#Digikore Studios

[the-gershomite]

Betty & Veronica #263 -January 2013

"Taking a Tumble"

script by George Gladir

pencil art by Pat Kennedy

inked by Ken Selig

letters by Jon D'Agostino & Jack Morelli

colors by Digikore Studios

[graphicpolicy]

Uber Volume 1 will simultaneously intrigue and horrify readers

Uber Volume 1 will simultaneously intrigue and horrify readers #comics #comicbooks

In advance of Kieron Gillen and Caspar Wjingaard’s upcoming comic The Power Fantasy, we’re revisiting some of Gillen’s previous creator-owned work. Uber has been on my “to-read” list for the better part of a decade. It’s an alternate history/superhero comic from Kieron Gillen, Canaan White, Keith Williams, and Digikore Studios set in World War II where the Germans are on the edge of surrender…

[istherewifiinhell]

grand finale baby okay. (what do u mean their are 80-300 more of these...)

[ID: Optimus looking up to a hole in the ceiling, a beam of light filtering through, rubble around him. He says "That was Megatron's way of letting us know he has come!" END]

badum tssk 🥁🔔

its marvel tf no 4! or 7-8 in uk reckoning, winter of 84, the cartoon is now on air!

okay lets hear it- Writer: Jim Salicrup, Pencils: Frank Springer, Inks: Ian Akin & Brain Garvey, Letters: John Workman Colour: Nelson Yomtov, Editor: Bob Buduansky, EiC: Jim Shooter Digital Re-master by Digikore Studios Limited. Collection Edits by Justin Eisinger and Alonzo Simon. Editorial notes and assistance by Mark. W. Bellomo

it wouldnt be some 80s comics without some pain so lets get hurting

[ID: Caption box: Meanwhile, at a ballet class attended by Buster's girlfriend Jesse… A gratuitous panel of four presumably teen girls in sleeveless leotards looking out the window. Jesse asks "What is it?" One answers "Looks like the Rolands are leaving town! They've packed everything --including the kitchen sink!" Close of three looking out the window, mild expressions of shock on their ingenue faces. The speaker continues "I really can't believe anyone would take this robot business seriously!" Jesse cries a single tear thinking "There's no escape from this Madness!" In the dance locker rooms, Jesse stands in elegant contrapposto of distress thinking "I thought coming here would take my mind off Buster--fora little while, at least. But knowing that he's risking his life to save his father is eating me up inside! Guess I was only fooling myself! I can't stop wondering if I'll ever see Buster again!" Caption Box: While back at the ark… Buster kneels over his father, fingers to his pulse. Optimus, looming in the fore asks "Is your father still functioning?" Buster pleads up at him "My father's not a machine! He's flesh and blood! And if we don't get him to a hospital fast--he'll die!" Ratchet in the back says "Perhaps I can help!" END]

sorry thats as long and as hateful as i ever intend to be here. boy i hate comics tho...

this episode of transformers is brought to you by: jarring cuts!

[ID: A military jeep driving, a human voice inside it says "I'd give anything to get a little sleep, but if you and this truck aren't delivered to the 4067th M.A.S.H unit in time, my goose'll be cooked! This is all your fault, old friend! If you weren't such a hotshot mechanic they wouldn't need you to repair their ambulances.' END]

[anime girl image] MASH REFERENCE 🎊🎉🥳 (yes sparkplug will be having war flashbacks the whole comic. technically. theres a point to it)

[ID: Two EMT's get into the front seats of Ratchet in alt mode. Passenger: This is the only ambulance available, and we need it. Ratchet: What? Driver: Did you hear that squeak? Passenger: We'll get it fixed after we bring back that heart attack victim! As they drive off Ratchet thinks: These men seem to mean well! I'll just keep quiet and help them! After all, it's the least I can do as a doctor-- even if an earthling is my patient--and it's better than waiting! END]

oh by the way ratchet is just parked outside the hospital cause he drove sparky there. what a nice fella. also im not showing any of it but actually the AUTOBOTS are the ones that hurt him... like. accidentally but they werent being.. VERY NICE either. bad vibes all around.

