Luma teamed up with Marvel Studios to help bring the memorable Miss Minutes character to life in Loki. In the six part series on Disney+, Loki is brought to the mysterious Time Variance Authority after stealing the Tesseract during the events of Avengers: Endgame and is forced to help catch a dangerous variant version of himself. Luma delivered over 200 shots across nine sequences in the series, which included creating Miss Minutes in her various forms, extensive environment work, and the 2D animation TVA propaganda video featured in Episode 1.

Miss Minutes made her debut in the MCU as a charming artificial intelligence that aids the Time Variance Authority. As the TVA's mascot, she is first introduced in their propaganda videos and appears in many different forms throughout the series. Marvel provided concept imagery of the character, and Luma took the lead in designing Miss Minutes—focusing on how to make the 2D look work in a 3D environment. For the 2D version of the character, Luma referenced iconic animation styles from the 20's and 30's like Betty Boop, Steamboat Willie, and Felix the Cat. As the story develops, Miss Minutes evolves into having a mind of her own with some sinister intent. To acheive this character arc, Luma developed a wide range of facial expressions and performed motion capture to add a little more nuance to her performance.

To create the propaganda video, Marvel provided a rough animatic with clips from old propaganda animations with a voiceover and it was Luma's job to make it into a 2D animated version that had a consistent look throughout. Luma drew inspiration from old propaganda pieces from the 1950s for the visual style and designed all the characters, sets, locations, and backdrops in that style to really make it feel like a period animation.

To create the cathedral environment, we received lidar data of the practical set, along with excellent post-vis extension geometry. Our team cleaned up the lidar and enhanced the finer details, allowing us to extract sections and patterns that seamlessly extended into the cathedral's ceiling. We ensured that the textural veins on the surface matched the seam of the practical set. Lastly, our lighting techniques provided flexible volumetric lights that could be animated and synchronized with the photography during the compositing process.