OpenAIs video generator is here. ChatGPT subscribers can use Sora to generate videos from text, bring images to life, and extend, remix, or blend already existing videos. Heres what it looks like to test it out in case youre still locked out or the servers are down. During a livestream Monday afternoon, OpenAI revealed [] 2024 TechCrunch. All rights reserved. For personal use only.

Blue Origin says its on track to launch its towering New Glenn vehicle before the years end, though the company is still awaiting regulatory approval to conduct a final key test of the massive rocket.That test, called a hot fire, involves powering up all seven of the first stages BE-4 engines and firing them to full thrust while the rocket sits on the pad. The test is designed to mirror how the vehicle will operate during lift-off. If all goes to plan during the hot fire test, Blue Origin will move to integrate the fairing (the part of the rocket that holds the payload) as the final step before launch.Much depends on this first test. As Blue Origin founder Jeff Bezos said in an interview at The New York Times Dealbook Summit earlier this month, New Glenn is key to his vision to lowering the cost of launch enough to move all polluting industry into orbit: I know that sounds fantastical, so I beg the indulgence of this audience to bear with me for a moment, he said. But its not fantastical. This is going to happen, and we need to lower the cost of access to space low enough, and thats what New Glenn, our orbital vehicle, is all about.The 320-foot-tall rocket will be capable of carrying 45 metric tons (99,200 pounds) to low Earth orbit. This is more powerful than United Launch Alliances Vulcan Centaur and SpaceXs Falcon Heavy in its reusable configuration.For comparison, SpaceXs Starship, the largest rocket ever built, is designed to carry 100-150 metric tons to LEO. In the shorter term, getting New Glenn up and running is likely key to turning Blue Origin into a profitable business. While Blue Origins financials are not public, and it benefits enormously from Bezos personal fortune, the Amazon founder said during that same summit that he anticipates it one day growing into his biggest business yet.I think its going to be the best business that Ive ever been involved in, but its going to take a while, he said.This inaugural New Glenn mission was originally slated to fly a high-profile pair of satellites to Mars for NASA, for a launch window that opened in October. But the space agency ultimately decided to push back that mission to another New Glenn launch in the spring of 2025, citing potential issues that could arise should the rocket be delayed.Instead, the NG-1 mission will test a demonstrator payload for the companys Blue Ring orbital transfer vehicle, including communications, the power system, flight computer, and software that will be used on future production OTVs. In a post on X, Blue Origin CEO Dave Limp said the company was developing Blue Ring in response to a growing demand to quickly move and position equipment and infrastructure in multiple orbits.The rockets maiden flight will also be the first of two certification launches Blue Origin must nail to start flying national security payloads under the Space Forces National Security Space Launch program.Before any of this can happen, however, Blue Origin must receive regulatory from the Federal Aviation Administration. Only once these are in hand can Blue Origin launch the rocket from Floridas Cape Canaveral Space Force Station.

Today, Mindy Kaling and Morris Chestnut presented the nominees in each of 27 award categories for the 82nd Annual Golden Globes at a press conference at the Beverly Hilton.The award ceremony will be held on Sunday, January 5, 2025 live on CBS and streaming on Paramount+.Highlights of the nominations are as follows click here for a complete list:Best Motion Picture AnimatedFlow (Sideshow / Janus Films)Inside Out 2 (Walt Disney Studios Motion Pictures)Memoir of a Snail (IFC Films)Moana 2 (Walt Disney Studios Motion Pictures)The Wild Robot (Universal Pictures)Best Motion Picture DramaThe Brutalist (A24)A Complete Unknown (Searchlight Pictures)Conclave (Focus Features)Dune: Part Two (Warner Bros. Pictures)Nickel Boys (Orion Pictures / Amazon MGM Studios)September 5 (Paramount Pictures)Best Motion Picture - Musical or ComedyAnora (NEON)Challengers (Amazon MGM Studios)Emilia Prez (Netflix)A Real Pain (Searchlight Pictures)The Substance (MUBI)Wicked (Universal Pictures)Cinematic and Box Office AchievementAlien: Romulus (Walt Disney Studios Motion Pictures)Beetlejuice Beetlejuice (Warner Bros. Pictures)Deadpool & Woolverine (Walt Disney Studios Motion Pictures)Gladiator II (Paramount Pictures)Inside Out 2 (Walt Disney Studios Motion Pictures)Twisters (Universal Pictures)Wicked (Universal Pictures)The Wild Robot (Universal Pictures)Best Original Score Motion PicturesVolker Bertelmann (Conclave)Daniel Blumberg (The Brutalist)Kris Bowers (The Wild Robot)Clment Ducol, Camille (Emilia Prez)Trent Reznor, Atticus Ross (Challengers)Hans Zimmer (Dune: Part Two)Best Television Series - DramaThe Day of the Jackal (PEACOCK)The Diplomat (NETFLIX)Mr. & Mrs. Smith (PRIME VIDEO)Shgun (FX/HULU)Slow Horses (APPLE TV+)Squid Game (NETFLIX)Source: Hollywood Foreign Press Association Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Johnny Han brings over two decades of experience in the visual effects industry. His impressive portfolio spans projects like Smallville, Heroes, Pacific Rim, and The Nevers. Today, he shares insights into his work on The Penguin.What is your background?I was born and raised in NYC. I studied art and got a job doing VFX for commercials while in college. Then I moved out to LA to work on TV and Film VFX as a 2d and 3d artist. I loved working on set so I became a VFX supervisor. I switched it up and