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The Avatar franchise has always done a good job of handling serious topics and driving drama while also entertaining an entire family. However, neither of the first two Avatarmovies has been considered truly dark, mainly due to the way that James Cameron has showcased the world of Pandora.

The Game Boy wasn't the first handheld gaming machine, but it was one of the most successful ones on its 1989 release. Combined with its successors, the Game Boy Color and Game Boy Advance, they would go on to sell more than 100 million units. It couldn't quite contain the NES' tech, but it managed to run 8-bit games with buttons and a D-Pad based on the NES' joypad.

Looking for NYT Connections answers and hints? Here's all you need to know to solve today's game, plus my commentary on the puzzles.

The BAFTA for Special Visual Effects was awarded to Paul Lambert, Stephen James, Gerd Nefzer and Rhys Salcombe for Dune: Part Two.Check out all the coverage of Dune: Part Two at befores & afters here.issue #23 Dune: Part TwoThe post Dune: Part Two wins BAFTA for Special Visual Effects appeared first on befores & afters.

Wt FX visual effects supervisor Luke Millar and motion capture performer Jonno Davies discuss bringing Robbie Williams to life.Wt FX is well-known for its close collaborations on projects with motion capture performersthink Andy Serkis, Toby Kebbell and a long line of other actors who don motion capture suits and HMCs for a role, with the VFX translating that performance into some kind of CG creature.Its a task Wt FX carried out once again for Michael Graceys Better Man, this time taking the original on-set performance of Jonno Davies through to an ape version of Robbie Williams.Here, visual effects supervisor Luke Millar and Jono Davies tell befores & afters what that partnership was like, the toughest scenes from on-set and in post, and how they crafted the more intimate scenes in the movie.b&a: Luke, certainly Weta FX has such a vast experience in performance capture, but what kinds of conversations did you have early on about the best way on set to bring Robbie to life as a digital ape?Luke Millar: Before we started shooting principal photography, I arranged to sit down with Michael Gracey and all of the films department heads to provide an overview on what would be involved in the VFX process and how it might influence everyone elses job. Wt FX has very robust systems that we can setup pretty much anywhere and capture performance data on set, on location even during live concerts! However, most of the other departments on this film had never worked with it before. From hair and makeup applying dots to Jonnos face each day to costumes providing proxy mesh clothing that Jonno could interact with but that we could still capture through. We dont work in isolation and so having the collaboration of all involved really helped with bringing Robbie to life! b&a: Jonno, how did you actually come on board Better Man? And, what was your first memory of seeing what you had done on set be translated to a digital Robbie ape, even if something very early?Jonno Davies: Kate Mulvany, who plays my Mum in the film, recommended me to Michael. Wed worked together on the Amazon series Hunters a few years back, no actual scenes together but just got on really well. Production were struggling to find their Rob and she showed them my Instagram which had some videos from when I played Alexander DeLarge in A Clockwork Orange on stage in New York. It was a vastly different interpretation to the Kubrick film, sort of physical theatre meets Gladitorial peacocking, which thankfully piqued Michaels interest. From there, MG pitched the film and showed me some pre-vis including Feel, Let Me Entertain You and My Way, and even from those basic renderings I knew that he and Wt FX were onto something special. I then auditioned over zoom with him and co-writer Simon Gleeson over the next few days, basically workshopping ideas and thankfully the role ended up being mine!Cut to about a year later when I first saw a digital ape standing in my place and I was blown away. It was actually quite an emotional moment. I think part of me always worried that Id just be used as a reference and my performance would get lost in the wonderment of it all, but seeing myself in that chimp my expressions, ad-libs etc, and then combining that with such artistry from Wt, it was very special.b&a: Luke, what was the Weta FX footprint for capturing Jonno on set? In terms of cameras, mocap gear, other measurements/survey etc?Luke Millar: VFX had, by some margin, the largest department on set! We had a VFX team of 6 for capturing LIDAR, set reference, wrangler notes and HDRIs. Five witness camera operators, three Pas, and then a team of eight purely to manage the mocap work. I would shoot GoPro videos from tech scouts and then brief the team on the scenes so that they could rig sets/locations the day before to ensure we had full coverage of the space. The system has a 3mx3m scaling volume and then around 4-5 carts that we would have to come everywhere with us! Its funny because all we are doing is collecting data at that point. By the time shooting wrapped, everyone was celebrating finishing the show and we were only just starting!b&a: Jonno, what was your prep process like for this? Can you break down how you got into a Robbie mindset in terms of consulting reference and then actual conversations with Robbie and Michael?Jonno Davies: I was brought on really last minute, I think I landed in Melbourne about 8 days before we started shooting, so you can imagine that week was crazy: from rehearsals to choreography, as well as tech prep with Wt FX like facial scans etc.Theres an acting technique I use for a lot of my work called Laban, its a brilliant way to explore how a persons character influences how they move and vice-versa, so I started from there and then added Robs idiosyncrasies.I think I kept YouTube afloat during that time, just cramming in as many of Robs