post-production: benuts

year: 2025

vfx supervisor: Nicolas Corson

my part: Animating glowing mushrooms, full CG shot compositing of the mothership dropping an egg, integration of smoke, steam, glows into plates

post-production: benuts

year: 2024

vfx supervisor:

my part: combining two retimed plates of an actor kicking a boy (shot was omitted afaik and did not make it into the movie)

post-production: benuts

year: 2024

vfx supervisor:

my part: adding smoke and sparks

post-production: Host VFX

year: 2024

vfx supervisor:

my part: tracking and integrating masks on faces of real footage, tracking in DMPs onto maps

post-production: Accenture Song VFX

year: 2024

vfx supervisor: Peter Lames

my part: DMP integration

post-production: Accenture Song VFX

year: 2024

vfx supervisor: Peter Lames

I took responsibility for a couple of sequences to integrate specific vfx effects (sand, dust). Furthermore I comped a big explosion and extended some sets with big CG environments.

post-production: Benuts

year: 2024

vfx supervisor:

my part: compositing

post-production: Benuts

year: 2024

vfx supervisor: Tristan Lilien

for Largo Winch I took over a chase sequence in which Largo hops from a motorcycle onto a Pick-up truck in a jungle. The BG setup was already prepared so I could focus on integrating the studio plates into the setting.

post-production: Benuts

year: 2024

vfx supervisor:

my part: cleanup, time warps, a few small 2D vfx effects

post-production: benuts

year: 2022

For the movie Samia I integrated set extensions of a stadium, and integrated CG props.

post-production: quint-fx

year: 2023

vfx supervisor: tba

my part: tba

year: 2024

my part: cleanup

cleanup for an Audi Q8 commercial

year: 2024

my part: CG integration

compositing for a watch commercial for Porsche Design

In January 2024 I was invited to the Internationale Akademie Nürnberg to do a lecture about the basics of being a compositing artist. During the 2h presentation I explained what defines the responsibilities of a digital compositor, what possibilities you have, what career paths you might chose.

The lecture was organised by Professor Daniela Reuß.

year: 2023

vfx supervisor: Emanuel Fuchs

For the first season of The Penguin I added CG rain and DMPs to shots, replaced fassades of buildings, and extended sets.

post-production: Trixter

year: 2023

my part: CG extensions, full CG compositing

Compositing for Episodes 4 and 6, specifically some shots in the cathedral with "he who remains" in episode 4, and the 40 second intro fly through at the beginning of episode 6.

post-production: tba

year: 2023

vfx supervisor: tba

my parts: tba

post-production: tba

year: 2023

my part: cleanup, retouche, rotos, compositing

post-production: Method Studios / Framestore

year: 2023

my part: compositing

tba

post-production: Rodeo FX

year: 2020

my part: adding fire, cleanup, retouche

In S02 E06 there is a hospital scene that includes a lot of fire and gore. I worked on the first versions of the burning hospital floor.

post-production: Method Studios / Framestore

year: 2023

my part: compositing

Just one word:

Dinosaurs!

post-production: Framestore

year: 2022

vfx supervisor: Ivan Sorgente

my part: set extension, CG integration

I extended some sets, extended some sets and integrated some CG for this christmas special of our favorite Guardians.

post-production: Method Studios / Framestore

year: 2022

vfx supervisor: Glenn Melenhorst, Matt Omond

my part: CG integration, set extensions

For this fun show I integrated a CG character into plates, and extended some sets.

post-production: benuts

year: 2021

my part: working out the space sequence, set extensions for sea shots.

For a sequence of shots where Tat Han gets kicked into Space by Obelix, I worked on figuring out the timing and composition of the shots. I was not able to finish the sequence since I had to move on to other projects, but was happy to see that my work was taken over in the final shots.

Follow the link below to see the vfx breakdown of the space shots on youtube.

Tan Han gets punched by Obelix and flies into outer space. This is the final shot from the breakdown. It seems my timing, zoom, and mood was taken over nicely.

To make the pan work, the footage needed a speed ramp, this is another final from the breakdown. The crop of the original plate made this part a bit tricky to realise smoothly.

Here the original blue screen. The actress was lifted into the air with robes.

This first iteration from the breakdown looks very much like my first comp version of this shot.

