• Startup Uses NVIDIA RTX-Powered Generative AI to Make Coolers, Cooler

    Mark Theriault founded the startup FITY envisioning a line of clever cooling products: cold drink holders that come with freezable pucks to keep beverages cold for longer without the mess of ice. The entrepreneur started with 3D prints of products in his basement, building one unit at a time, before eventually scaling to mass production.
    Founding a consumer product company from scratch was a tall order for a single person. Going from preliminary sketches to production-ready designs was a major challenge. To bring his creative vision to life, Theriault relied on AI and his NVIDIA GeForce RTX-equipped system. For him, AI isn’t just a tool — it’s an entire pipeline to help him accomplish his goals. about his workflow below.
    Plus, GeForce RTX 5050 laptops start arriving today at retailers worldwide, from GeForce RTX 5050 Laptop GPUs feature 2,560 NVIDIA Blackwell CUDA cores, fifth-generation AI Tensor Cores, fourth-generation RT Cores, a ninth-generation NVENC encoder and a sixth-generation NVDEC decoder.
    In addition, NVIDIA’s Plug and Play: Project G-Assist Plug-In Hackathon — running virtually through Wednesday, July 16 — invites developers to explore AI and build custom G-Assist plug-ins for a chance to win prizes. the date for the G-Assist Plug-In webinar on Wednesday, July 9, from 10-11 a.m. PT, to learn more about Project G-Assist capabilities and fundamentals, and to participate in a live Q&A session.
    From Concept to Completion
    To create his standout products, Theriault tinkers with potential FITY Flex cooler designs with traditional methods, from sketch to computer-aided design to rapid prototyping, until he finds the right vision. A unique aspect of the FITY Flex design is that it can be customized with fun, popular shoe charms.
    For packaging design inspiration, Theriault uses his preferred text-to-image generative AI model for prototyping, Stable Diffusion XL — which runs 60% faster with the NVIDIA TensorRT software development kit — using the modular, node-based interface ComfyUI.
    ComfyUI gives users granular control over every step of the generation process — prompting, sampling, model loading, image conditioning and post-processing. It’s ideal for advanced users like Theriault who want to customize how images are generated.
    Theriault’s uses of AI result in a complete computer graphics-based ad campaign. Image courtesy of FITY.
    NVIDIA and GeForce RTX GPUs based on the NVIDIA Blackwell architecture include fifth-generation Tensor Cores designed to accelerate AI and deep learning workloads. These GPUs work with CUDA optimizations in PyTorch to seamlessly accelerate ComfyUI, reducing generation time on FLUX.1-dev, an image generation model from Black Forest Labs, from two minutes per image on the Mac M3 Ultra to about four seconds on the GeForce RTX 5090 desktop GPU.
    ComfyUI can also add ControlNets — AI models that help control image generation — that Theriault uses for tasks like guiding human poses, setting compositions via depth mapping and converting scribbles to images.
    Theriault even creates his own fine-tuned models to keep his style consistent. He used low-rank adaptationmodels — small, efficient adapters into specific layers of the network — enabling hyper-customized generation with minimal compute cost.
    LoRA models allow Theriault to ideate on visuals quickly. Image courtesy of FITY.
    “Over the last few months, I’ve been shifting from AI-assisted computer graphics renders to fully AI-generated product imagery using a custom Flux LoRA I trained in house. My RTX 4080 SUPER GPU has been essential for getting the performance I need to train and iterate quickly.” – Mark Theriault, founder of FITY 

    Theriault also taps into generative AI to create marketing assets like FITY Flex product packaging. He uses FLUX.1, which excels at generating legible text within images, addressing a common challenge in text-to-image models.
    Though FLUX.1 models can typically consume over 23GB of VRAM, NVIDIA has collaborated with Black Forest Labs to help reduce the size of these models using quantization — a technique that reduces model size while maintaining quality. The models were then accelerated with TensorRT, which provides an up to 2x speedup over PyTorch.
    To simplify using these models in ComfyUI, NVIDIA created the FLUX.1 NIM microservice, a containerized version of FLUX.1 that can be loaded in ComfyUI and enables FP4 quantization and TensorRT support. Combined, the models come down to just over 11GB of VRAM, and performance improves by 2.5x.
    Theriault uses the Blender Cycles app to render out final files. For 3D workflows, NVIDIA offers the AI Blueprint for 3D-guided generative AI to ease the positioning and composition of 3D images, so anyone interested in this method can quickly get started.
    Photorealistic renders. Image courtesy of FITY.
    Finally, Theriault uses large language models to generate marketing copy — tailored for search engine optimization, tone and storytelling — as well as to complete his patent and provisional applications, work that usually costs thousands of dollars in legal fees and considerable time.
    Generative AI helps Theriault create promotional materials like the above. Image courtesy of FITY.
    “As a one-man band with a ton of content to generate, having on-the-fly generation capabilities for my product designs really helps speed things up.” – Mark Theriault, founder of FITY

