For those who don’t know the school: The VFX School was an online training platform focused primarily on Houdini-based FX simulation workflows. Its courses centred on effects such as destruction, fluids and pyro simulations, sometimes rendered with engines such as Redshift and prepared for compositing. The platform targeted artists learning production-style simulation pipelines.

Closing the classroom

The online training platform The VFX School has announced it is shutting down. Rather than removing its material or quietly archiving it, the platform has released its entire course library for free public access. All courses are currently available to stream without registration or payment. The site also provides downloadable project files and associated assets for the training material.

It is a rare exit strategy in the education business. Instead of locking the archive behind expired subscriptions or abandoned logins, the creators chose to hand the library to the community that supported it. The platform itself states that the release is intended as a thank you to artists who followed and supported the school. In practical terms, this means the full catalogue of courses can now be watched and downloaded without cost.

Videos are currently hosted through Vimeo and embedded on the course pages. Project files and scene assets are distributed as downloadable ZIP archives. According to the website, video access is expected to remain online until March 1, 2027. After that date the Vimeo hosting may be removed. For anyone interested in the material, the polite interpretation is simple. Download first, organise later.

Seven courses, mostly explosions

The publicly available course library comprises seven training courses, centred primarily on Houdini-based FX simulation workflows. The topics follow the usual suspects of production FX work. Destruction simulations, fire and pyro effects, fluids and cinematic-scale simulation setups appear throughout the material.

One of the larger training programmes is titled the Houdini Renascence Program. The course is described as a broad introduction to modern Houdini simulation workflows and FX techniques. Other courses focus on more specific simulation scenarios such as rigid body destruction, bridge collapse simulations and fluid-based commercial effects. Each course combines instructional videos with downloadable Houdini scene files. These files allow users to inspect how the simulations were built and configured. File packages are not small. Some course downloads reach approximately 28 GB, reflecting the inclusion of project assets and rendered simulation data.

Render passes included

One detail that may interest compositors more than simulation artists is the inclusion of rendered FX sequences. The downloadable course packages include multi-layer EXR sequences produced from the Houdini simulations. These sequences contain multiple render passes generated during the rendering process.

For compositing artists working in applications such as Nuke, this type of material is often more valuable than a finished render. Multi-layer EXR files can contain lighting passes, depth passes and simulation layers that allow the shot to be reconstructed during compositing.

Training assets with full render passes are relatively uncommon in publicly distributed course material. Many educational resources provide only flattened footage. Here the render layers allow users to rebuild the shot structure themselves. Lighting contributions can be adjusted, depth information can be used for atmospheric effects and elements can be recombined in different ways. In other words, the files behave more like a miniature production shot than a simple demonstration render.

Simulation topics

The simulation subjects covered in the courses reflect typical Houdini FX work used in film and commercial pipelines. Examples include collapsing bridge simulations, fire and explosion setups, liquid simulations and procedural destruction sequences.

These examples are built using Houdini’s node-based procedural system. Instead of keyframing every action manually, artists assemble networks of operators that control the simulation behaviour.

By including the full scene files, the courses allow users to inspect how these networks were constructed. Solver settings, constraint networks and simulation nodes remain visible inside the scenes. For technical artists or FX TDs this can often be the most instructive part of training material. Watching a tutorial is useful. Opening the scene file is usually more revealing.

A rare kind of shutdown

When subscription education platforms close, the usual result is a disappearing library. Content often vanishes along with the service that hosted it. Access expires, servers are switched off and the training material effectively evaporates.

The VFX School’s decision to release its full archive is therefore notable. It preserves the material and places it in the hands of the community rather than removing it from circulation. It is a quiet gesture, but a generous one. In an industry where learning resources can disappear overnight, leaving the lights on for everyone is a respectable way to exit.

Practical value for artists

From a production perspective the most useful part of the release may be the downloadable assets rather than the videos themselves. Large EXR simulation sequences and structured Houdini project files provide practical training material for both FX and compositing artists.

