Welcome to the online Portfolio of CHARACTER ANIMATOR CHRISTOPH SCHINKO, specialized in high-end 3D Character Animation with Softimage, Maya and Cinema 4D.
With over 15 YEARS EXPERIENCE in FEATURE FILM, TV-SERIES, COMMERCIAL, GAMING, MUSIC VIDEO and SHORT FILM production, he is an AWARD-WINNING Character Animator, Writer
and Director.
Christoph is available for hire as a FREELANCE ANIMATOR (Softimage, Maya, Cinema 4D) or CHARACTER TD (Softimage) REMOTELY AND ON-SITE.
With over 15 YEARS OF EXPERIENCE in a wide variety of fields, I am excited to sink my teeth into new PROJECTS AND CHARACTERS, tell extravagant STORIES, meet new ARTISTS, and help bring YOUR PROJECT to the next level.
I have worked extensively on FEATURE FILMS, TV-SERIES, COMMERCIALS, GAMING PRODUCTIONS, MUSIC VIDEOS and
SHORT FILMS - many of these projects AWARD-WINNING and INTERNATIONALLY ACCLAIMED.
I would love to hear about your ideas and would be thrilled to join YOUR TEAM.
For all ANIMATION PROJECTS, it comes down to one thing: STORYTELLING. Be it storyboarding, posing, blocking, or animating eye darts - it is always about knowing WHAT YOU WANT TO SAY and HOW TO SAY IT.
This has led me to LIVE-ACTION FILMMAKING, and, more specifically, WRITING AND DIRECTING.
My first projects have won over 20 AWARDS worldwide, and I can't wait to get started on the NEXT PROJECT.
Christoph was drawn to the arts from a very early age. DRAWING & ACTING his way through school plays, he discovers the perfect combination of his passions in COMPUTER GRAPHICS.
He studies 3D ANIMATION & DIGITAL EFFECTS at VANCOUVER FILM SCHOOL, starts working in the industry in 1999. Bigger projects take him to London, where he fulfills his teen-dream of once being in those credits on the big screen. After 10 years abroad, he returns to Vienna to direct his first LIVE-ACTION SHORT FILM, found a Company for 3D ANIMATION AND POST-PRODUCTION, and just keep doing what he loves.
Ing. Christoph Schinko
+43 650 942 43 22
office[@]christoph-schinko.com
Gentzgasse 129, 1180 Vienna, Austria
Member of the Economic Chamber Austria
UID: ATU66520099
Click here for Terms & Conditions
Web Design & Programming
by Christoph Schinko
Concept by bcom Advertising GmbH
SHOWCASE of selected shots completed for FEATURE FILM, COMMERCIAL and SHORT FILM productions over the past years. Please see end of demo reel for full shot breakdown and individual responsibilities.
I am available for hire as a CHARACTER ANIMATOR (Softimage, Maya, Cinema 4D) and SOFTIMAGE CHARACTER TD, and am specialized in working remotely with international clients. On-site work possible, if preferred.
#Animator #FeatureFilm @ScanlineVFX
ANIMATION ARTIST for the HOLLYWOOD BLOCKBUSTER Jurassic World: Fallen Kingdom.
#Animator #FeatureFilm @ScanlineVFX
ANIMATION ARTIST for the HOLLYWOOD BLOCKBUSTER Jurassic World: Fallen Kingdom.
#Animator #FeatureFilm @ScanlineVFX
ANIMATION ARTIST for the HOLLYWOOD BLOCKBUSTER The Meg.
#Animator #FeatureFilm @ScanlineVFX
ANIMATION ARTIST for the GERMAN FEATURE FILM Ballon.
#Animator #FeatureFilm @ScanlineVFX
ANIMATION ARTIST for the latest installment of Jim Knopf by MICHAEL ENDE.
Disclaimer: This is the official Trailer in its entirety, NOT SAMPLES OF MY WORK. Copyright of the respective owner(s).
#Animator #FeatureFilm @CinesiteLtd
CAMERA & 3D ANIMATION for the shots opening and closing the TIME TRAVELLING SEQUENCE. They required a rather ELABORATE CAMERA SETUP for flying through the CLOCK TOWER at HOGWARTS.
Three DIFFERENT CAMERAS were combined into one SMOOTH MOTION - the first part, a MOTION CONTROLLED CRANE SHOT, moved up a clock tower model and included a green screen plate of HARRY AND HERMOINE.
#Animator #FeatureFilm @CinesiteLtd
CAMERA & CLOCKWORK ANIMATION - Towards the top of the CLOCK TOWER MODEL, the crane shot was continued as a FULL CG CAMERA MOVE.
The camera track was first EXTRAPOLATED THROUGH HAND-KEYFRAMES, then blended and later cut to the CG camera flying through the CG clockwork, to avoid DOUBLE TRANSFORMATIONS and have full control through KEYFRAMES at any time.
#Animator #FeatureFilm @CinesiteLtd
CAMERA ANIMATION, CLOCKWORK & SET EXTENSION - As the CG camera moves through the clockwork, the cogs had to be placed to FAVOUR THE CAMERA, since the camera needed to continue the preceding motion and couldn't be moved sideways too much.