moved to London to be a commercials director. Now back in VFX, Ive been working as a VFX supervisor on the production side and 2nd unit director with HBO most recently for The Penguin.What was your feeling to be back in the DC universe?It seems to keep coming back for me! From Smallville in 2002 and Superman Returns in 2006, Im excited to give it another go, contributing to the visual vocabulary of these powerhouse mythologies, this time for the world of Gotham City. I was 20 when I first started doing VFX on Smallville, and I think that worked out well because I was the exact age demographic the show was for. So the VFX ideas I thought were cool probably also were for the audience. Its 2024 now and as one gets older, sensibilities and tastes mature as well- so hopefully Im bringing those honed senses to the table.How was the collaboration with the showrunner and the directors?Lauren is a dream showrunner to work with. Shes open and willing to explore any and all ideas, as long as it helped enrich our characters, and tell the story we are trying to tell. Matt is great, a master storyteller but also loves the craft and its technical aspects. We could talk VFX ideas and techniques forever. It was really enjoyable and refreshing. Directors Craig Zobel, Helen Shaver, Kevin Bray and Jennifer Getzinger were like mentors, leading by example the art of directing. They also guided me when I was directing second unit for the show, especially important for some drama shots with our cast, which was such an exciting opportunity that Im grateful for.How did you choose the various vendors and split the work amongst them?I always like to work with trusted people whom youve already established a shorthand with. But its always important to explore and discover new and great creative partners waiting in the wings, adding new ingredients- flavors to the mix. I strive to play to each vendors strengths. Not just in the skills and technologies their teams may possess, but also their enthusiasm and hungriness for certain types of shots. It leads to truly creative problem solving, making shots sing. So above all, that passion I believe delivers the best work, and finding where that lives is the key. In-house artists are absolutely invaluable, taking on countless shots that are just the right fit to be done by one person teams, which larger vendors may not be agile enough to take on efficiently. Our vendors were Accenture Song, SSVFX, Pixomondo, ReDefine, Stormborn Studios, Frost FX, FixFX, AniBrain, and talented in-house artists Takashi Takeoka, Brian Ali Harding, and Jesse Newman.What is the your role on set and how do you work with other departments?For bigger VFX scenes, Im there on set to be by the directors side, guiding them through some of the technicalities, but also to be there to explore new ideas that may happen in real time. No matter how much you have a plan, nothing ever quite goes exactly according to it. But thats also the beauty and fun of the process. Limitations lead to new instinctual ideas. So if something causes the director to switch things up, Im there to guide on the fly- what needs to be shot, how the camera might have to move, and what the actors might need to do for us.Gotham City has such a distinct and gritty atmosphere. What were the main challenges in bringing this version of the city to life through visual effects?NYC has become much cleaner in the last few decades! My memory of growing up there in the 80s and 90s was a large part of my reference of what to aim for. But more than that, The Batman established a neo-gothic architectural look. There are actually only a handful of these styles of buildings in NYC, like the Woolworth building, but there are more in Chicago so we borrowed lots of ideas from there. Chicago is also what stood in for some scenes in the film. We digitally transplanted the tops of familiar NYC skyscrapers to have ornate gothic spires and cathedral-like structures. VFX Supervisors Nathaniel Larouche (Pixomondo), Ed Bruce (SSVFX), and Emanuel Fuchs (Accenture Song) have become Gotham skyline experts, pulling off several of these shots. Distinct to our show, our Gotham has just experienced a massive flood. So we tried to make our sets as wet as possible. One scene in the pilot has a short car chase which was meant to be in torrential rain. When we arrived on set, it was so cold that city safety laws prohibited us from using rain towers and wet down trucks because of the potential for it to all freeze and turn to ice. So we digitally added almost all the water you see. Furthermore, to make scenes feel wet, we added what we called wet flares- caustic lens flares that occur when light shines through water on the lens. We did an element shoot, shining all kinds of flashlights through various gels and silicon, bought at a local hardware store. This created a library of really intricate caustic light phenomena that our VFX teams integrated throughout the show to give it a wet, damp, post-flood Gotham feel.Can you explain the blend of practical and digital effects used to enhance Gothams iconic skyline and its unique architecture?We always endeavor to start from as much practical as possible. Our VFX team was continuously shooting random plates of NYC everywhere we went to build a large library. Once in post, we armed our vendors with this searchable library to kit out every shot as much as possible. Then from there, we asked ourselves what parts needed to be changed with 3d, adding specific Gotham touches like neo-gothic tops to modern skyscrapers. In every skyline, we tried to plant an in-canon building established in the film such as Wayne Tower, the GCPD clocktower and the Empire Gotham building, but with consistent geographic rationality.How did you handle the large-scale explosions in The Penguin to make them look realistic yet safe for the