The Creative Spirit of the WorkWhere aesthetics and real-world decision-making meet is where vehicle concept design thrives and brings into view a creation.UK-based vehicle concept designer Chris Beatty has been working in the industry for 25 years and, as such, has brought significant experience to bear on his tutorial for The Gnomon Workshop.Our conversation begins with Chris reflecting on his creative practice and professional profile, explaining that he works predominantly around Vehicle styling and a lot of work around motorsport. Thats always been my passion. Im a designer and a 3D artist, so there are two elements to that: One is the design itself, which led me to The Gnomon Workshop. In my work, I get involved with companies like Indycar in America and design for the Indy500. For my work with Indycar, I was responsible for steering the aesthetic of that vehicle and that was really about repurposing an old car, giving it a new body and making it look more grand.0:00 /0:24Chris Beatty's 'Race Vehicle Concept Design' Workshop shows his complete Blender, Photoshop, Illustrator & After Effects workflow. Creating a Gnomon Workshop TutorialIn his recent collaboration with The Gnomon Workshop, delivering a race vehicle concept-design tutorial, Chris recalls: My involvement came out of nowhere. Dan Hale at Gnomon Workshop reached out to me and said, Ive seen your stuff on social media, and with the work youve done on the racing side of things, we want to do a workshop on vehicle design. What can we come up with for that? And so, we talked about various ideas. First, we looked at doing a racing car and then decided on doing a flying vehicle. The Gnomon Workshop wanted a road-going thing, so we came up with the idea of a race bike and what we could do to make that more unique. The idea was that it would be canopied, that it would work with gyros, and that it would have some Tron-like wheels. That element of uniqueness would differentiate it from what was out there on the track in reality. We wanted something from 20 years ahead.Exploring Creative IterationsChris is keen to emphasize that the creative process and its demands, opportunities, and iterations were at the heart of his tutorial for The Gnomon Workshop. I was given a blank sheet of paper to develop the design and take students through my process, warts and all. There are some screw-ups in there, and I talk about what was wrong with them and how wed either do them again in the future or how wed fix them. I really wanted to give the students that view on it. My session for The Gnomon Workshop was effectively live and was focused on me trying to figure out what this thing was going to look like. For instance, we did the frame in one session, but it just didnt look good enough so I cut and I just said, Ive done a new frame. Heres what Ive done. I explained that a key part of the design process is making mistakes, improving on them, and progressing; its not about having a perfect run-through to the end it just doesnt work like that. I wanted to engage the students in a mindset where its okay to experiment and not get it right the first time.0:00 /0:05Watch how Chris Beatty designed this futuristic-yet-realistic machine in his 'Race Vehicle Concept Design' Workshop available now at thegnomonworkshop.com.Chris further discusses how his tutorial for The Gnomon Workshop was about embracing revisions to a piece of work to find its best version. Chris says, I come back to some of the stuff thats available online: I get the impression that its very linear: Its very much a start to finish with no mistakes approach. I wanted the takeaway from my class to be that in the real world, thats not how it works. Something will throw a spanner in the works, so you have to innovate to overcome that rather than prescribe something. I didnt want to go into software specifics as I wanted it to be more about the process. When you look at software specifics, youre narrowing down who can get anything from this. Ill be using Blender, and someone else will use Maya, for example. It was more about This is my process of how I create and how I get to this end result, and its not always pretty the whole way through. It doesnt have to be. It doesnt have to be about amazing presentation-renders at different stages. Its about getting from here to here with the minimal amount of kerfuffle, but there will always be bits in there that you have to untie and untangle. I talk a lot about what the client will bring back to you in terms of their feedback and criticism and how to steer that. Its a team effort and a collaboration. Chris BeattyEngaging with FeedbackIn discussing his career and its day-to-day requirements and how that relates to his Gnomon Workshop tutorial Chris notes how he wanted the session to acknowledge the importance of feedback in a creative collaboration: I talk a lot about what the client will bring back to you in terms of their feedback and criticism and how to steer that. Its a team effort and a collaboration. With The Gnomon Workshop tutorial, I had to provide that assessment of where it was going and in the conclusion to my session, I said that it had made me look at where I could improve. Because you dont often record yourself and commentate over the top of it and analyze what youre doing, it was fascinating to do that with The Gnomon Workshop. This is the first tutorial Ive ever done, so for me, it was a learning experience. If people like it, maybe theres scope to do more.'Velocity' concept design by Chris Beatty showing the canopy removed.Theory & Practice in Motion: Learning from TeachingChris turns his observations to the creative scope that his Gnomon Workshop tutorial offered him, explaining that: When I did the project for The Gnomon Workshop, it gave me a bit more free rein than I normally would have on this sort of thing: I could inject a little bit of sci-fi into it, and that was interesting because Im usually working with something thats already in existence in terms of the engineering side of it. Usually, its already been worked out, and everything has to fit on this chassis, that wheelbase, or whatever it happens to be. The Gnomon Workshop was good fun from that standpoint, and I tried to bring some real-world experience into that tutorial in terms of the way that the bike was made up. It had a chassis that would probably work, but an engineer would probably look at it and ask, What the hell are you doing ? But, from a laymans standpoint, it was a feasible frame. You then get to that point where youve worked out the volume, and what Ill tend to do is bring it into drawing software and just draw over the top of it and draw in the little details and see what is going to work and what isnt going to work. Ill then pull them into 3D and model them in detail because you can render a rough form and smooth it off. Its a bit rough and ready, but, again, you can put stuff in front of a client and say, Is this what youre thinking? without taking it too far and committing too early on.Striking a balance between whats practically feasible and what the imagination suggests is a fundamental dynamic in Chriss work, and he observes that I tend to take a less-is-more approach to what Im doing and not to overcomplicate or over-style things. Youve got to get that underlying form right before you put anything else on it. You look at any classic car design: its simple.'Velocity' vehicle design render by Chris Beatty.Everything that I design especially a racing car or a sci-fi project, like the bike project for my Gnomon Workshop tutorial has got to be a balance of elegance and aggression. Chris BeattyReality & FantasyWhile work in vehicle concept design is Chriss professional focus, he notes that he has long been interested in movies, explaining that: The movie side has always intrigued me. Ive always been a bit of a Star Wars nut. When Ive got some downtime, and I do a project just for myself, with a learning element to it, the main part of that was very much about the lived-in, weathered, Star Wars aesthetic.Chriss observation then brings him full circle, and he reconnects his aesthetic notes with his Gnomon Workshop tutorial: Whenever youre designing anything, youve got to design it so it could actually work or function; even if its sci-fi like making the bike work for The Gnomon Workshop.Vehicle concept designs by Chris Beatty.Chris brings our conversation to a close by restating his fundamental creative aspiration: Everything that I design especially a racing car or a sci-fi project, like the bike project for my Gnomon Workshop tutorial has got to be a balance of elegance and aggression.From left to right: John Norton, Andrea Toso, Chris Beatty (designer), Will Power (driver), Pat Wildermann, with the Wills Borg-Warner Trophy Pictured at the Indy500 2018.Chris Beatty's 'Race Vehicle Concept Design' Workshop is streaming now at thegnomonworkshop.com.

