Ad hoc networks are decentralized, self-configuring networks where nodes communicate without fixed infrastructure. They are commonly used in military, disaster recovery, and IoT applications. Each node acts as both a host and a router, dynamically forwarding data.Flooding attacks in ad hoc networks occur when a malicious node excessively transmits fake route requests or data packets, overwhelming the network. This leads to resource exhaustion, increased latency, and potential network failure.Recent works on flooding attack mitigation in ad hoc networks focus on trust-based routing, machine learning classification, and adaptive intrusion detection. Techniques like SVM, neural networks, and optimization algorithms improve attack detection, reliability, and network performance. Hybrid models further enhance accuracy and reduce false alarms. Despite notable progress in mitigating such attacks in MANETs, current methods struggle to balance detection accuracy, maintain energy efficiency, and adapt to rapidly changing network conditions.As a response to these challenges, a new paper was recently published proposing an energy-efficient hybrid routing protocol to mitigate flooding attacks in MANETs using a CNN-LSTM/GRU model for classification. The hybrid approach integrates machine learning with the routing protocol to optimize energy efficiency while preventing attacks. The model classifies nodes as trusted or untrusted based on their packet transmission behavior, blacklisting those that exceed predefined thresholds. Training involves extracting features from both benign and malicious nodes, with classification relying on learned patterns.To enhance accuracy, the model applies CNN for feature extraction, followed by LSTM or GRU for sequence learning, optimizing decision-making in real-time. The protocol eliminates malicious nodes upon detecting RREQ flooding attacks, ensuring energy conservation. MATLAB is used to create a training dataset and implement an Euclidean distance-based classification. Trust estimation uses link expiration time (LET) and residual energy (RE), with nodes requiring a minimum trust value of 0.5 to participate in routing. Finally, the ML-based AODV protocol selects nodes with the highest trust values to optimize packet delivery and minimize rerouting.To evaluate the proposed approach, the research team conducted simulations in MATLAB R2023a to assess the performance of a hybrid deep learning model for flooding attack detection in MANETs. The simulation environment accurately modeled the physical layer of MANETs to ensure realistic evaluation conditions. Key performance metrics were analyzed, including packet delivery ratio, throughput, routing overhead, stability time of cluster heads, and attack detection time.The results demonstrated that the proposed model outperformed existing DBN, CNN, and LSTM approaches. It achieved a higher packet delivery ratio (96.10% for 60 nodes), improved throughput (263 kbps for 100 nodes), and lower routing overhead. Moreover, it exhibited faster attack detection times, outperforming LSTM, CNN, and DBN. Classification performance metrics further confirmed its superiority, with 95% accuracy, 90% specificity, and 100% sensitivity. These findings validate the models effectiveness in enhancing MANET security.The proposed hybrid deep learning model shows promise in mitigating flooding attacks but has limitations. Its computational complexity increases with network size, limiting real-time use in large networks, and it requires substantial memory and processing power. Additionally, relying on MATLAB simulations may not fully reflect real-world MANET dynamics. Regular updates and retraining are also needed to adapt to evolving attack strategies.In conclusion, while the hybrid models (CNN-LSTM and CNN-GRU) outperform baseline approaches, challenges like computational overhead and evolving attacks remain.Check outthePaper.All credit for this research goes to the researchers of this project. Also,dont forget to follow us onTwitterand join ourTelegram ChannelandLinkedIn Group. Dont Forget to join our75k+ ML SubReddit. Mahmoud GhorbelMahmoud is a PhD researcher in machine learning. He also holds abachelor's degree in physical science and a master's degree intelecommunications and networking systems. His current areas ofresearch concern computer vision, stock market prediction and deeplearning. He produced several scientific articles about person re-identification and the study of the robustness and stability of deepnetworks.Mahmoud Ghorbelhttps://www.marktechpost.com/author/mahmoudghorbel11/Transformer-Based Modulation Recognition: A New Defense Against Adversarial AttacksMahmoud Ghorbelhttps://www.marktechpost.com/author/mahmoudghorbel11/Beyond Passwords: A Multimodal Approach to Biometric Authentication Using ECG and Iris DataMahmoud Ghorbelhttps://www.marktechpost.com/author/mahmoudghorbel11/Frequency-Selective Adversarial Attack Against Deep Learning-Based Wireless Signal ClassifiersMahmoud Ghorbelhttps://www.marktechpost.com/author/mahmoudghorbel11/Balancing Privacy and Robustness in NLP: A New Approach for Secure Prompt Learning in LLMs [Recommended] Join Our Telegram Channel

Slapstick has long remained a staple of the comedy genre, harking back to the early days of silent cinema stars like Charlie Chaplin, Buster Keaton, Harold Lloyd, and a host of other expressive comedy legends. While the introduction of sound film forever changed the landscape of the entertainment industry, slapstick miraculously maintained its tight hold over mainstream pop culture, as evidenced by later comedy programs like Looney Tunes, The Three Stooges, and the wildly successful Jackass franchise.First airing on MTV in the autumn of 2000, Jackass quickly became something of a cultural phenomenon by the close of the decade. Between its fast-paced, anarchic tone and consistently dangerous stunts, Jackass single-handedly revitalized the slapstick subgenre for the entire generation that followed. Painful, gross, and unfailingly cringe-worthy in its depiction of injury-inducing pranks, its a series that for better or worse has done more to shape contemporary viewers understanding of slapstick than any other TV series of its era, rising to the same black-and-blue heights as Benny Hill, Tom and Jerry, or the Marx Brothers before it.Whoopee Cushions, Falling Pianos, and Pies in Faces: How Slapstick Took the World By StormGiven the sheer physicality behind slapstick comedy, its no surprise that the comedic subgenre found a welcome place in vaudeville entertainment in the late 19th century and early 20th century. With the invention and widespread distribution of the camera came around in the early 1900s, skilled vaudevillian performers found a way to record their acts and present them to an increasingly larger audience, each of whom were more than willing to pay a nickel to see a pie thrust in someones face or a plank of wood accidentally slapped against someones head.The appeal of slapstick lies in its simplicity and universality. Whereas most