Born in Hamburg, my family moved to Africa when I was 4. With a background in Fine Arts I was drawn to visual effects in England in 1987 but then moved into films, working in various departments including set dressing and props.
In 1991, I discovered computer graphics and after a course in Softimage 3D in Montreal, I was hooked. Since then, I’ve followed a convoluted CG thread which has taken me from Germany to the UK, Lebanon, the United States and Australia. On this journey, I’ve been involved in a varied range of projects in industries that include feature films, documentaries, commercials, corporate, stock footage, explainers and educational (my favourite).
Over the years I have developed a diverse network of talented freelancers – illustrators, animators, visual effects artists and script writers. These are the people who come onboard when the job calls for flavours that are not available in my digital spice drawer.
Working as a self-employed animator allows me the freedom to utilise my talents more fully. I enjoy leading teams of people, overseeing the direction of various projects and of course being able to dictate my working hours so as to keep a healthy work/life balance.
I’ve been a Mac boy since 1995 and currently run with a 2013 Mac Pro and a Mac Studio M1 Ultra. Hergé and Chris Ware make me drool, music greases the wheels, reading is the relish and my family keeps me sane. I love what I do and provided it leaves time for family and reading I’ll probably be mid-click when I pop my clogs.
Jack Has a Plan (Documentary) (visual effects), 2022
Rodents of Unusual Size (Documentary) (visual effects), 2017
Nat Bates for Mayor (Documentary) (Title Design), 2017
A Brilliant Genocide (Documentary) (animator), 2016
A Dangerous Idea (Documentary) (additional graphics), 2016
Seed Hunter (Documentary) (computer graphic artist), 2008
Seven Swords (compositor), 2005
Revealing Gallipoli (TV Movie documentary) (computer graphic artist), 2005
Who’s Afraid of Designer Babies? (TV Movie documentary) (title designer: main title sequences), 2004
Muddy Waters: Life and Death on the Great Barrier Reef (Documentary) (title designer: main title sequences), 2003
Behind Enemy Lines (computer graphic artist: Bionics), 2001
The Little Vampire (computer graphic artist), 2000
Mission: Impossible II (cg supervisor: Bionics) / (computer effects graphics designer – as Ole Sturm), 2000
The Beach (computer graphic artist – uncredited), 2000
Mad Cows (computer graphic artist: Bionics), 1999
Eyes Wide Shut (computer graphic artist – uncredited), 1999
Don’t Go Breaking My Heart (computer graphic artist: Bionics), 1999
Alien Love Triangle (Short) (computer graphic artist: Bionics), 1998
The Jackal (cg supervisor: Bionics), 1997
The Saint (computer graphics artist: Bionics), 1997
Fierce Creatures (special thanks: Bionics), 1997
Daylight (CG Supervisor: Bionics), 1996
Mission: Impossible (senior computer graphic artist), 1996
The Revenger (assistant props master), 1990
Return to Justice (set dresser), 1990
Thieves of Fortune (assistant props master – as Ole Sturm), 1990
Options, lead artist driver, 1989
Red Scorpion (production assistant), 1988
During my time in Berlin I shared an office space with illustrator Miriam Barton and motion graphics animator Christof Görs. In 2019 we decided to set up infomotion with an office in Berlin.
I have been collaborating with Tilapia since 2014. Tilapia works with companies, non-profits, and television broadcasters, using real life situations and people to inspire, inform, and educate. They always look for ways to use distinct cinematography, stylized graphics, and unique music to capture and affect audiences. The creations include documentaries, corporate brand videos, non-profit campaign films, book videos, interstitials, title sequences, and music videos.
I have teamed up with Nick on numerous projects since 2002.
He has over 30 years of experience in the Australian TV and film industry and is a highly skilled and accomplished cameraman and director with an extensive production kit.
Short form of “isn’t it”. Used at the end of a statement for emphasis.
Michael Caine says it best.