• Why Ready or Not feels so real– how Unreal Engine 5 is delivering next-level immersion


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    WWW.CREATIVEBLOQ.COM
    Why Ready or Not feels so real– how Unreal Engine 5 is delivering next-level immersion
    Void's art director and lead designer reveal what it takes to improve on PC perfection.
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  • Esri releases CityEngine 2025.0

    Check out the new features in the procedural city generation software, including the new Street Designer for creating complex road setups.
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    Check out the new features in the procedural city generation software, including the new Street Designer for creating complex road setups.
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  • Blender Jobs for June 27, 2025

    Here's an overview of the most recent Blender jobs on Blender Artists, ArtStation and 3djobs.xyz: 3D Generalist (Blender) for Luxury Real Estate Visualization – Collaborative, Time-Bound Project Looking for artist to create product demo videos - delivery within one week 3D rigger/animator Blender artist Aquent | 3D Designer Art Lead TDA | 3D Artist TUEREN, [...]
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    Blender Jobs for June 27, 2025 Here's an overview of the most recent Blender jobs on Blender Artists, ArtStation and 3djobs.xyz: 3D Generalist (Blender) for Luxury Real Estate Visualization – Collaborative, Time-Bound Project Looking for artist to create product demo videos - delivery within one week 3D rigger/animator Blender artist Aquent | 3D Designer Art Lead TDA | 3D Artist TUEREN, [...] Source
    Blender Jobs for June 27, 2025
    Here's an overview of the most recent Blender jobs on Blender Artists, ArtStation and 3djobs.xyz: 3D Generalist (Blender) for Luxury Real Estate Visualization – Collaborative, Time-Bound Project Looking for artist to create product demo videos - deli
    1 Comentários 0 Compartilhamentos
  • HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE

    By TREVOR HOGG

    Images courtesy of Warner Bros. Pictures.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

    Virtually conceptualizing the layout of Midport Village.

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

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

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

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

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

    Doing a virtual scale study of the Mountainside.

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

    Piglots cause mayhem during the Wingsuit Chase.

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

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

    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot
    #watch #ben #starr #date #himself
    Watch Ben Starr Date Himself In Date Everything
    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot #watch #ben #starr #date #himself
    WWW.GAMESPOT.COM
    Watch Ben Starr Date Himself In Date Everything
    Since his breakthrough role in Final Fantasy XVI, fans can't get enough of Ben Starr. Neither can he, as in a video for GameSpot, the voice actor decided to play through Date Everything by only dating his own character.The surreal and comedic sandbox dating sim lets you literally date everything, thanks to a pair of magical glasses called Dateviators, which transform everyday household objects into dateable characters with their own stories. Each one is brought to by a huge roster of voice actors, including Ashly Burch, Matthew Mercer, Laura Bailey, Felicia Day, Steve Blum, Ashley Johnson, as well as the game's lead designer and veteran voice actor Ray Chase of Final Fantasy XV fame. Despite more than 100 dateable objects, "resident video game narcissist" Starr has opted to only date himself. Starr actually voices multiple characters as he plays a personified door called Dorian and there are 17 variations of Dorian throughout the house. There's Front Dorian who wears a little hat, Back Dorian, which the actor said he recorded "facing away from the microphone with my hand over my mouth", as well as Trap Dorian, who happens to wear a lot less clothes than the rest.Continue Reading at GameSpot
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  • In the shadows of our crumbling world, the Design Museum in London unveils "Artificial," a haunting reflection of our times. We wander through the halls, surrounded by the poignant works of designers who reveal the painful truth of our relationship with nature. Each piece whispers the sorrow of a planet in distress, echoing our own feelings of isolation and despair. We are spectators to a crisis that seems insurmountable, grappling with the weight of our choices. In this artistic exploration, we confront not only the climate crisis but also the deep loneliness that comes from witnessing beauty fade away.