This second iteration looks like one of my advanced comps with the aura bolearis already built in. This was all still done entirely in Nukes 3D space with a simple sphere and some post vfx.

This is the final shot, its great to see that its not far from my early versions.

I worked a bit on this last shot to get the timing comical of Tat Han being grabbed again by gravity. The shot was really short. The breakdown shows the final shot, which seems to have taken over my work almost 1:1 with timing, composition and the aura borealis glow from the bottom. Awesome :)

post-production: benuts

year: 2022

vfx supervisor: Ronald Grauer

my part: adding bullet hits

In an action sequence on a highway I added bullet hits to various cars.

post-production: benuts

year: 2022

my part: compositing

post-production: benuts

year: 2021

my part: adding fire, make hands burn, gore, cleanup

post-production: benuts

year: 2021

my part: set extension, CG and prop integration

For this show I integrated a massive heart into a hospital room, a gigantic head into foggy waters that an old lady tries to talk to.

post-production: Accenture Song vfx

year: 2021

vfx supervisor: Juri Stanossek

my part: gore, breaking vampire bones, wire removal

In one sequence Bud (Jamie Fox) fights an old vampire lady in a living room. I broke her bones a bit and made sure the shot gets his portion of gore.

post-production: Mackevision

year: 2021

my part: retouche

wire removal when some actors move on a crane above a crowd.

post-production: Mackevision

year: 2021

vfx supervisor: Juri Stanossek

my parts: CG integration, set extension

In this project I integrated a CG character into plates, and extended various sets.

post-production: benuts

year: 2022

vfx supervisor: Ronald Grauer

my parts: compositing

post-production: benuts

year: 2021

vfx supervisor: Tristan Lilien

my parts: face replacement

For this show I used keen tools face tracker to replace a head of a stand in dancer in a long dancing shot.

post-production: benuts

year: 2022

my part: compositing

year: 2021

my parts: cleanup

cleanup of various set props and shadows in a drive by shot

my part: full CG compositing, cleanup

For the IAA Volkswagen created an impressive full CG image film for the new VW ID.5 GTX.

my parts: CG set extensions, cleanup

For the revealing event of Mercedes Benz for the new electric s-class I created some set extensions for several shots.

client: Mobile Akademie Berlin

type: art installation

my part: cleanup, retouche and set replacement

year: 2020

my part: logo integration

year: 2020

my parts: cleanup and retouche

For a collection of spots I did cleanup and retouche.

my part: CG integration

year: 2020

my parts: CG set extensions, cleanup

tba

post-production: Parasol Island

year: 2020

my part: logo integration

post-production: Staud Studios

year: 2020

my part: Lead Compositor, full CG compositing

Staud Studios hired me to do the  digital compositing for a sixty second car visualisation in full CG for  the revelation of the Aiways U6 coupe that was supposed to be presented  at the Geneva Autosalon 2020. The sophisticated time table to finish 19  shots made filling more than just the position of a compositor  mandatory, and thanks to the highly motivated team we managed to rock  this project and finish it in time to learn the day of our deadline that  the Geneva Autosalon was officially cancelled.
On the bright side, now everyone is able to watch the film we made on youtube.

post-production: Rodeo FX

year: 2019 / released 2021

my part: vfx integration, keying, set extension

Set extension for a space ship exploration sequence, and adding of the specific visual effect used in this movie.

post-production: Rodeo FX

year: 2019

vfx supervisor: Rex Alerta

my part: CG integration

work on episodes 7-10, CG replacements, blending between 3 takes when the android teacher takes her face off.

post-production: Mackevision

year: 2019

vfx supervisor: Stephan Schaefholz

my part: CG compositing, keys, rotos, set extensions

Full CG compositing, keying, rotos, set extensions for one episode of Season 1. Was supposed to do more, but got busy with another show so not much to see here.

post-production: Mackevision

year: 2019

vfx supervisor: Andreas Frickinger

my part: CG integration

CG integration of a Taxi

post-production: Mackevision

year: 2019

vfx supervisor: Juri Stanossek

my part: set extensions, magical effects, CG integration

set extensions, magical effect integration, CG integration

post-production: Mackevision

year: 2019

vfx supervisor: Emanuel Fuchs

my part: gore, rotos, CG integration

lots of Gore in the supermarket robbery sequence, and a couple of shots for five episodes of Season 1

post-production: Rise FX

year: 2019

vfx supervisor: Jonathan Weber

my part: CG replacements, set extensions, retouche, matte painting integration

CG body replacements and cape, set extensions, retouche, city chase sequence

Watch showreel 2019 to see these shots in motion.

post-production: Rise FX

year: 2018

vfx supervisor: Markus Degen

my part: set extension, fire, head projection, CG integration

set extensions, burning sword and crown, severed head bouncing on the floor, severed head still talking. I was responsible for the 2 head shots you see below, setting everything up, look dev and final compositing.

