If you struggle with sleep issues, you're not alone. It's estimated that 50 to 70 million Americans currently experience a sleep disorder, with over one-third of adults not sleeping enough. It's enough of a problem that about one in three adults nap daily to help make up the difference.Adults should get between seven and nine hours of sleepeach night, but with life's stresses, it can be difficult to find the rest your body needs. However, with these tips and tricks of the trade, you can find yourself counting sheep that much faster -- and staying asleep longer.How much sleep do I need?Adults should sleep between seven and nine hours each night. Appropriate amounts of sleep for children vary by age, with experts recommending naps for those under 7 years of old. If you're concerned about how much you may be sleeping (or not sleeping), you can use a sleep tracker to help keep tabs on your sleep schedule.Recommended Sleep by AgeAgeRecommended sleepBabies (Under 4 months)VariesBabies (4 months to 1 year old)12 to 16 hoursYoung Children (1 to 2 years old)11 to 14 hoursMiddle-Aged Children (3 to 5 years old)10 to 13 hoursOlder Children (6 to 12 years old)9 to 12 hoursTeens (13 to 18 years old)8 to 10 hoursAdults (19 years and older)7 to 9 hoursSource: National Heart, Lung and Blood InstituteHow can I improve my sleep quality?It's important to consider not just the quantity of sleep but alsosleep qualityto achieve truly restorative rest. Change your sleep habits before bed, incorporating relaxing activities like reading a book, taking a bath, meditating or having a cup of tea. Avoid electronics and artificial light and take magnesium before bed.How can I get a better night's sleep? Halfpoint Images/Getty ImagesConsider how your room is set up for sleep. For example, room-darkening curtains can block out extra light so you can sleep in on those lazy Saturdays. If your mattress is lumpy, consider upgrading to one of ourfavorite mattresses for more restful sleep without the tossing and turning. There is also a ton ofsleep tech to help you sleep faster and longer, such assleep headphones, sleep apps, smart sleep masks and white noise machines.How does age affect sleep?As we age, we tend to sleep less. The average sleep decreases to a nightly 6.5 to 7 hours, and it becomes harder to fall asleep and stay asleep, with older adults waking up an average of three or four times per night. This can be due to frequent urination, anxiety, insomnia and discomfort from chronic illnesses.What can I do if I have trouble falling asleep or staying asleep?Make your bedroom ready for sleep by dimming the lights, adding light-blocking curtains and lowering the temperature. Try to exercise during the day and limit your caffeine and alcohol intake before bed. Our Wellness Editors also suggest theirfavorite sleep products, such as the Drowsy Sleep Mask or Hatch Restore 2 Sunrise Alarm Clock. You can also use effectivesleep tips, like the 10-3-2-1-0 sleep hack, to fall asleep faster and enjoy more restful sleep.Is napping beneficial?There are several benefits of napping, including less fatigue, greater alertness and improved performance. You can also benefit from better memory and a faster reaction time to stimuli. However, daytime napping could affect your sleep at night. Some research also links naps longer than an hour to high blood pressure, diabetes and heart disease.How does food affect sleep?Alcohol is a well-known sleep deterrent, but there are other foods and beverages that can deter sleep. Spicy and acidic foods should be avoided as they can cause heartburn at night. Foods that are high in fat and protein can make you sleepy during the day, but complex carbohydrates can be a great option for before bed. Dmytro Betsenko/Getty ImagesWhat are the signs of a sleep disorder?Mayo Clinic lists several symptoms of sleep disorders, which include excessive fatigue during the day and trouble falling or staying asleep at night. You may experience tingly feelings in your arms or legs, or you may move too much in your sleep and grind your teeth. Abnormalities in breathing, such as snoring, snorting or gasping for breath, can also signify a sleep disorder. If you think you may be experiencing symptoms of a sleep disorder, ask your doctor for help. What happens if I don't get enough sleep?If you don't get enough sleep, it can impact your immune system, increasing your risk of getting sick. It can evenresult in chronic illnesses, such as high blood pressure, diabetes and heart disease, shortening your life expectancy. Instead of risking your health, consider thesetips to take charge of your sleep habits.What can I do if I wake up a lot during the night to pee?Nocturia, or frequent urination at night, can disrupt your sleep quality. To help, try to avoid eating and drinking before bedand limiting alcohol and caffeine. Take any medications earlier in the day when possible, and be sure to use the bathroom before bed. If you're concerned about nocturia, contact your doctor, as medication may be needed.What side is best to sleep on?If you're a side sleeper, the best side for you to sleep on will depend on a few factors. For example, sleeping on your left side might be better for people with acid reflux or if you're pregnant. Meanwhile, sleeping on your right side may be best for heart conditions.Why do I feel so tired?It's easy to feel exhausted from daily stressors. Lifestyle issues, lack of exercise and certain medications can all make it hard to sleep soundly at night. You may also be experiencing poor sleep habits, which can interfere with quality of sleep. That's why WebMD recommends you maintain the three pillars of health: sleep, diet and exercise. By maintaining a healthy diet and working out regularly, it's been proven that you can enjoy a better sleep schedule.Why do we dream?Much is still to be studied about why we dream, with experts holding different theories as studies continue. Some experts believe it's an important cognitive function that reinforces memory, while others believe it's a way of emotional management. It can be the brain's way of processing the day's events and clearing away unneeded information. Some experts believe that dreams have no meaning at all and are simply a natural part of sleep that hold no deeper meaning.

January 20, 20253 min readPeeing Is Contagious among ChimpsJust as people often yawn or scratch themselves when they see someone else do so, for chimpanzees, peeing is contagiousBy Meghan Bartels edited by Sarah Lewin FrasierChimpanzee (Pan troglodytes) urinating in tree, Nyungwe National Park, Rwanda, Africa. Eric Baccega/Nature Picture Library/Alamy Stock PhotoSome primates pee together. Ena Onishi already knew thatJapanese even has a word for when humans go off to the restroom together: tsureshon. Still, Onishi became curious when she noticed the behavior among the chimpanzees she was observing as a doctoral student at Kyoto University Wildlife Research Center. She knew about well-studied contagious behaviors, such as yawning in humans, and wondered whether the chimps might be displaying contagious urination.In a new paper, published on Monday in Current Biology, Onishi and her co-authors found that monkey see, monkey do does indeed appear to hold true for these chimpanzees (even though theyre not technically monkeys). Even more intriguingly, each animals status in the social hierarchy seems to influence which one pees and when. The finding represents the first known scientific study of contagious urination, according to the authors.Its not something I would have ever thought to study, for sure, says Matthew Campbell, a psychologist at California State University Channel Islands, who was not involved in the new research but has studied contagious behavior in chimpanzees. I thought it was clever and novel, and it leads to a lot of interesting questions.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Onishi and her colleagues studied 20 chimpanzees, mostly males, that lived in four groups in Kyoto Universitys Kumamoto Sanctuary between 2019 and 2021. The researchers gathered more than 600 hours of video footage of the endangered primates, then identified when each animal peed and where they were at the time. It was a bit overwhelming because I didnt know if I would get meaningful results or if all that effort would end up being for nothing, Onishi says. It was definitely nerve-racking at times!On the surface, it may seem like a silly topic, but it actually gets at something thats rather fundamental. Matthew Campbell, psychologistBy comparing the observations with computer simulations of randomized peeing, Onishi and her colleagues determined that, indeed, the chimpanzees were more likely to urinate within 60 seconds of one another than they would if they were behaving randomly. Distance also mattered: animals within just a few feet of the first chimp to go were much more likely to follow suit than chimps located 10 or more feet away.But perhaps the most interesting analysis came when Onishi and her colleagues considered social relationships among the peeing chimpanzees. They were surprised to find that a chimp that was pals with the first animal to pee wasnt any more likely to follow suit. But a chimp that was less dominant than the first to go was more vulnerable to contagious peeing.I initially expected that if social influences existed, they might resemble those seen in yawningsuch as stronger contagion between socially close pairs, Onishi says. Instead we observed a clear influence of social rank, with lower-ranking individuals being more likely to follow the urination of others.The new paper is just a first report, so plenty of additional research is needed to understand the phenomenonand what insight it sheds on chimpanzees lives. For example, scientists could do a similar analysis in wild animals, although Onishi expects the results would likely be consistent. Campbell also wonders whether the apparent synchronized peeing led by dominant chimps merely reflects the groups daily routines, in which relocations are orchestrated by the leading animal and may prompt a pre-road-trip bathroom stop.Study co-author Shinya Yamamoto, a professor at Kyoto University, says that the finding makes him think about chimps a little differently. This strengthens my impression of chimpanzees as social animals, he says. This study shows that even their physiological aspects are influenced by their social contexts.Campbell notes that depending on how precisely the behavior is transmitted between animals, the finding may also help to reveal how a chimpanzee understands its own body and whether it has a concept of urination. How this is working and what it means for the mental life of a chimpanzee, thats really the intriguing part to me, he says. On the surface, it may seem like a silly topic, but it actually gets at something thats rather fundamental.

Sonic the Hedgehog 3 film concept art reveals cut content and secret charactersFilm out digitally tomorrow.Image credit: Tian He Yan Studio News by Ed Nightingale Deputy News Editor Published on Jan. 20, 2025 Concept art for the Sonic the Hedgehog 3 film has been released, revealing cut content and a look at secret characters from the post-credits scene.The images are from Chinese designers at Tian He Yan Studio, shared earlier today on Weibo (some film spoilers ahead!).Coincidentally, the images have been released a day before the film becomes available digitally, just a month after its release in cinemas.Sonic the Hedgehog 3: Official Trailer 2Watch on YouTube"This time we are mainly responsible for the drawing of some keyframes and some character modeling," reads the post from Tian He Yan Studio. "The keyframe concept map helps to establish the tone style of the film, and can also assist in guiding the work of visual effects."Most of the images depict key events from the film. There's Shadow and Maria meeting, Eggman watching a telenovela, Super Sonic and Super Shadow battling in space, and that adorable Chao Garden restaurant scene.But there's more. Knuckles and Tails are seen riding a motorbike through the streets of London chased by a giant ball of debris, like something out of the Katamari games, in what I presume was a cut action sequence. Another image shows the three Sonic heroes in flight as they escape some sort of sand explosion, with Knuckles covered in scorpions. Image credit: Tian He Yan StudioTwo images are most interesting of all, though, showing both Amy Rose and Metal Sonic. Both of these characters are teased in the film's post-credit scene - it's unclear from this artwork if they were originally intended for this film instead, or if this artwork was created solely for their reveals.Either way, this could be an indication of what to expect in the confirmed film sequel Sonic 4. Amy, for instance, is seen standing over Sonic just as she does in her reveal, though there's a large destroyed robot that's not the Metal Sonic we see in Sonic 3. What's going on in the background? Image credit: Tian He Yan StudioThe other image shows Metal Sonic alongside Eggman wearing some sort of elaborate emperor garb, a cyberpunk-esque metropolis in the background. This was certainly not part of Sonic 3, with fans suggesting it could be some sort of bad future. If true, it would line up with theories the next film will be inspired by the time-travelling Sonic CD. Image credit: Tian He Yan StudioIf you're yet to see the film, or wish to watch it again, it'll be available digitally tomorrow (21st January).To see this content please enable targeting cookies.Last week, the animator behind the film's low poly credit sequence detailed its creation - including designing the first ever Classic Shadow."Sega and Paramount more closely align game and film worlds for an authentic Sonic romp with added Keanu cool," reads our film review of Sonic the Hedgehog 3.

You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here Contents hide AMD has revealed the upcoming flagship Ryzen 9 9950X3D will offer comparable performance-wise to the 9800X3D, widely regarded as one of the best gaming CPUs on the market. AMD Ryzen 9 9950X3D doesnt beat everything Speaking to VideoGamer, Martijn Boonstra, AMDs Product and Business Development Manager, revealed the company expects to see the both the 9950X3D and 9900X3D to provide similar overall gaming performance to the 9800X3D, despite both incoming CPUs expected to be priced higher. Boonstra went on to say that: There will be some games that perform a bit better (if the game engine utilizes more cores and threads), and some games will perform a little worse (if the game engine favors a 1CCD configuration), but on the whole the experience is comparable.The 9800X3D is very much tailored to the gaming market, offering superb value thanks to its overclocking tolerance. Since its launch in November last year, Overclockers have since managed to push the 9800X3D to a massive 7.4 GHz max clock speed, with a stable 6.9 GHz.Still a force to be reckoned withOn paper, the inbound 9950X3D and 9900X3D, the former of which is very much being positioned as the top of pack and the latter sitting in the middle, edges the 9800X3D by a considerable margin, thanks to a maximum boost frequency of 5.7 GHz, as opposed to 5.2 GHz, and 144Mb of AMDs second generation V-Cache, compared to the 9800X3Ds 104 MB. When you add to the mix that the 9950X3D features eight additional cores and 16 more threads compared to the 9800X3D, were surprised that there are not more significant differences between the inbound flagship and the base 9800X3D model. We do expect that the overclocking factor, especially in the 9950X3D, could be higher than the impressive feats reached by the 9800X3D although well need to wait until launch for that.While theres no news on pricing yet, AMD confirmed to us that they will be revealing this closer to launch. This is going to be key as the 9800X3D provides such a huge bang for your buck that AMD will not want to alienate the other models and price them too high. Ryzen 9000X3D Series desktop processors are perfect for gamers and content creators alike, said Boonstra . Whether you are already on the AM5 platform, on AM4 or another platform, these products are sure to impress.Both CPUs are yet to get a release date, but its expected they will release in January.Subscribe to our newsletters!By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime.Share

