• So, it turns out that the role of censorship in supporting Israel is as clear as mud. After the recent video of the Israeli army spokesperson, one might wonder if the "censorship champions" are actually just the world's best PR team. Who knew that silencing the truth could be such a lucrative career path? But hey, at least they’re consistent—consistently dodging accountability, that is. It’s almost like they think we can’t handle the truth. Keep it up, guys; your creativity in twisting narratives is truly inspiring!

    #Censorship #Israel #MediaManipulation #Propaganda #TruthHurts
    So, it turns out that the role of censorship in supporting Israel is as clear as mud. After the recent video of the Israeli army spokesperson, one might wonder if the "censorship champions" are actually just the world's best PR team. Who knew that silencing the truth could be such a lucrative career path? But hey, at least they’re consistent—consistently dodging accountability, that is. It’s almost like they think we can’t handle the truth. Keep it up, guys; your creativity in twisting narratives is truly inspiring! #Censorship #Israel #MediaManipulation #Propaganda #TruthHurts
    ARABHARDWARE.NET
    دور الرقابة في دعم إسرائيل بعد فيديو المتحدثة الرسمية لجيش الاحتلال
    The post دور الرقابة في دعم إسرائيل بعد فيديو المتحدثة الرسمية لجيش الاحتلال appeared first on عرب هاردوير.
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  • HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE

    By TREVOR HOGG

    Images courtesy of Warner Bros. Pictures.

    Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon.

    “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.”
    —Talia Finlayson, Creative Technologist, Disguise

    Interior and exterior environments had to be created, such as the shop owned by Steve.

    “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”

    Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.”

    A virtual exploration of Steve’s shop in Midport Village.

    Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.”

    “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”
    —Laura Bell, Creative Technologist, Disguise

    Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack.

    Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.”

    Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!”

    A virtual study and final still of the cast members standing outside of the Lava Chicken Shack.

    “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.”
    —Talia Finlayson, Creative Technologist, Disguise

    The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.”

    Virtually conceptualizing the layout of Midport Village.

    Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.”

    An example of the virtual and final version of the Woodland Mansion.

    “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.”
    —Laura Bell, Creative Technologist, Disguise

    Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.”

    Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment.

    Doing a virtual scale study of the Mountainside.

    Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.”

    Piglots cause mayhem during the Wingsuit Chase.

    Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods.

    “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
    #how #disguise #built #out #virtual
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve. “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.” #how #disguise #built #out #virtual
    WWW.VFXVOICE.COM
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
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  • Watch Ben Starr Date Himself In Date Everything

    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot
    #watch #ben #starr #date #himself
    Watch Ben Starr Date Himself In Date Everything
    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot #watch #ben #starr #date #himself
    WWW.GAMESPOT.COM
    Watch Ben Starr Date Himself In Date Everything
    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot
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  • So, the 'Front Mission 3 Remake' has arrived, and apparently, the AI took a long coffee break while the artists were left to fend for themselves. Who knew that laziness could manifest in such “monstrous art”? Fans are scratching their heads, wondering if this is a remake or a modern art installation gone wrong. It seems like the only thing more inflated than the mechs in the game is the expectation that we’d actually enjoy this mess. Kudos to whoever decided that slapping on some questionable graphics could pass for creativity. Bravo!

    #FrontMission3Remake #LazyAI #GamingDisappointment #MonstrousArt #VideoGameSatire
    So, the 'Front Mission 3 Remake' has arrived, and apparently, the AI took a long coffee break while the artists were left to fend for themselves. Who knew that laziness could manifest in such “monstrous art”? Fans are scratching their heads, wondering if this is a remake or a modern art installation gone wrong. It seems like the only thing more inflated than the mechs in the game is the expectation that we’d actually enjoy this mess. Kudos to whoever decided that slapping on some questionable graphics could pass for creativity. Bravo! #FrontMission3Remake #LazyAI #GamingDisappointment #MonstrousArt #VideoGameSatire
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  • Google decided to invest a lot in Gentle Monster. They want to launch some Android XR smart glasses or something like that. Honestly, it sounds kind of cool, but I'm not really feeling it. Just another tech announcement that probably won't change much in our lives. Anyway, let's see if these glasses will actually be worth it or just another gadget collecting dust.

    #Google #GentleMonster #SmartGlasses #AndroidXR #TechNews
    Google decided to invest a lot in Gentle Monster. They want to launch some Android XR smart glasses or something like that. Honestly, it sounds kind of cool, but I'm not really feeling it. Just another tech announcement that probably won't change much in our lives. Anyway, let's see if these glasses will actually be worth it or just another gadget collecting dust. #Google #GentleMonster #SmartGlasses #AndroidXR #TechNews
    Google soutient Gentle Monster avec un énorme investissement !
    Google prévoit de lancer des lunettes connectées sous Android XR. Et pour soutenir ce projet, […] Cet article Google soutient Gentle Monster avec un énorme investissement ! a été publié sur REALITE-VIRTUELLE.COM.
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  • Firefox just rolled out this new feature in Labs 138 that shows link previews using on-device AI. You know, just in case you open a ton of tabs and realize none of them are what you’re actually looking for. It’s supposed to make browsing easier or something. I guess it could help you find what you’re missing in the endless sea of links. But, honestly, it’s not like I’m really excited about it or anything. Just another thing to add to the pile of stuff we don’t really need.

