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Nvidia finally revealed their next-generation RTX 50-series graphics cards at CES 2025, with some big performance improvements expected thanks to the new Blackwell architecture. But since 2020 and the launch of the RTX 20 series, Nvidia has been working on and expanding its range of AI enhancements as part of its DLSS suite of exclusive features, with its latest iteration, DLSS 4, set to propel both new and older GPUs forward.DLSS 4's biggest new feature is one that will be exclusive to the new RTX 50-series GPUs. Multi Frame Generation is the next step in the Frame Generation race that Nvidia kicked off with the RTX 40-series range. Instead of just injecting a single, AI-generated frame between two traditionally rendered one, Multi Frame Generation now offers up to four AI-generated frames to be inserted, substantially increasing a game's frame rate. Nvidia says that its new GPUs can deliver nearly eight times more performance than "brute-force" rendering, but how well each generated frame looks and how this impacts input latency has yet to be determined.Digital Foundry was given access to an engineering sample of the RTX 5080 and limited time to test Multi Frame Generation in Cyberpunk 2077 and came away impressed with both the image quality and fluidity of the experience.Continue Reading at GameSpot

A new League of Legends cinematic from Arcane animation studio Fortiche sets up the story to come in the game's first season of 2025, and serves in many ways as a continuation of some of the plot threads from the critically acclaimed Netflix show.League of Legends' first season of 2025 is set to begin January 9 and will be all about Noxus, one of the major political empires in the world of Runeterra and one that became a bigger part of Arcane season 2's story. The cinematic shows several different stories unfolding, as familiar League of Legends characters like Katarina looks to assassinate a target and is stopped by Elise, Noxus general Darius confronts the ice troll Trundle, and Arcane's Mel--who is not yet a playable champion in Riot's MOBA--looks to make her return to Noxus. Mel is currently playable in Teamfight Tactics, and is heavily rumored to be added to League of Legends proper as part of 2025 Season 1, Welcome to Noxus. As is the case with Arcane, Fortiche brings the world of League of Legends to life in stunning fashion, with an absurd attention to detail and a slightly stylized look that gives each character more life and personality than they've ever had before.Continue Reading at GameSpot

PlayStation is expanding its lineup of Midnight Black accessories and hardware with new models of the DualSense Edge Wireless Controller, PlayStation Portal, Pulse Explore Earbuds, and Pulse Elite Headset. All four new PS5 products release February 20, and preorders begin January 16 at 7 AM PT / 10 AM ET at PlayStation Direct and select retailers. The accessories join the standard Midnight Black DualSense Controller and PS5 Console Cover. DualSense Edge (Midnight Black) $200 The DualSense Edge looks slick in Midnight Black, and the color even extends to its included carrying case. Our pick for the best premium PS5 controller, the DualSense Edge is a high-performing gamepad with a great feel and ample customization features.The DualSense Edge has adjustable trigger locks with three stopping points, two styles of remappable back triggers, and a pair of Fn (Function) buttons that can be reprogrammed to quickly cycle through and adjust settings or switch profiles on PS5. On PC, the Function buttons can be mapped to any input.You can remap inputs, create trigger and stick dead zones, tweak stick sensitivity, and adjust haptic feedback intensity in the PS5's menu system. On PC, you can use the official PlayStation Accessories app to make these changes. Here's what you get with the DualSense Edge:Two pairs of remappable back triggers: standard and lever stylesTwo Function buttonsThree pairs of stick caps: standard, tall dome, low domeBraided USB-C cable with optional connector housingHardshell carrying case See at PlayStation Direct See at Amazon PlayStation Portal (Midnight Black) $200 The PlayStation Portal is a Remote Play handheld for PS5 users who want to access their library while away from their console. While there are cheaper options for Remote Play, including your smartphone, the PlayStation Portal retains the authentic experience with haptic feedback and adaptive triggers. The Portal has superb ergonomics and the 8-inch 1080p display is gorgeous. See at PlayStation Direct See at Amazon PlayStation Pulse Explore Wireless Earbuds (Midnight Black) $200 The Pulse Explore Wireless Earbuds come with six earbud tips to help find the best fit and are compatible with PS5, PC, Mac, PlayStation Portal, and mobile devices via Bluetooth. The earbuds support the PS5's audio features, such as Tempest 3D Audio, and have two hidden microphones for chat. They can run for five hours on a full charge, and the included charging case adds 10 additional hours of playback. The Pulse Explore support simultaneous connections via PlayStation Link and Bluetooth. See at PlayStation Direct See at Amazon Pulse Elite (Midnight Black) $150 The Pulse Elite brings up to 30 hours of battery life and impressive mid-range audio quality from planar magnetic drivers. Like the Pulse Explore earbuds, the over-ear Elite headset supports spatial audio and have built-in tech that helps block out unwanted