Extraordinary: Stan Lee Hosted by Chris Hardwick

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Extraordinary: Stan Lee

Hosted by Chris Hardwick

on August 22nd at the Saban Theatre in Beverly Hills

As Part of this Live Tribute Event, Legendary Creator Stan Lee Will Be Joined by a Variety of Stars,

including Tom Bergeron, Lou Ferrigno, Todd McFarlane, Michael Rooker, Andy Signore, and more  

WHAT: Extraordinary: Stan Lee is a highly-anticipated, star-studded live event paying homage to the world’s most iconic comic creator.  The tribute, which is produced by In-Theater Live and Agents of Mayhem in partnership with Stan Lee Collectibles, will bring together heavyweights of the comic book world along with a number of leading TV/film talent.
WHO: Stan Lee

Chris Hardwick (Host)

Presenters/Guests/Celebrity Attendees includeTom Bergeron (Dancing with the Stars), Lou Ferrigno (The Incredible Hulk),Todd McFarlane (Spider-ManSpawn), Michael Rooker (Marvel’s Guardians of the GalaxyThe Walking Dead), Andy Signore (ScreenJunkies and Honest Trailers), plus more to be announced.

WHEN: The event begins at 6:00 pm. There will be a red carpet/arrivals line beforehand and those details are forthcoming.
WHERE: Saban Theatre

8440 Wilshire Blvd, Beverly Hills, CA 90211

TICKETS: Tickets for Extraordinary: Stan Lee live at the Saban Theatre are currently on sale through Ticketmaster ranging from $95.00 for general seats to $350.00 for VIP seats and a meet-and-greet.

Fans can visit Omaze.com for the chance to be flown out to Los Angeles, receive a complimentary hotel stay and enjoy two front-row seats at the tribute. The VIP experience includes a private meet-and-greet with Stan, and tickets to attend the exclusive VIP after party. Proceeds raised from the campaign will support Make-A-Wish® to grant life-changing wishes for children with critical illnesses.

The ceremony will also be streamed live in movie theaters nationwide, allowing real-time access for fans outside of Los Angeles to share in the extraordinary experience. Full list and ticket info to be announced. ‘Nuff said! 

About Stan Lee: Known to millions as the man whose superheroes propelled Marvel to its preeminent position in the comic book industry, Stan’s co-creations include Spider-Man™, The Incredible Hulk™, X-Men™, The Fantastic Four™, Iron Man™ and hundreds of others. He introduced Spider-Man™ as a newspaper strip, which became the most successful of all syndicated adventure strips having appeared in more than 500 newspapers worldwide. Stan currently remains Chairman Emeritus of Marvel, as well as a member of the Editorial Board of Marvel Comics.

About Omaze: Omaze is an online fundraising platform that makes giving fun and easy by offering once-in-a-lifetime experiences and exclusive merchandise in support of critical causes. Our campaigns connect influencers, nonprofits and donors to create lasting impact, and have raised funds and awareness for more than 200 charities with donations from over 175 countries.

About Make-A-Wish: Make-A-Wish grants the wishes of children with life-threatening medical conditions to enrich the human experience with hope, strength and joy. According to a 2011 U.S. study of wish impact, most health professionals surveyed believe a wish-come-true has positive impacts on the health of children. Kids say wishes give them renewed strength to fight their illness, and their parents say these experiences help strengthen the entire family. Headquartered in Phoenix, Make-A-Wish is one of the world’s leading children’s charities, serving children in every community in the United States and its territories. With the help of generous donors and more than 33,000 volunteers, Make-A-Wish grants a wish somewhere in the country every 34 minutes. It has granted more than 285,000 wishes since its inception in 1980; more than 15,300 in 2016 alone. Visit Make-A-Wish at www.wish.org to learn more.

 

PRESS CONTACT:

 

Megan Levy & David Gardner, The Lippin Group: megan@lippingroup.comdgardner@lippingroup.com

 

Luma Creates Dynamic CG Vulture for Spider-Man: Homecoming

Luma Creates Dynamic CG Vulture for Spider-Man: Homecoming

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Award-winning creative studio Luma teamed up with Director Jon Watts and VFX Supervisor Janek Sirrs to deliver stunning visual effects work for eleven sequences in Spider-Man: Homecoming, which is being praised as the best Spider-Man movie to date.

Marvel’s fun new take on the friendliest superhero around features a standout villain that audiences can truly empathise with: the Vulture is a regular, street-level guy who turns to illegal activities to take care of his family. Luma worked on key sequences featuring the cunning Vulture, many of which required creating and animating an impressive and weighty CG Vulture wing-suit that goes toe-to-toe with a speedy Spider-Man.

