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<---------------------------------------"May all your dreams come true in 2013"

  • Listening to: sigur ros
58th international short film festival Oberhausen 26/04-01/05/2012 GERMANY

Barış learns from his grandfather what happens when seeds are sown. But will every seed sown, blossom?
Barış dedesinden tohum ekmeyi öğrenir. Ama acaba ekilen her tohum çiçek verir mi?

An animation short film about a world of a child which turns dreams into the reality..

Baris saw that every seed his grandfather planted become a flowered tree. After that he believed that anything planted in the soil can grow and be beautiful.Baris inspired by this and digged his carousel in the soil. The next morning he saw a fair ground at the place where he had digged his carousel. He started having fun on the caousel, but this happiness did not last for so long. The following day was going to bring war, destroy and bomb everything.All the colours fade and turn gray.At first Baris became so disappointed, but the he decided not to give up hope. He will start to dig everything in soil again to make them green.

Production:Istanbul Mass Media
Co-Producer:The Ministry of Culture, in Turkey
Producer: Cengiz Keten
Director:H.Sercan Tunali
Script:Eda Catalcam
Animators:Emre Buyukbayram, Serdar Erday, Ugur Ulvi Yetiskin, Cihan Gultas
Music: Okan Kaya
Sound:Selim Keten

*"Barış" means Peace in Turkish

*58th international short film festival Oberhausen 26/04-01/05/2012 GERMANY
*5th Kristal Klaket Short Film competition, April 9, 2012 TURKEY
*6th 'KISADANHİSSE' Short Film Festival! March 11, 2012, TURKEY
*Ascona Film Festival, at the Hotel Ascona. Thu 23 february 2012! SWITZERLAND
*Green Competition of GFFIS 2012 in Seoul, SOUTH KOREA
*Los Angeles Turkish Film Festival "Special Screening" 2012 USA
*23rd Ankara International Film Festival, finalist (Animated shorts category) 2012 TURKEY
*17th Hong Kong Independent Short Film and Video Awards 'Jury Recommendation' in March, 2012 CHINA
*Ayvalık International Film Festival 'National Selection' in June, 2012 TURKEY
*1th International Bursa Child Rights Film Festival, 2011 TURKEY
*London Turkish Film Festival, 2011 ENGLAND
*Istanbul Animation Festival Finalist, 2011 TURKEY

'Flying Ship' is up for scoring

Journal Entry: Tue Nov 29, 2011, 5:29 AM
Please give a vote!…

Interview with Andrew director at Pixar

Journal Entry: Fri Jul 1, 2011, 2:15 AM

You wear many hats at Pixar-you're both a director of photography and co-writer and -director of the short film One Man Band. First, tell me more about your work as a director of photography.
As director of photography for The Incredibles, I helped provide for director Brad Bird detailed story reels with camera moves and temporary effects before it went into production (this is also known as animatics). Because I have a background in live action, my role was to create that natural imperfection in the shots that people are used to seeing. Computers make everything perfect, so I would add the effect of what it would look like if a guy were holding a camera and it were real. I added camera shakes, imperfections and rotations to give a dynamic edge to the scenes. I would also supervise and work with the animators and layout, and supervise the transition of camera movement into 3-D.

How did you add the camera moves and effects to the story reels?
I used the computer programs Photoshop and After Effects to apply them to the storyboards.

Is it challenging working with the drawings vs. live action?
In live action you have to be more practical-it's subject to reality and to sets and locations. Like, you can't put a camera where there's a wall. In animation, you have more freedom. But it can be a battle to make the software do what I see in my mind. And it's difficult not letting the technology get in the way of what I see.

Did you use any of these techniques in One Man Band?
We had a different take on One Man Band camera work. It's not a big action film with a lot of movement. It's very theatrical, so we wanted the shots to feel like how an audience feels while sitting in a theater. The movie opens with a red curtain and orchestra warming up. Once the duel begins, though, we loosen up the camera a bit and get in there a little more.

