“The client loved the idea of the sketches showing what the audience was not able to see during the episodes. Quickly this became a writing assignment for us where we tried to imagine funny or unexpected moments. Some of the vignettes really had fans dissecting the illustrations for Marvel clues or easter eggs.
“AD Nolan Borkenhagen was instrumental in the creative development and production portions of this project. Besides directing Kagan through multiple rounds of sketch development and painting, he also animated the layered photoshop illustrations utilizing Cinema4D, Procreate, and After Effects.”
Client: Marvel Studios, Disney+
“Once we saw the show’s pilot, we knew the quality of the writing and the underlying themes of the show were ripe for graphic expression.”
“Prior to the pitch, we watched the pilot and read a few additional episode scripts. We presented five distinct concepts, but the idea of the animated courtroom sketches rose to the top right away.
Production: Aspect
CD: Jon Berkowitz, Brad Colwell
Art director/animator: Nolan Borkenhagen
Illustrator: Kagan McLeod
Sr. producer: Crystal Deones
Animator: Mark Rakocy
Designer: Kimberly Tang
3d animator/fluids: Mike Murtha, Jonathan Reyes
Head writer: David O’Rourke
Writer: Andy Lauwasser, David Cassada, Jennifer Andres
CDs Jon Berkowitz, Brad Colwell, and their crew at Aspect in North Hollywood team with Toronto illustrator Kagan McLeod to add depth and character to Marvel’s She-Hulk: Attorney at Law series with these fun end credits.
Aspect CDs Jon Berkowitz and Brad Colwell: “It had long been a career goal of our team to work on a Marvel title sequence, so we were thrilled to be invited to pitch on She-Hulk.
Posted on Tuesday, December 6, 2022
“The Marvel creative team knew they wanted to stay away from established legal procedural tropes but other than that they were open to ideas. For our part, we explored several themes, but expressing a conflict of identity became an anchor for many of our ideas.
“We had worked with editor Jamie Gross on previous projects, Vacation, Game Night, and Flora & Ulysses and she recommended us to the post-production team. Once we saw the show’s pilot, we knew the quality of the writing and the underlying themes of the show were ripe for graphic expression.