One of the main challenges was that the background footage (hallway) of course did not reflect any PARALLAXING for the CG camera. Therefore, it was re-created completely in 3D, using stills from later frames in the shot as TEXTURE PROJECTIONS.
#Animator #FeatureFilm @CinesiteLtd
CAMERA ANIMATION - The third part of this shot was the actors running through the hallway, which was shot using a STEADYCAM. The animation of the CG CAMERA had to continously become more shaky as it flew by the cogs and pendulum, in order to seamlessly blend not only with the CAMERA TRACK itself, but also with the STYLE OF MOTION of the steadycam.
This only amplified the PARALLAXING ISSUES mentioned earlier. Only when Hermoine enters the frame, the real (filmed) hallway and camera motion come into play.
#Animator #FeatureFilm @CinesiteLtd
CAMERA & CLOCKWORK ANIMATION for the shot were Hermoine first turns back time. Being one of the longest shots in the film, it is the counterpart to the previously created shot.
The first part was a TRACKED STEADYCAM from the sickroom through the hallway, then a CG CAMERA MOVE flying through the digital clockwork, to finally another TRACKED CRANE SHOT flying out of the clock tower towards the courtyard.
#Animator #FeatureFilm @CinesiteLtd
CAMERA & CLOCKWORK ANIMATION - since the setup for blending and controlling the different cameras had already been created for the previous shot, combining the 3 camera moves was quite straight forward this time around.
Also, since the hallway was in the foreground and the background was mostly populated by CG ELEMENTS, no parallaxing issues needed extra attention.
#Animator #FeatureFilm @CinesiteLtd
CAMERA & CLOCKWORK ANIMATION - In this section, the camera needed to continue in the style of a STEADYCAMS' MOTION, fly by the pendulum and then start to behave more like the MODEL SHOOT camera above the courtyard.
Although the pendulum wouldn't swing that much if it were really that long, its movement was strengthened for DRAMATIC EFFECT.
#Animator #FeatureFilm @CinesiteLtd
CAMERA & CLOCKWORK ANIMATION - The cogs were staged in a way that make for an interesting fly-by for the viewer, and we closely pass the second hand as we exit the clock tower and overlook the courtyard. The image to the left is close to the moment where the CG CAMERA ends and the tracked MODEL SHOOT camera takes over.
#Animator #FeatureFilm @CinesiteLtd
CLOCKWORK ANIMATION for another quick cut to Harry and Hermoine. The placement of the cogs was RE-USED from the previous shot, the animation fine tuned and fitted into the TRACKED HALLWAY.
#Animator #FeatureFilm @CinesiteLtd
CHARACTER ANIMATION of most ALIEN FACE HUGGER shots in the film. This long slow-motion shot inside the SACRIFICIAL CHAMBER was the first shot ever to show computer generated face huggers.
It was crucial they moved like the FACE HUGGER ANIMATRONICS we know from the old ALIEN FILMS, and yet take them to another level. Two animators worked on this particular shot.
MOTION STUDIES of the original Alien movies as well as analysis of NATURE DOCUMENTARIES on various animals helped bring the FACE HUGGERS to life.
#Animator #FeatureFilm @CinesiteLtd
CHARACTER ANIMATION of a classic face hugger sneak-attack. The MOTION ANALYSIS of spiders was invaluable reference for the FACE HUGGERS' ground movement.
REFERENCE MATERIAL of flying squirrles and the way they react to air during jumps was used for the long leaps, especially in SLOW-MOTION shots. The tail was especially interesting to animate, since it did not only trail behind, but could be used almost like an arm.
#Animator #TD #FeatureFilm @CinesiteLtd
ANIMATION and DIGITAL EXTENSION. This shot was originally in SLOW-MOTION as well, but was later sped up for pacing reasons. The TAIL was animated very carefully to slide underneath the the actresses collar.
A complete CG ACTRESS was built and animated to match the filmed actress, to ensure REALISTIC INTERACTION with the CG face hugger. The collar of her jacket was REPLACED with a HAND-ANIMATED 3D Model. Sections of her hair were put on animatable SHOT CARDS, so the face huggers' fingers could push the hair down when grabbing her skull.
#Animator #FeatureFilm @CinesiteLtd
CHARACTER ANIMATION - This CLOSE UP shows more of the face huggers inner workings than ever seen before, and it was a great chance to offer a new and exciting glance into GIGER'S ALIEN WORLD. It was deliberately set up to be quite graphic and stay true to the art and concepts of the late H.R. GIGER.
A complex combination of MUSCLE SETUP and SHAPE RIG were built specifically for this shot, to get a maximum of flexibility. This shot in particular shows how meticulous production was planned, as even in PRE-VIS each finger was animated down to the last digit.
#Animator #FeatureFilm @CinesiteLtd
PRE-VISUALISATION of the entire sequence where a PREDATOR slices an attacking Face Hugger in half with its SHURIKEN.
