Back in 2012, John Moffat shared insights into DNEGs visual effects for Snow White and the Huntsman. Since then, he has overseen the visual effects on a wide range of shows, including Life, The 15:17 to Paris, Wonder Woman 1984, and Secret Invasion.Since starting her visual effects career at Tippett Studio in 2003, Aharon Bourland has been involved in the creation of visual effects for various films such as After Earth, Avengers: Infinity War, Ghostbusters: Afterlife, and The Matrix Resurrections.How was the collaboration with Director Kelly Marcel?John Moffatt // Kelly and I got on really well from the start of the show. Kelly is super talented, clear about her direction. She is also really collaborative and happy to listen to ideas and suggestions for how something may work. Through all of the stages of the movies production we discussed ideas, reviewed concept material, and iterated on shots and assets. I really love working with Kelly.AharonBourland // Working with Kelly Marcel was such a creative and open experience. She really encouraged us to bring depth to the characters. With her background in writing, her focus was always on the story and how our characters could really add to it. One of my favorite examples is how she encouraged me to keep building up the character of Lasher. She started out as a small role, but by the end, she became one of the most memorable parts of the film!John, what fresh ideas did you bring to the Venom world, and Aharon, how did you help integrate those with the established visual style from your past experience?John Moffatt // Im not sure that there are many fresh ideas, I think most good ideas are simple and its about how we as a group implement those ideas. One of things that we had to do on this movie was see Venom in the daylight. Something that had not been done in the previous two movies. I was very keen to test that early on the production and we did that with a good degree of success. Venom has not really got any Diffuse component he is pretty much all spec and reflection so it was an exercise that required a fair bit of iteration before we landed on something that we all liked. In terms of ideas, and keeping things simple I try to have clarity with the Director in terms of what they want and then look to give them as much time as possible to evolve the work as we move through the production.Aharon, John Moffatt joins you as VFX supervisor on this one. How did you integrate his contributions with the established visual style from your past experience?AharonBourland // John and I have a long history of working together, and our skills really complement each other. He comes from a compositing background and has an incredible eye for color and composition, while I lean more toward animation and FX. We each brought our strengths to the table to take Venom to the next level for this film.How did you organize the work between you two and with your VFX Producer?John Moffatt // I brought on Aharon Bourland as I think she is a fantastic talent and I love working with her. David Lee was our DNEG Supe and we also worked with Paul Franklin as we have known each other for a long time. At ILM, Simone Coco headed up the team. Greg Baxter was our Production side Producer.AharonBourland // We divided up the VFX work by vendor. I was responsible for ILM, Digital Domain (DD), and Instinctual, while John handled DNEG and Territory Studio. After I came on, I also took care of the Post Vis with The Third Floor. Greg Baxter was our Producer across all the vendors, and Mickael Bec Velazquez worked alongside him as his Associate Producer. It was a smooth system that helped keep everything running efficiently!What is the your role on set and how do you work with other departments?John Moffatt // I enjoy being on set working with the team. My role is to try and be part of the team and shoot the best possible material for the movie. With a specific eye towards how will the material we are shooting work for vfx.AharonBourland // Before the actual shoot, we collaborate with all the departments to figure out what elements will be shot and what well need to cover. On set, our main job is working with the directorsKelly Marcel for the main unit and Brian Smrz for second unitto help everyone understand how the VFX will be integrated into the footage were shooting. It can get pretty complex, especially when were dealing with animated characters that dont exist in the real world. I often find myself acting out scenes on the day so people can better visualize whats going to happen. Sometimes, Ill do quick drawings over stills to help make things clearer. I also work closely with the camera team to make sure we capture enough clean plates and alternate angles, so we have everything we need to support the work as it evolves in post-production.How did you choose the various vendors and split the work amongst them?John Moffatt // We decided to use DNEG because they had a history with the other two movies, I also worked there for almost two decades and had a good relationship. We chose to work with ILM because they are fantastic and we also had a great relationship with some of the key folk in the team they put forward for the job. We worked with Rodeo FX, because I had worked with them before and they had been great partners and we also worked with DD.We decided to put the entire third act with one vendor and the rest with another but as things developed as the work changed shape during production. Basically ILM did the River and the Third Act, DNEG did most of the rest of it, Rodeo did the Beach Flashback and DD did the Knull work.AharonBourland // We chose to work with DNEG because they had a solid history with the previous two movies, and me and john had work there for many years, so we had a great relationships built on.ILM was an easy choice because theyre fantastic, and we also had strong connections with some of the key people on their team for this project. We worked with Rodeo because john had partnered with them before, and they were great to work with, and we also collaborated with DD.How has the visual representation of Venom evolved across the three films in the saga? What new techniques were used in the latest chapter?John Moffatt // We wanted to give Venom the ability to give as emotional performance as possible, so we developed new face shapes for him. We tweaked the shape of Wraith Venoms head to make it less flat across the top. But really