cinematic genres rely on dialogue, atmosphere, or sound to establish their mood or push their narrative forward, virtually anyone can find entertainment in watching someone getting knocked down a flight of stairs or narrowly avoiding getting squashed by a baby grand piano. Transcending language barriers or IQ points, slapstick has a way of tickling the funnybones of every respective viewer, regardless of their age, background, or national origins.As sound pictures continued to gain prominence by the end of the 1920s, many silent film stars struggled to adapt to the times, with former icons like Keaton and Lloyd falling by the wayside. But thats not to say slapstick itself entirely faded away into obscurity. From the 30s onwards, numerous slapstick aficionados made the momentous leap from silent cinema to the talkies, including such accomplished acts as Chaplin, Laurel and Hardy, and the far more vocal duo of Abbott and Costello.Thanks to the additional restraints brought on by the Hays Code, as well, slapstick continued to maintain its dependable place at the center of the comedic field, slowly spreading out to various other genres like romantic comedies (screwball comedies like Bringing Up Baby) and animated films. With each passing year, slapstick may have slowly changed to keep up with audiences continuously modernizing sensibilities, but it was always present from one decade to the next like the proverbial 10,000 IB anvil swinging over Daffy Duck or Charlie Chaplins head.Hi, Im Johnny Knoxville Welcome to Jackass Enters the LexiconWhile slapstick itself never officially died out, by the 1990s, the once popular genre had indeed collected a thick coating of dust. Gone were the days of Buster Keaton performing miraculous feats like hanging on the backs of streetcars or traipsing through towering apartment windows. The closest thing audiences had to unvarnished slapstick were Saturday morning cartoons playing on Nickelodeon or Cartoon Network, or high-concept comedy films like Home Alone, Ace Ventura, or The Mask.With the beginning of the new decade, however, a startlingly new talent emerged, announcing his presence with seven simple words: Hi, Im Johnny Knoxville welcome to Jackass.Throughout the 80s and 90s, MTV had remained synonymous with the music industry, toting a variety of in-depth programs centered around musical acts like Blondie, Duran Duran, and Michael Jackson. As they entered the new millennium, the Gen X-centric cable channel decided to expand into other TV programming, including the increasingly popular genre of reality television.Enter: the tall, gangly, whip-thin figure of Johnny Knoxville. Moving to Hollywood with dreams of becoming a professional actor, Knoxville instead found success as a human self-defense dummy, catching the attention of TV producer Jeff Tremaine. From there, Tremaine and Knoxville pitched a full-fledged reality TV series that would place Knoxville and a team of amateur stunt performers in a variety of dangerous and compromising situations, all for the sake of audiences collective entertainment.The Internet Age and Our Current Appreciation For SlapstickAfter an intense network bidding war for the rights to the show, Jackass eventually found itself on MTVs regular schedule beginning October 1, 2000. In the three short seasons that followed, Knoxville and his masochistic comic crew redefined slapstick comedy for a new generation. Frequently pushing the envelope when it came to tried-and-true reality TV, anything and everything seemed possible when it came to Jackass, whether that meant watching a man Pogo stick into a public water fountain or getting pushed down a flight of stairs in an ordinary shopping cart.Join our mailing listGet the best of Den of Geek delivered right to your inbox!On the surface, Jackass might not bear a strong resemblance to a 20s Chaplin film or a 40s Bugs Bunny short, but the debt it owes to these preceding movies and TV shows cannot be overstated. Just as many of these classic slapstick performers used physical comedy to elicit laughter, so too did Knoxville and his team rely on their stunts and physical performances to entertain viewers albeit in a much more extreme manner.Whereas most of the jokes from a Buster Keaton film came from watching the comedian avoid getting maimed by a stunt, Jackass frequently veered in the opposite direction, regularly depicting stunts destined to fail from the very-go. In this sense, Jackass seemed almost revolutionary a postmodern comedy that blurred the lines between TV and reality. While viewers might once have laughed watching a silent comedian step out of the way of a free-falling piano, Jackass had their performers step out of the pianos way only to be crushed by a larger, even heavier aerial projectile.The results might have been shockingly brutal to watch on television, but it never failed to leave audiences with a wide, sadistic smile on their faces even as it left Knoxville and company moaning piles of bruised skin, broken bones, and enough facial injuries to make Jason Voorhees wince in discomfort.In many ways, Jackass did something no other comedy movie or TV series had managed to do before: it made slapstick daring again. No longer were viewers restricted to seeing carefully coordinated stunts played out in film or television. Because the stakes in Jackass were real, whenever audiences witnessed a stunt in the show, they couldnt help but admire the authenticity of the performance, allowing us to laugh that much harder as each stunt was played out. And of course, Knoxville and his crew were in on the joke themselves, laughing hysterically each time they were blasted out of a cannon, fell down a flight of stairs, or hopped off a suburban rooftop. Through this childish, devil-may-care attitude, audiences felt like they were laughing alongside Knoxville, Steve-O, and Ryan Dunn, garnering the same authentic chuckle we let out anytime a close friend trips over their shoelaces or walks through a screen door. Interestingly, while viewers hunger for slapstick has slowly eroded over the past 20 years, audiences still seem to express the same avid enthusiasm for Jackass-themed content as they did two decades ago, as seen through the positive reception of the series four follow-up films and the similarly-veined spinoff, Bad Grandpa.Like every comedy show, Jackass might not be everyones cup of tea, with some audiences taking issue with the shows gross-out humor, mean-spirited pranks, or possibly offensive subject matter. But like every unique comedy program, its impossible to refute Jackasss popularity, as well as its immediate impact on 2000s pop culture. In recent years, audiences might have grown out of the dizzyingly painful reality of watching people hurl themselves down skating ramps or outrun a rampaging bull on the Internet. But in the 2000s, that idea still seemed fresh and new, hitting viewers with the comic intensity of a finger in the eye, a kick in the butt, or a giant hand delivering a thunderous high five inside an ordinary office building.