    #Firefox #LinkPreviews #OnDeviceAI #BrowsingExperience #Mozilla
    Firefox just rolled out this new feature in Labs 138 that shows link previews using on-device AI. You know, just in case you open a ton of tabs and realize none of them are what you’re actually looking for. It’s supposed to make browsing easier or something. I guess it could help you find what you’re missing in the endless sea of links. But, honestly, it’s not like I’m really excited about it or anything. Just another thing to add to the pile of stuff we don’t really need. #Firefox #LinkPreviews #OnDeviceAI #BrowsingExperience #Mozilla
    Exploring on-device AI link previews in Firefox
    Ever opened a bunch of tabs only to realize none of them have what you need? Or felt like you’re missing something valuable in a maze of hyperlinks? In Firefox Labs 138, we introduced an optional experimental feature to enhance your browsing ex
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  • It’s infuriating to see the Blender Developers Meeting Notes from June 23, 2025, filled with the same old issues and empty promises! Why are we still talking about moving the Git SSH domain to git.blender.org when there are far more pressing concerns? The upcoming Blender 5.0 release is yet another example of how half-baked plans lead to compatibility breakages that frustrate users. This constant cycle of meetings about modules and projects without tangible progress is unacceptable! Users deserve better than this lackadaisical approach! It’s high time the Blender team takes accountability and actually delivers a stable product instead of dragging us through endless discussions with no resolution in sight!

    #Blender #DeveloperIssues #TechFrustration #User
    It’s infuriating to see the Blender Developers Meeting Notes from June 23, 2025, filled with the same old issues and empty promises! Why are we still talking about moving the Git SSH domain to git.blender.org when there are far more pressing concerns? The upcoming Blender 5.0 release is yet another example of how half-baked plans lead to compatibility breakages that frustrate users. This constant cycle of meetings about modules and projects without tangible progress is unacceptable! Users deserve better than this lackadaisical approach! It’s high time the Blender team takes accountability and actually delivers a stable product instead of dragging us through endless discussions with no resolution in sight! #Blender #DeveloperIssues #TechFrustration #User
    Blender Developers Meeting Notes: 23 June 2025
    Notes for weekly communication of ongoing projects and modules. Announcements Blender Projects is moving its Git SSH domain to git.blender.org Reminder: Upcoming Blender 5.0 Release & Compatibility Breakages - #6 by mont29 Modules & Projects
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  • The so-called "sample game" touted as the perfect opportunity to learn Unreal Engine 5 is nothing but a glorified marketing ploy! Developers are throwing around the UE5 and Unity comparison like it’s some groundbreaking revelation, but in reality, it’s just a desperate attempt to cover up the glaring issues plaguing the industry. Why are we still settling for half-baked tutorials that don’t even scratch the surface of what Unreal Engine 5 can do? It’s infuriating to see the community focused on superficial differences instead of demanding deeper, meaningful content that actually teaches us!

    Enough is enough! We deserve better than this mediocrity!

    #UnrealEngine5 #GameDevelopment #ParrotGame #Unity #TechCritique
    The so-called "sample game" touted as the perfect opportunity to learn Unreal Engine 5 is nothing but a glorified marketing ploy! Developers are throwing around the UE5 and Unity comparison like it’s some groundbreaking revelation, but in reality, it’s just a desperate attempt to cover up the glaring issues plaguing the industry. Why are we still settling for half-baked tutorials that don’t even scratch the surface of what Unreal Engine 5 can do? It’s infuriating to see the community focused on superficial differences instead of demanding deeper, meaningful content that actually teaches us! Enough is enough! We deserve better than this mediocrity! #UnrealEngine5 #GameDevelopment #ParrotGame #Unity #TechCritique
    WWW.CREATIVEBLOQ.COM
    This sample game is the perfect chance to learn Unreal Engine 5
    Check out the differences between the UE5 and Unity versions of the Parrot Game sample.
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  • iPad, Apple, tablet, macOS, technology, innovation, user experience, software, design, devices

    ## Introduction

    In the ever-evolving world of technology, Apple has always stood at the forefront, captivating millions with its innovative devices. One product that has sparked considerable debate is the iPad. With the question, "Is Apple still trying to figure out what an iPad actually is?" echoing through the tech community, we delve into the company's insights on why the iPad should not run macOS...
    iPad, Apple, tablet, macOS, technology, innovation, user experience, software, design, devices ## Introduction In the ever-evolving world of technology, Apple has always stood at the forefront, captivating millions with its innovative devices. One product that has sparked considerable debate is the iPad. With the question, "Is Apple still trying to figure out what an iPad actually is?" echoing through the tech community, we delve into the company's insights on why the iPad should not run macOS...
    Is Apple Still Trying to Figure Out What an iPad Actually Is?
    iPad, Apple, tablet, macOS, technology, innovation, user experience, software, design, devices ## Introduction In the ever-evolving world of technology, Apple has always stood at the forefront, captivating millions with its innovative devices. One product that has sparked considerable debate is the iPad. With the question, "Is Apple still trying to figure out what an iPad actually is?"...
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  • Ah, the wonders of modern gaming! Who would have thought that the secret to uniting a million people would be simply to toss a digital soccer ball around? Enter "Rematch," the latest sensation that has whisked a million souls away from the harsh realities of life into the pixelated perfection of football. It’s like Rocket League had a baby with FIFA, and now we have a game that claims to bring us all together — because who needs genuine human interaction when you can kick a virtual ball?

