Filmgestalten asked us to do the VFX for the image movie they were shooting for Kranunion. For every company that makes up Kranunion (Ardelt, Kirow, Kocks) we were tasked to do one high tech looking VFX. To make sure what we were doing was correct we worked with the original blueprints of the machines. Every clip was double checked by the engineers, to ensure no mistakes were made.
Our concept was always to make something that would work in real life. Every element had to be there for a reason, some underlying functionality. From this functional approach we created a visual style that matches, resembling the actual UI's used by the crane operators. 
Tukan — VFX 01
The first VFX shown is about the Tukan 3000 by Ardelt. With the original footage leaving plenty of space for us to work with it was just a matter of removing unwanted objects on the horizon and pesky birds flying around. 
From the briefing, the analogy of a marathon runner was brought in. With this in mind we set out to create a rhythmical sequence which still adhered one of our rules: the overlay must start out aligned with the actual object it represents. After being blended in, it would speed up to twice the speed of the background footage, thus showing an every greater timespan, strengthening the runner analogy.
Multitasker — VFX 02
The second VFX featured the Multitasker crane by Kirow, a highly specialized crane used for the building and maintenance of railroad tracks. It's fully operational despite having trains pass by at high velocity with barely any space in between. 

The goal of this VFX sequence was to highlight the Multitaskers precision and safety in the face of these precarious circumstances. To do so, the material we were given did not suffice. The topshot was not showing a crucial element of the crane; the jib. A matte was constructed which enabled us to zoom out more and show the complete crane.
Boxer — VFX 03
The last VFX was the most challenging, the container crane Boxer by Kocks. The first two VFX were relatively easy in their perspective; top and side. The shot chosen for Boxer was more complicated however, a highly dynamic helicopter shot. For added dramatic effect, we decided to go for a full 3D model. The perspective would also switch seamlessly from the camera view to an isometric view. The clarity of isometric space would prove to be essential in explaining the complicated inner workings of the Boxer.