This is a showcase of some assorted hands-on work done by me at Filmgate. Besides working on the graphics (and generally running the company with my co-founders), I was responsible for script breakdowns and on-set supervision for many feature film productions. A full list of productions can be seen over at IMDB.
Filmgate were offered the opportunity by Ghost A/S to work, as sub-contractors, on this exciting Zentropa production which at the time was the largest visual effects movie to be made in Scandinavia.
One of my very first feature film visual effects projects, where I primarily performed compositing and blue screen keying in Shake as well as some minor 3D work in Maya while working at Farmland, Trollhättan.
A MEL script that hooks your particle system up with a camera automatically, resulting in a z-depth/focus depth/height/age/etc shader, that can be used to render images meant to serve as an aid during compositing. This way you can e.g. render out hardware particles’ depth channel with motion blur.
Utilizing the Z channel (depth information) of Maya’s IFF files in Shake is a bit tricky because of the way Maya stores depth information… here’s a quick tutorial to get you started.
During one month, summer 2004, I had the opportunity to work with the very talented people at North Kingdom, Skellefteå, where we produced a campaign website for Saturn’s new family car, The Relay.
While studying at Hyper Island all students were assigned to find a company, willing to take us on as interns for 20 weeks. I went for a position at Method and relocated to New York City for about six months (June - December, 2001).