performances and interviews as I could, studying how his voice (his accent and pitch really shifted between 15-30), his physicality and energy changed over time. But it was really important for me to see what hes like when the cameras arent rolling, and luckily Rob was really giving with his time and allowed me to see that difference between Robert the human and Robbie the popstar. b&a: Can you both talk about the Regent Street Rock DJ sequence? The energy in that sequence is just amazingwhat was that experience like with such a long rehearsal time, and also limited time each night for the shoot? Jonno Davies: Absolutely wild. What I loved about Rock DJ was that it was one of the rare musical numbers where Robbie isnt plagued by his demons, so I was allowed to really enjoy myself and properly soak in the spectacle of what we were collectively trying to achieve.As you say, there was a limited time each night, plus its not like we could just add another day at the end of the shoot if we didnt have everything we needed. Thats why rehearsals were so extensive, the muscle-memory needed to be second nature by the time we reached set, and thats not just for main cast and dancers, it includes the camera department too, they had their own choreo to stick to.That sort of militant prep really instilled a confidence in us though and allowed us to let rip on for every take.Luke Millar: So much prep went into Rock DJ! We previsd, techvisd, shootvisd, re-techvisd and then rehearsed. By the time we were on that street, I have never felt more ready but you never know what will happen. We wanted as few wipes as possible and never an obvious extra walking closely past camera, so that required many takes to get things as tight as possible. The tricky thing was we had to shoot it in order as we need to join onto the the previous nights work. The downside to a oner is, if we didnt manage to nail one piece then none of it would work! Having an onset editor was essential as we could capture takes live and cut them over the previs to ensure that our timing and camera work was spot on. That said, we still had to use pieces from 36 plates to stitch the whole thing together! If anyone is contemplating trying to shoot a musical number with 5 synchronized mobility scooters, DONT! They are the most temperamental things ever!b&a: The concert and dance moments are incredible, but I also love more intimate scenes, such as Robbies time with Nan. Can you both discuss how making these types of moment differed from the much larger ones?Jonno Davies: Yeah, these moments are so important, theyre what make the ape feel innately human. Plus its those sort of cherished relationships that people can relate to. We had a lot more stillness in these type of scenes and when you pair that with the fact theres no microphone or grand performance to hide behind, it suddenly becomes very vulnerable and exposed. Thats when Michael and the camera get properly up-close to Rob, and you can really appreciate not just the fragility of whats going on his mind, but also the incredibly nuanced work of what the artists at Wt FX have achieved.Luke Millar: I was always acutely aware of the intimacy and sensitivity behind some of the scenes and so for me, my biggest concern was whether any of our gear would affect those moments. Jonno wore a dual mounted face cam and helmet but if he needed to get close, it would be in the way. Robbie is the only digital character in the shot so we couldnt compromise any other performance in the frame. This meant a lot more work from the animation team to replicate the subtlety and nuance in Jonnos performance, however once it clicks into place everything works. b&a: Jonno, do you have any specific advice youd give Luke about his own motion capture appearances in the film, i.e. things he did well or could even do better ?Jonno Davies: If this all goes tits up, Luke would make an excellent bus driver. I feel like he really committed to the character.b&a: What was the hardest scene for both of you to perform and execute?Jonno Davies: Probably Land of a Thousand Dances, which is the montage sequence that follows Robbies meteoric rise to solo stardom. Theres a specific section where we show a duet that he did with Tom Jones at the Brit Awards and Ashley Wallen (choreographer) wanted us to go like-for-like with the movement. You can tell that Rob was absolutely wired during this performance, so I obviously had to recreate that take after take.I remember this very specific moment during that shoot when the dynamics shifted: I went from this adrenal glee of entertaining our hundreds of extras, feasting off the buzz of the crowd, to suddenly hitting around take 15 and realising that the adrenaline was wearing off, and was running on fumes knowing we have probably another 15 angles to shoot. It brought a sort of fight-or-flight sensation and gave me a greater understanding and respect for what Rob went through back then.Luke Millar: Definitely Shes The One. Close interaction with Robbie is by far the hardest work and the dance in Shes The One is nothing but close interaction! Robbie has longer arms than a human and so all of those contact points have to be reworked to fit. We need accurate 3D representation of Nicole so that when she touches Robbie, his hair and clothing move in sync with the plate and there is no other way to do this but a lot of back and forth between Animation and Simulation.We also had some complex match cuts and transitions which needed massaging together as well as some insanely fluid camera moves that required parts of the boat set removing and then replaced with digital versions in post. It was also our only real bluescreen scene in the film too, so we had to extend the boat, create a digital environment and then blend that into a cyclorama that I shot on the Cte dAzur. Even the neighboring boats have CG dancing New Years partygoers on them! The amount of detail is really incredible.The post Mocap actor and VFX supervisor: the Better Man Q&A appeared first on befores & afters.