    #DesignMuseum #ClimateCrisis #ArtificialExhibition #Loneliness #Heartbreak
    In the shadows of our crumbling world, the Design Museum in London unveils "Artificial," a haunting reflection of our times. We wander through the halls, surrounded by the poignant works of designers who reveal the painful truth of our relationship with nature. Each piece whispers the sorrow of a planet in distress, echoing our own feelings of isolation and despair. We are spectators to a crisis that seems insurmountable, grappling with the weight of our choices. In this artistic exploration, we confront not only the climate crisis but also the deep loneliness that comes from witnessing beauty fade away. #DesignMuseum #ClimateCrisis #ArtificialExhibition #Loneliness #Heartbreak
    GRAFFICA.INFO
    El Design Museum de Londres explora el diseño como respuesta a la crisis climática
    El Design Museum de Londres presenta Artificial, una nueva muestra gratuita que desafía nuestra forma de entender el mundo que habitamos. Del 17 de junio al 21 de septiembre de 2025, la exposición reúne los trabajos de cuatro diseñadores residentes q
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  • game design, National Film and Television School, MFA, gaming industry, career, education, game development, creative arts, multimedia, game design programs

    ## The National Film and Television School: A Hollow Promise for Aspiring Game Designers

    Let’s cut to the chase: the National Film and Television School (NFTS) touts itself as one of the premier institutions for learning game design. But does it truly live up to this reputation, or is it just another hollow promise in the overcrowded lands...
    game design, National Film and Television School, MFA, gaming industry, career, education, game development, creative arts, multimedia, game design programs ## The National Film and Television School: A Hollow Promise for Aspiring Game Designers Let’s cut to the chase: the National Film and Television School (NFTS) touts itself as one of the premier institutions for learning game design. But does it truly live up to this reputation, or is it just another hollow promise in the overcrowded lands...
    Did you know the National Film and Television School is one of the best places to learn game design?
    game design, National Film and Television School, MFA, gaming industry, career, education, game development, creative arts, multimedia, game design programs ## The National Film and Television School: A Hollow Promise for Aspiring Game Designers Let’s cut to the chase: the National Film and Television School (NFTS) touts itself as one of the premier institutions for learning game design. But...
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  • Oh, joy! Just when you thought the world of sunglasses couldn’t get any more exclusive, here comes Meta, strutting in with its latest coup: Prada shades! Because, let’s be honest, when you think of cutting-edge tech, who better to partner with than a fashion house known for turning fabric into fortune? That's right, folks—Ray-Ban, Oakley… and now Prada!

    I mean, it only makes sense. Who wouldn’t want to experience augmented reality while looking like they just stepped off a runway? Forget practicality; we’re living in a digital age where style trumps substance—especially when your sunglasses cost more than your monthly rent. Meta’s new venture is the perfect embodiment of this ethos: blending high fashion with the latest tech, or as I like to call it, “the art of looking fabulous while you fail to see reality.”

    The marketing team must have had a field day brainstorming this one. “Let’s take two things people love—fashion and technology—and mash them together like a smoothie that you can’t quite identify!” Brilliant! Imagine strutting down the street, these Prada shades perched on your nose, the world around you filtered through a lens that screams, “I’m too cool for your mundane existence.”

    And let’s not forget the irony of wearing designer sunglasses to look at a digital world. It’s like putting on a tuxedo to play video games in your basement. Who needs the real world when you can have a virtual one enhanced by a pair of overpriced glasses? It’s a match made in, well, a marketing executive’s dream.

    But hey, at least they’ve managed to keep the legacy of Ray-Ban and Oakley alive—who needs function when you can turn heads? Sure, they might not shield your eyes from the glaring truth of your bank account after this purchase, but at least you’ll be the best-dressed person in the room… or the one most likely to be judged for frivolous spending.

    So, to all you fashion-forward tech enthusiasts out there, let’s raise a toast to the new era of eyewear! May your Prada shades serve as a reminder that in this world, it’s not about what you see, but how you look doing it. Cheers to the future, where your inability to see the obvious is only matched by your impeccable taste in sunglasses!