[ID: Various dinosaurs in a cretaceous vista. A character narrates. "In a volcano-ringed valley, inhabited by weird, alien creatures, some even larger than ourselves. The drone found its answer…" A single transformer walks fully over one of the dinosaurs in the clearing. The speaker continues "The cybertronic life form was none other than the Decepticon known as Shockwave!" Editors note: "Long-time marvel readers will recognize this place as the savage land, prehistoric domain of the present-day Ka-zar!" END]

(sees 5 specific kinds of dinosaurs) OH BOY OH BOY. shut the fuck up marvel editor. THATS DINOBOT ISLAND where my friends the DINOBOTS live. jeez... also shockwave bigfooting it up, as tfs are wont to do.

anyway get ready for the meg.op comedy hour

[ID: Ironhide shouting: What are we waiting for? Let's get him! Optimus: No! That's exactly what he wants!-- so he can pick us off easily! Let him come to us! END]

[ID: Caption box: One after another, the Decepticons enter Mount St. Hilary, pushing the attack… Megatron stands in the left fore, his troops in the mid, and Optimus high on distant hill on the right. He calls out: I'm coming for you, Optimus. Our war is nearly ended! He thinks: Too many of my men stand between me and Optimus! My fusion cannon would destroy them as well! Bah! A small price to pay to rid myself of my constant foe forever! END]

normal thinks to say and think megs. wow

[ID: Optimus large in fore, looking same direction the camera is focused. He and the other Autobots shaded in dark purple and black. The Decepticons, in full colour, seekers flying above, and the rest charging down the middle, all firing weapons. Megatron yells "Prepare to be DESTROYED!!!" END]

HEY. THATS NOT HALF BAD. a panel with dynamic composition and values that direct the eye??? I CANT BELIEVE IT. also i just noticed. lets all thank soundwave's head being obscured in this panel. THEY LEFT IN A PURPLEWAVE!!!! he endures... seek him out where the remaster dare not go.

[ID: Megatron firing his fusion canon, shouting "You're mine, Optimus!" Optimus yells in pain, his arm melting, and his gun dropping to the ground. END]

as im always saying...

anyway yeah the autobots win in the end cause sparkplug sabotaged the fuel he made for them, JUST LIKE HE DID WHEN HE WAS A POW IN THE KOREAN WAR... jesus. comic of people who like. have heard how drama is supposed to work, without perhaps. really getting why it works. at least it looked nice...

fucking hell. anyway and then shockwave shows up and tramples the autobots. THE END

[ID: Printed comic. Caption Box: --Into Shockwave! Shockwave stands in full view, light emanating behind him, rubble, and injured Autobot's at his feet. He speaks "After four million earth years I have accomplished my mission-- The Autobots are no more!" END]

(dont he look great in printed purples. mwah)

[ericaportfolio]

Disney's The Gremlins Over the Years

Chapter 1: Gremlins (Part 2)

This is Part 2 to Chapter 1. If you want to read Part 1 first, it's in the link below.

Due to the recent events with Epic Mickey Rebrushed, I thought of making a series of posts dedicated to Disney's infamous characters from the canceled WWII movie The Gremlins. The character designs of these guys have changed many times during the concept art process and over the years. Today, this is a collection of male Gremlin designs. The female Gremlins were called the Fifinellas, which I will get to them in the next post. For those discovering this, in summary, Disney was making WWII movies and shorts for the war effort. They were going to adapt Roald Dahl's first book about these guys, and several things like people getting tired of war movies and figuring out how to make the movie, which was canceled. I'm making these posts for fun and to help give artists ideas for their OCs and fanart. I would post some sample pictures and a minor breakdown in each post. I might miss some because there is so much, so this is just a handful of pictures and photos I collected over the years. We really need to make a Disney Gremlin's Wiki.

Anyways, let's jump into THE FUTURE!

Canceled Live Action/Animated Project (1992): Jumping forward into the future, Jerry Rees, director of The Brave Little Toaster, and Steve Leiva were trying to make a feature based on the original story with live action with animated gremlins like Who Framed Roger Rabbit. The illustrators for the project were Steve Moore and Frans Vischer. Again, GLAD they didn't we didn't get this style of the characters since they're far from the original designs. Here are two samples by Steve Moore.

Return of the Gremlins (2008): When Disney made those terrible DVD sequels, Dark Horse and Disney made a deal to reprint the original book, make merchandise, and release a three-part comic sequel in 2008. The first cartoonist was Dean Yeagle, but he could not finish, so DreamWorks artist Fabio Laguna came in to do the final issue. In this story, Old Pilot Gus's grandson, Young Gus, goes to Old Gus's home in Brittan to handle the property sale. But SURPRISE! It's inhabited by the Gremlins that Old Gus befriended during WWII. Chaos ensues...

Epic Mickey (2010): Now, the moment you've all been waiting for, the game that introduced most of us to Disney’s Gremlins. Here are the variants we remember split into two groups: 3D Gameplay and 2D Cutscenes. Going forward, some of these pictures are from the Epic Mickey Wiki.

3D Gameplay

2D Cutscenes

Epic Mickey Comic (2010): In the 64 page-long graphic novel, the only Gremlin character who appeared in the comic was Gremlin Gus.

Epic Mickey (2012): In the sequel, we get more variants of the Gremlins and a Gremlin Prescott redesign.

3D Gameplay

2D Cutscenes

Epic Mickey Comic (2012): Gremlin Gus was joined by Gremlin Prescott and Gremlin Jamface.

