ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

Owlcat Games’ countdown led to an announcement at the Future Games Show Summer Showcase for a brand new title, one completely unlike its previous games. The Expanse: Osiris Reborn is in development on Unreal Engine 5 for Xbox Series X/S, PS5, and PC. Check out the first trailer below. It starts with a space crew attacking a fortified asteroid, using zero gravity to take out threats. During one firefight, they deploy a drone (which targets an explosive barrel to eliminate enemies) and a riot shield, which can soak up damage and base threats. Eventually, they happen upon some people contaminated by crystals. The trailer then cuts to some pre-alpha gameplay, showcasing third-person, cover-based shooting. Some set pieces involve traversing zero gravity outside of space stations and futuristic settlements. Stay tuned for more details on The Expanse: Osiris Reborn in the coming months. Owlcat is also working on a new Warhammer 40,000 CRPG called Dark Heresy. Head here for more details.

This is today’s edition of The Download, our weekday newsletter that provides a daily dose of what’s going on in the world of technology. Manus has kick-started an AI agent boom in China Last year, China saw a boom in foundation models, the do-everything large language models that underpin the AI revolution. This year, the focus has shifted to AI agents—systems that are less about responding to users’ queries and more about autonomously accomplishing things for them.There are now a host of Chinese startups building these general-purpose digital tools, which can answer emails, browse the internet to plan vacations, and even design an interactive website. Many of these have emerged in just the last two months, following in the footsteps of Manus—a general AI agent that sparked weeks of social media frenzy for invite codes after its limited-release launch in early March.As the race to define what a useful AI agent looks like unfolds, a mix of ambitious startups and entrenched tech giants are now testing how these tools might actually work in practice—and for whom. Read the full story. —Caiwei Chen Inside the race to find GPS alternatives Later this month, an inconspicuous 150-kilogram satellite is set to launch into space aboard the SpaceX Transporter 14 mission. Once in orbit, it will test super-accurate next-generation satnav technology designed to make up for the shortcomings of the US Global Positioning System (GPS). Despite the system’s indispensable nature, the GPS signal is easily suppressed or disrupted by everything from space weather to 5G cell towers to phone-size jammers worth a few tens of dollars. The problem has been whispered about among experts for years, but it has really come to the fore in the last three years, since Russia invaded Ukraine.Now, startup Xona Space Systems wants to create a space-based system that would do what GPS does but better. Read the full story. —Tereza Pultarova Why doctors should look for ways to prescribe hope —Jessica Hamzelou This week, I’ve been thinking about the powerful connection between mind and body. Some new research suggests that people with heart conditions have better outcomes when they are more hopeful and optimistic. Hopelessness, on the other hand, is associated with a significantly higher risk of death. The findings build upon decades of fascinating research into the phenomenon of the placebo effect. Our beliefs and expectations about a medicine (or a sham treatment) can change the way it works. The placebo effect’s “evil twin,” the nocebo effect, is just as powerful—negative thinking has been linked to real symptoms. Researchers are still trying to understand the connection between body and mind, and how our thoughts can influence our physiology. In the meantime, many are developing ways to harness it in hospital settings. Is it possible for a doctor to prescribe hope? Read the full story. This article first appeared in The Checkup, MIT Technology Review’s weekly biotech newsletter. To receive it in your inbox every Thursday, and read articles like this first, sign up here. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 Elon Musk threatened to cut off NASA’s use of SpaceX’s Dragon spacecraftHis war of words with Donald Trump is dramatically escalating. (WP $)+ If Musk actually carried through with his threat, NASA would seriously struggle. (NYT $)+ Silicon Valley is starting to pick sides. (Wired $)+ It appears as though Musk has more to lose from their bruising breakup. (NY Mag $) 2 Apple and Alibaba’s AI rollout in China has been delayedIt’s the latest victim of Trump’s trade war. (FT $)+ The deal is supposed to support iPhones’ AI offerings in the country. (Reuters) 3 X’s new policy blocks the use of its posts to ‘fine-tune or train’ AI modelsUnless companies strike a deal with them, that is. (TechCrunch)+ The platform could end up striking agreements like Reddit and Google. (The Verge) 4 RJK Jr’s new hire is hunting for proof that vaccines cause autismVaccine skeptic David Geier is seeking access to a database he was previously barred from. (WSJ $)+ How measuring vaccine hesitancy could help health professionals tackle it. (MIT Technology Review) 5 Anthropic has launched a new service for the militaryClaude Gov is designed specifically for US defense and intelligence agencies. (The Verge)+ Generative AI is learning to spy for the US military. (MIT Technology Review) 6 There’s no guarantee your billion-dollar startup won’t failIn fact, one in five of them will. (Bloomberg $)+ Beware the rise of the AI coding startup. (Reuters) 7 Walmart’s drone deliveries are taking offIt’s expanding to 100 new US stories in the next year. (Wired $) 8 AI might be able to tell us how old the Dead Sea Scrolls really are Models suggest they’re even older than we previously thought. (The Economist $)+ How AI is helping historians better understand our past. (MIT Technology Review) 9 All-in-one super apps are a hit in the Gulf They’re following in China’s footsteps. (Rest of World) 10 Nintendo’s Switch 2 has revived the midnight launch eventFans queued for hours outside stores to get their hands on the new console. (Insider $)+ How the company managed to dodge Trump’s tariffs. (The Guardian) Quote of the day “Elon finally found a way to make Twitter fun again.” —Dan Pfeiffer, a host of the political podcast Pod Save America, jokes about Elon Musk and Donald Trump’s ongoing feud in a post on X. One more thing This rare earth metal shows us the future of our planet’s resources We’re in the middle of a potentially transformative moment. Metals discovered barely a century ago now underpin the technologies we’re relying on for cleaner energy, and not having enough of them could slow progress.  Take neodymium, one of the rare earth metals. It’s used in cryogenic coolers to reach ultra-low temperatures needed for devices like superconductors and in high-powered magnets that power everything from smartphones to wind turbines. And very soon, demand for it could outstrip supply. What happens then? And what does it reveal about issues across wider supply chains? Read our story to find out. —Casey Crownhart We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet ’em at me.) + Sightings of Bigfoot just happen to correlate with black bear populations? I smell a conspiracy!+ Watch as these symbols magically transform into a pretty impressive Black Sabbath mural.+ Underwater rugby is taking off in the UK.+ Fed up of beige Gen Z trends, TikTok is bringing the 80s back.

Here's what we looked at this week:When marketing trumps product design: A digital camera with fake analog controls becomes a crowdfunding smash. This ATMO drone from Caltech smoothly transitions from flight to four-wheeling. In Germany, in-curb EV chargers have been rolled out in a pilot program. They're 99% reliable.This unique recessed handrail feature, designed by Adjaye Associates.Industrial design firm No Picnic makes even telecommunications gear look good.The Archibald, by industrial designer Leo Salzedo, is a convoluted towel radiator made from a single steel tube.Whirlpool's retrofittable, rotating lower-level dishwasher rack improves accessibility.Industrial designer Nik Bentel's Loopy Chair, inspired by bike racks.Sky View's smart design feature makes transparent stargazing tents practical.Architect turned product designer develops the Kara Pod, a countertop air-to-water device that also makes coffee.Engineer Patrick Schlott fixes old payphones, re-installs them in public places and provides free calls.Japanese specialty woodworking tools: A Knot Remover kit.Far cheaper, pellet-based industrial 3D printing from Pollen AM.Square's new handheld reader, created in collaboration with industrial design firm Huge Design.Peter Donder's mysterious and beautiful robotic chicken feet.The Macaron, Mavimatt's quirky furniture piece with a hidden table surface.This heavy-duty steel media cart is by Modern Industrial Furniture, founded by a tech worker turned furniture designer.Hyundai's incredible WIA autonomous robot parking valets.Industrial design case study: Y Studios designs a laptop privacy shield.

By TREVOR HOGG Denis Villeneuve (Dune: Part Two) finds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track. (Image courtesy of Warner Bros. Pictures) If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation. [VFX Supervisor] Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects is [Cinematographer] Roger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey. (Image courtesy of Paramount Pictures) Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow. (Image courtesy of Apple Studios) One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it. (Image courtesy of Paramount Pictures) Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters. (Image courtesy of Universal Pictures) Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, and [they] create a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky. (Image courtesy of Prime Video) Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles. (Image courtesy of Columbia Pictures) Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline. (Image courtesy of HBO) Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats. (Image courtesy of Universal Pictures) For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef. (Image courtesy of Netflix) Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once. (Image courtesy of A24) Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. For [the 2026 Netflix limited series] East of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well. [Director] Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise. (Image courtesy of HBO) Bluescreen and stunt doubles on Twisters. (Image courtesy of Universal Pictures) “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”

Russia patents technology for launching drones to maintain orbital space station  Deccan Herald

Remember that time when good ol’ Peter Parker called a drone strike on his classmates because another guy was flirting with MJ? Well, the artificial intelligence that made it happen is back, this time in snarky Canadian form! Deadline is reporting that Schitt’s Creek alum Emily Hampshire has been cast as E.D.I.T.H. in Vision Quest, the upcoming Disney+ series starring Paul Bettany as the synthezoid Avenger. E.D.I.T.H., of course, made her debut as a pair of ugly, gaudy sunglasses the late Tony Stark bequeathed to Peter in Spider-Man: Far From Home. Through E.D.I.T.H., Peter had access to vast technological resources, resources that Mysterio wanted to use for himself. At the end of Far From Home, Peter reclaimed the E.D.I.T.H. glasses and in Spider-Man: No Way Home, a screen readout assured us that they were inactive. Moreover, No Way Home ends with Peter having his secret identity wiped from everyone’s memory and a closing shot of him hand-stitching his own costume in a dingy New York apartment, suggeting that the MCU experiment of making working-class Peter Parker into the scion of a tech bro was done. That may still be true, in which case Vision Quest is a much better place for E.D.I.T.H. to exist. Created by Terry Matalas, showrunner of the Twelve Monkeys TV series and the third season of Star Trek: Picard, Vision Quest will follow the next phase in the life of the synthezoid Vision, who was killed in Avengers: Infinity War and resurrected as an initially evil clone in WandaVision. The title Vision Quest comes from a 1989-1990 arc of West Coast Avengers, written and penciled by John Byrne, in which the U.S. government dismantles Vision and recreates him into a mindless and easily controllable form, signified by his new bleach white look. Fans of the MCU will recognize that storyline from the last episodes of WandaVision, in which S.A.B.E.R. did the same thing to Bettany’s character. However, the Vision Quest comics continued to tell the story of Vision attempting to recover the humanity and personality he’d previously gained over the years, which will presumably be the plot of Vision Quest. However, E.D.I.T.H.’s casting is just the latest in a host of synthetic characters who will appear in the show. James Spader will return as Vision’s creator Ultron, and T’Nia Miller has joined the show as Jocasta, a female synthezoid originally created as Ultron’s bride. A few humans will show up as well, including the return of Faran Tahir as Raza, the leader of the Ten Rings terrorist cell, last seen in Iron Man, and frequent Matalas collaborator Todd Stashwick as a mystery man hunting Vision. That’s a packed cast, but as anyone who recalls the Picard season 3 episode in which androids Data and Lore merged, Matalas knows how to tell an interesting story about artificial intelligence. That episode also showed that Matalas knows how to add levity to heavy conversations about existence, making Hampshire’s casting as E.D.I.T.H. a wise choice. Just don’t let her anywhere near another school bus full of teenagers. Vision Quest is slated to appear on Disney+ in 2026.