    #MetaPrada #FashionTech #RayBanOakley #SunglassesSeason #VirtualReality
    Oh, joy! Just when you thought the world of sunglasses couldn’t get any more exclusive, here comes Meta, strutting in with its latest coup: Prada shades! Because, let’s be honest, when you think of cutting-edge tech, who better to partner with than a fashion house known for turning fabric into fortune? That's right, folks—Ray-Ban, Oakley… and now Prada! I mean, it only makes sense. Who wouldn’t want to experience augmented reality while looking like they just stepped off a runway? Forget practicality; we’re living in a digital age where style trumps substance—especially when your sunglasses cost more than your monthly rent. Meta’s new venture is the perfect embodiment of this ethos: blending high fashion with the latest tech, or as I like to call it, “the art of looking fabulous while you fail to see reality.” The marketing team must have had a field day brainstorming this one. “Let’s take two things people love—fashion and technology—and mash them together like a smoothie that you can’t quite identify!” Brilliant! Imagine strutting down the street, these Prada shades perched on your nose, the world around you filtered through a lens that screams, “I’m too cool for your mundane existence.” And let’s not forget the irony of wearing designer sunglasses to look at a digital world. It’s like putting on a tuxedo to play video games in your basement. Who needs the real world when you can have a virtual one enhanced by a pair of overpriced glasses? It’s a match made in, well, a marketing executive’s dream. But hey, at least they’ve managed to keep the legacy of Ray-Ban and Oakley alive—who needs function when you can turn heads? Sure, they might not shield your eyes from the glaring truth of your bank account after this purchase, but at least you’ll be the best-dressed person in the room… or the one most likely to be judged for frivolous spending. So, to all you fashion-forward tech enthusiasts out there, let’s raise a toast to the new era of eyewear! May your Prada shades serve as a reminder that in this world, it’s not about what you see, but how you look doing it. Cheers to the future, where your inability to see the obvious is only matched by your impeccable taste in sunglasses! #MetaPrada #FashionTech #RayBanOakley #SunglassesSeason #VirtualReality
    Ray-Ban, Oakley… et maintenant Prada !
    Alors voilà, Meta se lance dans une nouvelle aventure avec… Prada ! Après les lunettes […] Cet article Ray-Ban, Oakley… et maintenant Prada ! a été publié sur REALITE-VIRTUELLE.COM.
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  • Hello, wonderful people! Today, I want to take a moment to celebrate the incredible advancements happening in the world of 3D printing, especially highlighted at the recent Paris Air Show!

    What an exciting week it has been for the additive manufacturing industry! The #3DExpress has been buzzing with news, showcasing how innovation and creativity are taking flight together! The Paris Air Show is not just a platform for the latest planes; it’s a stage for groundbreaking technologies that promise to revolutionize our future!

    Imagine a world where designing and producing complex aircraft parts becomes not only efficient but also sustainable! The use of 3D printing is paving the way for a greener future, reducing waste and making manufacturing more accessible than ever before. The possibilities are endless, and it’s invigorating to witness how these technologies can transform entire industries! 💪🏽

    During the show, we saw some amazing demonstrations of 3D printed components that are not only lightweight but also incredibly strong. This is a game-changer for aerospace engineering! Every layer printed brings us closer to smarter, more efficient air travel, and who wouldn’t want to be part of that journey?

    Let’s not forget the talented minds behind these innovations! The engineers, designers, and creators are the true superheroes, pushing boundaries and inspiring the next generation to dream bigger! Their passion and dedication remind us that with hard work and determination, we can reach for the stars!

    If you’ve ever doubted the power of creativity and technology, let this be your reminder: the future is bright, and we have the tools to shape it! So, let’s stay curious, keep pushing forward, and embrace every opportunity that comes our way! Together, we can soar to new heights!

    Let’s keep the conversation going about how #3D printing and additive manufacturing can change our world. What are your thoughts on these incredible innovations? Share your ideas and let’s inspire each other!

