Image: NintendoThe first of a couple of Nintendo Treehouse broadcasts has begun and, whilst we hoover up all of the new information and details, some fans have been quick to tell the world - well, the Official Nintendo of America YouTube channel, at least - exactly what they really desire to communicate to the head honchos over at Big-N HQ.As seen below, almost as soon as the live show started, fans were jamming the live chat with "drop the price!!!" messages, with one saying "Nintendo, we're poor, we can't afford $90 for Mario Kart."Image: NintendoFor those not yet clued up on everything, the Switch 2 will cost 395.99 / $449.99 at launch, with the Mario Kart World bundle costing 429.99 / $449.99. That's for UK/US - so make sure to check your local pricing wherever you are.We have to say, although cheaper would always be welcomed, we (or this writer, at least) felt the price was bang on what we expected, and we're just glad it didn't creep further towards the mental barrier of 500 bucks.Do you agree that the price is too high, or do you feel alright with the standalone console and bundle prices? Let us know!

As YouTube Shorts continues to compete with TikTok, the platform is announcing new upcoming features to help creators publish engaging short-form videos.Creators will get access to an improved video editor, the ability to generate AI stickers, a feature that syncs content to the beat of a song, enhanced templates, and more.The launch of the new tools comes just days before the April 5 TikTok ban deadline. Given the timing of the announcement, YouTube is likely looking to court creators to its platform and capitalize on the potential void left by TikTok if it faces a ban in the United States.Image Credits:YouTubeYouTube says the new and improved video editor will allow users to easily adjust the timing of each clip, move or remove clips to create a rough version, add music or timed text, and preview their Short to make sure it tells the story the way they want it to. YouTube plans to roll out additional editing updates in the future. The company notes that an improved video editor has been a top request from Shorts creators.TikTok is known for having robust editing tools, so it makes sense for YouTube to give its creators access to more of the same tools. Plus, the launch of the improved video editor is significant, as Meta is said to be weeks away from releasing an Edits app that is said to rival ByteDances CapCut.Image Credits:YouTubeAs for the new AI Stickers, creators will be able to generate custom stickers using a simple text prompt. In an example shared by YouTube, a user can generate an AI sticker of a strong plant with muscles.YouTube Shorts will also roll out the ability for creators to add image stickers to their videos. For example, creators will be able to share different options for outfit inspiration by uploading photos from their camera roll and turning them into image stickers. Image Credits:YouTubeIn addition, creators will soon be able to pick a song and have their clips automatically aligned with the musics rhythm. Before this, creators would have had to manually sync clips to songs. The feature appears to be similar to CapCuts Beats tool, which automatically syncs music to clips.YouTube is also going to improve templates, as users will be able to pull photos from their gallery and use them in templates. The company also plans to add effects within templates. Given the popularity of effects on TikTok, it makes sense for YouTube Shorts to explore them as well, especially since they can sometimes create trends.The new features are expected to roll out in the coming months.

Elon Musk has long been credited with turning Tesla into a beacon of innovation, the visionary who pushed the world into an era of electrification. But his slide into politics specifically his alignment with President Trump and activities within the federal government has dragged Tesla into uncertainty.For many would-be Tesla buyers, the brand has lost its progressive luster. And while Musk has long been the face of Tesla, that link has taken a negative turn as the billionaire oversees mass layoffs and the elimination of federal programs via the Department of Government Efficiency.Teslas disappointing first-quarter deliveries demonstrate just how much the brand has fallen out of favor. The company reported 336,681 deliveries in the first three months of 2025, down from 495,570 in Q4 2024 and 386,810 in the first quarter of last year. Thats off the back of an unimpressive 2024, which saw fewer deliveries than the year prior amid production delays and increased EV competition.For many, Musks political activities have turned Tesla into a symbolic pariah. Tesla trade-ins have hit record highs, while sales in Europe have dropped. Foreign leaders are calling for boycotts and the automakers stock price has lost about half its value since December. All the while, protesters continue to assemble outside Tesla showrooms, dealerships, and even charging stations in an effort to accelerate the automakers brand devaluation and with it, they hope, Musks wealth.They have a certain significant public image problem thats really something we havent seen before in this industry, Sean Tucker, lead editor at Kelley Blue Book, told TechCrunch.Even one of Teslas most unwavering bulls, Dan Ives, has begged Musk to focus less on politics and more on his business or else unfortunately darker times are ahead for Tesla.To combat the effect this might have on Tesla, Musk has and likely will continue to lean on his sales pitch that Tesla isnt an automaker, its an AI company, one that will someday commercialize autonomous vehicles and humanoid robots.The question now is whether or not the Tesla brand can recover.Below are the moments, which TechCrunch will continue to update, that are shaping perception of the Tesla brand and may have a lasting effect on its future.A MAGA hat on wheelsA sticker reading I bought this before Elon went crazy is pictured on a Tesla in Berlin on February 10, 2025. image credits:Tobias Schwarz / AFP via gettyWhile recent studies found that Musks political leanings have lost him customers in what has historically been Teslas base Democrats the shift has garnered him street cred with Republicans. One study from researchers at Northeastern University, Columbia University, and the University of Iowa found that Republicanss likelihood to purchase a Tesla moved up from 7% before Musks Trump endorsement to 10.2% after.That sentiment might only increase amidst Trumps reciprocal endorsement of Musk and Tesla, including his free commercial at the White House on March 11.Hang onto your stockA Tesla Cybercab prototype. image credits: David Paul Morris/Bloomberg via gettyImage Credits:Getty ImagesAt an impromptu, glitchy, live-streamed Tesla all-hands