Format:
Miniseries (5 x 6 minutes)
Format:
Production:
Year of shooting:
Release:
Logline:
In the year 2072, 26-year-old loner Kira is suddenly wanted for murder and discovers that the killer is her digital doppelgänger from a previously unknown digital parallel universe. As they attempt to undo the murder, both realize that much more is at stake than just Kira’s freedom.
The Idea
The sci-fi mini-series INTERCONNECTION is a graduation project by students from the Film University Babelsberg KONRAD WOLF, created in collaboration with Babelsberg-based production company arkanum pictures and funded by the Medienboard’s Digi.Tale Program. Developed specifically for Virtual Production, the project redefines how LED walls are used in cinematic storytelling.
Unlike the typical use of LED walls as static backgrounds, we integrate them directly into the narrative. Through innovations like projecting 2D content onto 3D environments, regulating the wall’s power supply for unique effects, and utilizing Unreal Engine sequences for real-time lighting and motion, we push the boundaries of in-camera VFX. From real-time motion capture with Metahumans to pre-animated chase sequences, every aspect is designed to make Virtual Production an active part of the creative process.
My Tasks
Creating the Story
In 2022, after attending the Virtual Production Lab from the Erich Pommer Institute, I developed the initial story concept for INTERCONNECTION. The narrative centered on Kira and incorporated the innovative use of LED wall technology. Collaborating with producer Johanna Hildebrandt and scriptwriters Laura Ameln and Paulina Peschken, I played an active role in shaping the story and developing the characters.
Developing the Mood
To set the visual and emotional tone of the series, I created initial previsualizations using Unreal Engine. Additionally, I designed mood boards that captured the overall aesthetic and atmosphere.
Conducting Motion Capture Test for the digital character
Leveraging my technical expertise, I conducted motion capture tests using Xsens and the Vicon system to explore how a digital character could be integrated effectively into the narrative. I worked together with Codrin Podoleanu an Max Rueth on the Motion Capture test. These tests lead to a test shoot at the LED cave, for which I quickly assembled a virtual environment in Unreal, together with Codrin. During this shoot, we utilized real-time motion capture to animate a Metahuman character created in Unreal Engine. This digital character (Katz Köbbert) interacted with the real character (Caroline Bröker), showcasing the potential, but also the flaws, of this technology in storytelling.
Storyboarding and Pre-Production
Collaborating closely with DOP Sebastián Schroth, I developed detailed shot lists and storyboards to guide the production process. We also conducted a simple test shoot to refine the scene’s pacing and gain a clearer understanding of its visual rhythm.
Directing on Set
I began by conducting extensive casting to find the perfect actors and actresses who could bring the characters to life. During production, I directed three of the five episodes. As the creator and showrunner, I ensured the narrative and visual style remained consistent, even for the two episodes I did not direct.
Supervising Post-Production
In post-production, I’m currently supervising the editing process, communicating my vision for the emotional tone of the music, and even worked hands-on to select the right instruments to achieve the desired impact.
