Senior 3D and Compositing Artist
Year: 2012
Postproduction Company: Pixomondo Hamburg
Position: Compositor
Software: The Foundry Nuke
The task was to give the impression that the slice of ground is moving forward by animating the soil texture. Furthermore I did the compositing on 2 shots and finalized others. The difficulty was to visually combine all the shots because they needed to match perfectly to each other.
Year: 2012
Postproduktion Company: Pixomondo Hamburg
Position: Compositor, 3D-Artist
Software: The Foundry Nuke, Autodesk Maya
Additional Informations: Homepage, IMDB-Page
Back then in Hamburg we just worked at the last episode. My task was to create digital snow for several shots. To do so I used Maya’s particle system. During the compositing those rendering where combined with stock-footage of snow to get the impression of real dense snow.
In the end I could help the comp-department by keying one or two shots and creating a digital rock extension. By the way it was the rock Sam who was played by John Bradley-West is hiding himself from the White Walkers.
Year: 2012
Postproduktion Company: Pixomondo Hamburg
Position: 3D-Artist, Compositor
Software: Autodesk Maya, The Foundry Nuke
As 3D-Artist I had to animate the car model for around a third of the shots at which I had a guideline by the last year model in the real plate. For nearly the same amount of shots, I had to build up the entire 3d-scenes, light everything with HDR-Maps based domelights in V-Ray as well as classic lighting techniques. Furthemore I had to set the render passes up and check the renderings. I also supported the rigging artist when he had problems or questions.
As Compositing-Artist I had to compose 2-3 shots from scratch and finalised around the same amount.
year: 2011
postproduction company: Pixomondo Hamburg
position: 3D-Artist
software: Autodesk Maya, Autodesk Mudbox
My task was to rig, texture, shade and animate the plants as well as to create the camera animation. Furthermore i realised the tiny hairs on some plants using Maya FUR. Finally I set up the renderings including several passes.
In the following gallery you will find images of the 10-second TV-spot.
Unfortunately this version was never show in television because the client didn’t like it. The Youtube-Video below shows the revised version of the spot, i didn’t contribute to.
Year: 2011/2012
Postproduction Company: Pixomondo Hamburg
Position: 3D-Artist
Software: Autodesk Maya
My task was to integrate a digital village in the real life footage. The village is far in the background therefore I only had to roughly model the houses according to photos shot on set which were also used to project the textures onto the models. To catch some shadows I also modeled roughly the terrain, rendered everything with passes and gave it the comp department – done:)
Year: 2011
Postproduction Company: Pixomondo Stuttgart
Position: 3D-Artist
Software: Autodesk Maya
Special Feature: stereoscopic commercial for cinemaMy task as 3D-Artist was to realize the packshot which includes:
year: 2011
postproduction company: FXFactory
position: 3D-Artist
software: Autodesk Maya
For this project I created the grass with Autodesk Maya Fur and I looked after setting up the environment as well as lighting and rendering the shots. Due to the puppet-shader it was possible to render the FUR-grass with passes like Ambient Occlusion, Depth, Normals and more.
year: 2010
postproduction company: Morro Images GmbH & Co. KG
position: 3D-Artist, Compositor, TD
software: Autodesk Maya, Eyeon Fusion, Adobe Photoshop
For this project I created the riggs of all characters and I scripted the parallexe effects. Furthermore I helped texturing the environment, animating the characters in a few shots and rendering the shots. Rounding off I did the compositing in Fusion for nearly all shots and added visual effects like rain, raindrops on the windows, flashes and more.
Year: 2010
Postproduction-Company: Scopas Medien AG
Position: Light & Render TD, 3D-Artist
Tools: Autodesk Maya
General Task: create a digital tail of leaves for the evil main-character Habumar
My Task was to light, animate and render the digital tail as well as to give support to the rigging and shading artist.
Year: 2010
Postproduction Company: Scopas Medien AG
Position: Supervisor for 3D and Compositing
Software: Autodesk Maya, Eyeon Fusion
Task: Logo-Animation for Movie Company