actors and the set?Sofias G-Wagon originally wasnt meant to be seen on camera, but in post Lauren and I felt such a shot would help the storytelling, so I really roughly slap comped together an explosion over an unused plate of the SUV, to give Lauren LeFranc and the editor Meg Reticker something to cut with. We all liked it, so VFX was given the go to make this shot from scratch with the team at Redefine. It was a fully CG shot, with a pyro simulation ripping apart the SUV, sending a hurtling fireball towards camera. When Oz falls down the shaft to escape the flames, we shot a real pyrotechnic explosion element of fire bursting down the shaft. However, once in post we realized it happens too instantaneously, not allowing for Oz to believably escape. Our VFX editor Erin Sullivan suggested we reverse the explosion clip, using the slower end parts of the flames as the first part. This worked perfectly and thats what you see in the final shot. When we see an aerial shot of the explosions resulting sinkhole, ReDefine figured out the location of the helicopter plate, and extracted the google maps 3D data of the environment to serve as a starting point. Then based on the reference that we went through with Matt Reeves and Lauren, simulated the sinkhole collapse. When Victor gets there we get a closer look. The team used the same asset and detailed it out, adding details of Ozs underground lair using the lidar data from that set. We wanted to help the viewers connect that under all this debris is where Oz was just moments ago, helping the story point of Victor thinking Oz may be dead.In terms of environmental effects, what was the most challenging aspect of creating the flood sequences in Gotham?Overall, the goal was to take this grand citywide event, and reduce it down to the experience of one individual, Victor. This contrasts to the films depiction, which was the effects of the wealthier midtown area and its people at a mass election event. Early edit cuts had shots cutting to different parts of the city showing various bombs going off, but we scrapped all that because we realized we were spreading this out and missing the point. So we had to focus it down to the most delicate and tragic moment of this one kids life.What techniques were used to ensure the water effects during the flood scenes looked as lifelike and immersive as possible?The flood is something not everyday people experience, so we wanted to connect it with as many everyday things people do experience. A typical rush hour traffic filled freeway, familiar green highway signs, street lamps, neighborhood storefronts, and neighborhood people. Things that you or I could have seen or experienced just yesterday, creating a strong personal connection. Lighting was a big part of it. When the water breaks through, the shot starts with lots of active lights- headlights, street lamps, apartment windows. But as the shot progresses those lights gradually flicker out or get submerged, making the water get darker and darker, ominously swallowing everything in its path. Most important was that the flood felt like it was Victors own testimony, literally a recollection of his experience. We storyboarded the scene as early as possible. In them, youll see the camera only goes or looks at angles that Victor could have seen. The explosions are mostly implied with strong light sources partially behind buildings- this uncertainty for Victor is perhaps more terrifying than if he could see them all in his line of sight. For instance, we dont get an up-close view of the bomb until Victor gets up off the floor, and by the time we reveal it, it has already half dissipated, where a more gratuitous version may have the whole bomb visible from its start. The water simulation was done to a feature film standard. I was a VFX Supervisor for Roland Emerichs end of the world flood thriller 2012, supervising the flood sequences in the film. It was an unforgettable learning experience, understanding why and how to make water look right. Hopefully, I was able to apply some of that here. And luckily, we were able to work with a knockout vendor. At Stormborn Studios, VFX Supervisor Goran Pavles and his team completed the entire sequence with fierce determination and applied technical expertise.How do you approach invisible visual effects, where the goal is to enhance or alter reality without drawing attention to the effects themselves?I suppose it comes from switching modes from VFX Supervisor to viewer at home, watching the scene over and over to see if anything is jumping out, and more importantly if the VFX is helping me understand the story. We have to put our pride down from wanting to impress and dazzle others, which often leads to overcooked, overzealous VFX work. I try to push the use of live action elements as the first approach for any VFX shot, leaning on a huge library weve built for this very purpose of arming ourselves with a toolbox. When we have to go CG, we still rely on live action by obtaining as much reference as we can. And at times, if we feel it isnt working, we will go out and custom shoot an element- in the office, in the parking lot, wherever. Its that important to me that we exhaust all 2d resources first.Did you use any digital doubles in action sequences? How do you ensure they are seamlessly integrated with live actors?When Taj and Nadia burn to death, we set up 7 iPhones as witness cameras around the actors, fixed on top of light tubes flickering orange interactive lighting. We wrote an app for all the phones to sync-record, with their views viewable from an iPad. This gave the VFX team at Accenture Song led by VFX Supervisor Emanuel Fuchs a robust set of views to match move to. We cyberscanned the actors as usual, but for me its more about the movement to get right. I sometimes do the still frame test. If I cant