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

Substance 3D Modeler, ZBrush & Blender Workflow with Corey GoochThis workshop guides artists through the process of designing and sculpting a conceptual mech in VR using Adobe Substance 3D Modeler. ZBrush is used to fine-tune the model’s details, and the final presentation is taken care of in Blender. Over the course of 7 hours, Corey Gooch, Visual Development Artist and 3D Specialist at Studio ARTILUS, discusses the fundamentals of sculpting in Substance 3D Modeler and walks through a series of videos detailing the creation of a carefully crafted autonomous mech. Beginner and intermediate-level artists will have the opportunity to learn Corey’s professional approach to reference collection and integration into Substance 3D Modeler. They will also explore all of the basics of its VR sculpting tools and discover detailed explanations of tools and techniques for achieving organic and mechanical forms. Corey also offers strategies for placing key design features and balancing functionality with form.Moving into ZBrush, Corey demonstrates how to optimize the deforming components for rigging and texturing, and achieve the finer details that cannot (yet) be achieved in VR alone. Techniques for preparing your mech for animation, posing, and 3D printing considerations are also covered. In the final portion of the workshop, Corey jumps into Blender to provide a cursory and high-level overview of rigging, texturing, animating, and how to prepare models for 3D printing. Throughout the workshop, Corey shares the thought processes behind why he designs the way he does and how his chosen tools work together to achieve his vision. Artists will gain helpful insight into Corey’s decision-making process, which focuses on functionality and effective problem-solving during a creative workflow. By completing this workshop, artists will have a solid grasp of at least 80 percent of the tools in Substance 3D Modeler and have sound insights into how to sculpt, refine, and bring their concepts to life using ZBrush and Blender. Corey has provided his .smod raw sculpt file and ZBrush .cfg file as a downloadable resource with this workshop.WATCH NOW

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Boris FX has begun its 2025 updates to Silhouette, its roto and paint software.Silhouette 2025 adds new AI tools for refining mattes, generating depth maps and fixing glitches in video, and a new 3D Scene node for importing scenes with tracked 3D cameras. A VFX-industry standard tool for rotoscoping and roto paint work First released 20 years ago, and acquired by Boris FX in 2019, Silhouette is a rotoscoping and paint tool.The software is widely used in production for movie and broadcast visual effects, winning both a Scientific and Technical Academy Award and Engineering Emmy Award in 2019. As well as the original standalone edition, Silhouette is available as a plugin, making the toolset available inside Adobe software and OFX-compatible apps like Nuke and DaVinci Resolve. New AI tools for refining mattes, generating depth maps, and fixing glitches Silhouette 2025 introduces new AI-based features for automating common tasks.The 2024 releases added an AI-based matte workflow, with the Mask ML node automatically generating a mask for a significant object – like a person or animal – in a frame of video, and Matte Assist ML propagating it throughout the rest of the footage. They are now joined by Matte Refine ML, a new node for processing hard-edge mattes into “natural, detailed selections”, creating better results when isolating hair or fur. In addition, new Depth Map ML and Frame Fixer ML tools generate depth maps from footage, and semi-automatically fix artifacts like scratches, camera flashes, or dropped frames. You can read more about them in our story on Continuum 2025.5, Silhouette’s sibling tool. New 3D Scene node lets users work with tracked 3D cameras Other new features in Silhouette 2025 include the new 3D environment.The 3D Scene node makes it possible to load a scene with a tracked 3D camera in FBX or Alembic format, or to perform a 3D track using Mocha Pro or SynthEyes. It is then possible to place cards in 3D space and paint directly on them in the viewer, while a new Unproject/Reproject node allows for fuller composites. Other new features When using a PowerMesh from Silhouette’s Mocha module to track deforming organic surfaces, it is now possible to paint on undistorted frames using a new PowerMesh Morph node.In addition, it is now possible to merge custom node setups into a single Compound node, which can be reused between projects or shared with collaborators. Prices up since the previous release The price of the software has also risen since Silhouette 2024.5, although the increases aren’t as large as with some of Boris FX’s other recent product updates.For the standalone edition, the price of perpetual licenses rise by $200, to $2,195. Subscriptions rise by $15/month, to $165/month, or by $80/year, to $875/year. For the plugin edition, the price of perpetual licenses rise by $100, to $1,195. Subscriptions rise by $3/month, to $103/month, or by $50/year, to $545/year. Price and system requirements Silhouette 2025 is available as a standalone tool for Windows 10+, Linux and macOS 12.0+, and as a plugin for Adobe software and OFX-compatible tools like Nuke.Perpetual licences of the standalone cost $2,195; the plugin costs $1,195. Rental costs $165/month or $875/year for the standalone; $103/month or $545/year for the plugin. Read a list of new features in Silhouette 2025 on Boris FX’s blog Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.