PERFECTING THE VULTURE LANDING
In the beginning of the film, Adrian Toomes builds his alien technology empire after being fired from his previous blue-collar job. Eight years later, his guns are bigger and badder, he’s naturally grown greedier and his mechanical wing-suit is the size of a small airplane. He makes his first grand entrance into the lab as the ceiling door opens up, he spreads his wings and swoops onto his platform in a hard landing and smugly boasts that “business is good!”

It was up to the Luma crew to create this epic landing scene, which required a full CG Vulture and landing platform with articulated arms. Luma used Vulture’s geometry from two other vendors on the show and incorporated that into their pipeline. “We were aiming to tie the suit and the warehouse into the same world to make it feel industrial and real, but also not as refined of a suit as Iron Man’s. The mood and contrasting raw metals of the wings helped bring Vulture’s suit into the same world as the set”, says CG Supervisor Andrew Zink.

Animators then brought the domineering Vulture to life, which proved to be a complicated thing: he is a dynamic tank that hovers over the ground, his two turbines are controlled by exoskeleton arms which act as the sole propulsors, so the amount of RPMs and the angles in which they lean creates a push and pull effect. Animators also had to consider his unique wing shape, flight trajectory and predatory poses to perfect his flight and fast landing.

THE ICONIC VULTURE GRAB
A rookie Spider-Man discovers Vulture’s henchmen selling alien technology to a wanting criminal and chases after their van as he runs through backyards, unapologetically destroying everything in his path (the scene is a parody of the famous Ferris Bueller’s Day Off “The Race Home”). Vulture saves his henchmen as he violently swoops in and grabs Spider-Man in the same way a real vulture would grab its prey. He rapidly ascends into the sky travelling at a whopping 208 mph before dropping him into a lake.

To create this completely virtual sequence, “animators began blocking with simplistic Google Maps photography and drone photography to work out the aesthetics of what the surroundings would look like”, recalled VFX Supervisor Kevin Souls. For Vulture’s character, animators tackled the challenge of animating the hefty wing-suit that, while also making sure it was dynamic enough to fight with a swift and speedy Spider-Man. “We like to ground our characters in real world physics, so our animators use a variety of Luma created tools to track speed, gravity and archs—it’s easier to bend the rules once you understand them,” explains Animation Supervisor Raphael A. Pimentel.

DAMAGE CONTROL
Luma worked on the first fight battle between Vulture and Spider-Man, where Spider-Man interrupts Vulture from stealing supplies from the Damage Control truck. Initially tasked with enhancing the sequence, Luma realized early on that it would be easier to recreate the sequence in full CG in order to add camera moves and to work with the portal (the alien technology that allows Vulture to travel through the roof of the truck). Since this was a close-up and constrained fight, animators had to ensure that Spider-Man looked weighty and in control, while also ensuring that the Vulture build was dynamic enough to fight with him.

Luma didn’t just create a stunning villain for Spider-Man: Homecoming, the studio’s varied scope of work in this action-packed blockbuster also included creating and animating a full CG Spider-Man for various sequences, the disintegration effect on Bryce’s character, the ATM sequence, and the Crime Fighting sequence where a rookie Spider-Man head outs into the city attempting to stop petty crime.

“This is definitely the proudest I’ve been of the crew that I work with. The passion and hard work they put into this film really shows the kind of talented people we have at Luma and how much care about the artistry of their work they have”, says VFX Supervisor Brendan Seals.

Luma is currently working on Marvel’s Black PantherThor: Ragnarok and Disney’s A Wrinkle in Time.

CREDITS:

Director:  Jon Watts
Creative VFX Studio:  Luma Pictures
VFX Supervisor:  Janek Sirrs
VFX Supervisor:  Brendan Seals
VFX Supervisor:  Kevin Souls
CG Supervisor:  Andrew Zink
CG Supervisor: Alexandre Cancado
Animation Supervisor:  Raphael A. Pimentel

Freezing a Muay Thai battle in time: Saddington Baynes premieres unique ‘Statue’ full-body 3D simulations

Freezing a Muay Thai battle in time: Saddington Baynes premieres unique ‘Statue’ full-body 3D simulations

You can view the entire piece here.

LONDON, UK – 12th May 2017 – With the release of its Statue project, London-based creative studio Saddington Baynes has created a frozen moment of a Muay Thai battle, utilising full-body 3D photo scans created in partnership with body-scanning experts FBFX.