A fully rigged CG PREDATOR was built specifically for the previs of this sequence and animated in full to find the right camera angles, editing points and overall shot pacing.
The Director then used this PRE-VISUALISATION for the actual shooting of the film, for which the face hugger and a (partly) digital Shuriken were in turn re-animated to match the Predators' FINAL PERFORMANCE.
#Animator #FeatureFilm @CinesiteLtd
PRE-VISUALISATION & ANIMATION - The face hugger being sliced in half by the Predators' weapon. For this, a completely new CG FACE HUGGER MODEL was built, textured and rigged by the talented artists at CINESITE, to be able to show the actual cutting, slime and organs in SLOW-MOTION.
The slicing shot is fully COMPUTER GENERATED, the twitchy face hugger parts on the ground in the following shots were filmed ANIMATRONICS.
#Animator #FeatureFilm @CinesiteLtd
MODELLING AND ANIMATION of the helicopter blades for all helicopter shots, using the classic setup for ANIMATING ROTATING BLADES: multiple sets of helicopter blades were rotated at DIFFERENT SPEEDS, some moving BACKWARDS, to create that typical STROBING EFFECT.
#Animator #FeatureFilm @CinesiteLtd
PRE - VISUALISATION AND MODELLING for the satellite dish shot. For previs, a rough version of the SATELLITE DISH was modeled and multiple instances of it were placed into the TRACKED SHOT, for shot planning purposes.
It was then decided how and when dishes are ORIENTED OR MOVING. The fence in the back, leading towards the building, was also COMPUTER GENERATED.
#Animator #FeatureFilm @CinesiteLtd
CHARACTER ANIMATION of Face Huggers coming out of the ALIEN EGGS. Although many of the face huggers were filmed using ANIMATRONICS AND PUPPETS, the shot was populated with CG face huggers as well.
These different ANIMATION CLIPS were then adapted to also work for when the eggs are backlight and the face huggers silhouette is visible earlier in the film.
#Animator #FeatureFilm @CinesiteLtd
VFX ANIMATION of ice cracks and shifting plates. During filming, seven of the biggest ICE PLATES were built for the actors to slide down on. All other plates were CREATED DIGITALLY. Specifically developed plugins were used for creation of the little ICE CRACKS, and how they appeared and connected to one another.
However, all of them (several hundred!) were meticulously hand-placed and KEYFRAMED throughout the shot to appear or crack right when an actor "REACTS" to a crack in the ice. This was a critical STORYTELLING SHOT that needed to show that the attacking Saxons are being pushed back by the cracking ice.
#Animator #FeatureFilm @CinesiteLtd
VFX ANIMATION of ice cracks and shifting plates. Even closer with the camera, DOZENDS OF PLATES and about a hundred cracks were PLACED AND ANIMATED.
The challenge was to watch what each actor does, and find the best and MOST REALISTIC WAY for the ice cracks to move forward, "INTERACT" with the actors, and form new ice plates that other actors would slide down on. The VFX DEPARTMENT then added ice particles, water splashes and numerous other elements to the approved ice cracks.
#Animator #FeatureFilm @CinesiteLtd
CAMERA ANIMATION - This long VFX shot establishes the connection between the ice of the lake first breaking, to the cracks moving towards the attacking Saxon army. The CG camera had to SEAMLESSLY BLEND with the tracked camera of the LIVE-ACTION PLATE (crane shot).
After doing something similar for HARRY POTTER, the technique previously developed was brought into this shot to create a SMOOTH TRANSITION between the two camera animations. However, I was only helping out on this shot, and only worked on that particular aspect.
#Animator #FeatureFilm @CinesiteLtd
MOTION CAPTURE ANIMATION - For the crowd shots of the Saxon army, Cinesite developed a CROWD SYSTEM and created MOTION CAPTURE clips for the soldiers. Since historical research later revealed that Saxon Soldiers would typically bang their swords and spears against their shields when attacking, these movements were then created via KEYFRAME ANIMATION, and blended with existing MOTION CAPTURE DATA, to ensure the same level of realism.
#Animator #FeatureFilm @CinesiteLtd
MOTION CAPTURE ANIMATION - A whole number of new ANIMATION CLIPS were created for the CROWD SIMULATION, for example a new upper-body motion over top of a existing MOTION CAPTURED upper body motion, which was then put onto a mo-cap "walking" lower body. These clips where then used in CROWD SHOTS throughout the film.
The fires were partly filmed, partly added in POST-PRODUCTION for better control of its movement.
#Animator #FeatureFilm @CinesiteLtd
MOTION CAPTURE ANIMATION - Another shot, just before the Saxon army enters through the gates. While part of the army stays behind (idle clips), the attacking formation (led by TILL SCHWEIGER) heavily uses the KEYFRAME ANIMATION CLIPS created earlier.
#Animator #FeatureFilm @CinesiteLtd
CHARACTER PLACEMENT of dead bodies throughout the scene. This epic ending of the battle is illustrated by a MAJESTIC CRANE SHOT starting close on Arthur (CLIVE OWEN), mourning his friend, and then reveals the battle field, which is covered with dead bodies.
While many of them where filmed on set, a lot of bodies were ADDED DIGITALLY, to be able to control how dense the field was populated in the post-production stage.
#Animator #FeatureFilm @MPC
CHARACTER ANIMATION - each of the Pevensie siblings had a long shot, featuring their character in NARNIA 2: PRINCE CASPIAN. This was the hero shot for Susan (played by ANNA POPPLEWELL). A long crane shot with Susan fighting on the battlefield.
Around 30 DIGITAL CHARACTERS were added in the fore- and mid-ground, ranging from ANIMAL ANIMATION, ANIMATED SOLDIERS as well as numerous dead bodies.
#Animator #FeatureFilm @MPC
CHARACTER ANIMATION consists in part of RE-USED ACTIONS previously created by other animators (eg. the 3 mice attacking a soldier). Others (eg. the bear and cheeta) were animated SPECIFICALLY FOR THIS SHOT. Re-used Animation had to be ADAPTED (mice running around bodies).
The armies in the background were added by the CROWD SIMULATION department. TEXTURING, LIGHTING AND COMPOSITING were done so well that it is impossible to distinguish between CGI and real-life soldiers.
#Animator #FeatureFilm @MPC
CHARACTER ANIMATION of the background characters in a number of shots during the forest council. A great opportunity to handle many different CHARACTER RIGS (eg. Minotaur, Fox, Wild Boar, Deer) and get "into the head" of each of those creatures.
Here, Prince Caspian (played by BEN BARNES) is speaking to the oppressed Narnians. MOTION REFERENCE and ANIMAL RESEARCH were crucial throughout.
#Animator #FeatureFilm @MPC
CHARACTER ANIMATION - of mid and background characters (mostly soldiers) for a number of shots in the CASTLE SEQUENCE.
Again, this sequence contains a mixture of RE-USED ANIMATION CLIPS as well as newly created KEYFRAME ANIMATION. It also contains CG ANIMATED CREATURES, real life actors, and a combination of the two: actors on bouncy stilts (POWERBOCKING), tracked and composited onto CG animal bodies.
#Animator #FeatureFilm @MPC
CHARACTER ANIMATION of the Hippogriff carrying Edmund Pevensie (SKANDAR KEYNES). Although this shot doesn't show much of the Hippogriff, its animation had to believably "lead" the ACTORS MOTIONS, in order for them to appear as reactions to the Hippogriff's flight path.
For these sequences, actors were filmed on MOTION CONTROLLED BLUE SCREEN "saddles", for convincing movement.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION, CAMERA ANIMATION & LAYOUT for the entire PLANET FACTORY SEQUENCE. Although three animators worked on PRE-VISUALISATION, final shot Layout and Animation was set up single-handedly over a period almost half a year.
A MASSIVE LIBRARY of factory floor CONSTRUCTIONS, PIPES, CRANES and so forth was used to populate the shots and define framing and camera moves.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION, CAMERA ANIMATION & LAYOUT - The opening shot of the planet factory immediately impresses with its imagery, consisting mostly of MATTE PAINTINGS in the mid- and background (planets and factory grid in the far back).
Closer planets which were built in 3D with MATTE PAINTINGS PROJECTED onto them, digital factory floor constructs in the foreground, and the actors inside a FILMED CRADLE, traveling through the planet factory on a DIGITALLY ADDED mechanical arm.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION, CAMERA ANIMATION & LAYOUT - The tunnel through which the factory is entered is COMPLETELY DIGITAL. The actors were either filmed inside a real cradle, or inside a BLUE SCREEN cradle, and were then placed inside a DIGITAL CRADLE. The arm that pushes the cradle was added in POST-PRODUCTION.
This was done for almost every shot in the PLANET FACTORY and EARTH MARK II sequences, and different techniques were used to ensure believability.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION, CAMERA ANIMATION & LAYOUT - The key to placing the actors inside the planet factory was PERSPECTIVE. If their and the cradles` perspective did not work with the camera, the illusion would fall apart.
In the PRE-VISUALISATION stage, a complicated MOTION CONTROL RIG was built, which was able to use data EXPORTED from the 3D previs scenes. This should ensure that the cradle was filmed from the right angle for each individual shot.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION, CAMERA ANIMATION & LAYOUT - when the filmed cradle was used, it was crucial to perfectly attach the CG arm pushing it. The sheer length of the rod would AMPLIFY every minor discrepancy in perspective.
For many shots the actors were filmed on a BLUE SCREEN CRADLE, and were then put inside a CG CRADLE. While this made attaching the CG bar easy, the cradle still had to line up perfectly with the actors perspective, especially when they are leaning against it.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION, CAMERA ANIMATION & LAYOUT - Other shots had just the actors in the real cradle on screen, without the rod pushing them. CAMERA and METICULOUS LAYOUT of the background elements was still of the essence.
The kind of constructions they were passing, at what SPEED, how many of them were in the background and when, these were all considerations to be taken into account for each shot.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION for the EARTH MARK II SEQUENCE. The same pushing-rod was used as before, which could EXTEND INDEFINITELY, and yet its position, rotation, extension and speed were easy to control.
In addition to the ROD AND CRADLE SWAYING a bit, all interactions had to be carefully timed to the PERFORMANCE OF THE ACTORS. All animation was timed around when exactly they sway, in which direction and how much, ie. how they "REACTED" to the bars stopping or starting to push them.
#Animator #FeatureFilm @CinesiteLtd
ANIMATION - Although there are NO CG ELEMENTS visible in this shot, the cradle-footage still had to be animated as if the cradle flew just above the trees, otherwise it would have appeared too static.
The COMPOSITING DEPARTMENT created the real magic for this sequence, and made both the PLANET FACTORY as well as the EARTH MARK II sequences what they are.
#Animator #FeatureFilm @CinesiteLtd
PRE-VISUALISATION for the DESTRUCTION OF EARTH Sequence. This was done early on in production, as it was clear that this sequence needed to be PLANNED PERFECTLY and evolve until filming commenced. The briefing stated that it should NOT be a crash-zoom away from earth, but something more UNIQUE, with off-beat cuts further and further away until earth is in frame. MUSIC QUEUES were given as a starting point to finding the right beats.
#Animator #FeatureFilm @CinesiteLtd
PRE-VISUALISATION - moving further away from the planets surface, these MASSIVE SPACESHIPS are revealed - parts of them were actually built on set: the giant corner of a space craft. The MOVEMENT of the spaceships was important for the sequence, they were supposed to still move, but be almost in place to destroy earth.
#Animator #FeatureFilm @CinesiteLtd
PRE-VIS & MEL-SCRIPTING - The spaceships were to change from a SPHERICAL to a CUBICAL FORMATION. Since it was impractical to animate A FEW HUNDRED ships manually, a PROCEDURAL APPROACH was taken.
A MEL-SCRIPT was developed to INTERPOLATE the relative position of each ship from the spherical to the cubical formation. Even if this solution was not used for final creation of this shot, writing this ALGORITHM was a most rewarding journey into the TECHNICAL ASPECTS of production.
#Animator #FeatureFilm @CinesiteLtd
CHARACTER ANIMATION of the shark, which is the only CG animation in the film. When Alfie (JUDE LAW) enters a disco, a GIANT AQUARIUM with a LIVE SHARK is shown.
The CG shark was ANIMATED to match the corals in the aquarium, which were filmed together with the other fish in the tank.
#Remote #Animator #CharTD
#FeatureFilm @AlexLemkeVFX
CHARACTER ANIMATION & RIGGING of the Ravens for the film adaptation of OTFRIED PREUSZLERS outstanding book "KRABAT".
Most Raven shots used FULL CG RAVENS, that were rigged and animated in SOFTIMAGE. The character rig needed to be quite advanced, and work for KEYFRAME ANIMATION, re-use of ANIMATION CLIPS, as well as a rudimentary CROWD SYSTEM based on curve trajectories.
#Remote #Animator #CharTD
#FeatureFilm @AlexLemkeVFX
CHARACTER ANIMATION & RIGGING - Control elements of the character rig were LAYERED, so that e.g. the shape of a wing could easily be "sculpted" as a whole, but still each feather could be accessed and CONTROLLED INDIVIDUALLY.
Single poses or entire animation of separate body parts could easily be RE-USED, RE-TIMED AND OFFSET to add variety.
#Remote #Animator #CharTD
#FeatureFilm @AlexLemkeVFX
CHARACTER ANIMATION & RIGGING - certain parameters like wind would non-destructively ADD TO THE ANIMATION of each feather, which could still be controlled individually via IK AND FK, depending on the desired action at hand.
OVERLAPPING LAYERS of geometry feathers covered the wings and tail - the body and connection from arm geometry to wing feathers was accomplished by the Munich team using fur.
#Remote #Animator #CharTD
#FeatureFilm @AlexLemkeVFX
CHARACTER ANIMATION & RIGGING - for this long and beautifully shot flight sequence, a mixture of KEYFRAME ANIMATION, re-use and offset of previously created FLIGHT CYCLES, as well as a "drifting" algorithm in conjunction with flight trajectories to further offset animation was used.
#Remote #Animator #CharTD
#FeatureFilm @AlexLemkeVFX
CHARACTER ANIMATION & RIGGING - the Ravens entering the mill used another combination of flight trajectories, procedural offseting techniques as well as KEYFRAME ANIMATION.
Extensive RESEARCH AND REFERENCE on Ravens was used throughout the project, from Anatomy and Motion Range, to personality and behaviour, to better be able to portrait these incredible birds.
#Animator #CharTD #FeatureFilm @ViennaFX
CHARACTER ANIMATOR, Motion Graphics Designer and SOFTIMAGE VFX TD using SOFTIMAGE ICE.
#Animator #Remote @ TOMSPORER
CHARACTER ANIMATION of the Chewing Gum Stripper, "Lazy Orange" Stripe Character as well as all Background Characters.
Animated with Maya remotely.
#Animator @ SEHSUCHT
CHARACTER ANIMATION of the OBI Hamster. Refinement and polishing of existing animation blocking, as well as animation changes as per client and agency feedback.
Animated with Softimage on-site.
#Remote #Animator @ EAT MY DEAR
CHARACTER ANIMATION of the complete episode in Cinema4D.
Animated with Cinema4D remotely.
#Remote #Animator @ ALT VFX
CHARACTER ANIMATION of the Mosquitos in Maya.
#Post-Production #Remote
@ SEVEN PRODUCTION
CREATION & ANIMATION of the eagle and CG noodles. The eagle was built to match the Recheis Logo, rigged and animated in Softimage.
3D Production in Softimage remotely.
#Remote #Animator for EAT MY DEAR
CHARACTER ANIMATION of the SimplyTV mascot "Sock".
Animated with Cinema 4D remotely.
#Remote #Animator for EAT MY DEAR
CHARACTER ANIMATION of the SimplyTV mascot "Sock".
Animated with Cinema 4D remotely.
#Remote #Animator for EAT MY DEAR
CHARACTER ANIMATION of the SimplyTV mascot "Sock".
Animated with Cinema 4D remotely.
#Remote #Animator for EAT MY DEAR
CHARACTER ANIMATION of the SimplyTV mascot "Sock".
Animated with Cinema 4D remotely.
#Remote #Animator @EAT MY DEAR
CHARACTER ANIMATION of the complete episode in Cinema4D.
#Remote #Animator #CharTD @KEYVIS
CHARACTER ANIMATION of Shots 2 and 3 (walking & talking), including Facial Animation and LipSync.
CHARACTER RIGGING of Hamster including FACIAL ANIMATION and LIP SYNC setup. Character Rig is able to morph from Hamster (quadruped) to HUMAN ANATOMY (biped).
Production: SEVEN PRODUCTION
Client: DETUR TRAVEL AGENCY
Agency: LOWE GGK VIENNA
#Remote #Animator @ ALT VFX
CHARACTER ANIMATION of the Mosquitos in Maya.
#Post-Production #Animator #CharacterTD @SATISFICTION MEDIA
CREATION & ANIMATION of the book, including the character rig and scripting of single page rigs. All other content by Satisfiction Media.
#Post-Production #Animator #CharacterTD
@SEVEN PRODUCTION
3D PRODUCTION of the Air Stream with Softimage ICE. Compositing by Seven Production.
#CharacterAnimator @MPC
CHARACTER ANIMATOR for enhancing and finalising SIMULATED POLAR BEAR ANIMATION. The simulation was achieved using a humanoid rag doll, which then was refined to better suit the ANATOMY OF A BEAR.
AWARDS FOR POST-PRODUCTION:
- British Arrow Nomination for Best CGI
- D&AD Nomination for Best Special Effects
- Prix Ars Electronica Hononary Mention
- VES Nomination for Outstanding VFX in a Commercial
Agency: Mother London
Production: Rattling Stickx
Post-Production: Moving Picture Company
#Post-Production #Animator #CharacterTD
@MOSHEL FILMS
CHARACTER CREATION & ANIMATION of the "Buranabot" robot, which transforms from an old tape deck into a HUMANOID ROBOT. Full 3D Production from Modelling and Texturing to Lighting and Rendering. Cheerleader pom poms were simulated ICE geometry.
METUBE2 premiered at the SUNDANCE FILM FESTIVAL and was accepted into over 50 Film Festivals so far.
#CharacterAnimator #CharacterTD @SATISFICTION MEDIA
CHARACTER ANIMATION & RIGGING of the walking mailboxes. Although the mascout (actor "Toni" inside a mailbox) had already been well established, this was the first time FULL-CG CHARACTERS were used. Both look and animation needed to match the filmed mailboxes perfectly, especially since shots of the "real" mailbox were intercut. FOOTAGE of Toni walking provided excellent reference for KEYFRAME ANIMATION. Different walk cycles were created for the CROWD SHOTS to feel more natural.
Client: POST AUSTRIA
Agency: DDFG
#CharacterAnimator @GLASSWORKS UK
CHARACTER ANIMATION of the Guinness Toucans, together with Alastair Hearsum. KEYFRAME ANIMATION of all hero shots and creation of ANIMATION CLIPS for usage in Glassworks' FLOCKING SYSTEM.
Client: GUINNESS
Agency: IRISH INTERNATIONAL / BBDO AGENCY
Production: COMPANY FILMS
#Remote #Animator #CharacterTD
@MOSHEL FILMS
CHARACTER ANIMATION & RIGGING of the dancing robot, which transforms from an old tape deck into a HUMANOID ROBOT. Dance moves were based on reference of BOBBY BROWN.
METUBE has won over 20 AWARDS, reached over 1 Mio clicks on YOUTUBE, was Official Selection at the SUNDANCE FILM FESTIVAL and brought the 3D Team the JURY AWARD at the ANIMAGO.
