The Indiana Jones movies may be over, but Indiana Jones and the Great Circle may have more than enough content to satisfy fans of the films. According to MachineGames, the upcoming title will have nearly four hours of cut scenes, which is almost the length of two Indiana Jones movies.MachineGames' creative director Axel Torvenius was a guest on the MinnMax YouTube channel, and he revealed that The Great Circle has "a lot" of cut scenes that when combined run "roughly three hours and 45 or 40 minutes or something along those lines." He added that it is "the biggest and longest game that MachineGames have ever done." Torvenius also indicated that the story of The Great Circle is largely unchanged from the outline that Bethesda director Todd Howard pitched to George Lucas in 2009, three years before Disney purchased Lucasfilm. Additionally, Torvenius stated that The Great Circle won't have instant fails during stealth missions, which is something that another game based on a Lucasfilm property, Star Wars Outlaws, only recently fixed with a new patch.Continue Reading at GameSpot

Ubisoft is reportedly working on an Animal Crossing-inspired game called Alterra. In the game, players will build their home on an island inhabited by NPCs called "Matterlings." Players can leave their home to discover new biomes, Matterlings, and materials out in broader environs.Insider Gaming first reported on Alterra's development. According to the report, the game will use voxels to generate its world. For the unfamiliar, voxel graphics display cubes on a grid, a la Minecraft. Alterra is also set to feature building and crafting mechanics, letting players construct items and locations out of materials they find out in the world. The report claims Alterra was developed from a cancelled project which also used voxel graphics.Insider Gaming claims they have seen images of Alterra's NPCs. The Matterlings are reported to resemble Funko Pops, i.e. cartoon figures with large heads, albeit in a voxel style. Some Matterlings resemble fictional creatures like dragons, others real-world animals like birds and polar bears.Continue Reading at GameSpot

Pokemon GO has announced that Necrozma and its fusions will return in a new Raid Day on December 14. This will be one of the first events of the next Pokemon GO season, giving players the chance to get some strong Pokemon that Niantic added this year.

Set in the hellish landscape of the eponymous Halls of Torment, players of Halls of Torment create characters and enter environments reminiscent of those in 90s RPGs. There, they must defeat opponents using a myriad of weapons and special abilities. Chief among those abilities is the various Blessings that improve a players performance.

With startup Zordi, founder Gilwoo Lees enthusiasm for robotics, healthy eating, better produce and sustainable farming has taken root.Lee hadnt even finished her Ph.D. in AI and robotics at the University of Washington when investors seeded her ambitious plans for autonomous agriculture. Since researcher-turned-entrepreneur Lee founded Zordi in 2020 with Casey Call, formerly head grower at vertical farming startup Plenty, the robotic grower of strawberries has landed its fruits in Wegmans and is now expanding with partner farms in New Jersey and California.The most rewarding part is that the fruits you get taste amazing, said Lee. Youre able to consistently do that throughout the cycle of the plant because you are constantly optimizing.The company has two types of robots within its hydroponic operations. One is a scouting robot for gathering information on the health of plants using foundational models. The other is a harvesting robot for delicately picking and placing fruits and handling other tasks.Zordi, whose engineering team is based outside Boston, has farms in southern New Jersey and western New York. The company uses NVIDIA GPUs in the cloud and on desktops for training everything from crop health models to those for fruit picking and assessing fruit quality.Lee aims to deploy autonomous greenhouse systems globally to support regional markets, cutting down on the carbon footprint for transportation as well as providing fresher, better-tasting fruits grown more sustainably.Having operated greenhouses in New York and New Jersey for two years, the company recently formed partnerships with greenhouse farms in New Jersey and California to meet growing demand.Zordi is bringing NVIDIA accelerated AI automation to indoor growing that in many ways is parallel to developments in manufacturing and fulfillment operations.Adopting Jetson for Sustainable Farming, Energy EfficiencyZordi is building AI models and robots to enable sustainable farming at scale. It uses NVIDIA Jetson AGX Orin modules for testing out gathering sensor data and running its models to recognize the health of plants, flowers and fruits, early pest and disease symptoms, and the needs for hydration and nutrition, as well as light and temperature management.Jetsons energy efficiency and the availability of low-cost, high performance cameras from NVIDIA partners are attractive attributes for Zordi, said Lee. The company runs several cameras