the main evolution was in the daylight look dev.AharonBourland // The look of Venom really evolved naturally over the three films. The first movie was kind of like a prototypewe were figuring out the basic forms, like the slug, wraith, and full symbiote. Since the whole movie took place at night, we mostly focused on how his skin reflected light. In the second movie, we focused more on refining Venoms animation and performance. A lot of the breakthroughs were actually with Carnage and how we used procedural animation to have him grow and even envelope a church.For the third and final chapter, we added a lot more detail to Venoms shading, especially so he would look better in daylight. We also had to upgrade the face animation system so Venom could express a wider range of emotions, which was really important for showing his relationship with Eddie. Plus, Venom got to take on some new forms in this moviehe became a fish, a frog, and even a horse! But even with these new looks, we made sure each one still felt like Venom. And we took everything we learned from the procedural animation and geometry generation from the big merge fight in the first film and Carnages transformations in the second film to create the massive final form, the Venomphage, which was a mix of Venom and five Xenophages.How did you ensure that each symbiote in this film had a unique visual identity, from their colors to the way they interact with the environment?AharonBourland // Each symbiote started with research into their comic book versions, and from there, we evolved those into hero versions that fit the story. It was really important that each symbiote had a unique set of abilities that complemented the others and helped move the story forward. For example, Lavas red and yellow fire whip worked well with the tendril cage that Animal/Tendril used to restrain the Xenophage. Dr. Paynes symbiote was also tied thematically to her character. Her life was changed by a lightning bolt, and when she bonded with the symbiote, it gave her lightning-like abilities, bringing her story full circle.What challenges did you face in portraying the complex relationship between Venom and Eddie Brock, visually speaking, in this third film?John Moffatt // I had a good relationship with Tom (Hardy) and we discussed how he wanted to do things, Kelly and Tom are really close and so we let Toms performance drive how we animated Venom. Tom is really good at keeping his eyeline alive and that constant vibrancy that he brings gave the animators great material to work with.How did the design and animation of the symbiotes interactions with their hosts evolve in this chapter compared to previous films?AharonBourland // The rules from the first two movies mostly stayed the same, but we did loosen one rule a bit: the symbiotes could bond with their hosts more easily this time around. The big advancement was in the design of the symbiote army that helped Venom in the final battle. Each symbiote had its own unique abilities, which really influenced how they behaved and how the fight was choreographed. For example, Jim (the copper-brown symbiote) was a bruiser with powerful punching fists, while Lasher (the green-red symbiote) was quick and a slashing attacker. As a team, each symbiote played a key role in the fight. We also introduced something new by having two of the symbiotes combine to create a hybrid with new powers. We did this with Animal and Tendril, and it really added another layer to the action!Venoms abilities have grown and evolved over the trilogy. What new effects or abilities did you introduce for Venom in this film that were particularly challenging or exciting to create?AharonBourland // Having venom bond with multiple different animals was the big addition to this film.In creating the Xenophage, what were the key design elements that made it a terrifying new creature? How did you approach its movement and texture?John Moffatt // We had a design that Kelly loved when I joined the show. Karl Lindberg had done a concept and DNEG had done some evolution of it and created a really solid concept version of the asset. We commisioned a movment study very early in prep and Chris Lentz and Chas Jarret at DNEG created a sequence that people at the Studio and on the Production got really excited about. Once we had a clear direction in terms of how it was going to move and behave we moved the asset back into build and created a movie quality asset based on the coneot version that was used for the movement study. The movement was actually all in black and white. So we also developed the lookdev of the creature as we refined the asset but Kelly had a very clear idea of how she wanted it to look.The Xenophage has a very distinct and menacing presence. How did you integrate practical effects with CGI to make it feel as realistic and frightening as possible?John Moffatt // As I mentioned at the outset most good ideas are simple. So we looked at all of the moments in the script when she was going to be in the scene and worked with SFX to create interactive effects that would enhance the creatures on screen presence. Often we will shoot with and without specific preactical effects in the event that things change in post and plates that have been shot with specific purpose in prep and shoot change and end up being used differently in post.AharonBourland // Whenever we could, we used practical SFX for the Xenophages interactions with the environment. This included real explosions, ratchet pulls on set pieces, and even flipping CanAms. Since we filmed so many practical effects, we had tons of great reference to use when we needed to recreate or enhance them with CGI. Another advantage of having these practical elements and stunt work was that it allowed us to choreograph the shots like we would for an action sequence. This really gave the action a grounded, realistic feel and helped make the Xenophages even more menacing.Can you walk us through the process of creating the battle sequences between Venom, the new symbiotes and the Xeonphages? What were the biggest technical hurdles?AharonBourland // Creating the battle sequences was a long, evolving process. It all started with previs, where we worked out the general outline of the action with Kelly and Brian. Once we had a rough idea, we moved into stunt rehearsals. The major story points stayed the same, but the specifics of how the action flowed were worked out on the actual