ASB GlassFloor makes a glass playing surface for sports arenas that can show animations, track athletes' performance, and repaint court lines with a tap. Pros in Europe are already playing on it.

Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.

When Anna Ginsburg opened her talk at OFFF Barcelona with her showreel, it landed like a punch to the heart and gut all at once. Immense, emotional, awesome. That three-word review wasn't just for the reel – it set the tone for a talk that was unflinchingly honest, joyously weird, and brimming with creative intensity. Anna began her career making music videos, which she admitted were a kind of creative scaffolding: "I didn't yet know what I wanted to say about the world, so I used music as a skeleton to hang visuals on." It gave her the freedom to experiment visually and technically with rotoscoping, stop motion and shooting live-action. It was an opportunity to be playful and have fun until she had something pressing to say. Then, Anna began to move into more meaningful territory, blending narrative and aesthetic experimentation. Alongside music videos, she became increasingly drawn to animated documentaries. "It's a powerful and overlooked genre," she explained. "When it's just voice recordings and not video, people are more candid. You're protecting your subject, so they're more honest." Talking genitals and creative liberation: The making of Private Parts A formative moment in Anna's personal and creative life occurred when she saw the artwork 'The Great Wall of Vagina' by Jamie McCartney at the age of 19. It followed an awkward teenage discovery years earlier when, after finally achieving her first orgasm (post-Cruel Intentions viewing), she proudly shared the news with friends and was met with horror. "Boys got high-fived. Girls got shamed." That gap between female pleasure and cultural discomfort became the starting point for Private Parts, her now-famous animated short about masturbation and sexual equality. It began as a personal experiment, sketching vulvas in her studio, imagining what their facial expressions might be. Then, she started interviewing friends about their experiences and animating vulvas to match their voices. When It's Nice That and Channel 4 emailed her looking for submissions for a late-night slot, Anna shared a clip of two vulvas in casual conversation, and they were immediately sold. With a shoestring budget of £2,000 and a five-week deadline, she rallied 11 illustrators to help bring the film to life. "I set up a Dropbox, and talking genitals started flooding in from the four corners of the world while I was sitting in my bedroom at my mum's," she laughed. One standout moment came from an Amsterdam-based designer who created a CGI Rubik's Cube vagina, then took two weeks off work to spray paint 100 versions of it. The result of what started as a passion project is an iconic, hilarious, and touching film that still resonates ten years on. From humour to heartbreak: What Is Beauty The talk shifted gear when Anna began to speak about her younger sister's anorexia. In 2017, during her sister's third hospitalisation, Anna found herself questioning the roots of beauty ideals, particularly in Western culture. Witnessing her sister's pain reframed how she saw her own body. This sparked a deep dive into beauty through the ages, from the Venus of Willendorf, a 28,000-year-old fertility goddess, to the Versace supermodels of the 1990s and the surgically sculpted Kardashians of today. "You realise the pace of the change in beauty ideals," she says. "If you revisit the skeletal female bodies which defined the super skinny era of the 2000s and compare it to the enhanced curves of today, you realise that trying to keep up is not only futile; it's extremely dangerous." She also explored the disturbing trend of dismemberment in advertising – shots taken where the heads are intentionally out of frame – and the impact this has on self-perception. Her response was What Is Beauty, released in 2018 on International Women's Day and her sister's birthday. The short film went viral, amassing over 20 million views. "It was a love letter to her," Anna said. "Because it didn't have English dialogue, it travelled globally. The simplicity made it resonate." And despite its runaway success, it brought her zero income. "Then I made the worst advert for a bank the world has ever seen," she joked. "I made money, but it broke my creative spirit." Enter the Hag: Animation, myth and millennial angst OFFF attendees were also treated to the world-exclusive first look at Hag, Anna's new animated short, three years in the making. It's her most