#CharacterAnimator @GLASSWORKS UK
CHARACTER ANIMATION of mascot Churchill the dog, including LAYOUT ANIMATION, FACIAL ANIMATION and partial prop animation.
Client: CHURCHILL INSURANCE
Agency: WCRS
#CharacterAnimator @GLASSWORKS UK
CHARACTER ANIMATION of mascot Churchill the dog, including LAYOUT ANIMATION, FACIAL ANIMATION and partial prop animation.
Client: CHURCHILL INSURANCE
Agency: WCRS
#CharacterAnimator @GLASSWORKS UK
CHARACTER ANIMATION of mascot Churchill the dog, including LAYOUT ANIMATION, FACIAL ANIMATION and partial prop animation.
Client: CHURCHILL INSURANCE
Agency: WCRS
#3D #Post-Production @SATISFICTION MEDIA
CHARACTER ANIMATION & RIGGING of Orange mascout angel "Manfred". The 2D FEEL of the CHARACTER DESIGN was translated to 3D by creating EIGHT COMPLETE CHARACTERS from different views, with separate Geometries and Rigs - controlled by a single Parameter to SWITCH BETWEEN them and rotate the character by 45 degrees. Almost a year later the concept was picked-up again for a Christmas campaign.
Client: ORANGE AUSTRIA
Agency: DDFG
#3D #Post-Production @SATISFICTION MEDIA
CHARACTER ANIMATION & RIGGING of Orange mascout angel "Manfred". The 2D FEEL of the CHARACTER DESIGN was translated to 3D by creating EIGHT COMPLETE CHARACTERS from different views, with separate Geometries and Rigs - controlled by a single Parameter to SWITCH BETWEEN them and rotate the character by 45 degrees. Almost a year later the concept was picked-up again for a Christmas campaign.
Client: ORANGE AUSTRIA
Agency: DDFG
#3D #Post-Production @SATISFICTION MEDIA
CHARACTER ANIMATION & RIGGING of Orange mascout angel "Manfred". A combination of animation methods was used to get the feel of it being ANIMATED "ON TWOS", but still have fluid motion. EIGHT FULL CHARACTERS were built for the flat character to be able to turn in 45 degree steps.
Client: ORANGE AUSTRIA
Agency: DDFG
#3D #Post-Production @SATISFICTION MEDIA
CHARACTER ANIMATION & RIGGING of Orange mascout angel "Manfred". A combination of animation methods was used to get the feel of it being ANIMATED "ON TWOS", but still have fluid motion. EIGHT FULL CHARACTERS were built for the flat character to be able to turn in 45 degree steps.
Client: ORANGE AUSTRIA
Agency: DDFG
#CharacterAnimator #CharacterTD @SATISFICTION MEDIA
CHARACTER ANIMATION of the CG walking mailbox, which had been revived from the 2011 commercial. The material was originally shot with the LIVE-ACTION MAILBOX ACTOR. Since speeding up the shot plate of the actor caused difficulties, it was decided to FULLY ANIMATE this character.
Client: POST AUSTRIA
Agency: DDFG
#CharacterAnimator #CharacterTD @Satisfiction Media
CHARACTER ANIMATION and rigging of Crowd Characters. 3 different Characters were used to match the film footage of the live-action scientists. A CHARACTER RIG including props and partly camera were animated to create 3 CROWD shots. Multiple LOOPABLE ANIMATION CLIPS were created for each Character to ensure the crowd system could not only loop, but also switch to different animation clips.
Client: Novartis
Agency: Feuer
#Animator @MPC
ANIMATION of certain CG Elements in the spot, eg. the BASKET BALL and the remote controlled DRAGON FLY.
#Director #Author #Film-Production #Post-Production #Animator #Editor #Producer
LIVE-ACTION DEBUT Short Film
"A Bench's Tale" tells the romantic story of a lonely wooden bench, entirely without the use of words or actors. The film has won over A DOZEN AWARDS world-wide, and has been shown at FILM FESTIVALS IN 8 COUNTRIES.
The 11-minute film was shot on a RED ONE with COOKE S4 PRIME LENSES and ZEISS MACRO lenses. Shooting took place near Wilhelmsburg in Lower Austria.
#Director #Animator #Filmproduction #Editor
#Compositor #Post-Production #Concept
COMPLETE PRODUCTION of the Music Video "Traum" ("Dream") for the new CD "Zirkus des Lebens" ("Circus of life") of the austrian band "RAY SHAMES".
www.rayshames.com
#Director #Film-Production #Editor #Post-Production
COMPLETE PRODUCTION of the Music Video "Let's Dance" for the austrian band "DENK". Footage was shot in 2,5 days using a CANON EOS 6D and Canon Lenses. Extras like a FOG MACHINE, an antique tractor and special effects for the Jungle Camp scenes were used to add production value. It was recently broadcasted on Austrian TV.
www.bdenk.at
#Director #Writer #Animator #Post-Production
REFLECT is a 15-minute Animated Short Film about the difference between constructive and destructive aggression, packaged into an exciting FANTASY STORY. Written in 2007, over 300 panels were storyboarded, concept art was developed, the character and rig were built and presented at the SOFTIMAGE XSI 7 LAUNCH EVENT in London, UK. A unique shader was developed to underline the message of the film, pre-vis and 3D animatic are 30% finished.