quite figure out why a shot isnt looking right, I pause it. If it all of a sudden looks real, then you kinda know its the movement thats causing it to feel not real.How did the mood and tone of The Penguin shape your choices when creating the visual effects for Gothams darker, more atmospheric scenes?We have to remember that our VFX imagery is meant to support the tone of the show. So often, Lauren and I would discuss when a VFX scene would look too pretty or too nice. This isnt right for Gotham. So often CG lights would get reduced to be moodier, less perfectly and theatrically placed. Sunsets and sunrises had to be the ominous kind, reminding you time is running out- not the ones you sit and watch. Skylines were never about postcard images of rich corporate skyscrapers lit up with dazzling lights. They were carefully composed to have a mix of rich and wealthy buildings, surrounded by shorter, darker, rows, sometimes black with the power off to echo the story point that Crown Point has been powerless since the flood. Gore would get gorier. For instance, when Victor shoots Squid, the convenient neat and tidy bullet wound done practically would get a VFX makeover with messier torn up wounds with blood erratically spewing out, streaming all over his jacket. The scene is about Victor realizing he has become a monster himself, and so what he sees had to be disturbing and unglamorous. If Victor shot him with a clean perfect wound, it would not have the same effect on Victor, as he watches Squid bleed out. VFX Supervisor Adrien Saint Girons and his team at ReDefine executed this chilling sequence.Were there any specific references or inspirations taken from other depictions of Gotham in film or TV when designing the citys look for The Penguin?Besides The Batman, we did borrow from one unique source. For some driving scenes, we collaborated with WB Games to use the real-time game environment from Gotham Knights to render out animated driving backgrounds that we put up on giant LED screens around the car. The creative team felt the game footages overall mood and tone (with some color desaturation) was a good match to be seen in the backgrounds of our car shots.The use of rain and shadows is integral to Gothams feel. How much of this is practical versus CGI, and how do you strike the right balance?Rain is a very hard thing to setup when filming, and also very hard to make visible on camera. We used it practically where it really counted, often just the areas where the actors were standing, and filled out the rest with VFX. When Oz has his Maserati car chase in the pilot, it was so cold in NYC that city laws didnt allow us to use rain towers because of the risk it may freeze and become ice. So, every aspect of the water was entirely added in VFX. The rain, reflections, spray from the tires, collisions on the car, and the foggy beams from the headlights. VFX Supervisor Eugene Bondar of Frost FX masterfully crafted did all aspects of this car chase.For shadows, we found there was something cool we could do here. Because there is a lot of muzzle flash gunfire in our show, theoretically they should light up our very darkly lit scenes full of shadow. The VFX team first used photography flash strobes to create room-filling interactive light, which we all felt was so visceral and exciting. We continued developing this idea, and created what we called VFX Flash-Guns. They were prop guns that contained all the electronics to produce an ultra-bright flash at the tip to give us that exciting interactive light driven by the actors. The flashes would however tear across the frame, when a flash clips the rolling shutter of our Alexas. So, we created a phase synchronizing system, that wirelessly altered the millisecond timings of the triggered flashes to only flash in phase with the camera shutters, resulting in full frame, never missing flashes. VFX Wrangler Jack Chaney took on the onset responsibility of making these flash-guns shine.Were there any particularly complex shots or sequences in terms of effects layering that required multiple passes and detailed compositing?When Taj and Nadia Maroni meet their fiery demise, we had to carefully balance telling the story of flames engulfing our two characters, while still seeing them visibly beneath with their charred sizzling flesh. The shots, as much as they seem to be about two bad guys burning, is actually about Oz taking a sick satisfaction and enjoyment of watching the two of them burn for as long as he can. So, we had to make sure Taj and Nadia didnt steal the scene. It was a delicate balance, but I think it really worked. The plates contained 6 light bars with iPhone witness cameras surrounding them for interactive flickering firelight. We also filmed reference fire footage- SFX created this awesome fire snake- a flexible metal tube with gas holes throughout that could be puppeted from afar. This gave us a great sense of how the fire would look with rapid human movements. Accenture Song layered CG rotomated digi doubles on top of the plates, textured with elements of burning steel wool, for a burning skin and clothing effect. Pyro fire simulations followed, using the reference fire snake footage to match look, scale, turbulence, and motion. Some practical elements were mixed in to help give that blend of cg and practical to bring extra realism. Finally, a fire suppression system fires. CG gas simulations smothered the flames, with the fire light volumetrically scattering through the cg gas. At first it was quite a beautiful look for such a dark moment. We have to remember that were not here to make pretty pictures, were here to make pictures that support the tone and story. So, we un-prettied it, reducing the mix of interactive scattering light.Can you talk about how the collaboration with the cinematography team influenced the VFX