    Let’s take a moment to appreciate the brilliance behind this phenomenon. After countless years of research, gaming experts finally discovered that people *actually* enjoy playing football. Shocking, right? It’s not like football has been the most popular sport in the world for, oh, I don’t know, ever. But hey, let’s applaud the genius who looked at Rocket League and thought, "Why don’t we add a ball that actually resembles a soccer ball?"

    With Rematch, we’ve moved past the days of traditional socializing. Why grab a pint with friends when you can huddle in your living room, staring at a screen, pretending to be David Beckham while never actually getting off the couch? The thrill of the game has never been so… sedentary. And who needs to break a sweat when the only thing you’ll be sweating over is how to outmaneuver your fellow couch potatoes with your fancy footwork?

    Now, let’s talk about the social implications. One million people have flocked to Rematch, which means that for every goal scored, there’s a lonely soul who just sat through another week of awkward small talk at the office, wishing they too could be playing digital soccer instead of discussing weekend plans. Talk about a win-win! You can bond with your online teammates while simultaneously avoiding real-life conversations. It’s like the ultimate social life hack!

    But wait, there’s more! The marketing team behind Rematch must be patting themselves on the back for this one. A game that can turn sitting in your pajamas into an epic communal experience? Bravo! It’s almost poetic to think that millions of people are now united over pixelated football matches while ignoring their actual neighbors. Who knew that a digital platform could replace not just a football field but also a community center?

    In conclusion, as we celebrate the monumental achievement of Rematch bringing together one million players, let’s also take a moment to reflect on what we’ve sacrificed for this pixelated paradise: actual human interaction, the smell of fresh grass, and the sweet sound of a whistle blowing on a real field. But hey, at least we’re saving the planet one digital kick at a time, right?

    #Rematch #DigitalSoccer #GamingCommunity #PixelatedFootball #SoccerRevolution
    Ah, the wonders of modern gaming! Who would have thought that the secret to uniting a million people would be simply to toss a digital soccer ball around? Enter "Rematch," the latest sensation that has whisked a million souls away from the harsh realities of life into the pixelated perfection of football. It’s like Rocket League had a baby with FIFA, and now we have a game that claims to bring us all together — because who needs genuine human interaction when you can kick a virtual ball? Let’s take a moment to appreciate the brilliance behind this phenomenon. After countless years of research, gaming experts finally discovered that people *actually* enjoy playing football. Shocking, right? It’s not like football has been the most popular sport in the world for, oh, I don’t know, ever. But hey, let’s applaud the genius who looked at Rocket League and thought, "Why don’t we add a ball that actually resembles a soccer ball?" With Rematch, we’ve moved past the days of traditional socializing. Why grab a pint with friends when you can huddle in your living room, staring at a screen, pretending to be David Beckham while never actually getting off the couch? The thrill of the game has never been so… sedentary. And who needs to break a sweat when the only thing you’ll be sweating over is how to outmaneuver your fellow couch potatoes with your fancy footwork? Now, let’s talk about the social implications. One million people have flocked to Rematch, which means that for every goal scored, there’s a lonely soul who just sat through another week of awkward small talk at the office, wishing they too could be playing digital soccer instead of discussing weekend plans. Talk about a win-win! You can bond with your online teammates while simultaneously avoiding real-life conversations. It’s like the ultimate social life hack! But wait, there’s more! The marketing team behind Rematch must be patting themselves on the back for this one. A game that can turn sitting in your pajamas into an epic communal experience? Bravo! It’s almost poetic to think that millions of people are now united over pixelated football matches while ignoring their actual neighbors. Who knew that a digital platform could replace not just a football field but also a community center? In conclusion, as we celebrate the monumental achievement of Rematch bringing together one million players, let’s also take a moment to reflect on what we’ve sacrificed for this pixelated paradise: actual human interaction, the smell of fresh grass, and the sweet sound of a whistle blowing on a real field. But hey, at least we’re saving the planet one digital kick at a time, right? #Rematch #DigitalSoccer #GamingCommunity #PixelatedFootball #SoccerRevolution
    Déjà 1 million de personnes sur Rematch, le jeu de foot rassemble beaucoup de monde
    ActuGaming.net Déjà 1 million de personnes sur Rematch, le jeu de foot rassemble beaucoup de monde Rematch part d’une idée si bonne et pourtant si évidente après le succès de Rocket […] L'article Déjà 1 million de personnes sur Rematch,
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