A novel vision sensor inspired by the neural transmission mechanisms of the human brain has been developed to efficiently and accurately extract object outlines even under fluctuating lighting environments. This advancement promises to significantly

In this Q&A, get a glimpse into the future of artificial intelligence (AI) and computer vision through the lens of longtime Unity user Gerard Espona, whose robot digital twin project was featured in the Made with Unity: AI series. Working as simulation lead at Luxonis, whose core technology makes it possible to embed human-level perception into robotics, Espona uses his years of experience in the industry to weigh in on the current state and anticipated progression of computer vision.During recent years, computer vision (CV) and AI have become the fastest-growing fields both in market size and industry adoption rate. Spatial CV and edge AI have been used to improve and automate repetitive tasks as well as complex processes.This new reality is thanks to the democratization of CV/AI. Increasingly affordable hardware access, including depth perception capability as well as improvements in machine learning (ML), has enabled the deployment of real solutions on edge CV/AI systems.Spatial CV using edge AI enables depth-based applications to be deployed without the need of a data center service, and also allows the user to preserve privacy by processing images on the device itself.Along with more accessible hardware, software and machine learning workflows are undergoing important improvements. Although they are still very specialized and full of technical challenges, they have become much more accessible, offering tools that allow users to train their own models.Within the standard ML pipeline/workflow, large-scale edge computing and deployment can still pose issues. One of the biggest general challenges is to reduce the costs and timelines currently required to create and/or improve machine learning models on real-world applications. In other words, the challenge is how to manage all these devices to enable a smooth pipeline for continuous improvement.Also, the implicit limitations in terms of compute processing need extra effort on the final model deployed on the device (that is, apps need to be lightweight, performant, etc.). That said, embedded technology evolves really fast, and each iteration is a big leap in processing capabilities.Spatial CV/AI is a field that still requires a lot of specialization and systems. Workflows are often complicated and tedious due to numerous technical challenges, so a lot of time is devoted to smoothing out the workflow instead of focusing on value-added tasks.Creating datasets (collecting and filtering images and videos), annotating the images, preprocessing/augmentation process, training, deploying and closing the feedback loop for continuous improvement is a complex process. Each step of the workflow is technically difficult and usually involves time and financial cost, and more so for systems working in remote areas with limited connectivity.At Luxonis, we help our customers build and deploy solutions to solve and automate complex tasks at scale, so we’re facing all these issues directly. Our mission, “Robotic vision made simple,” provides not only great and affordable depth-capable hardware, but also a solid and smooth ML pipeline with synthetic datasets and simulation.Another important challenge is the work that needs to be done on the interpretability of models and the creation of datasets from an ethical, privacy and bias point of view.Last but not least, global chip supply issues are making it difficult to get the hardware into everybody’s hands.Data-centric AI is potentially useful when a working model is underperforming. Investing a large amount of time to optimize the model often leads to almost zero real improvement. Instead, with data-centric AI the investment is in analysis, cleaning and improving of the dataset.Usually when a model is underperforming, the issue is within the dataset itself, as there is not enough data for the model to outperform. This could be the result of two possible reasons: 1) the model needs a much larger amount of data, which is difficult to collect in the real world, or 2) the model doesn’t have enough examples of rare cases, which take a lot of time to happen in the real world.In both situations, synthetic datasets could help.Thanks to Unity’s computer vision tools, it is very easy to create photorealistic scenes and randomize elements like materials, light conditions and object placement. The tools come with common labels like 2D bounding boxes, 3D bounding boxes, semantic and instance segmentation, and even human body key points. Additionally, these can be easily extended with custom randomizers, labelers and annotations.Almost any task you want to automate or improve using edge CV/AI very likely involves detecting people for obvious safety and security reasons. It’s critical to guarantee user safety around autonomous systems or robots when they’re working, requiring models to be trained on data about humans.That means we need to capture a large amount of images, including information like poses and physical