work, particularly with lighting and color grading in dark environments?Jonathan Freeman and I had lots of discussions in post of what exactly we wanted the show and its VFX to look like. Coloring the first trailer was a great learning experience for all of us. It set this updated look for the whole show, since the trailer contained shots of every variety across the whole series. From that session we learned a lot about Lauren, Matt and Pankajs (the colorist) tastes and desires, beyond what we learned while filming on set. For the remaining months of post, we would clue vendors in- saying things like hey FYI this scene likely will be lifted in the blacks, so make sure the detail holds up there. In terms of filming, The DPs and I have a great appreciation for each others work and so definitely try to hear each other out. During filming, Jonathan Freeman, Darran Tiernan, David Franco or Zo White may ask if theres something we could do to help a shot, paint an unavoidable light structure out, extend an environment or stabilize something shaking in a cameras arm. Were always happy to help. At the same time, I may ask them to help us out. Like letting us shoot some extra VFX plates or adjust a camera setup ever so slightly. Its all a collaboration and a trustful relationship to know were all working towards the best possible outcome.How did you approach the destruction of buildings or infrastructure in Gotham during explosive sequences? What were some key technical challenges in making those scenes realistic?We researched and dug up tons of clips of what urban sinkholes and underground explosions looked like. Matt was always making sure we based our VFX on real life occurrences. But the tricky thing is there isnt a lot of reference of the union of the two- underground explosion creating an urban sinkhole. So, we took the best parts of the reference and incorporated that into our FX simulations. Theres a moment in 108 where Victor sees a large smoke plume from far away, signifying the further destruction of his neighborhood and Ozs possible death. When I was at Comic-con 2024s The Penguin press event, a building caught fire, making news headlines. The plume from the building was remarkably intense and unmistakably real. So, we layered in elements of that to give us an extra layer of realism.What role did previsualization play in planning out the larger VFX-heavy sequences, like floods or action scenes?Previz is a very crew culture specific thing. Some directors and producers love it, some dont, and sometimes its just cost or time prohibitive. For The Penguin, I felt VFX storyboarding was a very good middle ground. I always say that pencil sketching to get super rough but super quick versions is the way to go. Because youll never be expected to nail it on the first go, so the key is the ability to have time to have lots of iterations and be able to address notes. So broad strokes, light sketches at first. No color! Then once weve got some good energy and approvals all around, we add details and clean them up. Chris Anderson created our VFX storyboards.How do you ensure continuity and consistency of visual effects across episodes to maintain Gothams look and the shows overall visual language?Well, we are very careful which VFX teams we assign to which scenes. In a perfect world, its the same team doing all daytime Gotham, and the same team doing all nighttime Gotham, and a team doing all blood, guns and fire effects. But its quite a puzzle and we dont have the luxury. So we carefully make sure that we send different teams the work in progress from other teams, to make sure we are all on the same page. The teams know that we are all working on the same show, so they set aside company pride and try to help each other out. I think we were so fortunate to have that happen. To help with consistency and continuity, we created a huge keyword searchable asset library of 2d images and video of filmed buildings, skies, bridges, rivers, traffic, you name it. Led by Piers Dennis, the intention was to give vendors access to the same visual materials, to foster thematic consistency. Also, for this library Alex Prodhomme and I shot countless lens flares and the aforementioned wet flares with the same lenses used to shoot the show. Vendors were encouraged to use these instead of generating cg lens flares, to give the shots the authentic feel that matched the non-VFX shots.Were there any unexpected technical or creative challenges encountered during the production?Our lenses were these beautiful but very stylized Arri Alfa anamorphic lenses, also used on The Batman. They had such organic and strong artifacts- chromatic aberration, and strange bokeh shapes that we knew we would have to match perfectly. Taking the concept of typical checkerboard lens-grids further, we used a giant TV screen to rapidly display various patterns of dots, circles and grids in RGB and B/W. We gave all our comp teams this solid reference of these lenses at any point of the screen to take the guesswork and subjectivity out of how to match the stylized look, and therefore giving a consistency across all the work of the vendors. There are some random things that were fun curveballs. Playing Carmine Falcone, Mark Strongs given hairstyle didnt quite match the depiction from the film, so we changed his hair and color in every shot. Some times of day had to be changed because of editing of scenes, or just difficulties of weather when filming. It sounds easy but really is quite difficult because we experience daylight everyday and are innately in tune with how sunlight looks.Looking back on the project, what aspects of the visual effects are you most proud of?Honestly, I think its how much you dont know is there. Its humbling, but rewarding when no one blinks at the 3107 shots, and instead are engaged by the compelling story