This article contains spoilers for Netflixs Apple Cider Vinegar.In recent years, the world of social media has been overtaken by influencers who use their platforms to promote change, inspire followers, and, in many cases, share personal experiences. But what happens when the story they share is a lie? Apple Cider Vinegar, the Netflix series inspired by Belle Gibsons life reveals one of the biggest scandals of the digital era, exposing how a woman built an empire based on deceptionand the devastating impact it had on countless lives.The Meaning Behind Apple Cider Vinegars TitleThe title Apple Cider Vinegar carries a symbolic meaning that goes beyond Belle Gibsons story. According to Samantha Strauss, the creator of the series, the name was chosen to capture the idea of hope in a bottlea reference to how many people see certain natural products as miracle solutions for health problems.Apple cider vinegar, like many other substances promoted in the wellness industry, has real health benefits, but that doesnt mean it can perform medical miracles, such as curing or eradicating cancer. The series uses this concept to explore how misinformation and unfounded promises can spread quickly, deceiving vulnerable people and putting lives at risk.[With the title] I wanted something that would capture this idea of hope in a bottle and that could be a bigger umbrella than something that would relate only to Belle, Strauss told Netflixs Tudum.Who Is Belle Gibson?The plot follows Belle Gibson (Kaitlyn Dever), an influencer who gained notoriety after claiming she was facing terminal brain cancer and had overcome the disease using only a natural diet and alternative treatments. Her inspiring journey led to the success of her health app The Whole Pantry and her book of the same name, making her a reference in the world of wellness and healthy eating.The series initially alternates between three distinct periods: the beginning of Belles fraud when she started building her false narrative; the period in which Lucy (Tilda Cobham-Hervey), a follower, starts blindly trusting the influencer, while Chanelle (Aisha Dee) and Milla (Alycia Debnam-Carey) begin to question her and the moment when Belle attempts to restore her reputation after being exposed.Milla Blake, a talented journalist working for the respected Girlfriend magazine, discovers a tumor in her arm and decides to pursue alternative medicine, rejecting amputation. Initially, Milla believes she is cured, but the disease spreads, and in the end, she requires palliative care.Meanwhile, Lucy also gets involved in Belles world. Her husband, Justin, tries to warn her about the dangers of following advice from an influencer without medical training. Im not going to let an influencer with a nose piercing ignore years of real medical research, he says. But Lucy remains fascinated by Belles alternative healing promises.Belle, in turn, manipulates her narrative to keep profiting. She gets closer to Milla and uses her as a reference to build her own brand, even going so far as to copy her personality and story. Belle, in fact, is envious of Millas fame, and her jealousy grows as she watches Millas success. As Belles lies become more elaborate, Milla begins to notice inconsistencies in Belles story and starts investigating her, with the help of Chanelle, a former business associate of the influencer.Belle Gibsons DownfallThe scam starts to unravel when Chanelle publicly exposes her doubts about the truth of Belles cancer story. Investigative journalist Sean (Richard Davies) and Justin (Mark Coles Smith), Lucys husband, team up to reveal the truth. The case intensifies when Belle raises money for a supposed donation, and the funds disappear. The media finally exposes her lies, and The Whole Pantry is removed from the market.Join our mailing listGet the best of Den of Geek delivered right to your inbox!At the end of the series, we see Belle trying to recover her reputation by granting interviews and playing the victim. But the truth is already laid bare. A powerful scene shows Belles mother publicly declaring that her daughters life was a lie and that she feels bad for all the people who were deceived.The series ends with a title card informing the audience that, in 2017, the Federal Court of Australia found Belle Gibson guilty of deceiving the public. The protagonists final words sum up her stance toward the truth: Wanna know? Google it.The True Story Behind Apple Cider VinegarThe series is based on the true story of Belle Gibson, an Australian influencer who deceived thousands of people by claiming she had brain cancer and had cured herself through alternative therapies, without chemotherapy or any other conventional treatment.Netflix has confirmed that Belle is the only character directly based on a real person. Inspired by The Woman Who Fooled the World by journalists Beau Donelly and Nick Toscano, the series fictionalizes other characters and events to explore the broader impact of her deception and the culture that enabled it.Belle built a brand around her supposed cure. She launched The Whole Pantry app, which offered recipes and wellness tips, and secured a book deal with Penguin Books to publish a book with the same name. She also claimed that a portion of the profits from the app and the book would be donated to charities and cancer research, which helped solidify her image as an altruistic and inspiring person.However, in 2015, The Sydney Morning Herald published an investigation into the fundraising efforts promoted by Belle, revealing that the promised donations had never been made. This expos was the first major blow to her credibility, and within months, her entire story began to crumble.The media dug deeper into her claims, and other publications like The Australian and the 60 Minutes Australia program began publicly questioning her about her alleged illnesses. When pressed to provide medical records to back up her diagnosis, Belle was unable to provide any concrete evidence.At first, she tried to defend herself, accusing the media of harassment and bullying. However, in April 2015, in an interview with The Herald, Belle finally admitted that she had never had cancer. Her confession shocked her followers and caused outrage, especially among real patients who had followed her advice and believed her story.The consequences were severe. The Australian government launched an investigation into her activities, and in 2017, the Federal Court of Australia found her guilty of deceiving consumers. Belle was fined 410,000 Australian dollars for her false claims and failure to fulfill her donation promises. Additionally, her book was pulled from the market, and her reputation was completely destroyed.Even after the truth was exposed, Belle never showed genuine remorse. She tried to recover her image but never regained the publics trust. Her case became one of the biggest scandals of the digital age, serving as a warning about the dangers of misinformation and miracle promises in the world of wellness and alternative health.All six episodes of Apple Cider Vinegar are available to stream on Netflix now.