location with stunt performers. This was really important because the physical realities of the location and what real performers can do dont always match up with previs. After that, we shot stunt viz for all the key action moments.Then we moved into principal photography, which closely followed the stunt viz, though we made some minor adjustments based on how things were playing out on the day. We shot clean plates and alternate angles to cover any changes that might come up in post-production. There was a good amount of restructuring done during post, but we managed to pull it off by using a mix of plates and full CG shots. The biggest technical challenge was choreographing all the multi-character fight beats. These had to be hand-animated to make sure they didnt just feel like actors in rubber suits. Simone Coco and his team did an amazing job bringing life and character to those fight moments.Can you elaborate on the collaboration between the VFX team and the stunt coordinators for the various battle scenes?John Moffatt // As with Practical SFX we worked closely with the Stunt team. Stunts often produce Stunt Viz during Prep which serves as a great guid for action beats in the movie. Jim Churchman and Jake Tomuri were a joy to work with and we had a good relationship. For me and I think most folk who do this job its about choosing the best approach for each shot, or sometimes elements within a shot. So for example, if the Stunt team can do a practical wire gag and the effect can be in camera, well do that. We will then be on hand to remove the rigs or padding, but ultimately it results in a better on screen reality. Its all a conversation geared towards creating the best finished result.How did you approach the scenes where Venom and the symbiotes morph and transform in real-time during action sequences?AharonBourland // Our approach to the transformations was to keep them feeling natural and organic within the action, rather than drawing too much attention to them. We didnt want the transformations to feel like a separate momentthey should just flow with the action. On the technical side, we created a toolkit of ingredients that we could remix to achieve different styles of transformations. This involved using layers of procedurally generated geometry in Houdini, which gave us the flexibility to create the various morphs as they happened in real-time.In terms of lighting and color, how did you differentiate Venoms darker, grittier tone from the other symbiotes and the Xenophage, especially in battle scenes?AharonBourland // Our overall lighting philosophy was to keep things as photographic and grounded as possible. We didnt want to over-light the characters just for claritysometimes, we let them fall into shadow or silhouette if thats what the plates called for. This helped give the fantastical characters a more real, tangible feel. It was important to avoid that cartoonish look, especially with all the brightly colored comic book characters running around. By keeping the lighting more natural, we made sure Venoms darker, grittier tone stood out, while also differentiating him from the other symbiotes and the Xenophage, especially during the intense battle scenes.What role did previs play in developing the visual effects for the large-scale symbiote battles?John Moffatt // We Previsd a lot of this movie. But as mentioned above things evolve during the post production stage of movies. During the actor and writers strike we worked on Previs for the battle sequence which we shot as soon as production resumed. Kelly had already written it so it wasnt affected by the strike but we wanted to hit the resumption of filming with a solid plan. So It played a big part.AharonBourland // Previs played a huge role in developing the VFX-heavy sequences. It helped us map out the complex action early on. But honestly, post-vis was just as essential, maybe even more so. We used post-vis extensively to work through notes that came up in editorial and to refine the scenes. This really helped give vendors a clear sense of direction once they began tackling the shots in detail.With the introduction of Knull, how did the team conceptualize and design him and his prison?AharonBourland // We went straight to the comic source material to bring Knull to life. Our goal was to make him feel like he stepped right out of the comics, with just a few tweaks to his eyes and mouth to help with expression and clarity of speech. We wanted fans to feel like this was the Knull they knew, just in cinematic form. His prison, though, gave us more room for interpretation. We drew a lot from The King In Black series and then evolved those visuals using techniques wed developed for Venoms goo in the previous films. This approach helped integrate Knulls world into Venoms cinematic language and really cemented their connection.Were there any unexpected technical or creative challenges encountered during the production?John Moffatt // Not really I think that we have all learned that story evolves as production does and Visual effects role is to facilitate that. Id be more surprised these days if things were not challenging or unexpected.AharonBourland // There were definitely some unexpected challengeswhat would filmmaking be without them? Most were creative changes, but we had a big technical surprise with the river tank. Since it was heated, it produced a massive, unexpected amount of steam, which we then had to clean up in post. Another interesting challenge was designing the green symbiote that bonds with Mulligan. Kelly had a unique vision for himshe wanted a snake-like, semi-transparent water god look. Dave Lee and his team at DNEG did a fantastic job bringing that vision to life. Challenges like these are just part of the process, and honestly, theyre what make it all so interesting.Looking back on the project, what aspects of the visual effects are you most proud of?John Moffatt // I like the Wraith Venom performance in the desert and during the third act when Eddie and Venom decide to make the ultimate sacrifice.AharonBourland // When I look back on the project, there are two things Im especially proud of. First, the work that ILM did on the river tank is just amazing. They extended the tank seamlessly, both above and below water, in a way that really helped expand the world of the movie. The second thing is the Venomphage. Animating six characters at once, while making sure they performed a heartfelt goodbye, was a huge challenge. On top of that, we had to layer in fluid effects to simulate the burning acid that Venom uses to sacrifice himselfit was complex but really rewarding.How long have you worked on this show?John Moffatt // 22 months.AharonBourland // I was on the show for about a yearWhats the VFX shots count?John Moffatt // 1285.What is your next project?John Moffatt // Walking my dog.AharonBourland // Right now, Im working on a few things, but Id love to take on a Swamp Thing movie at some point. Though, Im probably going to take a bit of a break and recharge.A big thanks for your time.WANT TO KNOW MORE?Digital Domain: Dedicated page about Venom: The Last Dance on Digital Domain website.DNEG: Dedicated page about Venom: The Last Dance on DNEG website.ILM: Dedicated page about Venom: The Last Dance on ILM website.Rodeo FX: Dedicated page about Venom: The Last Dance on Rodeo FX website. Vincent Frei The Art of VFX 2024

