In the "Motion Industry" module at Hyper Island Jays commisioned us to create
a set of videos for web distribution. These videos were ment to carry Jays'
existing "No Phony" campaign forward.
Rather than making conventional clips, that directly show the product and
focus on a narrow target group, my team and me came up with a dynamically
expandable concept that focuses on every day situations and feelings and
portrays them in a strong, short to the point and authentic way.
Some of the videos are more "artsy" or "subtle" while others rely heavily on vfx and are more "obvious" but all of them are geared to raise a different kind of confusion and make the audience curious about more.
The audience is eventually promised something no phony should they decide to investigate the terms "No Phony" or "Jays".
In my role as the Visual Effects Supervisor I was tasked to come up with ways how to execute our vfx dependent ideas with the highest level of efficiency using the tools at hand. For the "Little Train" clip (executed by Nídia Dias) I came up with a combination of simple hard- surface roto, time remapping and compositing of several locked-off plates. No cumbersome 3D work needed.
Due to the lack of a suitable set for the "Giraffe decapitation" clip I had to manually 3d matchmoove cg to the approaching truck becasue the occlusion of the railing disqualified matchmooving apps like Boujou. I acomplished all the "3d" in this clip with After Effects' 2.5d engine, its 3d lighting and animated warps on the Giraffes to introduce secondary animation (with the primary animation based on a time remapped, rotoscoped plate.) In addition to After Effects I used Photoshop CS5 and its advanced paint engine to create the textures, mocha Pro to track the incredibly shaky railing and boujou to track the unoccluded truck.
We went through great lenghts in the idea developement, client collaboration and the correct simulation of our roles. Urban Kindhult from Jays later said that we were: "Very synchronized, responsible and efficient. Up for making an impression and hard core deliverance." On a scale from 1-5 he rated our professionalism as well as our understanding and interpretation of the brief a 5.
The video above includes three of the videos we made for Jays.

Credits:
Producer: Martin Edlund
Director of Photography: Martin Aggerholm
Art Director: Nídia Dias
Visual Effects Supervisor: Wilfried Kaiser
Project Manager: Christian Leppänen

Additional content:
View the clip with the Giraffes in 720p

In the "Motion Graphics and Branding" module at Hyper Island Wreck Creative
Studios commissioned us to create a graphics package for the MTV Dancefloor
Charts. The package was supposed to consist out of a set of bumpers based on
one coherent theme or story. The overall style was supposed to feel positive,
weird, colorful, and keep a relatively high pace.
After a lot of brainstorming my group and me came up with an idea that
fulfilled the requirements and also fit into the extremly limited time budget we
were given. We developed the concept of telling the story of a dance night
with the preparty, dancefloor and afterparty using a rotating, photorealistic but
isometric cube with each of the three surfaces dedicated to one of the
different locations and overlapping interactions and lighting on the edges.
Instead of getting high pacing from quick camera moves or editing we decided
to have no edits and no camera moves at all and make the scene very detailed
and quick instead. While the cube rotates away from an even state the objects
on the "featured" plane start to physically slide and fall and even hit some
of the dancers.
As the art director my role was to develope the cube's layout in a way that
would enable these dynamics and human interactions to happen without
loosing the graphic look of the whole cube. Once the layout was decided
within the whole group I started to create a high resolution matte painting.
In the posted bumpers I was also responsible for the compositing,
dynamics simulation, graphic design, look developement and execution.
The music for the first bumper was supplied by MTV. The Music in the second
bumper is "Too Much" from Bonaparte and was used with friendly permission.

Credits:
Wilfried Kaiser
Oscar Gränse
Jonathan Dahl
Edvin Olofsson

Additional content:
View a Video about the development of the cube
Download the moodboard as a PNG
Download a stunning poster based on the second bumper
View the first bumper in 720p
View the second bumper in 720p

For the "Motion Graphics and Conceptualization" module at Hyper Island perfect
fools commissioned us to develop a concept that would enable them and their
customers NASA and DARPA to send 200 highly dedicated and educated young
people from vastly different professions to a space mission towards Mars.
For the rest of their lives.
The project was dubbed "The Hundred Year Starship Initiative".
After analysing the brief's set boundaries (no transfer of physical goods,
no return to earth, high requirements of motivation...) my team and me came
up with a holistical concept that enabled the 200 women and men to be driven
by individual goals via intrinsic motivation.
With my communication design knowledge my main role was to develope a set of pictograms and use them to create a very clean and logical presentation without much written text.
Mouseover to see a frame from the recorded pitch.

Credits:
Wilfried Kaiser
Ida Kristina Andersson
Edin Agovic
Robin Günther
Haris Badic

Additional content:
View the the recording of the pitch at Vimeo

This is one of the final four digital environments I produced as my Bachelor
project at Fachhochschule Schwäbisch Hall. This 2 D matte painting
"Dying Motor Town" is a highly detailed, yet because of its night setting
minimally colored piece. Many carefully animated assets and the uncommon
composition around a centered vanishing point help achieve a moody scene of a
large dying former automobile metropolis.