Trixter Film GmbH

US Feature Film

RnD, Look Development-Artist

' Thor: Ragnarok ‘ 

Look Development-Artist

Trixter Film GmbH 

' Spider-Man: Homecoming ‘  

Shading-Artist

Company: Trixter

Work: SHADING

I was helping out in rebuilding the shading for the Iron-Spider-Suit

(at 00:07 in the video above) which is displayed near the end of the movie.

Software used: Katana

Trixter Film GmbH 

‚ Guardians of the Galaxy Vol. 2 ‘ 

Texturing-, Shading-, Look Development-Artist

Company: Trixter

Work: Texturing | Shading | Look-Development

On this Project I have put a lot of time in finding the right look for the chrystal character 'Martinex'. It was especially tough since we see him in an environment with tons of blinking Neon lights. 

For the snow city and the forest environment I have continued my work from Civil war in further developing my procedural shader setup. That helped in getting the shading done for hundred of assets.

I have also worked on developing the look for the Floating space amoeba.

Software used: Mari | Katana

Trixter Film GmbH 

' Captain America: Civil War ‘ 

Texturing-, Shading-, Look Development-Artist 

' Independance Day: Resurgance ‘ 

Shading-, Look Development-Artist

Company: Trixter

Work: Look-Development | Shading

I have worked on the shading for the Ai-ship and for the moon surface.

Software used: Katana

Company: Trixter

Work: Texturing | Look-Development | Lighting & Rendering

On this Project I have spend a Long time working on the shading for the black Panther character. Besides that I have adapted the shading for the shield of Captain America. I was also involved in texturing and shading the helicopter asset.

I also worked on a procedural shader setup in order to shade a huge amount of assets on the rooftop without having to texture them.

Software used: Mari | Katana

Trixter Film GmbH 

‘ Marvel's The Avengers 2: Age of Ultron ‘ 

Texturing- & Look Development- Artist 

‘ Pixels ‘ 

Texturing-, Look Development-, Lighting & Rendering-Artist 

‘ DxM ‘ 

Lighting-Artist 

‘ Ant-Man ‘ 

Look Development-, Lighting & Rendering-Artist

Company: Trixter

Work: Shading | Lighting & Rendering

For Ant-Man Trixter created the presentation video for the Yellowjacket suit.

My Task was to build a shader that is used for all surfaces except for the yellowjacket.

For the Yellowjacket I have created an abstracted variation of the realistic movie shaded version. I also worked on lighting and rendering on a lot of the shots.

Software used: Katana

Images ©Sony

Company: Trixter

Work: Texturing | Look-Development | Lighting & Rendering

On Pixels I have worked on the textures and shading of both Michael the Robot and a drone.

Afterwards I was also lighting and rendering most of the shots that both assets appeared.

Software used: Mari | Katana

Company: Trixter

Work: Texturing | Look-Development | Lighting & Rendering

My biggest task on Age of Ultron was the look-deveopment of the various Iron Legionnaire characters, including their multiple destruction levels. For half a year I had the fortune to work on those characters. I have learned a lot during this period in terms of my texturing and look-dev workflow. Textures were done in Mari and look-development in Katana using Renderman.

Other than that I was helping out in some areas of the Ultron Mark 1 character and several other props. For the "one-minute"-shot I was doing the look-dev, some texturing & lighting for the scan- and the assembly-room.

If you want to read more about the role that Trixter played on Age of Ultron you can go to this article at digital tutors

Software used: Mari | Katana

Trixter Film GmbH, München 

Junior 3D-Artist: 

’ Item 47 ‘ (uncredited) 

Previz-Animation -Artist 

’ Wolfblood – Season 1 ‘ 

Texturing-, Lighting- & Rendering- Artist 

’ 11 settembre 1683 ‘ 

Texturing -Artist 

’ Cloud Atlas ‘ (uncredited) 

3D-Generalist 

’ The 7th Dwarf ‘ 

Character & Set Modeling -Artist 

’ Wolfblood - Season 2 ‘ 

Texturing-, Modeling-, Lighting- & Rendering-Artist 

’ Marvel's Captain America: The Winter Soldier  ‘  

Texturing-, Modeling-, Lighting- & Rendering-Artist

Company: Trixter

Work: Modeling | Texturing

For the Zola-room sequence Trixter extended the original set with millions of digital computer terminals. I was working on the modeling and texturing of those computers.

For another scene I have textured policemen CG-doubles that are lying next to an exploding car.

Software used: Maya | Mari

Images ©Universal Studios

Company: Trixter

Work: Modeling

For "the 7th dwarf" I have spent almost half a year modelling.

Trixter was responsible for modeling all of the characters and providing the previz-set models.

During this period I had to tweak almost every character once. But the characters that I have worked the most are the "Court Tinkerer" and "Herman the Merman". I have learned a lot about topology and 3D-modeling in general on this project.

Other than that I have modelled most of the previz -sets.

This was an interessting task since it established all the size releationships for the final scenes.

Software used: Maya

Images  ©BBC

Company: Trixter

Work: Modeling | Texturing | Lighting | Rendering

At Trixter I have worked on the first two seasons of the BBC series Wolfblood.

For our virtual wolves I was responsible for the skin and fur texturing.

On the second season I was asked to do some more anatomical sculpting and blend shapes for our 3D-model.

I was also working as a lighting & rendering artist on several shots.

For the transformation sequence I was working in a generalist way:

All the way from research, storyboarding, animatic to the final renderings.

Software used: Maya | Mari | ZBrush | Katana | Nuke

Trixter Film GmbH

Intern 3D-Artist:

’ Marvel’s The Avengers‘ 

3D-Generalist

Company: Trixter

Work: 3D-Generalist

When I started out at Trixter as an intern, "Marvel's The Avengers" was the first project I was working on. My biggest challenge was to create CG-doors for a safe with the Iron-Man suit inside. I had the pleasure to figure out some kind of locking system that looks belivable, do the animation, shading and lighting.

I will never forget the first time seeing the finished scene with sound effects and music on the big screen. To this date this shot remains as one of my favourites.

Software used: Maya | Renderman

FH Vorarlberg

’ Way to School ‘ 

Individual student project

'Way to School' is the result of an university assignment back in 2010 where an object had to be digitally revived. I got the idea on my way to the cinema when I saw a fairy cycle at the kerbside.

In 2011 'Way to School' won the ‘V-Short’ prize at the 'Alpinale short film festival'.

Software used: Maya | After Effects | Combustion | Boujou | Photoshop | Premiere

Macromedia FH

’ Monkey Business ‘ 

Individual student project

'Monkey Business' was part of my bachelor thesis at MHMK in munich.

The whole short film was realized within 8 weeks.

Software used: 3Ds Max | After Effects | Combustion | Photoshop | Premiere

Paul:Bewegt

Intern 3D-Artist:  

’ Darwin’s lost paradise ‘ 

3D-Generalist & After Effects - Artist 

’ Leonardo da vinci - Der Genie-Code ‘ 

After Effects - Artist 

’ Duell in den Wolken ‘ 

3D-Generalist & After Effects - Artist

Arri VFX

’ Killing is my Business, honey ‘ 

Modeling, Shading - Artist 

Images  ©Warner Bros. Studios

Company: Arri VFX / Andy Alesik

Work: Modeling | Shading

As a student I had the pleasure to land my first gig for a feature film thanks to my teacher Andy Alesik. I have worked on the 3D character models and the toon shading for the opening title animation. What an exciting time for me!

Software used: 3Ds Max