SimulonIn this new Field Guide to Generative AI, fxguides Mike Seymour, working with NVIDIA, unpacks the impact of generative AI on the media and entertainment industries, offering practical applications, ethical considerations, and a roadmap for the future.The field guide draws on interviews with experts atPlus, expertise from visual effects researchers at Wt FX & Pixar.This comprehensive guide is a valuable resource for creatives, technologists, and producers looking to harness the transformative power of AI in a respectful and appropriate fashion.Generative AI in Media and Entertainment, a New Creative Era: Field GuideClick here to download the field guide (free).Generative AI has become one of the most transformative technologies in media and entertainment, offering tools that dont merely enhance workflows but fundamentally change how creative professionals approach their craft. This class of AI, capable of creating entirely new content from images and videos to scripts and 3D assetsrepresents a paradigm shift in storytelling and production.As the field guide notes, this revolution stems from the nexus of new machine learning approaches, foundational models, and advanced NVIDIA accelerated computing, all combined with impressive advances in neural networks and data science.NVIDIAFrom enhancement AI to creation GenAIWhile traditional AI, such as Pixars machine learning denoiser in RenderMan, has been used to optimize production pipelines, generative AI takes a step further by creating original outputs. Dylan Sisson of Pixar notes that their denoiser has transformed our entire production pipeline and was first used on Toy Story 4, touching every pixel you see in our films.However, generative AIs ability to infer new results from vast data sets opens doors to new innovations, building and expanding peoples empathy and skills. Naturally it also has raised concerns, about artists rights, providence of training data and possible job losses as production pipelines incorporate this new technology. The challenge is to ethically incorporate these new technologies and the field guide aims to show companies that have been doing just that.RunwayBreakthrough applicationsGenerative models, including GANs (Generative Adversarial Networks), diffusion-based approaches, and transformers, underpin these advancements in generative AI. These technologies are not well understood by many producers and clients, yet companies that dont explore how to use them could well be at an enormous disadvantage.Generative AI tools like Runway Gen-3 are redefining how cinematic videos are created, offering functionalities such as text-to-video and image-to-video generation with advanced camera controls. From the beginning, we built Gen-3 with the idea of embedding knowledge of those words in the way the model was trained, explains Cristbal Valenzuela, CEO of Runway. This allows directors and artists to guide outputs with industry-specific terms like 50mm lens or tracking shot.Similarly, Adobe Firefly integrates generative AI across its ecosystem, allowing users to tell Photoshop what they want and having it comply through generative fill capabilities. Fireflys ethical training practices ensure that it only uses datasets that are licensed or within legal frameworks, guaranteeing safety for commercial use.New companies like Simulon are also leveraging generative AI to streamline 3D integration and visual effects workflows. According to Simulon co-founder Divesh Naidoo, Were solving a fragmented, multi-skill/multi-tool workflow that is currently very painful, with a steep learning curve, and streamlining it into one cohesive experience. By reducing hours of work to minutes, Simulon allows for rapid integration of CGI into handheld mobile footage, enhancing creative agility for smaller teams.BriaEthical frameworks and creative controlThe rapid adoption of generative AI has raised critical concerns around ethics, intellectual property, and creative control. The industry has made strides in addressing these issues. Adobe Firefly and Getty Images stand out for their transparent practices. Rather than ask if one has the rights to use a GenAI image, the better question is, can I use these images commercially, and what level of legal protection are you offering me if I do? asks Gettys Grant Frarhall. Getty provides full legal indemnification for its customers, ensuring ethical use of its proprietary training sets.Synthesia, which creates AI-driven video presenters, has similarly embedded an ethical AI framework into its operations, adhering to the ISO Standard 42001. Co-founder Alexandru Voica emphasizes, We use generative AI to create these avatars the diffusion model adjusts the avatars performance, the facial movements, the lip sync, and eyebrowseverything to do with the face muscles. This balance of automation and user control ensures that artists remain at the center of the creative process.Wonder StudiosTraining data and provenanceThe quality and source of training data remain pivotal. As noted in the field guide, It can sometimes be wrongly assumed that in every instance, more data is goodany data, just more of it. Actually, there is a real skill in curating training data. Companies like NVIDIA and Adobe use carefully curated datasets to mitigate bias and ensure accurate results. For instance, NVIDIAs Omniverse Replicator generates synthetic data to simulate real-world environments, offering physically accurate 3D objects with accurate physical properties for