These assets allow experimentation with lighting passes, volumetric renders and compositing workflows using production-style data. Public FX footage often consists of pre-rendered stock clips with little structural information. The course assets, by contrast, contain layered render data and simulation outputs that can be studied and modified.

For artists learning how simulation renders translate into final composite shots, this kind of material can be extremely instructive. The release therefore functions both as a training library and as a small archive of practice assets.

https://thevfxschool.com/

The post VFX School Closes and Leaves the Lights On first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

For those who don’t know the event: FMX is organised by the Filmakademie Baden-Württemberg and focuses on animation, VFX, games and immersive media, combining talks, workshops, screenings and recruitment under one roof in Stuttgart.

FMX has opened its ticket shop for the upcoming on-site and online event in Stuttgart. Early bird tickets are available until March 20. The conference runs on site from May 5 to 7, followed by an online programme on May 8 and on-demand access from May 9 to June 9.

Available ticket categories include Conference, Business, Combi, Day, Experience, Online and Press passes. Reduced pricing is offered for students, trainees, pensioners and people with disabilities. Student groups can apply for additional discounts. Pricing details are listed directly in the FMX ticket shop.

FMX 2025 Ticket Prices (Early Bird / Regular)
Conference Pass: Professionals ~ 370 / 410 € · Students ~ 185 / 205 €
Business Pass: ~ 470 / 510 €
Combi Pass (includes ITFS): Professionals ~ 410 / 450 € · Students ~ 205 / 225 €
Day Pass: Professionals ~ 185 / 205 € · Students ~ 92.50 / 102.50 €
Experience Pass: Professionals ~ 60 € · Students ~ 30 €
Online Pass: Professionals ~ 90 € · Students ~ 45 €

Get an overview of what’s included in each one here at FMX Ticket Options

All on-site passes include access to the new On Campus programme on May 8, hosted at Filmakademie Baden-Württemberg. The sessions focus on talent development and education and are primarily curated by the Animationsinstitut.

Collaboration takes centre stage

The Power of Collaboration category remains a visible part of the programme, with sessions grouped under Managing Change and Community and Inclusion.

Kader Bagli from RISE | Visual Effects Studios has been confirmed to give a talk titled “Resilience as a Collective System.” The session addresses resilience as a structural and cultural issue rather than an individual responsibility, focusing on leadership, empathy and human-centred workflows in VFX production environments. This session is part of the Community and Inclusion track.

Kate Menz from Women in Animation will present a session on the organisation’s Global Mentorship Program. The talk discusses mentorship as a mechanism for skills transfer, confidence-building, and access to professional networks across animation, VFX, and games. The session sits within the Managing Change track and is curated by Imke Fehrmann.

Returning FMX regulars

FMX also confirms the return of long-standing contributors. Ed Hooks will once again teach Acting for Animators, a workshop based on his long-running training methodology for animation and game professionals. Hooks’ book Acting for Animators was published in a revised fourth edition by Routledge in 2025 and is widely used in animation education.

Shelley Page of Locksmith Animation returns with Shelley’s Eye Candy, a curated screening of recent short films and graduation projects discovered over the past year. The session traditionally focuses on character-driven animation and contemporary visual storytelling.

Industry research under the microscope

A new PANEURAMA survey is currently collecting data on the state of the creative industries, with a focus on animation, VFX, virtual production and games. The EU-wide survey is conducted by Breda University of Applied Sciences as part of the PANEURAMA Innovation Alliance.

The research examines technological trends, skills transfer between industries and how education aligns with professional requirements. Results will be presented and discussed at FMX 2026, including fishbowl discussions hosted during the conference. Silke Haßreiter from Breda University will present the findings publicly for the first time.

Participating institutions include The Animation Workshop at VIA University College, Université Paris 8 and Filmakademie Baden-Württemberg, alongside industry partners such as Fortiche Production, Qvisten Animation, DIGIC Pictures and RISE FX.