By Matt Novak Published January 20, 2025 | Comments (60) | Donald Trump arrives at St. John's Church as Big Tech oligarchs sit behind him and podcaster Joe Rogan looks on nearby. Photo by Anna Moneymaker/Getty Images U.S. oligarchs like Meta CEO Mark Zuckerberg, Amazon founder Jeff Bezos, and Apple CEO Tim Cook were all spotted sitting behind Donald Trumps family at church Monday morning, just hours before the incoming president will be inaugurated. And its a great reminder that the U.S. is about to enter a frightening new era that begins when Trump is sworn in as the 47th president at noon ET. Trump attended St. Johns Episcopal Church in Washington D.C. on Monday, a tradition thats been observed by past presidents like Barack Obama and George W. Bush. But those presidents didnt have business leaders who stand to benefit from the incoming administration filling out the pews. Photographer Anna Moneymaker captured images from inside the church, and its a whos who of the wealthiest, most powerful people in the world of tech, including guys like Zuckerberg, Bezos, and Cook, as well as Google CEO Sundar Pichai and podcaster Joe Rogan. Meta and Facebook CEO Mark Zuckerberg (L) CEO of Apple Tim Cook, Founder of Amazon and Blue Origin Jeff Bezos attend services as part of Inauguration ceremonies at St. Johns Church on January 20, 2025 in Washington, DC. Photo by Anna Moneymaker/Getty Images The Big Tech Mafia largely seemed to be sitting in one row, while Bezoss partner Lauren Snchez was also in the row near former British prime minister Boris Johnson, according to the Washington Post. One notable absence from church was Elon Musk, at least based on the photos that were captured by the pool photographer. Musk and the other Big Tech CEOs all have enormous contracts with the U.S. government through their respective companies and stand to profit from being close to Trump. Thirteen billionaires are set to take formal roles in the Trump White House.The commentators on CNBC defended the presence of the oligarchs at church. Chris Sununu, former governor of New Hampshire, was asked about the presence of these business leaders and he seemed excited by the visual on Monday, saying it wasnt bureaucrats who were in the pews. The suggestion, of course, being that CEOs will be better at running the country. Podcaster Joe Rogan was also at church near the incoming president, captured in a photo giving Trump a rather odd look. Rupert Murdoch, the 93-year-old media mogul who owns a wide swath of conservative media outlets around the world, was also present. Trump sat down at church next to incoming Vice President JD Vance and his wife, incoming Second Lady Usha Vance. Trumps daughter Ivanka and her husband Jared Kushner were sitting in the row behind the president.Trump has promised to issue a flurry of executive actions as soon as he takes office, including pardons for the insurrectionists who stormed the U.S. Capitol on Jan. 6, 2021. But there were conflicting reports about whether Trump would pardon the most violent coup plotters. President Joe Biden issued his own preemptive pardons early Monday for figures including Gen. Mark Milley and Dr. Anthony Fauci, people Trump has suggested he will target for retribution when he takes power. In fact, Trump has previously suggested Milley should be executed for treason. So Americans will find out soon enough whether those pardons are worth the paper theyre written on. Trump also launched his own cryptocurrency late Friday, arguably one of the most dangerous actions he couldve possibly taken before formally entering the White House, given its ability to transfer wealth from the masses to Trump personally. The crypto also risks destabilizing the global economy as people around the world make a bet that anything associated with the most powerful person in the world is a good investment.The $TRUMP coin quickly became one of the most traded coins over the weekend, accounting for almost 90% of Trumps net worth, according to Axios. A full 80% of the coins are owned collectively by CIC Digital LLC, a company thats an affiliate of the Trump Organization, and Fight Fight Fight LLC, also owned by Trumps company, according to USA Today. Previously, it was illegal to just print your own money. If youre an American, things are about to change really quickly. And all we can do is try to protect the vulnerable in our communities as best as possible while Trump and his goons plunder the country.Daily NewsletterYou May Also Like By Matt Novak Published January 19, 2025 By Matt Novak Published January 19, 2025 By Matt Novak Published January 18, 2025 By Lucas Ropek Published January 17, 2025 By Matt Novak Published January 16, 2025 By Lucas Ropek Published January 16, 2025

February 2025, a month that's famously not going to feature many big video game releases (to be fair, one of those has since been delayed), has just been revealed as the arrival point for another cool thing you might want to play. It's Keep Driving, the driving RPG thingy that has you fight stuff in turn-based fashion while accumulating stuff.In case you're not familiar with this wonderfully quirky game, I played its Steam Next Fest demo last year and only ended up being killed by a puddle like once. Basically, it's a game about going on a road trip to your mate's house, and both you and your car have to battle you way through the typical hazards presented by driving and being a human that needs food and sleep en route.To see this content please enable targeting cookies. The full version of Keep Driving has now been penned in to release on February 6 on PC via Steam, with Swedish developer YCJY Games having revealed this in a nice tweet.There's also fresh trailer, which naturally features clips of turn-based car fights with tractors, sheep, and potholes, while offering a glimpse at the couple of extra cars you'll be able to fill with all the stuff you, your car, and the hitchikers you'll pick up will need to survive and thrive. I liked the demo's not quite Volvo, but I'd be lying if I said the idea of running around in a pickup truck instead isn't calling to my inner Johnny Cash fan. To see this content please enable targeting cookies.As I mentioned eariler, Keep Driving's PC only for now, but one of its devs has suggested in a reply that it'll be in line to come to consoles at some point down the line, writing that they're "not really sure which consoles yet, besides Switch". Come on lads, PS2 port, so I can easily flip between this and Need For Speed Underground.In the meantime, here's hoping the full version of Keep Driving can supercharge those vibes I loved first time around.