on each of its robots to collect data.Jetson opens up a lot of lower-cost cameras, said Lee. It lets us play with different cameras and gives us better battery management.With its scouting and harvesting robots, Zordi also aims to address a big issue farms worldwide complain about: a labor shortage that affects operations, leaving fruits and vegetables sometimes unattended and unharvested altogether.Zordi is planning to scale up its growing operations to meet consumer demand. The company expects that it can do more with AI and robotic automation despite labor challenges.We want our harvesting robots to do more dexterous tasks, like pruning leaves, with the help of simulation, said Lee.Omniverse Isaac Sim and Digital Twins to Boost OperationsZordi is looking at how to boost its indoor growing operations with AI much like industrial manufacturers do, using Isaac Sim in Omniverse for simulations and digital twins to optimize operations.The companys software platform for viewing all the data collected from its robots sensors provides a live dashboard with a spatial map. It offers a real-time view of every plant in its facilities so that its easy to monitor the production remotely.Whats more, it analyzes plant health and makes optional crop care recommendations using foundational models so that inexperienced farm operators can manage farms like experts.Were literally one step away from putting this all into Isaac Sim and Omniverse, said Lee, whose Ph.D. dissertation covered reinforcement learning and sim-to-real.Zordi is working on gripping simulations for strawberries as well as for cucumbers and tomatoes to expand into other categories.With strawberries or any other crops, if you can handle them delicately, then it helps with longer shelf life, Lee said.Lee is optimistic that the simulations in Isaac Sim will not only boost Zordis performance in harvest, but also let it do other manipulation tasks in other scenarios.Big picture, Zordi aims to create a fully autonomous farming system that makes farming easy and profitable, with AI recommending sustainable crop-care decisions and robots doing the hard work.Whats really important for us is how do we automate this, and how do we have a thinking AI that is actually making decisions for the farm with a lot of automations, said Lee.

By JENNIFER CHAMPAGNEImages courtesy of 20th Century Studios, except where noted.The Alien franchise has always been about pushing boundaries. From Ridley Scotts original 1979 Alien to James Camerons Aliens in 1986, the series captivated audiences with its terrifying mix of storytelling and technical mastery. The practical magic of animatronics, puppetry and miniatures gave the extraterrestrial nightmare its unforgettable texture, creating a visceral experience that lingers in the minds of fans. Now, decades later, Alien: Romulus takes the franchise into a bold new era, merging those tactile roots with state-of-the-art digital techniques to craft a visual spectacle that feels both nostalgic and forward-thinking.Uruguayan filmmaker Fede lvarez, a self-proclaimed Alien superfan, helmed this latest chapter with a clear mission: to honor the franchises iconic feel through practical effects while leveraging the latest digital applications. What we wanted was the same visceral, real experience from the original films, lvarez explains. But we also wanted to embrace where technology is today. Its about respecting the legacy while pushing it forward. His commitment to practical effects was unwavering, bringing back veteran craftsmen from Aliens to oversee creature design and animatronics while seamlessly integrating cutting-edge CG. This hybrid approach sets a new benchmark for the franchise, balancing authenticity with innovation to deliver a fresh yet nostalgic cinematic experience.Legacy Effects Supervisor/Animatronic Puppeteer Shane Mahan at work. Alien: Romulus was filmed entirely in Budapest, Hungary, primarily at Origo Studios. (Image courtesy of Legacy Effects and 20th Century Studios)The team behind Romulus exemplifies the fusion of tradition and innovation. Alec Gillis, who supervised the chestburster effects with his team at Amalgamated Dynamics, Inc. (ADI), and Legacy Effects Supervisors Shane Mahan and Lindsay MacGowan, who oversaw the adult Xenomorphs, brought decades of expertise and passion to the project. Both teams, veterans of previous Alien films, approached the project as a homecoming a chance to revisit and evolve the iconic creatures they helped bring to life. The tools we have now let us do things we could only dream of back in the 80s, Gillis notes. But the goal was always to make it feel real to make it visceral.Matching [Director of Photography] Galo [Olivaress] lighting style was one of the most rewarding and demanding parts of the project. We had to ensure the digital creations didnt just blend into the live-action shots but felt like they were lit by the same haunting glow.Eric Barba, Production VFX SupervisorDespite its $80 million budget, Romulus boasts the visual scale and ambition of a much larger production. Filmed entirely in Budapest, Hungary, primarily at Origo Studios, the team maximized resources