Intended to break from the traditional take, make, dispose construction model, the two-storey buildings design prioritises materials that can be repurposed and dismantled.The design team worked closely with Unusual Riggings managing director Tom Harper, an expert in circular economy principles, and the building integrates reused materials such as steel and circularly certified components.Using a fabric-first approach and high thermal efficiency, the design incorporates air-source heat pumps, roof-mounted photovoltaics and rainwater harvesting.AdvertisementArchitects viewThe building design prioritises functionality and user experience, featuring two rectangular wings connected by a central double-height atrium with a striking staircase, framing a landscaped courtyard. This inviting space serves as the heart of the building, enhancing employee and visitor experience.Internally, the layout offers a blend of open-plan offices, private meeting rooms, breakout areas and a canteen, balancing collaboration and privacy while allowing for flexibility as the company evolves. The design adheres to Passivhaus standards, minimising embodied carbon while ensuring high energy efficiency. Biophilic design principles, such as natural planting and organic forms, are seamlessly integrated, promoting a healthier and more productive workplace.Circular economy principles guided the interior fit-out, focusing on low embodied carbon and high reuse potential. Cradle-to-cradle-certified materials and reversible fixing methods were used to minimise waste, ensuring the buildings longevity and sustainability.Unusual HQ incorporates a variety of sustainable design elements. The building uses renewable energy sources, including rooftop photovoltaics and a ground-source heat pump. Materials including cork flooring, recyclable carpet tiles, and Accoya timber cladding reflect a commitment to long-term sustainability.Breathable, natural paints and cradle-to-cradle-certified furniture were selected to ensure indoor air quality and ease of disassembly at the end of the buildings life. By focusing on reusable materials and low-carbon solutions, Corstorphine & Wright has created a new building that is as functional as it is environmentally responsible.Unusual HQ serves as a test bed for innovative materials and construction methods, including the first-ever use of Breathaboard, a sustainable alternative to traditional plasterboard. The buildings design emphasises the future reuse of materials, ensuring that the structure can be easily disassembled and repurposed at the end of its life. It offers an unparalleled example of how modern businesses can adopt sustainable practices while creating a functional and inspiring workspace.The building is a pioneering example of circular economy principles and low-energy design. Built with sustainable, biogenic materials, it has been carefully designed for durability and disassembly, ensuring the building can be reused at the end of its life. The project challenges traditional approaches by addressing the true cost of materials, including their social and environmental impact, and serves as a test bed for the future of sustainable, circular architecture.It has been a privilege to deliver this building for Unusual Rigging and I am deeply proud of what we have collectively achieved.Jonny Plant, director, Corstorphine & WrightClients viewWhat a pleasure it has been to have Corstorphine & Wright undertake the design of Unusuals new HQ and research building. From the start, they embraced our vision of building a new office in accordance with the key principles of the circular economy, in many instances really challenging conventional assumptions about the structural materials used. At a time of global ecological crises, there are few organisations out there who seem to be demonstrating active hope, who are showing that an economy that is truly regenerative and restorative by design is a possibility. It has been an inspiring journey.Tom Harper, managing director, Unusual Rigging Source:Corstorphine & WrightProject dataStart on site August 2023Completion date June 2024Gross internal floor area 727m2Form of contract or procurement route Design and buildConstruction cost UndisclosedArchitect Corstorphine & WrightPlanning design architect Walker AssociatesClient Unusual RiggingStructural engineer MomentumM&E consultant Ingine/Front FiveSustainability consultant KLH SustainabilityLandscape consultant Furse Landscape ArchitectsPrincipal designer Corstorphine & WrightCDM coordinator CDM ServicesApproved building inspector AssentMain contractor Foxton ConstructionGlulam and timber frame subcontractor Timber InnovationsRoof and cladding subcontractor 1Eighty Roofing SolutionsCAD software used RevitEnvironmental Performance dataPercentage of floor area with daylight factor >2% Not suppliedPercentage of floor area with daylight factor >5% Not suppliedOn-site energy generation 66.05 kwh/m2/yrAnnual mains water consumption Not suppliedAirtightness at 50pa 1.0 m3/h.m2Heating, cooling and hot water load 16.58 kwh/m2/yrPrimary energy use -36 kwh/m2/yrOverall area-weighted u-value 0.37 w/m2kDesign life 50 yearsEmbodied / whole-life carbon 364 KgCO2eq/m2 (A1-A3 estimated)Annual CO2 emissions -2.71 KgCO2eq/m2

For over two decades, Wicked has transported theatre audiences into the untold story behind The Wizard of Oz (1939). Bringing its magic to the screen required a spectacle that not only honoured its Broadway origins but expanded beyond them. Among the many key collaborators in this transformation was Industrial Light & Magics Pablo Helman, production visual effects supervisor. In a recent conversation, Helman shares with ILM.com the challenges and triumphs of adapting this theatrical phenomenon for film, seamlessly blending practical techniques with cutting-edge visual effects to create an enchanting cinematic experience.By Jamie Benning(Credit: Universal)The Musical ChallengeHelman admits that working on Wicked (2024) was an entirely new experience for him compared to his experiences on films like the Star Wars prequels (1999-2005), The Irishman (2019) and The Fabelmans (2022). I think I was ignorant, in that I thought for the last 30 years that my job started with the images and ended with the images, he tells ILM.com. Normally music is something that happens later on. But with this movie, not only is there pre-recorded material but there is live singing. And theres connections that are being made between the actors while they sing. Things that change between them that makes them elicit other reactions. And youre there three feet from the action with the music happening. That translated into how we approached the visual effects. It makes all the difference.But understanding how to integrate those effects meant first understanding director Jon M. Chus vision.Getting into Jon M. Chus HeadHelman is known for his thorough preparation when working with directors, and his collaboration with Jon M. Chu on Wicked was no exception. Its my job to get into the directors head, he