presentation on the evening of March 20, Musk told his employees and investors to hang onto [their] stock despite it feeling like Armageddon.Its very difficult for people in the stock market, especially those that look in the rearview mirror, which is most people, to imagine a future where suddenly a 10 million vehicle fleet has five to 10 times the usefulness, Musk said, referring to the now-defunct claim that all existing Teslas have the hardware necessary to turn into fully self-driving cars with a mere software update.He advised employees to tune out the noise and focus on building the Cybercab, which would be the new priority. The Cybercab is a two-seater robotaxi with no steering wheel or pedals. Current federal regulations dont allow for the mass production of such vehicles because they dont have human controls, but Musk has signaled an intent to amend those rules.He noted that the Cybercab manufacturing process would be a feat of engineering, a high-speed consumer electronics line that will move so fast thatitll be able to produce a car, ultimately, in less than five seconds.During the call, Musk also promised to produce about 5,000 Optimus robots this year, which he believes will be Teslas most valuable asset.Moment of truthOn the same day as the sudden all-hands, Tesla bull Dan Ives wrote in a note that Musks involvement in DOGE has led to a brand tornado crisis moment for Musk and Tesla.If you agree or disagree with DOGE it misses the point that by Musk spending 110% of his time with DOGE (and not as Tesla CEO) since President Trump got back into the White House this has essentially turned Tesla into a political symbol. and this is a bad thing, Ives wrote.Molotov cocktails and vandalismA Tesla Supercharger is vandalized on January 31, 2025 in San Diego, California. image credits: Kevin Carter/GettyImage Credits:Getty ImagesTesla showrooms, charging stations, facilities, and even privately owned vehicles have been hit with attacks. In some cases, the damage is minimal some spray paint and a keyed car. In others, violence has ensued. Dealerships have been hit with bullets and Molotov cocktails, and charging stations have been set on fire.Musk has responded by questioning why anyone would want to hurt Tesla.Trumps response has been more pointed. He has declared that any acts of violence which could include spray-painting would be treated by the federal government as domestic terrorism.I look forward to watching the sick terrorist thugs get 20-year jail sentences for what they are doing to Elon Musk and Tesla. Perhaps they could serve them in the prisons of El Salvador, which have become so recently famous for such lovely conditions! Trump said on his social media platform, Truth Social.As of the time of this writing, the Department of Justice has brought charges against three individuals who are allegedly responsible for violent destruction of Tesla properties.Tesla TakedownsNYPD officers stand guard as protesters demonstrate during Tesla Takedown rally on March 29, 2025. Image credits: Adam Gray/Bloomberg via GettyImage Credits:Getty ImagesPeaceful protests have also erupted across the country as part of the so-called Tesla Takedown movement.The movements goal is to hit Musk where it hurts his wallet, and the source of his wealth and power. Protesters have been showing up at Tesla dealerships and showrooms to try to discourage people from buying Tesla cars. They also aim to encourage Tesla owners to trade in their vehicles and Tesla stockholders to sell their shares.Despite these protests being peaceful, were beginning to see the start of violent counter-protests like the Florida man who drove his SUV into a crowd of protestors outside a Palm Beach Tesla dealership in March.Associating with the Proud BoysThousands of people joined in Tesla Takedown protests the last weekend in March at showrooms across the country. The crowds drew small numbers of counter-protests in some regions that Wired reports were peopled mainly by MAGA supporters. Among them were far-right extremists, including members of the Proud Boys and armed militias.The Roman saluteElon Musk gestures as he speaks during the inaugural parade, in Washington, DC, on January 20, 2025. Image credits: ANGELA WEISS / AFP via gettyImage Credits:ANGELA WEISS / AFP / Getty ImagesWhile speaking at a rally celebrating Trumps inauguration in January, Musk did what many have perceived to be not one, but two, Nazi salutes.The damage has only been amplified amidst Musks vocal support for the far-right German political party AfD, as well as his history of sharing anti-semitic posts.Shortly after the salute incident, activists projected an image of Musk doing the salute, along with the word Heil, onto Teslas Berlin gigafactory.Drop in European salesA recent survey of 100,000 Germans found 94% would never purchase a Tesla, and sales data backs that up.Germany is the home of one of Teslas gigafactories and traditionally one of the automakers largest markets. But in February 2025, Tesla sales in the country were down 76% to just 1,429 sales for the month, compared with 6,038 in February 2024.Teslas sales have slumped at a similarly aggressive pace across Europe. In February, Teslas registrations across the continent fell 44% year-over-year, following a decline of 45% in January.BYD breakthroughsOne of Teslas biggest competitors, Chinas BYD, has been touting significant breakthroughs in charging. The automaker said this week that its new cars can be charged in five minutes, which would give it a huge competitive edge over Tesla and indeed any other EV maker.China is one of Teslas largest markets, but BYD is continuing to bully the automaker on its home turf. BYD recently unveiled its Gods Eye advanced driver assistance system akin to Teslas Autopilot and FSD that will be installed at no additional cost on its entire EV lineup, including its ultra-cheap $9,600 Seagull hatchback.BYD continues to impress consumers with its high-tech range of EVs and hybrids and has once again surpassed Tesla on revenue. In 2024, BYD reported $107 billion in revenue compared to Teslas $97.7 billion.An aging lineup and Cybertruck recallsA Tesla Cybertruck on display in a Tesla showroom.image credits: Michael M. Santiago/Getty ImagesImage Credits:Michael M. Santiago / Getty ImagesTesla has languished with an aging lineup for years. The Cybertruck was meant to be the automakers next big bet that would prove its still capable of delivering innovative new models. And indeed, the truck has been popular among American buyers.Still, Tesla has issued eight recalls on the Cybertruck since launching the vehicle in November 2023. Most recently, Tesla had to recall 46,000 Cybertrucks because of an exterior steel trim panel on the side of the windshield that looks like it was stuck on with super glue and can just peel off.