Animation Production Days deadline

The Animation Production Days co-production market will close project submissions on February 4. The event focuses on animation projects in concept or development stages with international co-production potential. Selected projects are scheduled for one-to-one meetings with potential partners and financiers.

FMX
https://fmx.de

PANEURAMA Innovation Alliance and survey
https://paneurama.eu

Animation Production Days submission information
https://animationproductiondays.de

The post FMX opens ticket shop and confirms collaboration track talks first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

The Hochschule für Fernsehen und Film München (HFF Munich) is opening its VFX lab doors to two new technically minded colleagues. Under the direction of Professor Jürgen Schopper, the school’s Department of Visual Effects is looking to strengthen its Visual Effects section with a Pipeline Technical Director (m/f/d) and an IT Administrator (m/f/d), each on a permanent 50 % contract, roughly 20 hours per week. Both roles sit at the intersection of art, code, and education. The work environment? Half lab, half film set, and fully embedded in one of Europe’s most respected and vibrant film schools.

Role 1: Pipeline Technical Director

The Pipeline TD position focuses on keeping the school’s VFX and animation workflows smooth, consistent, and sane. The system is currently based on Prism and Flow Production Tracking, and needs ongoing optimisation and documentation.

The role includes maintaining the renderfarm, refining asset management and data structures, and advising on industry standards like colour management and data formats. Candidates should have experience with Houdini, Maya, Nuke, or Blender, as well as strong Python scripting skills.

A plus: curiosity about AI-based automation and machine-learning-assisted workflows. The school explicitly welcomes candidates ready to experiment with AI integration, within reason and good documentation.

HFF München Job Posting: Pipeline Technical Director (m/w/d)

Role 2: IT Administrator

The IT Administration role keeps the digital backbone of the VFX section running. The school’s setup is mostly Windows-based, with a Linux backend, and hardware that’s no older than five years.

Responsibilities include system maintenance, automation, hardware and software procurement, and implementing new technologies that might benefit students or teaching staff. Basic AI and ML familiarity is considered a nice-to-have, not a deal-breaker.

Applicants should bring experience in system administration, automation, and hardware management, and ideally some experience in creative or academic environments.

HFF München Job Posting: IT-Administration und technische Betreuung (m/w/d)

Fine Print and Fairness

As a public art university of the Free State of Bavaria, the HFF emphasises diversity, inclusion, and equal opportunity. Applicants with disabilities will be given preference when equally qualified. All genders and backgrounds are encouraged to apply.

Editorial P.S.

If you end up working with Jürgen, Peter, Rodolfo, Sinje, Petra, and the rest of the HFF crew, congratulations, you’ll have joined one of the friendliest and most capable VFX teams around.

Also, a word on the locality: the HFF sits right above Munich’s Egyptian Museum. That means, uniquely in the world, you can tell that your render failed due to the pharaoh’s curse.

And, another little P.S.: Munich is celebrating the “Long Night Of The Museums” on Saturday, 18th of October. You can just go to the HFF, have a look around, and get a feel for the place. And watch the amazing works of the Students in one of the cinemas!

The post HFF Munich Hiring: Two Half-Time Heroes Wanted first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

by Florian Werzinski, Paula Gorczyca and Natalie Berg

Paula and Natalie developed a fictional title design for a dark Netflix series at Flensburg University of Applied Sciences. Their VFX project “Falling Apart” demonstrates their skills in Blender and After Effects and offers an insight into the production of complex 3D scenes with a horror twist.

From title design to series: a semester project

Flensburg University of Applied Sciences may not be known to many as the first place for creative media projects. But it is precisely here, far away from the hustle and bustle of the big cities, that students like Paula and Natalie concentrate on their projects in the field of media informatics. They wanted to utilise the potential of their degree course to create a fictional title design for a Netflix series. The result is “Falling Apart”, a dark and atmospheric mystery series that shows not only technical sophistication but also creative ambition.