says. When I first interviewed with him just to see how we would click, I did a lot of research on him as a filmmaker. How does he use the cameras, camera movement, lighting, sequencing, editingall of it. So we basically had the same language because I kind of cheated a little bit. I made it my business to understand how he goes about his process.He explains that Chus methodology is unique. He has an incredible vision for the movie, and then hes open enough to let the movie happen to him. Sometimes the movie develops in a way that is unexpected, and it grows in a specific way or something happens, and then he says, I never thought of it this way. Look, thats great. We have options.The funny thing about it is that once the project concludes, Helman continues, a little bit of their filmmaking stays with me as a kind of a tool set of things, that once in a while I pull out, and that helps me with something else. Every director is different. Everybody has a different process of understanding the storytelling.Unlike directors who rely heavily on previsualization, Chu prefers a more fluid, organic approach, embracing spontaneity throughout the filmmaking process. He doesnt use pre-vis the way some directors do, Helman says. Wed sit at a table with the heads of department, with Alice Brooks (Director of Photography), Myron Kerstein (Editor), with Nathan Crowley (Production Designer), Paul Corbould (Special Effects Supervisor), Jo McLaren (Stunt Coordinator) with a model of the set for that scene. And then we give him a little stick with a little Elphaba and other characters and he goes in and shows us what the scene is about. And when there is music, he plays the music from his phone. Then he does the movement of the actors with Chris Scott, the choreographer. And so we video those sessions and then we all go away and try to figure out how were going to achieve Jons visionbetween all of us.I did a lot of listening, because I hadnt worked with Jon before, Helman continues And Jon and Alice and Myron kind of grew up together from school, and they have been working together. And so for me to come in, its like, are they going to let me in? And they opened their arms and let me in. And it was a wonderful experience.(Credit: Universal)(Credit: Universal)Building Oz: The Role of Practical Sets and the Practicalities of Shooting a MusicalNathan Crowleys elaborate practical sets played a crucial role in grounding Wickeds fantastical world. Helman reflects on how these sets benefited both the cast and the visual effects team. You want to chase the truth as much as possible, he says. Yes, there were nine million tulips planted, but they were planted a hundred miles from the set. But there are benefits.He elaborates on the process of blending the practical and digital elements. Theres a shot in the beginning, of kids running through the tulips towards Munchkinland, and the matte line is around the kids. You know, after that, its all visual effects. Is it useful? Yes, for the actors, they have something there. But we changed the lighting, added the sun, and completed the tulips in post. The final look is a collaboration.The barley fields posed another challenge. We planted real barley, but during the first take, you couldnt run through itit was too dense. We had to shave it down and then digitally replace everything to maintain the illusion.Helman explains that the scale of the production meant nearly every frame of the film required some level of visual effects intervention. There are 2,200 visual effects shots in the movie. So every shot is a visual effects shot. Because this is a musical, all the actors are wearing really big earpieces that had to be replaced in 3D. There were also mics on their chests.The scale of the sets also dictated when practical elements could give way to digital enhancements. The interior sets go up to 25 feet and the exterior sets go up to 55 feet and then after that we take over as visual effects, says Helman. Special effects were really big too.Paul Corbould and his team built a huge train. But the gears were not moving. So thats where visual effects lends a hand. And the gears under the train are visual effects. And the inside of the train is visual effects because there was a small section built, but not the whole thing.And then the train was very reflective, Helman continues So if the camera follows it, then you have the reflection of all the lights and everything else that had to be recreated and painted out. So yes, there is a combination of reality and not reality. Its a realization that we are creating an illusion, all of us. And we all contribute little by little to that illusion. And then in post, we put it all together and complete it.(Credit: Universal)(Credit: Universal)Striving for Authenticity: Cynthia Erivos Green TransformationHelman and his team explored multiple approaches to achieving Elphabas distinctive green skin, testing a range of methods to determine the best solution. Yes, we did a lot of testing, he recalls. We did different tests of what would happen if we used green makeup, what would happen if she didnt have makeup, but we were there to fix everything that couldnt be done.Ultimately, it was actor Cynthia Erivo herself who made the final decision. Cynthia said, I need to be green. I think I need to be that person, Helman explains. And I know its three hours in the chair, but I need to put in that time to become that character. And it made a difference, I think.Even with practical makeup, the visual effects team played a crucial role in refining the look throughout the film. We still have visual effects in every shot, Helman says, citing the long shooting days, the strain of makeup on Cynthias skin, and even the challenges of contact lenses. She had contacts. And I knew from other experiences like The Irishman that after a while the contacts start moving and the actor starts looking cross-eyed. So we had to fix all kinds of things.Additionally, subtle digital enhancements were required for continuity. The makeup went to the middle of the lip, but not into her mouth, for obvious reasons. So, as I said, we had to adjust every shot, he adds.(Credit: Universal)(Credit: Universal)Flying Monkeys and Magical TransformationsOne of the many visually striking sequences in Wicked is the transformation of the flying monkeys. Helman describes the scene as both challenging and rewarding. Its almost a horror scene. The monkeys are in pain, their wings breaking through their backs. Its unnatural, which adds to the horror, he explains. We used feathers flying around to give a sense of atmosphere and depth. The horror of it had to be mitigated somehow. So there were times when we went too far. There were times when we didnt go far enough. And then we all kind of adjusted.Helman emphasizes the importance of storytelling in visual effects. Theres the fact that these monkeys need to fly away in like four shots. So how do you tell that story in its specifics in four shots? They need to get the wings, try them, and then be either successful or not. And so all that stuff is storytelling. Its part of what we do in visual effects. The animation team led by David Shirk did a great job.