Watch showreel 2019 to see these shots.

post-production: Optix Post Production

year: 2018

my part: retouche

retouche of the shirt of footballer Schweinsteiger.

post-production: Optix Post Production

year: 2018

my part: digital compositing

compositing for an IFA spot for the Deutsche Telekom

post-production: Optix Post Production

year: 2018

my part: retouche, animation

retouche, animation and compositing of a stop-motion commercial for Allianz.

post-production: Mr. X

year: 2018

vfx supervisor: Olaf Wendt

my part: sequence lead compositor, CG visor integration, CG space station

Lead Artist for the visor look and compositing of Brad Pitt in the Antenna sequence. Making sure that all the different resolutions are properly taken account of in lighting and comp.

Watch showreel 2019 to see these shots in motion.

post-production: Mr. X

year: 2018 / released 2020

vfx supervisor: Dennis Berardi

my part: set and weapon extensions, cg character replacement, gore

set and weapon extensions, CG character replacement, adding gore to a killing sequence in the mountains.

In this first shot of the sequence I extended the set behind the pillars of the bridge.

In this shot a woman gets thrown down a cliff. I blended the actress into her CG counterpart, extended the set, and reprojected the camera for a smoother transition and pan down the cliff.

post-production: Mr. X

year: 2018

my part: keying

Keying for a very long shot for Season 1 of Carnival Row where the camera pans down from a window to the streets.

muzzle flash, blood and gore.

post-production: Mr. X

year: 2017

vfx supervisor: Eric Robinson

my part: CG integration, set extensions, particle systems, lookdev

CG integration, set extensions, creation of a dust particle storm in Nuke, and lookdev and compositing of the overview over a destroyed city landscape.

Watch showreel 2019 to see these shots in motion.

I actually never found out if that short film was actually published and if, under which name.

post-production: Mr. X

year: 2017

my part: digital compositing

deep compositing, smoke wall creation in nuke, set and weapon extensions, Gore.

Watch showreel 2019 to see these shots in motion.

post-production: Mr. X

year: 2017

my part: digital compositing

integration of CG paint splashes into the bike race sequence.

post-production: Mr. X

year: 2017

vfx supervisor: James Cooper

my part: digital compositing

comp setup for the Bus ride through the forest in Episode 1

post-production: Mr. X

year: 2017

my part: digital compositing

compositing of a CG stadium and other shots for three episodes of Condor Season 1

director

post-production: Mr. X

year: 2017

my part: digital compositing

post-production: Mr. X

year: 2017

my part: retouche

helped out with retouche and cleanup for the beating sequence in Mother!

post-production: Mr. X

year: 2017

my part: digital compositing

integration of TAU, creating glowing paint strokes on the wall, lead artist for the sequence with the massive explosion in the main hall at the end of the movie.

Watch showreel 2019 to see these shots in motion.

post-production: Mr. X

year: 2017

my part: compositing of the vfx of a cinema

cinema screen replacement and integration

adding of fire, smoke, dust, muzzle flashes, set extensions for 7 episodes of the TV Series Godless.

And integration of a CG bird being shot.

post-production: Mr. X

year: 2017

my part: digital compositing

compositing for a couple of shots for the tv series Damnation.

post-production: Mr. X

year: 2017

my part: digital compositing

digital compositing for the (unreleased so far) movie adaptation of the graphic novel by Vera Brosgol.

post-production: Mackevision

year: 2016

my part: compositing

compositing for an image film for Panasonic.

client:

post-production: Animationsfabrik

year: 2016

my part: CG character integration

post-production: Trixter Film

year: 2016

vfx supervisor: Alessandro Cioffi

my part: compositing

Senior Compositor for some trailer  shots for "Spider-Man Homecoming". Including the shortest shot of my  life, more frames in handles than appear in the edit.