training AI systems, and it fully trained appropriately.This attention to data provenance extends to protecting artists rights. Getty Images compensates contributors whose work is included in training sets, ensuring ethical collaboration between creators and AI developers.BriaExpanding possibilitiesGenerative AI is not a one-button-press solution but a dynamic toolset that empowers artists to innovate while retaining creative control. As highlighted in the guide, Empathy cannot be replaced; knowing and understanding the zeitgeist or navigating the subtle cultural and social dynamics of our times cannot be gathered from just training data. These things come from people.However, when used responsibly, generative AI accelerates production timelines, democratizes access to high-quality tools, and inspires new artistic directions. Tools like Wonder Studio automate animation workflows while preserving user control, and platforms like Shutterstocks 3D asset generators provide adaptive, ethically trained models for creative professionals.Adobe FireflyThe future of generative AIThe industry is just beginning to explore the full potential of generative AI. Companies like NVIDIA are leading the charge with solutions like the Avatar Cloud Engine (ACE), which integrates tools for real-time digital human generation. At the heart of ACE is a set of orchestrated NIM Microservices that work together, explains Simon Yuen, NVIDIAs Senior Director of Digital Human Technology. These tools enable the creation of lifelike avatars and interactive characters that can transform entertainment, education, and beyond.As generative AI continues to evolve, it offers immense promise for creators while raising essential questions about ethics and rights. With careful integration and a commitment to transparency, the technology has the potential to redefine the boundaries of creativity in media and entertainment.

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Eplus3D, a metal additive manufacturing company, has partnered with German bicycle manufacturer Mve to develop the Mve Avian, an e-bike with a titanium frame built using 3D printed lugs in a monocoque structure. Using the large-format EP-M650 printer, this project achieved full battery integration within the frame, addressing complex design and production challenges through additive manufacturing (AM) and setting a new precedent for the bicycle industry.Mve, founded in Thuringia, Germany, in 1897, faced substantial obstacles in developing a titanium frame with high performance and cost efficiency. Conventional methods, including hydroforming, required specialized tooling and could not meet Mves low-tolerance specifications. Eplus3Ds EP-M650 printer, which employs Metal Powder Bed Fusion (MPBF) technology, was integral in developing custom titanium lugs and connectors without extensive tooling. The machines large-format capabilities allowed Mve to eliminate costly tooling and reduce the projects timeline by an estimated six months.The Mve Avian e-bike features a 3D-printed titanium frame developed through the partnership with Eplus3D. Photo via Eplus3D.Enis Jost, Deputy General Manager at Eplus3D, explained the significance of this approach: The cost structure is mainly determined by the uptime of the system, the maturity of the processing parameters used, and the printing speed associated with these. Since only a few grams of material are used to create the lugs, and with the increased system productivity Eplus3Ds machines provide, the raw material cost is of less effect in this case.One of the primary challenges in using titanium for 3D printing is the need for support structures, which add material costs and complicate post-processing. Eplus3D minimized the support material for each part by fine-tuning print parameters, reducing post-production time and material waste. Mve then assembled the titanium lugs using an adhesive process, avoiding welding and maintaining structural integrity while keeping the Mve Avians frame weight at 11.8 kg.The modular structure of the Mve Avians titanium frame. Photo via Eplus3D.Surface treatment posed additional technical challenges. Mve applied abrasive blasting to achieve a uniform matte finish without altering the materials strength, a choice that aligns with Mves functional and aesthetic design goals. According to the original project goals, Metal Powder Bed Fusion (MPBF) technology combined with high-strength Ti6Al4V titanium alloy was identified as the only way to meet the design, performance, and cost requirements.As Jost observed, The potential of AM in the bicycle industry can be fully explored when traditional manufacturers start to design for process and user customization, similar to other emotionally connected devices such as cars and motorcycles. By replacing traditional tooling with additive manufacturing, Mve has achieved both a durable and environmentally sustainable product.A detailed view of the Mve Avian e-bikes components. Photo via Eplus3D.Innovations in 3D Printing for Bicycle ManufacturingThe Eplus3D-Mve project is part of an industry shift toward additive manufacturing in bicycle production. INTENSE Cycles, collaborating with TRUMPF and Elementum 3D, recently redesigned the M1 downhill bikes backbone using a 3D-printed aluminum alloy with internal ribbing to improve the suspension. This configuration, created from A6061-RAM2 aluminum alloy, allows for structural features that machining cannot achieve.Lehvoss Group has also partnered with Isoco Bikes to develop the Isoco X1 e-bike, which uses a 100% recyclable thermoplastic frame. By integrating injection-molded thermoplastics, Isoco reduced the frames carbon footprint by 68% compared to aluminum while maintaining durability. The material can be recycled and reused in new high-quality components, supporting sustainability.3D printed brake lever. Photo via TRUMPF.Your voice matters in the 2024 3D Printing Industry Awards. Vote Now!What will the future of 3D printing look like?Which recent trends are driving the 3D printing industry, as highlighted by experts?Subscribe to the 3D Printing Industry newsletter to stay updated with the latest news and insights.Stay connected with the latest in 3D printing by following us on Twitter and Facebook, and dont forget to subscribe to the 3D Printing Industry YouTube channel for more exclusive content.Featured image shows a detailed view of the Mve Avian e-bikes components. Photo via Eplus3D.