    Every texture, every word, every photo, every accessory was a micro-decision, Theriault said. AI helped him survive the “death by a thousand cuts” that can stall solo startup founders, he added.
    Each week, the RTX AI Garage blog series features community-driven AI innovations and content for those looking to learn more about NVIDIA NIM microservices and AI Blueprints, as well as building AI agents, creative workflows, digital humans, productivity apps and more on AI PCs and workstations. 
    Plug in to NVIDIA AI PC on Facebook, Instagram, TikTok and X — and stay informed by subscribing to the RTX AI PC newsletter.
    Follow NVIDIA Workstation on LinkedIn and X. 
    See notice regarding software product information.
    #startup #uses #nvidia #rtxpowered #generative
    Startup Uses NVIDIA RTX-Powered Generative AI to Make Coolers, Cooler
    Mark Theriault founded the startup FITY envisioning a line of clever cooling products: cold drink holders that come with freezable pucks to keep beverages cold for longer without the mess of ice. The entrepreneur started with 3D prints of products in his basement, building one unit at a time, before eventually scaling to mass production. Founding a consumer product company from scratch was a tall order for a single person. Going from preliminary sketches to production-ready designs was a major challenge. To bring his creative vision to life, Theriault relied on AI and his NVIDIA GeForce RTX-equipped system. For him, AI isn’t just a tool — it’s an entire pipeline to help him accomplish his goals. about his workflow below. Plus, GeForce RTX 5050 laptops start arriving today at retailers worldwide, from GeForce RTX 5050 Laptop GPUs feature 2,560 NVIDIA Blackwell CUDA cores, fifth-generation AI Tensor Cores, fourth-generation RT Cores, a ninth-generation NVENC encoder and a sixth-generation NVDEC decoder. In addition, NVIDIA’s Plug and Play: Project G-Assist Plug-In Hackathon — running virtually through Wednesday, July 16 — invites developers to explore AI and build custom G-Assist plug-ins for a chance to win prizes. the date for the G-Assist Plug-In webinar on Wednesday, July 9, from 10-11 a.m. PT, to learn more about Project G-Assist capabilities and fundamentals, and to participate in a live Q&A session. From Concept to Completion To create his standout products, Theriault tinkers with potential FITY Flex cooler designs with traditional methods, from sketch to computer-aided design to rapid prototyping, until he finds the right vision. A unique aspect of the FITY Flex design is that it can be customized with fun, popular shoe charms. For packaging design inspiration, Theriault uses his preferred text-to-image generative AI model for prototyping, Stable Diffusion XL — which runs 60% faster with the NVIDIA TensorRT software development kit — using the modular, node-based interface ComfyUI. ComfyUI gives users granular control over every step of the generation process — prompting, sampling, model loading, image conditioning and post-processing. It’s ideal for advanced users like Theriault who want to customize how images are generated. Theriault’s uses of AI result in a complete computer graphics-based ad campaign. Image courtesy of FITY. NVIDIA and GeForce RTX GPUs based on the NVIDIA Blackwell architecture include fifth-generation Tensor Cores designed to accelerate AI and deep learning workloads. These GPUs work with CUDA optimizations in PyTorch to seamlessly accelerate ComfyUI, reducing generation time on FLUX.1-dev, an image generation model from Black Forest Labs, from two minutes per image on the Mac M3 Ultra to about four seconds on the GeForce RTX 5090 desktop GPU. ComfyUI can also add ControlNets — AI models that help control image generation — that Theriault uses for tasks like guiding human poses, setting compositions via depth mapping and converting scribbles to images. Theriault even creates his own fine-tuned models to keep his style consistent. He used low-rank adaptationmodels — small, efficient adapters into specific layers of the network — enabling hyper-customized generation with minimal compute cost. LoRA models allow Theriault to ideate on visuals quickly. Image courtesy of FITY. “Over the last few months, I’ve been shifting from AI-assisted computer graphics renders to fully AI-generated product imagery using a custom Flux LoRA I trained in house. My RTX 4080 SUPER GPU has been essential for getting the performance I need to train and iterate quickly.” – Mark Theriault, founder of FITY  Theriault also taps into generative AI to create marketing assets like FITY Flex product packaging. He uses FLUX.1, which excels at generating legible text within images, addressing a common challenge in text-to-image models. Though FLUX.1 models can typically consume over 23GB of VRAM, NVIDIA has collaborated with Black Forest Labs to help reduce the size of these models using quantization — a technique that reduces model size while maintaining quality. The models were then accelerated with TensorRT, which provides an up to 2x speedup over PyTorch. To simplify using these models in ComfyUI, NVIDIA created the FLUX.1 NIM microservice, a containerized version of FLUX.1 that can be loaded in ComfyUI and enables FP4 quantization and TensorRT support. Combined, the models come down to just over 11GB of VRAM, and performance improves by 2.5x. Theriault uses the Blender Cycles app to render out final files. For 3D workflows, NVIDIA offers the AI Blueprint for 3D-guided generative AI to ease the positioning and composition of 3D images, so anyone interested in this method can quickly get started. Photorealistic renders. Image courtesy of FITY. Finally, Theriault uses large language models to generate marketing copy — tailored for search engine optimization, tone and storytelling — as well as to complete his patent and provisional applications, work that usually costs thousands of dollars in legal fees and considerable time. Generative AI helps Theriault create promotional materials like the above. Image courtesy of FITY. “As a one-man band with a ton of content to generate, having on-the-fly generation capabilities for my product designs really helps speed things up.” – Mark Theriault, founder of FITY Every texture, every word, every photo, every accessory was a micro-decision, Theriault said. AI helped him survive the “death by a thousand cuts” that can stall solo startup founders, he added. Each week, the RTX AI Garage blog series features community-driven AI innovations and content for those looking to learn more about NVIDIA NIM microservices and AI Blueprints, as well as building AI agents, creative workflows, digital humans, productivity apps and more on AI PCs and workstations.  Plug in to NVIDIA AI PC on Facebook, Instagram, TikTok and X — and stay informed by subscribing to the RTX AI PC newsletter. Follow NVIDIA Workstation on LinkedIn and X.  See notice regarding software product information. #startup #uses #nvidia #rtxpowered #generative
    BLOGS.NVIDIA.COM
    Startup Uses NVIDIA RTX-Powered Generative AI to Make Coolers, Cooler
    Mark Theriault founded the startup FITY envisioning a line of clever cooling products: cold drink holders that come with freezable pucks to keep beverages cold for longer without the mess of ice. The entrepreneur started with 3D prints of products in his basement, building one unit at a time, before eventually scaling to mass production. Founding a consumer product company from scratch was a tall order for a single person. Going from preliminary sketches to production-ready designs was a major challenge. To bring his creative vision to life, Theriault relied on AI and his NVIDIA GeForce RTX-equipped system. For him, AI isn’t just a tool — it’s an entire pipeline to help him accomplish his goals. Read more about his workflow below. Plus, GeForce RTX 5050 laptops start arriving today at retailers worldwide, from $999. GeForce RTX 5050 Laptop GPUs feature 2,560 NVIDIA Blackwell CUDA cores, fifth-generation AI Tensor Cores, fourth-generation RT Cores, a ninth-generation NVENC encoder and a sixth-generation NVDEC decoder. In addition, NVIDIA’s Plug and Play: Project G-Assist Plug-In Hackathon — running virtually through Wednesday, July 16 — invites developers to explore AI and build custom G-Assist plug-ins for a chance to win prizes. Save the date for the G-Assist Plug-In webinar on Wednesday, July 9, from 10-11 a.m. PT, to learn more about Project G-Assist capabilities and fundamentals, and to participate in a live Q&A session. From Concept to Completion To create his standout products, Theriault tinkers with potential FITY Flex cooler designs with traditional methods, from sketch to computer-aided design to rapid prototyping, until he finds the right vision. A unique aspect of the FITY Flex design is that it can be customized with fun, popular shoe charms. For packaging design inspiration, Theriault uses his preferred text-to-image generative AI model for prototyping, Stable Diffusion XL — which runs 60% faster with the NVIDIA TensorRT software development kit — using the modular, node-based interface ComfyUI. ComfyUI gives users granular control over every step of the generation process — prompting, sampling, model loading, image conditioning and post-processing. It’s ideal for advanced users like Theriault who want to customize how images are generated. Theriault’s uses of AI result in a complete computer graphics-based ad campaign. Image courtesy of FITY. NVIDIA and GeForce RTX GPUs based on the NVIDIA Blackwell architecture include fifth-generation Tensor Cores designed to accelerate AI and deep learning workloads. These GPUs work with CUDA optimizations in PyTorch to seamlessly accelerate ComfyUI, reducing generation time on FLUX.1-dev, an image generation model from Black Forest Labs, from two minutes per image on the Mac M3 Ultra to about four seconds on the GeForce RTX 5090 desktop GPU. ComfyUI can also add ControlNets — AI models that help control image generation — that Theriault uses for tasks like guiding human poses, setting compositions via depth mapping and converting scribbles to images. Theriault even creates his own fine-tuned models to keep his style consistent. He used low-rank adaptation (LoRA) models — small, efficient adapters into specific layers of the network — enabling hyper-customized generation with minimal compute cost. LoRA models allow Theriault to ideate on visuals quickly. Image courtesy of FITY. “Over the last few months, I’ve been shifting from AI-assisted computer graphics renders to fully AI-generated product imagery using a custom Flux LoRA I trained in house. My RTX 4080 SUPER GPU has been essential for getting the performance I need to train and iterate quickly.” – Mark Theriault, founder of FITY  Theriault also taps into generative AI to create marketing assets like FITY Flex product packaging. He uses FLUX.1, which excels at generating legible text within images, addressing a common challenge in text-to-image models. Though FLUX.1 models can typically consume over 23GB of VRAM, NVIDIA has collaborated with Black Forest Labs to help reduce the size of these models using quantization — a technique that reduces model size while maintaining quality. The models were then accelerated with TensorRT, which provides an up to 2x speedup over PyTorch. To simplify using these models in ComfyUI, NVIDIA created the FLUX.1 NIM microservice, a containerized version of FLUX.1 that can be loaded in ComfyUI and enables FP4 quantization and TensorRT support. Combined, the models come down to just over 11GB of VRAM, and performance improves by 2.5x. Theriault uses the Blender Cycles app to render out final files. For 3D workflows, NVIDIA offers the AI Blueprint for 3D-guided generative AI to ease the positioning and composition of 3D images, so anyone interested in this method can quickly get started. Photorealistic renders. Image courtesy of FITY. Finally, Theriault uses large language models to generate marketing copy — tailored for search engine optimization, tone and storytelling — as well as to complete his patent and provisional applications, work that usually costs thousands of dollars in legal fees and considerable time. Generative AI helps Theriault create promotional materials like the above. Image courtesy of FITY. “As a one-man band with a ton of content to generate, having on-the-fly generation capabilities for my product designs really helps speed things up.” – Mark Theriault, founder of FITY Every texture, every word, every photo, every accessory was a micro-decision, Theriault said. AI helped him survive the “death by a thousand cuts” that can stall solo startup founders, he added. Each week, the RTX AI Garage blog series features community-driven AI innovations and content for those looking to learn more about NVIDIA NIM microservices and AI Blueprints, as well as building AI agents, creative workflows, digital humans, productivity apps and more on AI PCs and workstations.  Plug in to NVIDIA AI PC on Facebook, Instagram, TikTok and X — and stay informed by subscribing to the RTX AI PC newsletter. Follow NVIDIA Workstation on LinkedIn and X.  See notice regarding software product information.
    0 Commentarii 0 Distribuiri
  • Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters

    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game.
    In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC.
    Tony Hawk’s Pro Skater 3 + 4 launches on July 11.
    THPS 3 + 4: Returning Skaters

    From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them.
    “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.”
    “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth!blew my mind, the impact it had.”
    “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”
     When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series.
    Tony Hawk

    San Diego, California
    Style: Vert / Stance: Goofy
    Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure.
    Bob Burnquist

    Rio de Janeiro, Brazil
    Style: Vert / Stance: Regular
    Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp.
    Bucky Lasek

    Baltimore, Maryland
    Style: Vert / Stance: Regular
    Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively.
    Steve Caballero

    San Jose, California
    Style: Vert / Stance: Goofy
    An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe.
    Kareem Campbell

    Harlem, New York
    Style: Street / Stance: Regular
    Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards.
    Geoff Rowley

    Liverpool, England
    Style: Street / Stance: Regular
    Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine.
    Andrew Reynolds

    North Hollywood, California
    Style: Street / Stance: Regular
    Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later.
    Elissa Steamer

    San Francisco, California
    Style: Street / Stance: Regular
    Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame.
    Chad Muska

    Los Angeles, California
    Style: Street / Stance: Regular
    Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.”
    Eric Koston

    Los Angeles, California
    Style: Street / Stance: Goofy
    Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist.
    Rodney Mullen

    Gainesville, Florida
    Style: Freestyle / Stance: Regular
    One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks.
    Jamie Thomas

    Dothan, Alabama
    Style: Street / Stance: Regular
    Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made.
    Rune Glifberg

    Copenhagen, Denmark
    Style: Vert / Stance: Regular
    Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition.
    Aori Nishimura

    Tokyo, Japan
    Style: Street / Stance: Regular
    Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games.
    Leo Baker

    Brooklyn, New York
    Style: Street / Stance: Goofy
    Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions. 
    Leticia Bufoni

    São Paulo, Brazil
    Style: Street / Stance: Goofy
    Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row.
    Lizzie Armanto

    Santa Monica, California
    Style: Park / Stance: Regular
    A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp.
    Nyjah Huston

    Laguna Beach, California
    Style: Street / Stance: Goofy
    One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics.
    Riley Hawk

    San Diego, California
    Style: Street / Stance: Goofy
    Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day.
    Shane O’Neill

    Melbourne, Australia
    Style: Street / Stance: Goofy
    Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS.
    Tyshawn Jones

    Bronx, New York
    Style: Street / Stance: Regular
    A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade.

    The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun. 

    Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate.
    Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more.

    Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here.

    Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date.
    Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear:

    Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard.
    Revenant: Get evil with the Revenant, including two unique special tricks.
    Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack.
    Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs.
    Create-A-Skater Items: Kit out your skater with additional apparel items.

    Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com.
    * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features.
    **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch datesubject to change. Internet connection required.
    *** Actual play time subject to possible outages and applicable time zone differences.
    #tony #hawks #pro #skater #returning
    Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters
    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC. Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth!blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features. **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch datesubject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences. #tony #hawks #pro #skater #returning
    WWW.TONYHAWKTHEGAME.COM
    Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters
    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC (Battle.net, Steam, Microsoft PC Store). Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth! [It] blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features (sold separately). **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch date(s) subject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences.
    Like
    Love
    Wow
    Sad
    Angry
    526
    2 Commentarii 0 Distribuiri
  • Microsoft trolls Apple's new Liquid Glass UI for looking like Windows Vista

    In a nutshell: The OS updates coming to Apple devices later this year will institute the company's first major UI design shift in over a decade, but eagle-eyed observers noticed similarities with an old version of Windows – comparisons that haven't escaped Microsoft's notice. Thankfully, users concerned about Apple's upcoming interface will have options to change its visual presentation.
    Some of Microsoft's social media accounts recently poked fun at the upcoming "Liquid Glass" user interface design language Apple unveiled at WWDC this week. Although the Cupertino giant has hailed the update as a major innovation, many immediately began comparing it to Microsoft's nearly two-decade-old Windows Vista UI.

     

     
     

     

    View this post on Instagram

     

     
     
     

     
     

     
     
     

     
     

    A post shared by WindowsLiquid Glass is Apple's name for the new visual style arriving in iOS 26, iPadOS 26, macOS 26 Tahoe, watchOS 26, and tvOS 26, which will launch this fall. Inspired by the Apple Vision Pro's visionOS, the design language favors rounded edges and transparent backgrounds for inputs and other UI functions.
    It is Apple's most significant design change since iOS 7 debuted almost 12 years ago, and the first to establish a unified language across all of the company's devices.
    On the left: nice Liquid Glass UI minimalistic look. On the right: Liquid Glass looking all kinds of wrong in the current beta.

    Apps, wallpapers, and other background content will be visible through app icons, notifications, and menu elements for a glass-like appearance. Apple claims that the effect will improve cohesion across the interface, but beta testers are concerned that text will become less readable.
    Others, including Microsoft, mocked the update's resemblance to Windows Vista's glass-like "Aero" aesthetic, which debuted in 2007. That OS also made UI elements partially transparent, but Microsoft eventually phased it out when it began moving toward its current design language.
    The official Windows Instagram account recently responded to Apple's presentation by posting a slideshow of Vista screenshots played over a nostalgic Windows boot tune. The Windows Twitter account also shared a picture recalling the Vista-era profile icons.
    Other social media users joined in on the fun. Some highlighted the unfortunate placement of the YouTube icon in Apple's Liquid Glass explainer video, which the company altered. Others compared the design language to the unique chassis for Apple's 2000 Power Mac G4 Cube and the main menu for Nintendo's 2012 Wii U game console.
    Fortunately, users can customize Liquid Glass by switching between transparent, light, and dark modes. They can also opt for a slightly more opaque presentation with a toggle located under Settings > Accessibility > Display & Text Size > Reduce Transparency.
    #microsoft #trolls #apple039s #new #liquid
    Microsoft trolls Apple's new Liquid Glass UI for looking like Windows Vista
    In a nutshell: The OS updates coming to Apple devices later this year will institute the company's first major UI design shift in over a decade, but eagle-eyed observers noticed similarities with an old version of Windows – comparisons that haven't escaped Microsoft's notice. Thankfully, users concerned about Apple's upcoming interface will have options to change its visual presentation. Some of Microsoft's social media accounts recently poked fun at the upcoming "Liquid Glass" user interface design language Apple unveiled at WWDC this week. Although the Cupertino giant has hailed the update as a major innovation, many immediately began comparing it to Microsoft's nearly two-decade-old Windows Vista UI.         View this post on Instagram                       A post shared by WindowsLiquid Glass is Apple's name for the new visual style arriving in iOS 26, iPadOS 26, macOS 26 Tahoe, watchOS 26, and tvOS 26, which will launch this fall. Inspired by the Apple Vision Pro's visionOS, the design language favors rounded edges and transparent backgrounds for inputs and other UI functions. It is Apple's most significant design change since iOS 7 debuted almost 12 years ago, and the first to establish a unified language across all of the company's devices. On the left: nice Liquid Glass UI minimalistic look. On the right: Liquid Glass looking all kinds of wrong in the current beta. Apps, wallpapers, and other background content will be visible through app icons, notifications, and menu elements for a glass-like appearance. Apple claims that the effect will improve cohesion across the interface, but beta testers are concerned that text will become less readable. Others, including Microsoft, mocked the update's resemblance to Windows Vista's glass-like "Aero" aesthetic, which debuted in 2007. That OS also made UI elements partially transparent, but Microsoft eventually phased it out when it began moving toward its current design language. The official Windows Instagram account recently responded to Apple's presentation by posting a slideshow of Vista screenshots played over a nostalgic Windows boot tune. The Windows Twitter account also shared a picture recalling the Vista-era profile icons. Other social media users joined in on the fun. Some highlighted the unfortunate placement of the YouTube icon in Apple's Liquid Glass explainer video, which the company altered. Others compared the design language to the unique chassis for Apple's 2000 Power Mac G4 Cube and the main menu for Nintendo's 2012 Wii U game console. Fortunately, users can customize Liquid Glass by switching between transparent, light, and dark modes. They can also opt for a slightly more opaque presentation with a toggle located under Settings > Accessibility > Display & Text Size > Reduce Transparency. #microsoft #trolls #apple039s #new #liquid
    WWW.TECHSPOT.COM
    Microsoft trolls Apple's new Liquid Glass UI for looking like Windows Vista
    In a nutshell: The OS updates coming to Apple devices later this year will institute the company's first major UI design shift in over a decade, but eagle-eyed observers noticed similarities with an old version of Windows – comparisons that haven't escaped Microsoft's notice. Thankfully, users concerned about Apple's upcoming interface will have options to change its visual presentation. Some of Microsoft's social media accounts recently poked fun at the upcoming "Liquid Glass" user interface design language Apple unveiled at WWDC this week. Although the Cupertino giant has hailed the update as a major innovation, many immediately began comparing it to Microsoft's nearly two-decade-old Windows Vista UI.         View this post on Instagram                       A post shared by Windows (@windows) Liquid Glass is Apple's name for the new visual style arriving in iOS 26, iPadOS 26, macOS 26 Tahoe, watchOS 26, and tvOS 26, which will launch this fall. Inspired by the Apple Vision Pro's visionOS, the design language favors rounded edges and transparent backgrounds for inputs and other UI functions. It is Apple's most significant design change since iOS 7 debuted almost 12 years ago, and the first to establish a unified language across all of the company's devices. On the left: nice Liquid Glass UI minimalistic look. On the right: Liquid Glass looking all kinds of wrong in the current beta. Apps, wallpapers, and other background content will be visible through app icons, notifications, and menu elements for a glass-like appearance. Apple claims that the effect will improve cohesion across the interface, but beta testers are concerned that text will become less readable. Others, including Microsoft, mocked the update's resemblance to Windows Vista's glass-like "Aero" aesthetic, which debuted in 2007. That OS also made UI elements partially transparent, but Microsoft eventually phased it out when it began moving toward its current design language. The official Windows Instagram account recently responded to Apple's presentation by posting a slideshow of Vista screenshots played over a nostalgic Windows boot tune. The Windows Twitter account also shared a picture recalling the Vista-era profile icons. Other social media users joined in on the fun. Some highlighted the unfortunate placement of the YouTube icon in Apple's Liquid Glass explainer video, which the company altered. Others compared the design language to the unique chassis for Apple's 2000 Power Mac G4 Cube and the main menu for Nintendo's 2012 Wii U game console. Fortunately, users can customize Liquid Glass by switching between transparent, light, and dark modes. They can also opt for a slightly more opaque presentation with a toggle located under Settings > Accessibility > Display & Text Size > Reduce Transparency.
    0 Commentarii 0 Distribuiri
  • From Networks to Business Models, AI Is Rewiring Telecom