and its characters with jaws to the floor. Im quite proud also of all the VFX shots built from images and plates shot from our own VFX team. VFX production manager Haley Apicella and lead coordinator Henry Willette were instrumental with getting all this in house stuff done. Elements of bottles smashing or blood squirting shot in our kitchens. Countless plates of skylines shot from random rooftops and train platforms, or filming ourselves on greenscreen in the post production offices to help add goons to shootouts or to add patrons arriving to the Monroes Nightclub. Things never anticipated, but arose out of an excitement to tell the best story we can, pushing us to improvise and go that extra mile. A bit of scrappy cowboy filmmaking goes a long way! And can be a hell of a lot of fun.How long have you worked on this show?Almost to the day I was on the show for 2 years. From the start of prep, through the shoot, and to the final days of color in post.Whats the VFX shots count?We had 3107 total VFX shots, about 800 of which were Ozs prosthetic improvements.What is your next project?Im feeling that out now. Hopefully something as rewarding as The Penguin!What are the four movies that gave you the passion for cinema?I figure Ill go VFX related:Jurassic Park: Turn the light off Lex! I learned you dont need continuity if you are really engaged in the story.Back to the Future: Did you know the whole movie has only about 30 VFX optical shots? Use VFX for the absolute necessities!Star Trek TNG/DS9/VOY: This franchise basically chronicles the history of advancing VFX techniques for television and film!Contact: That mirror shot! Amazing for its concept, not its technology.A big thanks for your time.// VFX Breakdowns// TrailersWANT TO KNOW MORE?FixFX: Dedicated page about The Penguin on FixFX website.ReDefine: Dedicated page about The Penguin on ReDefine website.SSVFX: Dedicated page about The Penguin on SSVFX website.Stormborn Studios: Dedicated page about The Penguin on Stormborn Studios website.WATCH IT ON Vincent Frei The Art of VFX 2024

Chris recently stumbled on an old interview from SideFX with Guerilla Games, the makers of Horizon: Zero Dawn. And in that interview Vladimir Lopatim shared a really neat setup of a space filling cable generator. Now, seven years later, there are a ton of new nodes that make this setup a whole lot simpler, so its time for a modern rebuild!The interview that inspired this video

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Nominated in the Aerospace, Space & Defense Application category, AM Craft offers fully designed, certified, and on-demand replacement parts, ensuring airworthiness and addressing a critical need in a market plagued by long lead times and dwindling spares.Scott Sevcik, VP Strategy & Business Development at AM Craft, highlights the companys transformative approach to solving supply chain challenges in the aviation aftermarket with additive manufacturing.By employing proven technologies like Stratasys FDM 3D printing with ULTEM 9085 materials and achieving rigorous certifications, including EASA Part 21G Production Organization Approval, AM Craft ensures reliability and repeatability for aerospace applications. The companys model, built on collaboration with industry leaders, research institutions, and customers, enables decentralized, scalable production through digital warehousing, reducing lead times and keeping aircraft operational. This innovative approach is redefining supply chain efficiency and resilience in the aviation industry.Cup and pen holder added to Embraer E190 cockpits printed in grey ULTEM. Photo via AM Craft. Vote now in the 2024 3D Printing Industry Awards.3DPI: Can you describe your application and how it differs from existing approaches in the market?Scott Sevcik: The aviation aftermarket is a perfect fit for the supply chain benefits offered by additive manufacturing. Replacement parts are often needed in low volumes, but could be needed anywhere around the world. However, this market is barely considered additive manufacturing until now. AM companies have either offered equipment for a customer to manufacture with themselves, or general purpose service buureaus have offered build-to-print services. Neither of those approaches fit how the aviation aftermarket buys. They want to buy a fully designed and airworthiness certified part. Thats what AM Craft offers that is new to the market. If a customer has parts they are struggling to procure traditionally, we can design, certify, and produce a new part to fulfill that requirement.3DPI: What specific problem does your application solve, and what makes it a groundbreaking solution in the 3D printing space?Scott Sevcik: Aviation supply chains have been struggling since before the pandemic, but that took the problems to an extreme. Commercial aircraft fly for 30 years or more, and parts are constantly breaking and needing replacement. At this point, many of those parts have exhausted spares supplies and getting new parts can take 8-10 months, if at all. In some cases the priginal supplier no longer exists and the design data is gone. In other cases, the OEM is too busy with new projects and cant devote resources to long tail support issues. We are able to address both of these issues through end-to-end service. We create a new, printable part that now exists forever in a digital warehouse and can be produced on demand in aviation hubs around the world.3DPI: Can you elaborate on the specific additive manufacturing techniques and materials you employed in your project and why they were chosen over traditional manufacturing methods?Scott Sevcik: We are primarily using Stratasys FDM with several different colors of ULTEM 9085 material. This is a combination that has been well-proven to be suitable for aircraft cabin interior applications, especially