The idea behind “Falling Apart”

“Falling Apart” was created as part of the fifth semester post-production course. The task: to create a title design for a fictional mystery series. They were inspired by atmospheric series intros such as “The Haunting of Hill House” and the dark opening of “Resident Evil 7”. The aim was to integrate elements of thriller and mystery into a forest scene with a dilapidated hut and skull – classic motifs that create an oppressive and mysterious mood.
The project was realised in Blender and After Effects. Paula was responsible for modelling the 3D objects and Natalie for post-processing and colour correction. The combination of these programmes made it possible to create realistic scenes that impress with careful lighting and textures.

The technical realisation: Blender and After Effects

The decision in favour of the 3D implementation was made quickly. Both already had experience with Blender, the preferred 3D programme at Flensburg University of Applied Sciences. The aim was to make the scenes as realistic as possible and to test their limits in 3D modelling. A storyboard was created that clearly set the scene for the main motifs of the story – a forest hut, a skull and an arm. The next step was “blocking”, i.e. the placement of the most important 3D elements in the scene. Low-poly models were used here to test the proportions and compositions without putting too much strain on the computer capacities. The actual modelling of the hut and the skull only began afterwards. The skull was sculpted and texturised in Blender, while the hut was created using references. Using an HDRI environment and a sunlight source, the scenery was further refined to create depth and realism. For the typographic elements of the title design, the “Ivy Generator” was used, with tendrils growing out of the font. This symbolises the passing of time and reinforces the gloomy atmosphere of the series.

Music and post-production: the finishing touches

Once the 3D scenes had been created, Paula and Natalie focussed on post-production in After Effects. Colour correction played a central role here. To make the mood even darker, a transition from warm to cold colours was added to reinforce the thriller atmosphere. All scenes received the same colour correction, adapted to the lighting conditions of the raw files. The addition of volume light and spotlight effects to give the image more depth was particularly complex. The effects were animated by hand, which took a lot of time, but ultimately achieved the desired effect. Although the college had licences for plugins, they decided not to use them in order to test their skills without additional tools.

Challenges and learning experiences

As with many projects, there were technical challenges. In the beginning, Paula and Natalie were not careful to keep file sizes small, which unnecessarily increased render times and caused the computers to crash regularly. From the middle of the project onwards, they used the university’s more powerful computers, which helped them to deliver the project on time. Another stumbling block was the compatibility of the After Effects versions. As they were working on different computers, they repeatedly encountered problems with file interchangeability. This experience taught them to make sure they use standardised software versions right from the start.

The next project has already been finalised

Following the successful completion of “Falling Apart”, Paula and Natalie are now working on their final projects. Paula is planning a 3D animated film with mixed media elements, which may be submitted to a film festival. Natalie, on the other hand, is creating the design and website for the university’s comic magazine.

Conclusion

Flensburg University of Applied Sciences offers its students on the Media Informatics and Film & Media Arts degree programmes opportunities to express themselves creatively and technically through practical projects and good technical equipment.
“Falling Apart” is an example of how much potential there is in the combination of Blender and AE. Media Informatics with a focus on film not only teaches technical know-how, but also the ability to implement creative ideas – exactly what the VFX industry needs.

At Flensburg University of Applied Sciences, you can learn the basics of VFX, 3D animation and post-production in practical degree programmes such as Media Informatics and Film & Media Arts – without an entrance exam. When it comes to practical degree programmes in the field of digital production, Flensburg University of Applied Sciences has a lot to offer. The Media Informatics and Film & Media Arts (FMA) degree programmes in particular offer in-depth training with a focus on VFX, 3D animation and post-production. And the best thing about it? There are no entrance exams or strict entry requirements. Here you can get an insight into what to expect at this university and why it’s worth thinking about starting your studies here.