What's your biggest challenge as a director of photography and as a short-film director?
In photography, it's cutting that one frame, making the shot better. And to be hyper-detailed but know when to back off because sometimes that detail doesn't matter. As a director, the biggest challenge was just developing the story, because it is the most important thing. You can't relax until you get the story right-there's no room for error in story. One of the interesting things about a short is it's harder to tell your story. In a feature if you make a mistake, you have an hour to ask for the audience's forgiveness. But in a 3-minute short, if we lose the audience at all, it's over.

What differences were there between directing and your work in animatics?
On The Incredibles, my job was sitting at the computer and physically doing the work on each shot. But when directing, it was more of an overview process-I was working with a group of people and keeping every aspect of the film in my head. I gave people their one part of the film and had to keep track of where their pieces fit into it, like a puzzle. At the end of the day, it was tremendous amounts of fun because I had wanted to direct since I was a kid.

What inspired you as a kid?
It started with the opening shot in Star Wars where the ship soars over the camera. I was 5 years old when I saw a photograph of the real Star Destroyer model and realized it was about 3 feet long. I thought, "How did they get that thing to look so mammoth as it came over the camera?" I knew right then that it was trickery, and I wanted to learn how to do it. That's what I do now.

How so?
Just as I was moved and believed that the Star Destroyer was real as a kid, both as a director of photography and a writer-director, I love making audiences believe the story they are watching is real. It may be a space ship, an emotion, a funny moment, or a character we love. All these add up to making a good story. It's all about making the audiences believe the story is real, at least while they watch it.

And how does it feel to watch your film?
Even though it's only a 4-minute journey, it's been the biggest rush for me by experiencing the film with people and having them laugh or respond to the film. And for that brief time, they believe it. It's doing to them what a 3-foot-long model spaceship did to me many years ago.

When did you decide you wanted to pursue making films?
From day one, but I started getting serious about it in grade school by making feature-length movies that starred my friends. In high school while making one of these films, we were filming a chase sequence. I was riding a bicycle and had an accident. I ruined the camera and injured my arm. So that movie was over-my friends were moving on to college, which meant I didn't have my cast members any more. Then I got into film school and met this whole group of people who loved the same thing I did. I threw myself into film for the entire four years in college, struggling in every class but film. That was all I wanted to do.

How did you break into the film industry?
I grew up in San Diego, so I didn't know anyone in the industry. I was watching film as much as I could. I watched A&E because they played movies in cinemascope. I remember watching them in widescreen, because I could get a sense of what the camera was doing. How the camera was physically moving in space. Full-screen kills that, as well as the overall experience of the film.

I got my bachelor of science in film from San Diego in 1995. It was very hard to find work, so I ended up working in insurance for two years at OwnerGUARD. This was quite a detour but ended up being great. There were no computers at my film school back in 1995, so it took working in insurance to get experience designing logos with the computer. The reality of Hollywood and finding work became apparent-I had to become a bully to get in. I went to art departments and lied that I had an interview when I didn't. I'd show up in a suit and when they couldn't find me scheduled, I'd say, "I drove all the way up from San Diego," and nine times out ten I got to talk to someone. I finally got an interview at Warner Bros. for one of its animated features. I didn't get the job, but I got to meet someone else at Warner Bros. I started on Iron Giant using animatics in story. After Iron Giant I stayed at Warner Bros. to work on Osmosis Jones. And then went on to a bunch of development projects and left for Sony to work on Spider-Man. Outside of work, I was constantly writing.

What advice would you give to someone wanting to break in to animated films?
As animation seems to be moving to a more technically based medium, I think one of the most powerful things is to have both an artistic background and technical knowledge. With animatics you have to be able to draw well and know the computer. For directing, you have to have a writer's sensibility and artistic background. Learn the technology but don't let it get in the way of what has made animation so great in the days when there were no computers. There is no one single way to get in to the film industry. I don't recommend the lying thing, but I think you have to find some bulldogged way to get in-especially in Los Angeles. When breaking in, it sometimes can be about luck and who you know. That's why I loved coming up to Pixar and that's why I'm staying-it's the opposite of L.A. Everyone wants to be surrounded by top talent and it drives you and pushes you.