    Artificial intelligence is already rewriting the rules of wireless and telecom — powering predictive maintenance, streamlining network operations, and enabling more innovative services.
    As AI scales, the disruption will be faster, deeper, and harder to reverse than any prior shift in the industry.
    Compared to the sweeping changes AI is set to unleash, past telecom innovations look incremental.
    AI is redefining how networks operate, services are delivered, and data is secured — across every device and digital touchpoint.
    AI Is Reshaping Wireless Networks Already
    Artificial intelligence is already transforming wireless through smarter private networks, fixed wireless access, and intelligent automation across the stack.
    AI detects and resolves network issues before they impact service, improving uptime and customer satisfaction. It’s also opening the door to entirely new revenue streams and business models.
    Each wireless generation brought new capabilities. AI, however, marks a more profound shift — networks that think, respond, and evolve in real time.
    AI Acceleration Will Outpace Past Tech Shifts
    Many may underestimate the speed and magnitude of AI-driven change.
    The shift from traditional voice and data systems to AI-driven network intelligence is already underway.
    Although predictions abound, the true scope remains unclear.
    It’s tempting to assume we understand AI’s trajectory, but history suggests otherwise.

    Today, AI is already automating maintenance and optimizing performance without user disruption. The technologies we’ll rely on in the near future may still be on the drawing board.
    Few predicted that smartphones would emerge from analog beginnings—a reminder of how quickly foundational technologies can be reimagined.
    History shows that disruptive technologies rarely follow predictable paths — and AI is no exception. It’s already upending business models across industries.
    Technological shifts bring both new opportunities and complex trade-offs.
    AI Disruption Will Move Faster Than Ever
    The same cycle of reinvention is happening now — but with AI, it’s moving at unprecedented speed.
    Despite all the discussion, many still treat AI as a future concern — yet the shift is already well underway.
    As with every major technological leap, there will be gains and losses. The AI transition brings clear trade-offs: efficiency and innovation on one side, job displacement, and privacy erosion on the other.
    Unlike past tech waves that unfolded over decades, the AI shift will reshape industries in just a few years — and that change wave will only continue to move forward.
    AI Will Reshape All Sectors and Companies
    This shift will unfold faster than most organizations or individuals are prepared to handle.
    Today’s industries will likely look very different tomorrow. Entirely new sectors will emerge as legacy models become obsolete — redefining market leadership across industries.
    Telecom’s past holds a clear warning: market dominance can vanish quickly when companies ignore disruption.
    Eventually, the Baby Bells moved into long-distance service, while AT&T remained barred from selling local access — undermining its advantage.
    As the market shifted and competitors gained ground, AT&T lost its dominance and became vulnerable enough that SBC, a former regional Bell, acquired it and took on its name.

