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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

 

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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

 
Concept Alpha
 

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

 

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Fishfood Stereo
 

At Hyper Island B-Reel commissioned us to create an animation with a completly
open theme for the "Exploring Animation" module. The use of footage was
forbidden to achieve an animation and cg focused result. My group and me came
up with a stereoscopic 3D charcater short film named "Fish Food". After we
brainstormed and found our initial idea we spent enough time to develope
a storyboard that conveyed the idea without the need for spoken text.
As the Project manager my main role was to come up with the pipeline across
Cinema 4D, After Effects, Photoshop and Psunami and efficient stereoscopic
rendering and compositing of post effects like depth of field or volumetric
motion blur. I'm extremly proud of what we achived under extremly limited
resources and time.
Mouseover to compare mono and stereo (requires a pair of anaglyph glasses)

 

Credits:
Wilfried Kaiser
Hannes Högberg
Leo Bülow
Jonathan Dahl
Petter Sellerstrand

Additional content:
Download the treatment as a high quality PDF
Visit the official production blog
View the stereo piece in 720p

 

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This is a vast, living and breathing stereoscopic 3D jungle landscape comprised of
billions of polygons. Inspired by the work of Dylan Cole and Yannick
Dusseault, I put all my artistry and technical expertise into this and after three
months of rendering on numerous machines I'm proud to present this final
result. The upper version is the stereoscopic version that requires a pair of
anaglyph glasses while the version below is the mono version without any special
viewing requirements. This research is a follow-up to my "Digital Environments
for Time Based Media" Bachelor.

  Additional content:
Download the thesis as a high quality PDF
View the pieces in 2k at Youtube
View the stereo piece in 2k
View the mono piece in 2k
Download the 4k matte painting as a PNG
 
 

I created this flyer for an anniversary event at my former school.
I developed a strong grid that complimented the architecture and graphic design
of the sixties and layouted it with carefully picked original photos I had scanned
and restored before. Often the overall composition was disturbed by changeable
elements like people or vegetation in the photos. This led me to make many
changes in the images.
Mouseover to see the inside.

 

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This is one of the final four digital environments I produced as my Bachelor
project at Fachhochschule Schwäbisch Hall. This 3 D matte painting "Alaska Echo"
is a giant high resolution panoramic matte painting of a remote facility in Alaska.
The human-made structure was added to set up scale and contrast the rough
natural shapes.

  Additional content:
Download the thesis as a high quality PDF
View the piece in 2k at Youtube
Download the piece
 

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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.

  Additional content:
Download the thesis as a high quality PDF
View the piece in 2k at Youtube
View the piece in 2k
 

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This is one of the final four digital environments I produced as my Bachelor
project at Fachhochschule Schwäbisch Hall. This 3 D procedural
"All Good Things Come In Little Packages" is a caricature of a tiny planet with
disproportionately scaled-up flora and fauna. 16 million polygons would crash any
traditional 3 D modeling and animation package. That is why I used specialized
software to achieve this.

  Additional content:
Download the thesis as a high quality PDF
View the piece in 2k at Youtube
View the piece in 2k
 

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Considering that FHSH students are educated in many non- time based media
design tasks like typography and graphics design every little step of making this
piece was a technical tour de force and breached new ground for FHSH
visual effects and artistry.
The priority was not to showcase our ability to learn and execute complicated
tasks like 3D or 2D motion tracking, 3D modeling, particle simulations or
compositing but to bring to life our creativity through these technologies.

 

Credits:
Developement and execution: Wilfried Kaiser
Particle sim research, production, audio fx: Eduard Wolfram

Additional content:
View the piece in 720p

 

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At the right time I was at the right place and therefore was able to film this
gorgeous post modern fiberglass sculpture inside Musée du Louvre.
Mind you I didn't constrain myself to using After Effects skipping real 3D Software
entirely, not using vector artwork which I didn't put together in Illustrator and not
solving the 3D track in Boujou ;) Why? Because it's all real, trust me!
 
BBK Symposium
 

In this FHSH typography and graphic design assignment we had to keep a plethora of different media in mind and I did my first motion design work to bring to life the logo in a way that supported its meaning, a round table discussion with manny different, "colorful" parties. Mouseover to see some of our typographic work for the project.

  Credits:
Wilfried Kaiser
Martin Götz
Eduard Wolfram