Ive been working as an indie VFX artist for three years now and learned everything myself online. Ive unfortunately never had the chance to work with another VFX artist yet and I know I have some gaps in my knowledge, despite doing my best to fill them in.Recently at work, weve been thinking of ways to help me set up my gym for better workflow. As it is, to playtest I need to either set up looping VFX I drop in my gym and iterate on, manually changing their status using Events and booleans, or I drop them into game scenes to do the same thing with the proper visuals surrounding the VFX.I can also swap out a given enemys VFX with the one Im working on and be able to iterate its behaviour as the enemy uses it. For projectiles, one of our programers has given me a basic script I can put on my vfx object that launches it and will call the proper events upon touching a collision surface.Mostly, I work on things fairly piecemeal and then adjust them all once the code comes in and lets them function. These days, there are rarely any problems, since Ive streamlined a lot of things.However, we all agree that this is a clunky way of working and are willing to put the energy into making a proper gym that would allow me to iterate far more fluidly and be able to present the proper behaviour of all my VFX as needed, without needing to wrestle with the game to try and get things to work.As an asside, I dont have any issues with the environmental VFX I create. The gym works just fine for them, since they dont have particularly complex behaviours and can be showcased easily. What I need help with is with VFX that are interactible, ex: pickups, projectiles, beams, traps, etc.Ive tried looking things up online, but I cant find anyone actually talking about their gym setups. It just brings up actual physical exercises or things relating to movie/tv VFX artists, which I am not. I want to know what people have access to! Does everyone need to interface awkwardly with their games, or are there entire gyms set up to be miniature microcosms of gameplay where iteration can be rapid? What do you have access to, if you do have some of these features? And is there anything else you consider should be part of a gym, even really basic knowledge? What can be expected of AAA gym setups versus smaller studios, or even setups individual artists have created on their own, for their own purposes?I would love answers to my questions, but I know wider answers will absolutely benefit others if they can find this page.So, what kind of features do you think a good VFX gym should have?

Outdoor Space | Clay Banks via UnsplashOutdoor design makes for a charming enhancement to any home, holding a special allure for city dwellers who crave the outdoors. Stepping out for fresh air and basking in the evening sun is almost a cherished ritual compared to busy workdays.As the seasons change, outdoor living captures everyones attention, with interests in manicured lawns, compact urban gardens, and elegant garden furniture soaring. Even amid bustling cities, people seek to connect with nature, driving the demand for designs that fulfill this desire. Here are some tips for creating an outdoor living space youll love.Design Inviting Seating SpacesComfortable seating is the cornerstone of any delightful outdoor area. A cozy seating arrangement can encourage more outdoor time. Invest in the highest quality outdoor furniture you can afford, featuring cushioned chairs, hammocks, or sectionals that complement the size and aesthetic of your space.Depending on the space you have, consider incorporating various seating options to support different activities. A small bistro set is ideal for outdoor dining, while a daybed or swing offers a serene, relaxing spot. Remember to include weather-resistant pillows in vibrant, cheerful colors to enhance comfort and visual charm.Outdoor Fire PitA firepit frequently becomes the heart of any outdoor area, fostering a welcoming environment. It offers warmth, charm, and a central spot for gatherings with loved ones. Select a firepit that matches your personal taste, be it a classic wood-burning model or a handy gas-powered version. Surround the firepit with cozy seating to promote discussion and leisure.Additionally, a firepit helps to ward off the cold during cooler nights. You can learn more about how a fire pit can enhance your landscaping and outdoor living space by researching online or consulting a professional.Add Abundant Greenery and BlossomsIf you havent yet developed a garden, introducing natural elements to your outdoor area is an excellent way to foster a joyful environment. Luxuriant plants, vibrant flowers, and rich greenery can rapidly change a plain patio or yard into a dynamic, inviting retreat. Opt for various plants to enhance your spaces texture, color, and depth.Vertical gardens or hanging planters offer a perfect solution for those with limited ground space. These options allow you to incorporate greenery even in compact balconies or small courtyards. Low-maintenance plants such as succulents, lavender, or ferns are ideal for individuals without much gardening