    It’s a case study of how incumbents fall when they fail to adapt — precisely the kind of pressure AI is now exerting across industries.
    SBC’s acquisition of AT&T flipped the power dynamic — proof that size doesn’t protect against disruption.
    The once-crowded telecom field has consolidated into just a few dominant players — each facing new threats from AI-native challengers.
    Legacy telecom models are being steadily displaced by faster, more flexible wireless, broadband, and streaming alternatives.
    No Industry Is Immune From AI Disruption
    AI will accelerate the next wave of industrial evolution — bringing innovations and consequences we’re only beginning to grasp.
    New winners will emerge as past leaders struggle to hang on — a shift that will also reshape the investment landscape. Startups leveraging AI will likely redefine leadership in sectors where incumbents have grown complacent.
    Nvidia’s rise is part of a broader trend: the next market leaders will emerge wherever AI creates a clear competitive advantage — whether in chips, code, or entirely new markets.
    The AI-driven future is arriving faster than most organizations are ready for. Adapting to this accelerating wave of change is no longer optional — it’s essential. Companies that act decisively today will define the winners of tomorrow.
    #networks #business #models #rewiring #telecom
    From Networks to Business Models, AI Is Rewiring Telecom
    Artificial intelligence is already rewriting the rules of wireless and telecom — powering predictive maintenance, streamlining network operations, and enabling more innovative services. As AI scales, the disruption will be faster, deeper, and harder to reverse than any prior shift in the industry. Compared to the sweeping changes AI is set to unleash, past telecom innovations look incremental. AI is redefining how networks operate, services are delivered, and data is secured — across every device and digital touchpoint. AI Is Reshaping Wireless Networks Already Artificial intelligence is already transforming wireless through smarter private networks, fixed wireless access, and intelligent automation across the stack. AI detects and resolves network issues before they impact service, improving uptime and customer satisfaction. It’s also opening the door to entirely new revenue streams and business models. Each wireless generation brought new capabilities. AI, however, marks a more profound shift — networks that think, respond, and evolve in real time. AI Acceleration Will Outpace Past Tech Shifts Many may underestimate the speed and magnitude of AI-driven change. The shift from traditional voice and data systems to AI-driven network intelligence is already underway. Although predictions abound, the true scope remains unclear. It’s tempting to assume we understand AI’s trajectory, but history suggests otherwise. Today, AI is already automating maintenance and optimizing performance without user disruption. The technologies we’ll rely on in the near future may still be on the drawing board. Few predicted that smartphones would emerge from analog beginnings—a reminder of how quickly foundational technologies can be reimagined. History shows that disruptive technologies rarely follow predictable paths — and AI is no exception. It’s already upending business models across industries. Technological shifts bring both new opportunities and complex trade-offs. AI Disruption Will Move Faster Than Ever The same cycle of reinvention is happening now — but with AI, it’s moving at unprecedented speed. Despite all the discussion, many still treat AI as a future concern — yet the shift is already well underway. As with every major technological leap, there will be gains and losses. The AI transition brings clear trade-offs: efficiency and innovation on one side, job displacement, and privacy erosion on the other. Unlike past tech waves that unfolded over decades, the AI shift will reshape industries in just a few years — and that change wave will only continue to move forward. AI Will Reshape All Sectors and Companies This shift will unfold faster than most organizations or individuals are prepared to handle. Today’s industries will likely look very different tomorrow. Entirely new sectors will emerge as legacy models become obsolete — redefining market leadership across industries. Telecom’s past holds a clear warning: market dominance can vanish quickly when companies ignore disruption. Eventually, the Baby Bells moved into long-distance service, while AT&T remained barred from selling local access — undermining its advantage. As the market shifted and competitors gained ground, AT&T lost its dominance and became vulnerable enough that SBC, a former regional Bell, acquired it and took on its name. It’s a case study of how incumbents fall when they fail to adapt — precisely the kind of pressure AI is now exerting across industries. SBC’s acquisition of AT&T flipped the power dynamic — proof that size doesn’t protect against disruption. The once-crowded telecom field has consolidated into just a few dominant players — each facing new threats from AI-native challengers. Legacy telecom models are being steadily displaced by faster, more flexible wireless, broadband, and streaming alternatives. No Industry Is Immune From AI Disruption AI will accelerate the next wave of industrial evolution — bringing innovations and consequences we’re only beginning to grasp. New winners will emerge as past leaders struggle to hang on — a shift that will also reshape the investment landscape. Startups leveraging AI will likely redefine leadership in sectors where incumbents have grown complacent. Nvidia’s rise is part of a broader trend: the next market leaders will emerge wherever AI creates a clear competitive advantage — whether in chips, code, or entirely new markets. The AI-driven future is arriving faster than most organizations are ready for. Adapting to this accelerating wave of change is no longer optional — it’s essential. Companies that act decisively today will define the winners of tomorrow. #networks #business #models #rewiring #telecom
    From Networks to Business Models, AI Is Rewiring Telecom
    Artificial intelligence is already rewriting the rules of wireless and telecom — powering predictive maintenance, streamlining network operations, and enabling more innovative services. As AI scales, the disruption will be faster, deeper, and harder to reverse than any prior shift in the industry. Compared to the sweeping changes AI is set to unleash, past telecom innovations look incremental. AI is redefining how networks operate, services are delivered, and data is secured — across every device and digital touchpoint. AI Is Reshaping Wireless Networks Already Artificial intelligence is already transforming wireless through smarter private networks, fixed wireless access (FWA), and intelligent automation across the stack. AI detects and resolves network issues before they impact service, improving uptime and customer satisfaction. It’s also opening the door to entirely new revenue streams and business models. Each wireless generation brought new capabilities. AI, however, marks a more profound shift — networks that think, respond, and evolve in real time. AI Acceleration Will Outpace Past Tech Shifts Many may underestimate the speed and magnitude of AI-driven change. The shift from traditional voice and data systems to AI-driven network intelligence is already underway. Although predictions abound, the true scope remains unclear. It’s tempting to assume we understand AI’s trajectory, but history suggests otherwise. Today, AI is already automating maintenance and optimizing performance without user disruption. The technologies we’ll rely on in the near future may still be on the drawing board. Few predicted that smartphones would emerge from analog beginnings—a reminder of how quickly foundational technologies can be reimagined. History shows that disruptive technologies rarely follow predictable paths — and AI is no exception. It’s already upending business models across industries. Technological shifts bring both new opportunities and complex trade-offs. AI Disruption Will Move Faster Than Ever The same cycle of reinvention is happening now — but with AI, it’s moving at unprecedented speed. Despite all the discussion, many still treat AI as a future concern — yet the shift is already well underway. As with every major technological leap, there will be gains and losses. The AI transition brings clear trade-offs: efficiency and innovation on one side, job displacement, and privacy erosion on the other. Unlike past tech waves that unfolded over decades, the AI shift will reshape industries in just a few years — and that change wave will only continue to move forward. AI Will Reshape All Sectors and Companies This shift will unfold faster than most organizations or individuals are prepared to handle. Today’s industries will likely look very different tomorrow. Entirely new sectors will emerge as legacy models become obsolete — redefining market leadership across industries. Telecom’s past holds a clear warning: market dominance can vanish quickly when companies ignore disruption. Eventually, the Baby Bells moved into long-distance service, while AT&T remained barred from selling local access — undermining its advantage. As the market shifted and competitors gained ground, AT&T lost its dominance and became vulnerable enough that SBC, a former regional Bell, acquired it and took on its name. It’s a case study of how incumbents fall when they fail to adapt — precisely the kind of pressure AI is now exerting across industries. SBC’s acquisition of AT&T flipped the power dynamic — proof that size doesn’t protect against disruption. The once-crowded telecom field has consolidated into just a few dominant players — each facing new threats from AI-native challengers. Legacy telecom models are being steadily displaced by faster, more flexible wireless, broadband, and streaming alternatives. No Industry Is Immune From AI Disruption AI will accelerate the next wave of industrial evolution — bringing innovations and consequences we’re only beginning to grasp. New winners will emerge as past leaders struggle to hang on — a shift that will also reshape the investment landscape. Startups leveraging AI will likely redefine leadership in sectors where incumbents have grown complacent. Nvidia’s rise is part of a broader trend: the next market leaders will emerge wherever AI creates a clear competitive advantage — whether in chips, code, or entirely new markets. The AI-driven future is arriving faster than most organizations are ready for. Adapting to this accelerating wave of change is no longer optional — it’s essential. Companies that act decisively today will define the winners of tomorrow.
    0 Commentarii 0 Distribuiri
  • Sony is Still Putting Its Faith in ‘Marathon’

    Bungie’s Marathon is still coming out, and when it does, PlayStation plans on giving the extraction shooter a fair shot. During a recent investor interview, Sony Interactive Entertainment head Herman Hulst assured the game would come out before March 31, 2026, when Sony’s fiscal year ends. Touching on its recent alpha test, he descbied the feedback as “varied, but super useful.The constant testing, the constant re-validation of assumptions that we just talked about, to me is just so valuable to iterate and to constantly improve the title, so when launch comes, we’re going to give the title the optimal chance of success.” Hanging over PlayStation is 2024’s sci-fi shooter Concord, which shut down weeks after launch and later led to developer Firewalk Studios closing down. That’s been just one of several botched attempts from PlayStation’s attempts to enter live-service games, which includes several canceled projects and layoffs across its first-party studios. While acknowledging these “unique challenges” and attributing Concord’s failure to the “hypercompetitive market” of hero shooters, Hulst talked up how they’re avoiding the same mistakes with Marathon. “It’s going to be the first new Bungie title in over a decade, and it’s our goal to release a very bold, very innovative, and deeply engaging title. We’re monitoring the closed alpha cycle the team has just gone through. We’re taking all the lessons learned, we’re using the capabilities we’ve built and analytics and user testing to understand how audiences are engaging with the title.”