ambitious and most personal project yet. Made with the support of the BFI, awarding National Lottery funding, Has is a 16-minute fantasy set in a surreal version of Peckham. The main character is a childless, single, disillusioned woman with snakes for hair. "I had just broken up with a lockdown boyfriend after struggling with doubts for nearly 2 years,"' she reveals. "The next day, I was at a baby shower surrounded by friends with rings and babies who recoiled at my touch. I was surrounded by flies, and a dog was doing a poo right next to me. I just felt like a hag." Drawing on Greek mythology, Anna reimagines Medusa not as a jealous monster but as a feminist figure of rage, autonomy and misinterpretation. "I didn't know she was a rape victim until I started researching," she told me after the talk. "The story of Athena cursing her out of jealousy is such a tired trope. What if it was solidarity? What if the snakes were power?" In Hag, the character initially fights with her snakes – violently clipping them back in shame and battling with them – but by the end, they align. She embraces her monstrous self. "It's a metaphor for learning to love the parts of yourself you've been told are wrong," Anna said. "That journey is universal." Making the personal political (and funny) Telling a story so autobiographical wasn't easy. "It's exposing," Anna admitted. "My past work dealt with issues in the world. This one is about how I feel in the world." Even her ex-boyfriend plays himself. "Luckily, he's funny and cool about it. Otherwise, it would've been a disaster." She did worry about dramatising the baby shower scene too much. "None of those women were horrible in real life, but for the film, we needed to crank up the emotional tension," she says. "I just wanted to show that societal pressures make women feel monstrous whether they decide to conform or not. This is not a battle between hags and non-hags. These feelings affect us all." Co-writing the script with her dear friend and writer Miranda Latimer really helped. "It felt less exposing as we'd both lived versions of the same thing. Collaboration is liberating and makes me feel safer when being so honest," Anna explains. Sisterhood, generations and the pressure to conform It was very clear from our chat that Anna's younger sisters are a recurring thread throughout her work. "They've helped me understand the world through a Gen Z lens," she said. "Stalking my youngest sister on Instagram was how I noticed the way girls crop their faces or hide behind scribbles. It's dehumanising." That intergenerational awareness fuels many of her ideas. "I definitely wouldn't have made What Is Beauty without Maya. Seeing what she was going through just unlocked something." She's also keenly aware of the gender gap in healthcare. "So many women I know are living with pain, going years without a diagnosis. It's infuriating. If I get asked to work on anything to do with women's health, I'll say yes." Medusa, millennials, and the meaning of self-love One of Hag's most biting commentaries is about millennial self-care culture. "There's a scene in the character's bedroom – it's got a faded Dumbledore poster, self-help books, a flashing 'Namaste' sign. It's a shrine to the broken millennial." She laughs: "Self-love became a commodity. An expensive candle, a jade roller, and an oil burner from Muji. Like, really? That's it?" Her film pokes at the performative of wellness while still holding space for genuine vulnerability. This same self-awareness informs her reflections on generational shifts. "Gen Z is going through the same thing, just with a different flavour. It's all about skincare routines now – 11 steps for a 14-year-old. It's wild." Feminism with fangs (and a sense of humour) Anna's feminism is open, intersectional, and laced with humour. "My mum's a lesbian and a Child Protection lawyer who helped to make rape within marriage illegal in the UK," she shared. "She sometimes jokes that my work is a bit basic. But I'm OK with that – I think there's space for approachable feminism, too." Importantly, she wants to bring everyone into the conversation. "It means so much when men come up to me after talks. I don't want to alienate anyone. These stories are about people, not just women." What's Next? Hag will officially premiere later this year, and it's likely to resonate far and wide. It's raw, mythic, funny and furious – and thoroughly modern. As Anna put it: "I've been experiencing external pressure and internal longing while making this film. So I'm basically becoming a hag while making Hag." As far as metamorphoses go, that's one we'll happily watch unfold.