(Credit: Universal)Grounded MagicMagic is, of course, central to Wicked, and Helmans team took a deliberately subtle approach to its visualization. The Grimmerie posed unique challenges. It wasnt really thought out when we were shooting, he admits. Most of the time, Cynthia was in front of a blue square, gesturing as directed. But we ultimately made it so that the words became golden, with pages moving. It feels tactile and grounded, not over-the-top. We werent going for that kind of fantastical thing, because its been done before. Even if we were doing a visual effect, it had to look practical.Elphabas imperfect spellcasting in this scene also adds another layer to her character. Due to her inexperience, shes not very good at casting spells. Every time she does, something bad happens, Helman says. Its relatablemagic grounded in imperfection, just like life.(Credit: Universal)(Credit: Universal)Defying Gravity: A Pivotal SequenceThe Defying Gravity sequence is a pivotal scene bridging the two films, requiring a seamless blend of practical stunts and digital effects. Cynthia performed many of her own stunts, including being flown on wires and complex rigs, says Helman Weve seen people flying before. You could just have somebody being wired in and you can say to that person, now youre moving right, now youre moving left, left to right and right to left. But those kinds of things dont work. Cynthia was being flown 200 feet around the blue-screen set, singing! She is really trying to keep herself from the forces that are trying to throw her in different directions. And you can really see that shes doing it. That contributes to the reality of the visual effects work we do.Helman also highlights Elphabas emotional arc in her final scene through the use of light and symbolism. You start from the bottom in the darkness towards the light and you go out on the balcony towards the sun, and then the sun starts coming down throughout that sequence towards the end of the movie. If you have seen the play, you know that at the end of the first act, the cape gets bigger and bigger. So the question is, how do we translate that? Do we do it? Is it going to be laughable? The cape is a visual effect, because we couldnt use a real one due to the wires. Throughout that sequence, everything becomes pictorial. And by the time we get to that shot, basically, its a spiritual, religious picture. The clouds are very Renaissance Italian, with the sun behind them and theres all kinds of volume shadows and volume light coming through. And then all of a sudden you realize, oh my goodness, the cape is huge. What happened? Are you inside her mind, or is that a literal thing? Probably not. And then she does the war cry and the camera pulls back out and you think the movie ends, but she turns around and goes away flying. And then the audience is thinking, wait, wait, where are you going? Then the movie ends to get them ready for part two.But all those kinds of things are not by coincidence, Helman adds Theyre each thought out in terms of structural storytelling, building expectations.(Credit: Universal)(Credit: Universal)The Collaborative SpiritThe scale of Wicked was immense, involving contributions from more than 1,000 visual effects artists across five countries, ILM in San Francisco and Sydney as well as teams at Framestore, OPSIS, Lola, Outpost and TPO. Helman is quick to credit the teamwork behind the films ambitious visual effects. Were working together for three years to make these movies. And so Im really grateful to all of them. Robert Weaver and Anthony Smith were the ILM visual effects supervisors, and David Shirk was the animation supervisor. Great collaboration and lots of fun.Helman is philosophical about the creative challenge. On set sometimes you get into some arguments or differences. Or as Jon calls them, offerings. Sometimes you say, Im offering you this solution, or you can go this way or we can go another way.This cooperative effort was essential on a production as challenging as Wicked. Its 2,200 visual effects shots, but every department played a role in making the world of Wicked believable, Helman explains. He highlights the importance of working closely with Nathan Crowley, Alice Brooks, Paul Corbould, and the rest of the team.Alice, Jon, and I talked a lot about it, Helman says. He describes how lighting played a crucial role in integrating visual effects with the cinematography. The lights were on the set, but we removed them. If you look at a movie that was shot in the 50s, theres a certain look to it, but you have to achieve a certain look from behind the camera. But thats not so anymore. You can put light sources wherever you want. And if youre careful with them, when you remove them, there is no such thing as unjustified lighting.By ensuring that visual effects supported rather than dictated the cinematography, the team was able to create a seamless blend of practical and digital elements.(Credit: Universal)(Credit: Universal)A Lesson in ArtistryFor Helman, Wicked reinforced his philosophy that visual effects shouldnt be impeding anything. Whatever the director wants to do, wherever they want to put the camerathats what were there for, to encourage that kind of storytelling.The grueling 155-day shoot, filmed in continuity across both parts, pushed the cast and crew to their limits. Helman acknowledges the toll such a long production can take: After day 70, its like everybodys done. Its like, elbows are outGet out of my way, why are you looking at me like that? Those kinds of things happen. But despite the fatigue, the shared vision kept the team pushing forward. It is a long project, but its a good thing because it gives you kind of a sense of not worrying about anything else, but what you have in front of you.The audiences response helped reaffirm the purpose behind the work. Its one of those pictures that I had to go to the theater to hear the peoples reactions. I usually dont do that. But this one I did, and it reminded me of why we do what we do, which is to make art that is being shared.Reflecting on the experience, Helman expresses gratitude for the people who made it possible. You can have a great project, great people, or great financial satisfactionif youre lucky, you get two out of three. But the most rewarding part is the collaboration. At the end of the day, its about the people you work with.As Wicked continues to enchant audiences worldwide, Industrial Light & Magics artistry stands as a testament to the power of collaboration and innovation in storytelling.(Credit: Universal)(Credit: Universal)Jamie Benning is a filmmaker, author, podcaster and lifelong fan of sci-fi and fantasy movies. Visit Filmumentaries.com and listen to The Filmumentaries Podcast for twice-monthly interviews with behind-the-scenes artists. Find Jamie on X @jamieswb and as @filmumentaries on Threads, Instagram, Bluesky and Facebook.