with state-of-the-art facilities and expert local crew. Their craftsmanship, enhanced by digital techniques, ensured the film retained its tangible, gritty texture while pushing the boundaries of whats possible in modern effects. This was further elevated by Galo Olivaress cinematography, which embraced rich contrasts and shadowy depth a visual palette that amplified the horror and suspense elements while integrating the palpable realism of the practical effects with the eerie atmosphere of the alien environments.Director Fede lvarez wanted the same visceral experience from the original Alien films, but he also wanted to embrace todays technology. (Image courtesy of Legacy Effects and 20th Century Studios. Photo: Murray Close).Production VFX Supervisor Eric Barba conveyed how Olivaress cinematography provided a nice and contrasty visual palette that amplified the horror and suspense elements of the film. The intricate use of backlighting and rich contrasts not only added depth to the alien environments but also created an oppressive sense of menace that underscored the films tone. However, Olivaress technique of working on the edge of exposure where shadows were allowed to fall presented unique challenges for the visual effects team. Matching Galos lighting style was one of the most rewarding and demanding parts of the project, Barba explains. We had to ensure the digital creations didnt just blend into the live-action shots but felt like they were lit by the same haunting glow. This attention to detail contributed to the films cohesive visual narrative, making the cinematography a central element of its atmospheric appeal.From left: Legacy Effects Supervisor/Animatronic Puppeteer Shane Mahan and director Fede lvarez. A lot of work went into maintaining a balance between practical and digital effects. (Image courtesy of Legacy Effects and 20th Century Studios)From a directors standpoint, lvarez doesnt favor storyboards carved in stone or excessive previs. I dont want to be locked into something too rigid before we start shooting, lvarez states. I like to leave room for creativity and discovery as we go. However, lvarez also recognizes that a film like Alien: Romulus with its intricate blend of practical and digital effects requires a well-organized previs process. The team still heavily relied on tools like 3ds Max for specific needs, particularly for lvarez to set up the camera and lighting angles. We did a lot of previs to ensure everything worked in the digital realm before we started shooting, Barba remarks. But the goal was always to keep that initial vision open to adjustments and surprises once we were on set.A tremendous amount of work went into keeping the balance of practical versus digital effects. What made [director] Fede [lvarez] really happy was that we didnt take that cheaper, faster way out. We embraced what he had shot.Daniel Macarin, Visual Effects Supervisor, Wt FXFor the VFX team, led by Barba, 3ds Max was invaluable for tasks like lvarezs camera placement. It was a crucial tool in helping them plan out specific effects sequences. The software allowed us to plan and explore shot compositions and digital environments before we ever set foot on set, Barba continues. It was like a virtual blueprint that guided the execution of practical effects and digital enhancements, ensuring everything would mesh seamlessly. While lvarezs preference for flexibility over rigid planning encouraged creative spontaneity on set, the teams meticulous previs work provided a strong technical framework that that guaranteed that even the most complex visual effects sequences were grounded and cohesive.Legacy Effects Shane Mahan and Lindsay MacGowan, both of whom contributed to Aliens, brought their expertise to the subadult and adult Xenomorphs. Alec Gillis returned to Romulus to supervise the chestburster effects with his team at Amalgamated Dynamics, Inc. (ADI). (Images courtesy of Legacy Effects and 20th Century Studios)The chestburster scene, one of the franchises most iconic moments, was reimagined in Romulus to showcase the fusion of old and new techniques. Gillis and his team began with digital sculpting in ZBrush, crafting an intricately detailed model that could be adjusted and refined before being 3D-printed at various scales. This allowed for a level of precision and efficiency that would have been unimaginable in earlier films. Once printed, the models were brought to life with animatronics, featuring translucent silicone skin, injected black fluids for shifting textures, and servo mechanisms for lifelike articulation. lvarez wanted the sequence to feel raw and unsettling, echoing the primal, slow-motion terror of a natural birth. Gilliss team delivered with a puppet that could drool, snarl and twist with terrifying authenticity, subtly enhanced by digital touches to perfect its movements.Modern 3D scanning techniques were used to refine the designs of Xenomorph while preserving the franchises signature bio-mechanical aesthetic.The shift from traditional clay sculpting to digital sculpting and 3D printing represents a pivotal evolution in the creation process for Romulus. We decided that we