In 2013, Erik Nordby discussed MPCs work on Elysium. Since then, he has contributed to numerous films, including The Amazing Spider-Man 2, Passengers, Pokmon: Detective Pikachu, and The School for Good and Evil.How did you get involved in this show?While I was in the final month of production on The School for Good and Evil with Paul Feig, my agent informed me that Skydance was seeking a supervisor for a movie. Later that week, we scheduled a call with Scott Derrickson. I read the script and was immediately captivated by its uniqueness in fundamental ways. It perfectly aligned with my preferred approach to visual effects, incorporating numerous environments, invisible effects, and an exciting array of animation. This combination felt like an ideal fit. Additionally, the scope of world-building presented a significant challenge, and fortunately, Scott shared a similar perspective on it. We had an engaging discussion exploring various methodologies, and by the end of our call, there was a palpable sense of excitement. A few days later, we commenced early prep meetings.How did you collaborate with the director and other departments, such as cinematography and production design, to organically integrate VFX into the story?On every movie, I build a rapport with the following team members as soon as possible: Director, First AD, DOP, and Prod designer, in that order. Building trust among the heads of departments is crucial, especially for a grounded yet multi-faceted movie like The Gorge. There were a number of significant decisions that needed to be made upfront to establish a balance between each department. We started working well before we arrived at Leavesden.The most important initial decision that required extensive discussion was how we would approach the two vastly different worlds of UPPER Gorge and LOWER Gorge. Each required a unique approach that didnt share much in common. Upper Gorge needed a significant amount of photo-realism, while Lower Gorge was much more stylized. Upper Gorge needed to blend well with location shooting, while Lower Gorge was ideally suited for stages with small build-outs. Upper Gorge needed to showcase seasonal changes, while Lower Gorge showcased changes primarily tied to color and interactive mist.We also spent two months actively investigating the possibility of shooting the Upper Gorge as a Bigature on stage. We even commissioned a test shoot and attempted to secure the necessary resources. However, considering that we could only shoot roughly 4 setups per day, to achieve the roughly 300 shots that were required, the time commitment proved too extensive. It would have locked us into too many lighting scenarios ahead of Dans schedule as well.Once we decided that the Upper Gorge would consist of a hybrid between real-world locations and extensive CG extensions, a solid approach was established. We identified a series of excellent forest locations that existed on a small hillock outside London, playing as the edge of the Gorge. We would then flip the photography so that these locations could serve as both the east and west perimeters. With this approach solidified, production designer Rick Heinrichs, DOP Dan Lausten, and I could reasonably collaborate on dividing the heavy lifting among our respective disciplines.The tops of the 2 towers werent appropriate for outdoor filming. We briefly considered building them on the backlot, but Dan was concerned about lighting and environment control for good reason. So, we built the corresponding East and West tower tops on stage. Each set consisted of the front exterior (essentially the balcony) and the full single-floor interior. Since so many shots required long lenses (through military tech binoculars and scopes), we tested opening the large doors of the stages and shooting lenses up to 1000mm (500mm doubled) from outside. Scott and Dan didnt think the compression was worth the loss of 2 stops and exposure to the elements, so all photography was confined to the dimensions of a single stage.The tower bases were built outdoors, however. We constructed Levis Tower on the Leavesden backlot and Drasas East Tower in the woods near the rest of the forest work. We used these locations resourcefully, but they were restricted to the confines of appropriate blue screens and negative fill. Shooting in the rainy spring was challenging, but it greatly enhanced the exterior look.The lower gorge took longer to establish an approach. Initially, it wasnt clear how stylized Scott wanted the look to be. So, we conducted numerous rounds of tests during prep to help establish a look. These tests primarily involved manipulating levels of lights, fog, mist, and color. The positive outcome was that we locked in an in-camera set look that Scott and Dan could reference as the desired end goal throughout the rest of the shoot. We also used this as a bible to establish the correct levels in post, which was highly valuable.However, there were still challenges. In many instances, it became evident that VFX needed to own the fog. This created a dilemma. Adding practical mist and fog to the stage would obviously affect the shape of the light, primarily making it softer. There was no effective way to add significant extensions within the fog using VFX unless it could be controlled. This was especially true on our largest stage full of trees with a lot of branch complexity. Additionally, we were limiting our photographic visibility by locking into practical mist, which made Scott slightly anxious. Consequently, for most scenes shot in the lower gorge, we added a subtle level of base mist, set the overall color, and with Dans eventual approval, we pushed the addition of the art-directed Fog to VFX.How did you choose the various vendors and split the work amongst them?The primary vendors we selected upfront for The Gorge were Framestore, DNEG, and Image Engine.One always strives to find an effective way to divide the workload, and fortunately, the overall structure of this movie presented a remarkably straightforward breakdown upfront. DNEG was assigned the Upper Gorge, Framestore was given the Lower Gorge and the creatures therein, and Image Engine was tasked with capturing specific, confined scenes that didnt necessitate significant overlap with other lower gorge work (such as the