I'm back!

Journal Entry: Mon Jun 6, 2011, 6:47 AM

I am back to make new arts! I have passion to do everything, every sketches, digital paintings, and I also would like to produce many new shorts. You cannot miss my feelings, filled up with colourful imagination. Yes! It is enough, let us start to live in a beautiful world..

Warmly regards.

Artists' issue

Journal Entry: Sat Oct 9, 2010, 7:30 AM

We sometimes have to work for these kind of employers who have bad behaviour, please be carefull while you are keeping your profits. Hope you read all the article below

I've hired a bunch of people to do art for some of my largest games, I thought I would give a little insight on what do when hiring yourself.

How to find an artist:

I recommend looking through art sites such as Deviantart for an artist which suits your taste, or any other site that has a decent art community such as Newgrounds. There's a few reasons you want to find an artist this way. First of all, they're cheaper. These guys aren't used to making a lot of money for their work so they will be more appreciative of the chance even if they are being payed slightly less than what professionals are payed. Second of all, they're better. The quality of art you can find through this method is pretty amazing, and the vast amount of artists guarantee you will find something that suits your tastes and needs. Unless you have a specific price you want to pay in mind, ask THEM what they are willing to charge for the project. This usually causes people to give offers that are lower than what you normally pay, and will make them happy.

How NOT to find an artist:

Do not look for either professional artists, or an artist that has done a lot of game design work in the past. The problem with artists who do this as their full time job is that they're usually expensive. Compared to what you can find through art sites, these guys tend to cost an arm and a leg. Artists who have done a lot of game design work are also bad for a similar reason, they know how much flash games can earn so they expect a decent percentage of the profit. It's ridiculous to pay something 50% of a sponsorship when you can find someone else who would accept $500 for the same job. When your game sells for $10,000, the difference in cost is a multitude of 10.

Artist payment:

Make it clear to whomever you hire that they will not be payed until ALL the work is completed, unless it is completed by a predefined date, and unless it matches or exceeds expectations. Sometimes I have an issues getting all of these things, but if you give someone a job they're expected to treat it as so even if they're just a hobbyist. Paying prior to the completion of the project is a bad idea for several reasons. Only paying for the finished work encourages the artist to finish their job faster, if you pay up front the artist has no motivation to finish quickly. Similarly, if you pay up front the artist could disappear and you may never get what you payed for!

Keep them in the dark:

This relates back to what I talked about earlier. If an artist knows how much their artwork will increase the value of the game they will then feel they deserve that amount of money. This is not how a market economy works, you hire whoever is able to do the best job for the lowest amount of money, anything else is a loss of money on your end.


Give strict dates about when you need the art done (even if you don't) and give consequences by deduction in pay if the art is not completed by the date. Unless the person you've hired happens to be very punctual, you will need strong motivation to make sure they finish the art in a timely manner. Try to only hire people ages 18+ (I may sound a little hypocritical here), kids are generally less reliable and have more IRL things come up that they can't control. I've had several bad experiences with this.

For further information >>…

Journal CSS By dot-Silver


Journal Entry: Fri Jul 23, 2010, 11:51 AM
  • Listening to: Wind


Journal Entry: Mon May 31, 2010, 12:49 AM

Brilliant night for all, and the best show that I have ever seen. There was many creatures! which have theatrical costumes and behaviour. Air-Baloons, actors and actresses were dancing as they are member of a circus! It was a real show! Mika made us day, and he showed us a great performance as splendid as his records. We enjoyed so much, and thought that he should not take a break for the next gig in Turkey. We are looking for it!Listen Mika please!(:

Journal CSS By dot-Silver
  • Listening to: Mika
  • Playing: Banjo

Hate advertising? Make better ads.