Donald Duck #18 Comic (2015 IDW): This is the crossover we have wanted since the Comic Cover. In a translated European Swedish comic of 'Rue Brittania!', Donald and Fethry get a new assignment: travel back in time to WWII and face the Gremlins to de-gremlin the airfield. Artists: Pencils and Ink by Flemming Andersen and Colors by Digikore Studios.

There's a lot more I could add, but we would be here all day. If this post gets popular enough, I will do more on the side before the game comes out. If there are changes to the Gremlins in the Reboot, I'll make a Part 3. Hope this post is a helpful source for old and new Gremlin and Epic Mickey fans alike!

[onedegreeofsoniccomics]

Walt Disney's Comics and Stories #721: "The Search for the Zodiac Stone: Chapter 1 of 12: The Secret Society"

Cover Credits

Pencils/Inks: Jonathan H. Gray

Colors: Amy Mebberson

Story Credits

Writer: Bruno Sarda

Pencils/Inks: Massimo De Vita

Colors: Nea Aktina A.E. & Digikore Studios

Translation/Localization: Jonathan H. Gray

Color Restoration/Letters: Tom B. Long

[temkinlifuturist]

Wunderwaffen

Çizgiroman okumayı ve çizgiroman dükkanlarını gezmeyi çok severim. Yine bu gezmelerden birisinde raflarda WUNDERWAFFEN adlı dergi boyu bir çizgiromana rastladım. Alfa Yayınları tarafından Türkçeye çevrilmiş ve basılmıştı. Eski nesil uçakları sevdiğim için sayfalarındaki görseller ilgimi çekmişti. Çizgiromanın çizilme tarihi 2011. Bu nedenle dehşet bir taraviri kolleksiyonuna sahip dostumdan yardım istedim ve elindeki taraviri malzemeyi edindim. Kolleksiyonun biraz eksikleri olmasına rağmen seri hakkında fikir edinmemi sağlamıştı.

Serinin yazarı Richard D. Nolane. 1955 doğumlu Fransız yazar-çizer.

Dergi Fransız Soleil Yayıncılığın çalışması. Bu ekip “ikinci dünya savaşı bu şekilde bitmeseydi bugün neler yaşardık” senaryosunun pek çok versiyonuna çalışmış. Ekipte ana çizim MAZA’ya ait. Ancak ilginç bir şekilde Sırp kökenli çizerlerin desteği yoğun. Jovan Ukropina, Zeljko Vladetic, Desimir Miljic, Desko, Marko Nikolic.

Digikore Studios çizimleri renklendirmiş. Bu stüdyo grafik renklendirme, VFX üzerine grafik animasyon stüdyosu. Çizgi roman, bilgisayar oyunları ve film görsel efektleri üzerine çalışıyor. VFX üzerine çalışan ekibin hemen hepsi Hintli. Jumanji, Stranger Things, Transformars, Titanic 3D, Vortex, Expandables, Ninja Turtles, Need for Speed, Hayalet Sürücü, Deadpool gibi pek çok sinema filminde çalışmış. Holivut’un vazgeçilmez firmalarından. ( https://digikorevfx.com/ )

Wunderwaffen’de Ana çizer olarak MAZA adı geçiyor ve bazı çizgiroman sitelerinde 1924 doğumlu Kübalı sanatçı Heriberto Maza olduğu yazılıyor. Soleil Yayıncılığın sayfasında MAZA nın kim olduğu konusu muallakta bırakılmış. Azıcık karıştırınca bu çizerin 1965 Bosna-Hersek doğumlu MAZA olduğu ortaya çıkıyor. Yine de asıl adını bulamadım.

https://mazastrip.blogspot.com/

Wunderwaffen birkaç alt seri ile birlikte yayınlanmış.

Wunderwaffen 25  sayılık, 21. Sayı Mayıs 2023’te yayınlanmış – İlk sayısı 2012 de yayınlanmış.

Wunderwaffen -Mission Secrets -3 sayı  (2019-2021-2022)

Wunderwaffen – Spaca Reich – 5 sayı – 2015 -2017-2018- 2019- 2022 ye aralıklı yayın

Wunderwaffen – Zeppelin’s War -  4 sayı -2014-2016 – 2018- 2021

Serinin yaratıcısı Nolane ve Maza’nın dünyasında  takvim 1946 yılında durmuş. Normandiya çıkarması başarısızlığa uğramış. Savaş havada sürüyor. Almanların güç uğruna savaş teknolojisinde başlattığı yarışa Amerikalılar, ucundan Fransızlar ve bozguncu olarak İngilizler katılıyor.