Skull Spiders and the Body Web). The sole scene that required the majority of shared resources was the Attack on the Wall scene near the beginning of the second act. This is where we first encountered the Hollowmen from the lower gorge as they attempted to scale the gorge walls. It was simpler to share DNEGs gorge environment with Framestore, rather than trying to bundle up the two dozen creatures and share them with DNEG. So in the end, DNEG packaged that asset, and Framestore executed the entire sequence.How did the collaboration between you evolve throughout the production process to ensure a cohesive visual effects vision?Pete Dionne, the overall supervisor at Framestore (based out of Vancouver), was also my second unit supervisor on the shoot. Weve been working together for several years and have collaborated on many films. He was instrumental in developing the approach for physically acquiring the Gorge environment. He led a team that traveled to Norway and scanned massive rock faces and other unique geographic locations. He also helped isolate a good, straightforward approach to the Hollowmen, which I speak more about below. Joao Sita at Framestore Australia came on in post to help with some heavy lifting, specifically the replacement of the practical Alpha character in his confrontation with Drasa. He led a great team, and we loved working with him.Anelia (Nellie) Asparuhova, Supervisor at DNEG, visited the set frequently and helped solidify the visual style and feel of the upper gorge extensions. Her team also dedicated a significant amount of time to conducting scope and binocular research. Nellie and I had also worked together on a previous film and have a great shorthand as a result.Christian Irles at Image Engine flew in to supervise our elements shoot and the animation work that his studio expertly crafted for the body web, skull spiders, and Hollowmen in the church. Christian and I also have a lot of previous experience working together.We also leaned on Outpost VFX, Host VFX.All in all, I was spoiled with the teams we put together for this movie. They were such a massive part of its success. Super collaborative, and I look forward to continuing my experience with them on further shows.Can you explain the process of designing the Gorge environment? What were the biggest creative and technical challenges in capturing its vastness and danger?Early on in the production, it became evident that the most significant challenge in creating a photorealistic upper gorge was achieving repeatability through many sequences without killing the render times. The environment needed to feel like a consistent and believable space that the audience could rely on. Additionally, we required sufficient shape and landmarking to prevent the gorge from feeling disjointed or too indistinct. We didnt want to confuse the space for the audience.To this end, we established an obvious north end that was large and impassable, a south end that encircled a distant waterfall with mist and atmosphere. Then the east and west sides featured rock faces that were distinct and differing distance skylines and elevations. Part of the learning curve involved doing this too heavily handed at first, where it ended up feeling like it was a pastiche of environments that were too dissimilar. So, luckily, we continued to experiment with the DNEG team once they came on board.In addition to these challenges, we also wanted a gorgeous environment that felt untouched and undiscovered. This required a lot of time and energy to nail down and keep the landmarking in place. DNEG hired a geologist named Tom Brodie that helped guide the science behind the overall makeup of the natural world we were trying to recreate. Forests that have been forested or destroyed by a fire tend to appear like millions of identical trees once they regrow. When photographed, this can look realistic, but in CG, it can feel very repetitive and artificial. We needed variability in order to feel real. We needed micro and macro breakups in the types and amounts of trees, rock faces, boulders, cliff faces, types of rock, etc. We needed a forest floor that felt built up and reflective of centuries of being untouched, even the hints of animal pathways through the woods were important. There were so many challenges to balance, and through continued experimentation, the DNEG team solved each problem one at a time.Were there any real-world locations or specific references that inspired the creation of the Gorge?Initially, we believed we could find a perfect location and even send a team to acquire it. Unfortunately, it didnt exist. However, while flying around Google Earth in a pair of goggles, we managed to isolate several locations in Norway that could individually serve as a library of scans and photographs for different sections of the gorge. This formed a good balance of feeding the needs of the world whilst still rooting it in reality.How did you film the dizzying scenes above the Gorge?Over several days, all the zip-line work was conducted on the backlot of Leavesden. Two large cranes were strategically positioned and offset to assist with height adjustments. We also brought in approximately a dozen tele-handlers equipped with 2030 blue screens. These screens were used to postage-stamp individual shots and cover as much of the action as possible. While primarily focusing on Miles, we aimed to isolate him when we could without affecting the lighting.To secure the zip-line to the east and west sides of the gorge, we connected it to the tower base locations. The west tower base was also physically built on the backlot, allowing us to directly link the wire work to the moments Miles ran and leaped from his side. On the other hand, the east tower base was constructed in a forest location near the edge of the gorge wall scenes. This made it more challenging to integrate the wire work into Drasas tower. Fortunately, there were fewer shots in this area, and we prioritized capturing Drasas reactions rather than the actual wire work. For instances where Levi fell, we had exceptional elements of actual falls shot by our stunt team, led by Brycen Counts and Shane Habberstad.How was the design of the creatures developed? What key elements were chosen to reflect their menacing nature while keeping them