appearance, that are representative of the entire human population. This task raises some concerns about privacy, ethics and bias when starting to capture real human data to train the model.Fortunately, we can use synthetic datasets to mitigate some of these concerns using human 3D models and poses. A very good example is the work done by the Unity team with PeopleSansPeople.PeopleSansPeople is a human-centric synthetic dataset creator using 3D models and standard animations to randomize human body poses. Also, we can use a Unity project template, to which we add our own 3D models and poses to create our own human synthetic dataset.At Luxonis, we’re using this project as the basis for creating our own human synthetic dataset and training models. In general, we use Unity’s computer vision tools to create large and complex datasets with a high level of customization on labelers, annotations and randomizations. This allows our ML team to iterate faster with our customers, without needing to wait for real-world data collection and manual annotation.Since the introduction of transformer architecture, CV tasks are more accessible. Generative models like DALL-E 2 could also be used to create synthetic datasets, and NeRF as a neural approach to generate novel point of views of known objects and scenes. It’s clear all these innovations are catching the attention of audiences.On the other hand, having access to better annotation tools and model zoos and libraries with pre-trained, ready-to-use models are helping drive wide adoption.One key element contributing to the uptick in computer vision use is the fast evolution of vision processing units (VPUs) that currently allow users to perform model inferences on device (without the need for any host) at 4 TOPS of processing power (current Intel Movidius Myriad X). The new generation of VPUs promises a big leap in capabilities, allowing even more complex CV/AI applications to be deployed on edge.Any application related to agriculture and farming always captures my attention. For example, there is now a cow tracking and monitoring CV/AI application using drones.Our thanks to Gerard for sharing his perspective with us – keep up with his latest thoughts on LinkedIn and Twitter. And, learn more about how Unity can help your team generate synthetic data to improve computer vision model training with Unity Computer Vision.

Drones Set To Deliver Benefits for Labor-Intensive Industries: Forrester By John P. Mello Jr. June 3, 2025 5:00 AM PT ADVERTISEMENT Quality Leads That Turn Into Deals Full-service marketing programs from TechNewsWorld deliver sales-ready leads. Segment by geography, industry, company size, job title, and more. Get Started Now. Aerial drones are rapidly assuming a key role in the physical automation of business operations, according to a new report by Forrester Research. Aerial drones power airborne physical automation by addressing operational challenges in labor-intensive industries, delivering efficiency, intelligence, and experience, explained the report written by Principal Analyst Charlie Dai with Frederic Giron, Merritt Maxim, Arjun Kalra, and Bill Nagel. Some industries, like the public sector, are already reaping benefits, it continued. The report predicted that drones will deliver benefits within the next two years as technologies and regulations mature. It noted that drones can help organizations grapple with operational challenges that exacerbate risks and inefficiencies, such as overreliance on outdated, manual processes, fragmented data collection, geographic barriers, and insufficient infrastructure. Overreliance on outdated manual processes worsens inefficiencies in resource allocation and amplifies safety risks in dangerous work environments, increasing operational costs and liability, the report maintained. “Drones can do things more safely, at least from the standpoint of human risk, than humans,” said Rob Enderle, president and principal analyst at the Enderle Group, an advisory services firm, in Bend, Ore. “They can enter dangerous, exposed, very high-risk and even toxic environments without putting their operators at risk,” he told TechNewsWorld. “They can be made very small to go into areas where people can’t physically go. And a single operator can operate several AI-driven drones operating autonomously, keeping staffing levels down.” Sensor Magic “The magic of the drone is really in the sensor, while the drone itself is just the vehicle that holds the sensor wherever it needs to be,” explained DaCoda Bartels, senior vice president of operations with FlyGuys, a drone services provider, in Lafayette, La. “In doing so, it removes all human risk exposure because the pilot is somewhere safe on the ground, sending this sensor, which is, in most cases, more high-resolution than even a human eye,” he told TechNewsWorld. “In essence, it’s a better data collection tool than if you used 100 people. Instead, you deploy one drone around in all these different areas, which is safer, faster, and higher resolution.” Akash Kadam, a mechanical engineer with Caterpillar, maker of construction and mining equipment, based in Decatur, Ill., explained that drones have evolved into highly