Meg Cherry Member Oct 25, 2017 7,847 Seattle, WA So, Panic - a studio out of Portland that mostly does Mac software - is going to release a custom handheld with a 'premium' black-and-white screen - with 12 games that will be kept a secret until they unlock after release (one a week). Also, one of the inputs is a hand crank. One of those games is the game you saw above: Crankin's Time Travel Adventure from Katamari Damacy designer Keita Takahashi. The crank is used to manipulate time forwards and backwards. Despite the presence of buttons, the only way to interact with Crankin' is with said crank. Not all games will work that way, obviously, but it's reasonable to expect many will make use of it. There are other games coming from Bennett Foddy (Getting Over It), Zach Gage (SpellTower), and Shaun Inman (The Last Rocket), among others. What exactly they're making for Playdate, however, remains unannounced, with more details later this year. Click to expand... Click to shrink... $150, pre-orders out this year. This thing looks absurd, but maybe in a way worth supporting.  Last edited: May 22, 2019 KoolAid Member Oct 25, 2017 7,055 Keita Takahashi? Bennett Foddy? I'm interested.   atomsk Member Oct 28, 2017 1,762 Panic worked with Keita on those Katamari t-shirts forever ago, so that's not too surprising. Still, I wish Wattam would get a release date already.  BocoDragon Banned Oct 26, 2017 5,207 I love the hardware design.   Deleted member 42 user requested account closure Banned Oct 24, 2017 16,939 CRANKIN' IT   marrec Banned Oct 26, 2017 6,775 I'm sooo in for wild shit like this with limited but specific use cases.   kikuchiyo Member Nov 9, 2017 1,103 atomsk said: Panic worked with Keita on those Katamari t-shirts forever ago, so that's not too surprising. Still, I wish Wattam would get a release date already. Click to expand... Click to shrink... Didn't get those shirts when they came out and I've been kicking myself for it ever since :(  JamboGT Vehicle Handling Designer Verified Oct 25, 2017 1,537 The most hipster of hipster gaming stuff I have ever seen.   Tiktaalik Member Oct 25, 2017 3,749 Looks like a lot of fun. There's an opportunity for these small little devices now that 3DS is going away. Come on Nintendo, make Game Boy Classic happen.  Deleted member 54469 User requested account closure Member Mar 4, 2019 320 design is cool but what exactly is the point? for it's niche community i'm not going to ask. forever everyone else kinda feel like this is one of those things (like everything else now) cashing in on nostalgia and basically gentrifying by giving it a new instagram worthy paint coat and new name. $150 for a black and white game boy with some weird gimmick? i'm cool lol. that's nice they found some great (also niche) developers to make great (also niche) games for it. just not sure why this exists though? especially for that absurd price? i mean you can get a 2ds bundle with a game and another free nintendo select for like $80 now.  eyeball_kid Member Oct 25, 2017 12,138 Panic, Takahashi (please why are you distracting him from finishing Wattam!), and Teenage Engineering (makers of the awesome OP-1 synth). This is like a videogame hipster dream come true. Not sure how well that crank is going to feel for left-handed users though.  Colloco Self-Requested Ban Banned Oct 27, 2017 403 florida 150 kind of hurts for a black and white screen device in 2019, but DAT CRANK THO   Ghos Member Oct 25, 2017 3,986 cute design Keita tho? 👀  Weltall Zero Game Developer Banned Oct 26, 2017 19,343 Madrid Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out.   Lego Killer Moth Avenger Oct 25, 2017 1,292 This is the coolest thing I've ever seen   Toumari Member Oct 27, 2017 8,811 England Cute and bizarre. Never expected Panic to ever dabble in hardware like this.   Deleted member 41931 User requested account closure Member Apr 10, 2018 3,744 I'm in for Keita Takahashi. No idea if this is going to be good, but it'll certainly be different.   marrec Banned Oct 26, 2017 6,775 JamboGT said: The most hipster of hipster gaming stuff I have ever seen. Click to expand... Click to shrink... It's like they made it specifically for me  CloseTalker Sister in the Craft Member Oct 25, 2017 38,131 Yeah, I'll buy one of those   Colloco Self-Requested Ban Banned Oct 27, 2017 403 florida Is this secretly Soulja Bois new console?   