Journal Entry: Wed May 19, 2010, 1:20 PM

I was invited to an exhibition called "Impact" at Istanbul Bilgi University yesterday. After the opening, there was the screening of a documentary film called "Art & Copy". Frankly, it was more than I hoped! I loved the idea of it, and took some notes about it as well. Strongly recommend it to you guys, watch, and share it as much as you can! (: special thanks to Mr. Atilla Aksoy for the organization. It is good to know that there are still such academicians who value their students' education more than anything...

ART & COPY is a powerful new film about advertising and inspiration. Directed by Doug Pray  (SURFWISE, SCRATCH, HYPE!), it reveals the work and wisdom of some of the most influential advertising creatives of our time -- people who've profoundly impacted our culture, yet are virtually unknown outside their industry. Exploding forth from advertising's "creative revolution" of the 1960s, these artists and writers all brought a surprisingly rebellious spirit to their work in a business more often associated with mediocrity or manipulation: George Lois, Mary Wells, Dan Wieden, Lee Clow, Hal Riney and others featured in ART & COPY were responsible for "Just Do It," "I Love NY," "Where's the Beef?," "Got Milk," "Think Different," and brilliant campaigns for everything from cars to presidents. They managed to grab the attention of millions and truly move them. Visually interwoven with their stories, TV satellites are launched, billboards are erected, and the social and cultural impact of their ads are brought to light in this dynamic exploration of art, commerce, and human emotion.

Journal CSS By dot-Silver
  • Listening to: Balmorhea
  • Reading: Communication Arts
  • Watching: Art and Copy
  • Playing: Banjo
  • Eating: Panini
  • Drinking: Water

Balmorhea again..

Journal Entry: Tue May 4, 2010, 7:53 AM

   I love this group, and I could not give up to post it again...…

Journal CSS By dot-Silver


Journal Entry: Wed Apr 7, 2010, 1:32 AM

jónsi of sigur rós has released his solo album, go. the record is in stores worldwide now. However you can stream it on his website;

Journal CSS By dot-Silver
  • Listening to: Go
  • Reading: Swallow's Ad Articles
  • Watching: Lost

Baris's Toys web site is online now!

Journal Entry: Fri Apr 2, 2010, 5:41 AM
We had a great opportunity to make an animated film called "Baris's Toys" and I have finished its website! here we go! Frankly, there are some incompleted parts of it, but anyhow, enjoy it(:

Journal CSS By dot-Silver
  • Listening to: Mika
  • Watching: Lost

Ok, ok, you got me!

Journal Entry: Fri Apr 2, 2010, 12:26 AM
I updated a new journal yesterday which was about "Leaving" I am proudly saying that I am not leaving guys(: do not worry about me, and thank you for given many "Do not go" messages:P I understood that many people love me and worry about me... anyway I am admitting that you did not write any responds to me because of the April Fool's Day. You did not piss me off:P

Journal CSS By dot-Silver
  • Listening to: Mika
  • Watching: Lost

I am bored and going far far away from here...

Journal Entry: Thu Apr 1, 2010, 8:31 AM
I am leaving from here today, and 1 year or more I will not be available here, see you guys, it was a fun to be here..take care... see ya!


Bugün buradan ayrılıyorum, 1 yıl belki daha fazla burada olamayacağım, görüşmek üzere.. burada olmak çok güzeldi, kendinize iyi bakın...


Journal CSS By dot-Silver

Into the Wilde

Journal Entry: Sat Mar 27, 2010, 6:14 AM
"So many people live within unhappy circumstances and yet will not take the initiative to change their situation because they are conditioned to a life of security, conformity, and conservatism, all of which may appear to give one peace of mind, but in reality nothing is more damaging to the adventurous spirit within a man than a secure future. The very basic core of a man's living spirit is his passion for adventure. The joy of life comes from our encounters with new experiences, and hence there is no greater joy than to have an endlessly changing horizon, for each day to have a new and different sun"

