By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot

microphones, inductors, Charles Steinmetz, Henry Ford, engineering anecdotes, electrical engineering, innovation, inspiration, storytelling ## The Legacy of Charles Steinmetz: An Ingenious Fixer In the world of electrical engineering, stories of innovation and brilliance often blend into the fabric of legends. One such tale is that of Charles Steinmetz, a remarkably gifted engineer who left...

Image by Andrew BrodheadResearchers have developed a novel device that literally spins away the clots that block blood flow to the brain and cause strokes.As Stanford explains in a blurb, the novel milli-spinner device may be able to save the lives of patients who experience "ischemic stroke" from brain stem clotting.Traditional clot removal, a process known as thrombectomy, generally uses a catheter that either vacuums up the blood blockage or uses a wire mesh to ensnare it — a procedure that's as rough and imprecise as it sounds. Conventional thrombectomy has a very low efficacy rate because of this imprecision, and the procedure can result in pieces of the clot breaking off and moving to more difficult-to-reach regions.Thrombectomy via milli-spinner also enters the brain with a catheter, but instead of using a normal vacuum device, it employs a spinning tube outfitted with fins and slits that can suck up the clot much more meticulously.Stanford neuroimaging expert Jeremy Heit, who also coauthored a new paper about the device in the journal Nature, explained in the school's press release that the efficacy of the milli-spinner is "unbelievable.""For most cases, we’re more than doubling the efficacy of current technology, and for the toughest clots — which we’re only removing about 11 percent of the time with current devices — we’re getting the artery open on the first try 90 percent of the time," Heit said. "This is a sea-change technology that will drastically improve our ability to help people."Renee Zhao, the senior author of the Nature paper who teaches mechanical engineering at Stanford and creates what she calls "millirobots," said that conventional thrombectomies just aren't cutting it."With existing technology, there’s no way to reduce the size of the clot," Zhao said. "They rely on deforming and rupturing the clot to remove it.""What’s unique about the milli-spinner is that it applies compression and shear forces to shrink the entire clot," she continued, "dramatically reducing the volume without causing rupture."Indeed, as the team discovered, the device can cut and vacuum up to five percent of its original size."It works so well, for a wide range of clot compositions and sizes," Zhao said. "Even for tough... clots, which are impossible to treat with current technologies, our milli-spinner can treat them using this simple yet powerful mechanics concept to densify the fibrin network and shrink the clot."Though its main experimental use case is brain clot removal, Zhao is excited about its other uses, too."We’re exploring other biomedical applications for the milli-spinner design, and even possibilities beyond medicine," the engineer said. "There are some very exciting opportunities ahead."More on brains: The Microplastics in Your Brain May Be Causing Mental Health IssuesShare This Article

Winter is well and truly biting, but this fresh crop of game deals is bringing the heat. From mythological mayhem to pocket-sized platformers, there’s something here for every taste and timeframe. If your digital shelf could use a mid-year injection of chaos, charm, or challenge, this week’s offerings are primed to please.This Day in Gaming 🎂In retro news, I’m lighting a 26‑candle cake for Silent Hill, the fog‑laden survival horror fest that kept '99-era me perched on a seat with barely 2% of the surface area of one butt cheek. I still remember tentatively sweeping my flashlight across those grainy, polygonal streets, only to have the beam half illuminate some scurrying something in the dark. Though the OG Resident Evil certainly vexed me first, the unique magic of Silent Hill lay in how its graphical limitations—thick fog and encroaching darkness—became tools of terror rather than platform limitations. Every ring of static from your radio or *that* air raid siren heralding the "other plane" of this madhouse could ratchet up the dread in an instant. Lastly, I recall working game retail at launch and having to help absolutely bloody everybody with a solution to the piano puzzle.Tank controls and (hardware induced) bugger all visibility. OG Silent Hill was terrifying.Aussie bdays for notable games- Silent Hill (PS) 1999. Redux- Marvel vs. Capcom 2 (DC) 2000. Redux- The Conduit (Wii) 2009. eBay- Monster Hunter Generations (3DS) 2016. eBayContentsNice Savings for Nintendo SwitchAvailable now!Nintendo Switch 2 ConsoleNintendo Switch 2 + Mario Kart WorldNintendo kicks things off with Persona 5 Royal for A$66.60, a lavishly expanded edition of the genre-defining RPG whose original director Katsura Hashino was inspired by Carl Jung’s theories of the psyche. 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Also notable is Lies of P at A$76.40, the Pinocchio-meets-Bloodborne mash-up that lets you lie in dialogue choices for combat perks.Lies of P (-15%) - A$76.40The Alters (-30%) - A$35.60Clair Obscur: Expedition 33 (-18%) - A$57.30Silent Hill 2 (-40%) - A$61.50Forza Horizon 5 (-65%) - A$31.40Resident Evil 4 (-50%) - A$29.90Expiring Recent DealsOr just get a Steam Wallet CardPC Hardware PricesSlay your pile of shame.Official launch in NovSteam Deck 256GB LCD: $649 | Steam Deck 512GB OLED: $899 | Steam Deck 1TB OLED: $1,049See it at SteamLaptop DealsDesktop DealsLenovo neo 50a G5 27" AIO (-47%) – A$1,379Lenovo neo 50q G4 Tiny (-35%) – A$639Lenovo neo 50t G5 Tower (-20%) – A$871.20Legion Tower 5i G8 (-29%) – A$1,899Monitor DealsSamsung QE50T 50" (-31%) – A$596ARZOPA 16.1" 144Hz (-55%) – A$159.99Z-Edge 27" 240Hz (-15%) – A$237.99Gawfolk 34" WQHD (-28%) – A$359LG 27" Ultragear (-42%) – A$349Component DealsStorage DealsBack to topLegit LEGO DealsExpiring Recent DealsBack to topHot Headphones DealsAudiophilia for lessBose QuietComfort Ultra Wireless (-38%) – A$399.95Soundcore by Anker Q20i (-43%) – A$68.79Sony MDR7506 Professional (-30%) – A$169Technics Premium (-46%) – A$299Bose SoundLink Flex (-31%) – A$171JBL Charge 5 - Portable Speaker (-28%) – A$144JBL Flip Essential 2 Waterproof Speaker (-26%) – A$96Sony SRS-XB100 Travel Speaker (-41%) – A$84.15Ultimate Ears Boom 3 Portable Speaker (-41%) – A$134.95Samsung Galaxy Buds2 Pro (-26%) – A$259.29Sennheiser Momentum 4 Wireless (-46%) – A$275Back to topTerrific TV DealsDo right by your console, upgrade your tellyLG 43" UT80 4K (-24%) – A$635Kogan 65" QLED 4K (-50%) – A$699Kogan 55" QLED 4K (-45%) – A$549LG 55" UT80 4K (-28%) – A$866Prism+ Q75 Ultra 75" 4K QLED (-47%) – A$1,229Gaimoo Mini Projector 1080p w/ 4K (-33%) – A$119.99GooDee 4K Projector (-58%) – A$169.99VOPLLS Mini Projector 4K (-19%) – A$168.99XuanPad Mini Projector (-36%) – A$128.99LG S70TY Q Series Sound Barn*-22%) – A$546Sony HTG700 Atmos Soundbar (-15%) – A$594Yamaha NS-SW050 Subwoofer (-13%) – A$270Smart Home DealsBack to top Adam Mathew is our Aussie deals wrangler. He plays practically everything, often on YouTube.

“Wait, can users actually add products to the cart?”Every prototype faces that question or one like it. You start to explain it’s “just Figma,” “just dummy data,” but what if you didn’t need disclaimers?What if you could hand clients—or your team—a working, data-connected mock-up of their website, or new pages and components, in less time than it takes to wireframe?That’s the challenge we’ll tackle today. But first, we need to look at:The problem with today’s prototyping toolsPick two: speed, flexibility, or interactivity.The prototyping ecosystem, despite having amazing software that addresses a huge variety of needs, doesn’t really have one tool that gives you all three.Wireframing apps let you draw boxes in minutes but every button is fake. Drag-and-drop builders animate scroll triggers until you ask for anything off-template. Custom code frees you… after you wave goodbye to a few afternoons.AI tools haven’t smashed the trade-off; they’ve just dressed it in flashier costumes. One prompt births a landing page, the next dumps a 2,000-line, worse-than-junior-level React file in your lap. The bottleneck is still there. Builder’s approach to website mockupsWe’ve been trying something a little different to maintain speed, flexibility, and interactivity while mocking full websites. Our AI-driven visual editor:Spins up a repo in seconds or connects to your existing one to use the code as design inspiration. React, Vue, Angular, and Svelte all work out of the box. Lets you shape components via plain English, visual edits, copy/pasted Figma frames, web inspos, MCP tools, and constant visual awareness of your entire website. Commits each change as a clean GitHub pull request your team can review like hand-written code. All your usual CI checks and lint rules apply.And if you need a tweak, you can comment to @builderio-bot right in the GitHub PR to make asynchronous changes without context switching.This results in a live site the café owner can interact with today, and a branch your devs can merge tomorrow. Stakeholders get to click actual buttons and trigger real state—no more “so, just imagine this works” demos.Let’s see it in action.From blank canvas to working mockup in five promptsToday, I’m going to mock up a fake business website. You’re welcome to create a real one.Before we fire off a single prompt, grab a note and write:Business name & vibe Core pages Primary goal Brand palette & toneThat’s it. Don’t sweat the details—we can always iterate. For mine, I wrote:1. Sunny Trails Bakery — family-owned, feel-good, smells like warm cinnamon. 2. Home, About, Pricing / Subscription Box, Menu (with daily specials). 3. Drive online orders and foot traffic—every CTA should funnel toward “Order Now” or “Reserve a Table.” 4. Warm yellow, chocolate brown, rounded typography, playful copy.We’re not trying to fit everything here. What matters is clarity on what we’re creating, so the AI has enough context to produce usable scaffolds, and so later tweaks stay aligned with the client’s vision. Builder will default to using React, Vite, and Tailwind. If you want a different JS framework, you can link an existing repo in that stack. In the near future, you won’t need to do this extra step to get non-React frameworks to function.(Free tier Builder gives you 5 AI credits/day and 25/month—plenty to follow along with today’s demo. Upgrade only when you need it.)An entire website from the first promptNow, we’re ready to get going.Head over to Builder.io and paste in this prompt or your own:Create a cozy bakery website called “Sunny Trails Bakery” with pages for: • Home • About • Pricing • Menu Brand palette: warm yellow and chocolate brown. Tone: playful, inviting. The restaurant is family-owned, feel-good, and smells like cinnamon. The goal of this site is to drive online orders and foot traffic—every CTA should funnel toward "Order Now" or "Reserve a Table."Once you hit enter, Builder will spin up a new dev container, and then inside that container, the AI will build out the first version of your site. You can leave the page and come back when it’s done.Now, before we go further, let’s create our repo, so that we get version history right from the outset. Click “Create Repo” up in the top right, and link your GitHub account.Once the process is complete, you’ll have a brand new repo.If you need any help on this step, or any of the below, check out these docs.Making the mockup’s order system workFrom our one-shot prompt, we’ve already got a really nice start for our client. However, when we press the “Order Now” button, we just get a generic alert. Let’s fix this.The best part about connecting to GitHub is that we get version control. Head back to your dashboard and edit the settings of your new project. We can give it a better name, and then, in the “Advanced” section, we can change the “Commit Mode” to “Pull Requests.”Now, we have the ability to create new branches right within Builder, allowing us to make drastic changes without worrying about the main version. This is also helpful if you’d like to show your client or team a few different versions of the same prototype.On a new branch, I’ll write another short prompt:Can you make the "Order Now" button work, even if it's just with dummy JSON for now?As you can see in the GIF above, Builder creates an ordering system and a fully mobile-responsive cart and checkout flow.Now, we can click “Send PR” in the top right, and we have an ordinary GitHub PR that can be reviewed and merged as needed.This is what’s possible in two prompts. For our third, let’s gussy up the style.If you’re like me, you might spend a lot of time admiring other people’s cool designs and learning how to code up similar components in your own style.Luckily, Builder has this capability, too, with our Chrome extension. I found a “Featured Posts” section on OpenAI’s website, where I like how the layout and scrolling work. We can copy and paste it onto our “Featured Treats” section, retaining our cafe’s distinctive brand style.Don’t worry—OpenAI doesn’t mind a little web scraping.You can do this with any component on any website, so your own projects can very quickly become a “best of the web” if you know what you’re doing.Plus, you can use Figma designs in much the same way, with even better design fidelity. Copy and paste a Figma frame with our Figma plugin, and tell the AI to either use the component as inspiration or as a 1:1 to reference for what the design should be.(You can grab our design-to-code guide for a lot more ideas of what this can help you accomplish.)Now, we’re ready to send our PR. This time, let’s take a closer look at the code the AI has created.As you can see, the code is neatly formatted into two reusable components. Scrolling down further, I find a CSS file and then the actual implementation on the homepage, with clean JSON to represent the dummy post data.Design tweaks to the mockup with visual editsOne issue that cropped up when the AI brought in the OpenAI layout is that it changed my text from “Featured Treats” to “Featured Stories & Treats.” I’ve realized I don’t like either, and I want to replace that text with: “Fresh Out of the Bakery.”It would be silly, though, to prompt the AI just for this small tweak. Let’s switch into edit mode.Edit Mode lets you select any component and change any of its content or underlying CSS directly. You get a host of Webflow-like options to choose from, so that you can finesse the details as needed.Once you’ve made all the visual changes you want—maybe tweaking a button color or a border radius—you can click “Apply Edits,” and the AI will ensure the underlying code matches your repo’s style.Async fixes to the mockup with Builder BotNow, our pull request is nearly ready to merge, but I found one issue with it:When we copied the OpenAI website layout earlier, one of the blog posts had a video as its featured graphic instead of just an image. This is cool for OpenAI, but for our bakery, I just wanted images in this section. Since I didn’t instruct Builder’s AI otherwise, it went ahead and followed the layout and created extra code for video capability.No problem. We can fix this inside GItHub with our final prompt. We just need to comment on the PR and tag builderio-bot. Within about a minute, Builder Bot has successfully removed the video functionality, leaving a minimal diff that affects only the code it needed to. For example: Returning to my project in Builder, I can see that the bot’s changes are accounted for in the chat window as well, and I can use the live preview link to make sure my site works as expected:Now, if this were a real project, you could easily deploy this to the web for your client. After all, you’ve got a whole GitHub repo. This isn’t just a mockup; it’s actual code you can tweak—with Builder or Cursor or by hand—until you’re satisfied to run the site in production.So, why use Builder to mock up your website?Sure, this has been a somewhat contrived example. A real prototype is going to look prettier, because I’m going to spend more time on pieces of the design that I don’t like as much.But that’s the point of the best AI tools: they don’t take you, the human, out of the loop.You still get to make all the executive decisions, and it respects your hard work. Since you can constantly see all the code the AI creates, work in branches, and prompt with component-level precision, you can stop worrying about AI overwriting your opinions and start using it more as the tool it’s designed to be.You can copy in your team’s Figma designs, import web inspos, connect MCP servers to get Jira tickets in hand, and—most importantly—work with existing repos full of existing styles that Builder will understand and match, just like it matched OpenAI’s layout to our little cafe.So, we get speed, flexibility, and interactivity all the way from prompt to PR to production.Try Builder today.

Key Takeaways on Ant PoopDo ants poop? Yes. Any creature that eats will poop and ants are no exception. Because ants live in close quarters, they need to protect the colony from their feces so bacteria and fungus doesn't infect their health. This is why they use toilet chambers. Whether they isolate it in a toilet chamber or kick it to the curb, ants don’t keep their waste around. But some ants find a use for that stuff. One such species is the leafcutter ant that takes little clippings of leaves and uses these leaves to grow a very particular fungus that they then eat.Like urban humans, ants live in close quarters. Ant colonies can be home to thousands, even tens of thousands of individuals, depending on the species. And like any creature that eats, ants poop. When you combine close quarters and loads of feces, you have a recipe for disease, says Jessica Ware, curator and division chair of Invertebrate Zoology at the American Museum of Natural History. “Ant poop can harbor bacteria, and because it contains partly undigested food, it can grow bacteria and fungus that could threaten the health of the colony,” Ware says. But ant colonies aren’t seething beds of disease. That’s because ants are scrupulous about hygiene.Ants Do Poop and Ant Toilets Are RealAnt colony underground with ant chambers. (Image Credit: Lidok_L/Shutterstock)To keep themselves and their nests clean, ants have evolved some interesting housekeeping strategies. Some types of ants actually have toilets — or at least something we might call toilets. Their nests are very complicated, with lots of different tunnels and chambers, explains Ware, and one of those chambers is a toilet chamber. Ants don’t visit the toilet when they feel the call of nature. Instead, worker ants who are on latrine duty collect the poop and carry it to the toilet chamber, which is located far away from other parts of the nest. What Does Ant Poop Look Like? This isn’t as messy a chore as it sounds. Like most insects, ants are water-limited, says Ware, so they try to get as much liquid out of their food as possible. This results in small, hard, usually black or brownish pellets of poop. The poop is dry and hard enough so that for ant species that don’t have indoor toilet chambers, the workers can just kick the poop out of the nest.Ants Use Poop as FertilizerWhether they isolate it in a toilet chamber or kick it to the curb, ants don’t keep their waste around. Well, at least most types of ants don’t. Some ants find a use for that stuff. One such species is the leafcutter ant. “They basically take little clippings of leaves and use these leaves to grow a very particular fungus that they then eat,” says Ware. “They don't eat the leaves, they eat the fungus.” And yep, they use their poop to fertilize their crops. “They’re basically gardeners,” Ware says. If you’d like to see leafcutter ants at work in their gardens and you happen to be in the New York City area, drop by the American Museum of Natural History. They have a large colony of fungus-gardening ants on display.Other Insects That Use ToiletsAnts may have toilets, but termites have even wilder ways of dealing with their wastes. Termites and ants might seem similar at first sight, but they aren’t closely related. Ants are more closely related to bees, while termites are more closely related to cockroaches, explains Aram Mikaelyan, an entomologist at North Carolina State University who studies the co-evolution of insects and their gut microbiomes. So ants’ and termites’ styles of social living evolved independently, and their solutions to the waste problem are quite different.“Termites have found a way to not distance themselves from the feces,” says Mikaelyan. “Instead, they use the feces itself as building material.” They’re able to do this because they feed on wood, Mikaelyan explains. When wood passes through the termites’ digestive systems into the poop, it enables a type of bacteria called Actinobacteria. These bacteria are the source of many antibiotics that humans use. (Leafcutter ants also use Actinobacteria to keep their fungus gardens free of parasites.) So that unusual building material acts as a disinfectant. Mikaelyan describes it as “a living disinfectant wall, like a Clorox wall, almost.”Insect HygieneIt may seem surprising that ants and termites are so tidy and concerned with hygiene, but it’s really not uncommon. “Insects in general are cleaner than we think,” says Ware. “We often think of insects as being really gross, but most insects don’t want to lie in their own filth.”Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:The American Society of Microbiology. The Leaf-cutter Ant’s 50 Million Years of FarmingAvery Hurt is a freelance science journalist. In addition to writing for Discover, she writes regularly for a variety of outlets, both print and online, including National Geographic, Science News Explores, Medscape, and WebMD. She’s the author of Bullet With Your Name on It: What You Will Probably Die From and What You Can Do About It, Clerisy Press 2007, as well as several books for young readers. Avery got her start in journalism while attending university, writing for the school newspaper and editing the student non-fiction magazine. Though she writes about all areas of science, she is particularly interested in neuroscience, the science of consciousness, and AI–interests she developed while earning a degree in philosophy.

DJI Osmo Action 4. Adrian Kingsley-Hughes/ZDNETMultiple DJI Osmo Action 4 packages are on sale at Amazon. Both the Essential and Standard Combos have been discounted to $249, while the Adventure Combo has dropped to $349.DJI might not be the first name on people's lips when it comes to action cameras, but the company that's better known for its drones also has a really solid line of action cameras. And its latest device, the Osmo Action 4 camera, has some very impressive tricks up its sleeve.Also: One of the most versatile cameras I've used is not from Sony or Canon and it's on saleSo, what sets this action camera apart from the competition? Let's take a look. details View at Amazon First off, this is not just an action camera -- it's a pro-grade action camera.From a hardware point of view, the Osmo Action 4 features a 1/1.3-inch image sensor that can record 4K at up to 120 frames per second (fps). This sensor is combined with a wide-angle f/2.8 aperture lens that provides an ultra-wide field of view of up to 155°. And that's wide. Build quality and fit and finish are second to none. Adrian Kingsley-Hughes/ZDNETFor when the going gets rough, the Osmo Action 4 offers 360° HorizonSteady stabilization modes, including RockSteady 3.0/3.0+ for first-person video footage and HorizonBalancing/HorizonSteady modes for horizontal shots. That's pro-grade hardware right there.Also: This new AI video editor is an all-in-one production service for filmmakers - how to try itThe Osmo Action 4 also features a 10-bit D-Log M color mode. This mode allows the sensor to record over one billion colors and offers a wider dynamic range, giving you a video that is more vivid and that offers greater detail in the highlights and shadows. This mode, combined with an advanced color temperature sensor, means that the colors have a true-to-life feel regardless of whether you're shooting outdoors, indoors, or even underwater. The DJI Osmo Action 4 ready for action. Adrian Kingsley-Hughes/ZDNETI've added some video output from the Osmo Action 4 below. There are examples in both 1080p and 4K. To test the stabilization, I attached the camera to the truck and took it on some roads, some of which are pretty rough. The Osmo Action 4 had no problem with that terrain. I also popped the camera into the sea, just because. And again, no problem.I've also captured a few time-lapses with the camera -- not because I like clouds (well, actually, I do like clouds), but pointing a camera at a sky can be a good test of how it handles changing light. Also: I recommend this action camera to beginners and professional creators. Here's whyTimelapses with action cameras can suffer from unsightly exposure changes that cause the image to pulse, a condition known as exposure pumping. This issue can also cause the white balance to change noticeably in a video, but the Osmo Action 4 handled this test well.All the footage I've shot is what I've come to expect from a DJI camera, whether it's from an action camera or drone -- crisp, clear, vivid, and also nice and stable.The Osmo Action 4 is packed with various electronic image-stabilization (EIS) tech to ensure that your footage is smooth and on the horizon. It's worth noting the limitations of EIS -- it's not supported in slow-motion and timelapse modes, and the HorizonSteady and HorizonBalancing features are only available for video recorded at 1080p (16:9) or 2.7K (16:9) with a frame rate of 60fps or below. On the durability front, I've no concerns. I've subjected the Osmo Action 4 to a hard few days of testing, and it's not let me down or complained once. It takes impacts like a champ, and being underwater or in dirt and sand is no problem at all. Also: I'm a full-time Canon photographer, but this Nikon camera made me wonder if I'm missing outYou might think that this heavy-duty testing would be hard on the camera's tiny batteries, but you'd be wrong. Remember I said the Osmo Action 4 offered hours of battery life? Well, I wasn't kidding.  The Osmo Action 4's ultra-long life batteries are incredible.  Adrian Kingsley-Hughes/ZDNETDJI says that a single battery can deliver up to 160 minutes of 1080p/24fps video recording (at room temperature, with RockSteady on, Wi-Fi off, and screen off). That's over two and a half hours of recording time. In the real world, I was blown away by how much a single battery can deliver. I shot video and timelapse, messed around with a load of camera settings, and then transferred that footage to my iPhone, and still had 16% battery left.No action camera has delivered so much for me on one battery. The two extra batteries and the multifunction case that come as part of the Adventure Combo are worth the extra $100. Adrian Kingsley-Hughes/ZDNETAnd when you're ready to recharge, a 30W USB-C charger can take a battery from zero to 80% in 18 minutes. That's also impressive.What's more, the batteries are resistant to cold, offering up to 150 minutes of 1080p/24fps recording in temperatures as low as -20°C (-4°F). This resistance also blows the competition away.Even taking into account all these strong points, the Osmo Action 4 offers even more.The camera has 2x digital zoom for better composition, Voice Prompts that let you know what the camera is doing without looking, and Voice Control that lets you operate the device without touching the screen or using the app. The Osmo Action 4 also digitally hides the selfie stick from a variety of different shots, and you can even connect the DJI Mic to the camera via the USB-C port for better audio capture.Also: Yes, an Android tablet finally made me reconsider my iPad Pro loyaltyAs for price, the Osmo Action 4 Standard Combo bundle comes in at $399, while the Osmo Action 4 Adventure Combo, which comes with two extra Osmo Action Extreme batteries, an additional mini Osmo Action quick-release adapter mount, a battery case that acts as a power bank, and a 1.5-meter selfie stick, is $499.I'm in love with the Osmo Action 4. It's hands down the best, most versatile, most powerful action camera on the market today, offering pro-grade features at a price that definitely isn't pro-grade.  Everything included in the Action Combo bundle. DJIDJI Osmo Action 4 tech specsDimensions: 70.5×44.2×32.8mmWeight: 145gWaterproof: 18m, up to 60m with the optional waterproof case Microphones: 3Sensor 1/1.3-inch CMOSLens: FOV 155°, aperture f/2.8, focus distance 0.4m to ∞Max Photo Resolution: 3648×2736Max Video Resolution: 4K (4:3): 3840×2880@24/25/30/48/50/60fps and 4K (16:9): 3840×2160@24/25/30/48/50/60/100/120fpsISO Range: 100-12800Front Screen: 1.4-inch, 323ppi, 320×320Rear Screen: 2.25-inch, 326ppi, 360×640Front/Rear Screen Brightness: 750±50 cd/m² Storage: microSD (up to 512GB)Battery: 1770mAh, lab tested to offer up to 160 minutes of runtime (tested at room temperature - 25°C/77°F - and 1080p/24fps, with RockSteady on, Wi-Fi off, and screen off)Operating Temperature: -20° to 45° C (-4° to 113° F)This article was originally published in August of 2023 and updated in March 2025.Featured reviews

Fewer food crops Biofuels policy has been a failure for the climate, new report claims Report: An expansion of biofuels policy under Trump would lead to more greenhouse gas emissions. Georgina Gustin, Inside Climate News – Jun 14, 2025 7:10 am | 24 An ethanol production plant on March 20, 2024 near Ravenna, Nebraska. Credit: David Madison/Getty Images An ethanol production plant on March 20, 2024 near Ravenna, Nebraska. Credit: David Madison/Getty Images Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more This article originally appeared on Inside Climate News, a nonprofit, non-partisan news organization that covers climate, energy, and the environment. Sign up for their newsletter here. The American Midwest is home to some of the richest, most productive farmland in the world, enabling its transformation into a vast corn- and soy-producing machine—a conversion spurred largely by decades-long policies that support the production of biofuels. But a new report takes a big swing at the ethanol orthodoxy of American agriculture, criticizing the industry for causing economic and social imbalances across rural communities and saying that the expansion of biofuels will increase greenhouse gas emissions, despite their purported climate benefits. The report, from the World Resources Institute, which has been critical of US biofuel policy in the past, draws from 100 academic studies on biofuel impacts. It concludes that ethanol policy has been largely a failure and ought to be reconsidered, especially as the world needs more land to produce food to meet growing demand. “Multiple studies show that US biofuel policies have reshaped crop production, displacing food crops and driving up emissions from land conversion, tillage, and fertilizer use,” said the report’s lead author, Haley Leslie-Bole. “Corn-based ethanol, in particular, has contributed to nutrient runoff, degraded water quality and harmed wildlife habitat. As climate pressures grow, increasing irrigation and refining for first-gen biofuels could deepen water scarcity in already drought-prone parts of the Midwest.” The conversion of Midwestern agricultural land has been sweeping. Between 2004 and 2024, ethanol production increased by nearly 500 percent. Corn and soybeans are now grown on 92 and 86 million acres of land respectively—and roughly a third of those crops go to produce ethanol. That means about 30 million acres of land that could be used to grow food crops are instead being used to produce ethanol, despite ethanol only accounting for 6 percent of the country’s transportation fuel. The biofuels industry—which includes refiners, corn and soy growers and the influential agriculture lobby writ large—has long insisted that corn- and soy-based biofuels provide an energy-efficient alternative to fossil-based fuels. Congress and the US Department of Agriculture have agreed. The country’s primary biofuels policy, the Renewable Fuel Standard, requires that biofuels provide a greenhouse gas reduction over fossil fuels: The law says that ethanol from new plants must deliver a 20 percent reduction in greenhouse gas emissions compared to gasoline. In addition to greenhouse gas reductions, the industry and its allies in Congress have also continued to say that ethanol is a primary mainstay of the rural economy, benefiting communities across the Midwest. But a growing body of research—much of which the industry has tried to debunk and deride—suggests that ethanol actually may not provide the benefits that policies require. It may, in fact, produce more greenhouse gases than the fossil fuels it was intended to replace. Recent research says that biofuel refiners also emit significant amounts of carcinogenic and dangerous substances, including hexane and formaldehyde, in greater amounts than petroleum refineries. The new report points to research saying that increased production of biofuels from corn and soy could actually raise greenhouse gas emissions, largely from carbon emissions linked to clearing land in other countries to compensate for the use of land in the Midwest. On top of that, corn is an especially fertilizer-hungry crop requiring large amounts of nitrogen-based fertilizer, which releases huge amounts of nitrous oxide when it interacts with the soil. American farming is, by far, the largest source of domestic nitrous oxide emissions already—about 50 percent. If biofuel policies lead to expanded production, emissions of this enormously powerful greenhouse gas will likely increase, too. The new report concludes that not only will the expansion of ethanol increase greenhouse gas emissions, but it has also failed to provide the social and financial benefits to Midwestern communities that lawmakers and the industry say it has. (The report defines the Midwest as Illinois, Indiana, Iowa, Kansas, Michigan, Minnesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin.) “The benefits from biofuels remain concentrated in the hands of a few,” Leslie-Bole said. “As subsidies flow, so may the trend of farmland consolidation, increasing inaccessibility of farmland in the Midwest, and locking out emerging or low-resource farmers. This means the benefits of biofuels production are flowing to fewer people, while more are left bearing the costs.” New policies being considered in state legislatures and Congress, including additional tax credits and support for biofuel-based aviation fuel, could expand production, potentially causing more land conversion and greenhouse gas emissions, widening the gap between the rural communities and rich agribusinesses at a time when food demand is climbing and, critics say, land should be used to grow food instead. President Donald Trump’s tax cut bill, passed by the House and currently being negotiated in the Senate, would not only extend tax credits for biofuels producers, it specifically excludes calculations of emissions from land conversion when determining what qualifies as a low-emission fuel. The primary biofuels industry trade groups, including Growth Energy and the Renewable Fuels Association, did not respond to Inside Climate News requests for comment or interviews. An employee with the Clean Fuels Alliance America, which represents biodiesel and sustainable aviation fuel producers, not ethanol, said the report vastly overstates the carbon emissions from crop-based fuels by comparing the farmed land to natural landscapes, which no longer exist. They also noted that the impact of soy-based fuels in 2024 was more than $42 billion, providing over 100,000 jobs. “Ten percent of the value of every bushel of soybeans is linked to biomass-based fuel,” they said. Georgina Gustin, Inside Climate News 24 Comments

“El Hombre y la Montaña” (December 31, 2020). All images courtesy of This Book Is True, shared with permission Punctured Photographs by Yael Martínez Illuminate the Daily Ruptures of Systemic Violence June 13, 2025 Grace Ebert The Mexican state of Guerrero lies on the southern Pacific coast and is home to the popular tourist destination of Acapulco. It’s also one of the nation’s most violent areas due to drug trafficking and cartel presence, and is one of six states that account for nearly half of the country’s total homicides. For artist and photographer Yael Martínez, the reality of organized crime became more pronounced when, in 2013, three of his family members disappeared. He began to speak with others in his community who had experienced similar traumas and to connect threads across the borders of Mexico to Honduras, Brazil, and the United States. “Itzel at home,” Guerrero, Mexico Luciérnagas, which translates to fireflies, comes from Martínez’s meditation on this extreme brutality that “infiltrates daily life and transforms the spirit of a place,” a statement says. Now published in a volume by This Book Is True, the poetic series punctures dark, nighttime photographs with minuscule holes. When backlit, the images bear a dazzling constellation of light that distorts the images in which violence isn’t depicted but rather felt. In one work, for example, a man holding a firework stands in a poppy field, a perforated cloud of smoke enveloping his figure. He’s performing an annual ritual on the sacred hill of La Garza, and the setting exemplifies a poignant contradiction between ancestral cultures and a crop that has been subsumed by capitalism and is essential to cartel power. A statement elaborates: We don’t see death in Luciérnaga, but its omnipresence is felt throughout, lingering in the shadows of each photograph. Each image painfully underwritten by the result of a calculated violence that visited unseen and undetected, leaving behind the immense void of a vanished loved one. And yet there is always a sense of hope that informs the making of this work. Luciérnagas is available from This Book Is True. Find more from Martínez on Instagram. “Toro” (2018), Guerrero, Mexico “Abuelo-Estrella” (December 21, 2020), Cochoapa El Grande, Guerrero, Mexico “Levantada de Cruz” (2021) “El Río de la Memoria y Mis Hijas” (2022) Next article