corn_fest Member Oct 27, 2017 323 I can't help but compare this with the 32blit which recently sprung up on Kickstarter. Spec-wise, the console seems a little disappointing in comparison, but Panic, Teenage Engineering, and the developers they've partnered with all create great stuff so I feel like this will be cool regardless. Ugh I'm gonna end up getting both aren't I.  Lego Killer Moth Avenger Oct 25, 2017 1,292 Weltall Zero said: Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out. Click to expand... Click to shrink... There's gonna be more if it's a success. It's 12 so far. One a month for the first year.   KoolAid Member Oct 25, 2017 7,055 Weltall Zero said: Kind of weird there's only going to be 12 games for it; visually simple B/W games should be relatively easy to crank out. Click to expand... Click to shrink... ...i see what you did there also they say there's potential for more games, unsure if they'll charge for them though  Deleted member 33571 User requested account closure Banned Nov 17, 2017 907 very very cool, the lil bit of the Keita Takahashi game they showed looked really neat I immediately got teenage engineering vibes between the price (eek) and the concept so it makes sense they worked on some of the hardware  Kirksplosion Member Aug 21, 2018 2,682 Eh, can't say I'm interested at all-- Keita Takahashi Click to expand... Click to shrink... So I make this check out to Panic in Portland, OR?  Ginger Hail One Winged Slayer Avenger Oct 25, 2017 3,358 It's a cute little thing. Definitely gonna keep my eye on it.   jml Member Mar 9, 2018 4,849 Seems ridiculous and I do not understand the appeal at that price at all   Conan Member Oct 25, 2017 707 It's like having a bad analog stick. Cool?   Jonnykong Member Oct 27, 2017 8,992 It looks pretty nifty when you see the game in action by spinning that delightful crank.   marrec Banned Oct 26, 2017 6,775 jml said: Seems ridiculous and I do not understand the appeal at that price at all Click to expand... Click to shrink... The appeal is in the design and the games.  makonero Member Oct 27, 2017 11,177 If it was $50 I could see myself grabbing it for novelty purposes But I can't justify $150 for a black and white handheld with no backlight. I had an original GBA for five years, not going back now  Vivian-Pogo Member Jan 9, 2018 2,142 It's neat but about 3x the price of what I would want to pay for it.   wideface ▲ Legend ▲ Avenger Oct 25, 2017 7,184 Hidamari Apartments Keita Takahashi? Okay, I'll buy it.   NickatNite Member Oct 27, 2017 6,217 California An interesting concept, but may or may not be worth the price point. I definitely will keep my eye on it.   Deleted member 23046 Account closed at user request Banned Oct 28, 2017 6,876 Panic is also the first publisher of Campo Santo's Firewatch.   Dancrane212 Member Oct 25, 2017 14,110 Edge cover gets it a good amount of cred with me. Consider me curious.  JamesQuall Member Oct 27, 2017 752 I'm in. I already love Panic for publishing Firewatch and the Goose Game, and for putting a cool sign on their building that I can change the colors on during my lunch break!   RyougaSaotome Member Oct 25, 2017 5,365 It seems absurd so I'm in.   eyeball_kid Member Oct 25, 2017 12,138 Here's a peek at Keita Takahashi's game:   ryushe Member Oct 27, 2017 5,063 If this were black and white WITH backlight, then I'd be on board. But as it stands, I can't justify $150 for this no matter how hard I'd like to try.   Anno Member Oct 25, 2017 7,889 Columbus, Ohio That's weird enough that I'm at least interested.   the_wart Member Oct 25, 2017 2,346 That's so dumb. ...I want it.  KilgoreTrout696 Member Oct 25, 2017 667 ryushe said: If this were black and white WITH backlight, then I'd be on board. But as it stands, I can't justify $150 for this no matter how hard I'd like to try. Click to expand... Click to shrink... 100% with you on the backlight. I'm looking into getting older gameboys modded with backlights not getting something new without them. Just flashing back to trying to play pokemon at night while in the car driving home, would have to wait to pass a streetlight in order to see the screen for a second.   