believable within the gorge environment?Designing the Hollowmen was a labor of love. It began early in the process, even before we awarded the project. Before I signed on, Scott had selected a core group of references that resonated with him. These references quickly became a foundation for tone, that we built upon throughout many rounds of creature design.L to R: VFX Supervisor Erik Nordby and VFX Producer Rich YeomansThe first significant design push involved Ravi Bansal and his talented team of designers within the art department at DNEG. We began by exploring the base morphology of the creatures. How distorted were they? How did we convey the hybridization between organic, insect, and human elements? How could we connect the human elements to the WW2 legions mentioned in the script? How horrific should we make them? Ravis team guided us through numerous rounds of these investigations. Scott was excellent at making decisions about what worked and what didnt. He wanted to connect to the humanity of the characters at all costs. This helped us narrow down a set of base designs that felt authentic.Once we awarded it to Framestore, Martin Macraes team got involved and helped flesh out some smart manifestations and interesting mutations that we pitched to Scott. His team created some great art that could push us through the next evolution in finding the hollowmen.After several rounds of this, our challenge was organizing the creatures into groups that fully supported the story. To achieve this, we dedicated a room at Leavesden near the VFX offices, which we named Hollowman Hall. This provided a large space where we could display artwork, rearrange it, allocate per scene, and establish a foothold for a team of designs that adhered to the story and scripted characters. Many afternoons were spent here with Scott and the other HODs attempting to nail down this work.The most significant challenge then arose: how could we assetize these creatures in a cost-effective manner to make a few feel like many? Since each high level of detail requires an intensive process of design, build time, and rigging for animation, we needed to be strategic. Pete Dionne had the brilliant idea of naming each individual Hollowman. The main close-up Hollowmen featured in the wall attack were THURSTON and REGINALD. There were RADCLIFF and WINSTON, two heroes in the horse attack. Then there was REMINGTON, HEATHCLIFF, and CHADWICK, who led the charge when Levi and Drasa towed their jeep up the wall in the third act. They were followed up with a whole cadre of characters that fleshed out each scene each named.This approach allowed us to rally around and embrace a subtle backstory for each character. It also fostered a lot more engagement with Scott and the editing team, reinforcing the idea that each one of these Hollowmen used to be human. It expedited better communication and then launched an effective method of repurposing certain characters through simple swap-outs, transforming the 12-hero Hollowmen into a small army.How did you handle the interactions between the actors and these terrifying creatures? Were there physical elements on set, or was everything animated digitally?During prep, it was evident that there was a significant amount of interaction between the Hollowmen and our leads. Additionally, intricate stunt work was necessary to ensure that the script beats were met. Consequently, we collaborated with the stunt team to enhance these moments. We gained valuable information from their stunt vis, which was filmed, edited, and presented to Scott early on, and used as a framework for our own shooting. For the majority of interactive scenes between Levi, Drasa, and a creature, a real-life person or a puppeteered proxy was involved.What tools or animation approaches were essential to bring the creatures to life and make them feel threatening?The majority of our animation was based on physically real rotoscoped motion. We had real stunt performers on set that were seamlessly integrated into shots. Or, in the case of the skull spiders, we had puppeteered proxies that Drasa and Levi could interact with.The horses play a key role in the film. How were they designed and animated to maintain their terrifying appearance while capturing realistic, natural movements?The horses played a significant role in the first encounter between the Hollowmen in the lower gorge. We spent considerable time digitally choreographing the actual scene in Previs with an exceptional team from The Third Floor, led by Hamilton Lewis. This was then handed over to the stunt team to further develop and refine, guided by their expertise in equestrian physicality. Concurrently, we iterated through various horse designs that began to resonate with Scott. To avoid deviating too far from the overall mass and silhouette of the horses we intended to use on set, we started hollowing them out to reveal internal degradation, muscles, and sinew.Our production manager, Rebecca Field, took the reins in constructing a completely custom motion capture volume, large enough to capture full horse sprints and stunts on a stage at Leavesden. This proved invaluable, providing our animation team with an extensive and high-quality library of motion capture data that was bespoke for each scene.Were there any memorable moments or scenes from the film that you found particularly rewarding or challenging to work on from a visual effects standpoint?Levi and Drasas encounter with the hybrid body mass soup at the base of the shelter after killing the Alpha Hollowman and escaping his lair was arguably one of the most significant and gratifying challenges. We referred to it as the body web, and it demanded exceptional design patience to establish the appropriate tone for this work. The challenge lay in the immense computational burden required by Image Engine to render the complex scene. Fortunately, their solid skills and strategic positioning allowed them to successfully execute the task. Im really proud of the work they accomplished.Looking back on the project, what aspects of the visual effects are you most proud of?I believe Im most proud of how effectively the visual effects support the narrative. They dont hinder the story and, hopefully, only enhance its progression. Additionally, Im incredibly proud of the Upper