Ma Hongtang

Ma Hongtang, Vice President of Meisheng Culture, General Manager of Meisheng Animation, General Manager of Meisheng Games

Anime brand planner, senior game producer

In 2008, the animation business started and began to explore solutions to the bottleneck of animation production

The first online drama "The Legend of the Demon God" produced in 2017 will be launched soon

"In my opinion, our consumption history is divided into 2000. It was before it was essential material wear consumption, and then it was spiritual wear consumption immersed in the dimensional world. Therefore, building a full three-dimensional parallel world is the top priority for creators in all industries."

"The so-called IP pan-entertainment is the construction of a parallel world and the consumption of dimensional life." Ma Hongtang, who said amazingly, made new annotations on the term IP that frequently appears nowadays from the perspective of the consumer side. He believes that creating a super IP is actually creating a super dimensional world. From the era of material wear to the era of spiritual wear, scenario consumption has brought certain economic value, and the convenience of Internet tools has further expanded people's spiritual needs. How to make people transition from a parallel world to the real world through the superposition of various means, breaking the dimensional wall to achieve spiritual consumption is a problem that Ma Hongtang has always cared about and wanted to solve.

Hangzhou Meisheng Animation Co., Ltd. led by Ma Hongtang is an animation company with strong original animation production capabilities, committed to creating a beautiful spiritual consumption experience for the public. He has planned and produced 6 large-scale three-dimensional cartoons, almost each of which has been "recommended" by the State Administration of Press, Publication, Radio, Film and Television. Among them, "The Eternal Song of Jazz Rabbit" was shortlisted for the Youth Program Unit of the Cannes TV Festival (MIPCOM) in France, and was the only one of Hangzhou-made cartoons that year. In August 2015, the company's independent original IP "Star Academy" was launched, which was broadcast on more than 200 prefecture, city and county channels, and ranked first in the ratings of Kaku Children's Channel many times within the ratings period of 8:00-17:30. It was recommended by the State Administration of Press, Publication, Radio, Film and Television as an excellent domestic cartoon in the second quarter of 2015.

Ma Hongtang has his own interpretation of how to use tools to create a full-sized parallel world. "Using traditional methods to create 3D animations has its advantages. With the joint efforts of large teams, the quality of the works can be guaranteed, but the resulting resource consumption is also huge." He believes that domestic animation production technology is still in the development stage. In recent years, due to the popularity of "The Return of the Great Sage" and "The Big Fish and Begonia", a large amount of capital has poured into the animation market. The demand for large-scale production will inevitably lead to works of varying quality. At this stage of development, a formed, industrialized and systematic technology is necessary.

"Film and television are industry, and scientific and rigorous processes are the key to controlling animation costs., all talk on paper is unreliable. However, cartoons often rely on the drawn early floor plan to communicate and make decisions, resulting in many unforeseen problems in mid-term conversion to 3D production. ”

"The biggest difference between real shooting and animation is that real shooting is shot from the real world. Animation needs to completely fiction a world in an artistic way, and everything in the picture is fiction. If there is a world for you in the early stage of production, let the producer look at everything from the perspective of God and create a story well, this should be the dream of all directors." Ma Hongtang said.

The Meisheng Animation Sandbox was born for this vision. It can open up the entire creative link and achieve real industrialization, so that the producers, directors and producers in the producers are no longer talking about it on paper. If you need to tell a story about Shanghai from the 1960s, you just need to move your mouse and you will immediately enter a living old Shanghai. There are not only buildings with a strong charm, but also pedestrians and classic cars on the road. The real light and shadow hit the deep alleys and alleys, and the cheongsam swayed in a trance, as if you were in the romance of the Shanghai beach. Here you can build any storyline you want and let the sandbox world inspire you.

Unlike Ruosun Digital's "Mandala Multimedia Intelligent Development System", the latter tends to quickly establish model elements, while the Meisheng Animation Sandbox tends to real-time display of story editing, just like the creator himself has a pile of building blocks that can play house. As long as you point fingers, they will start to interpret according to your wishes. Taking the upcoming 3D animation web drama "The Legend of the Demon God" as an example, the traditional animation character production process from modeling to texture material generally accounts for one-third of the entire production cycle. Through the Meisheng Animation Sandbox technology, characters can be quickly produced within a certain style range, and the programmatic modeling material makes the character modifiable very high.

In today's booming animation industry, Meisheng Animation Sandbox technology can provide creators with great convenience, so that they do not need to spend too much energy in the character art link, and can directly enter the "library" provided by the animation sandbox to build their required storylines. The advent of this new technology that travels through parallel worlds can greatly reduce production cycles and reduce costs.

Creating stories like God is an answer given by Ma Hongtang for animation production, and it will be an effective tool for building a dimensional life in the era of spiritual wear and consumption.