were going to do this not as a traditional clay sculpture but as a 3D digital sculpt, Gillis explains. Once we had that form, it allowed our mechanical department to start designing in 3D, ensuring everything aligned perfectly. The transistion from clay to digital not only helped to streamline production but also establish consistency between the large-scale and one-to-one models to smoothly integrate practical and digital. By moving away from clay, the team gained the ability to iterate quickly while maintaining the physical authenticity of the original Alien model.We knew that animatronics could give us the tactile realism we needed, but combining it with subtle digital enhancements gave the creature a fluidity that made it truly come alive.Lindsay MacGowan, Special Effects Supervisor, Legacy EffectsMiniatures played a central role in grounding the films massive set pieces. Producer Camille Balsamo-Gillis collaborated with New Deal Studios Co-founder Ian Hunter, a miniature effects veteran, to bring these elements to life. Using 3D scans and designs from Production Designer Naaman Marshall, the team built models that aligned with the films visual aesthetic. This level of precision allowed us to create miniatures that not only looked incredible but also matched perfectly with the digital environments, Balsamo-Gillis says. One of the most striking applications of their work was the Corbelin, a ship that evolved from initial 2D designs into a richly detailed 3D model that took on character in the process. The Corbelin and the Echo Probe were crafted to honor the original Alien production design while adding fresh elements unique to Romulus. A standout sequence involved the Corbelins dramatic crash into the Romulus, where the miniatures realism brought weight and texture to the scene. Once built, the miniatures were scanned, digitized and integrated into the film with the help of Wt FX and ILM. Other effects vendors on the film included Image Engine, Fin Design + Effects, Wt Workshop, Wylie Co., Metaphysic, Pro Machina, Atomic Arts and Tippett Studios.Wt FXs Daniel Macarin and his team used Maya, Houdini and proprietary applications to create fluid, organic movements for the CG creatures, making sure they felt as alive as their practical counterparts.The blend of practical and digital elements was central to the films identity. Barba, a veteran of TRON: Legacy and Terminator: Dark Fate, notes the importance of balance. Its not about replacing practical effects with digital ones, he explains. Its about enhancing whats already there and making sure everything feels cohesive. His team used Houdini and Maya to create environments and enhance creature movements, working closely with Wt FX and ILM. Wt FXs expertise in creature animation added a sense of organic fluidity to the aliens movements, while ILM contributed to the grander large-scale effects, including breathtaking space sequences and explosive action set pieces.Facehugger facelift. The shift from traditional clay sculpting to digital sculpting and 3D printing for Romulus Xenomorphs represents a pivotal evolution in the creature creation process for the franschise. (Photo: Murray Close)The integration of practical and digital effects extended to the work of Daniel Macarin, Visual Effects Supervisor at Wt FX, whose contributions were instrumental in bringing the Xenomorphs and offspring to life with the required dramatic level of realism. A tremendous amount of work went into keeping the balance of practical versus digital effects. What made Fede really happy was that we didnt take that cheaper, faster way out. We embraced what he had shot, Macarin states. Using Maya, Houdini and proprietary applications from Wt, Macarin and his team created fluid, organic movements for the CG creatures, making sure that every twitch and snarl felt as terrifyingly alive as their practical counterparts. Macarins team worked closely with the practical effects department, utilizing 3D scans of the animatronics to match textures and scale, and fully integrate the CG creatures into the live-action.A notable challenge arose when lvarez requested lighting effects in a highly practical set. Fede had an idea to make the cargo hold feel more alive by fluctuating all the lights, Macarin explains. This meant turning practical effects into digital recreations, which was enormous, but it elevated the scene. This adaptability, coupled with close collaboration with other departments, enabled Wts team to create immersive visuals that pushed the boundaries on Romulus.The Corbelin and Echo Probe ships were crafted to honor the original Alien production design while adding fresh elements unique to Romulus.The collaboration extended across disciplines, with every department contributing to the films vision. Stunt Coordinator Mark Franklin Hanson played a pivotal role in creating the films dynamic action sequences, including zero-gravity stunts that required precise coordination with the VFX team. Hansons meticulous planning ensured that the actors movements felt natural and believable, even in digitally augmented environments. Our goal was always to make the action feel grounded, Hanson