Urko Snchez Architects has designed a collection of classrooms for a school in Nairobi, Kenya. These classrooms are enveloped in wooden logs to harmonize with their forested environment. The project by Urko Snchez Architects, located in forest clearings, features a series of temporary classrooms organized as a small village to serve the existing Nairobi Waldorf School. The construction system was conceived to be adaptable and collaborative, engaging children, parents, and teachers in the process. Whenever feasible, materials from dismantled classrooms were recycled wooden floors and walls were transformed into parapets, and roof tiles were repurposed to define path boundaries, among other uses. This approach seamlessly blended creativity, sustainability, and community involvement, resulting in a truly unique educational environment.The main concept was to create a village for children hidden in the forest, fostering a strong connection with nature, said the studio. The project prioritized cost-effective and reusable materials like wood, soil, and forest leaves to minimize environmental impact, it added. Classrooms were dispersed in forest clearings to preserve native trees and avoid disruption.Designer: Urko Snchez ArchitectsThe 3,162-square-meter project features multiple classrooms with distinctive overhanging wooden roofs inspired by the areas traditional architecture. These structures include a preexisting, elevated building that was converted to provide extra classrooms and services and is supported by a framework of tall logs. Due to a 10-year lease on the land, Urko Snchez Architects designed the buildings to last for a decade, using lightweight, cost-effective, and reclaimed materials that can be reused. This approach includes using wooden logs of varying heights to encircle the base of each classroom and reclaimed roof tiles that have been repurposed to create pathways around the site.Polycarbonate sheets surround a couple of the teaching spaces, building transparent walls that pull light into the insides. Certain sections of the polycarbonate walls were filled with reclaimed soil and natural leaves to promote biodiversity. The design addressed the temporary 10-year lease by prioritizing cost-effective and quick construction methods, the studio said. Recycled materials were creatively repurposed, emphasizing sustainability and collaboration. Children, parents, and teachers participated in the soil-filling process, fostering a sense of community, it concluded.Winding around the classrooms, sheltered corridors offer a pathway to the interiors, ensuring easy access for students. These interiors are designed to provide children with well-lit and inviting workspaces that are enhanced by earthy tones. This natural ambiance is achieved through the use of materials sourced from the environment, creating a warm and harmonious learning atmosphere. The thoughtful use of natural materials enhances the aesthetic appeal while also contributing to a calming and productive space for the children.The post This Temporary School In Nairobi Was Designed As A Small Village Using Reusable Materials first appeared on Yanko Design.

February 17: Presidents' Day in the United States (2025)Helicopter stolen in the 1974 White House incident1859 Cochinchina campaign: French Navy forces captured the Citadel of Saigon, defended by 1,000 Vietnamese soldiers of the Nguyn dynasty.1904 Italian composer Giacomo Puccini's Madama Butterfly premiered at La Scala in Milan to poor reviews, forcing him to revise the opera.1964 Gabonese military officers overthrew President Lon M'ba, but French forces, honouring a 1960 treaty, forcibly reinstated him two days later.1974 A U.S. Army soldier stole a Bell UH-1 helicopter (pictured) and landed it on the South Lawn of the White House in Washington, D.C.2011 Arab Spring: Bahraini security forces killed four protesters in a pre-dawn raid at the Pearl Roundabout in Manama, while the "Day of Rage" took place in Libya with nationwide protests against Muammar Gaddafi's government.Joseph Favre (b.1849)Mara de las Mercedes Barbudo (d.1849)Don Tallon (b.1916)Hung Liu (b.1948)More anniversaries: February 16February 17February 18ArchiveBy emailList of days of the yearAbout

ThecePlay and Logitech G have teamed up to launch Aim & Run, a high-intensity speedrun challenge where anyone can be the best player.Read More