Maza’nın havacılık terminolojisi, uçaklar, uçuş tarihi, uçuş teknolojileri konusunda oldukça kapsamlı bir bilgisi var. Uçak modellerini çok iyi yansıtmış. Savaş sahneleri göz alıcı.    

Ağırlıklı olarak savaş sanayinde ortaya çıkan fantastik denemeleri, devamlılığı olmayan veya üstü örtülmüş çalışmaları göz önüne çıkartan bir öyküleme. Wunderwaffen tarihi değiştirebilecek konseptlere ve uçak tasarımlarını inceleyen, havacılık temalı bir dizi olarak tasarlanmış.

What if

Eğer böyle olmasaydı, zamanın akışı nasıl olurdu çeşitlemesinin Nazi Almanyası ve Hitler karakteri üzerindeki örneklerinden birisi. Nazi Almanyasının bütün karakterleri (Gobbels, Goering, Hesse vd) her macerada boy gösteriyor. Askeri olarak Alman ordusu, araçlar, rütbeler, olay kurgusu çok iyi çalışılmış. Sonra da gerçek zaman akışı Normandiya çıkartmasında kırılarak “eğer ollmasaydı ne olurdu” senaryosu yazılmış.

Bu seri ile ilgili pek çok eleştiri var. Nazi propagandası yaptıkları iddia ediliyor. Seriyi oluşturan ekibin ağırlıklı Sırp kökenli olması şüpheleri arttırıyor. Nazi Almanyasının görkemi, kudreti, gücü resimlerde yansıtılıyor.

Ancak komplo teorilerini kıran bir durum söz konusu. O da bütün görsel Nazi ihtişamına karşın, öykü senaryosu, anlatılanlar, kahramanların konuşmaları bu etkiyi köreltiyor ve başka tarafa akıtıyor. Ciddi bir sistem eleştirisi var, Hitler saplantılı bir ruh hastası olarak kimlikleniyor, Hitler, Himmler’in kuklası halinde, etrafındaki herkes güç sarhoşu ve kişisel çıkarlar peşinde. Diğer taraftan Amerikan, İngiliz ve Fransız başkanları ve diğer siyasetçilerin kirliliği, çıkarcılığı, sahtekarlığı, kumpasları epeyce ortaya dökülmüş. Churchill’in entrikaları, Amerikan Başkanı Lindberg’in Hitler özentisi güç yönetimi epeyce kurcalanmış. Bir tek De Goulle hakkında yandan çarklı yaklaşımlar var.  Malum dergi Fransız kökenli. O kadar da olsun.

Seride Nazi Almanyasının askeri teknolojide yaptığı gizli çalışmalar senaryonun taşıyıcı parçası olmuş.

Ben okuduğum kadarıyla ilginç buldum. Hatta bazı tarihi olaylar hakkında hatırlatmalar iyi oldu. 

Teknolojinin NİYE insanları yok ederken bu kadar ilerleyebildiğini yeniden fark ederek hafifçe ürperdim.

İyi ürpermeler.

[vpsets]

The Role of Virtual Production Visualization in Visual Effects

Virtual production (VP) visualization is the process of creating real-time, interactive virtual environments that filmmakers can use to visualize and manipulate scenes during production. It combines computer-generated imagery (CGI), real-time rendering, and motion capture to create immersive environments that directors, cinematographers, and other crew members can interact with as if they were on a physical set.

This technology allows for the integration of live-action footage with computer-generated elements in real-time, enabling filmmakers to see the final look of a scene while shooting. This real-time feedback loop is a game-changer, offering unprecedented creative control and efficiency.

At the forefront of this revolution is VP Sets, the world's first marketplace for virtual production assets by Digikore Studios, offering a comprehensive platform for filmmakers to access cutting-edge tools and resources. 

In this blog, we will explore the role of virtual production visualization in visual effects, its benefits, and its impact on the industry.

The Role of Virtual Production Visualization in Visual Effects

The world of visual effects (VFX) is ever-evolving, driven by the relentless pursuit of more realistic and captivating visual storytelling. One of the most groundbreaking advancements in recent years is virtual production visualization. This technology has revolutionized how films, television shows, and commercials are made, merging the physical and digital realms to create seamless, visually stunning experiences. 

The Evolution of Virtual Production

The roots of virtual production can be traced back to the early days of CGI and motion capture. However, it wasn't until the advent of powerful real-time rendering engines like Unreal Engine and advancements in motion capture technology that VP visualization became a viable tool for mainstream filmmaking.

One of the most notable early adopters of virtual production was James Cameron, who used it extensively in "Avatar." The film's groundbreaking use of motion capture and real-time rendering set a new standard for what could be achieved with VP. Since then, the technology has continued to evolve, becoming more accessible and versatile.