Miramaxs recently released feature, Here, directed by Robert Zemeckis and based on the graphic novel by Richard McGuire, portrays multiple families over time, in the special place they inhabit.To help convey the characters at various ages throughout their lives, VFX Supervisor Kevin Baillie enlisted creative studio Metaphysic to digitally augment performances via its proprietary generative AI technology. The process involved a talented team of digital characters artists led by Metaphysics VFX Supervisor, Jo Plaete.Working with forward-thinking filmmakers like Bob Zemeckis and Kevin Baillie was a privilege, said Plaete. Their faith in this novel technology pushed us to new heights and allowed us to deliver on their ambitious vision.Metaphysics proprietary process involves training a neural network model on a reference input with artist refinement of the results until the model is ready for production. Multiple models were trained for each actor to meet the diverse needs of the film; Tom Hanks is portrayed at five different ages, Robin Wright at four ages, and Paul Bettany and Kelly Riley at two ages each. Plaete and his team were able to run the workflow in real-time during the filming, providing a visual reference of what the performers would look like. This allowed Zemeckis to view both the raw camera feed and the digitally augmented feed with the actors younger faces while on-set, with only about a six-frame delay, and provide direction accordingly.Metaphysic also set up a camera and monitor system during the shoot that allowed the actors to rehearse while seeing themselves as their younger selves in real-time. The youth mirror system only had a two-frame delay and provided the actors with feedback that helped them fine-tune their performances to better match their younger selves.While the neural network models used for the real-time outputs generated photoreal results, Metaphysic artists then further enhanced them to hold up to cinematic 4K standards.Source: Metaphysic Journalist, antique shop owner, aspiring gemologistL'Wrenbrings a diverse perspective to animation, where every frame reflects her varied passions.

InterviewsEmilia Prez: Cdric Fayolle (Production VFX Supervisor) with the teams of MPC ParisBy Vincent Frei - 21/11/2024 As part of the production of the visual effects for the film Emilia Prez, several experts contributed to the delivery of 335 VFX shots. Cdric Fayolle, Production VFX Supervisor, oversaw the overall coordination of the project, and within MPC Paris, Rodolphe Zirah, VFX Supervisor, Christophe Tchook Courgeau, Environments Supervisor, Lise Fischer, 2D Supervisor, and Yann Nivet, VFX Producer, worked together to create and integrate the digital elements. Their contributions ensured that the entire process ran smoothly, from conception to completion of the visual effects.What was it like working with director Jacques Audiard?Cdric Fayolle: This is the 5th film Ive made with Jacques Audiard. And Im lucky enough to be one of the people he contacts very early on when he starts a project. In this case, for example, he started talking to me about it at the end of 2019, with a treatment of around thirty pages. He wanted to do an opera.What motivated the decision to shoot most of the sets against a bluescreen?Cdric: The form of the film was the subject of a lot of discussion. First there was this opera, so there was a scenic dimension that we had difficulty grasping. Then we went to Mexico for location scouting and there we discovered some magnificent and inspiring natural settings. But Jacques really wanted to create a world around the characters, to have control over everything: the set, the lighting, the weather. So we had to rethink every scene, sometimes taking inspiration from our location scouting.What were the main technical challenges involved in shooting the film against a bluescreen?Cdric: Of course, there were bluescreens on every set, but one of the big difficulties when you shoot in a studio is the way you manage movement. How the characters get to the sets so that it doesnt look like a series of little scenes. So we had to do entirely CG shots of the car rolling, like the final sequence, which was a big job of 3D staging.Rodolphe Zirah: Bluescreens in the studio on exterior sets are always a challenge. Its clear to see that in the studio, the amount built for an exterior set is minimal, so we had to create a large part of the sets in CG. The choice of techniques made with Cdric, between full CG sets, CG extension sets and matte painting, was crucial to the films narrative.Christophe Tchook Courgeau: One of the difficulties lay in the continuity of the light, which we had to extrapolate to cover surfaces that were not planned for the shoot, and the continuity of the built sets, which we had to extend or erase so that the result was invisible.Lise Fischer: Generally speaking, bluescreens in the studio should be avoided for inlays for exteriors, because its very difficult to light a studio like a sun or a moon. Fortunately, the artistic freedom of the project allowed us to create stylised atmospheres that fitted in perfectly with the studios aesthetic.How did you ensure consistency between the physical elements on set and the digital extensions of the sets?Cdric: What was great about this film was that Jacques gave us a lot of freedom in creating these digital sets. So while following the guidelines imposed by the set design, we were able to offer him our own inspirations and desires. He was very receptive.Rodolphe: Technically, we collect as much information as possible on the shoot, we use 3D scans (LIDAR) of the set, HDR for the lighting, and photogrammetry of objects on the set to ensure that the aesthetic of the elements built by the set designer and our digital elements are consistent. We immerse ourselves in all the artistic directions of the set and props, as well as the lighting director, and we try to work in continuity with the choices made during the shoot.Tchook: First of all, we have to get away from the bluescreen by creating a realistic environment adapted to the real set. We go through