7 Big Ques­tions for The Amaz­ing Ven­ture Bros. Duo

Animation Magazine - - Tv - Jack­son

(a.k.a. Chris McCul­loch) and are the mad ge­niuses be­hind Adult Swim’s bril­liant se­ries The , which be­gins its sev­enth sea­son last saw the gang, we wit­nessed all kinds of wild de­vel­op­ments in­volv­ing the su­per­nat­u­ral as­sas­sin Red Death, The Monarch, The Blue the vil­lains in a se­cret bath­room in the Mor­pho Cave. De­spite their crazy busy sched­ules, Jack­son and Doc found some time to give us episodes of their cult clas­sic cre­ation.

It’s about time Marvel fans got to see some amaz­ing di­verse, fe­male su­per­heroes join forces to save the world. This month, Comic Marvel Ris­ing four-minute an­i­mated shorts and a new movie ti­tled Marvel Ris­ing: Se­cret Warriors, de­but­ing this fall.

Fea­tur­ing char­ac­ters such as Ms. Marvel, Squir­rel Girl, Quake, Pa­triot, Amer­ica Chavez, Ghost Spi­der and In­ferno, the new fran­chise fo­cuses rock the world, in their own spe­cial way! The top-notch voice cast fea­tures the likes of Dove Cameron, Chloe Ben­net, Tyler Posey, BooBoo Ste­wart, Skai Jack­son, Kim Raver, Ming-Na Wen, Steven We­ber and Dee Bradley Baker, among oth­ers.

“Marvel char­ac­ters are so re­lat­able be­cause they live in our world and face the same chal­lenges we Marvel Ris­ing team of heroes is with dif­fer­ent back­grounds, par­tic­u­larly a set of strong fe­male leads that our young au­di­ence can con­nect with,” said Cort Lane, Marvel’s Se­nior Vice Pres­i­dent of An­i­ma­tion & Fam­ily En­ter­tain­ment.

“We did a lot of re­search be­cause, al­though this fran­chise isn’t just for girls, we wanted it to be ap­peal­ing to girls,” Lane adds. “Half of our au­di­ence is fe­male, but we weren’t cre­at­ing con­tent that was - tor­i­cally, we’ve had great fe­male char­ac­ters, but this is a very fe­male-for­ward project. It’s very gender neu­tral, as there are also young men on the team. We hope to at­tract a whole new gen­er­a­tion of fans which also in­cludes very di­verse char­ac­ters.”

The Marvel team did a lot of re­search on what types of char­ac­ters would ap­peal to young fe­male au­di­ence, and they dis­cov­ered that girls were very in­ter­ested in how these char­ac­ters in­ter­acted with each other. “The en­tire project re­ally pushes the boundaries - clude an­i­mated ver­sions of Avengers As­sem­ble, Guardians of the Gal­axy and Spi­der-Man. “Our heroes have to deal with the usual pres­sures of be­ing a teenager as well.”

the friend­ship be­tween Squir­rel Girl (Mi­lana Vayn­trub) and Ms. Marvel (Kathreen Khavari) de­velop. “They are so much fun to watch,” she says. “There’s this great sense of ad­ven­ture and a spe­cial re­la­tion­ship be­tween the two of them which re­ally em­bod­ies the spirit of the - ries that weren’t about the end of the world, but fo­cused on prob­lems that were hap­pen­ing right out­side your door. Our char­ac­ters want to be the best ver­sions of them­selves and prove that they can be heroes and gain the skills to make the world a bet­ter place.”

The shorts and fea­ture’s de­sign and pre-pro­duc­tion work is done in the Marvel stu­dio in Glen­dale, while the ac­tual an­i­ma­tion pro­duc­tion is done by The An­swer Stu­dio ( Bat­man: Gotham by Gaslight, Teen Ti­tans: The Ju­das Con­tract) in Ja­pan.

In terms of vis­ual in­spi­ra­tions, Lane says the goal was to have the char­ac­ters grounded in re­al­ity. “We didn’t want it to be too car­toony,” he says. “But at the same time, girls love hu­mor, so we wanted to be - pres­sive faces to con­vey emo­tions.”