post-production: Double Negative

year: 2016

vfx supervisor: Andy Lockley

my part: compositing

integration of CG eyes, grass and flower fields, set extensions.

year: 2016

vfx supervisor: Graham Page

my part: compositing, look-dev

Including blending from Fassbender into his digi double.

vfx supervisor: Ed Bruce
my part: lead compositor

Watch showreel 2019 to see these shots in motion.

post-production: Double Negative

year: 2016

vfx supervisor: Peter Chiang

my part: compositing

compositing for the sequence with the crashed Enterprise. the fx department was pretty busy, so I created an ember setup in Nuke that was eventually used for the rest of the sequence as well. Earning me a new nick name at dneg, the ember guy ...

side note, no fx was rendered for the shot with the rolling wall, its just naked CG and comp work.

client: Caritasverband

year: 2016

my part: retouche

director: robert schwendtke
post-production: double negative
year: 2015

vfx supervisor: Ged Wright
my part: compositing

For the movie  insurgent I comped some backgrounds and the main tower in the city, and  some shots of the sequence in which Trish tries to rescue her mother.

shots from this project can be seen in my Showreel 2015.

director: benjamin ross
post-production: screen scene
year: 2015

vfx supervisor: Ed Bruce
my part: lead compositor

for this mini  series i was the lead compositor for a couple of cg syphilis wounds  deforming the face of a patient and the main character himself. i also  created the vfx for the electric current later in the series. It  received the 2016 IFTA Award in the category "best vfx".

shots from this project can be seen in my Showreel 2015.

director: tba
post-production: screen scene
year: 2015

vfx supervisor: Ed Bruce
my part: compositing

for ripper street i  comped a full cg version of the hyde park, adding atmosphere, clouds  and subtle vfx to break up the uniform cg look. i also composited a  couple of extended camera moves in the city, and a tricky shot in a  warehouse.

shots from this project can be seen in my Showreel 2015.

vfx supervisor: Ed Bruce
my part: compositing

director: alan taylor
post-production: double negative
year: 2015

vfx supervisor: Pete Bebb

my part: senior compositor

for terminator  genisys i comped various shots in the bus chasing sequence, mostly bg  extensions, shots with the demolished cg bus, and the iconic shots in  which the terminator crashed through the police car's windshield.

shots from this project can be seen in my Showreel 2015.

director: ron howard
post-production: double negative london
year: 2014

vfx supervisor: Sean Stranks
my part: set extensions, keying, CG integration

at double negative i worked on heart of the sea, doing compositing for various 2d and 3d shots.

More than 60 shots went through me for this show (coordination started calling me Mr Robot .... that was long before the popular tv series...)

just have a handful of finals though.

director: fatih akin
post-production: mackevision stuttgart
year: 2014

vfx supervisor: Juri Stannosek
my parts: senior compositor

for the cut i  composited various shots in a refugee camp, slimming a dying refugee and  tracking/warping textures on her face and feet to intensify her near  death appearance. set extensions were also done.

shots from this project can be seen in my Showreel 2015.

director: josh broecker
post-production: trixter film
year: 2014

vfx supervisor: Jan Stoltz
my part: lead compositor

This movie is about  a living puppet called Bella. I was lead compositor for a couple of  sequences which contain a full CG version of Bella in various locations,  e.g. a night club, a gasoline station and a living room.

director: harald siepermann
post-production: animationsfabrik
year: 2014
my part: stereoscopic compositing

             

for the animated  feature in stereoscopic 3d der 7bte zwerg i was responsible for  stereoscopic compositing checks and compositing for various sequences.

done in fusion.

client: epson
post-production: mackevision
year: 2013
my part: stereo supervision / compositor

stereo supervision and compositing for a series of stereo commercials for epson, including football players from manchester united and various epson products.

director: maya gräfin rothkirch
post-production: animationsfabrik
year: 2013
my parts: compositing

for keinohrhase und  zweiohrküken, an animated feature in stereo 3d, i was responsible for  technical stereo checks and compositing for various sequences.

director: shane black
post-production: trixter film
year: 2013

vfx supervisor: Alessandro Cioffi
my parts: compositing

             

compositing for  Iron Man 3, including starks armor extensions and replacements, set  extensions, retouche, wire removals, prep.

