Kitimat

Postproduction: Moviebrats
Position: 3D-Artist, Compositor
Software: Autodesk Maya, The Foundry Nuke

For LCS cable cranes we did a visualization for a construction project in Canada. The models for all construction elements were delivered, everything else was created by us, rigged, animated, shaded and rendered with Vray. As compositor I improved the look of the rendered Material. The whole movie has a duration of 3 minutes and we worked with a team of 2 people. Due to the short timing the visual quality had to be compromised.

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HUMP

Postproduction: Moviebrats
Position: 3D-Artist, Compositor
Software: Autodesk Maya, The Foundry Nuke

For the trailer of HUMP I helped with lighting and rendering the scenes, as well as looking for solutions for some problems with the hairsystem. But mainly, I did the compositing for the trailer.

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The Fairytale of the 12 Months

Postproduction: Moviebrats
Position: Compositor, 3D-Artist
Software: The Foundry Nuke, SideFX Houdini, Autodesk Maya

The Movie was shot in Summer but mainly took place in Winter. Unfortunately not every scene could be done with artifical snow on set, so the task was to make it look like snow and winter in composting. In the end of the movie the frosty lord collapsed in many ice blocks which I simulated in Houdini and rendered in Maya. The Movie can be found here.


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Iron Sky: The Coming Race

Postproduction: Moviebrats
Position: 3D-Artist, Compositor
Software: Autodesk Maya, The Foundry Nuke

For Iron Sky II I was hired twice. In the first period I created the big common room inside the spaceship and combined it with the real footage in compositing. In some other shots I just needed to add screen contents for the monitors. One fun task was to amputate the finger of Udo Kier.

In the second I was first hired as a 3D-Artist and I helped with modeling the towers and bridges of Agartha, as well as the lianas and plants. Furthermore I helped with scene assembly and lighting/rendering of shots. Some of the delivered alembic caches of the triceratops and charakters had some technical issues for which I had to find solutions (like always matching the animation to the ground geometry). Furthermore the complete harness was missing which I had to rig, simulate and bind to the animation afterwards.
After I finished my work as 3D-artist I took over 6-8 shots as a compositor and finished those.

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Never been to New York

Postproduction: Moviebrats
Position: Senior Compositor
Software: The Foundry Nuke

The postproduction was mainly done by Pixomondo. Due to the short timeschedule Moviebrats was commissioned to work on 2 sequences. The task was to extend the greenscreen footage with a background shooting. Reflections and shadows were caught by a digital matchmove of the car. As Compositor my task was to unite everything and to make it look beautiful;)


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Warragamba Dam Project

Postproduction: Moviebrats
Position: 3D-Artist, Compositor
Software: Autodesk Maya, The Foundry Nuke

For LCS cable cranes we did a visualization for a construction project at Warragamba Dam in Australia. The models for all construction elements were delivered, everything else was created by us, rigged, animated, shaded and rendered with Vray. As compositor I improved the look of the rendered Material. The whole movie has a duration of 3 minutes and we worked with a team of 2 people. Due to the short timing the visual quality had to be compromised.

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Simulation

Year: 2019
Postproduction: Moviebrats
Position: Lead Compositor, Lead 3D-Artist
Software: Autodesk Maya, The Foundry Nuke

For this project from Hashem Al-Ghaili there was already created a previzualisation. The task was to improve the look of the already created shots and to create digital backgrounds for a whole new sequence. I took the lead as 3D-Artist and Compositor. Due to cost restrictions we had to keep as much as possible from the previz and just to define a new look during the compositng process.


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Gunbit

Year: 2018
Postproduction Company: Moviebrats
Position: Compositor, 3D-Artist
Software: Autodesk Maya, The Foundry Nuke

On this this project I was the VFX TD and my task was to create a workflow to deal with a digital diorama with heavy polycount and many characters at once. We used a lot Vray Proxies, MASH and the reference system of Maya. I created the environment of the diorama except the mountains, castle and some plants. I also simulated the waving flags, particles and the water and worked as lighting and shading artist.
I also did the compositing for some of the shots including look development, camera tracking, rotoscoping, 3D integration.

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