Saddington Baynes is well-known for pushing the boundaries of technical innovation in the creative industry, establishing its R&D arm SBLabs to showcase this in-house ability. For Statue, SBLabs used advanced procedural displacement techniques, complex shaders and dynamic particle simulations to deliver a fierce fighting showcase. The results are already sweeping up accolades across the creative community, including a Platinum in the Creativity International Media & Interactive Design Awards.

James Digby-Jones, Executive Creative Director at Saddington Baynes, comments: “We wanted to create a project to showcase our expertise working with complex simulations and highly detailed 3D talent, while also demonstrating our imaginative storycraft and VFX capabilities. The Statue project quickly picked up a Platinum award and we’ve entered it into others. It’s a great piece that shows off a variety of high level skills, applicable to multiple market sectors.”

Scanning and capture

To achieve unparalleled detail required meticulous planning. SBLabs blocked out early concepts in Cinema 4D to explore strong poses and the choreography and to direct the camera path.

SBLabs then approached SFX costume and 3D scanning specialists FBFX, who captured key moments of the Muay Thai battle in live action, as one at a time the combatants jumped and punched and kicked, all the while being captured as high resolution point clouds and image maps from multiple cameras. Besides being martial arts enthusiasts, both models were actually part of the Saddington Baynes team – a Production Assistant and a CG artist!

Andrew White, Creative Director at Saddington Baynes, comments: “FBFX helped us build separate scan captures in ZBrush with seamless results. They were a huge asset, delivering exactly what we needed in line with our vision”

Particle simulation

Alongside these scanned models, Statue also features complex Houdini simulations. The models land blows on each other, cracking open igneous husks to reveal the searing heat below. SBLabs ran a series of customised fragmentation and tessellation processes on the geometry with look development performed in Mantra.

Andrew White, Creative Director at Saddington Baynes, comments: “We found that by outputting some custom aov passes we could create a hot metal look inside Nuke. By using holdout mattes and base beauty elements, this gave us a great way to time and control the intensity of the heat effect.”

Based out of London, Saddington Baynes has a long history of technical innovation. Besides being the original pioneers of digital retouching in 1991, Saddington Baynes were also one of the first production studios to harness the potential of CGI in-house. More recently, the team developed an Engagement Insights® service – the world-first use of neuroscience techniques to measure emotional impact of imagery. Recent commissions include Honda’s pan-European ‘Real View Test Drive’ campaign.

About Saddington Baynes

Saddington Baynes is a leading creative production agency that has produced premium imagery for advertising agencies and brand clients for 25 years.

Saddington Baynes’ mission is to create sensational imagery that inspires brand devotion, with a focus on emotional reactions and engagement. To achieve this, Saddington Baynes developed its Engagement Insights® service – an entirely new way to measure the emotional impact of imagery, using neuroscience techniques.

http://www.saddingtonbaynes.com/work/favourites/statue

ROYAL TELEVISION SOCIETY OPENS ENTRIES FOR CRAFT & DESIGN AWARDS 2017

PRESS RELEASE

ROYAL TELEVISION SOCIETY OPENS ENTRIES FOR

CRAFT & DESIGN AWARDS 2017

 

London, 05 June 2017 – The Royal Television Society (RTS), Britain’s leading forum for television and related media, has launched the RTS Craft & Design Awards 2017. The Awards celebrate excellence in broadcast television and aim to recognise the huge variety of skills and processes involved in programme production.

 

Awards are presented in 11 categories including: Design, Make Up Design, Costume Design, Production Design, Effects, Directors, Photography, Lighting and Multicamera, Sound, Editing and Music.In addition, there are three awards given at the discretion of the Judges: Design & Craft Innovation, Judges’ and Lifetime Achievement Awards. Entries are not accepted for these categories but the RTS welcomes suggestions.

 

This year will see Lee Connolly, Creative Director at ITV Studios, take over as Chair of the awards from former Chair, Cheryl Taylor. He says, “The RTS Craft & Design Awards are an excellent way of recognising the extraordinary breadth of talent and depth of expertise we have throughout the creative content industry and I am delighted to be the new Chair.”

 

All entries must be submitted using the RTS Online Awards Entry System https://awardsentry.rts.org.uk/entrant/index.php by Friday, 1 September 2017. All entries must have been first transmitted between 1 September 2016 and 31 August 2017 and may be submitted by companies or individuals. The Awards will be presented on Monday 27 November 2017 at the London Hilton on Park Lane. For more information visit: https://www.rts.org.uk/awards/craft-design-awards.

