We are proud to present our VES nominated short film Deep Dance. Deep Dance is our diploma movie. We produced it at Filmakademie Baden-Württemberg. This was a huge project. It is a sterescopic animated short and is fully handcrafted. We paid attention to every little detail.
We started production in 2012. We had a core team of about 5 people working on this.
Director & Art Direction
Marco Erbrich, Cosima Degler
Michala Gote, Letty Felgendreher, Marco Erbrich
Vincent Langer, Chris Hempel, Christoph Westphal
Georg Schneider, Christoph Westphal
Kiril Mirkow, Marco Erbrich
Marco was responsible for the hole story and visual development. While he was designing the world and characters with his team of concept artists, rigging and R&D started as well. We started creating a rough storyboard based on the written script. We soon decided to go for a 3D approach for the first layout, as this gave us full control over the world. It was way easier to create revision for the shots. Marco was creating roughly animated sequences with the fishes swimming for example. This could be made in almost no time, as the animatic rigs have been very stable and fast with full control. Marco could the take the sequences and find cool shots.
Ringo then took the approved shots and started detailing the animations and timing. This was only on the animatic rigs but would later be transfered to the animation rigs as a base for animation.
As already said, besides the story and visual development all the technical stuff went on and we soon had results for the rigs and effects.
During production we had a motivated team who pushed things in their department so we could create beautiful images like this. We worked mainly with Softimage but also did some simulations and modeling in 3DsMax and Houdini. The project had a very high complexity in terms of simulation. The second part of the short is fully simulated stuff which was very intense to compute. We used HtoA to transfer data from Houdini to Softimage. All shots have been rendered with Arnold. Compositing was then done in Nuke. We had lots of passes to get full control over the look in comp and to be able to add detail easily. Most of the look was created in compositing.