    One thing Hulst didn’t touch on, though, was the recent accusations of art plagiarism levvied against Bungie. In May, artist Fern “Antireal” Hook released evidence alleging the studio stole assets she made from previous work and failed to credit her. After investigating, Bungie attributed the theft to the work of a former employee, publicly apologized, and said it would do “everything we can to make this right” with Hook. It also promised to review all in-game assets and replace “questionably sourced” art with original, in-house work. With the mention of its arriving before the fiscal year ends, Marathon may be delayed out of its current September 23 launch. At time of writing, Bungie and PlayStation have kept mum on a potential delay, but the game failed to make an appearance at PlayStation’s recent State of Play in early June.Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
    #sony #still #putting #its #faith
    Sony is Still Putting Its Faith in ‘Marathon’
    Bungie’s Marathon is still coming out, and when it does, PlayStation plans on giving the extraction shooter a fair shot. During a recent investor interview, Sony Interactive Entertainment head Herman Hulst assured the game would come out before March 31, 2026, when Sony’s fiscal year ends. Touching on its recent alpha test, he descbied the feedback as “varied, but super useful.The constant testing, the constant re-validation of assumptions that we just talked about, to me is just so valuable to iterate and to constantly improve the title, so when launch comes, we’re going to give the title the optimal chance of success.” Hanging over PlayStation is 2024’s sci-fi shooter Concord, which shut down weeks after launch and later led to developer Firewalk Studios closing down. That’s been just one of several botched attempts from PlayStation’s attempts to enter live-service games, which includes several canceled projects and layoffs across its first-party studios. While acknowledging these “unique challenges” and attributing Concord’s failure to the “hypercompetitive market” of hero shooters, Hulst talked up how they’re avoiding the same mistakes with Marathon. “It’s going to be the first new Bungie title in over a decade, and it’s our goal to release a very bold, very innovative, and deeply engaging title. We’re monitoring the closed alpha cycle the team has just gone through. We’re taking all the lessons learned, we’re using the capabilities we’ve built and analytics and user testing to understand how audiences are engaging with the title.” One thing Hulst didn’t touch on, though, was the recent accusations of art plagiarism levvied against Bungie. In May, artist Fern “Antireal” Hook released evidence alleging the studio stole assets she made from previous work and failed to credit her. After investigating, Bungie attributed the theft to the work of a former employee, publicly apologized, and said it would do “everything we can to make this right” with Hook. It also promised to review all in-game assets and replace “questionably sourced” art with original, in-house work. With the mention of its arriving before the fiscal year ends, Marathon may be delayed out of its current September 23 launch. At time of writing, Bungie and PlayStation have kept mum on a potential delay, but the game failed to make an appearance at PlayStation’s recent State of Play in early June.Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #sony #still #putting #its #faith
    GIZMODO.COM
    Sony is Still Putting Its Faith in ‘Marathon’
    Bungie’s Marathon is still coming out, and when it does, PlayStation plans on giving the extraction shooter a fair shot. During a recent investor interview, Sony Interactive Entertainment head Herman Hulst assured the game would come out before March 31, 2026, when Sony’s fiscal year ends. Touching on its recent alpha test, he descbied the feedback as “varied, but super useful. […] The constant testing, the constant re-validation of assumptions that we just talked about, to me is just so valuable to iterate and to constantly improve the title, so when launch comes, we’re going to give the title the optimal chance of success.” Hanging over PlayStation is 2024’s sci-fi shooter Concord, which shut down weeks after launch and later led to developer Firewalk Studios closing down. That’s been just one of several botched attempts from PlayStation’s attempts to enter live-service games, which includes several canceled projects and layoffs across its first-party studios. While acknowledging these “unique challenges” and attributing Concord’s failure to the “hypercompetitive market” of hero shooters, Hulst talked up how they’re avoiding the same mistakes with Marathon. “It’s going to be the first new Bungie title in over a decade, and it’s our goal to release a very bold, very innovative, and deeply engaging title. We’re monitoring the closed alpha cycle the team has just gone through. We’re taking all the lessons learned, we’re using the capabilities we’ve built and analytics and user testing to understand how audiences are engaging with the title.” One thing Hulst didn’t touch on, though, was the recent accusations of art plagiarism levvied against Bungie. In May, artist Fern “Antireal” Hook released evidence alleging the studio stole assets she made from previous work and failed to credit her. After investigating, Bungie attributed the theft to the work of a former employee, publicly apologized, and said it would do “everything we can to make this right” with Hook. It also promised to review all in-game assets and replace “questionably sourced” art with original, in-house work. With the mention of its arriving before the fiscal year ends, Marathon may be delayed out of its current September 23 launch. At time of writing, Bungie and PlayStation have kept mum on a potential delay, but the game failed to make an appearance at PlayStation’s recent State of Play in early June. [via IGN] Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
    0 Commentarii 0 Distribuiri
  • Marvel’s Wolverine and Intergalactic Will Launch After March 2026, Sony Confirms

    Sony has confirmed that Marvel’s Wolverine and Intergalactic won’t launch this fiscal year. This year’s Business Segment Presentation and Fireside Chat listed both titles under “Upcoming” for its annual tentpole single-player releases.

    Sucker Punch Productions’ Ghost of Yōtei and Kojima Productions’ Death Stranding 2: On the Beach are listed as this year’s major releases, both launching before March 31st, 2026. Granted, it doesn’t outright confirm when Intergalactic or Marvel’s Wolverine will launch, so even launching in fiscal year 2027 isn’t a guarantee. Bloomberg’s Jason Schreier previously reported that Naughty Dog’s sci-fi action title wouldn’t be released in 2026.

