Grage is a technology consultant with a reputation for developing innovative, cutting-edge concepts that help businesses and organizations thrive. As a consultant for UNEVIS GmbH, Grage works closely with clients to harness the power of emerging technologies and drive growth and success.

In my role at the Volkswagen global headquarters marketing department, I am responsible for developing and supporting a range of innovative technology projects that leverage VR/AR/MR, Realtime and AI technologies. I am deeply committed to helping the marketing department stay ahead of the curve in these rapidly evolving fields, and to driving growth and success through my passion of emerging technologies.

As a member of the Marketing Department at Germany's largest mobile game company, I had the opportunity to script and technically supervise the production of the company's latest TV ad for Empire: Four Kingdoms - New King. In addition, I served as a Lead Effects TD on an unannounced AAA game title at the company's AAA Studio, 4th Floor. In this role, I led a team of top international unreal artists to create highly stylized, visually stunning realtime effects.

As a member of the ILM Team in Singapore, I had the opportunity to work on the visual effects of some of the biggest blockbuster movies of recent years including Transformers - Age of Extinction, Pacific Rim, and Avengers. I am proud and grateful for the opportunity to work with such a talented group of professionals.

As a VFX freelancer, I have had the opportunity to work with a range of clients in the advertising industry, including Markenfilm's Infected Post, NHB Hamburg, NHB Duesseldorf, Publicis, Kolle Rebbe, and Phillip und Keuntje GmbH. My roles have included CG supervision, VFX consulting, production, bidding, and technical direction, and I have gained valuable experience in a wide range of tasks and responsibilities.

I am proud to have had the opportunity to work on Zack Snyder's Sucker Punch as a member of the team at Animal Logic, an Academy Award-winning visual effects company with studios in Sydney and Los Angeles. I contributed to the creation of several key VFX scenes in this film, and am grateful for the opportunity to work alongside such a talented and innovative team.

I was fortunate to have the opportunity to work at Weta Digital, a renowned Academy Award-winning visual effects company based in Wellington, New Zealand. Founded in 1993 by a group of talented young New Zealand filmmakers including Peter Jackson, Richard Taylor, and Jamie Selkirk, Weta has consistently set the standard for visual effects in the film industry. During my time at Weta, I contributed to some of the most iconic and visually stunning films of all time, including The Day The Earth Stood Still with Keanu Reeves, where I handled with the Truck and Stadium destruction one of the most complex particle simulations of its time. For Peter Jackson’s Lovely Bones, I was responsible for the gazebo destruction scene. For James Cameron's first Avatar movie, I handled a variety of fire, explosion and plant interaction scenes. As the VFX Sequence lead I worked on the General Quaritch Fight Scene - the emotional finale of the film. As part of the Weta’s VFX R&D team known as the Destruction Team, I had the opportunity to research new technologies to to help Weta Digital create the complex VFX shots for which it is known.

As a VFX TD at Visual Distractions, a company based in Hamburg, Germany that specializes in character animation and visual effects, I had the opportunity to work on of the Flight Before Christmas (also known as Niko the Reindeer), a beloved holiday movie for children. My skills in character animation and visual effects played a crucial role in bringing this film to life as it required to handle a large set of VFX shots with little time in cinematic quality.

Based in the bustling Soho neighborhood of London, Double Negative is a renowned visual effects company with at this time of over 370 talented professionals. I was fortunate to be a part of this dynamic and innovative team, and had the opportunity to work on complex Jungle VFX scenes for Roland Emmerich's 10,000 BC and the iconic Death Eater VFX in Harry Potter and the Order of the Phoenix. My skills in digital plant interactions and fluid visual effects helped bring these films to life and where possibly the reason why Weta Digital hired me for my work on Avatar.

I had the pleasure of working with Spans & Partner, a renowned German company known for its pioneering work in CG character animation and visual effects for commercials. As one of the first companies to purchase Silicon Graphics workstations in Germany, Spans & Partner was at the forefront of digital visual effects technology and I was thrilled to be a part of their talented team. I provided a wide range of fast paste and High Quality VFX services to their commercials, using my skills and expertise to help bring their creative visions to life.

During my time as a VFX freelancer in the german postproduction industry, I have honed my skills in delivering high quality work in fast-paced environments. With experience in both commercial and television movie production, I proofed on each production my ability to consistently meet tight deadlines while maintaining a strong focus on quality.I have had the pleasure of working with some of Germany's top postproduction companies, including Locomotion Düsseldorf, Elektrofilm, and TVT Berlin. These companies where known at the time for their high standards and demand only the best from their team.Through my work on a wide range of projects where I developed for O2 at its time iconic bubble VFX look. Working on so many different projects I had the opportunity to develop versatile skill set and the ability to adapt to any challenge that comes my way.

During my time at Ambient Entertainment, I had the opportunity to work on Germany's first CG feature film, "Back to Gaya," also known as "Boo, Zino and the Snurks." As the only VFX artist on the film, I was responsible for creating a large variety of smoke, destruction, explosion, and particle effects shots. This was an exciting and challenging experience, as there were no established techniques or processes for producing a CG film in Germany at the time. The team where all early pioneers in Germany and even Europe. The film turned out to be a financial failure for the production company but it put Ambient Entertainment on the map and was a highly valuable learning opportunity for me which helped to shape my career in the film industry and experience in emerging technologies.

During my time at Software 2000, a renowned game company in Germany known for its Tycoon series and Bundesliga Manager, I had the opportunity to complete a six-month internship in the 3D department. This allowed me to learn and contribute to the creation of Pizza Connection 2 using Maya 1.0. Following my successful internship, I was hired as a permanent employee and took on the role of 3D Artist for an unreleased Shipping Tycoon game. I am proud to have been a part of such a talented and pioneering 3D team of Artists who unfortunately dissolved in 2001 after the company had to file for bankruptcy.