#Director @LONDON FILM ACADEMY
GRADUATION SHORT FILM for the Filmmaking Certificate course at LONDON FILM ACADEMY in 2009. A wonderfully artistic story by Ray Nukada, translated to the screen by student live-action director Christoph Schinko. Shot on Super 8, edited on AVID MEDIA COMPOSER, Music by Roland Guggenbichler.
#Director #Animator #Post-Production
ANIMATED SHORT FILM about the austrian rock star Kurt Ostbahn, and how he came to bear his full name (Kurt of the eastern railway). Produced for his final concert tour in 2003, it received an AWARD FOR BEST ANIMATION at the DeadCenter Film Festival, and has been shown at numerous festivals in the US and Austria, as well as during his concerts in front of 80,000 PEOPLE. Created with SOFTIMAGE XSI in only six weeks production time.
#Director #Writer #Animator #3D-Production #Post-Production #VFX
FIRST ANIMATED SHORT FILM by Christoph Schinko, a 4 minute narrative short about a toy-organ puppet that re-discovers its purpose through a near death experience. Completely created in SOFTIMAGE XSI in 2 MONTHS PRODUCTION TIME. Presented at the COMIC CON in San Diego in 2004, and shown at a number of festivals in the US and Austria.
#Lecturer #Animation @FilmAcademyVienna
CHARACTER ANIMATION LECTURER for the "DIGITAL ARTS / COMPOSITING" Curriculum at the INSTITUTE FOR FILM AND TELEVISION at the University of Music and Performing Arts (Film Academy Vienna).
Winter-Semester Course, developed and taught since Fall 2015. From Animation Basics to CHARACTER ANIMATION and SHOT PRODUCTION.
Level: Expert
Software: Softimage / Cross-Platform
DEVELOPMENT of a MATHEMATICAL FORUMLA to integrate EXPONENTIAL FUNCTIONS in Character Rigs, and introduce NON-LINEAR between eg. correctional shapes and rotations.
Originally PUBLISHED IN 2007, in Issue 13 of the HDRI 3D MAGAZINE.
DOWNLOAD .PDF FILES
Level: Advanced
Software: Softimage
TUTORIAL on creating a powerful, stretchy arm rig for animators.
Originally PUBLISHED IN 2006, in Issue 04:06 of the DIGITAL PRODUCTION MAGAZINE.
DOWNLOAD .PDF FILES
AWARD OF MERIT for live-action short film "A Bench's Tale" at the Best Shorts Competition 2014, USA.
www.bestshorts.net
GOLD AWARD for best Cinematography of live-action short film "A Bench's Tale" at the International Independent Film Awards 2014, USA.
www.iifa.com
FIRST PLACE for short Screenplay "Carla" at the Las Vegas Film Festival 2010, USA.
www.lvff.com
FIRST PLACE for best animated short film "Ostbahn Kurtl" at the DeadCenter Film Festival 2004, USA.
www.deadcenterfilm.org
#CharacterAnimator #CharacterTD
@MOSHEL FILMS
JURY'S PRIZE for music video "MeTube" by Moshel Films at the Animago Award 2013 in Germany.
www.animago.com
FIRST PLACE for short Screenplay "Carla" at the Nevada Film Festival 2010, USA.
www.nevadafilmfestival.com
FIRST PLACE for short Screenplay "Carla" at the Ventura Film Festival 2010, USA.
www.venturafilmfestival.org
AWARD OF EXCELLENCE for best short Screenplay "Carla" at the 3rd Skyfest Film & Script Festival 2010, USA.
www.skyfest.net
SILVER AWARD for best narrative short film "A Bench's Tale" at the International Independent Film Awards 2014, USA.
www.iifa.com
SILVER AWARD for best short Screenplay "Carla" at the California Film Awards 2010, USA.
www.calfilmawards.com
THIRD PLACE for short Screenplay "Carla" at the Honolulu Film Awards 2010, USA.
www.honolulufilmawards.com
4TH PLACE for best short film "A Bench's Tale" at the 7th Skyfest Film & Script Festival 2014, USA.
www.skyfest.net
HONORABLE MENTION for short Screenplay "Carla" at the Colorado Film Festival 2010, USA.
www.coloradofilmfestival.com
OFFICIAL FINALIST, short Screenplay "Carla" at the Alaska Film Awards 2010, USA.
www.alaskafilmawards.com
OFFICIAL COMMENDATION for short Screenplay "Carla" at the Yosemite Film Festival 2010, USA.
www.yosemitefilmfestival.com
OFFICIAL SELECTION for short film "A Bench's Tale" at the 4th Dada Saheb Phalke Film Festival 2014, INDIA.
www.educationexpo.tv