Key Components of Virtual Production Visualization

Several key components make virtual production visualization possible:

Real-Time Rendering Engines: Software like Unreal Engine and Unity are at the heart of virtual production. These engines can render complex scenes in real-time, allowing filmmakers to see the final look of a shot while it's being filmed.

Motion Capture: Motion capture technology captures the movements of actors and translates them into digital characters. This is crucial for creating realistic CGI characters and integrating them seamlessly with live-action footage.

LED Volumes: LED walls and volumes are large, high-resolution screens that display virtual environments in real-time. They provide dynamic lighting and reflections, enhancing the realism of the scene and allowing actors to perform in a more immersive setting.

Virtual Cameras: Virtual cameras allow filmmakers to "shoot" scenes within a virtual environment. These cameras can be manipulated just like physical cameras, offering the same creative control over framing, movement, and focus.

Benefits of Virtual Production Visualization

The adoption of virtual production visualization offers numerous benefits to the filmmaking process:

Creative Freedom: Directors and cinematographers have unprecedented control over the visual aspects of a scene. They can experiment with different angles, lighting conditions, and set designs without the limitations of physical sets.

Cost Efficiency: Building physical sets and travelling to remote locations can be expensive and time-consuming. Virtual production allows filmmakers to create and modify sets digitally, reducing costs and production time.

Enhanced Collaboration: Virtual production facilitates collaboration between different departments. Visual effects artists, set designers, and camera operators can work together in real-time, ensuring that everyone is on the same page and reducing the risk of miscommunication.

Real-Time Feedback: One of the most significant advantages of virtual production is the ability to see the final look of a scene during filming. This real-time feedback allows for quick adjustments and ensures that the creative vision is maintained throughout the production process.

Improved Actor Performance: Acting against green screens can be challenging for performers. LED volumes and virtual environments provide actors with a more immersive setting, leading to more natural and convincing performances.

The Future of Virtual Production Visualization

As technology continues to advance, the future of virtual production visualization looks incredibly promising. Several trends and developments are likely to shape the industry in the coming years:

Increased Accessibility: As the cost of real-time rendering engines and motion capture technology decreases, virtual production will become more accessible to independent filmmakers and smaller studios. This democratization of technology will lead to a broader range of creative projects.

Integration with AI: Artificial intelligence (AI) and machine learning will play a significant role in the future of virtual production. AI can assist with tasks such as motion capture cleanup, real-time character animation, and even scene composition, further streamlining the production process.

Advancements in Hardware: Continued advancements in hardware, such as more powerful GPUs and higher-resolution LED panels, will enhance the realism and capabilities of virtual production. This will enable filmmakers to create even more detailed and immersive virtual environments.

Cross-Industry Applications: Beyond film and television, virtual production visualization has applications in other industries such as video games, architecture, and virtual reality (VR). These industries will benefit from the same real-time feedback and creative control that virtual production offers to filmmakers.

Conclusion

Virtual production visualization is transforming the visual effects landscape, offering filmmakers unparalleled creative freedom, efficiency, and collaboration. As the technology continues to evolve, it will undoubtedly shape the future of visual storytelling, enabling creators to bring their most ambitious visions to life. 

VP Sets, as the world's first marketplace for virtual production assets, is at the forefront of this revolution, providing the tools and resources needed to harness the full potential of virtual production. Whether you're a seasoned filmmaker or an aspiring creator, the possibilities of virtual production visualization are limitless, promising a new era of cinematic innovation and excellence.

[digikorestudiosvfx]

Are you looking for the best VFX Studio in India? Digikore VFX is one of the leading Visual Effects studios that provides quality VFX for Films, TV Series, Web Series and Commercials.

[finowingspvtltd]

The Digikore Studios Limited IPO date is scheduled from September 25, 2023, to September 27, 2023. This SME IPO is a Book Built Issue and is expected to be listed on October 4, 2023.

The Digikore Studios Limited IPO price is set in the range of Rs.168 to Rs.171 per share, with a face value of Rs.10 per share. The total issue size for this upcoming SME IPO is Rs.30.48 Crores.

Out of the total issue size, the company has allocated 50% to institutional investors, 15% to non-institutional investors, and 35% to retail investors.