noises when chatting with friends. You can use the retractable mic to make calls on your mobile device via Bluetooth while retaining your PlayStation Link connection to PS5, PC, Mac, or PlayStation Portal.Inside the box, you'll find the PlayStation Link adapter, USB-C cable, a charging hanger, and a mounting plate. See at PlayStation Direct See at Amazon More Gaming, Tech, and Entertainment Deals & Preorders Final Fantasy 7 Remake Physical Edition Gets PS5 Reprint - Snag It While You Can The 2,500-Piece Legend Of Zelda Lego Set Is Now Available At Amazon Mario Kart Lego Sets Are Available Now - Check Out All Six In The Launch Lineup + Show More More Gaming, Tech, and Entertainment Deals & Preorders Links (5) Fortnite Lego Sets Launch At Major Retailers, Including Amazon And Walmart Backbone One iPhone And Android Controller Is 50% Off The Lord Of The Rings: The War Of The Rohirrim 4K Blu-Ray Steelbook Up For Preorder At Amazon Metaphor: ReFantazio Is Getting A Nearly 600-Page Official Strategy Guide Elden Ring Strategy Guides Finally Restocked At Amazon - Get All Three While You Can

After nearly 10 years of waiting, fans are finally getting an official sequel to Hyper Light Drifter with the upcoming Early Access release of Hyper Light Breaker. While both games take place within the same stylized universe, Hyper Light Breaker makes many notable departures from its predecessor, branching out from the 2D single-player action-adventure of Hyper Light Drifter to become a full-3D action roguelike game with both solo and cooperative play. To help bring the game's ambitious vision to life, Heart Machine is partnering with a new publisher for Hyper Light Breaker in Arc Games.

Though many heroes have adopted the Captain Marvel moniker over the last few decades, few have become quite as synonymous with the alias as Carol Danvers. Debuting in 1968, Carol Danvers became Ms. Marvel in 1977, and finally became Captain Marvel in the 2000s, fully embracing her role as one of the leading members of the Avengers and New Avengers. According to recent datamines posted by X0XLEAK on Twitter, Captain Marvel might be heading to Marvel Rivals soon.

Last year was a big one for Fortnite, as the game expanded to even greater horizons. Between the introduction of Chapter 6, the return of Fortnite OG as a permanent mode, and even the addition of life sim LEGO Fortnite Brick Life, Epic Games has brought Fortnite to new heights.

By CHRIS McGOWANGladiator II was given the IMAX Maximum Image treatment in November. (Image courtesy of Paramount Pictures)Cinema audiences are increasingly showing an appetite for higher-resolution, higher-quality movies, often with large-format presentations and/or 4D effects. Soon, they will also be exploring AR movie augmentations and an increasing number of film-related experiences as well.When audiences began returning to theaters after the pandemic, they wanted experiences that they couldnt get in their homes. Now, in a post-pandemic world, moviegoers want something premium and special for their time, and audiences seek out IMAX because it truly is a premium experience, says Bruce Markoe, Senior Vice President and Head of Post & Image Capture for IMAX.IMAX is a pioneer and leader in premium cinema. Markoe notes, As of June 30, 2024, there were 1,780 IMAX systems (1,705 commercial multiplexes, 12 commercial destinations, 63 institutional) operating in 89 countries and territories. The numbers speak for themselves. In 2023, IMAX delivered one of the best years in our history. with nearly $1.1 billion in global box office. And while last years Hollywood strikes dealt the entire entertainment business a temporary setback, it was just that: temporary. Weve had an incredible 2024 to-date at IMAX, marked by several recent box-office successes, including Inside Out 2, Twisters and Deadpool & Wolverine, and as we look ahead, this trend shows no signs of slowing down.Markoe explains, Every IMAX location in the world is built to our precise standards they are designed, built and carefully maintained with meticulous care, and every location is customized for optimal viewing experiences. Only IMAX uses acousticians, laser alignment and custom theater geometry, combined with our Academy Award-winning projection technology, precision audio and optimized seating layouts, to ensure every element is immersive by design.Joker: Folie Deux launched on IMAX in October. (Image courtesy of Warner Bros. Pictures)Markoe continues, Our theaters are calibrated daily to ensure audiences get perfectly tuned sound and image every time, at every location, regardless of where in the world it is. We also have incredible partnerships with filmmakers and studios. Were seeing a dramatic shift to IMAX among filmmakers and studios. We are increasingly creating specifically for the IMAX platform. [And,] we have more Filmed for IMAX titles in production than any time in our history, Markoe says. We are dramatically expanding our Filmed for IMAX program to feature many of the worlds most iconic filmmakers and directors alongside rising talents in the industry. To date, we have 15 Filmed for IMAX titles set for release this year more than double any previous year as filmmakers and studios from Hollywood and international territories increasingly create uniquely optimized versions for the IMAX platform.Markoe notes, To meet growing demand among filmmakers to shoot in IMAX, the company is developing and finalizing the roll-out of four next-generation IMAX 