“We have a great team at the stu­dio, who came up with fan­tas­tic char­ac­ter de­signs and back take place in New York and New Jersey, so it looks like the real world, but the pal­ette is sat­u­rated and gor­geous to look at.”

men and women will get a sense of em­pow­er­ment af­ter watch­ing Marvel Ris­ing. “We hope they’ll feel like they are spe­cial and have some­thing spe­cial to of­fer the com­mon ground with peo­ple who are dif­fer­ent from you, you can make the world a bet­ter place.”

Adds Lane: “The tim­ing is per­fect. Young peo­ple are ris­ing up and want to make sure their voices are heard. that di­rec­tion, and it’s a great thing to see.”

The folks at Car­toon Net­work are plan­ning a ma­jor takeover this year: Ex­pe­ri­ence tak­ing over the booth, along

“Su­per­heroes of Body Pos­i­tiv­ity: A Con­ver­sa­tion with Steven Uni­verse’s Re­becca Sugar,” fea­tur­ing Sugar, Estelle - ect. Fri­day sees the big -

There’s more Steven Uni­verse Ball­room) with show cre­ator Re­becca Sugar and voice stars Estelle, Michaela Dietz, Deedee Magno Hall and Zach Cal­li­son. Also planned for is a panel ti­tled “Draw­ing on In­spi­ra­tion,” fea­tur­ing creators Matt Bur­nett and Ben Levin ( Craig of the Creek), Daniel Chong ( We Bare Bears), Diego Molano ( Victor & Valentino) and Ju­lia Pott Jones Quartey ( OK K.O.! Let’s Be Heroes).

level of game cin­e­mat­ics com­ing through. “The new Hearth­stone from Bl­iz­zard and Blur Stu­dio’s are rep­re­sented well. The cin­e­matic for Ubisoft’s was a lot of fun, too.”

He points out that there is an abun­dance of in­ter­est­ing look­ing work done with real-time tech­nol­ogy. “We are show­ing Epi by Oats Stu­dios, which is in­ter­ac­tive demo for Unity’s is also fea­tured.”

- tival also in­cludes sev­eral pieces fo­cus­ing sim­u­la­tion done by NASA of­fer­ing a mul­ti­ple-an­gle of a hur­ri­cane, as well as a Cana in­tel­li­gent. Poland’s Platige Im­age has a great piece which is the de­con­struc­tion of a paint­ing. Toronto-based stu­dio Guru’s short is also quite vis­ually im­pres­sive.” (Guru’s short is di­rected by in­house artist Samuel W. Bradley and fol­lows vast and un­set­tling derelict space sta­tion.)

An­other high­light is the French short 1 Mètre/Heure ( One Me­ter Per Hour) by Ni­co­las Cannes Fes­ti­val ear­lier this year, is a pho­to­re­al­is­tic piece cap­tur­ing the per­for­mances - cently chore­ographed bal­let on the wing of an Air France jet­liner.

- itive year. “The jury had to make some tough didn’t tell the jury which projects were stu­dent all came down to per­for­mance and sen­si­tiv­ity to sto­ry­telling and strength of nar­ra­tive.”

- ing done us­ing Blender and Unity all over the place. “Great CG an­i­ma­tion is be­ing pro­duced ev­ery­where,” he notes. “It’s won­der­ful to see fresh work us­ing an­i­ma­tion as a univer­sal rep­re­sented. What it all boils down to is that it’s more about the tal­ent that the tools.”

“Some of the projects I’ve been in­volved with at the in­ter­sec­tion of cre­ativ­ity and ad­vanc­ing tech­nol­ogy. My fa­vorite col­lab­o­ra­tions are when push­ing the en­ve­lope, work­ing within some con­straints to cre­ate some­thing new. In terms of advice, I’d sug­gest that when you are hear­ing your trusted team tell you about brush­ing up against the lim­its, that prob­a­bly means you’re onto some­thing. Let those lim­its in­form the creative, and let the creative push the lim­its of the tech­nol­ogy — you’re prob­a­bly work­ing on some­thing com­pletely new. It’s fun when that hap­pens.”

