The success of last year´s Cloud 7.0 installation lead us to logical continuation: the honorable assignment to create this year´s T-Systems CeBit 2013 entire booth. Having future gesture interfaces of movies like Minority Report and Iron Man in mind. Audience catching "Zero Distance Windows" were created with After Effects Animation and vvvv and Flash programming to accomplish an always wanted interactive motion tracking interface for two moderators to interact and communicate with each other. Geographical distance but feels like being only one glass panel from each other apart. 16 x 55" panels, 6 micro cams, 6 kinects, 12 multitouch tables, 50 tablets, 6 makerbot 3D printer guides us to 285.000 visitors, 60% more leads and 30% longer consulting services.

Thanks again to Saatchi & Saatchi Pro for the yearly trust in my Creative Direction guiding over 50 employees to accomplish this goal. And special thanks to Marcel Kussel for following me into the future with this amazing sound design.

This Large-scale 20 x 18 m Projection Mapping project transforms the rough industrial Kraftwerk building in Berlin for the International Launch of Audemars Piquet´s Royal Oak Offshore Chronograph Michael Schumacher Limited Edition.

Featuring mechanic and design details the watch was brought to life through spell-binding animations. A classic story-telling about two worlds, watchmaking and car racing - all underlined by precisely synchronized sound design and a cinematic score. Many thanks to Jan Weigl for the detailed ears and eyes on my keyframe positions and pushing the highlights perfectly. The projection was supported by a custom light concept carefully underlining the key moments during the video's dramaturgy.

Check out the movie. It starts with the documentation video. Followed by the full video to experience the animations playing pong pong with the sound design. Don´t watch and drive!

The new logo ident for Til Schweiger´s film production Mr. Brown Entertainment. The briefing: handcrafted filmmaking. The animation concept has to be exactly like this: Shot in my studio with a Canon EOS middle class in image sequence mode for future cinema 4K resolution. Ink on transparent paper, pour water over the fresh printed ink = handcrafted liquify effect. A lot of ink was used for this production.

Many thanks to Marcel Kussel for his sense of flow within this short 15 seconds and especially for the handcrafted distortion guitar!

An interactive installation for T-Systems. The challenge: Showcase their 7 years cloud computing innovations in a seamless year-to-year storyline and sophisticated animation flow. Going far beyond high definition. This project needed 13 x full HD resolution. Based on the success of the first launch it got showcased twice: At first with projector-mirrored-based at an T-Systems event and secondly at the Cebit 2012 with a technical setup of 39 multiscreens. Calculate these hardware dimensions to pixels and we can count up to 25.000 pixels. And I do love every single one of them.

Many thanks to Saatchi & Saatchi Pro and artifical duck for the trust in my Creative Direction and Marcel Kussel for his believe in my vision for the sound design. It was very interesting to see this project on TV in the Tagesschau as the visual highlight of the Cebit 2012 TV article.

"Klartext zum Tagesgeld". A movie introducing the new german deposits from barclays.

A Motion Design contribution to the Audi Q3 Website. An dedicated introduction: An idea born from new expectations.

Motion Design for a Leica campaign film. I love Berlin and so do Leica. Shown at the Photokina fair and on the product website. Special thanks to Sound Artist Owen Lloyd. It´s always a pleasure to work with you.

A compilation of several interactive flash animations for the Mercedes-Benz GLK- and B-Class advertising campaigns. Limited to exactly 30 kilobytes per file, the Flash ad format calls for a very precise approach. Each fraction counts and requires a tightrope walk between great design and tweaking keyframes to save yet another kilobyte. The true mystery: Why are the resulting ads always exactly 29.9 kilobytes?

The task: To create an invitation concept for Shanghai DGM’s annual Christmas bash that would not only demonstrate the agency’s knack for integrated campaigns but also introduce clients to their new interactive department.

Based on the event’s overall theme – baking cookies for charity – and bridging the gap between print and online, the resulting invitation emphasises the event’s hands-on and interactive focus. Printed on parchment and rolled up to resemble store-bought baking paper, the physical invite only serves as a teaser, revealing just a few letters of the entire message.

To find out more, guests were encouraged to visit a dedicated website, then line up their transparent clue with the onscreen equivalent. By superimposing the material and the digital realm, they would unlock the true message and receive their password for the actual event (see video). The biggest challenge? Devising a calibration method suitable for all screen sizes and solutions.