Media informatics with a focus on film: a versatile degree programme

The Media Informatics degree programme with a focus on film offers a balanced mix of theory and practice. You not only learn the basics of image design and programming, but can also delve deep into the world of 3D animation, modelling and rendering. Particularly interesting: in addition to traditional subjects such as drawing and film shooting, you can expect modules such as 3D rendering in the fourth semester and post-production in the fifth semester. This will optimally prepare you for working in the VFX industry.
The combination of creative work and programming could be a particular challenge for some, but this makes this degree programme all the more versatile. As around 100 students are accepted each semester, this is a comparatively large degree programme – so you have the opportunity to network in a lively and diverse student community. The university offers a special bonus with its regular excursions to FMX. Invited guests who work as artists in the VFX industry also provide practical insights into the industry.
Film & Media Arts: a focus on creative film design

The Film & Media Arts (FMA) degree programme is newer and offers a slightly more artistic focus than Media Informatics. It is less about programming and more about the creative design of film formats such as short films, genre films and social media content. You will learn how to use cameras and lighting equipment and get a solid introduction to VFX, 2D & 3D animation and post-production. Even though this degree programme accepts fewer students – only 15 to 30 per semester – demand is high. An entrance exam in the form of a portfolio is being planned, which could make the selection process a little more selective in future. In addition to excursions to the Berlinale and the Hamburg Short Film Festival, this degree programme offers practice-oriented training opportunities to help you establish yourself as a film artist.

Equipment and technology: high-end equipment for students

When it comes to technical equipment, Flensburg University of Applied Sciences leaves nothing to be desired. As a student, you have access to: 75 cameras from brands such as Arri Amira, Sony FX6 and Canon C300, including various light sources such as Arri Skypanels, Astera Tubes and Dedolights and, of course, a wide range of software, including Maya, Blender, Adobe Premiere, Nuke and Resolve. The university has four PC labs, each with 20 workstations. Two of these labs are equipped with the latest GTX4090 graphics cards – a boon for anyone wanting to work in 3D rendering or VFX. There are also three Mac labs where you can work on Wacom Cintiqs to realise your creative visions.

Cooperations and exchange programmes

Another advantage of studying at Flensburg University of Applied Sciences is the international cooperation opportunities. The university has partnerships with universities in countries such as Sweden, Mexico, Namibia, New Zealand and South Africa. It is also close to the Animation Workshop in Denmark. This means you can study abroad for a semester and expand your knowledge of VFX and post-production at the same time.

Application process and costs

The application process at Flensburg University of Applied Sciences is simple and straightforward. There are no special entry requirements other than a general higher education entrance qualification. You can easily apply online. Every winter semester, 100 students are accepted for Media Informatics and 15 to 30 for Film & Media Arts. It is currently not possible to apply for the summer semester. There are no tuition fees for the degree programme. The semester fee is 269 euros, which includes the costs for the student union, a Deutschlandticket and the AStA fee. This also gives you access to discounted lunch and public transport.

Conclusion: A future-oriented degree programme with many opportunities

Flensburg University of Applied Sciences offers a solid foundation for anyone who wants to gain a foothold in the VFX industry or in creative film production. The Film & Media Arts degree programme is particularly popular and in demand, while Media Informatics has a strong technical focus. With well-equipped laboratories, international collaborations and practical modules, nothing stands in the way of your career in digital production. Whether you want to become a filmmaker, animator or post-production artist – you will find the right training programme at Flensburg University of Applied Sciences.

Flensburg University of Applied Sciences – hs-flensburg.de
Film & Media Arts | Flensburg University of Applied Sciences – is.gd/flensburg_film_media_arts
Application information – hs-flensburg.de/study-interested/application
Co-operation partners of Flensburg University of Applied Sciences – hs-flensburg.de/hochschule/international-office/partnerhochschulen
Results of the degree programme – artstation.com/vfxflensburg

The post University up north! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

This article by Sabine Hatzfeld originally appeared in DP 06 : 2014.

A special film school opened in Mannheim at the beginning of this year. The non-profit organisation “Flimmermenschen” views film as a holistic cultural phenomenon. The programme is aimed at students, hobbyists and people from outside the industry, as well as short film makers and trainees – such as media designers for image and sound – who want to deepen their knowledge.