    As for what titles could fill that gap, Naughty Dog president Neil Druckmann confirmed he’s working on an unannounced title as a producer. If it’s arriving later next year, perhaps there will be an announcement in the coming months.

    In the meantime, Death Stranding 2: On the Beach launches on June 26th for PS5, followed by Ghost of Yōtei on October 2nd. The latter will receive a deep dive next month.
    #marvels #wolverine #intergalactic #will #launch
    Marvel’s Wolverine and Intergalactic Will Launch After March 2026, Sony Confirms
    Sony has confirmed that Marvel’s Wolverine and Intergalactic won’t launch this fiscal year. This year’s Business Segment Presentation and Fireside Chat listed both titles under “Upcoming” for its annual tentpole single-player releases. Sucker Punch Productions’ Ghost of Yōtei and Kojima Productions’ Death Stranding 2: On the Beach are listed as this year’s major releases, both launching before March 31st, 2026. Granted, it doesn’t outright confirm when Intergalactic or Marvel’s Wolverine will launch, so even launching in fiscal year 2027 isn’t a guarantee. Bloomberg’s Jason Schreier previously reported that Naughty Dog’s sci-fi action title wouldn’t be released in 2026. As for what titles could fill that gap, Naughty Dog president Neil Druckmann confirmed he’s working on an unannounced title as a producer. If it’s arriving later next year, perhaps there will be an announcement in the coming months. In the meantime, Death Stranding 2: On the Beach launches on June 26th for PS5, followed by Ghost of Yōtei on October 2nd. The latter will receive a deep dive next month. #marvels #wolverine #intergalactic #will #launch
    GAMINGBOLT.COM
    Marvel’s Wolverine and Intergalactic Will Launch After March 2026, Sony Confirms
    Sony has confirmed that Marvel’s Wolverine and Intergalactic won’t launch this fiscal year. This year’s Business Segment Presentation and Fireside Chat listed both titles under “Upcoming” for its annual tentpole single-player releases. Sucker Punch Productions’ Ghost of Yōtei and Kojima Productions’ Death Stranding 2: On the Beach are listed as this year’s major releases, both launching before March 31st, 2026. Granted, it doesn’t outright confirm when Intergalactic or Marvel’s Wolverine will launch, so even launching in fiscal year 2027 isn’t a guarantee. Bloomberg’s Jason Schreier previously reported that Naughty Dog’s sci-fi action title wouldn’t be released in 2026. As for what titles could fill that gap, Naughty Dog president Neil Druckmann confirmed he’s working on an unannounced title as a producer. If it’s arriving later next year, perhaps there will be an announcement in the coming months. In the meantime, Death Stranding 2: On the Beach launches on June 26th for PS5, followed by Ghost of Yōtei on October 2nd. The latter will receive a deep dive next month.
    0 Commentarii 0 Distribuiri
  • Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more

    Not Ready

    Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more
    Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered.

    Image credit: Capcom/Summer Game Fest

    News

    by Sherif Saed
    Contributing Editor

    Updated on June 6, 2025

    The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed.
    During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised.

    To see this content please enable targeting cookies.

    A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026.
    The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it.
    Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for.
    As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S.
    #resident #evil #real #arriving #next
    Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more
    Not Ready Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered. Image credit: Capcom/Summer Game Fest News by Sherif Saed Contributing Editor Updated on June 6, 2025 The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed. During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised. To see this content please enable targeting cookies. A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026. The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it. Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for. As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S. #resident #evil #real #arriving #next
    WWW.VG247.COM
    Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more
    Not Ready Resident Evil 9 is real, arriving next year, and it's looking like it'll be amping up the horror once more Everyone hoped that Summer Game Fest would see the next Resident Evil finally revealed, and the show sure delivered. Image credit: Capcom/Summer Game Fest News by Sherif Saed Contributing Editor Updated on June 6, 2025 The impending announcement of Resident Evil 9 has been sort of hovering around for what felt like months. Insiders have been claiming for a while that we were about to see it at this or that show, but it somehow never materialised - and it looks like today's the day that's finally changed. During today’s Summer Game Fest kick-off showcase, Capcom delivered a brief message about the upcoming sequel in the legendary horror series. In a short video, Jun Takeuchi thanked fans for their support of the Resident Evil series and stated that there'll be more news soon, when the developer is ready. This lead most to believe that we wouldn't be seeing Resident Evil 9 today, but as the show closed, everyone was surprised. To see this content please enable targeting cookies. A horrifying brief trailer, Resident Evil 9 is being dubbed Resident Evil Requiem, and looks to be inviting players into a much scarier experience - akin to Resident Evil Biohazard - this time around. The better news? It'll be playable as of February 27, 2026. The game has actually been teased by Capcom in recent videos from the publisher, such as the one published to celebrate Resident Evil 4 selling 10 million copies. It was so subtle, however, you may not have spotted it. Resident Evil 9 is being said to represent a big step forward for the series, though maybe not quite to the degree earlier reports have made it out to be; time will only tell. There’s obviously plenty we still do not know, including how much of the final game will resemble those leaks. Either way, Capcom have been doing this a while now, and it'll no doubt be the survival horror-action romp all Resi fans have been waiting for. As it’s often the case, however, more will certainly be revealed between now Resident Evil 9’s launch next year. The game is in development for PC, PS5, and Xbox Series X/S.
    Like
    Love
    Wow
    Sad
    Angry
    626
    0 Commentarii 0 Distribuiri
  • The Invisible Visual Effects Secrets of ‘Severance’ with ILM’s Eric Leven

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

    Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on InstagramBlueskyor X.
    #invisible #visual #effects #secrets #severance
    The Invisible Visual Effects Secrets of ‘Severance’ with ILM’s Eric Leven
    ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance. About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five.Before we dig in, a word of caution. This article contains plot spoilers for Severance.Severance tells the story of Mark Scout, department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement, a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R., Dylan G., and Irving B., have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running ManThe season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics.” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.”. 2. Let it SnowThe MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com.. 3. Welcome to LumonThe historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eaganmaking her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchickriding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.”. 4. Time in MotionEpisode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummondand Dr. Mauerstanding behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. MarkThe Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Bentrust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band MagicFinally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital.. A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on InstagramBlueskyor X. #invisible #visual #effects #secrets #severance
    WWW.ILM.COM
    The Invisible Visual Effects Secrets of ‘Severance’ with ILM’s Eric Leven
    ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).
    Like
    Love
    Wow
    Sad
    Angry
    682
    0 Commentarii 0 Distribuiri