Fa­vorite con­fer­ence ac­tiv­ity: “I love the technical con­fer­ence. Every ses­sion I at­tend is in­spir­ing and opens the doors to new con­cepts that I didn’t think would be pos­si­ble even a - there was a time that the only High-Dy­namic Tech­nolo­gies venue]? It blew us all away. Now, you can hang an HDR TV on your wall for

“I started at­tend­ing SIGGRAPH by walk­ing the show to the show than that. Make sure to see the Elec­tronic The­ater (part of the Com­puter An­i­ma­tion Fes­ti­val) and take the time to walk through Emerg­ing Tech­nolo­gies, too. Try a day pass to at­tend some Cour­ses as part of the technical con­fer­ence and get in­spired.”

tal­ent was young and green, but they were very en­thu­si­as­tic about learn­ing as much as they could about the in­dus­try. Ray was a true own their own an­i­ma­tion stu­dios in China.”

Un­der the CGGE ban­ner, Neoh and his team - duce new an­i­mated con­tent for both Chi­nese and in­ter­na­tional au­di­ences:

CG Global En­ter­tain­ment Ltd. (CGGE) aims to build a global ecosys­tem cen­tered around in­for­ma­tion re­search, tech­nol­ogy, pub­lish­ing, ed­u­ca­tion, con­sult­ing, con­tent de­vel­op­ment and in­vest­ment in or­der to foster co­op­er­a­tive dig­i­tal en­ter­tain­ment de­vel­op­ment around the world, and to nur­ture, sup­port and con­nect the

CGGE has also aligned with China GIMC (Guang­dong Ad­ver­tis­ing Group Co., Ltd.), the largest ad­ver­tis­ing com­pany and big­gest in­te­grated mar­ket­ing com­mu­ni­ca­tions group bil­lion. GIMC pro­vides es­tab­lished mar­ket­ing chan­nels and ad­ver­tis­ing re­sources across all of China.

CGGE’s global per­spec­tive and slate of fo­cused in­ter­na­tional busi­ness ini­tia­tives will sup­port China’s na­tional pol­icy of build­ing up the dig­i­tal creative in­dus­try as part of the “One Belt, One Road” ini­tia­tive. The com­pany’s stated mis­sion is to bring two giant forces to­gether by pro­vid­ing a busi­ness and com­mu­ni­ca­tion con­duit for bring­ing China’s dig­i­tal me­dia in­dus­try to the rest of the world, while si­mul­ta­ne­ously bring­ing the world of dig­i­tal me­dia con­tent creators to China.

CGGE pro­vides orig­i­nal IP creators with a com­plete so­lu­tion that in­cludes: • Story de­vel­op­ment • Script de­vel­op­ment • Pre-pro­duc­tion • Chain of ti­tles and le­gal sup­port • Pro­duc­tion and out­sourc­ing part­ners • Orig­i­nal mu­sic and scor­ing • Pro­duc­tion con­trol • Post-pro­duc­tion

CGGE helps Chi­nese com­pa­nies se­cure in and TV se­ries projects. Con­tent is trans­lated into English and/or other lan­guages from its orig­i­nal Chi­nese lan­guage ver­sion. In ad­di­tion, CGGE can help for­eign com­pa­nies dis­trib­ute their IPs in China and other Asian mar­kets—CGGE will help for­eign stu­dios get the nec­es­sary Chi­nese gov­ern­ment ap­proval to dis­trib­ute their shows on var­i­ous the­atri­cal, broad­cast and dig­i­tal plat­forms -

CGGE is ac­tive in help­ing com­pa­nies and gov­ern­ments in stag­ing Global Dig­i­tal Me­dia - pany is pro­duc­ing a Dig­i­tal Me­dia In­dus­try Guangzhou, China this year. The Con­fer­ence • Tech­nol­ogy • Hard­ware • Con­tent cre­ation.