If a "really talented developer" has a crack at it.There was once a time when Banjo-Kazooie was rightly considered to be a close rival to the Super Mario franchise when Rare launched two outstanding entries on N64 in the form of the self-titled debut and its sequel, Banjo-Tooie.That was a long time ago, though. While Microsoft flirted with idea of growing the franchise in 2008 with the rather divisive Banjo-Kazooie: Nuts & Bolts, the publisher hasn't touched it in the years since. According to Moon Studios' (Ori and the Blind Forest, Will of the Wisps) CEO Thomas Mahler on social media, however, this was perhaps the wrong move, and Microsoft may well be sitting on something that could, with the right treatment, rival 3D Mario games on modern consoles (thanks, Pure Xbox):Read the full article on nintendolife.com

Chinese AI lab DeepSeek has released an open version of DeepSeek-R1, its so-called reasoning model, that it claims performs as well as OpenAIs o1 on certain AI benchmarks. R1 is available from the AI dev platform Hugging Face under an MIT license, meaning it can be used commercially without restrictions. According to DeepSeek, R1 beats o1 on the benchmarks AIME, MATH-500, and SWE-bench Verified. AIME employs other models to evaluate a models performance, while MATH-500 is a collection of word problems. SWE-bench Verified, meanwhile, focuses on programming tasks.Being a reasoning model, R1 effectively fact-checks itself, whichhelps it to avoid some of thepitfallsthat normally trip up models. Reasoning models take a little longer usually seconds to minutes longer to arrive at solutions compared to a typical nonreasoning model. The upside is that they tend to be more reliable in domains such as physics, science, and math.R1 contains 671 billion parameters, DeepSeek revealed in a technical report. Parameters roughly correspond to a models problem-solving skills, and models with more parameters generally perform better than those with fewer parameters. 671 billion parameters is massive, but DeepSeek also released distilled versions of R1 ranging in size from 1.5 billion parameters to 70 billion parameters. The smallest can run on a laptop. As for the full R1, it requires beefier hardware, but it is available through DeepSeeks API at prices 90%-95% cheaper than OpenAIs o1. There is a downside to R1. Being a Chinese model, its subject tobenchmarkingby Chinas internet regulator to ensure that its responses embody core socialist values. R1 wont answer questions about Tiananmen Square, for example, or Taiwans autonomy.R1s filtering in action. Image Credits:DeepSeekManyChinese AI systems, including other reasoning models,declineto respond to topics that might raise the ire of regulators in the country, such as speculation about theXi Jinpingregime.R1 arrives days after the outgoing Biden administrationproposedharsher export rules and restrictions on AI technologies for Chinese ventures. Companies in China were already prevented from buying advanced AI chips, but if the new rules go into effect as written, companies will be faced with stricter caps on both the semiconductor tech and models needed to bootstrap sophisticated AI systems.In a policy document last week, OpenAI urged the U.S. government to support the development of U.S. AI, lest Chinese models match or surpass them in capability. In an interview with The Information, OpenAIs VP of policy Chris Lehane singled out High Flyer Capital Management, DeepSeeks corporate parent, as an organization of particular concern.So far, at least three Chinese labs DeepSeek, Alibaba, and Kimi, which is owned by Chinese unicorn Moonshot AI have produced models that they claim rival o1. (Of note, DeepSeek was the first it announced a preview of R1 in late November.) In a post on X, Dean Ball, an AI researcher at George Mason University, said that the trend suggests Chinese AI labs will continue to be fast followers.The impressive performance of DeepSeeks distilled models [] means that very capable reasoners will continue to proliferate widely and be runnable on local hardware, Ball wrote, far from the eyes of any top-down control regime.

Kim Davidson, ChairDavidson is the President and CEO of SideFX, a company he co-founded in 1987. He has received three Scientific and Technical Awards from the Academy of Motion Picture Arts and Sciences. In 2018, he accepted, on behalf of SideFX, the Academy Award of Merit for the creation and development of Houdini. In 2015, Davidson was co-recipient of the Canadian Digital Media Pioneer Award, and in 2019 he and other SideFX team members accepted a Technology and Engineering Emmy award in the Cost-Effective Crowd Simulation Tools category. Davidson was an EY Entrepreneur of the Year 2021 Ontario Winner; received the J. Wesley Graham Medal in Computing and Innovation from the University of Waterloo; andSusan ONeal, 1st Vice ChairONeal joined the VES in the late 1990s and has served as a member of its global Board of Directors in multiple roles, including service on the Executive Committee in 2016 as Treasurer, and as 2nd Vice Chair in 2022 and 2023 and 1st Vice Chair in 2024. For many years, she served as the Chair for the legacy global Education Committee and currently Chairs the Membership Committee. She leads the bi-annual membership review and approval process. In 2019, ONeal was honored with the VES Founders Award for meritorious service to the Society.David H. Tanaka, VES, 2nd Vice ChairDavid H. Tanaka, VES is an Editor, Producer and Creative Director with experience ranging from visual effects and animation to documentary and live-action feature filmmaking. For 15 years he served at Industrial Light & Magic in VFX Production and VFX Editorial on films including Jurassic Park, Forrest Gump and the Star Wars saga. He then went on to Pixar Animation Studios as a Special Projects Editor for 10 years, contributing to such productions as Cars, Ratatouille, WALLE, Up, Toy Story 3 and Monsters University. Tanaka currently holds a VFX Editor position with Tippett Studio. He is an active contributor to the VES Archives, Outreach, and Work From Home Committees, as well as the VES Handbook of Visual Effects publications. In 2022, Tanaka was honored with both VES Lifetime Member and VES Fellow distinctions.Rita Cahill, SecretaryCahill is an international business and marketing/PR consultant and has worked with a number of US, Canadian, UK, EU and Asian companies for visual effects and animation projects. She is a partner in MakeBelieve Entertainment, a film development company and serves as Executive Producer on a number of international projects. This is Cahills ninth term as Secretary on the global Board of Directors. She also served as Chair or Co-Chair