[shahananasrin-blog]

[ad_1] VFX studio Digikore Studios (Digikore) synonymous with Hollywood movies and shows like Stranger Things, Deadpool, Star Trek, Thor: Love and Thunder and Titanic will launch its initial public offering (IPO) on Monday, September 25. The issue closes on September 27, Wednesday.The price band for the IPO has been fixed at Rs 168-171 per equity share.The IPO comprises a total of 17,82,400 equity shares, including a fresh issue of 1,260,800 equity shares and an offer for sale (OFS) of 5,21,600 equity shares, the company said in its media release.The minimum bid lot for investors is set at 800 shares. Application for one lot will be part of retail allocation.Sarthi Capital Advisors Private is the book-running lead manager for this offering and Bigshare Services Private will act as the registrar to the offer.Digikore Studios has displayed robust financial performance in recent years. It reported an increase in revenue to Rs 35.56 crore in FY23 from Rs 24.88 crore in the previous fiscal year. The net profit for the same period surged to Rs 4.37 crore from Rs 46.54 lakh in FY22. For the quarter ending June 2023, the company recorded revenue of Rs 11.83 crore, accompanied by a net profit of Rs 2.80 crore, the media release said.The company has concluded a pre-IPO funding round, attracting investments from investors including Nikhil Vora, Vijay Khetan, Mrinal Singh, Pramod Kasat and othersDigikore is a Visual Effects Studio that offers a full suite of visual effects services managed by their seasoned production team.Earlier this moth, the shares of Basilic Fly Studio debuted at a robust premium of 179% on the NSE Emerge platform, in line with the bumper response to the IPO. On listing, the stock rallied further 5% and was locked in upper circuit at Rs 284. The company has priced the issue at Rs 97 at the upper end.The Chennai-based VFX studio's Rs 66 crore IPO saw a subscription of 286 times, led by strong demand across categories. The company received bids worth over Rs 14,000 crore for the issue.The IPO, which opened on September 1, comprised fresh equity of up to Rs 60.5 crore and an offer for sale (OFS) of 6 lakh shares.Also Read: Basilic Fly Studio rewards investors with a bumper 179% gain on listing (Disclaimer: Recommendations, suggestions, views and opinions given by the experts are their own. These do not represent the views of Economic Times) [ad_2]

[shadowwingtronix]

"Yesterday's" Comic> Scratch9 FCBD 2013

BW's "Yesterday's" Comic> Scratch9 FCBD 2013

As long as they don’t start singing about memories. Scratch9 Free Comic Book Day 2013 Hermes Press (2013) Originally published as Scratch9 #1; Ape Entertainment (September, 2010) “The Pet Project” part 1 WRITER/CREATOR: Rob W. Worley ARTIST: Jason T. Kruse COVER ARTIST: Armand Villavert, Jr INTERIOR COLORS: Digikore Studios COVER COLORIST: Joshua Buchanan LETTERER: Bill Tortolini LOGO DESIGN:…

[the-gershomite]

Betty & Veronica #263 -January 2013

"Cheering Sections" plus Cool Looks For Winter

script by George Gladir

pencil art by Pat Kennedy

inked by Ken Selig

letters by Jon D'Agostino & Jack Morelli

colors by Digikore Studios

[laocommunity]

From Blockbusters to Social Media Stars: Inside India's Explosive VFX and Animation Industry

From Blockbusters to Social Media Stars: Inside India's Explosive VFX and Animation Industry From Blockbusters to Social Media Stars: Inside India's Explosive VFX and Animation Industry The visual effects (VFX) and animation industry is at an all-time high in India, with numerous blockbusters and social media hits featuring high-quality graphics and special effects. From international studios to homegrown talent, the country's VFX and animation industry has come a long way in the past few decades. The Early Days of Indian Animation and VFX The origins of Indian animation can be traced back to the early 20th century when stop-motion animation was first introduced in the country. The first full-length animated feature film 'The Banyan Deer' was made in 1957 by legendary animator and filmmaker, Clair Weeks, in association with Indian animator Bhimsain Khurana. It was not until the 1980s that the Indian animation industry began developing seriously. Until recently, Indian cinema mainly relied on the Hollywood VFX industry for its visual effects requirements, which was both costly and time-consuming. It was then that the rise of homegrown talent and studios began. Several Indian companies began developing their VFX expertise, creating their production pipeline. The Rise of Indian Studios One of the most prominent Indian VFX studios is Tata Elxsi, founded in 1989. It is known for creating stunning special effects for several blockbuster movies like 'Baahubali,' 'Robot,' 'Endhiran,' and 'Ra-One.' Prime Focus World, founded in 1997, has worked on some of the biggest blockbusters of Hollywood, including 'The Dark Knight Rises' and 'Avatar.' Another emerging South Indian VFX studio, Digikore, which started operations only in 2013, have had a significant impact on the industry. With the motto of "Change the Game," it has already worked with several renowned studios like Viacom18, Disney, and leading regional studios to deliver high-quality animation and VFX. The Importance of VFX and Animation in Indian Filmmaking With the Indian film industry now well versed in utilizing VFX, there is a high demand for talented VFX artists who specialize in their craft. They play a crucial role in bringing the director's vision to life on the silver screen. Not only this, but several Indian TV series and shows now depend heavily on VFX and animation. The VFX industry's growth is not restricted to the big screen anymore, and the digital space is also seeing tremendous growth. Social Media and Its Influence The rise of social media has impacted the way the VFX industry functions in India. Several short films, viral ads, and web series solely rely on high-quality VFX graphics and animation. The youth of India has a growing affinity towards digital content, and animators are using various social media platforms to display their talents. With the global rise of interest in digital content, the Indian VFX and animation industry is also benefiting. The Road Ahead The Indian VFX and animation industry's future looks promising, with the increasing demand for high-quality graphics in films and TV series. The industry's impact is not just restricted to India, and it is now a global phenomenon, with more and more international studios setting up shop in India. It's offering new job opportunities and changing the face of entertainment in India and globally. Conclusion With the Indian VFX and animation industry now going full steam ahead, the future is looking bright and promising. The rise of homegrown talent and studios, coupled with social media's impact, has brought the Indian entertainment industry to new heights. With increasingly high demand for quality graphics in films, TV series, and social media, the industry will continue to thrive, with VFX artists and animators contributing to its growth substantially. #BUSINESS Read the full article