experience, while an assortment of seasonal flowers can provide vibrant color throughout the year.Greenery | Sonnie Hiles via UnsplashGreenery | Jonathan Borba via UnsplashIntroduce the Aspect of LightWhether light emanates from a warmly glowing fireplace or thoughtfully positioned candles, lighting creates an atmosphere of warmth and romance in your outdoor setting. Blending different lighting sources transforms your outdoor living area into an enchanting space after sunset.Ensure the path to the house is well-lit with porch lights, and use task lighting for grilling spots and outdoor kitchens. Candlelight, wall-mounted downlights, and chandeliers offer a welcoming and relaxed ambiance for conversation zones and dining. Steps and pathways should also be lit for both safety and additional charm.Traditional string lights and solar lighting are simple, cost-effective ways to enhance the ambiance. Solar lights nestled in potted plants provide gentle illumination for seating areas, while string lights draped over taller trees and shrubs can quickly add a touch of romance. Any form of lighting will contribute to the ambiance, uplift the mood, and enrich the experience.Draw Inspiration from NatureDrawing inspiration from nature can significantly enhance the cohesive vibe of your outdoor living area. Consider creating a room near the pool, surrounded by lush greenery and an open layout to achieve an airy ambiance.Incorporating natural materials and earth-toned colors can help establish a Zen-like environment, instantly transporting you to a tranquil space as you step outside for a swim. When planning your renovation, the suns position is essential. For instance, if youre installing a TV screen, it might be wise to mount it on a wall that avoids direct sunlight. Consider the impact of wind on your design. Consulting with a professional designer and builder can provide valuable guidance in making these decisions.EndnoteAdd essential elements to enhance your outdoor living area into a peaceful, relaxing retreat. Consistently care for your outdoor spaces by cleaning the furniture, updating cushions, and nurturing plants. Modify the design and dcor with the changing seasons to keep the area welcoming throughout the year.Landscape ArchitectureTips Leave a comment

As Houston inches into the more comfortable space between summer and fall, I find myself at the Memorial Park running track to get a couple miles in. Breathless and sweaty, I walk over to Vibrant, the parks new health-conscious food option. Theres no better reward after a solid run than only having to walk 50 feet to fuel my coffee addiction. Designed by Schaum Architects as a second location for the original cafe in Montrose, this building is intentionally made to integrate seamlessly with the surrounding landscape. The pavilion features a gabled steel roof that boasts a 30-foot cantilever. (Leonid Furmansky)A vaulted ceiling ensures no columns interrupt the space below. (Leonid Furmansky)The most notable element of the cafe is the generous patio facing the park. This features a gabled steel roof that boasts a 30-foot cantilever. The structure resolves in a vaulted ceiling that ensures no columns interrupt the space below. As I walk along the building, I also notice that small squares push out of the brick to create a textured facade.Textured brickwork was applied to the building. (Leonid Furmansky)The interior is split into three bays by exposed beams: kitchen, serving counter, and seating area. (Leonid Furmansky)Inside, floor-to-ceiling glazing frames views of the park, and a color palette of white and light-toned wood complements the steel structure and window mullions. An operable glass wall connects the interior to the exterior, strengthening the seamless line to the park. This combination of color and glazing also allows the late summers pale-yellow sunlight to subtly transform the otherwise cold color scheme into a warm and inviting one. The interior is split into three bays by exposed beams: kitchen, serving counter, and seating area, with the kitchen housed within the larger brick mass at the front of the building. The second is thinner and hollows out inside to create an invisible separation between the serving and seating areas. As a testament to the intentional design, the patio even features benches instead of chairs with backs at the perimeter of the space to bring the nature in unobstructed.Pooja Desai is a writer and researcher at the Community Design Resource Center at the University of Houston.Project SpecificationsArchitect: Schaum ArchitectsLandscape architect: Nelson Byrd WoltzInterior design: Kelly Barnhart, Schaum ArchitectsStructural engineering: H2B EngineeringElectrical engineering: GK EngineersCivil engineering: GundaLighting design: G2LDGeneral contractor: TellepsenCladding: Resawn Timber, Acme, OrnamentaGlass: VitroWindows: KawneerDoors: NanaWallInterior finishes: La Nova TileLighting: Noguchi, Axis, Lithonia, Luminii, ArtemideFurniture: Herman Miller Eames, Vaarnii