Asus on Thursday revealed the Zenfone 12 Ultra, which inherits several cool features from the Asus ROG Phone 9 gaming phone series and retools them for a more mainstream audience. Like last year's Zenfone 11 Ultra, this means that thephonehas a 6.78-inch display, fast 65-watt wired charging and the Qualcomm Snapdragon 8 Elite processor.But in other ways, Asus scaled the Zenfone 12 Ultra from its gaming phone sibling by supporting a (still very smooth) 144Hz refresh rate (the ROG Phone 9's is185Hz) and a smaller 5,500 mAh battery compared to the ROG's 5,800 mAh. The phone will come in three colors: ebony black, sakura white and sage green.The Zenfone 12 Ultra has a bunch of new AI features, several of which Asus is billing as exclusive to the new phone at launch. These include updated editions of the AI Call Translator, a transcription app and portrait video. The updated call translator adds support for third-party chat apps like WhatsApp, which should provide more flexibility beyond just standard phone calls.There are also new AI article and document summary features, along with photo editing features for unblurring a photo or erasing an unwanted object or person in the background. Many of these match similar AI features that we regularly see on Google's Pixel and Samsung Galaxy phones, and the Zenfone 12 Ultra will also receive Google's Circle to Search.The Zenfone 12 Ultra's headphone jack continues to set it apart as one of the few flagship phones from any company to support wired headphones without an adapter. For video recording, Asus is also updating its 6-Axis Hybrid Gimbal Stabilizer for smoothing out shaky cam while taking video -- a feature that comes in handy when I've tested prior Asus phones in bumpy vehicles.Pricing for the new Zenfone 12 Ultra wasn't immediately available, and this year Asus is omitting the US from the phone's international release. I'm bummed by this, as last year's Zenfone offered many of the media-focused benefits of the ROG gaming phones. This includes the big screen, powerful processor, the gimbal stabilizer for video recording and that headphone jack -- while providing a degree of restraint by offering those features at a slightly lower price than Asus's gaming phones. But Asus has always faced an uphill struggle when it comes to the US market, where the audience for Android phones is dominated by Samsung, according to Counterpoint Research.This means a little less Zenfone for Asus fans in the US this year, but at least the Asus ROG Phone 9 gaming phones that are available include cool LED screens on the back for playing games. Asus ROG Phone 8 Pro Unboxed: A Unique Package for a Sleek Gaming Phone See all photos

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It might be late in the Switch's life, but it seems there are still new applications coming to the system's eShop. With this in mind, 'Shogakukan' will be launching a "manga reader" for the hybrid device on 13th March 2025.A post by Tatsuki Waki of the Monthly 'CoroCoro Comic' shared this news. As you can see, users will need to swap the system from horizontal to vertical. Apparently the face buttons "like X and Y" are used to zoom in, so you will need to keep your Switch Joy-Con on hand if they're not already attached to the system.Subscribe to Nintendo Life on YouTube795kWatch on YouTube There's no mention of this one releasing outside of Japan (or access to this particular manga collection locally on the Switch), but if we hear any updates ahead of the March release, we'll let you know.If you want something similar (but different), you can always check out the free comic app InkyPen on the Switch (which includes manga). The Crunchyroll anime app is also available on the Switch eShop and is free to download. Includes updates in series like Attack on Titan and Battle Angel AlitaFinally!Mo' manga, mo' problemsWhat do you think about an app like this on Switch? What other kind of Switch eShop apps would you like to see? Let us know in the comments.See AlsoShare:02 Liam is a news writer and reviewer for Nintendo Life and Pure Xbox. He's been writing about games for more than 15 years and is a lifelong fan of Mario and Master Chief. Hold on there, you need to login to post a comment...Related Articles69 Games You Should Pick Up In Nintendo's 'Supercharge' eShop Sale (North America)Every game we scored 9/10 or higherNintendo Reconfirms Release Windows For Major Upcoming Switch Games... and the Switch 2!Ex-PlayStation Boss On Switch 2's Name: Nintendo Created So Much "Brand Value""Why would you mess with that?"Rumour: Switch 2 Game Cases Might Take Up More Space On Your ShelfHere's how they could compare to the current Switch casesJapan's Switch eShop Will Soon No Longer Accept Overseas Payment MethodsChange will come into effect in March

Emblem, a relatively new European VC firm based in Paris, is announcing the final closing of its first fund. Eighteen months after the first closing, the Emblem team managed to secure 80 million in total (around $85 million at current exchange rates).This is no small feat in the current funding environment. According to Atomicos latest State of European Tech report, in 2024, venture funding fell for the third year in a row. One of the main reasons for this is that acquisitions and IPOs arent really happening right now.As a result, VC as an investment category is less attractive than it used to be. Several VC firms are struggling to raise follow-on funds despite the current artificial intelligence boom, which could potentially represent a huge investment opportunity.But that didnt stop Emblem from reaching its hard cap the maximum amount that it had originally set to raise. Founded by Benedicte de Raphelis Soissan and Guillaume Durao, the duo had already made some interesting investments as business angels before creating Emblem. They invested in crypto trading card game Sorare, pet insurance startup Dalma, and cultivated meat company Gourmey, to name a few.They wanted to go one step further with a proper VC firm, which to Emblem, a seed investment firm that wants to make 25 to 30 investments with its initial fund. Ideally, they would rather lead or co-lead seed rounds with tickets ranging from 500,000 to 3 million. But the firm is willing to follow another lead investor if theres a good opportunity, too.Emblem has already invested in 16 startups