functional tools that directly respond to key inefficiencies and threats to labor-intensive industries. “Within the manufacturing and supply chains, drones are central to optimizing resource allocation and reducing the exposure of humans to high-risk duties,” he told TechNewsWorld. “Drones can be used in factory environments to automatically inspect overhead cranes, rooftops, and tight spaces — spaces previously requiring scaffolding or shutdowns, which carry both safety and cost risks,” he said. “A reduction in downtime, along with no requirement for manual intervention in hazardous areas, is provided through this aerial inspection by drones.” “In terms of resource usage, drones mounted with thermal cameras and tools for acquiring real-time data can spot bottlenecks, equipment failure, or energy leakage on the production floor,” he continued. “This can facilitate predictive maintenance processes and [optimal] usage of energy, which are an integral part of lean manufacturing principles.” Kadam added that drones provide accurate field mapping and multispectral imaging in agriculture, enabling the monitoring of crop health, soil quality, and irrigation distribution. “Besides the reduction in manual scouting, it ensures more effective input management, which leads to more yield while saving resources,” he observed. Better Data Collection The Forrester report also noted that drones can address problems with fragmented data collection and outdated monitoring systems. “Drones use cameras and sensors to get clear, up-to-date info,” said Daniel Kagan, quality manager at Rogers-O’Brien Construction, a general contractor in Dallas. “Some drones even make 3D maps or heat maps,” he told TechNewsWorld. “This helps farmers see where crops need more water, stores check roof damage after a storm, and builders track progress and find delays.” “The drone collects all this data in one flight, and it’s ready to view in minutes and not days,” he added. Dean Bezlov, global head of business development at MYX Robotics, a visualization technology company headquartered in Sofia, Bulgaria, added that drones are the most cost and time-efficient way to collect large amounts of visual data. “We are talking about two to three images per second with precision and speed unmatched by human-held cameras,” he told TechNewsWorld. “As such, drones are an excellent tool for ‘digital twins’ — timestamps of the real world with high accuracy which is useful in industries with physical assets such as roads, rail, oil and gas, telecom, renewables and agriculture, where the drone provides a far superior way of looking at the assets as a whole,” he said. Drone Adoption Faces Regulatory Hurdles While drones have great potential for many organizations, they will need to overcome some challenges and barriers. For example, Forrester pointed out that insurers deploy drones to evaluate asset risks but face evolving privacy regulations and gaps in data standardization. Media firms use drones to take cost-effective, cinematic aerial footage, but face strict regulations, it added, while in urban use cases like drone taxis and cargo transport remain experimental due to certification delays and airspace management complexities. “Regulatory frameworks, particularly in the U.S., remain complex, bureaucratic, and fragmented,” said Mark N. Vena, president and principal analyst with SmartTech Research in Las Vegas. “The FAA’s rules around drone operations — especially for flying beyond visual line of sight [BVLOS] — are evolving but still limit many high-value use cases.” “Privacy concerns also persist, especially in urban areas and sectors handling sensitive data,” he told TechNewsWorld. “For almost 20 years, we’ve been able to fly drones from a shipping container in one country, in a whole other country, halfway across the world,” said FlyGuys’ Bartels. “What’s limiting the technology from being adopted on a large scale is regulatory hurdles over everything.” Enderle added that innovation could also be a hangup for organizations. “This technology is advancing very quickly, making buying something that isn’t instantly obsolete very difficult,” he said. “In addition, there are a lot of drone choices, raising the risk you’ll pick one that isn’t ideal for your use case.” “We are still at the beginning of this trend,” he noted. “Robotic autonomous drones are starting to come to market, which will reduce dramatically the need for drone pilots. I expect that within 10 years, we’ll have drones doing many, if not most, of the dangerous jobs currently being done by humans, as robotics, in general, will displace much of the labor force.” John P. Mello Jr. has been an ECT News Network reporter since 2003. His areas of focus include cybersecurity, IT issues, privacy, e-commerce, social media, artificial intelligence, big data and consumer electronics. He has written and edited for numerous publications, including the Boston Business Journal, the Boston Phoenix, Megapixel.Net and Government Security News. Email John. Leave a Comment Click here to cancel reply. Please sign in to post or reply to a comment. New users create a free account. Related Stories More by John P. Mello Jr. view all More in Emerging Tech