at low volume. This is largely because ULTEM 9085 was originally developed for cabin interior applications with injection molding. Where more appropriate, well also use SLS technology. Were also exploring other material options for use in future applications.3DPI: What measures have you implemented to ensure the reliability, consistency, and quality control of your AM components, especially given the rigorous demands of aerospace, space, or defense applications?Scott Sevcik: We have secured an EASA Part 21G Production Organization Approval. To accomplish this, we needed to develop and document very rigorous processes and have them audited by an airworthiness authority. Weve subsequently been audited by multiple aerospace OEMs to ensure that we have the rigor and quality control in place to meet all industry requirements. Going beyond that, weve secured multiple EU grants for testing materials and processes extensively. We use the data from this testing as a foundation for repeatability in our processes.Replacement overhead panel for Finnair A320. Photo via AM Craft. 3DPI: How does your innovation address the industrys current pain points, such as supply chain vulnerabilities, production lead times, or material performance limitations?Scott Sevcik: The pain point we address most directly is long lead times for replacement parts. While we leverage our AM expertise to serve OEM customers on serial production business as well, addressing hard to procure or problem parts in the aftermarket is where we bring unique value to a very extreme pain point. This year, weve seen customers react in an extremely positive manner to our ability to address this challenge.3DPI: What role does collaboration play in your work, whether with research institutions, government agencies, or industry partners, and how have these collaborations contributed to your success?Scott Sevcik: Collaboration is central to our model. Weve worked closely with the University of Latvia in our research and testing efforts. Weve worked closely with our equipment providers, such as Stratasys who has elected to become an investor in AM Craft. We work with partner manufacturing companies like Paradigm 3D and alphacam to enable our customers to leverage more capacity closer to the point of need. And we collaborate directly with customers, like Singapore Airlines Engineering company to accelerate the number and variety of printable replacement parts in our digital catalog.Replacement armcap for economy seating in a European commercial fleet. Photo via AM Craft. Vote now in the 2024 3D Printing Industry Awards.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 Riga Manufacturing facility with multiple F900 systems. Photo via AM Craft. Michael PetchMichael Petch is the editor-in-chief at 3DPI and the author of several books on 3D printing. He is a regular keynote speaker at technology conferences where he has delivered presentations such as 3D printing with graphene and ceramics and the use of technology to enhance food security. Michael is most interested in the science behind emerging technology and the accompanying economic and social implications.

Baker Hughes and Oqton are nominated for Mobility or Energy Application of the Year in this years 3DPI Awards.Baker Hughes uses additive manufacturing for product performance, supply chain efficiency, and sustainability. The global energy technology company strives to drive and lead the transition to clean and sustainable energy. As part of this technology-driven approach, Baker Hughes has adopted Oqtons software solutions.The Oqton platform has five key modules: Order Management, Digital Warehouse, Engineering, Manufacturing Execution Solution (MES), and Monitoring, offering end-to-end traceability and efficiency in additive workflows. By leveraging AI and machine learning, the solution detects anomalies during production, ensuring consistent quality.3DPI asked Faisal Iqbal, Senior Digital Product Manager, Global Additive Manufacturing Team at Baker Hughes and Roy Sterenthal, VP, Engineer Software, Oqton about the technologys transformative potential for the energy sector, enabling innovative designs, customized components, and on-demand manufacturing that reduces supply chain dependencies.Vote now in the 2024 3D Printing Industry Awards.3DPI: Can you describe your application?Roy Sterenthal, VP, Engineer Software, Oqton: Oqton has commercialized a software solution to support on-demand additive-based manufacturing for regulated markets. The solution was developed together with Baker Hughes and according to our joint vision to enable decentralized manufacturing processes across locations and suppliers.The solution includes five integrated modules:Order Management: A complete set of configurable workflows for order entry and approval processes, including a customer portal for managing the communications and requests.Digital Warehouse: Ability to store pre-certify and certified parts, including the full definition of how they need to be manufactured and inspected. Building catalogs per customer and managing inventories.Engineering: All-in-one software solution for supporting DoE and Production engineering challenges for preparing and certifying parts for production.MES: Manufacturing Execution Solution for production order planning, workflow execution, dashboard and reports, and a full traceability of the entire additive based workflow and all actions.Monitoring: Realtime read of In-situ data from printers is used for operational cost optimization, to record the complete manufacturing process, and to analyze the process quality and repeatability.The solution uses AI/ML to identify anomalies and quality concerns during the build process.3DPI: What are the key benefits of your technology in terms of performance, efficiency, or durability compared to conventionally