Behind the “Flimmermenschen” association is Dr Marc Reisner, a video artist and director(www.flimmermenschen.de). Reisner has produced over 100 intermedia theatre productions to date, from 3D and 2D to 16-millimetre film. He has worked with Christoph Schlingensief, Achim Freyer and Jimmy de Brabant, among others, and has already realised a theatre production in a real-time bluebox with 3D backgrounds.

He has also been teaching theatre, film and 3D animation at universities since 2000. He has noticed that many of his students are more film fans than film connoisseurs, and that the universities are training the film-making elite. But what happens to the rest? With the model maker who is interested in 3D printing? With the short film maker who wants to learn about VFX? Or students who want to know how an animation studio works?

The idea of founding an association was born and the first half of the year was characterised by the pilot project “Polygon Racing”. This was not only about designing and animating cars, but the participants also investigated the laws of physics and turned their attention to topics such as the cultural adaptation of trailers or the merchandising concept of Disney/Pixar’s “Cars”. The subject of film is thus examined from several different angles. The course costs are quite reasonable and are on a VHS level: participants paid a total of 150 euros for twelve evenings over three months and received a certificate of attendance at the end of the course. This course was offered twice and there was also an expert course. This marked the end of the pilot phase. From September, the Flimmermenschen will then expand their programme to eight workshops. We spoke to Marc Reisner about the organisation’s concept and its plans.

DP: What exactly do you criticise about the current training situation? Marc Reisner: There are media education projects and film schools, but nothing in between. I like to use a football club as a comparison: not everyone wants to become a professional footballer, but even amateurs don’t want to remain at ball-stopping level, but perhaps achieve more. In other words, not everyone who studies film wants to become a filmmaker later on. But they also don’t want to sit in front of a trick box all day or have someone who has never been on a film set explain to them how to make a film. Universities only train the top end of the film industry. But who takes care of the rest?

DP: How did the organisation come about?

Marc Reisner: The association was founded in Mannheim at the beginning of the year. For years, everyone has been saying that Mannheim is the city of music, but that something needs to be done about moving images. There are a lot of great funding opportunities in Germany, but if you get little or nothing from them, it can happen that nobody gets moving. That’s why I said last year: we’ll just do it now. My experience in the theatre has shown that once the ball starts rolling, a lot of things happen by themselves.

DP: What is your goal?

Marc Reisner: Of the hundreds of students I’ve taught so far, almost all were film fans. But none of them had the slightest understanding of film. Most film schools have the same problem: People apply who can list film titles but don’t know what happens in the 90 minutes in aesthetic and technical terms. But that’s only one aspect. Conversely, the medium of film influences our language and shapes our role models. The mobile phone was invented by an Enterprise fan, Dr Martin Cooper. Minority Report” showed us what good, interactive design is all about. The disco boom was triggered by “Saturday Night Fever”. You don’t even have to go to the cinema to be influenced by film. Our society breathes film.

DP: The advisory board is made up exclusively of academics – what about industry professionals?

Marc Reisner: Our target group is people who are interested in film for whatever reason, who want to learn more about it or who are looking to enter the industry. Didactic concepts are also of particular interest to us. Hence the scientists. We have the professionals on board through the advocates.

DP: Your first course “Polygon Racing” is designed to teach 3D knowledge to non-professionals. But isn’t that what 3D professionals are for?

Marc Reisner: Exactly. That brings us back to the football club. In our first course, for example, there was a set designer who wanted to spice up his models. He bought a 3D printer for this purpose. Building a propeller out of wood is pretty time-consuming; printing one out is not. You don’t always have to think of Hollywood films to make good use of 3D. Another course participant from the automotive industry has a lot to do with Previs in order to explain the functionality of industrial robots, which are difficult to take to customers. An agency would charge huge sums for a virtual representation, but the participant is now so fit that he can produce simple visualisations himself. This saves time and money and does not result in any transfer losses.

