Senior 3D and Compositing Artist
Year: 2014
Postproduction Company: FXFactory
Position: 3D-Artist, Compositor
Software: Autodesk Maya, Autodesk Mudbox, The Foundry Nuke
As 3D-generalist I textured and shaded the CG-model of Cristo Redentor (Rio de Janeiro), did the lighting for the shots and set up everything for Rendering. As compositor I did the camera tracking for 3 shots, painted out the original statue and integrated the animated rendered statue of cristo in 4 Shots.
Year: 2014
Postproduction Company: Wonderlamp
Position: 3D-Artist
Software: Autodesk Maya, Adobe Photoshop
On this project I had to do the shading and texturing for four different characters and several objects like a castle, a cauldron, trees and more. Those assets were used to demonstrate the functionality of the software Djinni created by Wonderlamp. More details you can find here: Djinni Website.
Year: 2014
Postproduction Company: MovieBrats GmbH
Position: 3D-Artist, Compositor, TD
Software: Autodesk Maya, Eyeon Fusion
My task was to realize a poster for SYSpro GmbH. The footage was delivered by SYSpro, the concept design was done by Tom Schirdewahn at MovieBrats. I did the rest. Further informations about this project you can find here.
SYSpro Poster 1. Quarter 2014:
SYSpro Poster 2. Quarter 2014:
SYSpro Poster 2. Quarter 2017:
Year: 2014
Post-Production Company: MovieBrats GmbH
Position: 3D-Artist, Compositor, TD
Software: Autodesk Maya, Eyeon Fusion
The former spot was realised with Stop-Motion-Technics and further informations can be found under Bayer-IMC-Symphony.
My task was to create a digital orchestra and renew the content due to structural changes at Bayer. The look should stay more or less the same, just a little bit more generic, so that the orchestra still matches to the foreground.
Year: 2014
Postproduction Company: MovieBrats GmbH
Position: Compositor
Software: Adobe After Effects
Superpenner is a a comic inside the social newspaper “Straßenfeger”:) Our task was to create a commercial which was shown in the cinemas. Animation and Compositing was done in After Affects.
More informations about the spot you can find here.
Year: 2013
Postproduction Company: Morro Images
Position: 3D-Artist, Compositor
Software: Autodesk Maya, Autodesk Mudbox, Eyeon Fusion
My first task was to adjust the model of the main character and to create a new coat for him. Then I had to adjust/create the textures and the shading. My second task was to create the rig for the sails and all the ropes of the ship with Maya NCloth. When I was done with all my 3D-tasks and changed to the compositing department and took over 6 shots.
Year: 2013
Postproduction Company: MovieBrats GmbH
Position: Compositor
Software: Eyeon Fusion
The original spot was created last year for the 50. birthday of Orion and should be adapted this year by adding several new shots and improving the look of the old one. My task was to compose the render passes of the fully computer generated character, props and environment and to adapt the predefined look.
For further informations please visit the following site 50-Years-Orion.
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:
