SEHSUCHT
During my time i travelled to Berlin i visited Sehsucht a motion design based studio Where i met the senior producer Christopher Lenz. Who was kind enough to allow to me to visit and to talk to me about the studio and the work it has been producing he mentioned that they blend visual storytelling with technical innovation to produce captivating creative content.
Sehsucht was founded by Martin Woelke and Ole Peters in the year 2000, starting up with a focus on motion-design with the studio situated in Hamburg. Throughout the first decade the visual driven label has developed into multiple disciplines and positioned on a top level creating visual storytelling in the advertising industry.
The studio that i visited in Berlin started up in 2009, and the two work slightly separate with each other as they generally divide the work with the Berlin studio creating more creatively made graphics based work using after effects and cinema 4D and the studio situated in Hamburg creating more high end corporate style adverts with CGI effects using programmes such as Nuke.
The studio that i visited in Berlin started up in 2009, and the two work slightly separate with each other as they generally divide the work with the Berlin studio creating more creatively made graphics based work using after effects and cinema 4D and the studio situated in Hamburg creating more high end corporate style adverts with CGI effects using programmes such as Nuke.
Some of the Hamburg studio work:
The work produced in the hamburg studio creates most of the CGI high vfx quality work as they use programmes such as NUKE to create these. The work is very impressive and is often made for recognisable clients such as audi etc.
Client: Audi AG; Falco Münch
Agency: Razorfish
PRODUCTION: Stink GmbH
Executive Producer: Martina Lülsdorf, Julian Holland
Producer: Isabel Kast
DIRECTOR: Stephan Wever
DOP: Cezary Zacharewicz
CONCEPT & DESIGN: Sehsucht, Stink
The making of videos show just how much work and visual techniques have gone into these impressive and realistic 3D elements:
Pilot's Watch Series Making of from Sehsucht GmbH on Vimeo.
IWC - Pilot's Watch Series DC from Sehsucht GmbH on Vimeo.
When talking to Christopher about the work they produce and what goes on within the studio he spoke about how they mostly work within 3D and sometimes do sets however this is very rarely, he also said that they very early work with live footage and it all mostly digital work that they use and produce. This shows how their style and client base is mostly focused on digital and 3D work.
He also spoke about how they make their own storyboards as they have a team of people who have various skills and so they are often able to produce all their work from within their own team embers but they do sometime get freelancers in.
Character design made by sehsucht
He also explained how they will often test things out in real life before they animate and make something in 3D. For example with their paper world animation (although this was made in the Hamburg Studio, they would actually make things out of paper and see how they would move or fold etc to then have a better knowledge of how to animate it.
This is something i found helps with creating motion within my own work, as an example of this, when i was animation the stag in my silhouette animation i couldn't seem to get the movement and timing of the legs right when i was animating the stags legs to look like it was walking however when i used references to real stags walking and using other videos of walking stags as a trace reference in my work this made the motions look more realistic.
Paper world Animation:
Deutsche Fernsehlotterie "Paper World" from Sehsucht GmbH on Vimeo.
(what i think about the appearance and layout of the studio, and compare it to what he said about hamburg studio and size difference more people working in the hamburg one.
Some of the pieces made in the berlin studio:
as i mentioned before Christopher said that the work they make in the berlin studio is more graphic based and focused on the creative approaches and methods to creative a narrative or the piece of work as opposed to so much CGI techniques. (however the do also do some CGI work themselves).
Wir In Berlin EIN TAG IN BERLIN from Sehsucht GmbH on Vimeo.as i mentioned before Christopher said that the work they make in the berlin studio is more graphic based and focused on the creative approaches and methods to creative a narrative or the piece of work as opposed to so much CGI techniques. (however the do also do some CGI work themselves).
Sennheiser Reshaping Excellence from Sehsucht GmbH on Vimeo.
This piece shows some of the more CGI effects they have done swell. (made at the Berlin Studio).
After one year of working on Sennheiser’s interactive Reshaping Excellence campaign, released the final stage launch on November 3rd 2015. Phase two of the project witnesses the completion of the monument to sound—a vast interactive sound-sculpture created over the past six weeks by over one million people worldwide. It is a supersensory odyssey that presents the formation of the monument in all its monolithic glory, and finally reveals it as the foundation of Orpheus; a personal sound experience unlike any other.
I also found out that a lot of their clients and work they have been producing recently has been moving more towards interactive work for clients that an audience can become immersed in, by using the likes of oculus rift and and playstation VR. This he said has altered how they make the work they have been producing as they have to consider making full environments that the viewer can look round instead of like if it was just a video, being able to cut to a new scene. One way he mentioned working round this problem is by adding objects to block some of the view so that they are not having to render giant landscapes just because it would be in the viewers sights.
But this directional pull of demand for work shows an interesting course that the industry seems to be taking within the world of digital motion and may be something i will have to consider in my career path at some point.
This is the none interactive version of a piece of work they made showing the video of one of the pieces they have made as an interactive world for the audience using the oculus rift:
This is the none interactive version of a piece of work they made showing the video of one of the pieces they have made as an interactive world for the audience using the oculus rift:
SEHSUCHT uses Cinema 4D and the Unreal engine to create one of the first-ever interactive VR music videos.
Virtual reality is a hot topic in 2016. Various hardware manufacturers are introducing headsets that let enthusiasts immerse themselves in 3D worlds. The games industry in particular is creating products specifically for use with head-mounted displays that give players the feeling of being part of the world in which they are playing.
Berlin, Germany-based, animation studio SEHSUCHT is at the forefront with its first VR project: For its single ‘Reminder’, the band Moderat had director Mate Steinforth produce a VR video that takes the viewer on a spectacular trip through a gloomy, sinister world.
What is unique about this project is that the interactive VR video runs with the Unreal engine, which means that head tracking by headsets such as Oculus Rift is supported. The viewer can move freely in 360° throughout their journey through the surreal, bleak gray landscape while experiencing the virtual world with their own eyes. The story is about two humanoid beings who have to mine crystals in back-breaking work that they then present to a divine being as an offering.
The song’s lyrics and the visual interpretation are a perfect amalgamation.
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