15/65mm film cameras. IMAX tapped such prolific filmmakers and cinematographers as Christopher Nolan, Jordan Peele and Hoyte van Hoytema, among others, to identify new specs and features for the prototype. The new cameras recently entered production.Dolby Cinema is a premium cinema experience created by Dolby Laboratories that combines proprietary visual and audio technologies such as Dolby Vision and Dolby Atmos. (Image courtesy of Dolby)The worlds largest 4DX theater is the Regal Times Square located at 247 West 42nd St. in New York City. (Image courtesy of Full Blue Productions and 4DX)IMAX launched the Filmed for IMAX program in 2020 to certify digital cameras that were officially approved to create IMAX-format films. Markoe explains, The program is a partnership between IMAX and the worlds leading filmmakers to meet their demands for the ultimate IMAX experience. Working directly with IMAX, the program allows filmmakers the ability to fully leverage the immersive IMAX theatrical experience, including expanded aspect ratio and higher resolution. Through the program, IMAX certifies best-in-class digital cameras from leading brands, including ARRI, Panavision, RED Digital Cinema and Sony, to provide filmmakers with the best guidance to optimize creatively how they shoot to best work in the IMAX format when paired with IMAXs proprietary post-production process.IMAX continues to innovate on the cutting edge of entertainment technology, Markoe states. Our IMAX with Laser system was recently recognized with a Scientific and Technical Academy Award. Combining our industry-leading technology and new tools with the enthusiastic embrace by filmmakers to specifically and creatively design their movies to be the most immersive, high-quality presentation, we continue to find new and innovative ways to expand the IMAX canvas moving forward. We see an opportunity for our platform to serve as a conduit for sports leagues to expand their global reach and provide a launchpad for projects from some of the worlds most iconic music acts. The future of cinema is multi-pronged, combining visionary works from Hollywood and local language blockbusters, original documentaries and exclusive events.The Wild Robot landed on IMAX in September. (Image courtesy of Universal Pictures)The E3LH QuarterView Dolby Vision Cinema Projection System. Dolby Vision is part of the companys Dolby Cinema package, which includes the Dolby Atmos sound system and special theater treatments to reduce ambient light and enhance comfort.(Image courtesy of Dolby)DOLBYThe appetite for premium cinema is huge, and its a clear factor in whats drawing people to see movies in theaters, says Jed Harmsen, Dolby Vice President and General Manager of Cinema & Group Entertainment. 2023 marked Dolby Cinemas strongestyear in history at the box office, with U.S. Dolby Cinema ticket sales eclipsing pre-pandemic levels, up 7% from 2019. Furthermore,Dolby boasts the highest average per-screen box office among all premium large-format offerings, which is a testament to theconsumers recognition and value of enjoying their films in Dolby.According to Comscore data, the domestic large-format gross box office was up +10.1% in 2023 vs. 2019, illustrating how the popularity of premium cinema is growing and overtaking pre-pandemic levels. Also, per Comscore, market share of the domestic large-format gross box office (in relation to the entire domestic gross box office) grew from 9.7% in 2019 to 13.3% in 2023. According to Harmsen, Premium cinema experiences are becoming a larger share of all cinema experiences. Its one of the reasons we continue to work with our cinema partners to make Dolby Vision and Dolby Atmos available to as many moviegoers around the world as possible. We created Dolby Cinema to be the best way for audiences to see a movie, featuring the awe-inspiring picture quality of Dolby Vision together with the immersive sound of Dolby Atmos, all in a fully Dolby-designed theater environment. There are around 275 Dolby Cinemas globally.Inside Out 2 hit IMAX giant screens in 2024. (Image courtesy of Pixar/Disney)Twisters was unleashed on IMAX in 2024. (Image courtesy of Universal Pictures)The IMAX 70mm Film Camera. One of the IMAX film cameras used by Christopher Nolan to shoot Oppenheimer. (Image courtesy of IMAX)Harmsen adds, Our global footprint for Dolby Cinema spans 28 exhibitor partners and 14 countries, with the first Dolby Cinema opening in 2014 in the Netherlands. Were excited to have true collaborations with multiple trusted partners and advocates like AMC, who have been a huge proponent in bringing the magic of the Dolby Cinema experience to moviegoers.Harmsen underscores the value of Dolby sound and vision to the viewing experience. Dolby Vision allows viewers to see subtle details and ultra-vivid colors with increased contrast ratio and blacker blacks, delivering the best version of the picture that the filmmaker intended. Dolby Atmos offers powerful, immersive audio, allowing audiences to feel a deeper connection to the story with sound that moves all around them. And Dolbys unique theater design allows audiences to experience both technologies in the best possible way by limiting ambient light, ensuring an optimal view from every premium seat and more.Dolby Vision and Dolby Atmos have revolutionized premium movie-going and have been embraced widely by creators and exhibitors, allowing us to bring Dolby-powered media and entertainment to more and more audiences, Harmsen