CGGE also pro­duces global dig­i­tal me­dia in mar­ket fo­cuses.The Chi­nese Di­rec­tory pro­vides prac­ti­cal guid­ance for those who want to en­ter the Chi­nese mar­ket for sci­ence and tech­nol­ogy and tal­ent in­tro­duc­tion, co-pro­duc­tion and out­sourced pro­duc­tion. It in­cludes links to China’s dig­i­tal me­dia com­pa­nies, joint pro­duc­tions, in­dus­try TV se­ries and tech­nol­ogy sales, train­ing ser­vices, as well as in­for­ma­tion re­gard­ing me­dia con­tent in line with Chi­nese gov­ern­ment pol­icy for part­ner­ships. The di­rec­tory aims to bring the con­tent of China’s creative and cultural in­dus­tries into the in­ter­na­tional arena, in­crease global co­op­er­a­tion and let the world know more about the con­tent and de­vel­op­ment of Chi­nese cultural mar­ket. (www. cgge.me­dia/di­rec­tory)

Film­maker J.J. Abrams ( Super 8) and his Bad Ro­bot Pro­duc­tions com­pany have re­lied on - vi­sor Jay Worth on acclaimed projects such as Lost, Fringe, 11.22.63, Per­son of In­ter­est and West­world. The lat­ter two shows have delved into the com­pli­cated and of­ten fright­en­ing re­la­tion­ship be­tween hu­mans and tech­nol­ogy. “Jonah [Nolan] and Lisa Joy are no­to­ri­ous for cre­at­ing new things every time,” Worth says of the co-creators of HBO’s West­world, which cen­ters on the an - ther of them rests on their laurels when it comes to de­sign and new ideas.”

Whereas the Emmy-winning de­but sea­son was about es­tab­lish­ing char­ac­ters and in in­ner work­ings of the an­droid “hosts,” the World and The Raj as Dolores Aber­nathy (Evan Rachel Wood) mounts her vi­o­lent re­volt of re­venge against hu­man­ity.

count for vis­ual ef­fects shots and this year we’re - bled a larger team on the pro­duc­tion side to ac­com­mo­date for the quicker turn­around and higher vol­ume. “We did some world build­ing in sea­son one but had a lot more uni­for­mity be­cause it was shot in Utah. There were scenes in the Mesa with the ar­rivals ter­mi­nal but those - ing out what this world looks like a bit more. Jonah and I have started to utilize vis­ual ef­fects with the tiger and robotic bull.”

- duced for a Super Bowl ad pro­mot­ing the se­cond sea­son. “They were go­ing to have a real bull but about a week be­fore the spot was to be aired Jonah comes around and says, ‘ Why don’t we make it a robotic bull?’ I was like, ‘Dude, we’ve got a week! How are we go­ing to de­sign, im­ple­ment and do all of that for this huge Super Bowl spot?’ - ment around the world, go­ing from Lon­don to that en­tire se­quence off adding the gor­geous in­nards of this robotic bull in un­der a week — which is shock­ing and not a good prece­dent to set!”

A dig­i­tal tiger was cre­ated by Rhythm & Hues, which won an Os­car for cre­at­ing the same an­i­mal in Life of Pi. “We wanted the tiger to look dif­fer­ent than some of the other ones we’ve

Fans of Ant-Man’s amaz­ing minia­ture world are in for many more elab­o­rate vis­ual ef­fects in the fan­tas­tic se­quel An­tMan and The Wasp, which is play­ing in the­aters this month. This time around, the Quan­tum Realm and The Wasp take the lion’s share of the creative team’s work.

“Hope van Dyne has com­pletely trans­formed into The Wasp,” notes Marvel Stu­dios Cloud At­las), ( Ant-Man) on the se­quel. “It was clear talk­ing to Pey­ton, ev­ery­body at Marvel Stu­dios and Evan­ge­line Lilly that there were strong ideas as to how they wanted her to be. Scott Lang [Paul Rudd] was thrown into the Ant-Man cos­tume al­most by mis­take, while Hope has been train­ing since she was a young girl, so she’s in con­trol and knows her stuff.”