since its first closing in March 2023. TechCrunch has covered a few of them. Examples include:Pivot, a procurement tool and Coupa competitor.The Mobile-First Company, a B2B mobile app studio drawing inspiration from Voodoo and other consumer app studio.Altrove, a new materials company using AI and lab automation to speed up research.Volta, an online commerce platform like Shopify, but focused exclusively on B2B transactions.Its a diverse portfolio when it comes to area of focus, but also geographical focus. Weve made 16 investments. To give you an idea, there are eight of them in France, six in the Nordics Denmark, Sweden and then we made one in the U.S. and one in Italy, de Raphlis Soissan told TechCrunch.Emblems core focus remains on France and the Nordic tech ecosystem. It has more than 200 limited partners who invested in the first fund, including family offices and tech entrepreneurs, such as the founders of Unity, Pleo, Qonto, 3shape, Spendesk, Voodoo, Pennylane, JobandTalent, Ledger and Zendesk. They make up for over half of the total amount.The rest has been raised from several funds of funds, as well as commitments from both EIFO (the Danish sovereign fund) and Bpifrance (the French sovereign fund). Emblem is already thinking about its next fund, which should be roughly the same size as this one.Now weve got a bit of time when we wont need to raise. So were going to savor it. But you never want to be off-market, de Raphlis Soissan said. So, since it takes you four years to deploy, and were about halfway through, that means that in a years time, well have to start all over again.

Mixed Reality & Architecture | Photograph via Pexels In architecture, collaborating with other industries can help professionals expand beyond traditional thinking and find new and innovative solutions. For example, a previous post features a collaborative design project between the architectural firm Offhand Practice and the Shanghai-based fashion brand XiaoZhuo.By taking into account XiaoZhuos ethos of creativity, curiosity, and playful spirit, the architects not only created a retail store that perfectly showcases the brands clothing merchandise but also designed a space that blurs physical boundaries and lets customers immerse themselves in the interplay between rigidity and softness, coldness and warmth, and light and shadow.However, beyond incorporating industry-specific concepts and brand values into design language for a more nuanced project, architects can also work with and take inspiration from other creative industries to enhance digital transformation in their world of work. Among the emerging technologies in architecture, specifically in architectural design education, is mixed reality, which mainly comes in the form of augmented and virtual reality (AR/VR).In addition to improving architecture students learning experience and academic outcomes, AR/VR technologies can boost real-world practice and enrich architects creativity, efficiency, and client interactions. Below, we look at the different ways creative industries like eyewear, fashion, and museums incorporate AR/VR solutions and how architects can draw lessons from their successful digital transformation.Providing AR-based previews for improved visualizationAugmented reality (AR) involves overlaying computer-generated elements onto the physical environment for a more interactive, three-dimensional experience. As such, the eyewear industry leverages AR-based virtual try-ons to help customers visualize their creative frame designs better, even when shopping online.The pioneering eyewear retailer Sunglass Hut has an AR feature that enables shoppers to browse its selection of brands like Ray-Ban, Oakley, and Versace and try on glasses online. Without having to visit a physical store, customers can simply select their favorite style, click the Try them on option, and see how the frames fit their faces and suit their features via their devices camera. In the same vein, architects can utilize AR to provide clients with a more realistic preview of their designs and thus inform their expectations on aspects like scale, layout, and overall ambiance.Using mixed reality to enhance client interactionsMixed Reality | Patrick Schneider via UnsplashWhereas AR combines digital content with physical elements of the real world, virtual reality (VR) transports users into a fully computerized environment for a realistic and immersive experience, typically through the use of VR headsets. As the luxury fashion sector looks for ways to elevate brand-customer experiences, brands like Mytheresa and J.Crew are using VR headsets like the Apple Vision Pro for a virtual store that displays 3D iterations of their latest collections.Mytheresas virtual experience transports consumers to destinations like Capri and Paris to better immerse them in the summer-inspired Dolce Vita collection, while J.Crew utilizes mixed reality to offer virtual clienteling sessions while customers shop. Drawing inspiration from these tailored experiences, architectural firms can create virtual environments that clients can visit to see designs on a full scale and receive virtual assistance and consultation throughout the design process.Leveraging AR/VR experiences for cost-effective storytellingLastly, architects can explore how museums use 3D visuals and fully immersive virtual environments to tell a richer story beyond textual information about objects, artifacts, exhibits, and collections. For example, the Loot: 10 Stories exhibition harnesses the power of VR through ultra-detailed digital twins of looted objects, such as a Rembrandt self-portrait and a traditional Balinese kris dagger.Once again, architects can be inspired by the same principle to develop digital prototypes and digital twins of their project designs and thus allow clients, designers, and other stakeholders to better understand the concepts and storytelling behind the models. Moreover, this technique optimizes costs in assessing both the aesthetic and structural aspects of a design.In summary, AR/VR solutions in architecture can create a more collaborative, iterative, nuanced, and cost-effective design process when architects draw lessons from other creative industries using these emerging technologies. Continue reading ArchEyes for more insightful features and design inspiration.technology Leave a comment