client: mercedes benz
post-production: mackevision
year: 2013
my part: compositing

for the mercedes benz  a-class web configurator mackevision created various "360° Fahrerlebnis"  spots. i replaced an ill collegue and finished the compositing of the  cg rendered a-class with the color "monolithgrau metallic".

shots from this project can be seen in my Showreel 2012.

director: noam murro
post-production: scanline vfx munich
year: 2013
my part: compositing

             

for the second 300 movie i worked as a compositor on several fighting shots on a pile of  ships, including bg extensions, sword extensions and a quite astonishing  amount of blood puring out of wounds.

director: anthony russo
post-production: trixter film munich
year: 2013

vfx supervisor: Alessandro Cioffi
my part: compositing

for the latest first avenger movie, the winter soldier, i composited some shots in the computer hall. That was before the re-shoot, not sure if they made it into the final cut.

director: tom tykwer
post-production: trixter film
year: 2012

vfx supervisor: Alessandro Cioffi
my part: compositing

i worked on cloud  atlas on a series of shots playing on a ship. I was responsible for CC, Greenscreen replacement, and added the  swinging of the ship to the shots with animated 3D projections.

shots from this project can be seen on my Showreel 2012.

director: andrew stanton
post-production: cinesite
year: 2012

stereo conversion supervisor: Joe Pavlo
my part: stereo conversion artist

disney's john  carter of mars was converted completly at cinesite, as a result the  stereo effect is very consistend in quality and depth. as a stereo  conversion artist i converted shots from all over the movie.

client: cbbc, zdf/zdfe
post-production: trixter film
year: 2012

vfx supervisor: Jan Stoltz
my part: compositing

for the children's  fantasy drama series "wolfblood" by the bbc i worked as a senior  compositor on the visual effects.

i was responsible for the development and realisation of the eye and vein transformations in the first season.

I was lead artist for the setup and look of the pumping blood and eye transformation.

client: pro7
agency: tba
post-production: trixter film
year: 2012
my part: compositing

For a series of tv-spots for the pro7 starforce team we integrated cg footage and  material from "the avengers" into live action footage.

post-production: pixomondo

year: 2012

vfx supervisor: Sven Martin

my part: compositing

compositing for the reactor sequence, recreating the studio lights with Optical flares for the set extension.

director: ian fitzgibbon
post-production: trixter film
year: 2011

vfx supervisor: Alessandro Cioffi
my part: compositing

death of a  superhero contains some beautiful hand animated sequences. one of my  tasks was to create the final look for the end sequence.

director: martin scorsese
post-production: pixomondo
year: 2011

vfx supervisor: Sven Martin
my part: stereo compositing

for the movie hugo, which was shot in stereo and won an Oscar for Visual Effects, i composited several shots in the train station.

post-production: Pixomondo

year: 2011

my part: compositing

CG and vfx compositing for a water filter commercial. adding caustics to the face, integration of CG, packshot.

director: martin campbell
post-production: trixter film
year: 2011

stereo conversion supervisor: Jan Stoltz / Dietrich Hasse
my parts: lead stereoscopic conversion

for the stereoscopic conversion of green lantern i was lead stereoscopic compositor / supervisor at trixter film.

client: mercedes benz
post-production: pixomondo
year: 2011
my part: compositing

for mercedes benz we  created four image films which explain the new security features of the  upcoming s-class model. i was responsible for the digital compositing of  the car and environment of two of these spots.

director: joe johnston
post-production: trixter film
year: 2011

my part: lead stereoscopic compositor

for the  stereoscopic conversion of the dream sequences in "captain america: the  first avenger" i was lead stereoscopic compositor / supervisor at  trixter film.

director: scott charles stewart
post-production: trixter film
year: 2011

my part: lead stereoscopic conversion

i was lead stereoscopic compositor for the stereoscopic conversion of several shots for the movie priest in 3D at trixter film.

Watch before/after shots of this show in my Stereo Conversion Reel

director: michel gondry
post-production: trixter film
year: 2010
my part: stereoscopic conversion

for  "the green hornet in 3D" i helped converting several shots for the stereoscopic version of the movie.

client: Ferrero Deutschland GmbH
agency: Tribal DDB GmbH
post-production: Animationsfabrik GmbH
year: 2010
my part: compositing

For the  Animationsfabrik in Hamburg I helped realising the compositing for the  tv-spot Kinderüberraschung Eieruhr. The spot is realised completly in  3D.

compositing in fusion.

client: Ferrero Deutschland GmbH
agency: Tribal DDB GmbH
post-production: Animationsfabrik GmbH

year: 2010
my part: compositing

For the  Animationsfabrik in Hamburg I helped realising the compositing for the  tv-spot Kinderüberraschung Großstadthunde. The spot is realised  completly in 3D.

compositing in fusion.

shots from this project can be seen in my Showreel 2010.

client: ARD
post-production: südlich-t
year: 2010
my part: compositing

in this eastern commercial for the ARD the rabbid grins and twinkles with his eye.

post-production: Südlich-t

year: 2010

my part: compositing

packshot compositing for a washing gel product.

client: uhu
agency: serviceplan erste werbeagentur
post-production: südlich-t
year: 2010
my parts: compositing

an awarded commercial for uhu power glue. compositing of stuff stuck with UHU.

client: Ferrero Deutschland GmbH
agency: Tribal DDB GmbH
post-production: Animationsfabrik GmbH
year: 2010
my part: compositing

For the  Animationsfabrik in Hamburg I helped realising the compositing for the  tv-spot Kinderüberraschung Pistengaudi. The spot was created with  classic 2D animations.

compositing in fusion.

shots from this project can be seen in my Showreel 2010.

client: danone gmbh
agency: young & rubicam gmbh
post-production: animationsfabrik gmbh
year: 2010
my part: compositing

A new 3d animated and effectful spot with team actimel. Ccompositing o several full CG shots.

compositing done in fusion.

client: wolff brothers gmbh
agency: wächter & wächter
post-production: südlich-t
year: 2010
my parts: compositing

this effectful commercial for stabilo contains a lot of 3d and a filmed actor interacting with it.

post-production: Südlich-t

year: 2010

my parts: compositing

compositing for a tv commercial for Braun.

director: lanzelot von naso
post-production: südlich-t
year: 2009
my parts: compositing

             

for the cinema  movie "waffenstillstand" we created subtle video effects, including  smoke, gun shot fire and placement of 3d military vehicles. i also  created the logo animations for the production companies.

client: steico ag
agency: fjr
post-production: südlich-t
year: 2009
my parts: compositing

for this steico commercial i animated and composited the ballerina part.

client: Hexal AG
post-production: Südlich-t
year: 2009
my parts: compositing

this commercial for hexal omep is rich in compositing for fire, stomach demo and packshot.

client: drife productions
post-production: südlich-t
year: 2009
my parts: idea, 3D, compositing

             

For Drife  productions i created this logo animation, one of the production  companies of "waffenstillstand". the idea was to make it look like on a  vintage film reel, it should underline the classic movie background of  the producers.

client: horizont e.v.
agency: wolf & motoori gmbh      
post-production: südlich-t
year: 2009
my parts: compositing

a cinema commercial in  2k for horizont e.V., completly realised in 3d, with beautiful hand  drawn textures, interactions with a real hand and discreet compositing. I did the compositing for the entire spot.

client: friendscout24 gmbh
agency: sassenbach gmbh
post-production: südlich-t
year: 2009
my part: keying, rotos

the commercial  "friendscout24 - wir verlieben dich" was a challenging project for the  post-production. i was responsible for the rotos of several actors in  the scene.

client: simex gmbh & co kg
post-production: südlich-t
year: 2009
my parts: compositing

a commercial for moskovskaya vodka. complex compositing for the 3d ice cube.

client: e+p commercial filmproduktion
post-production: südlich-t
year: 2009
my parts: compositing

a commercial for clearasil with a 3d demo (including adaptions for different countries) and graphic animations for the packshot.

client: pro7sat.1 produkion gmbh
post-production: südlich-t
year: 2009
my parts: keying / rotoscoping

in this pro7 commercial i was responsible for the rotoscoping of the filmed actors.

client: pro7sat.1 produkion gmbh
post-production: südlich-t
year: 2009
my parts: compositing

in this spot for pro7 we replaced a character from the movie casino royal with one of pro7's moderators.

client: dcm mitte productions gmbh
production: südlich-t
year: 2009
my parts: complete realisation

The production  company of waffenstillstand asked us to  animate their company logo. a  search light was a main idea for the spot, as it is a main part of the  logo itself.

done in fusion.

client: wolff brothers gmbh
post-production: südlich-t
year: 2009
my parts: retouche, compositing

client: FX Direktbank
production: Südlich-t
year: 2009
my part: compositing

a complex 3d project with lots of compositing for the fx direktbank with the robodog maskot.

client:
post-production: südlich-t
year: 2009
my parts: retouche

these high speed captures of exploding stuffed toys needed sharpening, retouching, grain reduction and color corrections.

client: Pro7
production: Südlich-t
year: 2009
my parts: compositing

for this galileo wissenspreis commercial we created the room and holographs the moderator walks through.

post-production: Südlich-t

year: 2009

my part: compositing

adding of a wobbly under water effect and animated bubbles for a Happy Meal packshot with toys.

shots from this project can be seen in my Showreel 2010.

client: Siemens
production: Südlich-t
year: 2009
my part: compositing

this is an image film for siemens pure with high detailed 3d models. CG compositing and text animations.

client: prosiebensat.1 produktions gmbh
post-production: südlich-t
year: 2009
my part: compositing

a series of commercials for maxdome, promoting their video on demand services. A CG present box, and various animations

client: oxfam
agency: serviceplan erste werbeagentur
post-production: südlich-t
year: 2009
my parts: compositing

for this oxfam  commercial we created the animated scene of the industrial construction.  for the filmed parts of spot we animated several panels.

pictures following.

client: haribo
agency: lichtenberg & gray productions
post-production: südlich-t
year: 2009
my parts: compositing

for this haribo commercial we did the 3d packshot with jumping gummybears.

client: mcdonalds
post-production: südlich-t
year: 2009
my parts: compositing

a beautiful commercial for mcdonalds with kai pflaume, including lots of set extensions and compositing.

We built a tunnel in Fusion using alphabet letters, using bevels and extrusions, that the actors comes out of. Then he plays around with a virtual board that we also animated in fusion.

created by: Nils Eckhardt / Moon Suk Kang
year: 2008
my parts: vfx

For the animated short  film "Die wilden Felder und der Krieger" by Nils Eckhardt and Moon Suk  Kang I created some subtle vfx like sparkles (particles), glowing stars and sunsets in  the background.

shots from this project can be seen in my Showreel 2010.

client: prosiebensat.1 produktions gmbh
post-production: südlich-t
year: 2008
my parts: compositing

a commercial for pro7 with michael mittermeier and a lion. I was responsible for the key and compositing of the lion.

director: Eckart Fingberg, Kay Delventhal
production: Toons'n'Tales, Animagix
year: 2008
my parts: compositing

             

"jasper - the journey to the end of the world" is an awarded 3d animated feature film.

compositing was done in Combustion.

shots from this project can be seen in my Showreel 2010.

client: DPD
production: Production Friends
year: 2008
my parts: complete realisation

For the parcel service company DPD I created this layout for an image film. The final version was later done at Optix in Hamburg.

shots of this project can be seen in my Showreel 2007.

client: alejandra soler
year: 2007
my parts: editing

for the spanish actress Alejandra Soler I created a showreel DVD with Adobe EncoreDVD. it contained animated menus, sub menus, a picture gallery and the showreel.

client: Tatamia Solutions S.L.
production: -
year: 2006
my parts: idea, 3D, compositing

this is a tv-spot for a  partyline number. the partyline offers the opportunity to get in  contact with new people. realised with simple 3d models and compositing  in after effects.

shots from this project can be seen in my Showreel 2007.

Concepts:

main focus: 3d / compositing
year: 2006
   

"Not again!" is  intended as a parody of the famous spaghetti western genre ("the good,  the bad, the ugly"). Its still unfinished... one day....

modeled and animated in 3ds max, composited in combustion.

Synopsis:

two cowboys prepare themself to solve some differences the way men do in the glorious times of the wild west. With a twist.

shots from this project can be seen in my Showreel 2007.

client: tatamia solutions
year: 2006
my parts: idea, 3D, compositing

             

For tatamia  solutions i developed this logo animation.

There is a popular movie studio logo animation that came out a couple of years later and shows some similarities. But well...

client: benjamin wolff
year: 2005
my parts: editing

for the german director benjamin wolff i edited a demo reel with AVID.

festival: PSP Filmund50 Festival
production: Tick, Trick & Norbert
year: 2005
my parts: Production Assistant

For the "PSP  Filmund50" Festival we made the award-winning short film "Wagen 266".

