Senior 3D and Compositing Artist
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:
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.