DP: Do you also target young people who are interested in training in the field of animation/VFX?

Marc Reisner: Most young people watch a Pixar film and then think that they want to do this professionally because animation is cool. We give them an overview of how an animation studio is organised, which departments are involved and what the basic work steps are. If you know afterwards that you’d rather study graphic design after all, you’ve already gained something. As I said before, my impression is that most young people have no idea what it means to work in the film industry. This is precisely the knowledge we want to impart.

DP: To what extent could professionals also benefit from a course?

Marc Reisner: The expert course is not intended for real 3D professionals, but for those who have completed the basic course and already have a basic knowledge of 3D. We don’t want to train digital artists, we just want to open doors. There are plenty of training opportunities for 3D artists. To be honest: far too many.

DP: How is Flimmermenschen financed as a non-profit organisation?

Marc Reisner: Through donations, voluntary work and small grants from the city. We are also generously supported by Musikpark Mannheim through the premises they provide and by Autodesk, Adobe and Dosch Design.

DP: How do you communicate real conditions in the industry?

Marc Reisner: As I have shot a lot myself and also taught lighting for a long time, I would like to bring in real film practice. At the moment, however, there is still a lack of equipment in every nook and cranny. Our first course also focussed on 3D because the technical requirements in this area are somewhat lower. Real framework conditions are demonstrated using examples from current cinema films. In “Polygon Racing” we take a detailed look at “Rush” and work out with the participants what 3D is actually needed for in the cinema. There will also be “Flimmertalks”, where film-makers will talk about their day-to-day work, such as Chris Vogt from Pixomondo.

DP: With “Polygon Racing”, you combined animation knowledge with expertise from collaborations with racing drivers and car specialists – but is that how all the big studios work? Why do you think your approach is so special?

Marc Reisner: Because we are not a film studio and it is sensational for the average German to think outside the box. It may be normal for film-makers to absorb the topic they are currently working on. However, many students or people from outside the field first have to take this step. Which brings us back to the topic of methodology: How do you find out where the centre of rotation of a car is when it is moving around a bend? We filmed with a chassis designer who explained this. And then every course participant was able to try it out for themselves.

DP: Why is “Polygon Racing” being offered in a different form in the new programme?

Marc Reisner: There are several reasons for this. Firstly, we have received a few enquiries from outside the city. People who don’t live in Mannheim won’t be travelling to us once a week for two hours. It was therefore clear that we had to offer our courses in blocks if we wanted to appeal to people from the surrounding area. Secondly, I myself had the feeling that the course was becoming more and more like software training. And that’s exactly what we don’t want to offer. We want to demonstrate the concepts and not spend hours clicking buttons.

DP: Who are your lecturers?

Marc Reisner: I taught “Polygon Racing” on my own. That was our pilot project, which allowed us to try out a lot of things. As I said, from the autumn we will be switching to a workshop programme with courses running from Friday lunchtime to Saturday evening. As a result, we have also been able to attract lecturers who simply take a weekend off for us. For example, director and digital artist Andreas Dahn will be coming along and doing something on the subject of VFX planning. Music video legend Robert Bröllochs will also honour us (editor’s note: Modern Talking, Scooter, Xavier Naidoo …) and offer something on the subject of filming with amateur actors. Together with Tilman Bischoff from “Planet Schule”, I’m currently developing a course on space physics and cinema. “Gravity”, for example, is very much about realism, but in the decisive scene the dramaturgical element prevails. That’s why we want to ask the ESA what materials an astronaut’s safety rope is actually made of. There certainly isn’t one like the one in “Gravity” in reality.

DP: What hardware is the “einsnull” spacecraft equipped with?

Marc Reisner: There are eight iMacs (i5, with 8 GB). They are all networked together and as a lecturer I can access every computer. If you’re working with young people, you can always put two on one computer. The adults prefer to try things out for themselves.

DP: Which software packages do you work with?