manufactured components?Faisal Iqbal, Senior Digital Product Manager, Global Additive Manufacturing Team, Baker Hughes: Baker Hughes provides technology-based solutions that solves some of the extremely challenging problems the energy industry faces in delivering to the worlds demand safely, cleanly, and efficiently.Baker Hughes is striving to lead the energy transition and providing advanced technological solutions, such as carbon capture, emissions abatement, and the use of digital in optimizing customers operations.Additive manufacturing is one of such technologies where the company sees opportunities to increase the value of its product and services portfolio to the customers, through improved product performance, increased supply chain efficiency, and a positive impact on overall sustainability.3DPI: What inspired your team to integrate additive manufacturing into your application, and how does it transform traditional manufacturing methods in the mobility or energy sector?Faisal Iqbal, Baker Hughes: Additive manufacturing offers opportunities for a freedom of designs that can truly improve product functions, which the end-user can realize in terms of increased efficiencies and reliability. Additionally, additive technologies are well-suited for customizing products to meet the operating and environmental conditions under which products in the energy sector must operate.With additive as an alternate fabrication method, the supply chain sees increased resiliency in a highly dynamic world, in terms of short lead time and producing near the point of use.3DPI: How have you addressed challenges related to the scalability of your additive manufacturing process, especially when dealing with large or complex components?Faisal Iqbal, Baker Hughes: Scalability requires repeatable working process. Being able to accurately repeat a complete workflow to ensure quality, certification and reliable parts manufacturing is a challenge that our solution was design to address.One of the ways these challenges can be addressed is through the effective use of digital and data.Repeatability requires monitoring every aspect and parameter of all actions. Traceability is key for a reliable process. The solution we commercialized includes a digital recording and approval of every action, and collection of all physical data available throughout each action.3DPI: What are the long-term implications of your work for the future of mobility or energy, and how might it influence the adoption of additive manufacturing in these sectors?Faisal Iqbal, Baker Hughes: The main objective is to enable the industrial scale use of additive manufacturing to unlock the full potential that the technology offers. A reliable and just-in-time supply chain of the additive manufacturing portfolio will impact the energy generation efficiency.Additive manufacturing can help the industry transform from on-hand inventory to on-demand. This disrupts conventional business models with a shortened cycle time. Pre-qualified digital representations and manufacturing recipes of a component can reside in a digital inventory setup, and called upon in a single request, which triggers production close to a point of use, and eliminates a longer traditional supply chain route.This additively manufactured part would not only replace a physical component but can be a customized product tailored to maximize the efficiency on its operations.One foundational task needed to realize such a transformative state is to build a digital infrastructure that connects energy operators (i.e., end-users), OEMs, and suppliers. Baker Hughes and Oqton are working together to set a foundational digital ecosystem in the industry.3DPI: What advances or emerging industrial 3D printing technology trends do you anticipate will further enhance your application or open new possibilities for innovation?Faisal Iqbal, Baker Hughes: The technology is in its early development stage, and its a very complex process. One trend that has the potential to impact the adoption with a quick win is to rely on the digital front to reduce the technical entry barrier and help to warrant the stability which of the production matching the confidence of more mature manufacturing process, will reduce the overall industrialization cost.Open systems and industry data standards will allow work and data exchange among the companies while securely protecting their intellectual properties and trade secrets that will also help streamline industry supply chain challenges. With automation driving business operations more autonomously, we will see increased opportunities to create more innovative product designs that are highly efficient in use and friendlier to the environment.Vote now in the 2024 3D Printing Industry Awards.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.Michael PetchMichael Petch is the editor-in-chief at 3DPI and the author of several books on 3D printing. He is a regular keynote speaker at technology conferences where he has delivered presentations such as 3D printing with graphene and ceramics and the use of technology to enhance food security. Michael is most interested in the science behind emerging technology and the accompanying economic and social implications.

Hello!My name is Sedrak, and I am a specialist in visual effects and 3D design. I have experience working with:Unity (VFX Particle System, Shaders)Cinema 4DRedshift RenderCorona RenderPremiere ProPhotoshopIllustratorI am passionate about creating vibrant and impactful visual effects, eager to bring creative ideas to life, and ready to collaborate on unique and innovative projects.PortfolioI am based in Armenia (GMT+4) and available for remote collaboration.ContactGmail: sed.ogganes@gmail.comI look forward to discussing potential opportunities!

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