Gorge set. It was an enormous undertaking to seamlessly blend various disparate shooting locations into a cohesive and expansive world that felt like a single environment.But in the end Im always struck with how proud I am of the collaboration this art form requires. So proud of the entire team of leads, supervisors, production support, and artists that came together to make this film come to life. Also cant say enough good things about working with Skydance throughout. Kathy Chasen-Hay and Aliyah Lopez offered support and understanding throughout the making of this film. It was great to know they had our backs. They made it a joy.How long have you worked on this show?I worked on The Gorge from September 2022 to May 2023.Whats the VFX shots count?1932.What is your next project?Nothing locked in yet.A big thanks for your time.WANT TO KNOW MORE?DNEG: Dedicated page about The Gorge on DNEG website.Anelia Asparuhova & Sebastian von Overheidt: Heres my interview of VFX Supervisors Anelia Asparuhova & Sebastian von Overheidt at DNEG.Framestore: Dedicated page about The Gorge on Framestore website.Joao Sita, Martin Macrae and Nicholas Tripodi: Joao Sita (VFX Supervisor), Martin Macrae (Head of Art Department) and Nicholas Tripodi (Head of Animation) at Framestore.Image Engine: Dedicated page about The Gorge on Image Engine website.Christian Irles: Heres my interview of VFX Supervisor Christian Irles at Image Engine.Outpost VFX: Dedicated page about The Gorge on Outpost VFX website. Vincent Frei The Art of VFX 2025

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Construction 3D printing company Contec Australia has introduced concrete 3D printing to Western Australia with a two-story house in Tapping, located in Perths northern suburbs.Described as the states first multi-story 3D printed building, this project involved using a 3D printing robot acquired from Dutch construction 3D printing firm CyBe Construction. All the walls of the structure are now complete, with the process aimed at improving construction speed, cutting costs, and assisting labor efforts rather than replacing them.This innovation addresses some of the biggest challenges in the construction industry, from labour shortages to rising costs, said Founder Mark DAlessandro. 3D Concrete printing significantly reduces build times and offers a more sustainable alternative to traditional construction methods.3D printed walls can be built with a team of as little as 2 or 3 operators. Photo via CyBe Construction.Two-week training yields rapid printing successAs part of its partnership with Contec, the company provided a two-week training program to guide Contecs team through the essentials of delivering consistent, reliable 3D printed projects.The training paid off when Contecs team managed to print all 15 walls of the 155m house in just 10.5 hours of active printing. From there, the project progressed quickly, with the midfloor assembled and the walls of the second floor printed within 18 hours of active printing.Its not just the speed thats drawing attention. The open-air printing process operated effectively without the need for protective tents, even in temperatures reaching 42C, demonstrating that the method can hold up under challenging conditions.Located in a newly developed subdivision with several unfinished homes, the site in Tapping has attracted interest from architects, builders, engineers, and media outlets. Within the first few weeks, multiple radio and television stations visited the site to observe the progress.Contec Australia was established in 2023 by DAlessandro, a builder and quantity surveyor with nearly two decades of experience in Western Australias construction sector.His portfolio includes overseeing high-rise, residential, commercial, and industrial projects across the state. Faced with labor shortages during the COVID-19 era, DAlessandro sought alternative methods to enhance efficiency, leading to Contecs collaboration with CyBe Construction.With the initial project completed, Contec is now looking to scale its operations. The company plans to expand its fleet of 3D printers by the end of 2025, targeting additional residential, commercial, and civil construction projects across both metropolitan and regional areas of Western Australia.The home is being printed right next to a yet to be finishing home in the Tapping subdivision. Photo via CyBe Construction.Inaugural 3D printed homes around the worldWith the advantages of construction 3D printing, many areas are witnessing their first 3D printed homes.Recently, automated construction 3D printing company VeroTouch completed Colorados first 3D printed homes in Buena Vista, supported by up to $618,000 from the states Innovative Housing Incentive Program (IHIP).The 1,100-square-foot homes are part of the VeroVistas project, built using a proprietary 3D printing system designed for energy efficiency, durability, and fire resistance. Partnering with South Main, VeroTouch plans a 31-home development in Cleora to test scalability, automation, and material efficiency. The project aims to address housing shortages and enhance construction efficiency through additive manufacturing.Last year, construction company Harcourt Technologies (HTL) initiated Irelands first 3D printed housing project in Dundalk, constructing three social housing units at Grange Close with a COBOD 3D printer supplied by the Local Authority. The gantry-mounted system extruded concrete layer by layer, guided by a digital blueprint.Set for completion by October 2024, the project aimed to triple construction speed compared to conventional methods. HTL also worked with Louth Meath Education and Training Board (LMETB) to train over 100 participants at its Drogheda facility, bringing more people up to speed with the technology.What3D printing trendsshould you watch out for in 2025?How is thefuture of 3D printingshaping up?To stay up to date with the latest 3D printing news, dont forget to subscribe to the 3D Printing Industry newsletter or follow us on Twitter, or like our page on Facebook.While youre here, why not subscribe to our Youtube channel? Featuring discussion, debriefs, video shorts, and webinar replays.Featured image shows 3D printed walls can be built with a team of as little as 2 or 3 operators. Photo via CyBe Construction.