Marc Reisner: As we are sponsored by Autodesk and Adobe, we work with Maya and the usual suspects such as Photoshop, After Effects and so on. For our space project, we realised that physicists can’t do very much with the rigid bodies in Maya. That’s why we are once again looking for software that allows physically correct simulations. We also have a direct line to Sebastian Dosch from Dosch Design, who provides us with everything our hearts desire. Autodesk is an important partner for us, because they have a lot of experience with 3D programmes at the intermediate level, especially in the English-speaking world. We were able to learn a lot from them, for example how to use Maya for biology lessons. In any case, people in America like to work on a project basis, which is very similar to our approach. In Germany, practically nobody dares to tackle the subject. It only starts at university level.

DP: What’s the deal with the Flimmertalks?

Marc Reisner: We organise these guest lectures for the public in cooperation with the Cineplex Mannheim. Anyone who wants to can come. In terms of the film industry, Mannheim is not exactly the centre of the universe. Therefore, there are many interested people who are not necessarily interested in our course programme. As we are a non-profit organisation, I think it makes sense to say: “We have people who have something to tell. Come and listen. Regardless of whether you attend our workshops or not.” It’s important to us that you can simply experience what it means to work in the film industry and to be “on fire” for your job. Many people still think that you go there, shoot a bit of film and spend most of your time lying by the pool. Especially outside the professional world, a frightening number of people still equate mobile phone videos with cinema films. It’s kind of the same thing, they say, they just have more money in Hollywood. They never talk about performance, blood and tears. That’s why we had Uwe Boll on in the last Flimmertalk – we know all about his reputation as a director. But he is someone who makes films and doesn’t talk about projects that never come to fruition because nobody wants to pay for them. His talk made a lasting impression on many members of the audience, as it was suddenly no longer about the quality of his films, but about how to get big projects off the ground. As a producer, he currently has a film in the pipeline with Antonio Banderas and Gwyneth Paltrow, namely the film adaptation of Picasso’s life (directed by Carlos Saura). He really had a lot to tell.

DP: What are your contacts with studios like Pixar?

Marc Reisner: Pixar, Pixomondo and many others are just a phone call away. That’s our unofficial technical and content support, so to speak. For example, Tanja Krampfert from Pixar supported us in the development of our first course “Polygon Racing”. Some of the participants are currently undergoing vocational orientation – we have students who are still familiarising themselves with the buttons on the mouse. So you have to realistically question what they can learn from a full professional if they are still struggling with the basics.

DP: What is the role of the organisation’s advocates?

Marc Reisner: If you make the bold statement that film has something to do with culture, you will quickly realise that all areas of cultural education are occupied by the long-established institutions: Theatres, museums, music schools. That’s why it’s important first of all to bring people together to stand in front of us and say: film is important too. Film is also culture! The advocates are all people who are really committed to our cause. Some of them will also be giving workshops in the new seminar programme, such as the film director Stefan Hillebrand or Robert Bröllochs, as already mentioned.

DP: Why are there only a few people from the 3D industry listed in the programme?

Marc Reisner: Quite simply, it’s about anchoring the flicker people in the region. All the advocates come from the Rhine-Neckar metropolitan region or have at least worked here before. The advocates are primarily there to show regional politicians that they support our concept of film education. An artistic director of the National Theatre is more effective than a 3D artist from England.

DP: Is the principle of “Polygon Racing” transferable to other subject areas and are you planning to expand the range of courses?

Marc Reisner: Definitely. As I said, we started out in the virtual world because it offered many structural advantages. We are now extending the findings from the course to other subject areas: For example, there have been numerous requests for us to do something like a “basic film course”. So not a course where you learn what a long shot or close-up is, but one that explains how film works in the first place. We forget far too quickly that we are used to watching films. But a Martian would ask: “What does that have to do with reality? The film has an edge, and you can’t touch the woman in the shower, and nothing is wet here. It’s actually just moving blobs of colour.”

The post Between HFF and VHS | Retro article first appeared on DIGITAL PRODUCTION and was written by Bela Beier.