Senior 3D and Compositing Artist
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.
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.
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;)
Year: 2017
Postproduction: Moviebrats
Position: Compositor
Software: The Foundry Nuke
Task: Keying, Roto, 3D-Integration, Set-Extension, Camera Tracking
I had to extend the set which was a parking lot somewhere in China to look like a military base in an arbitary mountain landscape. Basically I used a lot of camera projections and 3d models to create a believable set extension inside nuke. See the following short breakdown.
Year: 2017
Postproduction Company: Moviebrats
Position: Compositor, 3D-Artist
Software: Autodesk Maya, The Foundry Nuke
My task as a generalist was to animate a digital raven and to integrate it into the real life footage, as well as to implement the particle effects for all magic spells. The smoke effect of the disappearing witch was done by Michael Grund. I only did the compositing afterwards.
Year: 2017
Postproduction Company: Moviebrats
Position: Compositor
Software: The Foundry Nuke
Task: Keying, Roto, Integration, Look Development
year: 2014
postproduction: Moviebrats
position: Compositor, 3D-Artist
software: Autodesk Maya, Blackmagic Fusion
As generalist, I was responsible for all day and night shots of the castle. At first I created a rough model of the castle in Maya including textures and shader. Then I just had to set the camera, light the scene and render all with passes. I’ve done all the composite in Fusion. Further tasks as compositor was to airbrush small blemishes like enlightened windows, sources of light and the meanwhile distant shooting second unit.
Making Of:
Year: 2013
Postproduction Company: MovieBrats GmbH
Position: Compositor
Software: Eyeon Fusion
Additional Informations: Lost Place visual effects, IMDB-Page
My task was to integrate as realistic as possible the computer generated model of a tesla coil in real plate sequences of several shots.
Year: 2013
Postproduction Company: Stargate Studios Germany
Position: 3D-Supervisor, Compositor
Software: Autodesk Maya und Mudbox, Adobe After Effects und Photoshop
about the movie: zur ARD-Seite, IMDB-Seite
My task was to create a high detail model for all close-up shots of the Reichstag from 1940. As a supervisor I had to delegate a team of 3-5 artists. Therefore I had to create a small production pipeline. We started with a low poly model. Several elements with heavy structures were modeled and textured in Mudbox and integrated back to the Maya pipeline. This allowed us to render whole segments in 3 different detail levels (high, medium, low) and work with high performance and best quality. The whole scene was lighted with Maya’s Physical Sun and Sky System and classical lighting in addition. As renderer we used Mental Ray with its Render Pass System for masks, AO, depth, World Position Pass and more.
At the end I supported the Compositing-Department with to 2 shots from scratch and 2-3 final touches.
year: 2012
postproduction company: Pixomondo Berlin
position: Compositor, 3D-Artist
software: Adobe After Effects, Autodesk Maya, Adobe Photoshop
additional informations: http://www.rabe-socke-film.de, IMDB-Page
My task was to composite as many shots as possible with a average timing of 3 hours per shot;) There were some shots I just needed to put together the several drawn layers and grade them a little bit. There were others, I had to add animated water reflections, rain, rivers, flashes and some other light effects.
In the run-up to the compositing phase I also worked as a 3D-artist for that project. The I was expected to set up the virtual camera for some of the raft shots so the perspective of the 3-dimensional model fits to the drawn environment.
The gallery below shows a selection of the around 60 shots I made:
