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"Back to Gaya" - the first CG Feature Film from Germany
Added on: Fri Mar 26 2004
Page: 2 3 4 5 6 7 8 9 10 11 

3DLuVr: Please introduce yourself! How long have you been working in the CG industry? What are your specialties? Which area have you been in charge of at Ambient Entertainment?

Manuel Pietschmann: I'm 21 years old and come from Dresden, Germany. I've joined the team at Ambient in 2002. Prior to that I have been doing 3D mostly as a hobby for about seven years. At Ambient I've been working as a lighting and shading artist, which also included some supervising of the render process. Nearing the end of the production, I've also been involved in the compositing department.

Tobias Lawrenz: I'm 22 and from a town named Calw, located in northern Black Forest, Germany. I have started doing 3D graphics when I was 14. Only about one and a half years ago I began doing it as a profession. My strong points are modeling, dynamics and particle effects (everything that is rather fancy) and rendering. The field of responsibility on my part of the film was mainly the creation of Gaya itself, in particular the flight through the scenery, which I was sharing with two of my colleagues, Lars and Haggi. But I also did some additional modeling, texturing and rendering (using Renderman).

Gildas Gerdes: It was seven years ago when I opened a 3D application for the very first time, Caligari Truespace back then. After that I was using 3ds max for a couple of years, but began to become increasingly disloyal to it. Nowadays I'm mostly working with Maya.
As the hair&fur supervisor on "Back to Gaya" though, I found myself doing 90% MAX work again due to the exclusive use of the MAX-plugin "Shag:Hair" for this. My primary mission was to design the "hairdo" of the characters based on design sketches. For some of them we also needed hair and fur effects for the face, the body and even their cloths.
Since everything including lighting had been originally set up in Maya, but all hair and fur effects had to be done in MAX as separate layers, a good chunk of the production time had to be spent on the adaption and lighting of these cross-platform layers. I received great support for this by Michael Peter and Hilmar Dücker.

Michael Peter: I'm 24 and was born in Hameln, near Hannover. Roughly 8 years ago I began experimenting with 3D. Prior to my work on BtG I was involed in a bunch of smaller projects (tradeshow videos, games, a final year project for the University of Applied Sciences in Hannover). At Ambient I've worked as the lead texture artist, designing the skin of the characters. Towards midyear 2003 I then defected to Gildas' hair saloon, where I was in charge of reproducing the lighting of the Maya characters in 3ds max and to animate their hairdo and fur.

The heroes and heroine of BtG at 2.8K resolution!

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