of the VES Summit for eight years. In 2021, Cahill was honored with the VES Lifetime Member distinction and the VES Founders Award.Jeffrey A. Okun, VES, TreasurerOkun is known for creating organic and invisible effects, as well as spectacular tent-pole visual effects. Okun has delivered wide-ranging effects in award-winning films including The Last Samurai, Blood Diamond, Stargate, Deep Blue Sea, The Last Starfighter, and Meet the Ricardos and acclaimed television programs such as Cosmos: Possible Worlds, The End Is Nye and The Good Lord Bird.Okun is a VES Fellow and recipient of the VES Founders Award. He co-edited the VES Handbook of Visual Effects, an award-winning reference book on visual effects techniques and best practices, as well as the newly released and acclaimed VES Handbook of Virtual Production. He also created and founded the VES Awards, now in its 23rd year.Our Society is fortunate to have strong leadership represented on our Executive Committee, said Nancy Ward, VES Executive Director. I am honored to work alongside these exceptional, dedicated professionals, especially amidst this time of dynamic change. We appreciate their commitment to further advance the Societys global initiatives and impact.Source: Visual Effects Society

InterviewsVenom The Last Dance: Scott Edelstein (VFX Supervisor) & Ellen Hoffmann (Animation Supervisor) Digital DomainBy Vincent Frei - 20/01/2025 Back in 2021, Scott Edelstein detailed Digital Domains contributions to Free Guy. He later brought his expertise to Spider-Man: No Way Home and Madame Web.In 2022, Ellen Hoffmann shared insights into Digital Domains animation work on Black Panther: Wakanda Forever. She later contributed to Madame Web and now returns to discuss her work on Venom: The Last Dance.What was your feeling to enter into the Venom universe?Scott Edelstein (SE): Having worked on several films with comic origins, I was excited to help visualize Knull and bring the world of Klyntar to life. It was a highly stylized universe with its own set of challenges, and Im proud of our artistic and technically skilled team for seamlessly bringing it all together.How was the collaboration with Director Kelly Marcel and with VFX Supervisors John Moffatt and Aharon Bourland?SE: Dont tell anyone I said this, but working with Kelly, John and Aharon was one of my favorite creative collaborations so far. From the outset, Kelly provided a clear, overarching vision for the film, helping us understand the emotional and narrative weight behind every shot. She pushed us creatively while allowing us to innovate and experiment within the boundaries of the narrative.Working closely with John, Aharon and their producer, Greg Baxter, was equally amazing. Their expertise and technical insight helped us navigate the challenges of designing such complex effects. Their feedback was both constructive and collaborative, and the trust they had in our ability to complete the project allowed us the freedom to explore and create within a very tight timeline while absorbing new creative ideas along the way.Communication was a key component of this collaboration. Regular check-ins and review sessions allowed the teams to refine the work in real time. This constant feedback loop ensured that we were always moving forward with a unified vision, whether it was adjusting the look of Klyntar or fine-tuning the animation for the Codex sequence. The combined efforts of Kelly, John, Aharon, Greg and the entire team helped us meet the ambitious deadlines without sacrificing the quality or emotional impact of the VFX.How did you organize the work with your VFX Producer?SE: Our Digital Domain VFX Producer, Gayle Munro (no longer at Digital Domain), was key to organizing and streamlining the workflow for this project. Gayle played a central role in ensuring that we adhered to the tight timeline while maintaining the high standards required for the show. From breaking down the project into clear milestones and deadlines to helping the team stay on track, she ensured we could deliver each phase of the VFX work in a timely manner.Jen Avery, our VFX Coordinator, was equally vital in keeping things running smoothly. Jen handled the day-to-day logistics, ensuring that all assets, notes, and feedback were organized and communicated clearly across departments. Her attention to detail and organizational skills made it easier for us to track progress, manage files, and stay aligned throughout the production pipeline. The combination of Gayles overarching project management and Jens meticulous coordination allowed us to navigate the intense workload efficiently, ensuring that the team could focus on delivering the best possible results within the given timeframe.What are the sequences made by Digital Domain?SE: Digital Domain worked on several key sequences involving Knull and the world of Klyntar. Our focus was primarily on any scenes that took place on Klyntar or featured Knull, including the creation of the Codex. Our work bookended the film, providing both the opening and closing scenes. These sequences were integral to setting the tone and bringing the world of Knull and Klyntar to life.What were the main inspirations for designing Knull, especially in terms of his menacing and otherworldly appearance?SE: When designing Knull, our approach was deeply rooted in both refining existing assets and creating a character capable of delivering dialogue full-frame, directly to the camera. We began with an ingested asset from another vendor but had to make significant adjustments to ensure Knull had the menacing, otherworldly presence needed for the role. This meant revisiting the basics and redesigning the underlying facial bones and muscles to allow for more expressive movement, mainly when delivering lines of dialogue.Aharon, the client supervisor, provided us with valuable references for the skin beneath Knulls armor, which helped inform the raw, almost burned quality of his flesh. While it was sometimes quite disturbing to look at, this detail added a unique texture that made his character feel more brutal and menacing. We also drew inspiration from the comics, looking for ways to translate Knulls terrifying presence into something that felt grounded in photorealism. Combining these elements, we were able to create a design that was both true to the source material and adapted to the films visual language, giving Knull a terrifying and otherworldly appearance that could engage the audience up close.Knulls symbiotic armor and weaponry are iconic. How did you approach the visual and technical challenges of creating their organic yet intimidating look?SE: Knulls symbiotic armor and weaponry started as an ingested asset from another vendor, but much like his body, it required significant refinement to achieve the organic yet intimidating look we wanted. We approached the armor and weapons as extensions of Knulls being, focusing on making them feel like they were grown from his own flesh rather than something simply added on. This meant reworking the structure, ensuring that the armor had a fluid, living quality while still looking sharp and aggressive.To bring this vision to life, we began by revisiting the design and anatomy, much like we did with Knulls facial features. We adjusted the underlying structure of the armor, reworking the underlying elements, and jagged edges to ensure they could support the look needed for action sequences, especially when interacting with Knulls body. We also added details that gave the armor an almost decayed look like exposed bone to enhance its menacing presence.The necrosword followed the same principles, although we started from art department designs. Through an iterative process, we were able to give his sword a sense of something both alive and terrifying while still making it functional and menacing within the context of the story.Knulls presence exudes power and dread. How did the team use lighting, textures, and VFX elements to enhance his god-like aura on screen?SE: To highlight Knulls presence in a dark, oppressive world with no specific light source, we focused on subtle lighting techniques. Since the environment was a prison hed been trapped in for thousands of years, we used ambient lighting to gently reveal his form, casting faint glows that drew attention to him without fully illuminating his surroundings. This allowed Knull to stand out from the shadows while maintaining the atmosphere of isolation and confinement.Given that we needed to hide his face for much of the time to maintain the mystery of his identity, we focused on lighting and shadow to partially obscure his features. This added to his aura of menace, keeping him in the shadows while still making sure his imposing form and tortured history were felt throughout the scene.Were there any specific challenges or breakthroughs in bringing Knulls design from concept art to final on-screen realization?SE: One of the biggest challenges in bringing Knulls design to a final on-screen realization was making him a photoreal, believable character, especially in hero moments when he was delivering dialogue directly to the camera. The complexity of his design and importance to the story made it essential to ensure that his facial expressions and movements were both natural and menacing, even with all the alien elements.To achieve this, we leveraged Digital Domains latest tools, including our cutting-edge markerless facial capture technology, Masquerade3. This technology allowed us to capture incredibly detailed, subtle facial expressions, which were critical for conveying emotion and intensity in Knulls dialogue scenes. The challenge was not just getting the facial performance right, but also ensuring that it worked seamlessly with his monstrous features and the otherworldly quality of his design.Klyntar has a unique visual identity as the birthplace of the symbiotes. What inspired the teams approach to designing its alien landscapes and architecture?SE: The design of Klyntars alien landscapes and architecture was inspired by a range of sources, including designs from past films, comic book panels, and direction from our client, all anchored in a base from previs. The idea behind Klyntar was that it was a place created by the symbiotes themselves, formed from their own bodies as a prison for Knull. This unique concept shaped our approach to the environment, as we wanted to convey both the sense of an ancient, dark power and the organic, unsettling nature of the symbiotes.Drawing inspiration from comic book references allowed us to capture an alien, almost grotesque quality, while designs from other films helped us explore different ways to visually represent the symbiotes sacrifice and the harshness of the prison they built. The clients guidance was key in ensuring that the environment felt both imposing and integral to the story, while the previs gave us a solid foundation to understand the layout and pacing of the environment. Together, these elements helped us craft Klyntar into a place that felt like a living, monstrous structure, created from the very beings it imprisoned.In creating Klyntar, how did you ensure its environment felt both vast and alive, as though it were an extension of the symbiote hive-mind?SE: To make Klyntar feel both vast and alive, we focused on creating an environment that constantly shifted and changed, reflecting the chaotic, organic nature of the symbiotes. We used Houdini to create fluid simulations and dynamic textures that allowed the landscape to feel in constant motion, with surfaces that appeared to breathe and transform. This gave the environment a sense of life as if it were always evolving.Lighting also played a key role in enhancing the feeling of vastness. We worked with subtle atmospheric effects and varying light sources to create depth and mystery, ensuring that parts of Klyntar seemed to dissolve into shadow, while other areas were revealed with eerie, glowing highlights. The interplay of light and texture gave the environment both scale and a sense of responsiveness, making it feel as though the world itself was a living, shifting entity, ever-changing in response to its surroundings.The Xenophages are terrifying and monstrous. Can you walk us through the process of designing their grotesque yet functional anatomy?SE: For the Xenophages, the assets were provided to us by another vendor, and our role was to refine and enhance them to fit the specific needs of our shots. Given that we had extremely close-up shots, we focused on upresing the existing assets to ensure they held up at a higher level of detail. We added extra details like drool and nasal spray, which contributed to their grotesque and monstrous appearance, enhancing their unsettling nature. We also worked on refining the eyes, adding more intricate details to make them feel more alive and intense but also blind in the close-up shots. Our aim was to maintain their terrifying, monstrous look while making sure the anatomy felt functional and believable within the world they inhabit. The additional details helped push their grotesque appearance while still keeping them grounded in the films overall aesthetic.How did you approach the animation of the Xenophages to convey their predatory and chaotic nature?Ellen Hoffmann (EH): The Xenophanges share a common goal, but theres always a struggle for dominance within the pack. Constant competition over who