The snazzy abode late PoMo kingpin John Portman used to call home in Sea Island, Georgia, is up for sale. For anyone with an extra $40 million lying around, Entelechy II can be yours. Just call Sothebys. The estate, Entelechy II, was finished in 1986 on the isle between Savannah, Georgia, and Jacksonville, Florida. It gets its name from a philosophical concept by Aristotle, Entelechy, or , that pertains to form giving and realizing potential.Vegetation adorns and is draped across much of the exterior. (Bartolotti Media)Portman himself was enthralled by the concept his entire life, or with having ones end within. He was also a self-described Emersonian, or student of Ralph Waldo Emerson. He worshipped Kant but also Tom Wolfe, namely the main protagonist in his 1998 book, A Man in Full, Eva Hagberg wrote in her review of Entelechy II for Wallpaper. Entelechy I was completed in 1964 in Atlanta also for Portman and his family. Entelechy II was built two decades later. The latter consists of a main residence, but also a private 3,400-square-foot guest cottage.Sothebys was sure to include the estates philosophical underpinnings in its description: Entelechy II transcends the conventional, standing as a harmonious interplay between architectural form and the natural grandeur of its oceanfront setting, Sothebys said in its ethereal sales pitch, stocked with references to the Enlightenment. It added, This is not merely a home; it is a sanctuary of enlightened living.A living space features stark white walls and decorative, rounded fireplace. (Bartolotti Media)A dining room with brick pavers and circular bench seating on its perimeter. (Bartolotti Media)The sellers further noted that Portmans genius is evident in the meticulous orchestration of space, light, and materiality. The international auction house added that the estates glass facade blurs the line between interior and exterior, opening up spaces throughout the house to views of the Atlantic Ocean.This sculpture, Mickey, was completed by Portman in 1986. (Bartolotti Media)Whether Entelechy II is what Aristotle had in mind when he put his pen to paper circa 300 BCE is anyones guess. Nevertheless, Entelechy II is stocked with original sculptures Portman made, including Dooleys Dance (1986), Mickey (1986), Reclining Figure (1986), Totem (1987). From a birds eye view, Entelechy IIs roof is square. But a mind boggling series of axes break up the volume into sinuous nooks and crannies, not unlike the plan for Entelechy I. Outside, vegetation masks much of the facade.An indoor-outdoor water feature. (Bartolotti Media)A cavernous exterior room with water on the ground proportionally recalls the Temple of Karnak. The pool area is where things really get bonkers, where a sculpture by Portman cantilevers out toward the Atlantic Ocean. It recalls the house by Myron Goldfinger where Leonardo DiCaprio and Jonah Hill slammed quaaludes in Scorseses The Wolf of Wall Street.In describing its relationship to Entelechy I, Sothebys shared: This aesthetic is reminiscent of his work on Entelechy I and II, where the synergy between the built environment and its context elevates the residence from mere habitation to an immersive, sensory experience.

Samuel D. Garey (1825-1891) was born in Auburn, Maine, and worked as a carriage manufacturer there before moving to Newton, Massachusetts to use his carpentry skills building houses in the rapidly developing Boston suburb. He became a prominent builder and developer in Newton Centre, residing there and building this mini-mansard house on Gibbs Street before 1870. Garey likely rented the house out to tenants for supplemental income, with the family maintaining the charming cottage into the 20th century.

Istanbul. All images courtesy of Hoxton Mini Press, shared with permissionSwing Through the Worlds Most Spectucular Artist-Designed PlaygroundsNovember 18, 2024BooksDesignGrace EbertDavid Hockney famously said that people tend to forget that play is serious, but for the artists and designers behind some of the worlds most visionary parks and museums, recreation has never been a trivial matter.A new book by Emmy Watts travels the globe to highlight more than 80 spectacular environments created purely to foster one of the most primal activities. Published by Hoxton Mini Press, The Art of Play is a vast compendium featuring a range of interactive, immersive, and conceptual spaces for both children and adults.Chongqing, ChinaIncluded is Mike Hewsons seemingly perilous design in Melbourne, which perches massive boulders attached to slides, monkey bars, and other equipment on tiny wheels fit for a skateboard (dont worry: theyre secured with rods). Others take inspiration from nature, including the colorful bubble architecture of an Istanbul playground and the fantastic characters at an all-ages park in Chongqing, China. Outfitted with typical equipment like sandboxes and tunnels, this space also has tables for checkers and exercise areas specifically geared toward older adults.Pick up a copy of The Art of Play for a dose of whimsy and perhaps to help plan your next family vacation.City Museum, St. LouisKunt Hora, CzechiaValenciaShanghaiMianyang, ChinaDoha, QatarMelbourneDalian, ChinaShenzhenNext article