a concept stage that allows us to narrow down the field of possibilities, and then 3D models that allow us to extrapolate the concepts and give them a reality in space. Once weve validated the manufacturing idea, we need to analyse the camera, the focal length and the direction of the light(s) in more detail. Finally, we make each element separately to a definition that is proportional to its distance from the camera, we give them a texture, and we place them in a scene that we light with precision. The result of the digital set design work is then passed to the compositing department, which assembles all the manufactured elements with those from the shoot and brings the mix to life.Can you explain the planning process to ensure that the visual effects fit in perfectly with the scenes shot on the bluescreen?Rodolphe: I think the main step is to cover the shoot properly, to bring back as many elements as possible that will enable us to be as accurate as possible with regard to scale, light and materials. Then you have to help the crews during the shoot to ensure that the blue backgrounds are evenly lit to avoid variations in light and shadow, which complicate keying. Finally, make sure that camera movements are properly tracked. If the camera moves, the movements have to be synchronised with the effects added in post-production to keep everything realistic. So we placed tracking markers on the blue background to make it easier to track movements.Lise: As far as compositing is concerned, we had to anticipate the missing blue screens. Because of the size of the set, several areas of the studio were not covered by the bluescreen. So we had to plan ahead for the extensive rotoscoping work that was needed to produce the shots properly.How did you work with the set designer to create realistic virtual environments?Cdric: In preparation, I had a lot of discussions with the production designer, Emmanuelle Duplay, to determine the minimum and maximum that needed to be built. Each set has its own specific characteristics, so we had to study them carefully so that the director and the actors had enough concrete playing space and enough bluescreen openings to be able to extend and give the illusion of Mexico.Rodolphe: For me, the main thing was to convince people of what we were capable of doing in post-production. Cdric and I worked with her on certain scenes to help her imagine her sets and find out what she absolutely had to build for the shoot. In particular, with the MPC teams, we produced 3D previews of some sets before shooting.What were the main challenges in terms of luminosity and lighting on the blue background to maintain visual coherence?Cdric: When you make films with so many bluescreens, its great to have a technically experienced cinematographer. Here, Paul Guilhaume was brilliant with his team. They knew how to set the specific lights for the bluescreen with surgical precision.Rodolphe: Using dedicated lights to illuminate the background separately from the actors and set elements. Carefully control the angles and intensity of the light to reduce shadows on the bluescreen. Adjust the distance between the actors and the background, using specific lighting to minimise blue spills. Paul Guilhaume and his team did a marvellous job here.Tchook: This is one of the big challenges of shooting, where the cinematographer has to create a sufficiently bright bluescreen to allow the extraction of the elements of the shoot that we want to keep (actors/set pieces), and above all create a lighting atmosphere that allows the digital extension to be credible. We need to be able to make the viewer believe that, when we create the digital set and mix it with the shooting elements, the blue background and the studio shooting elements never existed. One of the big difficulties lies in the reflective parts of the shot elements, mainly the cars, where there are a lot of unwanted parts that you want to replace. One of the only solutions is to remodel a car, often identically, to generate reflections that are consistent with the digitally produced set and the real set.How did you manage the transitions between the real and digital elements so that they remained invisible to the viewer?Tchook: First of all, we isolated the elements we wanted to keep, such as the actors and certain elements of the set. Then we studied the movements of the actors and cameras to determine where the digital set could be integrated. We then created virtual elements capable of interacting in light with the real objects, for example by adding shadows between a shooting element and a piece of digital scenery. If the cinematographer had designed a location with strong light on an object, we would model a street lamp positioned in the space, as if it were really lighting the set. The final touches are made in compositing, where everything is put together and fine-tuned.Rodolphe: The integration of the digital elements takes place at the compositing stage. Its a question of understanding the image being shot and knowing the technical aspects of that image type of camera, sensor, lens, focal length so that we can reproduce these key components in the 3D renderings.Lise: Compositing is all about integrating a digital element into a shot without it being visible. First of all, theres the shot that contains the so-called real elements, which we call the master. This master provides the basis for all the technical and artistic aspects of the image that we need to reproduce exactly during our compositing work. These aspects include first and foremost light and chromatics, but there is also the whole organic aspect of the image that comes from the cameras optics, focal length and sensor. Grain, chromatic aberrations, sharpness, defocus (optical blur) and the diffusion of highlights are all parameters that need to be respected and reproduced on the digital elements in order to integrate them into the shot.Were there times when you had to adapt the digital sets in post-production to suit the actors performances on set?Cdric: They were perfect and for Zo Saldana it wasnt a new discovery, she was very comfortable with all these bluescreens.Tchook: No, the digital set is used to build around the actors to frame them and highlight them without stifling their performance. Most of the time we find a solution by adapting the frame.Lise: In compositing, were always looking for a form of truth, so I always look at a shot in the context of its narrative. As the actors performance is at the heart of the story, we quite often have to adapt a digital set to serve the narrative intention or, on the contrary, to avoid distracting from the story. This is the case, for example, with screen inlays, where we have to adapt the digital set, such as a web interface, to the action of the actor/actress.How did you anticipate the challenges of tracking camera movements in predominantly digital environments?Cdric: On some sets, we used LIDAR to help with tracking, because we knew that these sets would be filmed with hand-held cameras and long lenses So we had to anticipate any technical problems.Rodolphe: In order to manage the tracking of camera movements as effectively as possible, we scanned the sets (LIDAR) to help the tracking teams get their bearings and find their way around sequences that were often shot hand-held. We took measurements on the cameras as they were being shot, such as height and distance from the background.What were the most complicated aspects of creating the digital sets to make them look natural?Tchook: Creating a digital set that looks natural is a challenge. Today, we can do almost anything were asked to, which means we can explore any direction and accentuate any aspect of the set. However, without good control and a lack of experience, its easy to go overboard. The key to keeping the setting natural is to be able to observe accurately. We spend a lot of time observing and analysing the weather and light conditions, looking for shots taken in similar conditions. We make extensive use of the colour palette present in the shot we have to fake or in the sequence in progress to create visual coherence.Lise: Once again, you have to feed off all the real material shot and understand the directors vision. To make it look natural, you have to blend in with the aesthetic intention that was in place before the VFX was used, and leave nothing to chance. Can you describe a situation where the integration of digital sets required unexpected creative adjustments?Tchook: The 004 sequence where Zo Saldana walks down the street with the crowd behind her required a lot of creative and technical adjustments. We started from an idea where the set would be a theatre stage with curtains falling to reveal various parts of the set, with the idea of a street in Mexico on a summer evening. We also had to recreate the ground on the set by making it more uneven.Were there any unexpected technical or creative challenges during production?Cdric: The outside of Emilias house had to be a model. Which we filmed. But in the end, for various reasons, it didnt work when it came to editing. So we had to reinvent a house. And the night shot where we approach the house with a view of the whole of Mexico City is entirely CG. For me, its one of the most beautiful shots in the film.Lise: A new sequence, a new shot, is always a new creative and technical challenge. The unexpected is rarer, because in reality you expect everything, all the time, and thats what makes the compositing work so varied. With Emilia Perez, its fair to say that the project was unexpected in the broadest sense.Were there any memorable moments or scenes in the film that you found particularly rewarding or difficult to work on from a visual effects point of view?Cdric: For me, it was the last car sequence. We only filmed the interior shots of the car with the actors. The rest we had to invent entirely. We came up with pre-visualisations, suggested shots and set-ups. We had quite a lot of freedom and desire. It was tough, but were proud of the result.Rodolphe: The end sequence in full 3D was one of the hardest to make. At first, it was hard to imagine what the final result would look like, because there were so many technical stages to go through. We had to do a lot of reworking to find the right balance between what we wanted to do and what was possible. Even though there were moments of doubt, we managed to put everything together in a coherent way. Seeing the final result, after all that work, was really satisfying.Lise: The full CGI scenes (the accident sequence and Emilias house) are always breathtaking. As we dont have a master, we have to imagine, build and shape the images so that they give the illusion of having been filmed. Its not easy, but when it works, its rewarding indeed.Can you explain how you integrated the digital visual elements in Emilia Perez to create a coherent and immersive atmosphere, and what specific challenges did you face when compositing the film?Lise: Apart from the aspects described above, we had a great deal of freedom in compositing to invent the moods of the shots. Usually, the master serves as the truth and under no circumstances do we interfere with the light or colours of a shot. On Emilia Perez, in certain sequences we completely modified and sculpted the light to create the most immersive atmosphere possible. These decisions were taken in a common dialogue between the VFX supervisor, the director, the cinematographer and the colourist.Looking back, what aspects of the visual effects are you most proud of?Tchook: Im very proud of the work of my team, who produced 70 shots in a DMP environment or on a digital set. In particular the first sequences where the lawyer comes out of the convenience store and the kidnap sequence. We also worked on the scene where Selena Gomez returns home, adjusting the set and lighting tones. And for the Taqueria sequence, we made a number of adjustments to reinforce the Mexican atmosphere.Yann Nivet: When visual effects add value to an existing set: the Taqueria. Also, when it adds a narrative element and gives a mystical dimension to the film: the smoke sequence. Certain aesthetic shots: hospital topshot + Swiss matte.Lise: Creating visual effects is first and foremost a great team effort, and Im especially proud of the huge amount of work done by all the teams. All the streets of Mexico City are alive and expressive its a real success! Im also very proud of the sets, which we were able to enhance and transcend thanks to the visual effects. A very good example is the Taqueria: initially shot in a quarry in France, it looked nothing like a Mexican desert. The work we did on this sequence totally changed the initial atmosphere and transformed this key sequence of the film.Rodolphe: Looking back, Im especially proud of the Full CG ending sequence. It was an important moment in the film and we really had to hook the audience. The work of the MPC Paris teams and the collaboration with Les Artizans were super important in achieving this challenge. Thanks to them, we were able to create an immersive and visually striking scene. Seeing the final result and the positive feedback after all that work is really gratifying.How long have you been working on this film?Yann: August 2023 May 2024Tchook: August 2023 April 2024Lise: The work on Emilia Perez took over 8 months in compositing. We started in September 2023 and worked until the end of April 2024 to finalise the film before its first screening in the official selection at the Cannes Film Festival.Whats the VFX shots count?Yann: 335 shots finally delivered (at least thirty shots done and cut during editing).A big thanks for your time.WANT TO KNOW MORE?MPC: Dedicated page about Emilia Prez on MPC website. Vincent Frei The Art of VFX 2024

Cleaning and surface finishing systems manufacturer DyeMansion has introduced three new post-processing products at Formnext 2024 under the theme it just WorX.Having reported the increased use of Powerfuse S technology, these additions from DyeMansion aim to enhance flexibility, sustainability, and return on investment (ROI) for both new and established users in the additive manufacturing sector.DyeMansion is showcasing these offerings at the tradeshow, where attendees can explore the solutions in detail at Booth C31, Hall 12.1. Demonstrations are available for visitors interested in gaining a deeper understanding of the products and their capabilities.The Powershot X system. Image via DyeMansion.Elevated post-processing capabilitiesOne of the key launches is the Powershot X, which brings a new level of versatility to automated blasting systems. Building on the reputation of the widely used Powershot series, this system integrates three modes: PolyShot Cleaning (C), Surfacing (S), and a combined Cleaning & Surfacing (C&S) process.These capabilities allow manufacturers to adapt quickly to changing production demands while maintaining efficiency. Designed for scalability, the system supports growth in manufacturing environments, and its cost-effective design ensures faster ROI by lowering operational expenses while delivering high-quality part finishing.For manufacturers focusing on black dyeing, the upgraded DM60 Reservoir introduces a resource-efficient approach tailored to meet varying volume requirements. Built-in sensors precisely manage water usage, accommodating dyeing needs ranging from small to extra-large batches.By enabling up to 12 reuse cycles of black dyeing water, the system reduces resource consumption significantly. Additionally, residual heat from previous cycles helps shorten process times by up to 30%, cutting costs by more than 50%. These features position the DM60 Reservoir as an eco-friendly and economical solution for modern manufacturing needs.Also debuting is the Automotive ColorsX range, designed to meet the specific demands of the automotive industry. These colors offer exceptional UV and heat resistance, ensuring durability and long-lasting performance in applications such as car interiors.Alongside durability, the range provides extensive customization options, allowing manufacturers to align colors with brand-specific requirements. The colors achieve grey scale values up to four times higher than previous standards, making them suitable for high-performance environments while reducing costs and enabling broader applications.The Automotive ColorsX range. Photo via DyeMansion.Exploring post-processing solutions across 3D printing sectorDyeMansions latest releases join a growing portfolio of post-processing solutions introduced across the industry.In March 2024, Additive Manufacturing Technologies (AMT) introduced the PostPro DPX, a compact and cost-effective depowdering system designed for non-industrial 3D printing. Priced at 15,995, it complements its predecessor desktop-focused PostPro SFX and features a 10-liter basket, ionization unit, and powerful filtration for efficient and safe post-processing.Tailored for industries like dental, jewelry, and prototyping, the DPX is ideal for businesses using desktop printers from brands like Formlabs and Sinterit. AMT also offers a bundle combining the DPX with the SFX chemical vapor smoothing system for 35,995, providing a comprehensive solution at a reduced cost.Last year at Formnext, Formlabs unveiled the Fuse Blast, an automated post-processing solution for Selective Laser Sintering (SLS) 3D printing. As part of the Fuse Series ecosystem, Fuse Blast reduces post-processing time by 80%, transitioning parts from printed to finished in just 15 minutes.Its features include automated tumbling for hands-off cleaning, an in-line ionizer to prevent dust resettlement, and pre-programmed routines for various materials. Alongside the hardware, software updates further enhance print speed, powder efficiency, and part resolution.Catch up on all the news fromFormnext 2024.Voting is now open for the2024 3D Printing Industry Awards.Want to share insights on key industry trends and the future of 3D printing? Register now to be included in the2025 3D Printing Industry Executive Survey.What 3D printing trends do the industry leaders anticipate this year?What does the Future of 3D printing hold for the next 10 years?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 the Powershot X system. Image via DyeMansion.

Prusa Research, a leading manufacturer of 3D printers based in Prague, has announced the release of the CORE One, a fully enclosed CoreXY 3D printer featuring active chamber temperature control. This launch represents Prusas strategic move to enhance its position in the prosumer market amidst increasing competition.Combining a compact design with a substantial print volume of 250220270 mm, The CORE One caters to a wide range of printing needs from rapid prototyping to precise dimensional accuracy. Unlike setups that require multiple machines for different tasks, the 3D printer integrates these capabilities into a single unit. Key features include an exoskeleton design for enhanced rigidity, active temperature control reaching up to 55C, and the ability to print PLA and PETG with the enclosure closeda feature not commonly found in current market offerings.The new Prusa Core One. Photo via Prusa Research.Josef Prusa, founder of Prusa Research, emphasized the printers all-in-one functionality: With the CORE One, you wont need separate printers for different tasks. Its designed to deliver high quality and speed across a wide range of materials.Designed to complement the existing MK4S model rather than replace it, the CORE One allows for seamless integration and upgrade paths. Prusa Research will continue to support the MK4S with firmware updates and new accessories. The backward compatibility enables MK4S owners to upgrade to the CORE One using a conversion kit available in March 2025, promoting sustainability and extending the life of existing equipment.Upgrade the Prusa MK4S to Core One with the conversion kit. Photo via Prusa Research.The printer features Prusas proprietary Nextruder, known for exceptional print quality and reliability. Enhanced with 360 cooling from the MK4S, the Nextruder improves overhang performance, reducing the need for support structures and conserving material and time. Additional features include dual fans for active temperature control, maintaining optimal conditions for various filament types.Prusa Research is also expanding the CORE Ones ecosystem with new accessories like the Buddy3D Camera and advanced filtration systems, expected to be released alongside the printer. These additions aim to enhance functionality and user experience, catering to both hobbyists and industrial users.Prusa Research will showcase the CORE One at FormNext 2024 in Frankfurt, located at Hall 12.1, Stand G39. The printer is scheduled to begin shipping in January 2025, with an introductory price of $1,199 USD (VAT excl.) and 1,349 EUR (VAT incl.). Conversion kits for existing MK4S owners will be available in March 2025, allowing users to transform their MK4S printers into CORE One models.Close-up of the Prusa CORE Ones extruder and belt-driven CoreXY mechanism. Photo via Prusa Research.Prusa CORE One: Technical ParametersCategoryHighlightsMeasurementsBuild Volume: 250 x 220 x 270 mm (9.8 x 8.6 x 10.6 in)Dimensions: 415 444 555 mm (16.3 17.5 21.8 in), Weight: 22.5 kgElectronicsCustom 32-bit xBuddy Mainboard with STM32, Trinamic 2130 DriversExtruderDirect Drive Nextruder with 10:1 Planetary Gear System, High-Flow Nozzle (0.4 mm)All-metal hotend with 360 coolingTemperatureMax Nozzle: 290 C (554 F), Heatbed: 120 C (248 F), Chamber: 55 C (131 F)Controls3.5 Touchscreen, Automatic Bed Leveling, Prusa Connect and Mobile App supportConnectivityEthernet, Optional Wi-Fi with NFCSensorsDual Filament Sensors, Load Cell for precise calibration, Door SensorPrintingMagnetic Heatbed, Input Shaper, Supports PLA, PETG, ABS, ASA, Flex, and morePower240W PSU, Power Panic featureYour 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 the Exoskeleton of the Prusa Core One. Image via Prusa Research.

Its been a while since my last post. Here is an effect that I just finished.Please see it on Artstation for better quality: https://www.artstation.com/artwork/gR9qLZ 1 post - 1 participant Read full topic

Smithsonian National Museum of African American History and Culture | Brad FeinknopfThe Smithsonian National Museum of African American History and Culture (NMAAHC) bridges cultural heritage with contemporary architecture. Situated on Constitution Avenue in Washington, D.C., this monumental building narrates centuries of African American history while exemplifying innovation and resilience. Designed by the Freelon Adjaye Bond/SmithGroup (FAB) team, led by Adjaye Associates, the museum is a profound architectural achievement that encapsulates symbolism, functionality, and sustainability.NMAAHC Technical InformationArchitects1-13: Adjaye AssociatesLocation: Constitution Avenue, Washington, D.C., USATopics: MuseumsArea: 39,000 m2 | 420,000Sq. Ft.Completion Year: 2016Photographs: Brad Feinknopf, Alan Karchmer David Adjayes approach has been to establish both a meaningful relationship to this unique site as well as a strong conceptual resonance with Americas deep and longstanding African heritage. Adjaye Associates ArchitectsNMAAHC PhotographsAerial View | Alan KarchmerView from the Park | Alan KarchmerFacade | Alan KarchmerFacade Detail | Alan KarchmerPorch Entrance | Brad FeinknopfLobby | Alan KarchmerWindow View | Alan KarchmerInterior | Alan KarchmerInterior | Alan KarchmerMuseum of African American History Historical SignificanceThe NMAAHC represents a critical milestone in the Smithsonian Institutions mission to illuminate and celebrate African American culture. Positioned prominently on the National Mall, the museum holds its ground alongside iconic structures such as the Washington Monument and the National Museum of American History. Winning the design competition in 2009, the FAB team aimed to create a building that transcends its physical presence, serving as both a repository of history and a place of reflection.The museums placement on Constitution Avenue underscores its importance in the narrative of American history. It is more than a museumit is a cultural landmark that acknowledges the contributions of African Americans to the nations identity. By situating the building within the historical and political heart of Washington, D.C., the architects emphasized the inextricable connection between African American heritage and the broader American story.Architectural Concept and Design PhilosophyAt the heart of the NMAAHCs design is the corona, a striking, tiered form inspired by African American craftsmanship and the 17-degree angle of the Washington Monuments capstone. The coronas geometry is both an aesthetic triumph and a cultural statement, paying homage to the intricate ironwork crafted by enslaved African Americans in the South.The buildings exterior is wrapped in a bronze-coated aluminum lattice that not only evokes historical motifs but also serves a practical function. The ornamental filigree filters sunlight, creating dynamic interior lighting while regulating heat. This material choice and design element symbolize resilience and adaptability, mirroring the history the museum seeks to preserve.The porch, an architectural extension into the landscape, acts as a transitional space between the museum and its surroundings. Its tilted roof reflects light onto a central water feature below, creating a microclimate that offers respite during Washingtons hot summers. This covered outdoor room bridges interior and exterior, blurring the boundaries between history, architecture, and nature.Spatial Journey and Visitor ExperienceThe NMAAHC offers a transformative journey, beginning in the contemplative spaces below ground and culminating in expansive views from the upper levels. Upon entering, visitors are guided into triple-height galleries where the design fosters solemnity and introspection. The oculus, a central feature below ground, filters light through