 

THE AWARD CATEGORIES:

Design – recognises achievement in three categories: trails and packaging, programme content sequences and titles.
Make Up Design – recognises achievement in all areas of makeup, including hair styling and wigs, in two categories: drama and entertainment and non-drama productions.
Costume Design – recognises achievement in two categories: drama and entertainment and non–drama productions.
Production Design – recognises achievement in two categories: drama and entertainment and non–drama productions.
Effects – recognises achievement from any area of programme making in three categories: digital effects, special effects and picture enhancement.
Director – recognises achievement in three categories: comedy drama/situation comedy, drama and documentary/factual and non-drama productions.
Photography – recognises achievement in location based single camera work in two categories: drama and comedy, and documentary/factual and non-drama productions.
Lighting and Multicamera – recognises achievement in three categories: lighting for multicamera, multicamera work and multicamera work – sport. The Multicamera awards are designed to recognise those who work in studio based or OB multicamera programming across all genres.
Sound – recognises achievement in two categories: drama and entertainment and non-drama productions. These Awards recognise the whole sound team and both recording supervisor and mixing supervisor should be named on the entry form.
Editing – recognises achievement in four categories: drama, documentary/factual, entertainment and comedy and sport.
Music – recognises achievement in two categories: original title music and original score. The titles or score must be specially commissioned for a specific programme.

Kids Entertainment Professionals For Young Refugees Fundraiser

Animators and actors, writers and composers, game designers and YA authors, producers, board artists, agents, studio and network executives – the entire international children’s entertainment community is coming together June 18-24 in an unprecedented grassroots fundraiser via Crowdrise. Help spread the word! PLEASE SHARE THIS VIDEO with friends and colleagues and SIGN UP FOR THE FUNDRAISER NOW at: https://www.facebook.com/events/114556855770817/
More information at our home page: https://www.facebook.com/kepyr/
Thank you – and Keep the Love Coming!

June Flix: Animation Nights New York program for Wed, June 14th, 2017

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Contact: Yvonne Grzenkowicz – info@animationnights.com, (347) 788-0243

FOR IMMEDIATE RELEASE

June Flix: Animation Nights New York program for Wed, June 14th, 2017

Animation Nights New York (ANNY) is a monthly animation event held in the South Street Seaport District of New York City. Our program consists of select animated short films and virtual reality animation experiences from all around the world.

Approx. run time is 80 minutes. Admission to this event is free. Refreshments are available for purchase at the venue.

Animated Short Film Program:

  • The Cold Heart. Hannes Rall. Germany, 2013. 29:00.
  • Nightlights. Katarzyna Pieróg. Poland, 2016. 2:20.
  • The Right Way. Emilio Yebra. Spain, 2015. 4:10.
  • Two Wishes. Nadav Tal. Israel, 2016. 1:00.
  • Waking Sleeping Bat. Oleksandr (Sashko) Danylenko. United States, 2015. 0:24.
  • The One Who Tamed Clouds. Nicolas Bianco-Levrin. France, 2015. 4:30.
  • You Are Not the Strongest. Emilio Yebra. Spain, 2016. 1:00.
  • The Shawy’s Fruiks Circus. Shawy. France, 2014. 0:15.
  • The Cuckoo. Mikhail Gorobchuk. Russian Federation, 2013. 12:15.
  • STADIUM N3. Renata Motyka. Poland, 2016. 2:45.
  • Dang it to Heck!. Rob Hunter, Chris Edser. Australia, 2016. 4:00.
  • LEMONS. Bonnie Mier. Netherlands, 2016. 1:57.
  • PNxKNF. Keith Kavanagh. Ireland, 2016. 2:52.
  • The Indigestion. Mathilde Remy. Belgium, 2016. 6:12.
  • The Beard. Sofya Badalova. Russian Federation, 2015. 7:03.

Virtual Reality (VR) Animation Experiences:

  • DO NOT Push the Red Button!. Peter Spence. Norway, 2016.
  • Virtual ANNY Demo. Animation Nights New York, High Fidelity, Artella. United States, 2017.

Event Details: Wed, June 14th 2017, 8pm — 180 Maiden Lane, New York, NY 10038

 

Getting to ANNY: Take the 4, 5, 6, A, C, 2, 3, J, or Z train to Fulton Street. Street parking is available.

 

RSVP: Eventbrite, Facebook, and Meetup