In Turkish:
"Çoğu insan kendilerini mutsuz eden koşullarda yaşıyor ve gene de bunu değiştirmek için hiçbir şey yapmıyorlar. Çünkü güvenli, rahat, rutin bir hayata koşullanmış durumdalar. Huzur veriyor gibi görünse de, insanın içindeki maceracı ruh için kesin olarak belirlenmiş bir gelecekten daha yıkıcı birşey düşünemiyorum. İnsanın yaşama arzusunun özünde macera tutkusu yer alır. Yaşamın keyfi yeni deneyimlerdedir. Bu yüzden sürekli değişen bir ufuktan daha büyük keyif olamaz, her yeni gün yepyeni bir güneşin altında doğabilir."

Christopher McCandless / Into the wilde

Journal CSS By dot-Silver
  • Listening to: Mika

Best Interactive Services Rich media Online ad

Journal Entry: Tue Mar 23, 2010, 2:13 AM

Journal CSS By dot-Silver
  • Listening to: Tommy Emmanuel
  • Reading: Into the wilde

Daily Deviation!

Journal Entry: Thu Jan 21, 2010, 5:06 AM
Thanks for =Atramina and ^Cedarseed to give me this pleasure (:

Colours_Page5 by sercantunali

Thanks for all who are watching me and the favs (:

Journal CSS By dot-Silver
  • Listening to: Balmorhea
  • Reading: The History of Australia
  • Watching: Up


Journal Entry: Wed Dec 30, 2009, 1:21 AM
Yes, I found this group While I was thinking how to find a lay-out artist, and a musician for my project. It is a well-known saying that internet gives an opportunity to meet and work with people around the world. It is not denied that it has a pretty crucial role in our lives, and it is getting higher. We are going to start 'Technology age' in 2012 then we will be surrounded with a huge net! There are advantages and disadvantages as well, and it is up to us!

As you know that when we get the idea of a film that we are planing, we mostly cannot find anybody to support us in the project. It is not easy that to finish an animation film individually, you know it is a team game! That's why I found this group, and you do not find it strange, cause people who are independent film-makers have always anxiety about building an animation project. This group will provide many people who want to work in animation film projects and contribute to each others. Everybody is most welcome for the contribution or watching what is going here (:

Here we go! film-makers-society.deviantart…


Journal CSS By dot-Silver
  • Listening to: Balmorhea
  • Reading: The History of Australia
  • Watching: Up


Journal Entry: Tue Nov 24, 2009, 6:27 AM
I would like to give you a brief about a music band which is called "Balmorhea". It is a well-known thing that ancient age caused many different movements which were crucial for the age made before 400 A.D. Thinking about art of how society live in their own lands and feelings of people was unclear for pioneers living in the age. Furthermore, art was not exactly same as we have now. In this age, some calls the "The Technology Age" to find an acient music is not easy. However, when you find it, frankly, you should hold it tightly.

Balmorhea (pronounced Bal-moor-ay) is a band from Austin, Texas that was formed in 2006 by Rob Lowe and Michael Muller. Balmorhea were influenced by Ludovico Einaudi, The Six Parts Seven, Claude Debussy, Ludwig van Beethoven, Rachel's, Gillian Welch, Max Richter, Arvo Pärt and John Cage.

The band self-released their first album, self-titled "Balmorhea", in April 2007, and their second album "Rivers Arms" in February 2008, and released a limited EP in the fall of 2008. The group recently released their 3rd full-length album, "All is Wild, All is Silent" on Western Vinyl Records. Balmorhea has toured the US three times and will soon begin their second European tour.…

Journal CSS By dot-Silver
  • Listening to: Balmorhea
  • Reading: The History of Australia


Journal Entry: Tue Sep 15, 2009, 12:34 AM
I have just wanted to put here a colourful journal.(:

Character Design


Colours_Page1 by sercantunali Colours_Page2 by sercantunali   Colours_Page3 by sercantunali

Colour_Page4 by sercantunali Colours_Page5 by sercantunali   Colours_Page6 by sercantunali



Journal CSS By dot-Silver