cascading water, reinforcing themes of remembrance and renewal.As visitors ascend, the museums design gradually shifts from enclosed, meditative spaces to open, light-filled galleries. This spatial progression symbolizes an emotional and historical journey, reflecting themes of struggle and triumph. The panoramic views from the coronas upper levels further enhance the experience, offering vistas of the National Mall, Federal Triangle, and Washington Monument.The museums interior material palettefeaturing pre-cast concrete, timber, and glasscomplements its narrative. These materials balance durability with warmth, creating a welcoming atmosphere while supporting the museums structural needs.Sustainability and Technological InnovationThe NMAAHC integrates sustainability as a core principle, employing both passive and active strategies to minimize environmental impact. The bronze lattice functions as a thermal shield, reducing energy consumption by modulating sunlight and heat. This design choice ensures that the building maintains energy efficiency without compromising its aesthetic identity.Collaborating with the Rocky Mountain Institute, the architects incorporated cutting-edge sustainable practices into the project. Materials like precast concrete and timber were selected for their low environmental footprint and durability, while advanced mechanical systems, designed by WSP Flack + Kurtz, optimize the buildings energy use.The museums integration into the National Malls landscape demonstrates a sensitivity to urban and environmental contexts. By embedding over half of its structure below ground, the design maintains a subtle profile that respects the surrounding landmarks. This thoughtful approach aligns with the Smithsonians commitment to sustainability and cultural preservation.The Smithsonian National Museum of African American History and Culture is a landmark of both architectural and cultural significance. Through its bold yet respectful design, it honors African American history while pushing the boundaries of modern architecture. The building is more than a repository of artifacts; it is a testament to resilience, a celebration of heritage, and a model of innovation.Museum of African American History and Culture PlansSection | Adjaye AssociatesGround Floor Adjaye AssociatesFirst Floor Plan | Adjaye AssociatesSecond Floor Plan | Adjaye AssociatesThird Floor Plan | Adjaye AssociatesFourth Floor Plan | Adjaye AssociatesMuseum of African American History and Culture Image GalleryAbout Adjaye AssociatesDavid Adjaye is a Ghanaian-British architect renowned for his innovative and culturally resonant designs. Born in Tanzania in 1966, he studied architecture at London South Bank University and the Royal College of Art. Adjaye is the founder of Adjaye Associates, an award-winning practice with projects spanning continents, known for blending contemporary aesthetics with historical and cultural narratives. Among his most celebrated works is the Smithsonian National Museum of African American History and Culture in Washington, D.C., a groundbreaking design that honors African American heritage while redefining the museums architectural language. Knighted in 2017, Adjaye is recognized as one of the most influential architects of his generation, celebrated for his ability to craft spaces that inspire and connect communities.Notes & Additional CreditsLead Designer: Adjaye AssociatesArchitect of Record: Freelon Group (Perkins + Will)Associate Architects: Davis Brody Bond, SmithGroupJJRStructural Engineers: Guy Nordenson and Associates, Robert Silman AssociatesMechanical Engineer: WSP Flack + KurtzSustainability Consultant: Rocky Mountain InstituteLandscape Architect: Gustafson Guthrie NicholLighting Consultants: Fisher Marantz StoneAcoustics / AV / Theatre / Multi-Media Consultants: Shen Milsom WilkeFaade Consultant: R.A. Heintges & AssociatesSecurity Consultants: ARUP North AmericaClient: Smithsonian InstitutionContruction Cost: $540 million

Flexjet is offering a $100,000 prize to the winning designer of the companys next aircraft interior through its Project LXiDesign the Ultimate Private Jet Interior competition. Beautiful design can completely transform an experience and I have always enjoyed studying design, whether in clothing, architecture or aircraft, said Flexjet chairman Kenn Ricci. When it comes to the Flexjet fleet, we created a number of themes, just as boutique hotels often do with their rooms. It makes Flexjet unique. Each aircrafts interior design captures interest and speaks to our fanatical attention to detail. Flexjet is looking to uncover new inspiration, bold expression, and authentic artistry to complement its nearly 50 custom interiorseach of which tells its own story. Specifically designed to transport private jet travelers well beyond their destination, our LXi Cabin Collection of custom private jet interiors has set an inspiring aviation precedent.Since 2015, in-house artisans have collaborated with aircraft manufacturers to create one-of-a-kind fold-down ottomans, pop-up kibitzer seating, custom divans and credenzas, as well as dedicated lounges and staterooms with equal parts utility and elegance.Flexjets panel of judges will narrow the submissions to 10 semi-finalists for the public to vote on. From there, the top three entrants with the highest numbers of votes will present their designs to Flexjet Chairman Kenn Ricci at Flexjet Global Headquarters in Cleveland, Ohio. He will choose the grand prize-winning design. For Project LXiDesign the Ultimate Private Jet Interior, the theme is completely up to the designer. And there are many elements inside the aircraft cabin they can use to pull together the story they wish to tell to illustrate their theme: from the carpet pattern, the seating materials, color and accents, the type of wood veneer, the sidewall color and material. In addition, the Flexjet Gulfstream G650 is divided into four distinct zonesworking, dining, sleeping, and the family room.Then there is the name of the designwhat the designer calls their interior is also an essential element to consider. Flexjets interior names include Capris, inspired by the Isle of Capris, art deco, the Roaring 20s, Santa Fe, and a crowd favorite Boardroom inspired by The Thomas Crown Affair.The LXi Cabin Collection is just one element of theRed Label by Flexjet program. Also unique to Flexjet is its ultra-modern fleet, flight crews assigned to a single, specific aircraft and extraordinary experiences. Every year, Flexjets design team develops fresh interiors to outfit the companys growing fleet of nearly 300 aircraft. In the last few years, Flexjet has partnered with like-minded luxury brands on cabin interior designs. Flexjet has collaborated with Bentley Motorcars in designing interiors for a Flexjet Gulfstream G650 and a Sikorsky S-76 using the Bentley Bacalar as its muse. Those aircraft then embarked on a nationwide tour including appearances at Monterey Car Week at the Pebble Beach Golf Links in Carmel, California; at the International Boat Show in Palm Beach, Florida; at several invite only events in Miami, Florida and in New York.This year, Flexjet connected the pinnacle of luxury from sea to sky via a partnership withFerretti Group. A world leader in the design, construction and sale of luxury yachts and pleasure vessels, Ferretti Group possesses a unique portfolio of prestigious and exclusive brands. The partnership will come to life in a new Flexjet Gulfstream G650 interiorset to premiere in 2025 andinspired by the iconic design and craftsmanship of a Riva motoryacht.Prospective designers can learn more about the overall contest rules, layout of the Gulfstream G650 cabin and entry process on theFlexjet Project LXi page.