[istherewifiinhell]

were back to our (ir)regularly scheduled bullshit!

[ID: Splash page with the issue title and creative credits. Megatron is bound up in cables, some plugged into him, effecting repairs. He speaks: Remind me to thank you when i get down from here, Shockwave. Meanwhile, resumption of my command must begin now. Shockwave: You don't seem to understand. These autobots you see lying dead on the ground are there because I put them there. The Decepticons you see barely clinging to life are in that operating mode because of you. Until I intervened, Autobot victory over us was assured.* The evidence says your leadership was faulty, Megatron. Logic says I must assume command of the Decepticons. Editor's Note: *as seen in issue 8 END]

back to the USmarvel, The New Order, issue no. 5! (22-23 UK reckoning) from feb 1985!

Script: Bob Budiansky Art: Alan Kupperberg Letters: Rick Parker Colour: Nel Yomtov Editor: Jim Owsley EiC: James Shooter Digital Re-master by Digikore Studios Limited. Collection Edits by Justin Eisinger and Alonzo Simon. Editorial notes and assistance by Mark. W. Bellomo

now... welcome back digital re-master. just in time for me to rip you a new on... bare with my folks...

so this issue opens with new king bitch in town, shockwave, conducting research into humans via television. so uh.., they put honeymooners in my transformers comic?

[ID: Both images of a Full page B&W illustration, two men stand behind a table, one asking "Whatsa matter Ralphie-boy?" Ralph, staring wide eyed, dead ahead, grips a chair saying "Homina-Homina-Homina!" A woman looks in through a window, with a scowl. 1. The illustration uses blocked inks, and half-tones for the characters, but the background and objects have mid and dark halftones added in an almost painterly fashion. 2. The art now with most of the tones and shading removed, everything left either black, midtone, or stark white. END]

surely. one of these images is higher definition. but which one looks BETTER? now its possible this is actually about which master copies they were working from. perhaps a rights issues? (the uk printing replaces this page with a different image) but i note here ALSO. they removed the artist, Kupperberg's, signature form the bottom left corner. a hateful affair all told.

though, this doesnt just piss me off to see an artist works edited, and made to SUCK! (tho boy does it...) my friends... comrades, fellow bloggers. lend me your eyes. DO they see this the way mine do? cause ill eat my fucking hat if that's not DUOSHADE paper. the infamous medium of many a B&W indie. not familiar? check out my previous blogging on the friendly neighbourhood martial reptiles. but i digress.

if this. this INSULT to my very being wasnt enough. they also recoloured shockwave from a perhaps accidentally stunning shade of magenta to a cool lavender... which i personally just found quite boring. well. most of the time

[ID: 1. UK printing, Shockwave seated on throne like seat, coloured very warm toned purple. He listen to a sports broadcast and says "These humans are even more primitive than I thought." 2. Digital remaster, Shockwave's profile visible, coloured red, as he watches a news reporter. END]

the very first image of this post has another, red shockwave, btw. I suppose, they could be printing or colouring errors, but they could also be lighting/compositional choices by Yomtov (its not uncommon for his foreground characters to be done in monotone, particularly, purple) either way they corrected for it. and to me, this instance just comes of that whatever work flow being used, doesnt even flag the second figure AS shockwave, so a redwave remains...

i stress. i never blame any individual who does this work. its to them, just a job, and why should it not be? my ire is with IDW, and why they enact these "restorations" anyway, and why the fuck people ought to pay new money for old art that has been given so little respect...

anyway reading the print version meant a lot of tabbing between the us and uk printings. which is why i noticed this

[ID: The crediting for the colourist, Nel Yomtov. In the US printing the say "Colors" and in the UK "Colour", the S removed, and a U added. END]

im just amused by the effort taken... surely the kids dont care that much? and yes apparently they do this every time.