Motion Design for Audi’s new design study ‘metroproject quattro’. This trailer was released parallel to the launch of Audi's new concept car at the 2007 Tokyo Motor Show.

A contribution to the Audi A4 website. This movie introduces the Audi A4 drive assistance systems. The development of the motor industry is going at hyper speed. Don't you associate terms like ‘adaptive cruise control’, ‘automatic distance’, ‘lane assist’ to spaceships?

A follow-up to their wildly successful ‘them 5’ website, featuring bottle designs by MK12, LOBO and The Designer’s Republic, among others, Coca-Cola decided to give its special edition aluminium bottle campaign a new lease of life. A collaboration between Paranoid (design) and Faithless (music), the resulting short movie introduced us to ‘Mr. Néant’, an ambassador for the ‘Coke side of life’ who infuses everything he touches with a positive twist.

Truly interactive, our playful website encourages users to make the most of their input devices (keyboard, mouse, microphone and webcam) to create their very own bottle design – under the able guidance of Mr. Néant.

My contribution to the project: all motion direction, flash compositing, merging of assets and supervision of two 3D operators as well as the seamless and invisible mix of PNG frame-by-frame animations, FLV clips, vector frame-by-frames and Flash tweens.

Best known for heading a string of successful music labels in Germany, Tim Renner’s latest endeavour and label spin-off, Motor FM, has already left its mark on the capital’s musical landscape. All set to conquer the visual realm, Motor recently entered into collaboration with IPTV experts I-D Media to launch their very own TV station. Entirely ad (and ring tone) free, this revolutionary concept features nothing but unadulterated music and user-generated content.

Pre-launch, I-D Media asked me to come up with a fresh on-air design, a number of station IDs as well as two imagetrailers. Building on the station’s premise of straightforward, gritty purity that sets it apart from contemporary rivals like VIVA or MTV, I ditched sketchpad and mouse for hands-on, old school DIY – no key frames, no polish and straight from the garage with love.

A new take on basic model building, our small team experimented with chopped-up paper printouts and filmed our makeshift masterpieces with the cheapest of camera’s in the agency’s basement. The resulting low-key stop-motion animation swaps sophisticated plug-ins for scissor, glue, cardboard, oil, air spray, pins and fishing line – and looks all the better for it.

At their very first self-initiated conference, Scholz & Volkmer impressed with a carefully selected roster of renowned guest speakers, including Joachim Sauter from ART+COM, audiovisual artist and musician Carsten Nicolai, architect Holger Hoffmann of UN Studio van Berkel & Bos and Casey Reas, software artist and initiator of ,Processing’. Visit the see-conference website to learn more about the event.

Against this illustrious setting, Jenny Fitz and I were asked to provide the backdrop visuals displayed behind the speakers. To this end, we built a dedicated, interactive Flash application that would give its operator subtle and invisible switching capabilities to control the timetable agenda. Check out the captured video for a few extracts. Incidentally, Jenny Fitz also designed the conference’s flyer, posters and print materials. The entire project won the Corporate Design Award 2007.

Back in the days, working for MTV seemed like a dream come true. After relocating to Berlin, I found myself a lot closer to this childhood aspiration. My first point of call: a concept for the launch of kid’s channel NICK Germany, in collaboration with gosub. And as one job leads to another, we soon moved on to the packaging design for Nick On Air. Although our input encompassed the entire package of on-air visuals (opener, closer, wipes, channel ident), all animation and compositing took place in Flash, requiring only a final export to a TV-friendly PNG sequence.

For a closer look, take a look at this short compilation or turn to the next project featuring five different packaging designs.

Visuals for ACHT FRANKFURT’s annual summer party. At the time, I was toying with the concept for a dedicated VJ tool, a flash based application that would react to the music and allow for additional live control. The combination of VLIGHT.CTRL and a KORG microKONTROL MIDI Controller provided me with plenty of options for parameters like colour, size and other visual aspects.

For a more personal touch, I created visuals of all the guests’ names, tracking their progress through flirting, drinking, chatting and dancing, then tweaking, scaling and shading these markers in time to the music. So, the busier the party, the more colourful and intricate the visuals became! Check out the embedded movie for some digicam clips of the party and a live video capture of the application’s output.