says. Even when we were dealing with aliens and zero gravity, it had to feel real.The beauty of using 3D scanning is that it allows us to capture the detail and scale of our practical builds and translate them perfectly into the digital realm. Nothing gets lost in that transition.Shane Mahan, Special Effects Supervisor/Animatronic Puppeteer, Legacy EffectsKnown for his work in the horror genre (Dont Breathe, Evil Dead), lvarez approached practical effects with the same care and attention he gave his actors. During the chestburster scenes, he directed the animatronics as if they were performers, guiding their breathing, snarling and other movements to achieve the desired emotional impact. His use of 3ds Max for previsualization allowed the team to plan complex sequences while leaving room for on-set spontaneity. Hes incredibly collaborative, Gillis says about lvarez. He knows what he wants but is always open to the magic that can happen in the moment.ILM contributed to the grander large-scale effects, including breathtaking space sequences and explosive action set pieces.The films narrative and visual design were deeply informed by its rich legacy. Mahan and MacGowan, both of whom contributed to Aliens, brought their expertise to the adult Xenomorphs, applying modern 3D scanning techniques to refine their designs while preserving the franchises signature bio-mechanical aesthetic. Mahan explains, The beauty of using 3D scanning is that it allows us to capture the detail and scale of our practical builds and translate them perfectly into the digital realm. Nothing gets lost in that transition. The creatures intricate details every fold, texture and sinew were preserved, blending physical models that were digitally designed and 3D-printed with advanced digital counterparts. One of the films most striking moments a Xenomorph emerging from a cocoon spotlighted this total attention to detail. MacGowan reflects, We knew that animatronics could give us the tactile realism we needed, but combining it with subtle digital enhancements gave the creature a fluidity that made it truly come alive.lvarez wanted the CG shots of the void of space in Romulus to be darker, scarier and emptier than in other space films. To achieve the feeling of distant depth, the 3D model was mostly backlit to accentuate the detail, and the planet and rings silhouetted the ship and space station.The films climactic sequences brought together every aspect of the teams expertise. A hero shot featuring an alien bursting out of its cocoon required months of planning, with previs helping the team map out camera angles, creature movements and digital environments. The practical puppet, created by Mahans team, featured articulated limbs and cable mechanisms that allowed it to interact with its surroundings. Digital enhancements added fluidity and realism to the creatures movements, creating a terrifying moment. Building on the intensity of the cocoon scene, the birthing sequence involving Robert Bobroczkyi, a towering Romanian basketball player, delivered a visual and emotional gut punch that tapped the teams collective skills. Bobroczkyis unique stature and elongated proportions created an immediate sense of unease, embodying the alien-human hybrids eerie otherworldliness. Mahan, MacGowan and the Legacy Effects team crafted a custom suit for the actor that featured integrated animatronics, which allowed for unnervingly precise articulation, from the aliens subtle twitches to the grotesque unfurling of its limbs.Barba described how his team worked closely with the practical effects department to enhance the aliens unsettling emergence. The real magic came from layering digital enhancements over the incredible work Robert and the Legacy Effects team brought to the scene, Barba reveals. The digital touches were minimal but deliberate, amplifying the aliens unnatural movements and adding a glistening, almost wet texture to the suit that made it feel alive. The scene also relied heavily on lighting and camera placement to maximize its visual discomfort. lvarez wanted lighting that accentuated the aliens grisly features while casting Bobroczkyis imposing frame in looming shadows. Combined with tight camera angles, the effect was a claustrophobic, almost voyeuristic experience that immersed audiences in the horror of the transformation. Roberts performance was so striking that we knew we didnt want to overshadow it with too much digital work, Mahan states. The key was to let the practical suit and his physicality shine, while the digital elements served as the finishing touch. The result was a sequence that encapsulated Romuluss hybrid approach to effects and stands as one of the films most memorable moments, capturing both the raw terror and visual ambition that define the Alien franchise.***Legacy Effects worked closely with director Fede lvarez to create the Xenomorph puppets and suits, Cocoon, Rook animatronic puppet and design/makeup effects of the Offspring. To watch a fascinating behind-the-scenes pictorial and video journey through Legacys development of the creatures for Alien: Romulus, click here: https://www.legacyefx.com/alien-romulus