INFONAVIT (The National Housing Fund for Workers Institute) is the state agency behind almost one-third of Mexico Citys workers housing. The group was founded in 1972 and, today, many of its early works suffer from a lack of maintenance and government neglect. INFONAVITrecently organized a competition to revitalize four original multifamily housing complexes by INFONAVIT: Iztacalco, Santa Fe, Culhuacn El Rosario, and Ignacio Chvez. AMASA Estudio, a Mexico City office founded by Andrea Lpez and Agustn Pereyra, won the multi-project commission. The firm recently completed a project at the Iztacalco Complex, the state agencys first, completed in 1972. The local office repaired a 13,000-square-foot semi-sphere, converting it into a usable shared space for the community. This project exemplifies the transformative potential of public investment in Mexico Citys housing complexes, AMASA Estudio shared. Thoughtfully designed interventions, rooted in resource efficiency and strategic planning, can revitalize common areasturning them into spaces for gathering, recreation, learning, and community engagement.The architects added color and structurally reinforced a 13,000-square-foot semi-sphere. (Zaickz Moz/Courtesy AMASA Estudio)Splash of ColorCumulatively, AMASA Estudio has developed four individual, tailor-made proposals for each of the four complexes. This started with in-depth site analysis, culminating in an innovative organization strategy between the architects, construction team, INFONAVIT, the Social Prosecutors Office, local government groups, and the residents committees. The Iztacalco Complex was damaged during the major 1979 earthquake that rocked Mexico City, leaving its central element, a semi-sphere, unfinished. AMASA Estudio worked on a proposal to revamp the central common area of the housing complex, where the 40-foot semi-sphere is located.The corrugated metal offers refuge from the sweltering heat. (Andres Cedillo/Courtesy AMASA Estudio)The renovation will wash the circular structures gray concrete with color, featuring pigmented concrete in warm tones, complemented by turquoise-green steel supported by corrugated metal panels in a dynamic, polychromatic finish. Structural reinforcements were added at the column bases of the steel joints to support the semi-spheres enclosure, consisting of a suspended, inclined roof system formed by a steel grid and lightweight metal sheets. These elements were secured with tensile steel cables.In addition to work on the semi-sphere, the project also brought new playground equipment to the housing complex. Also realized in chromatic shades were bars ideal for climbing and strength training.The architects also designed new playground spaces. (Zaickz Moz/Courtesy AMASA Estudio)These improvements provide residents with opportunities for exercise and neighborhood interaction, fostering a sense of belonging and social cohesion, AMASA Estudio continued. Ultimately, this project demonstrates that large budgets are not always necessarywhat matters most is a well-planned, well-managed, and well-designed public investment strategy that breathes new life into communal spaces and strengthens the social fabric of Mexico Citys housing communities.Other recent projects backed by INFONAVITinclude, a 9-acre Housing Laboratory project in Hidalgo that realized 32 prototype homes.

Stantec announced today it has signed a definitive purchase agreement to acquire Page, the 1,400-person firm headquartered in Washington, D.C. with offices in 20 cities around the world. The agreement positions Stantec as the second largest architecture office in the U.S. after Gensler.With this agreement, Stantecs overall U.S. employee headcount is approximately 13,500 people, expanding Stantecs U.S. Buildings practice by 35 percent. The maneuver is part of Stantecs 20242026 Strategic Plan, which outlined fast growing segments and regions where the corporation wants to grow. The agreement with Page essentially doubles Stantecs presence in Texas.The agreement, Stantec said in a statement, deepens its expertise and resources in key growth areas such as advanced manufacturing, data centers, and healthcare, while adding new capabilities in cleanroom design and fabrication facilities, and also mission critical, academic, civic, cultural, aviation, science and technology, and commercial sectors.Page is a respected architecture and engineering firm with shared values and a commitment to design excellence and innovation, said Gord Johnston, Stantec president and CEO. This acquisition will greatly support our strategic market growth in our Buildings business while enabling us to leverage our expanded platform to better serve our North American clients and grow our worldwide market presence. Page was founded in 1898 in Texas. While presently based in the nations capital, it has offices in Mexico City, Houston, Austin, Dallas, Denver, New York City, Boston, Atlanta, San Francisco, and other cities. Both Page and Stantec have a history of successful collaboration.Previously, Stantec and Page collaborated on the Brian D. Jellison Outpatient Cancer Pavilion and Outpatient Cancer Center Institute for Sarasota Memorial Health Care System in Sarasota, Florida.Together, we will support our clients with expanded reach, greater expertise, and deeper resources. Our strategic plans were to achieve domestic primacy and global influence for our team, joining Stantec positions us to accelerate these plans, added Thomas McCarthy, Page CEO. We are delighted to be joining Stantec and elevating the capabilities of our talented team.Now that the agreement has been signed, the acquisition is expected to close upon receipt of required regulatory approvals, Stantec said. The acquisition is funded, Stantec continued, through existing funds and credit facilities.The terms of the transaction were not disclosed.