says. To date, more than 600 theatrical features have been released or are confirmed to be released in Dolby Vision and Dolby Atmos, including recent box-office hits like Inside Out 2, Dune: Part Two, Deadpool & Wolverine and more. Harmsen concludes, We see exhibitors continuing to outfit their auditoriums to support more premium cinema experiences to meet the demand were seeing from moviegoers. At Dolby, we see premium as the new standard in cinema. Its clear audiences worldwide do as well.On the outskirts of the Las Vegas strip, Sphere is a literal expansion of cinema. (Image courtesy of Sphere Entertainment)The 4DX Cinema Sunshine Heiwajima movie theater in BIG FUN Heiwajima, an entertainment complex in Tokyo. (Image courtesy of 4DX)4DX4D cinema adds motion seats and multi-sensory effects to blockbuster movies. The experience adds about $8 to each ticket. South Koreas CJ 4DPLEX is the leader in this area. Globally, there are some 750 4DX screens affiliated with the company, which has teamed up with partners like Regal Cinemas. According to the Regal site, 4D movies utilize physical senses to transport viewers into a whole new viewing experience. Regals 4DX theaters are equipped with motion-enabled chairs, which create strong vibrations and sensations, as well as other environmental controls for simulated weather or other conditions such as lightning, rain, flashing (strobe) lights, fog and strong scents.SPHEREOn the outskirts of the Las Vegas strip, Sphere is a literal expansion of what cinema is. When not hosting concerts or events, Sphere shows high-resolution films on a wraparound screen that is 240 feet tall and covers 160,000 square feet, with a 16K by 16X resolution. Digital Domain worked on the visual effects of Darren Aronofskys movie Postcard from Earth, shown in the gigantic spherical venue. Working on Postcard from Earth for the Sphere was an extraordinary experience, marking our debut in such an impressive venue. Collaborating with Darren Aronofsky, a filmmaker whose work weve long admired, added an extra layer of excitement as we brought his vision to life in this dramatic setting, comments Matt Dougan, Digital Domain VFX Supervisor.Deadpool & Wolverine made a historic global IMAX debut last July. (Image courtesy of Walt Disney Studios Motion Pictures)With the Apple Vision Pro, stunning panorama photos shot on the iPhone expand and wrap around the user, creating the sensation that they are standing where the photo was taken. (Image courtesy of Apple Inc.)The IMAX Commercial Laser Projector designed specifically for multiplexes. (Image courtesy of IMAX)NETFLIX HOUSENetflix House is another next-generation cinema addition. The experiential entertainment venue will bring beloved Netflix titles to life, beginning with locations in malls in Dallas, Texas, and King of Prussia, Pennsylvania, in 2025. Building on previous Netflix live experiences for Bridgerton, Money Heist, Stranger Things, Squid Game and Netflix Bites, Netflix House will go one step further and create an unforgettable venue to explore your favorite Netflix stories and characters beyond the screen year-round, according to Henry Goldblatt, Netflix Executive Editor, on the Netflix website.At Netflix House, you can enjoy regularly updated immersive experiences, indulge in retail therapy and get a taste literally of your favorite Netflix series and films through unique food and drink offerings, says Marian Lee, Netflixs Chief Marketing Officer, on the Netflix site. Weve launched more than 50 experiences in 25 cities, and Netflix House represents the next generation of our distinctive offerings. The venues will bring our beloved stories to life in new, ever-changing and unexpected ways.ARAugmented reality is expected to expand the experience of movie-going, adding interactive and immersive elements to movie posters and trailers, interaction with characters, personalized narrative and cinematic installations. Apple Vision Pro undoubtedly brings new immersive opportunities to the table with its advanced mixed-reality capabilities offering unique ways to engage with stories, comments Rob Bredow, ILM Senior Vice President, Creative Innovation and Chief Creative Officer. He explains that cinema is a highly mature art form with well-established storytelling traditions and audience expectations. While Apple Vision Pro can be used to help create compelling new experiences, its not about replacing these mediums [such as film] but rather complementing them. The device opens doors to hybrid forms of entertainment that blend interactivity and immersion in ways that are uniquely suited to its technology. [Cinema] will continue to grow and thrive, enriched by these new possibilities, but certainly not overshadowed by them.Looking forward, one of the changes in next-generation cinema may be one of content. IMAXs Markoe says, Audiences are increasingly interested in must-see events things that cannot be experienced the same way at home on a TV. Recent events, such as our broadcast of the 2024 Paris Olympics Opening Ceremony or broadcasting the 2024 NBA Finals to select theaters in China, brings these larger-than-life experiences to audiences in a way that cant be replicated elsewhere. Increasingly, concert films like Taylor Swift: The Eras Tour have appealed to audiences who want to feel fully immersed in the action.Indeed, the future of cinema looks to lie more and more in premium cinema as well as immersive experiences that expand what movies are today.

By TREVOR HOGGAll images courtesy of Paramount Pictures.Lucius Verus (Paul Mescal) seeks vengeance against Roman General Marcus Acacius (Pedro Pascal).Not often does a film crew get to reunite two decades later to make a sequel that makes swords and sandals cool again, but that is exactly the case with Gladiator II where Ridley Scott collaborates once again with Production Designer Arthur Max and Special Effects Supervisor Neil Corbould, VES. Russell Crowe as Maximus is not returning to the Colosseum to wreak havoc on the Roman Empire; instead, the task has been given to his equally determined son Lucius Verus (Paul Mescal).It was an amazing experience to see the Colosseum back up again, states Corbould. It was like stepping back in time 20-odd years because it was an exact replica of what we did before. I felt that the first one was damn good. To revisit this period again and take it a step further was quite an incredible and daunting task. The scope has been expanded. We were using the same old tools, like physical builds and handmade craftsmanship, that we always did, remarks Max. Only this time around, the digital technologies have come into that world as well, and that enlarged and increased the scope of what we could do in the time and on budget. It has been a gigantic shift from the first one to the sequel.Visual ties still exist between the original and the sequel. We wanted people to be able to recognize the [different] world from the first to the second, Max notes. It was also opportunistic of us to try to use some of the earlier footage to blend in. We did that in flashbacks and in the live-action, where we produced some of the Gladiators original crowd footage. We tried to match the sets in actual detail, particularly in the arenas, both provincial and in the capital like the Colosseum set as closely as possible to the first one. There were changes, but they were subtle. That was a nod to economical filmmaking. Why waste the time shooting crowds cheering when you have it in the can already? We did a few of those kinds of things.From left: Stunt Coordinator Nikki Berwick; VFX Supervisor Mark Bakowski; DP John Mathieson; Prosthetics Designer Conor OSullivan; Director Ridley Scott and Head Stunt Rigger Christopher Manger (ground) discuss the gladiator battle featuring the animatronic rhino created by Neil Corbould and his special effects team.Ridley said, I want to have a rhino there. I spoke to Mark Bakowski [Visual Effects Supervisor] about it. I said, We can create a remote-drive gimbal rig underneath, which is completely wireless, with a little six-axis motion base, and a muscle suit that we put a textured skin on with the head and body. Then Ridley said, I want it to do 40 miles per hour and turn on a dime. That was like, Oh, Christ. Another thing! But we did it. It was powered by flow-cell batteries and used electric car motors. This thing was lethal.Neil Corbould, Special Effects SupervisorAlso coming in handy was the Jerusalem set from Kingdom of Heaven, which was repurposed as a Numidian coastal fort attacked by the Roman fleet. The technology of water software thank you, James Cameron and Avatar and other productions had evolved to such a degree of sophistication that it made sense. Also, a credit to Neil Corbould, who found an incredible all-wheel-drive remote-control platform that was used for transporting enormous pieces of industrial technology great distances, like cooling chambers of nuclear power stations. We had a couple of those to put our ships on. This is where we were innovative, Max states.The advancements in technology allowed for more of the Rome set to be built physically for Gladiator II than for the original film.Pedro Pascal, Ridley Scott and Paul Mescal share a light moment in between takes.The entrance arch of the Colosseum had to be enlarged to allow the ships to pass through.The Colosseum had to be constructed higher than the original to accommodate the CG water needed for naval battles.Corbould was inadvertently responsible for a cut sequence appearing in the sequel. He recalls, I was going through some of my old archive stuff of the original Gladiator and found the storyboards of the rhino. After the meeting finished, I said, By the way, Ridley, I found these. I put them on the desk and he went, Wow! This is amazing. Weve got to do this. And thats how the rhino came about. It was like, Oh, Christ, I didnt think he would do that! Then Ridley said, I want to have a rhino there. I spoke to Mark Bakowski [Visual Effects Supervisor] about it. I said, We can create a remote-drive gimbal rig underneath, which is completely wireless, with a little six-axis motion base, and a muscle suit that we put a textured skin on with the head and body. Ridley said, I want it to do 40 miles per hour and turn on a dime. That was like, Oh, Christ. Another thing! But we did it. It was powered by flow-cell batteries and used electric car motors. This thing was lethal. It was good and could move around. We didnt do it like a conventional buggy. We did it like the two-drive wheels were on the side, and we had the front and back wheels in the middle, which were stabilizing wheels. We were driving it like a JCB excavator around the arena; that, in conjunction with the movement of the muscle suit and the six axes underneath, gave some good riding shots of the guy standing on top of it.The gladiator battle with the rhino was revived for the sequel when Neil Corbould showed Ridley Scott the original storyboards.Not everything went according to plan, in particular the naval battle in the Colosseum. Life got in the way because of the strikes, remarks Visual Effects Supervisor Mark Bakowski, who was a newcomer to the project. The Colosseum was originally to be more wet-for-wet and less dry-for-wet. But it works well in the end. There is a speed of working that suits Ridley Scott; he shoots quickly and likes to move quickly. That worked, shooting it dry-for-wet because Ridley could get his cameras where he wanted, reset quickly and get the shots; whereas, there are more restrictions being in the proper wet kind of thing. When it comes to integration, I was wary of having too much of a 50/50 split where you have to constantly match one to the other. We had a certain style of shot that was wet-for-wet, as in someone falling into the water, or Neil did some amazing impacts of the boats where the camera is skimming along the surface. Those made sense to do wet-for-wet because there are lots of interactions close to the camera. The water went through a major design evolution. Bakowski adds, We started off looking at the canals of Venice as our reference for the Colosseum, and then we started to drift.Ridley was showing pictures of his swimming pool in Los Angeles and saying, Can you move it that way? It took us a while to find the look of the Colosseum water, but we got there in the end.We tried to match the sets in actual detail, particularly in the arenas, both provincial and inthe capital like the Colosseum set as closely as possible to the first [Gladiator]. There were changes, but they were subtle. That was a nod to economical filmmaking. Why waste the time shooting crowds cheering when you have it in the can already?Arthur Max, Production DesignerThere were times when DP John Mathieson had to coordinate as many as 11 cameras for action sequences.The Colosseum naval battle was a combination of dry-for-dry and wet-for-wet photography.We built the boats in the U.K., shipped them out and then assembled them there, which was the right thing to do because it was almost impossible to get that material in Morocco or the sheer quantity of of steel and timber we needed. We put them in 30 40-foot trucks going across the Atlas Mountains, and as they were arriving, we were assembling them. It was like clockwork. On the day when we were shooting, we were still painting bits. It was that close.Neil Corbould, Special Effects SupervisorThe attack on the Numidian coastal fort was shot using the landlocked Jerusalem set from Kingdom of Heaven, with boats moved around on self-propelled modular transporters (SPMT) and CG water added in post-production.Technological advances allowed for the expansion of Rome. We built much more than we did on the first one in terms of the amount of site we covered, Max explains. We went from one end to the other. CNC sculptures and casting techniques were expedited greatly on the sequel because we had the technology. The timeframe was compressed from getting a finished drawing or working drawing to the workshop floor and also being able to farm out digital files, not only to one workshop but to multiple workshops simultaneously, which increased the speed of production. To a large extent, we met the demands of Ridleys storyboards, but there was still a large amount of [digital] set extensions. The accomplishment was impressive. It was an amazing set to wander around, Bakowski states. We had like a kit of parts that we could dress in the background. Technically, a certain hill should be in a particular place. We established it in this shot, or a certain building should be at a specific angle. But if it didnt look good, of course, it moved because Ridley is a visual director; his work is like a moving painting every time, and we responded to that by trying to make everything beautiful, which was the main thing.Visual ties still exist between the original and the sequel, such as the Colosseum.The baboons fighting the gladiators was a complicated sequence that required multiple passes.Visual effects took over some tasks previously looked after by special effects. In Gladiator, we did a lot of launching arrows, but in this one, we didnt do any of that, Corbould reveals. It wasall Mark [Bakowski]. That allowed Ridley to shoot at the speed he did, which was good. I concentrated on the fires, dust and explosions in the city. But we only shot that once, with 11 cameras. A major contribution was the practical black smoke. Corbould describes, We were burning vegetable oil, and when you atomize it at high pressure, it vaporizes, ignites and gives you this amazing black smoke. Everyone smells like a chip shop! We had six of these massive burners that were dotted around the set, and then wehad to chase the wind. We would have some wind socks up or look at the flags. You had to try to anticipate it because of the speed at which Ridley works. We must have had 16 people just doing black smoke. We built a beach as well. Ridley said, Its supposed to be on the coast, and I want an 80-meter stretch of beach with waves washing the bodies onto the shore. We constructed an 80 x 80-meter set of beach. I made this wave wall, which was basically one section of the wall, but the whole 80 meters of it pushed in. Its a bit like a wave tank. We put a big liner in it and sprayed sand over the liner; that gave it a nice, majestic wash-up against the beach.ILM led the charge in creating the 1,154 visual effects shots, followed by Framestore, Ombrium VFX, Screen Scene, Exceptional Minds and Cheap Shot VFX. The baboons were a fun ride and tough, Bakowski remarks. The speed that Ridley likes to shoot is fantastic, but someone interacting and fighting with a troop of baboons does take some planning and thought to go into it. Its complicated business. Bakowski adds, He was generous in terms of letting us shoot the passes we wanted to shoot. In general, we kept to the logic that there were a couple of hero guys in the middle and a bunch of supporting baboons on the edge. We do one pass where we put all of the baboon stunt performers in there. Everyone would run around acting like baboons. After that, we pulled out the baboons that werent interacting with people because it was a nightmare with the amount of dust being kicked up. We did a pass with only the contact points and then a clean pass afterwards. It was a challenge to have it all come together.A character in its own right is the capital city of Rome.One of the major creative challenges was developing the look of the CG water.Nothing was achieved easily on Gladiator II. This is the most challenging project that Ive ever done given the scale and scope of it and the conditions under which we worked, Max states. We had the sandstorms in Morocco, and the idea of doing a naval battle in the desert had its problems. We had to keep the dust down, and the physical effects team was always out there with water hoses, and they were clever. They had water cannons to replicate physical waves coming over the bow of the ships. It was a lot of technology on an enormous scale. The boat scenes were the most complicated. Explains Corbould, I was probably one of the first people on the show with Arthur, and our prep period was quite short. We built the boats in the U.K., shipped them out and then assembled them out there, which was the right thing to do because it was almost impossible to get that material in Morocco or the sheer quantity of steel and timber we needed. We put them in 30 40-foot trucks going across the Atlas Mountains, and as they were arriving, we were assembling them. It was like clockwork. On the day when we were shooting, we were still painting bits. It was that close.The visual effects work was as vast as the imagination of Scott. Were doing extensions in Rome, crowds in theColosseum, creatures and water, Bakowski notes. For the final battle. We were adding vast CG armies in the backgrounds of virtually every shot. We did some little pickups as well, so its integrating these pickups that came back to the U.K. with the stuff that was shot in Malta. Its not groundbreaking stuff, but the volume of it is quite high because its one of those things that adjusts and adapts as the edit develops. The Colosseum naval battle encapsulated both what Im looking forward to people seeing and also a big challenge. The baboons were a fun challenge, and the rhino just worked, which was fantastic. By the end, we knew how we were doing in the Colosseum, and our crowds look beautiful. I cant wait for you to see all of it.

By TREVOR HOGGImages courtesy of Paul Lambert, except where noted.Paul Lambert, Visual Effects Supervisor. A proud accomplishment for Lambert was creating the IBK Keyer, which is still used today in Nuke to deal with bluescreen and greenscreen plates.Nowadays, Paul Lambert is at the forefront of Hollywood productions as a visual effects supervisor, with memorable visual accomplishments being the dystopian Los Angeles cityscapes and the lead hologram character from Blade Runner 2049, the transition to the Moons surface in IMAX in First Man and the realism of the worlds of the Dune franchise. Ironically, the ability to combine art and technology, which has been the key to his success, originally made him an anomaly in the British education system. Forced to choose between the two, he initially decided to earn a degree in Aeronautical Engineering at the University of London. Upon graduating, Lambert realized that engineering was not his calling, so he took a job as a courier in London and studied sculpture as a part-time art school student. Frequently, deliveries for Salon Productions led to visits to Shepperton and Pinewood Studios, and eventually saw him hired by the company that provided editing equipment to the film industry.At Salon, I learned how to put together and fix Steinbecks, KEMs and Moviolas, Lambert recalls. I even had to go over to Moscow to fix a Steinbeck being used by [Editor] Terry Rawlings for The Saint. It was during this time that Lambert became aware of the digital transition in the film industry. Avid and Lightworks non-linear editing systems were starting to disrupt the industry. It was this digital transition that made me more aware of something called visual effects. The discovery was worth exploring further. SGI had a big old building in Soho Square and were running week-long courses under the name of Silicon Studios, where you could play with Monet, Flint [the baby version of Flame] and Houdini. I left Salon and did this course, which was amazing. A six-month odyssey of looking for employment came to an end when a runner at Cinesite went on a two-week vacation. They kept me because I was so enthusiastic and hungry for knowledge. It was at a time when you could jump ontothe graphics workstations, whether it be the Flames or Infernos or Cineon machines, at night in your own time. I taught myself. I was so hungry and focused. I had finally found what I wanted to do. It was a good balance of creativity and technical know-how. When I started at Cinesite, they had two Flames, and by the time I left I was the head of that department and we had seven.A portion of a seawall was constructed for Blade Runner 2049, with the action shot in a water tank in Hungary. (Image courtesy Warner Bros. Pictures)Why would you put up with these crazy deadlines or having to move around the world if you didnt truly love it? If you truly love something, youre going to come up with creative ways of doing things and participate in some of these beautiful movies.Paul Lambert, Visual Effects SupervisorFascinated by a proprietary compositing software developed by Digital Domain, Lambert had a job interview with the visual effects company founded by James Cameron, Stan Winston and Scott Ross. I added substantial pieces of technology to Nuke because by that time I had figured out the ins and outs of compositing, Lambert reveals. It was an obsession of mine of how an image comes together. Digital Domain was on the verge of commercializing Nuke but didnt have a keyer. I spent six months playing around with this idea of keying, came back to them and showed them this algorithm. It was the IBK keyer, and thats still in Nuke. Simplicity drove the programming process. What I cant stand as a compositor is when there is a node and its got 50,000 sliders in there. Nobody knows what those sliders do! Its trial and error. What I tried to develop is something simple but a process where, if you can combine these things in a particular way, you can work with bluescreens and greenscreens, which are uneven, and it gets you to a good place quickly. The irony is, now I tend to try not to rely on bluescreens or greenscreens!Director/writer/producer Denis Villeneuve, left, and Lambert on the set of Dune: Part Two. (Image courtesy of Warner Bros. Pictures. Photo: Niko Tavernise)Lambert celebrates winning an Oscar for Dune: Part One with his wife, Mags Sarnowska.Over 90 minutes of footage had to be created for the LED screens used for First Man. (Image courtesy of Universal Pictures)A major benefit of using the LED screens for the space and aerial scenes in First Man was the ability to capture reflections on the visor and in the eyes of Ryan Gosling, which are extremely difficult to achieve in post-production. (Image courtesy of Universal Pictures)After 12 years at Digital Domain, Lambert joined DNEGs facility in Vancouver in 2015 where he began his transition as a production visual effects supervisor starting with The Huntsman: Winters War. The size of the visual effects budget is only part of the equation for success. By the time we had finished First Man it was a $7 million visual effects budget, which is relatively tiny, but we came up with some incredibly creative ways to do stuff, Lambert remarks. We used a number of great techniques for the visuals. Doing a bigature and miniature for space work is ideal because you can control the light so that shadows are really hard. We used real 1960s footage for the launch, but we repurposed that footage with CG to make it more cinematic. Also, we utilized one of the first LED screens, but we had it up for six weeks with operators for a fraction of the cost of what it costs now. Ninety minutes of LED screen content had to be created. This is where my gray hair has come from! We did not take the visor off one single shot. We even got reflections in the eyes!Two fundamental elements have to be respected for a visual effects shot to be believable. Im going to try not to change the actors performance or the light because I know that changing the light with our current tools always looks a bit artificial, Lambert explains. Your eye will pick up on something which takes you out, and in our current environment people will say, Its bad CGI. No, its the fact that youve taken the natural balance of the original image and gone too far by changing the background to acompletely different luminance or trying to add a different light on the character. You see it all the time. Im sure you will be able to do it with generative AI soon enough where youre relighting or regenerating the image based on some form of transformer and diffusion model, but using current tools I try to avoid it. I would rather the continuity of a background be off rather than have a composite feel wrong. If I shoot something knowing that a background is going to be a certain background in post, then I try to have that screen be of a tone of luminance that Im going to put the background in. Hence the sand-colored backing screens on Dune: Part One and Two.Never underestimate the significance of having a clear vision. With Denis Villeneuve there is such a clarity of vision as to what he wants, so its a pleasure to work with him, and you dont do crazy hours and overtime, Lambert states. There isnt a mad rush. Its a sensible approach to things. There are hiccups along the way, but its not like you have to ramp up to 1,000 people towards the end because youre 5,000 shots short. For Dune, the concepts were the basis of what we built and photographed and what I ultimately created in visual effects. Blade Runner 2049 was a special project with Lambert working on behalf of DNEG. It was special to come into this world and see pure professionalism at work with Denis and [Director of Photography] Roger Deakins, and witness them shooting with a single camera all the time. He is also proud of his collaboration with Cinematographer Greig Fraser on Dune: Part One and Two. Greig uses a multitude of lenses and some were old Russian lenses. Hes totally into degrading and giving character to the image. Then, of course, I have to try to match these things! We have a good understanding of the way we work. Greig is given untold freedom in how he wants to do things, but when I need something, he listens and will adapt, he says.Lambert in the Mojave Desert near Edwards Air Force Base for the landing of the X15 in First Man.Moviemaking is becoming more accessible to the masses. Youll see the cream rise to the top like you always do in whatever industry, Lambert notes. You will have directors who have a vision and bring that forward. I keep reading and seeing this whole idea of democratizing our industry, and it will happen. It depends on whether we put guardrails up or not to help with the transition. Youll have different ways to visualize things. Youll have the ability to put your VR goggles on and enjoy the movie that you just created. Great films are built upon solid collaborations. Ive been lucky with my path so far in that Ive never had a bad experience with another HOD [head of department]. In the end, Im only successful if the photography that we have shot works and people have put their heart into it. If I get the best foundation that I can, then I can add to that and bring it to the final where the director will hopefully love it.Blade Runner 2049 marked the first time that Lambert collaborated with Denis Villeneuve as a facility supervisor at DNEG, and it resulted in him receiving his first Oscar. (Image courtesy of Warner Bros. Pictures)From left: Rebecca Ferguson (Lady Jessica), Director/Writer/ Producer Denis Villeneuve, Lambert and Production Designer Patrice Vermette on the set of Dune: Part Two. (Image courtesy of Warner Bros. Pictures. Photo: Niko Tavernise)First Man resulted in Lambert winning his second Oscar and his first as a production visual effects supervisor.Lambert joined Wylie Co. in 2021 as the Executive Creative Director and is currently working on Project Hail Mary with directors Phil Lord and Chris Miller as well as Cinematographer Greig Fraser. Im thinking on my feet on Project Hail Mary more than Ive ever done before because of trying to keep the camerawork and everything fluid, Lambert remarks. That means youre not clinically breaking up the shot into layers because what tends to happen is you lose some of the organic feel of a shot if you do this and that element. Im a big believer in having a harder comp which will always give you a better visual. Even with a trio of Oscars, his enthusiasm remains undiminished. Why would you put up with these crazy deadlines or having to move around the world if you didnt truly love it? If you truly love something, youre going to come up with creative ways of doing things and participate in some of these beautiful movies.