boontobias Avenger Apr 14, 2018 10,144 Dancrane212 said: Edge cover gets it a good amount of cred with me. Consider me curious. Click to expand... Click to shrink... Rebels huh? There goes my interest  8bit Member Oct 27, 2017 5,390 Oh fuck yes, I want one.   pronk Member Oct 26, 2017 2,034 Swery retweeted this, then retweeted a tweet about the Ouya store closing lol Also pretty sure EDGE had an Ouya cover.  Deleted member 2791 User requested account closure Banned Oct 25, 2017 19,054 I like the idea and the hardware execution, but 150 bucks for twelve short games just doesn't cut it.   Brian_FETO The Million Post Man Member Oct 25, 2017 19,825 I think I love this? idk $150 is an investment but like......it's also not that bad? hmm The curious thing is whether future seasons would be downloadable (it does have wifi) or if the intent is to have limited run systems with preset seasons  RoboitoAM Member Oct 25, 2017 3,271 This thing looks stupid.   El Pescado Member Oct 26, 2017 2,042 That thing looks right up my alley. I'm 100% in.  

Louis Du Mont shared a quick way to animate a flashing light with drivers in Blender. #b3d #blender3d #3d #animation #3danimation

It's December of 2015, and the Green Bay Packers are up against the wall. They've lost their last three games, and their early-season momentum is feared dead in the water.The Detroit Lions, a longtime rival, only need to stop one last play on the 39-yard line to keep their two-point lead and take home the win.The snap comes, and Packers quarterback Aaron Rodgers scrambles down the field while his faithful receivers scutter for the endzone. From 61 yards, the quarterback makes his final throw, a pass that meets a leaping Richard Rodgers to give Green Bay the touchdown, winning the game and ultimately saving the season.It's safe to say Tesla is in a similar spot: the losses are mounting, the future looks dim, and the team is down to their last pass. Sadly, Elon Musk is no Rodgers.Ten years after the "Miracle in Motown," the electric vehicle company's stock has plummeted by 25 percent in just six months, thanks to horrid global sales, a portfolio many investors see as crusty and dated, and perhaps above all, the alienating behavior of its own chief executive.Mere months into Musk's disastrous stint as federal spending czar, the prediction that "Tesla will soon collapse" is no longer a fringe opinion held by forum dwellers, but a serious charge levied by political commentators, stock gurus, and former Tesla executives alike.Fortunately for any foolhardy shareholders keeping the faith, Elon Musk has promised to rollout Tesla's autonomous robotaxi service in Austin, a product some analysts predicted could soon make up 90 percent of Tesla's profits.Unfortunately for those investors, Musk has given Tesla a self-imposed deadline of June 12th to make it all happen — meaning we're two weeks away from seeing whether or not the rubber hits the road. So where is the company at on its self-driving cabs?Well, the self-driving vehicles about to land in Austin streets are blowing past school buses into child crash dummies, if that's any indication.According to a FuelArc analysis of a school bus test, Tesla's latest iteration of "full self-driving" software failed to detect flashing red school bus stop signs (and in turn failed to stop at the parked bus), detected child-sized pedestrians but failed to react, and made no attempt to brake or evade the adolescent crash dummies as the car drew closer.FuelArc notes that school bus recognition only hit self-driving Teslas in December of 2024. Keep in mind, these vehicles have been on public roads, albeit with drivers behind the wheel, since October of 2015 — just months before Rodger's now-infamous Hail Mary.It's obvious that the robotaxi is nowhere near ready, which is probably why Tesla is scrambling to hire remote operators to drive its vehicles ahead of the looming June deadline.This ought to be the "Miracle in Motown" moment for Telsa – but the quarterback doesn't even have the ball, and the receivers are nowhere to be found.More on Tesla: Self-Driving Tesla Suddenly Swerves Off the Road and CrashesShare This Article