leads fuels their interactions. In our research, we discovered some fascinating behaviors in fighting hyenas that provided valuable insights. The challenge was to capture their chaotic, fast-paced movements while maintaining that sense of underlying tension. We were fortunate to receive strong reference material from other vendors who had already worked on the character for some time. Given our tight timeline, these references were crucial for achieving a strong result quickly.Their movements are both alien and insect-like. What references or techniques did you use to strike the right balance between realism and fantasy?EH: For realism, the key was always to convey the heaviness of the character. Even though they move quickly, we needed to ensure they still felt like towering, massive creatures. We incorporated small, rapid head movements and quick shifts in direction, like brief head shakes, but always kept the body movements slower and heavier. The result was that, even in moments of fast movement, their overall motion retained a grounded, weighty feel, as if they were pushing forward with force, but only for a brief moment.Were there specific sequences involving the Xenophages that pushed the limits of what Digital Domain could achieve in terms of VFX and animation?EH: We had a scene with a large number of Xenosphages in a single shot, which could have been challenging to manage. However, thanks to good planning and the use of in-house crowd animation tools, we were able to make a scene with 40 creatures still manageable. Finding the right composition in frame and still being able to add detailed animation. I have to say, everything went surprisingly smooth.Were there any unexpected technical or creative challenges encountered during the production?SE: As with any film production, there were a few unexpected challenges and creative changes along the way. One of the main hurdles came late in delivery when some of Knulls dialogue changed and was not captured with Tom Hardy during our Masquerade3 facial capture setup. To overcome this, we had to pivot quickly and rely on witness camera footage as a reference. From there, our highly skilled animators played a crucial role in bringing the dialogue to life, carefully animating Knulls facial expressions and movements to match the emotional intensity required for the scene.EH: After using motion capture for the other shots, we gained valuable insights into Tom Hardys distinctive performance, which we then applied to our fully animated facial shots. However, with the shift in dialogue intensity compared to the mocap, we were able to amplify the performance, incorporating stronger and more expressive body and facial movements.Looking back on the project, what aspects of the visual effects are you most proud of?SE: One of the most challenging yet rewarding sequences we worked on was a single, long shot that illustrated the creation of the Codex. This sequence was an all-CG shot set at a microscopic level, depicting the fusion of human and symbiote energy and culminating with the Codex merging with the Necrosword. The complexity lay not only in the length of the shot but also in the level of detail required to make the transformation feel both epic and intimate, given the tiny scale at which the events were unfolding.The initial concept provided by the editorial team was a broad outline, leaving us a lot of creative freedom, which was exciting but also demanding, given the timeline. We had to rapidly develop both the visual style and the technical approach, from conceptualizing how the energy would blend and move together to designing the Codexs gradual formation. The entire process required a great deal of experimentation to ensure that the energy felt alive and dynamic while still maintaining a sense of realism.To bring the vision to life, Houdini played a crucial role in simulating the intricate fluid dynamics and the complex energy exchanges between the human and symbiote forces. Given the shots micro-scale, we had to focus on making every motion appear fluid and organic, yet precise. It required a balance of energy dynamics and texture detail to make the transition from raw energy to the solid form of the Codex feel seamless. The integration of the Codex with the Necrosword was another challenge, as we had to ensure that this final moment worked both technically and narratively.The key to overcoming these challenges was collaboration. Our animation, VFX, and compositing teams worked closely together, making sure each departments input was considered at every stage. This constant back-and-forth allowed us to refine the shot continuously. Nuke was instrumental in the final compositing, where we could fine-tune the lighting, textures, and colors to give the sequence its surreal, otherworldly feel, enhancing the mystical and dramatic qualities of the moment.Despite the complexity of the sequence, our ability to break it down into digestible steps and maintain a strong line of communication across teams helped us execute the shot on time without sacrificing the emotional or visual impact. It was a true team effort that pushed the boundaries of our creative and technical capabilities.How long have you worked on this show?SE: I was involved with the show for several months, with the bulk of the VFX work being done over a tight three-month period. The timeline was challenging, but it was during these intense months that we really focused on delivering the complex sequences, like the creation of the Codex. The pre-production phase gave us an opportunity to plan and set up the visual language, but the bulk of the execution from simulations in Houdini to compositing in Nuke was done in that concentrated three-month window.Despite the pressure of the timeline, the constant collaboration with Director Kelly Marcel and VFX Supervisors John Moffatt and Aharon Bourland ensured we were always aligned creatively, which allowed us to push through and deliver high-quality work in a short amount of time. It was a fast-paced, highly collaborative effort, but ultimately incredibly rewarding to see how everything came together.Whats the VFX shots count?SE: Digital Domain contributed to over 75 shots with 36 making it into the final feature.What is your next project?SE: Im currently the overall VFX Supervisor for New Line Cinema working with Director Michael Chaves on The Conjuring: Last Rites, which will be released this year.A big thanks for your time.WANT TO KNOW MORE?Digital Domain: Dedicated page about Venom: The Last Dance on Digital Domain website.John Moffatt and Aharon Bourland: Heres my interview of Production VFX Supervisors John Moffatt and Aharon Bourland. Vincent Frei The Art of VFX 2025