This introduction from steinzeit-mediendesign’s brochure probably best describes founder Peggy Stein’s approach to her work in her graphic design and 360-degree photography agency. steinzeit-mediendesign, located in Dusseldorf, Germany, prides itself on providing fast and flexible service from concept to final results, and clients include Daimler-Chrysler, Toshiba, Spheron and Omron Europe. Beside classical graphic design, its special subject is 360-degree photography, mostly delivered as QTVR movies. This includes both panorama and object VRs, often enriched by advanced QuickTime features.

steinzeit-mediendesign have produced some stunning movies with sound and visual effects such as the scenic Andalusien mountain VR, object VRs of the recently launched SLR Mercedes-McLaren, VR taken inside the Sprinter James Cook and an object-VR of the Atego, both for DaimlerChrylser. They’ve also done some wacky and wonderful Easter animations and ‘underwater’ panoramas of World Heritage site, Benrath Castle.

Stein says the company first started producing 360-degree images in 1996 using traditional film, later switching to the Seitz Super 220 VR Roundshot camera. Today, panoramic images are shot with a SperoCam equipped with a Nikon 16 mm fisheye lens. Object shots and animation work are done with the Canon D10 and Canon 1Ds.

Peggy, can you give us some background information on your company: how long you’ve been in business, what you do, how many employees you have and how you differentiate your company from others?

I started in 1996 with my first experiences in 360-degree photography and the QTVR-technique. The interest grew over the years and I did more projects with this technique, I finished my study at the University of Applied Science in 2000 with the theme 360-degree and QTVR-technique.
I worked all the time during my studies and after my diploma I had enough customers to start as an independent: steinzeit-mediendesign was founded. Some months later I had two employees and started my lectureship at the University of Applied Science in Düsseldorf.

I started with taking, scanning and stitching single images, in 2000. I bought a Seitz SuperVR Roundshot-Camera (analog). In 2002 I got in contact with SpheronVR, a company from Kaiserslautern/Germany, and I was able to test the camera for two weeks and was very impressed. In Summer 2002 I bought a SpheroCam (digital) and in the same time we created a new image and product brochure for SpheronVR. It was a classic win-win-situation for both sides. I had more panoramic jobs than taking single images for Object-VRs. For Object VRs I first used a Canon D30, later a Canon 10D and now I use the 10D and Canon 1Ds, depending on the job and the image size that’s needed.

From 1996 until now I’ve completed about 650 projects with 360-degree photography.

Now I have five to eight employees, depending upon the amount of work we have to do. But 360-degree photography wouldn’t pay the bills alone. We also do ‘standard’ graphic design jobs for print and web. Graphic design is the standard (about 60% of work) and 360-degree photography the special field.

Are your customers in Germany receptive to the idea of using VRs in their promotions, i.e. do you meet resistance?

Until now this was not really a matter because most customers either can make use of QTVR and so come to us because of our experience, or they are regular customers with needs only in our classical graphical field. So we had no need yet to convince someone to use QTVR.

It’s not the question of using virtual reality or not, but more the question of what kind of file format. In general I see myself as a designer and a photographer and at the second step as a QTVR-specialist. I prefer QuickTime because I think it’s the best technique to present panorama and object movies but some customers want Flash files or ivr files instead of QuickTime. I advise them what they can do, but ultimately it’s their decision and I deliver the format they want. Sometimes it’s a pity not to show my work in the best media format, but I’m realist, not an artist ;-)

How has the mission of your design company changed over the years from your founding (if it has changed)? Do you find yourself reacting more to market forces or your own artistic leanings?

More quality than quantity. Work more personalized with the focus on individual service.

I noticed you have 'prakticants' on your website; I assume these are apprentices, as we say in english. How many do you take on each year?

No apprentices, they are interns on a six month basis/term. I often acquire them during my lectureship at the university, usually about two to four per annum.

What type of work roles/duties do they have?

At the beginning, general duties include office duties, general research, manufacture work, etc. At a later stage, project work for a project of their own, they act as assistants on photo shoots. Finally, they get trained on the post-processing job, making classical design jobs like layout, image retouching and so on

What's the business climate in Dusseldorf?

Busy, strict, straight forward. Düsseldorf is a great location for creative work in general, for there are numerous agencies and design offices located in and around Düsseldorf. Maybe here I should mention that Düsseldorf lies in the centre of North Rhine-Westphalia, the biggest megalolopolis in Europe.

And in Germany in general?

The depression is in the mind of the population more than in reality. For real we are in a much better state than we have been in the ‘90s - in comparison to the life standard back then and now. People are afraid of losing this standard and they are looking with fear at the future ahead. Hence, they are inflexible and are reluctant to changes. They do not dare take the risk of taking on the new for the known gives them security. I fight against it but nevertheless these moods and vibrations influence one, especially since the year started slowly.

Any particular changes you've noticed since the introduction of the Euro?

My first impulse is to say yes, changes came along with the Euro. But certainly the 11th of September also influenced the market. Looking at it privately the value of money has changed a little for the worse but from a business point of view the situation has not much changed yet.

What was your most enjoyable or favorite job contract that you've had in the past few years?

It was almost a year ago: We had a 2-week photo shoot for DaimlerChrysler in Malaga. (Job: Shooting prototypes of the new Vans "Viano" and "Vito") It was rather the surroundings and the excitement that came along with the job related activities. It wasn’t simply a technical shooting where we were asked to do our job and leave right after. Instead we were involved in the whole process of the planning and organization of the entire project. We were a valuable part of the working team of DaimlerChrysler and that made this job very special.

Your worst or most unpleasant job?

I have to think about that one, Michelle. Actually, I would not really say that there is any particular job that was so unpleasant, but there are certainly certain things that make work more difficult: bad briefings, unclean locations or sets, unfriendly people who doubt my competencies and who tend to monitor and control everything, deadlines being set but not met (this concerns customers). But by the way, I think those are problems we all know about... ;-)

What do you consider your most creative project?

The most creative projects are the non-commercial ones. They are often free work or work related to the lectureship. There are for instance:

- Christmas Special
- Easter Egg
- Easter ‘THX’

Thanks Peggy!

Email: mail@steinzeit-mediendesign.de