Game Developer tinybugbot, whose Houdini stuff we frequently feature on 80 Level, shared an example of how to use a mask with an SDF stored in a VDB to deform geometry. While they prefer Wrangle nodes, you can also experiment with OpenCL, which operates at a lower level than VEX and can offer better performance depending on your hardware and use case.tinybugbot has also previously shared tips on creating displacement effects and designing mechanical surface textures:Also, check out procedural cliffs, a fried egg, and more great projects on their X/Twitter:Join our 80 Level Talent platform and our new Discord server, follow us on Instagram, Twitter, LinkedIn, Telegram, TikTok, and Threads, where we share breakdowns, the latest news, awesome artworks, and more.

Interviews A Minecraft Movie: Piotr Karwas (VFX Supervisor) & Elizabeth “Liz” Bernard (Animation Supervisor) – Digital Domain By Vincent Frei - 20/05/2025 With 20+ years in film and advertising, Piotr Karwas has supervised VFX for top directors including David Fincher and Tim Burton. His recent work includes The Electric State, Elevation, he’s here today to talk about the Digital Domain work on A Minecraft Movie. After discussing The Electric State with us a few months ago, Elizabeth ‘Liz’ Bernard is back—this time to talk about her work on A Minecraft Movie. How did you and Digital Domain get involved on this show? Piotr Karwas: We were approached by the Warner Bros. VFX team as they were looking to bring on an additional vendor to help complete the remaining visual effects work. It was also an opportunity to be the best dad ever, since both of my kids are huge Minecraft fans. How was the collaboration with Director Jared Hess and VFX Supervisor Dan Lemmon? Piotr Karwas: I’ve known Dan Lemmon since our time working together at Digital Domain. We collaborated on several projects in the early 2000s, so it was a great opportunity to team up again. As for Jared, I’ve been a fan of his work ever since his first feature, Napoleon Dynamite. Years ago, I also had the chance to briefly work on his film Gentlemen Broncos. The blend of Jared’s signature humor with the global phenomenon of Minecraft was simply too exciting to pass up. I knew I wanted to be involved. Although Digital Domain joined the project later in the production process, we quickly got up to speed and delivered our work on time, despite some challenges. What are the sequences made by Digital Domain? Piotr Karwas: Our primary focus was the final battle sequence, but we also contributed to several fully live-action shots featuring set extensions and some CG animation, primarily around the entrance to the mine. Could you walk us through the process of creating the 500+ Piglins and Iron Golems clashing in that 360° battlefield? What were some of the major technical challenges in making that sequence come to life? Piotr Karwas: One of the key creative challenges was striking the right balance between honoring the iconic look and feel of the game while delivering a cinematic, action-packed experience. The goal was to blend a sense of realism through the movement and design of characters and environments with the charm and style of the Minecraft universe. Under the guidance of Jared and Dan, and in close collaboration with the other vendors, we were able to craft something truly unique. The battle unfolds during the Piglin invasion, as the sunny atmosphere of the Overworld begins to transform into a darker, more menacing environment reminiscent of the Nether. The entire battlefield was designed to function seamlessly in both visual states, capturing the warmth and cheer of the original Overworld, while also supporting its dramatic shift into a hellish landscape filled with fire and gloom. Additionally, the stylized world of Minecraft presented some technical hurdles, especially in large scale crowd sequences. The characters’ unconventional anatomy, limited range of motion, and signature fighting styles added an extra layer of complexity but also pushed us to be creative and innovative. Liz Bernard: We started out with 10 piglins, each of which had 2-6 costumes, plus 8 weapons and 2 torches. We were able to get a lot of variety out of that for our piglin horde. The golem army was smaller and more uniform, and golems are too powerful to be messing around with weapons. Instead, they prefer to use their iron arms to smash through their opponents, so we didn’t have as many different iterations, costumes, and such for the iron golems. In Animation, we moved as fast as possible to clean up and modify a big pile of motion capture so that we could provide our Crowds team with over 300 unique animation cycles and clips. Those clips included everything from golems doing windmill arm attacks, to piglins hacking at golem legs with axes and swords, to baby piglins running around in circles, freaking out. Although we started with motion capture for most of the piglin actions, transferring those actions from a full sized human mocap actor onto 10 different blocky piglins with giant angular heads and different body proportions meant each mocap clip needed a lot of adjustment. For example, piglins cannot raise their square little arms very high because their shoulders will quickly crash into the head. Once we had ploughed through that chunk of work, our Crowds team strung those actions together in Autodesk’s Golaem software to create the crowds seen in the backgrounds of our shots. In the mid-ground, we animated a custom set of longer battle vignettes that we could reuse in a number of shots by reorienting them to camera and offsetting their timing. And of course, there was quite a lot of hero animation to fill in the foreground and tell the story of the ebb and flow of battle. Minecraft is known for its blocky aesthetic. How was the animation rigging approached to stay true to that while enhancing the characters’ performance for live action? Liz Bernard: The piglins, hoglins, and wolves were rigged as pretty standard fleshy characters. The wolves had blocky chests and hips, which our Rigging team kept relatively stiff to preserve the original block shape even when we posed the characters in action. Because we were in a hurry on this fast-paced show, we needed to get rigs into Animation’s hands as quickly as possible, so we ended up relying on our shot modeling/sculpting team to adjust some of the characters’ bodies after animation was approved. They paid special attention to the final look of their shoulders, elbows, and knees, to make sure that the bend at each joint stayed as blocky as possible. The iron golems were a lot trickier to get right because they were made of stiff blocks of metal, had no deforming parts, and their joints were extremely simple. We discovered right away that making an iron golem walk meant instant intersections where the legs attach to the hips and the arms attach to the shoulders. So, to solve that problem and get the golems engaged in the battle, we had to give the animators complete control over every body part. This is not something we typically do because it’s easy to go overboard and end up “off model,” but in this scenario, it was absolutely required. This level of control gave the animators the option to offset body parts to achieve the necessary range of movement without visible intersections on screen or gaps in silhouette. Houdini was used to procedurally generate environments for the film. What were some of the most challenging aspects of creating such vast, dynamic landscapes? Piotr Karwas: The environments posed a unique challenge, not just because of their blocky nature, but because it was essential to make the Overworld feel like a tangible, real place. Some design choices were influenced by physical sets that had been built, while others drew inspiration from the real world. We focused on introducing a sense of natural imperfection, subtle elements like slightly uneven lines, worn edges, scuff marks, scattered debris, dirt, and even touches of realistic vegetation. All of this had to be carefully integrated into the strict, grid-based aesthetic of the Minecraft universe. Our environment team rose to the challenge and delivered a highly detailed immersive location, while working under a demanding production schedule. What were the biggest challenges in adapting Minecraft’s creatures and characters into a live-action setting while retaining their iconic charm? Liz Bernard: Because we came onto the project towards the end of shot production, we were able to use other vendors’ work as a rough guide for how our characters should move and behave. The Iron Golems in particular were a fun challenge, and although Sony had a few shots that we could refer to for the overall movement, it was up to us to establish their combat style. We researched how the golems fight in the game, which, as it turns out, is quite simple. We stuck with the game’s stiff legged walk, simple straight arm swings and skyward scoops to match the game’s iron golem attack style as closely as we could. However, purely matching the game wasn’t going to look quite right in a live action environment with human actors. So, on top of the simple performance, we layered weight shifts to counterbalance the heavy arms. We also added some additional step patterns to get them into position to attack piglins so that they would appear clever and more agile without straying too far from the game aesthetic. We also improved the contacts between the golems’ arms and each piglin to really sell the sense of effort and weight in each attack and hit. The destruction of the Overworld Portal seems like a monumental task. How was such an epic scene created, and what role did the environment and FX teams play in bringing it to life? Piotr Karwas: One of the biggest challenges was figuring out the mechanics of how large-scale destruction would play out in the Minecraft world. We had to carefully determine which elements would follow real-world physics and which could behave in a more stylized, game inspired way. We also spent considerable time designing the post-collapse remains to ensure they were visually compelling and cohesive for the staging of the shots that followed. The portal destruction sequence, in particular, appeared in the two widest shots of the entire sequence. These moments required both armies to be on screen, complete with fallen Iron Golems, defeated or pork-chopped Piglins, and digital doubles for every actor. It was a massive technical, logistical, and creative undertaking. We worked on these shots all the way to the final hour. Can you describe the bespoke zombification transformation pipeline developed for the Piglins? How did this process differ from traditional character transformations? Piotr Karwas: By the time we joined the project, the zombification effect had already been largely developed by Weta FX. One of our main challenges was matching their established look while ensuring visual consistency across both their shots and ours. At the same time, we knew we had to push the effect further. After all, this was the grand finale, where the evil army was being defeated. We also wanted the transformation to feel distinct, especially when applied to large numbers of Piglins. To achieve that, we went as far as building complete skeletal systems that could be revealed during the transformation. How was lighting handled to simulate firelit nighttime chaos? What tools or techniques were critical in creating that atmosphere? Piotr Karwas: To achieve the most realistic look, we used actual fire simulations to drive the lighting on both the characters and the environment. We initially started with just a few fires, but Jared was drawn to the striking visual accents and the warm hues they cast on the characters. As a result, we ended up populating the scenes with hundreds of fires. The air was also filled with atmospheric elements like smoke, ash, and embers, all contributing to a richly textured, apocalyptic feel in every shot. To manage this across numerous shots, we developed semi-automated methods to batch simulate the effects efficiently. How was humor incorporated into the animation, especially with subtle gags like pork chops dropping onto the battlefield or background antics? What approach was used to time these moments? Liz Bernard: We had a good time adding easter eggs and gags into this epic battle scene! Piotr let me know early on that Jared would welcome goofy touches, especially on background characters, so I made sure to pass that information on to my team of animators. What did I get back? Nose picks, butt scratches, belly slaps, and all sorts of goofy behaviour in the background. We usually didn’t center those things in the action unless it was called for in the script (in fact, Jared and Dan had to pull us back a few times), but if you look carefully, you’ll find maximum silliness all over the place. And, of course, I have to mention the Great Hog here. He was probably our funniest character and the most challenging to animate. His style of movement was dictated by his unusual proportions, in particular, his itty-bitty legs and long chunky arms. Those stumpy legs meant his stride was super short unless he broke out into a full quadruped gallop, which our team animated with extra oomph and effort to get a good laugh. The Great Hog’s low rider pants took a dive after one particularly strenuous sprint across the battlefield to attack Natalie. When he rose up on hind legs in anticipation of smashing her with his giant blocky fists, Jared wanted to make sure that the audience could see clearly the gag that his butt crack was showing. In VFX, we traditionally call a gradient of options that we would pitch to the client a “wedge.” In this case, we needed to get a read on how low to go with the pants before we simulated them in CFX, so we sent over a “wedge” for the pants and butt crack for Jared to pick from. In this case, I guess it was actually…a wedgie. How was the visual humor seamlessly integrated into the more intense action sequences, and was there a particular moment that captured this balance perfectly? Liz Bernard: The visual humour was baked into the action from the get-go, from game to storyboards to previsualization. I mean, there’s something inherently funny about dozens of piglins in shorts getting smacked high up into the air and then poof! turning into porkchops. When I welcomed each animator to the show, I made a point of mentioning that they were a little more free to tell jokes with pantomime on this show than they might be used to on more realistic productions. Because we were always in a mindset to make each shot as funny as possible without distracting from the story points, the flavour in animation dailies was always funny. My team pitched piglins getting run over by the Great Hog by accident, baby piglins riding on an iron golem attempting to attack its head, some utterly hilarious slow-mo action with exaggerated overlap a la Baywatch, a hoglin and piglin rider mugging for the camera as they gallop by in the foreground, wolves clamped on by their teeth to the waistband of the Great Hog, and a whole lot of over-acted melodramatic writhing as the piglins zombified after the portal collapsed. You don’t have to tell animators twice to be silly. With such a large-scale project, how did the animation and VFX teams collaborate to maintain a cohesive style across both departments? Were there any specific moments where this collaboration stood out? Liz Bernard: This was a ripsnorter of a project timeline, so all departments were hitting the ground running and developing their parts of the project concurrently. That’s always challenging and requires a lot of communication to pull off. We had a bullpen of experienced folks in our show leadership, and knowing what each other’s departments could and couldn’t do saved us a lot of time as we ramped up. For example, we were able to establish a single groundplane early in our animation schedule, which helped us avoid having to adjust the character’s feet contacts to an evolving environment even as artists were still building the overworld battlefield. The Environments team did a great job set dressing the environment after we had placed our animation and crowds’ characters, so that we did not need to worry about running through plants, pebbles, fires, or corpses. The FX department established a workflow with the Crowds team to “porkchop” any crowds piglin that got smacked by crowds’ iron golems. Setting these rules and criteria helped each department streamline their processes. And, our production team did an absolutely incredible job making sure that every department stayed on target, communicated their roadblocks and breakthroughs effectively downstream (and sometimes upstream!), and adjusted the schedule to compensate. I think the moment where this collaboration really shone was when we saw all of the zombification shots at the end of the sequence starting to fall into place. One day, it felt like we had all of them left to tackle, and the next, we had our methodology kinks worked out and they all started to drop like dominoes. Piotr Karwas: As Liz mentioned, the schedule was extremely tight, especially for executing the film’s grand finale. We had to move quickly and strategically, knowing that things would evolve and change throughout production. I’m incredibly grateful to our amazing team at Digital Domain. Across all four locations, Los Angeles, Vancouver, Montreal, and Hyderabad, our artists worked around the clock to bring it all to life. Yes, there were long hours, high stress, and the usual frustrations with technology that doesn’t always behave but in the end, it was all absolutely worth it. Seeing kids enjoy the movie so much made everything worthwhile. Chicken Jockey! Looking back on the project, what aspects of the visual effects are you most proud of? Piotr Karwas: Without a doubt, the Great Hog’s butt crack was the highlight for me. Liz Bernard: Just the sheer scale of this thing is wild. This is one of those “more is more” kinds of projects that don’t come around so often in our world of photorealistic visual effects. Nothing was supposed to be “real” here, everything was exaggerated, every frame we produced was chock full of crazy action, over the top humor, and easter eggs. I’m very proud of our animation team for embracing this hilarious show in a more cartoony style that we don’t often have the opportunity to tackle. And, man, it tickles me that the fans got such a huge kick out of it all when the movie hit theatres. What else can you ask for? How long have you worked on this show? Piotr Karwas: About six months Liz Bernard: Just six months from start to finish. What’s the VFX shots count? Piotr Karwas: Digital Domain delivered 187 shots not including omits. What is your next project? Piotr Karwas: A Minecraft Movie I hope. Jokes aside, I’m looking at a whole slate of different projects. Liz Bernard: All I can say right now is that it’s a science fiction film that comes out in 2026. Stay tuned! A big thanks for your time. WANT TO KNOW MORE?Digital Domain: Dedicated page about A Minecraft Movie on Digital Domain website. © Vincent Frei – The Art of VFX – 2025

PC Builds $8000* Disaster Prebuilt PC - Corsair & Origin Fail AgainMay 19, 2025Last Updated: 2025-05-19We test Origin's expensive PC’s thermals, acoustics, power, frequency, and perform a tear-downThe HighlightsOur Origin Genesis PC comes with an RTX 5090, 9800X3D, and 32GB of system memoryDue to poor system thermals, the memory on the GPU fails our testingThe fans in the system don’t ramp up until the liquid-cooled CPU gets warm, which means the air-cooled GPU temperature suffersOriginal MSRP: $6,050+Release Date: January 2025Table of ContentsAutoTOC Our fully custom 3D Emblem Glasses celebrate our 15th Anniversary! We hand-assemble these on the East Coast in the US with a metal badge, strong adhesive, and high-quality pint glass. They pair excellently with our 3D 'Debug' Drink Coasters. Purchases keep us ad-free and directly support our consumer-focused reviews!IntroWe paid $6,050 for Origin PC’s 5090-powered Genesis when it launched, or $6,500 after taxes. Today, a similar build has a list price of $8,396. Markup is $1,700 to $2,500 over DIY. This computer costs as much as an RTX Pro 6000, or a used car, or a brand new Kia Rio with a lifetime warranty in 2008 with passenger doors that fall off…The point is, this is expensive, and it also sucks.Editor's note: This was originally published on May 16, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsTest Lead, Host, WritingSteve BurkeVideo Editing, CameraMike GaglioneTesting, WritingJeremy ClaytonCameraTim PhetdaraWriting, Web EditingJimmy ThangThe RTX 5090 is the most valuable thing in this for its 32GB of VRAM, and to show you how much they care about the only reason you’d buy this prebuilt, Origin incinerates the memory at 100 degrees Celsius by choosing to not spin the fans for 8 minutes while under load. The so-called “premium” water cooling includes tubes made out of discolored McDonald’s toy plastic that was left in the sun too long, making it look old, degraded, and dirty.But there are some upsides for this expensive computer. For example, it’s quiet, to its credit, mostly because the fans don’t spin…for 8 minutes.OverviewOriginally, this Origin Genesis pre-built cost $6,488 – and that’s after taxes and a $672 discount off the initial sticker price of $6,722. We ordered it immediately after the RTX 5090 launch, which turned out to be one of the only reliable ways to actually get a 5090 with supply as bad as it was (and continues to be). It took a while to come in, but it did arrive in the usual Origin crate.We reviewed one of these a couple years ago that was a total disaster of a combo. The system had a severely underclocked CPU, ridiculously aggressive fan behavior (which is the opposite of the system we’re reviewing today), chipped paint, and a nearly unserviceable hardline custom liquid cooling loop. Hopefully this one has improved. And hopefully isn’t 1GHz below spec.Parts and PriceOrigin PC RTX 5090 + 9800X3D "Genesis" Part Prices | GamersNexusPart NameRetail Price 4/25MotherboardMSI PRO B650-P WIFI$190CPURyzen 7 9800X3D$480Graphics CardNVIDIA RTX 5090 Founders Edition$2,000RAMCorsair Vengeance DDR5-6000 (2x16GB)$93SSD 1Corsair MP600 CORE XT 1TB PCIe 4 M.2 SSD$70Custom Loop"Hydro X iCUE LINK Cooling" / Pump, Rad, Block, Fittings$712Fans12x Corsair iCUE LINK RX120 120mm Fan$360CaseCorsair 7000D Airflow$240PSUCorsair RM1200x SHIFT 80+ Gold PSU$230RGB/Fan Controller2x Corsair iCUE Link System Hub$118Operating SystemWindows 11N/AT-ShirtORIGIN PC T-ShirtN/AMousepadORIGIN PC Mouse PadN/AShipping"ORIGIN Maximum Protection Shipping Process: ORIGIN Wooden Crate Armor"N/A???"The ORIGIN Difference: Unrivaled Quality & Performance"PricelessTotal retail cost of all parts as of April 2025$4,493We’ll price it out based on the original, pre-tariff $6,050 build before taxes and with a 10% off promo. Keep in mind that the new price is $7,500 to $8,400, depending on when you buy.The good news is that nothing is proprietary – all of its parts are standard. The bad news is that this means we can directly compare it to retail parts which, at the time we wrote this piece, would cost $4,493, making for a $1,557 markup compared to the pre-tax subtotal. That’s a huge amount to pay for someone to screw the parts together. Given the price of the system, the MSI PRO B650-P WIFI motherboard and 1TB SSD are stingy and the 7000D Airflow case is old at this point. The parts don’t match the price.Just two months after we ordered and around when it finally arrived, Origin now offers a totally different case and board with the Gigabyte X870E Aorus Elite. The base SSD is still just 1TB though – only good enough for roughly two or three full Call of Duty installs. The detailed packing sheet lists 22 various water cooling fittings, but, curiously, the build itself only has 15, plus one more in the accessory kit, making it 16 by our count. We don’t know how Origin got 22 here, but it isn’t 22. Hopefully we weren’t charged for 22. Oh, and it apparently comes with “1 Integrated High-Definition.” Good. That’s good. We wouldn’t want 0 integrated high definitions.Similar to last time, you also get “The ORIGIN Difference: Unrivaled Quality & Performance” as a line item. Putting intangible, unachievable promises on the literal receipt is the Origin way: Origin’s quality is certainly rivaled.Against DIY, pricing is extreme and insane as an absolute dollar amount when the other SIs are around $500-$800 markup at the high end. In order for this system to be “worth” $1,500 more than DIY, it would need to be immaculate and it’s not. The only real value the PC offers is the 5090. Finding a 5090 Founders Edition now for $2,000 is an increasingly unlikely scenario. Lately, price increases with scarcity and tariffs have resulted in 5090s closer to $2,800 or more, so the markup with that instead would be $777 if we assume a 5090 costs $2,800. That’s still a big markup, and the motherboard is still disappointing, the tubes are still discolored, the SSD is too small, and it still has problems with the fans not properly spinning, but it’s less insane.Build QualityGetting into the parts choices:This new Genesis has a loop that’s technically set up better than the last one, but it only cools the CPU. That means we have a $6,500 computer with water cooling, but only on the coolest of the two silicon parts -- the one that pulls under 150W. That leaves the 575W RTX 5090 FE to fend for itself, and that doesn’t always go well.Originally, Origin didn’t have the option to water cool the 5090. It’s just a shame that Origin isn’t owned by a gigantic PC hardware company that manufactures its own water cooling components and even has its own factories and is publicly traded and transacts billions of dollars a year to the point that it might have had enough access to make a block... A damn shame. Maybe we’ll buy from a bigger company next time.At least now, with the new sticker price of $8,400, you can spend another $200 and add a water block to the GPU. Problem solved -- turns out, we just needed to spend even more money. Here’s a closer look at Origin’s “premium” cooling solution, complete with saggy routing that looks deflated and discolored tubing that has that well-hydrated catheter tube coloring to it.The fluid is clean and the contents of the block are fine, but the tubing is the problem. In fact, the included drain tube is the correct coloring, making it even more obvious how discolored the loop is.Corsair says its XT Softline tubing is “UV-resistant tubing made to withstand the test of time without any discoloration or deforming.”So clearly something is wrong. Or not “clearly,” actually, seeing as it’s not clear. The tubing looks gross. It shouldn’t look gross. The spare piece in the accessory kit doesn’t look gross. The coolant is even Corsair’s own XL8 clear fluid, making it even more inexcusable.We’re not the only ones to have this problem, though – we found several posts online with the same issue and very little in the way of an official response from Corsair or Origin. We only saw one reply asking the user to contact support.Even without the discoloration, it comes off as looking amateurish from the way it just hangs around the inside of the case. There’s not a lot you can do about long runs of flexible tubing, unless maybe you’re the one building it and have complete control of everything in the pipeline... There is one thing we can compliment about the loop: Origin actually added a ball valve at the bottom underneath the pump for draining and maintenance, which is something that we directly complained about on the previous Origin pre-built. We’re glad to see that get addressed.The fans in the build are part of Corsair’s relatively new LINK family, so they’re all daisy chained together with a single USB-C-esque cable and controlled together in tandem by two of Corsair’s hubs. It’s an interesting (if expensive) system that extends to include the pump and CPU block – both of which have liquid temperature sensors.Tear-down Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)We’re starting the tear-down by looking at the cable management side. Opening up the swinging side panel, we noticed masking tape on the dust filter, which we’re actually okay with as it’s to keep it in place during shipping and is removable.  Internally, they’ve included all of the unused PSU cables in the system’s accessories box, which we’ll talk more about down below. The cable routing makes sense and is generally well managed. While they tied the cables together, not all of the ties were tied down to the chassis. The system uses the cable management channel for the 24-pin connector. Overall, it’s clean and they’ve done well here. Looking at the other side of the system, we can see that the power cable leading into the 5090 is mostly seated, and isn’t a concern to us. Removing the water block’s cable, it had a little piece of plastic which acted as a pull tab. That’s actually kind of nice.Removing the screws on the water block reveal that they are captive, which is nice. Looking at the pattern, we can see that they used pre-applied paste via a silk screen. That allowed contact for all 8 legs of the IHS, which looked good with overall even pressure. The block application was also good. Looking at how well all of the cables were seated, everything was fine from the CPU fan header down to the front panel connectors. Removing the heat sync off the NVMe SSD, we didn’t see any plastic on the thermal pad, which is good. Look at the 16GB DDR 6000 RAM modules, they are in the correct slots and Origin outfitted them with Corsair 36-44-44-96 sticks, which are not the greatest timings. Examining the tightness of all the screws on the motherboard, we didn’t encounter any loose screws. Removing the motherboard from the case, everything looked fine. Looking at the motherboard out of the case, it’s a lower-end board than we’d like to see out of a premium system. Looking at the fans, they are immaculately installed, which is partially due to how they’re connected together. This results in a very clean setup.  The back side of the PC has a massive radiator. And overall, the system has very clean cable management and the assembly was mostly good. This relegates the system’s biggest issues being the value and its water-cooling setup. We didn’t drain the loop so we’re going to keep running it and see what it looks like down the road. Thermal BenchmarksSystem Thermals at Steady StateGetting into the benchmarking, we’ll start with thermals.Right away, the 96-degree result on the memory junction is a problem -- especially because this is an average, which means we have spikes periodically to 100 degrees. The technical rating on this memory is 105 degrees for maximum safety spec. This is getting way too close and is hotter than what we saw in our 5090 FE review. This is also when all of the thermal pads are brand new. The Origin pre-built uses a large case with 12 fans, so it should be impossible for the GPU to be this hot. The Ryzen 9800X3D hit 87C at steady-state – which is also not great for how much cooling is in this box. All of the various motherboard and general system temperature sensors fell well within acceptable ranges.Finally, the watercooling parts provide a couple of liquid temperatures. The pump is on the “cool” side of the loop and read 36.7C at steady state, while the coolant in the block on the “hot” side of the loop got up to 41.3C. You typically want liquid temperature to stay under 55C (at the most) to not violate spec on the pump and tubing, so this is fine.We need to plot these over time to uncover some very strange behavior.CPU Temperature vs. Fan Speeds Over TimeCPU temperature during the test starts out on a slow ramp upwards during the idle period. When the CPU load first starts, we see an immediate jump to about 72C, a brief drop, then a long and steady rise from roughly 250 seconds to 750 seconds into the test where it levels off at the 87C mark. The VRM temperature follows the same general curve, but takes longer to reach steady-state. Adding the liquid temperatures to the chart shows the same breakpoints.Finally, adding pump and fan speeds gives us the big reveal for why the curves look like this. The pump stair steps up in speed while the temperatures rise, but the fans don’t even turn on for over 8 minutes into the load’s runtime. Once they’re actually running, they average out to just 530RPM, which is so slow that they might as well be off.This is an awful configuration. Response to liquid temperature isn’t new, but this is done without any thought whatsoever. If you tie all fans to liquid temperature, and if you have parts not cooled by liquid like VRAM on the video card, then you’re going to have a bad time. And that’s the next chart. But before that one, this is an overcorrection from how Origin handled the last custom loop PC we reviewed from the company, which immediately ramped the fans up high as it could as soon as the CPU started doing anything. Maybe now they can find a middle ground since we’ve found the two extremes of thoughtless cooling.GPU Temperature vs. Fan Speeds Over TimeThis chart shows GPU temperatures versus GPU fan speed.The GPU temperature under load rises to around 83C before coming back down when the case fans finally kick on. As a reminder, 83-84 degrees is when NVIDIA starts hard throttling the clocks more than just from GPU Boost, so they’re dropping clocks as a result of this configuration.The 5090’s VRAM already runs hot on an open bench – 89 to 90 degrees Celsius – and that gets pushed up to peak at 100C in the Origin pre-built. This is unacceptable. Adding the GPU fan speed to the chart shows us how the Founders Edition cooler attempts to compensate by temporarily boosting fan speed to 56% during this time, which also means that Origin isn’t even benefiting as much from the noise levels as it should from the slower fans. Balancing them better would benefit noise more.As neat of a party trick as it is to have the case fans stay off unless they’re needed in the loop, Origin should have kept at least one or two running at all times, like rear exhaust, to give the GPU some help. Besides, letting the hot air linger could potentially encourage local hot spots to form on subcomponents that aren’t directly monitored, which can lead to problems.Power At The WallNow we’ll look at full system load power consumption by logging it at the wall – so everything, even efficiency losses from the PSU, is taken into account.Idle, it pulled a relatively high 125W. At the 180 second mark, the CPU load kicks in. There’s a jump at 235 seconds when the GPU load kicks in.We see a slight ramp upwards in power consumption after that, which tracks with increasing leakage as the parts heat up, before settling in at an average of 884W at steady state. AcousticsNext we’ll cover dBA over time as measured in our hemi-anechoic chamber.At idle, the fans are off, which makes for a functionally silent system at the noise floor. The first fans to come on in the system are on the GPU, bringing noise levels up to a still-quiet range of 25-28dBA at 1 meter. The loudest point is 30.5 dBA when the GPU fans briefly ramp and before system fans kick in. CPU Frequency vs. Original ReviewFor CPU frequency, fortunately for Origin, it didn’t randomly throttle it by 1GHz this time. The 9800X3D managed to stay at 5225MHz during the CPU-only load