The Dreamers (2019), acrylic on canvas, 230 x 360 centimeters. All images Marc Padeu, courtesy of Larkin Durey, London, shared with permissionDrawing on Religious Renaissance Art, Marc Padeus Paintings Monumentalize the QuotidianApril 3, 2025ArtKate MothesForegrounding vibrant patterns, swathed in bright fabrics, and illuminated by the sun, the figures in Cameroonian artist Marc Padeus paintings are imbued with beguiling gravitas. His large-scale works stem from a fascination with the power of narrative, connecting the Western art historical canonespecially Renaissance titans like Caravaggiowith contemporary experiences of life in Cameroon.Padeu was trained by the church as a fresco painter. He draws on dramatic biblical stories to juxtapose momentous religious and spiritual accounts with quotidian moments that emphasize Black joy, leisure, family, and fraternity. Au baptme 2 (2024), acrylic on canvas, 200 x 300 centimetersThrough the immediacy of acrylic, Padeu renders figures in everyday yet memorable scenes, whether gathered outdoors to relax, witnessing a baptism, or solemnly coexisting amid vivid surroundings. Many of Padeus paintings take inspiration from Renaissance compositions, like La runion syndicale, which bears hints of da Vincis The Last Supper (1495-1498) or Caravaggios The Supper at Emmaus (1601). Portrayed nearly life-size, the artists tableaux immerse us in rites of passage and moments of togetherness. Find more on the artists Instagram.La runion syndicale (2021), acrylic on canvas, 200 x 280 centimetersLa bague de Roxane (2023), acrylic on canvas, 200 x 280 centimetersAll the light on me (2021), acrylic on canvas, 200 x 338 centimetersLa Balanoire 2 (2025), acrylic on canvas, 200 x 230 centimetersAu pique-nique (2022), acrylic on canvas, 220 x 200 centimetersNext article

Thanks to cloud computing, organisations of all shapes and sizes have benefitted from the flexibility of IT capacity without the cost and challenges of maintaining their own infrastructure. Hyperscale public cloud providers and SaaS tools to help with a vast array of business processes have been a particular boon for small and fast-growing organisations, helping them spin up the kind of IT resource that just a few decades ago would have taken many months and significant financial cost to build and maintain themselves.Using cloud computing effectively and safely, however, requires care. One of the big draws of cloud services, is the ability to scale resources up and down as needed. Maybe theres a project starting for a few months that will require some data processing and analysis, or there are seasonal demands for services which need additional resource. The cloud allows businesses to meet these needs without having to pay to keep that spare capacity around. But the benefits of only paying for whats needed are only possible if the business keeps on top of where their data is stored, and in what tier rather than falling into the trap of setting and forgetting.The same applies for securing this data. Under most public cloud provider contracts there is a joint responsibility between the cloud provider and the customer for the security and availability of the stored data. This can vary widely depending on the type of service that has been procured, so it is important for all organisations to think carefully about which data is best stored where, and at what security level.In practice this is easier said than done. Not every organisation has the technical knowledge in place to keep on top of configuring and managing their cloud services no matter how critical they might be to keeping the organisation running. Other may think they have security through obscurity being just one of many millions of public cloud customers or because theyve not experienced an attack yet, as nave as that may be.Organisations may also be unclear on the details of the contracts theyve signed they are still legally responsible for the security of their own data, wherever its stored. Public cloud providers may act to quarantine affected encryption keys if a breach is discovered, but if public cloud credentials are compromised and data is held for ransom, theres little providers are legally responsible for.Recent attacks on cloud storage instances underscore the importance of getting this right. One cyber crime group dubbed Codefinger, for example, have attacked at least two victims by stealing AWS customer account credentials and using the built-in encryption to lockdown their data. This is made possible by the fact that many companies arent regularly monitoring and auditing the encryption keys they have in place, revoking permissions for those that are no longer required.There are also duplication and visibility challenges, with over half (53%) of organisations still having five or more key management systems in place, according to the 2024 Thales Data Threat Report. Encryption key management needs to be taken as seriously as all the other cybersecurity measures an organisation has in place.Luckily, effective practices around the generation, storage and use of encryption keys have been clearly defined for some time. The strength of the keys chosen, for example, needs to align with the sensitivity of the data. Some applications may benefit from the use of RSA key pairs, so that third parties can authenticate with a public key, while the data remains encrypted with a private key.Maintaining a separation of duties is also advisable, so that those creating and managing the keys do not also have access to the protected data. Dividing responsibilities in this way reduces the risk of a successful attack via social engineering or credential compromise, which could then give threat actors full administrative access. Tracking and coordinating the use of encryption keys is also easier if they are stored in a secure vault with specific permissions, or if a Hardware Security Module (HSM) is used to store the master keys. Its a good idea to limit the amount of data that can be encrypted with a single key, as well as to mandate a crypto period for every key so that newly encrypted data can only be accessed with the new key version.Read more about cloud securityGoogle's acquisition of Wiz for $32 billion highlights the importance of cloud-native security as organisations transition to microservices and containerisation.In this guide, IT security and industry experts share their top recommendations for protecting public cloud deployments.Cloud migration can seem daunting to security teams. Following these essential practices can help them move infrastructure and applications to the cloud safely and securely.When you consider that an organisation may have millions of keys and operations taking place that need managing across multiple environments and for structured and unstructured data alike, having a centralised system is the best way to apply these practices consistently and rigorously. There are also increasing numbers of regulations and standards around the world that mandate strict control over encryption keys so these practices are no longer just a nice to have, they are in fact the table stakes for doing business.The value of having IT resources available anytime, anywhere via the cloud has been immeasurable for modern business, but in the race to take advantage of these services, businesses must not forget that the legal liability for the security of their data remains with them.Rob Elliss is EMEA vice president, data and application security at Thales.