic idents in TV history, and we are delighted to play a small part in continuing that legacy with this work.

Optical Arts directed and created 4 scenes: Shattering Room, Chemicals, Robotic Fulfilment Centre and Digital Tracking. Dinner Party was directed by Dan Tobin Smith, the studio’s founder.

Credits

Executive Creative Director: Lynsey Atkin Creative Directors: Mike Skrgatic, Daniel Wolfe, Lynsey Atkin, Bafic Directors: Saman Aminzadeh, Optical Arts, Bafic, Mike Battcock, Will Dohrn, Daniel Eatock, Mike Skrgatic and James Allen, Verity May Lane, Maria Lax, The Line, Louis McCourt, Justyna Obasi, Elliott Power, The Romantix, Dan Tobin Smith, Daniel Wolfe Voiceover: John Joseph Holt OPTICAL ARTS & DAN TOBIN SMITH Founder / Creative Director: Dan Tobin Smith EP / Studio Director: Hannah May Creative Directors: Fabrice Le Nezet, Martin Pryor, Joe Jackson 1st AD: Rob Blishen Moco: Simone Tartaglia & Dennis Henry SFX: David Plewis for Asylum CG team: Nicolas Damour, Flora Macleod Creative Assistant: Minna Griffiths Technical Assistant: Elliott Lowe & Jack Lovell Production Assistant: Stephanie Skarbek ART PRACTICE X LOVESONG Creative Director (Art Practice): Mike Skrgatic Creative Director (Love Song): Daniel Wolfe EP: James Guy Producer: Bonnie Anthony Production Manager: Julia Guignabel Production Assistant: Katie Reid Directors of Photography: Daniel Landin, Eponine Momenceau Moco: Simone Tartaglia & Tomi Keeling 1st AD: Rob Blishen Production Designer: Arthur De Borman Casting Directors: Kharmel Cochrane, Claire Catterson, Found Casting, Belinda Norcliffe TIME BASED ARTS Producer: Chris Aliano 2D Supervisors: Stephen Grasso, Leo Weston, Miguel Wratten CG Supervisors: Mike Battcock, Sam Osborne, Nick Smalley 2D Team: Manolo Perez, Jamie Crofts, Olivia O’Neil, Lucy Lawrence, Valeria Scalamandre, Eleonora Laddago, Bernie Varela, Chris Fraser, Dan Cowley, Tom Robinson CG Team: Ben Cantor, Nigel Timms, Bethan Williams, Ian Baird, Jordan Coles, Maxime Ponsart, Joe Ibbett, Teodora Retegan, Quentin Corker-Marin, Stephen Ross Grading: Max Ferguson Hook, Simone Grattarola STRING & TINS Audio Post Production: String and Tins Sound Supervisor: Will Cohen Sound Design: Lawrence Kendrick, Culum Simpson, Jim Stewart, Kaspar Broyd, Adam Smyth, Joe Wilkinson, Adam Hare, Will Cohen, Mike Bamford Music Composers: Will Cohen, Culum Simpson, Adam Smyth, Jim Stewart, Kaspar Broyd, Miink, Cal Swingler, J. Caesar, Matthew Watson, Daniel Freeman, Anthony Moore Music Supervisors: Laura-Leigh Smith and Mike Bamford Producers: Laura-Leigh Smith and Rachel Hough