Identicals
None Of Us Are As Unique As We Think.
Identicals (in eerste instantie uitgebracht onder de naam Brand New-U) is een zeer onconventionele romantische thriller, geschreven en geregisseerd door Simon Pummell. Het is een obsessief liefdesverhaal, dat zich afspeelt in Londen in de nabije toekomst.
Samen met Barend Onneweer heb ik flink wat postproductie werkzaamheden voor deze Engelse film verricht. Mijn deel bestond uit een totaal van 87 shots, variërend van het ontwerpen en animeren van diverse UI designs tot het creëren van videowalls, set-extensies en clean-up werk.
Written and directed by Simon Pummell | Cast: Nick Blood – Johan | Nora-Jane Noone – Nadia | Tony Way – Gun Dealer / Santa | Lachlan Nieboer – Slater | Andrew Buckley – Friend Two | Tim Faraday – Finder (voice) | Jacinta Mulcahy – Abigail | Robert Wilfort – Surgeon Two ‘Peter’ | Clare Monnelly – Worker | Tim Ahern – The Founder | Phelim Kelly – Shopper | Martin Richardson – Santa 2 / Slater’s Body Double | Ryan Calais Cameron – Jay | Richard Sandling – Santa Three | Michelle Asante – Manager | Produced by: Farah Abushwesha – line producer | Conor Barry – co-producer | Stephanie Bollag – executive producer | Amy Gardner – executive producer | Keith Griffiths – executive producer | Frank Groot – delegate producer, Rinkel Film | John Keville – co-producer | Janine Marmot – producer | Emily Morgan – associate producer | Reinier Selen – co-producer | Music by – Roger Goula Sarda | Cinematography – Reinier van Brummelen | Film Editing – Tim Roza | Casting – Amanda Tabak | Production Design – Greg Shaw | Art Direction – Byron Broadbent, Mark Kelly | Costume Design – Suzanne Cave | Makeup Department: Charlotte Bentham – makeup artist | Sarah Downes – makup artist | Melanie Lenihan – hair and makeup designer | Alice Townes – makeup trainee | Production Management: Rory Dungan – production manager, Ireland | Emily Morgan – associate producer | Second Unit Director or Assistant Director: Fiona Bonnie – third assistant director | Harry Eagle – third assistant director | Bailey Marks – second assistant director | Paul Murphy – first assistant director | Art Department: Philip Barber – carpenter | Carlo Crescini – assistant art director | Laura Hiscoke – art department assistant: additional crew | Joel Honeywell – construction assistant | Rob Judd – property master / props | David Sawyer – carpenter | Julian Weaver – construction coordinator | Sound Department: Nick Baldock – adr mixer | Niall Brady – dialogue editor | Caoimhe Doyle – foley artist | Steve Fanagan – sound designer / sound re-recording mixer / supervising sound editor | Ken Galvin – sound re-recording mixer | Jean McGrath – foley mixer | Paddy McGuirk – sound (as Patrick McGuirk) | James Mulhearn – sound recordist (as Jimmy Mulhearn) | Sean Plunkett – sound recordist | Special Effects: Calab Strange – armourer | Visual Effects: Barend Onneweer – visual effects designer | Jasper Wessels – visual effects artist | Michiel de Graaff – visual effects artist | George Stamenov – visual effects intern | Adriaan van Veldhuizen – visual effects artist | Stunts: Aoife Byrne – stunt double: Nora-Jane Noone | Brendan Condren – stunt coordinator | Rick English – stunt driver | Peter Pedrero – stunt coordinator | Camera and Electrical Department: Garreth Caulfield – second assistant camera: second unit | Matt Deeley – electrician | Kilian Drury – best boy | Addo Gallagher – Irish gaffer / gaffer | Rob Hawkins – camera trainee | Jim Nicholas James – gaffer | Becky Lee – second assistant camera (as Becky Bruce Lee) | Niall Mannion – genny op | Alice Wooldridge Stevens – electrician | Floris van der Lee – focus puller | Vanessa Whyte – second unit director of photography | Casting Department – Nick McGinley – casting associate | Jennifer Lee Smith – casting assistant | Costume and Wardrobe Department: Nina Bertolone – costume trainee | Ilishio Lovejoy – assistant costume designer | Editorial Department: Maurits Malschaert – teaser editor | Barend Onneweer – colorist | Jennifer Woods – trainee editor
De User Interfaces moest futuristisch te zijn, maar niet te fancy en te slick. Ze moesten geloofwaardig zijn als technologie in de zeer nabije toekomst, waarbij interfaces onvolmaakt en gedateerd lijken.
Vandaag de dag hebben veel bewakingssystemen nog steeds lage frame rates en resoluties en afschuwelijke interfaces alsof we nog steeds in de jaren ’90 leven. Of kijk naar het vreselijke Microsoft Word, een volledig achterhaald en onwerkelijk tekstverwerking programma dat door de hele wereld gebruikt en ook gehaat wordt.
De diverse interfaces in de film zijn een mix & match van verschillende tijdperken en stijlen.