Last November, I strapped into the rear passenger seat of an all-electric, four-door sedan with BMW test driver and 24-hour racer Jens Klingmann behind the wheel. It was a cold day at BMWs Performance Driving Center in Greer, SC, and beneath the five-point harnesses, roll cage, and heavily camouflaged body, Klingmann had an unexpected co-pilot: a tiny black box called the Heart of Joy.It was an odd name for an interesting suite of tech features powering my brief three-lap stint on the 1.7-mile performance track. The Heart of Joy represents an interesting future for the German brand that still wants to be known as the Ultimate Driving Machine in the electrified future. The VDXThe vehicle we rode in is called the Vision Driving Experience (VDX), a one-off built specifically for testing this supposedly magic black box, as well as more upcoming features for BMWs Neue Klasse platform. The VDX uses fans to suck it down to the track for better traction at speed. Those fans are loud inside the vehicle, making it nearly impossible to hear much more than a roar while were hurtling around the track at speeds nearing 90 mph, even though the car itself is a mostly silent EV.In the skilled hands of Klingmann, the tires whine as they approach the limit of their grip. Theres notably less BMW brake squeal as that little black box does a majority of the work as we hurtle around the track. The Heart of Joy is an ECU that combines both driving dynamics and powertrain control into one computer. Approximately eight-inches by eight-inches, the box will serve as the control module for the upcoming Neue Klasse electrified vehicles that will start rolling out later this year.It was developed in-house by BMW engineers, which is unique since most manufacturers cobble together hundreds of off-the-shelf components and write software code to make them all communicate seamlessly with one another. That results in a sort of homogeneity of driving experiences across different brands since most brands use the same suppliers. So BMW tasked its engineers with thinking about how to differentiate its EVs from the competition by coming up with a new, single computing system that could power a variety of driving dynamics across BMWs lineup from SUVs to sports cars.The question is, what does driving pleasure look like in an era of electrification? Christian Thalmeer, BMWs senior driving dynamics engineer, said. It combines the sheer power and torque of electric motors, with the ability for those motors to slow and brake a vehicle, and the option to have more than one power source. On the track, the VDX is a rocketship, and even though were approaching 90 mph on the straight, Klingmann barely touches the brakes and simply lifts off the accelerator to bring the vehicle to a more sane speed for the sharp hairpins.The question is, what does driving pleasure look like in an era of electrification?BMW didnt share all the specs of the VDX test vehicle, besides its insane 13,269 lb-ft of torque, and 25 percent increase in efficiency thanks to the integrated brake and energy recuperation. But they did share that the Heart of Joy is ten times faster than the strung-together ECUs on the market. One of the major features that BMW focused on in the development was braking and stability control. The system can actively use regenerative braking to bring BMW vehicles to a full stop without the driver ever having to touch the pedal. The company says that that feature will lead to more stability at the limit since the system can brake each individual wheel to create better grip resulting in recuperation that is 60 percent more efficient. Because a single computer system manages everything from driving dynamics to powertrain output to individual wheels, there will be less latency in the vehicle response, and you get less wear and tear on brakes and tires. Thalmeer said that the new ECU system can shift the power and deceleration from front to back and to each wheel to get the maximum recuperation and stability out of the vehicle, an event he calls the joy of stopping.A new way to stand outHeart of Joy was developed in just three short years and has currently been through more than 7,500 hours of testing, both at the hands of experienced engineers like Thalmeer and race drivers like Klingmann. The aim, of course, is to get future BMWs to drive more like BMWs, and not like, say, Kias, which uses the supplier-to-programming model for their EVs. The single computer also, conveniently, makes over-the-air updates much easier for BMW. Bringing the development in-house is not new for BMW, but it is relatively unique in an industry that frequently looks to outside suppliers for everything from voice recognition to infotainment. ECUs tend to be outsourced to other companies like Magna Steyr, for example. BMW CTO Frank Weber explained how the automakers near failure to launch the 7-series 25 years ago gave the company the ability and confidence to create the new Heart of Joy. It was a nightmare, Weber told me at CES earlier this year. We almost didnt make the launch of the carToday, I can say, maybe this was the best thing that happened to BMW. Because it was so difficult, we had to develop more robust processes for those advanced digital technologies much earlier than the others, and then we just groomed it over time. We almost didnt make the launch of the carToday, I can say, maybe this was the best thing that happened to BMW.This led the company to believe it could tackle the difficult task of bringing the ECU creation in-house. Being able to work with the controllers is something that our driving dynamics people did already for a long time, but they did it with suppliers, Weber said. Here, we had the knowledge, and we developed the algorithms with suppliers We have to own this, because what we can do with this new controller, when we look at everything, is just incredible.As Weber noted, theres been an increasing push to regionalize everything from emissions requirements to supplier sources around the world. Auto manufacturer supply chains are deeply integrated across borders, and globalization like that is very difficult and costly to unwind. Look at the incredible amount of damage that President Trumps proposed 25 percent tariffs could have on US automakers alone, with dire estimates that US automakers could shut down within a week should they go into place. As Weber noted, regionalization which is used to put up boundaries between countries, is something that threatens the entire automotive industry. By bringing part of the production of what makes a BMW, a BMW, in-house, the company can, at least in some ways, minimize that risk. If the brief but thrilling experience I had in the VDX is any indicator, the new Heart of Joy, underlines BMWs Ultimate Driving Machine, roots and promises a truly dynamic, all-electric driving future.See More: