Supervision

  • Experienced in 2.5/3D, stylized and hyper-realistic CG styles

  • Pipeline and Project Setup

  • RND and Tool Testing

  • Bidding and estimation of a project from a creative and technical perspective

  • Working with Production to remain on budget and on schedule

  • Collaborating with production to set up projects and workflow and also retrospective data.

  • Creatively leading and mentoring department leads to achieve the creative vision set by the client.

  • Expiration and resolution of technical production challenges

  • Render planning

  • Final delivery

  • Team Management 

  • Look Development

  • Shader Development (NPR)

  • Grading

  • Basic scripting with MEL / Python

Maya

I started using Maya in 2005, as my career in CG production ramped up. I've used it ever since for all sorts of visual content creation. Be it previz or high-end animation, from layout to final picture. Since I’m working as a VFX-Supervisor, I have less hands-on time in Maya. Regular problem-solving, pipeline-testing and the occational helping hand keeps me in touch with the software’s updates and new features.

Maya Skillset

Houdini

Since 2018 I work with Houdini for all everything rendering related. From surfacing over lighting to final 3D layer rendering. As a VFX / CG Supervisor I only have limited time and responsability for this work but on all my projects I’m very involved in the LookDev process and problem-solving in the surfacing and lighting department. For the Love, Death + Robots episode The Tall Grass, I developed the peinterly shader with a team of 3 LookDev artists.
FX in houdini is not my strongsuit, but I’m able to dig into graphs for problem solving and communication between FX and Lighting teams. I have experience with the renderers Mantra and Arnold in Houdini.

Houdini Skillset

Other Tools

Next to Maya as my 3D playground of choice I use all sorts of tools to achieve my goals.
I use Photoshop regularly for texture work, paintovers and simple concepting, complex review work for my teams, UI & icon design for my tools involving vector work.
Getting in touch with  Unreal Engine started 2016 by working in a team creating cinematic content from the animation point of view. As an artist I wrangled asset data between Maya and UE, had a glimpse into the sequence editor, blueprints and substance. I also did basic lighting, level layering, and packaging.

Use of DCC Tools

Hover over the Chart for exact Information

Use of Other Tools

Since 2007, aside being a digital artist, I started leading teams to produce 3D content for CG animation, advertisment and VFX.
These teams ranged from 5 - 20 3D & Compositing artists including working with people & vendors in different timezones.
While working closely together with Management, Tech, Art & Pipeline, I constantly trained my ability to articulate and translate project work into numbers and tables, that I then transform into action as a supervisor and/or artist.
I'm used to and comfortable with leading every single person in a team to their maximum potential, doing one on ones and listen closely to their feedback.
In 2015 I started working regularly with Atlassians Confluence and Jira for collaboration with the pipeline team and documentation for the artistic team.

Collabortion / Coordination

Collaboration / Coordination Skillset

Languages

I am business fluent in both German and English. 

CG Supervision

I started to work as a team lead relatively early in my career in 2006, but would not call myself as CG Supervisor before 2008 since I have grown more and more into that position. I never grew out of my artist shoes completely, but took over more and more responsability toward creating workflows, team building & supervision, as well as working closely with pipeline and studio management.
In 2022 I started the VFX-Supervisor role to deliver a full CG animation series production for Marvel / Disney+ with 2 episodic CG-Supervisors and 6 department supervisors.

Technical Direction

My experiences as a technical director spreads over several projects, including rigging work for characters, cameras, props and character effects as well as supervising riggers and tech personel utilizing given workflows. I worked with several rigging systems, including The Setup/Face Machine and humanIK plus specific rig components on top.
I scripted several tool prototypes for creating character hair with Xgen and Yeti in Maya, as well as a creator for background houses utilizing modular elements.
This modular workflow got featured on 5 pages in Issue 80 of the 3D Artist magazine in 2015.

Since 2018 I am focussing fully on my CG-Supervisor role and have not been in touch much with my TD skills. However they always come back in use with certain problem-solving situations.

Direction

I am definately no director in a traditional sense. But working closely with direction and artists opened up the opportunaty to co-direct the 20 minute stereoscopic short "StrAngel - The Angel of the Odd" from 2008 - 2012.
Next to other responsabilities such as Layout, Camera and Stereoscopy, I gathered extensive knowledge and skills in how to direct a team of artists and technicans to realize a vision from the first idea up to the final product.
The film got rated at a 7.0 on IMDb and achieved to be honored with awards in Catalina Island, Russia and Switzerland.