portion of torture test – the same frequency that we recorded in our original review for the CPU so that’ good. At steady state with the GPU dumping over 500W of heat into the case, the average core frequency dropped by 50MHz. If Origin made better use of its dozen or so fans, it should hold onto more of that frequency. BIOS ConfigurationBIOS for the Origin pre-built is set up sensibly, at least. The build date is January 23, which was the latest available in the time between when we ordered the system at the 50 series launch and when the system was actually assembled.Scrutinizing the chosen settings revealed nothing out of line. The DDR5-6000 memory profile was enabled and the rest of the core settings were properly set to Auto. This was all fine.Setup and SoftwareThe Windows install was normal with no bloatware. That’s also good.The desktop had a few things on it. A “Link Windows 10 Key to Microsoft Account” PDF is helpful for people who don’t know what to do if their system shows the Activate Windows watermark. Confusingly, it hasn’t been updated to say “11” instead of “10.” It also shepherds the user towards using a Microsoft account. That’s not necessarily a bad thing, but we don’t like how it makes it seem necessary because it’s not and you shouldn’t. There’s also an “Origin PC ReadMe” PDF that doesn’t offer much except coverage for Origin’s ass with disclaimers and points of contact for support. One useful thing is that it points the user to “C:\\ORIGIN PC” to find “important items.”That folder has Origin branded gifs, logos, and wallpapers, as well as CPU-Z, Teamviewer, and a Results folder. Teamviewer is almost certainly for Origin’s support teams to be able to remotely inspect the PC during support calls. It makes sense to have that stuff on there. The results folder contains an OCCT test report that shows a total of 1 hour and 52 minutes of testing. A CPU test for 12 minutes, CPU + RAM, memory, and 3D adaptive tests for 30 minutes each, then finishing with 10 minutes of OCCT’s “power” test, which is a combined full system load. It’s great that Origin actually does testing and provides this log as a baseline for future issues, and just for base expectations. This is good and gives you something to work from. Not having OCCT pre-installed to actually run again for comparison is a support oversight. It’s free for personal use at least, so the user could go download it easily.There weren’t any missing drivers in Device Manager and NVIDIA’s 572.47 driver from February 20 was the latest at the time of the build – both good things. There wasn’t any bundled bloatware installed, so points to Origin for that.iCUE itself isn’t as bad as it used to be, but it’s still clunky, like the preloaded fan profiles not showing their set points. PackagingOn to packaging.The Origin Genesis pre-built came in a massive wooden crate that was big enough for two people to move around. Considering this PC was $6,500 after taxes (at the time), we’re definitely OK with the wooden crate and its QR code opening instructions.Origin uses foam, a fabric cover, a cardboard box within a crate, and the crate for the PC. The case had two packs of expanding foam inside it, allowing the GPU to arrive undamaged and installed. The sticker on the side panel also had clear instructions. These are good things. Unfortunately, there’s a small chip in the paint on top of the case, but not as bad as the last Origin paint issues we had and we think it’s unrelated to the packaging itself.AccessoriesThe accessory kit is basic, and came inside of a box with the overused cringey adage “EAT SLEEP GAME REPEAT” printed on it. Inside are the spare PSU cables (that we’re happy to see included), an AC power cable, stock 5090 FE power adapter, standard motherboard and case accessories, a G1/4 plug tool and extra plugs, and a piece of soft tubing with a fitting on one end that can be used to help drain the cooling loop. All of this is good.Conclusion Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.During this review process, the price went even higher. You already shouldn’t buy this, but just to drive it home:Now, for the same configuration, the Genesis now costs $7,557 after the discount, off the new sticker price of $8,396. That’s an increase of over $1,000, making the premium over current DIY pricing roughly $1,700-$2,500.Now, there are good reasons for the price to go up. Tariffs have a real impact on pricing and we’re going to see it everywhere, and tariffs are also outside of Corsair’s control. We don’t fault them for that. But that doesn’t change the fact that the cost over DIY is so insanely elevated. Even Corsair’s own competitors offer better value than this, like Maingear.At $8,400 sticker price, you’d have to be drunk on whatever is discoloring Origin’s loop to buy it. Nobody should buy this, especially not for gaming. If you’re doing productivity or creative work that would seriously benefit from the 5090’s 32GB of VRAM, then look elsewhere for a better deal. This costs nearly as much as an RTX Pro 6000, which has 96GB of VRAM and is better.It would actually be cheaper to get scalped for a 5090 on Ebay and then buy the whole rest of the computer than to buy this Origin system. That’s how crazy this is.The upcharge, even assuming a 5090 price of $2,800, is just way too high versus other system integrators. Seriously, Alienware is cheaper at this point – by thousands of dollars. Alienware.We can’t recommend this PC. Ignoring the price, the memory on the video card is hitting 100 degrees C in workloads when the fans aren’t turning on because the fans are set to turn on based on the liquid temperature and the liquid doesn’t touch the GPU. For that reason alone, it gets a failing grade. For our thermal testing, pre-builts have to pass the torture test. If they don’t, they instantly fail. That’s how it always works for our pre-built reviews. This system has, unfortunately, instantly failed.