Rules of the festival: Make a short film in 50 hours, include 3 probs (a soap, newspaper, the sentence "brave new world".)

Our short film focuses on the conversations and emotional roller coaster of a woman and her taxi driver while he is driving her through Hamburg.

The film won the journalist price.

The film features Mignon Remé and  Thorsten Neelmeyer.

The short film was featured on a DVD that came with a popular TV magazine in Germany.

client: Andreas Schäfer / Production Friends

year: 2004

my part: modeling, animation, vfx

Building and warping in of a Campari Mixx bottle for a demo reel. Done with 3ds max and combustion.

shots from this project can be seen in my Showreel 2007.

production: production friends
year: 2004
my parts: editing

a commercial for the new cd by the singer lutricia mcneal. Editing and color correction done with AVID.

shots from this project can be seen in my Showreel 2007.

client: cool cat entertainment
production: production friends
year: 2004
my parts: editing

this is the music  video for the song "ritmo caliente" by the cubanian singer edesio.  filmed in cuba, quite beautiful material to work with. i did the editing  for the music video with AVID.

shots from this project can be seen in my Showreel 2007.

client: production friends
year: 2004
my parts: idea, 3D, compositing

To express the  diversity of projects this production company realised in the past  years, I made up this logo animation for Production Friends.

It was realised in 3ds max and combustion. a celullar film breaks up into blocks with projections of projects on its sides.

The camera flies through th blocks towards a white screen.

The blocks follow the camera, forming the Production Friends logo on impact.

shots from this project can be seen in my Showreel 2007.

client: hugo boss
production: production friends
year: 2004
my parts: editing

this image film was  produced on the occasion of the 10th anniversary of hugo boss in china  and the first formula 1 gp at the same time. edited with AVID.

shots from this project can be seen in my Showreel 2007.

client: pf international services
year: 2004
my parts: idea, 3D, compositing

This is a logo animation for the worldwide operating distribution company pf international services I made.

We see an undefined wobbly background, the camera flies over a rotating earth.

The earth zooms out, the PF International Logo forms with a glowing effect.

client: edel kids
production: production friends
year: 2004
my parts: editing

this is a short, but quite funny commercial for the fan-dvd of the spongebob squarepants movie. editing and packshot animations done with AVID.

shots from this project can be seen in my Showreel 2007.

year: 2004
animated 3d earth for an image film

year: 2004
compositing/retouching for the GST image film

Text and graphic animations for an image film for the HSH Nordbank.

client: Edel
production: Production Friends
year: 2003
my parts: 3D, compositing

this is the tv-spot  for a cd album of the band arrested development. as footage i had just  an image delivered by the client, and the task to make sth out of it.

I modeled and animated the ladybug to fly through the collage, cut out and animated the actors, added some bushes I filmed. One of the trickiest parts was to get the moving eyes rights without it looking totally creepy.

client: Carlsen Comics
production: Public Toons Entertainment
year: 2003
my parts: 3d magazine, compositing

for this commercial i  modeled and animated the 3d magazine and edited the final spot. the  scenes of the animated series were provided by the client.

shots from this project can be seen in my Showreel 2007.

client: Stockmeyer
production: Public Toons Entertainment
year: 2003
my part: compositing

in this production for  a ferdi fuchs commercial which was traditionally animated by hand, my  part was to composite the scanned and colorized layers.

shots from this project can be seen in my Showreel 2007.

main focus: 3d, rendering, lightning

year: 2003

main focus: 3D in 3dmax
year: 2002
   

this fictional tv-spot was my first 3d project i realised during my sae studies. realised with 3ds max and after effects.

year: 2002

a fictional tv-spot for the "banzai" magazine, a manga magazine for teenagers.

the main focus of this fictional tv-spot i made during my sae studies was towork with layers and animation in discreet combustion. the magazine was animated in 3d max.

shots from this project can be seen in my Showreel 2007.

year: 2002

for this project at the sae institute i had to compose a figure into some scenes from the music vdieo "männer sind schweine" by die ärtze. i used a very simple model to realise it in a day and put most of the time into animation. many students laughed when they saw it, a nice example that simple things can also induce a great reaction on the audience.

Unfortunately the original material got lost.