Next Door Spy In Devel­op­ment Copen­hagen Bom­bay (Den­mark)

Animation Magazine - - Tv -

Writ­ten and di­rected by Karla von Bengt­son, cre­ator of Tigers & Tat­toos, Next Door Spy starts pro­duc­tion this spring in Copen­hagen. The film is a co­pro­duc­tion be­tween Copen­hagen Bom­bay Rights in Den­mark and CB Sverige in Swe­den, and both pro­duc­tion com­pa­nies will be present at Car­toon Movie, as well as Copen­hagen Bom­bay Sales. The pro­duc­ers hope to find lo­cal dis­trib­u­tors for the film.

I’m com­ing in a lit­tle late in the game since the re­lease of Au­todesk’s 2016 En­ter­tain­ment Suite, but with mul­ti­ple ex­ten­sion packs since, you can rest as­sured that the fea­tures for these add-ons will be full fea­tures in the forth­com­ing 2017 re­lease. So let’s fo­cus on Maya first. Among a mul­ti­tude of ad­vances, by far my fa­vorite is a re­vamp to the hy­per­shade and look-devel­op­ment sys­tem. Some sorely needed and long-asked-for fea­tures are fi­nally part of the pack­age. A pre­view win­dow lets you see re­sults of your shader work on dif­fer­ent mod­els, or just view the 2D out­put. This is ab­so­lutely crit­i­cal to trou­bleshoot as shader sys­tems get more com­plex. I’ve never been more ag­gra­vated than devving in Maya and try­ing to fig­ure out which node in the shader is caus­ing the prob­lem. But no more! I can now solo in­di­vid­ual nodes to see how it’s con­tribut­ing.

This would be enough for me, but it doesn’t stop there. The shader devel­op­ment is tied to the View­port 2.0. So, you can view the dif­fer­ent pieces of the shaders in iso­la­tion to see how a bump map, or spec­u­lar map, etc., looks in the scene. Fre­quently, within the shader, the ef­fect is so sub­tle that it’s hard to tell what’s hap­pen­ing. Iso­lat­ing the maps is a huge help. The view even works with new util­ity nodes like color cor­rec­tors, noise (fi­nally) and com­posit­ing node. And to top it off, there are Color Man­age­ment tools that con­form to OpenColorIO and ACES (Academy Color En­cod­ing Sys­tem) — and it’s flex­i­ble enough through the SDK to be mod­i­fied for other ren­der­ers and stu­dio color pipe­lines.

The 2016 ver­sion has a much-needed vector work­flow — which dove­tails into text tools and Il­lus­tra­tor files. Maya, since first re­lease, had pre­vi­ously been in­sanely cum­ber­some

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