Ceretti and his team did ma­jor de­vel­op­ment able to cre­ate an in­ter­est­ing an­i­ma­tion test Wasp has wings which Ant-Man doesn’t have, Wasp would al­ways have to go small in or­der -

in the Quan­tum Realm. “We looked at what was done in Doc­tor Strange, Ant-Man and Guardians of the Gal­axy “Olivier Pron at Method Stu­dios in Van­cou­ver did a lot of con­cept art along with the vis­ual de­vel­op­ment depart­ment at Marvel.”

deep into the Quan­tum Realm it’s all based on prob­a­bil­ity. Things are not in the same place lev­els of re­al­ity. We tried to make an en­vi­ron­ment that was ac­tive and dis­ori­ent­ing for some­one who goes deep down into the world

Every great su­per­hero story needs a re­mark­able vil­lain. The team’s an­tag­o­nist in this out­ing is Ghost (Han­nah John-Ka­men), a char­ac­ter who is con­tam­i­nated by quan­tum en­ergy in her youth. “She can go through walls, ob­jects and peo­ple as well as has mul­ti­ple re­al­i­ties of her­self which com­pete against each other.”

Mul­ti­ple ver­sions of Ghost were su­per­im­posed and an­i­mated at the same time.

“We would shoot Han­nah do­ing some­thing and on top of that would add other lay­ers of her do­ing other ac­tions. All of them were cho-

I and smoke for a long time, and doesn’t ap­pear to be - mance and in­ter­ac­tiv­ity that al­lows us to get where we want to be faster, with higher qual­ity.

mostly to work with the new GPU view­port as well as than bounc­ing around be­tween in­ter­faces.

So, the GPU View­port Dis­play: It’s in­cred­i­bly help­ful — dare I say, vi­tal — to be able to see what is hap­pen­ing with your sim­u­la­tion. I mean, how do you know if some­thing isn’t work view­port that kind of gave you a hint of what the sim­u­la­tion - that you make to the shad­ing pa­ram­e­ters. Also, de­pend­ing on - els within the view­port.

Re­tim­ing — al­ways a huge thing in sim­u­la­tions — was al­ready pretty im­pres­sive, utiliz­ing wave­let and ve­loc­i­ties to be able to re­time a sim­u­la­tion with­out de­stroy­ing the in­tegrity. And the un­der-the-hood sim­u­la­tions have a new ad­vec­tion type that min­i­mized nu­mer­i­cal losses, Vor­tic­ity II op­ti­miza­tions mean faster cal­cu­la­tions with a lower mem­ory foot­print, and sim­u­la­tions can scale in den­sity but re­tain sim­i­lar re­sults.

tem­per­a­ture, and a Light Me­ter util­ity. That’s right, you may have to look up how to use a light me­ter — or even worse, what a light me­ter is.

A new de­noiser has been in­cor­po­rated in the same line as smarter adap­tive lights. This is the the re­sult of thou­sands of images ren­dered through Iray. And through deep learn­ing, is has be­gun to un Pretty cool, yes? But not as cool as con­tin­u­ing to learn about your im­age as you go through your pro­gres­sive ren­ders to ad­just light­ing and shaders. Your test ren - age should be de­noised.

The down­side may be that you do need an NVIDIA card to take ad­van­tage of the de­noiser. But be­fore we leave denois­ing, it’s worth it to men­tion that ren­der el­e­ments can be de­noised so that your comps with

- dreds of VRs­cans from Chaos Group. There is a new phys­i­cal hair ma­te­rial that re­ally gets into the phys­i­ol­ogy of hair — like melanin con­tent and an eu­me­lanin to pheome­lanin ra­tio. (Yeah, I had to break out Google, prob­a­bly not a big deal, is that V-Ray ma­te­rial now has shaders com­ing from Sub­stance Painter and De­signer.

So much good­ness! If I could have ren­dered this re­view in V-Ray, I would have!

Don’t be a Pinoc­chio! with­out any pay!

Per­haps the most com­mon and sopho­moric at­tempt at ne­go­ti­at­ing a lower rate, bot­tom-feed­ers love to ag­gran­dize them­selves and their hokey projects, as if any­one who bears wit­ness to them will tram­ple over the

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