Joya is a new jewelry fair that opened this week in Monaco. The grand occasion invites 15 exhibitors and multiple cultural institutions to participate. The festivities take place inside the Richard Rogersdesigned Socit des Bains de Mers flagship building. Joyas goal, according to its cofounders Vanessa Margowski and Delphine Pastor-Reiss, is to put jewelry in an historical context, past and present. Inside the One Monaco venue, Christ & Gantenbein has completed 15 temporary installations, one for each of Joyas 15 participants. The booths are just over 8 feet tall and spread across two large rooms. In plan, the semi-circles interlock, forming a sinuous series of nooks and crannies that make navigating the voluminous chamber a labyrinthine endeavor.Joyas 15 exhibitors include Ciaudano, Dorothe Potocka, Eliane Fattal, Elie Top, Gabrielle Greiss, Galerie Zink, Gioielleria Pennisi, Karry Berreby, Tatiana Verstraeten, and Venyxworld.Christ & Gantenbein called each of the 15 installations individual crins, the French word for jewelry boxes.The booths also have custom furniture and circular glass tables by NM3, the Milanese brand. ( Luca Fontana)The crins are made of reflective, galvanized steel skin backed by an aluminum frame. Lighting fixtures are placed on every other vertical frame, piercing the skin. This assembly makes dismantling the installations quite easy and sustainable, allowing for their future reuse. Christ & Gantenbeins project lead was Victoria Easton. This interlocking approach was meant to provide contrast between Joya and other art fairs, where booths are often arranged in an orthogonal, predictable manner, a monotonous experience. The booths also have custom furniture and circular glass tables by NM3, a Milanese brand.Plan view ( Christ & Gantenbein)For Joyas debut, it wanted to transcend other commercial trade shows so common in the jewelry industry. Toward that end, Joya aimed to make its kick off a cultural and artistic event, so they partnered with artists like Julien Carreyn. Lcole, School of Jewelry Arts, an educational program supported by Van Cleef & Arpels, helped plan Joya, among other partners. All in all, the booths assembly system reflect Christ & Gantenbeins commitment to material reuse and sustainability.Joya is open through November 24.

The Architectural Review is seeking the most creative adaptive reuse projects from around the worldAs the need for sustainable alternatives to building anew becomes increasingly urgent, the AR New into Old awards celebrate the creative ways buildings are adapted and remodelled to welcome new contemporary uses. Launched in 2017, the awards recognise the imaginative appropriation of existing structures that offer buildings a new lease of life, from innovative insertions to ambitious adaptations.Enter nowEntry deadline: 7 March 2025For more information and to enter the awards click hereThe Farsh film studio by ZAV Architects won the 2021 edition of the awards.Credit:Behnam SedighiWinning the 2021 awards for the Farsh Film Studio in Tehran, Mohamadreza Ghodousi of ZAV Architects instructed architects to design the process, not the building. Ghodousi went on to judge the 2023 awards, commending winning project, Site Verrier by SO-IL and Freaks Architecture, as a joyful urban superimposition that invades the courtyard and revitalises the life of the buildings. Also on the judging panel, Lu Wenyu of Amateur Architecture Studio described the winner as having a visionary design approach that breathes new life into historical sites while preserving their authenticity.Highly commended in 2023 was Laguna Mxico in Mexico City, Mexico by ProductoraCredit:Camila CossioRegardless of programme, budget, site or scale, The Architectural Review is looking for projects completed in the last 5 years which have had their life extended by the insertion of new uses rather than demolition and replacement. All entries will be reviewed by an expert international judging panel, which will choose a shortlist of up to six commended buildings. The judges six chosen schemes will all be visited by an independent critic before the judges choose a winner.The AR New into Old awards are diverse and wide-ranging.Previous winners and finalists include SO-IL, ZAV Architects, David Kohn Architects, Ryan W Kennihan Architects, Davidson Rafailidis, Freaks Architecture, Flores & Prats, Rural Urban Framework, Witherford Watson Mann, Aulets Arquitectes, O-office, Wingrdhs, Zaha Hadid Architects, and Productora.To find out more about the AR New into Old awards and enter today, clickhere, or view examples of adaptive re-use projects previously published in the ARLead image: Site Verrier by SO-IL and Freaks Architecture in Meisenthal, France, won the 2023 New into Old awards. Photograph by Arthur Crestani2024-11-21AR EditorsShare