JEEZE CREESY WHO CARES. LETS SEE SOME ROBOTS

[ID: Shockwave watching the news, off panel dialogue Reporter: Ms. Beller, you have been called a computer genius even though you're only a few years out of high school. What is your role in this? Beller: It's true I designed the secondary and tertiary oil recovery systems Reveal of Beller, a very young looking woman in a jacket and a hard hat. She continues: --the semi-automated defense system, the refinery's non-polluting digitized micro-scrubbers. But I consider it all just a part of my job. END]

shockwave learns the alarming news that a new female character is being introduced!

[ID: 2 page spread, the bodies of almost every single introduced Autobot are hanging from the ceiling, damaged and "bloodied". Shockwave scrolls under them, saying "Indeed" END]

also. check this shit out

anyway WHATS going on between shockwave and megs?

[ID: Shockwave pointing to the still bound Megatron: You will explain now how you permitted our position to deteriorate so drastically, Megatron. Megatron, mostly off panel: As… Commander… it is your right to demand anything of me. It is my privilege to oblige. END]

OH. its like that huh?

[ID: Shockwave offpanel "--Should logic so dictate." A close on Megatron, he thinks "Talk, Shockwave..." A close on his repairing hand twitching "...talk while you still can!" END]

well maybe not for long...

anyway... turns out the WAS a reason we saw ratchet helping those EMT's

[ID: Ratchet driving into the hospital parking lot. Buster calls out "Ratchet!!" who responds "Greetings, Buster Witwicky how nice to see your carbon-based face again!" Buster asks "Ratchet, where've you been?" END]

I hope your all ready to become extremely endeared by ratchet, or else just put up with it. cause...

[ID: Buster and Ratchet, still in alt mode, continue to speak, while EMTs are searching for the source of this mysterious voice. Buster: If they attacked the Autobots they should all be broken-down junk-heaps by now! Ratchet: Wonderful! I knew your father was a human we could trust EMT 1: I'll look behind the grill, Mel! EMT 2: I'll check under the seat cushion, Gus! Four people react in shock as Ratchet shouts: Do you organic creatures mind? I don't go poking around your mouths to see how you talk, do I? END

my beloved....

[ID: Ratchet on the road, stopped at a red light, as Buster rides inside. Ratchet: Listen, friend traffic signal, we're in a hurry, so if you could please turn green… Buster: It doesn't hear you, Ratchet, it's only a machine. Ratchet: I'm a machine, and I hear you, Buster! Buster: Yes, but you're different, you're-- Inside view as the light turns green. Ratchet: Ahh, he changed! Thank you, friend traffic signal. May the rest of the day find you in proper working order. You see, Buster, you have to learn how to talk to people. Buster: I… I'll try to keep that in mind, Ratchet. END]

this is so charming can we get corey burton and uh. well rest in peace don messick.., so just corey burton twice will do, to record his.

oh and anyone interest in timeline of when tf lore gets introduced (me... thats... mainly just me)

[ID: Shockwave points to Megatron: As always, you underestimate Optimus Prime, Megatron. No, he will not be cut up into wires and microchips. His value is far greater to us if we keep him functional, for it is logical to assume that an Autobot of his stature contains within him--The Creation Matrix! Megatron thinking: By the divine weld! The Creation Matrix is the computer program that allows its possessor to construct new transformer life! Its power is the stuff of legends! Shockwave continues: It is said once every ten millenia a new Autobot leader is chosen and encoded with The Matrix. END]

MATRIX MENTION? everyone have their lore bibles out? someone WRITE THAT DOWN.

[ID: Buster stumbling through the Ark in shock, "N-no… it can't be true! There must be some explanation! There must be! Wait a second… I didn't see Optimus in there…there's still optimus… there has to be--" He walks into a room with Optimus Prime's severed head, plugged into grand machinery. Buster yells "--Optimus!" Prime, weakly: Buster Witwicky… You must help me… you are… the Autobots… last hope…" End card-- Next: Oil Rig Assault! END]

OH MY GOD!

[downthetubes]

Archie Comics offers free to read comics ahead of Earth Day 2022, focusing on saving the environment and encouraging recycling

Archie Comics offers free to read comics ahead of Earth Day 2022, focusing on saving the environment and encouraging recycling

Ahead of Earth Day 2022 on 22nd April, celebrate Earth Day with two free classic stories from US publisher Archie Comics, that focus on saving the environment and encouraging recycling. The publisher is running the comics free to read on its web site here, and there’s a free PDF link to a printable educator’s guide on the page, too. Earth Day is an annual event co-ordinated by EarthDay.org,…

[thecomicon]

Preview: 'Archie Showcase Digest #4: Jughead In The Family'

Preview: ‘Archie Showcase Digest #4: Jughead In The Family’