Raamw3rk is the portfolio of Barend Onneweer. I am an independent visual effects designer and colourist. Although this requires strong technical skills and knowledge, I see myself first and foremost as a storyteller. Through my work in colourgrading and visual effects, I help bring the story to the screen, and it's the close collaboration with the rest of the creative team that brings out the best in me.
My studio is located in the heart of Gouda, easy to reach from the highway if you're by car, and a 15 minute walk from the train station. RAAM 226, 2801VR, Gouda. Parking in the street is paid parking, with a maximum of one hour at a time after which the machine wants more coins or 'chipknip'. There's also a (less expensive) parking garage 250m from the studio, at the Sint Mariewal, where you can pay upon exit.
I have extensive experience in visual effects and compositing. From invisible removals of low-hanging mic booms, to full on greenscreen replacements and 3D environments.
Below is a visual effects breakdown of some of the the vfx work I did for the feature film ‘Identicals’ by written and directed by Simon Pummell.
Como el Viento, directed by Jacqueline van Vugt, follows three intertwined stories aboard a ferry from Morocco to Spain. A Dutch couple faces turmoil when their son vanishes. A Moroccan family secretly transports their pregnant daughter, who hides her own intentions. Meanwhile, a Spanish coast guard confronts emotional trauma after discovering a body. Each character navigates loss, love, and hidden truths during the crossing. With quiet intensity and poetic realism, the film explores the fragile connections between people in the context of migration and emotional distance.
Cinematography by Gregor Meerman, shooting on an Arri LF with anamorphic lenses.
After digital colourgrading the movie was printed back to film and scanned back to digital, for a real film grain and texture.
| written and directed by | Jacqueline van Vugt |
| cinematography | Gregor Meerman |
| editing | Gert van Berckelaer |
| producer | Germen Boelens, Raymond van der Kaaij |
| production company | Revolver |
A boatman delivers cargo to remote Indigenous and Maroon communities along the river bordering Suriname and French Guiana. His winding journey offers an inside look into the complex challenge of maintaining local customs in the face of rampant gold mining, multinational corporations, and a changing climate.
Monikondee is the second feature documentary I worked on with Lonnie van Brummelen and Siebren de Haan.
Apart from colour work the project required some paint and patch-up vfx work to remove Gopro cameras and preserve continuity.
| written and directed by | Tolin Alexander, Lonnie van Brummelen, Siebren de Haan |
| cinematography | Sander Coumou, Siebren de Haan |
| editing | Bobbie Roelofs, Lonnie van Brummelen |
| producer | Lonnie van Brummelen |
| production company | Vriza |
A group of foreign researchers visits a site of ecological controversy and learns of the strange events that are happening to the lake and its human and non-human inhabitants. Can the natural reserve be healed with toxic mud as industries claim?
In the short film Kali Waal, landscape design is both poison and remedy. A nature reserve in the Netherlands is the setting for an ecological controversy. Decades of industrial sand extraction created lakes so deep that no light can reach the bottom. The lakes have become lifeless pools of water.
To help convey the feelings of unease and uncannyness we went with a ‘slightly off’ colour palette, that is close to natural, but not quite… Occasionally selectively sharpening elements to push the image towards magic realism.
| written and directed by | Jasper Coppes |
| cinematographer | Casper Brink |
| editor | Jasper Coppes |
| producer | Lonnie van Brummelen |
| production company | Vriza |
No Horses on Mars (2024), directed by Bea de Visser, is an experimental short film that delves into the perceptual world of horses. Through a combination of ethological research and artistic interpretation, the film presents the horse’s point of view, exploring its behavior, perception, and brain function. The narrative challenges anthropocentric perspectives, prompting viewers to reconsider their understanding of animal consciousness and the human-animal relationship.
This project was an invitation do do some quite experimental work on colour, selective sharpening, lens distortion and also included some visual effects work such as compositing a galoping horse onto a motorway.
| written and directed by | Bea de Visser |
| cinematography | Adri Schrover NSC |
| editing | Bea de Visser |
| producer | Bea de Visser |
| production company | Anotherfilm |
Instant Dreams is a feature documentary by Willem Baptist (who I collaborated with on many of his previous films, like Wild boar and I’m Never Afraid!) about the fascination and love for Polaroids. When Polaroid announced the end of instant film in 2008, the last still working factory was bought by a small group of enthusiasts.
Among them is the retired scientist Stephen Herchen who previously collaborated with the inventor of Polaroid and is still trying to unravel the secret of the lost chemical formula.
Instant Dreams was lensed by Gregor Meerman, using his Arri Alexa to shoot absolutely stunning material. I’ve received a lot of compliments on the look of Instant Dreams, but really Gregor deserves most the credit. Some additional material was shot using a drone, some GH4 on a gimbal and some Black Magic Pocket Cinema camera – which needed to be seamlessly matched with the Arri Alexa material. And there was a substantial amount of archive footages – some of it scanned from the original 16mm negatives, but other elements were pulled directly off Youtube. So a lot of additional work was done restoring the material to hold up in cinematic projection.
| written and directed by | Jasper Coppes |
| cinematographer | |
| editor | Tralala |
| producer | Lonnie van Brummelen |
| production company | Vriza |
Why do you have to do what everyone else does and why does everyone have to look the same? Ninnoc struggles when she is in a group. She doesn’t just want to adapt to the others, but she’s also afraid of being excluded. Can you deviate in a group? Or will you then end up alone?
In the documentary Ninnoc you crawl in Ninnoc’s head. And find her in an empty school. Can she escape from the group or does she always carry it with her? What part of herself does Ninnoc show and what does she keep hidden?
When director Niki, cinematographer Jefrim and I spoke about the film we immediately agreed that even though the subject and images can easily become dark and haunting, we really wanted the look to also have a soft and romantic side. So even though the lighting is sometimes dramatic we created a more pastel airy look that brings out the softer side of Ninnoc.
In addition to colour, I created some visual effects and did some small retouching.