Hey. I’m Jo and i work in Animation.

Little Note: This site isn’t finally done yet, it is more like an ongoing process. As I’m working on animation projects most of the time, I don’t really have time to catch up. But I’ll do my very best.

The cool part is, we have just finished our latest Feature. It is called the Amazing Maurice and entered the cinemas in february 2023.

I had a blast working on it. I started out as storyboarder and then seamlessly switched to Animation. In the end I could also do quite some compositing on it. I’m really grateful for this opportunity and to have been working with such a great team.

Thanks to Studio Rakete for considering me.

Unfortunately I am not allowed to show any of these works yet. But you can have a look at the amazing trailer, and ‘spoiler’ there are quite some shots in there I worked on. (Board, animation and/or comp… some even all three.)

Have Fun!

And if you want some more, well, here is a nice little Making of, where the amazing cast talks about our little movie.

It was really an honor to animate to this well known voices. It really is a pleasure to see how it all comes together now and have the characters shape somehow a real persona.

Btw. Toby and Flo (Director and Co Director) ended up giving their voices to the two ugly rat-catchers. This part got us a bit confused from time to time. :-D

But as the movie is finally running now, I will probably be able to update this content soon. Yay…

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So please go to the Cinemas and watch it. Or if you can find it on any streaming platforms out there, go for it and share the link.

Thanks.

Together with the lovely Studio Rakete I had the opportunity to do some compositing on this colorful and funny kids movie. (Alongside i was layout artist, animation supervisor and animator as well.)

Here are some stills taken out of the sequences as examples of compositing. This was before the final grading though.

All shots are fully stereoscopic compositings. So there were basically no 2D masks or 2D touch ups used nor possible.

We used cryptos as well as 3D point clouds and normals to tweak the sequences. The normals didn’t work too well on the characters with fur though, so relighting had it’s limits. The comps were done in Nuke.

On the left you see a pre-comp of what the lighting department delivered. On the right you see what was approved after I comped it. You can move the wipe to see the improvements … (hopefully):