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.
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: 2016
Postproduction Company: LUG und TRUG
Position: Compositor
Software: The Foundry Nuke
As a Compositor my task was to change the background into 3 different epochs (past, today, future), whereas the location shouldn’t be recognizable which was in Capetown South Africa and should be also relocatable to Europe. To realize the past and present I used simple 3D-models combined with camera projections of some pictures of building I did during my vacations around the world. For the connecting construction phases used animated masks to reveal different stages of the building. The future and different elements like specific trees were delivered as 3D-renderings that I only had to integrate into the footage.
Year: 2016
Postproduction Company: LUG und TRUG
Position: 3D-Artist, Compositor
Software: Autodesk Maya, The Foundry Nuke
As a 3D-generalist my task was to create and to define the look for the backgrounds of the models shot in front of a green-screen. Furthermore I did the compositing of the different versions of the packshot.