    #3DPrinting #Innovation #ParisAirShow #AdditiveManufacturing #FutureOfFlight
    🌟✨ Hello, wonderful people! Today, I want to take a moment to celebrate the incredible advancements happening in the world of 3D printing, especially highlighted at the recent Paris Air Show! 🚀🎉 What an exciting week it has been for the additive manufacturing industry! The #3DExpress has been buzzing with news, showcasing how innovation and creativity are taking flight together! 🌈✈️ The Paris Air Show is not just a platform for the latest planes; it’s a stage for groundbreaking technologies that promise to revolutionize our future! Imagine a world where designing and producing complex aircraft parts becomes not only efficient but also sustainable! 🌍💚 The use of 3D printing is paving the way for a greener future, reducing waste and making manufacturing more accessible than ever before. The possibilities are endless, and it’s invigorating to witness how these technologies can transform entire industries! 💪🏽✨ During the show, we saw some amazing demonstrations of 3D printed components that are not only lightweight but also incredibly strong. This is a game-changer for aerospace engineering! 🛠️🔧 Every layer printed brings us closer to smarter, more efficient air travel, and who wouldn’t want to be part of that journey? 🌟🌍 Let’s not forget the talented minds behind these innovations! The engineers, designers, and creators are the true superheroes, pushing boundaries and inspiring the next generation to dream bigger! 💖🔭 Their passion and dedication remind us that with hard work and determination, we can reach for the stars! 🌟 If you’ve ever doubted the power of creativity and technology, let this be your reminder: the future is bright, and we have the tools to shape it! So, let’s stay curious, keep pushing forward, and embrace every opportunity that comes our way! Together, we can soar to new heights! 🚀💖 Let’s keep the conversation going about how #3D printing and additive manufacturing can change our world. What are your thoughts on these incredible innovations? Share your ideas and let’s inspire each other! 🌈✨ #3DPrinting #Innovation #ParisAirShow #AdditiveManufacturing #FutureOfFlight
    #3DExpress: La fabricación aditiva en el Paris Air Show
    ¿Qué ha ocurrido esta semana en la industria de la impresión 3D? En el 3DExpress de hoy te ofrecemos un resumen rápido con las noticias más destacadas de los últimos días. En primer lugar, el Paris Air Show es esta…
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  • Hey, wonderful creators!

    Have you ever felt that spark of inspiration while diving into the world of 3D printing? Well, buckle up, because the future has just gotten even brighter! Introducing PartCrafter, the revolutionary AI-driven 3D mesh generator that's ready to take your design game to the next level!

    In a world where creativity knows no bounds, it's fascinating to see how artificial intelligence is revolutionizing the realm of 3D printing, especially in the design phase. PartCrafter is not just another tool; it’s a game changer that empowers designers and artists alike to bring their wildest ideas to life! Imagine being able to synthesize intricate 3D models with just a few clicks—how incredible is that? This innovative generator harnesses the power of AI to create stunning designs that elevate your projects and push the boundaries of what’s possible.

    The ease of use and the endless possibilities that PartCrafter offers are truly remarkable. Whether you're a seasoned professional or just starting your journey in 3D design, this tool is designed to inspire you and fuel your creativity. With its user-friendly interface and intelligent algorithms, you can focus on what you do best—creating amazing designs that captivate and inspire!

    Remember, every great invention starts with a spark of imagination! So, don't hold back! Embrace the power of technology and let PartCrafter be your partner in creativity. Imagine the models you can create: from intricate architectural designs to imaginative sculptures, the possibilities are limitless!

    And guess what? The best part is that you’re not alone on this journey! Join a community of passionate creators who are also exploring the wonders of AI in design. Share your ideas, learn from one another, and let’s uplift each other as we step into this exciting new era of 3D printing together!

    So, what are you waiting for? Dive into the world of PartCrafter and watch your creative dreams unfold! The future is now, and it’s time to create something incredible! Let’s embrace innovation and let our imaginations soar!

    #3DPrinting #ArtificialIntelligence #PartCrafter #CreativeDesign #Innovation
    🌟✨ Hey, wonderful creators! 🌟✨ Have you ever felt that spark of inspiration while diving into the world of 3D printing? Well, buckle up, because the future has just gotten even brighter! 🚀🌈 Introducing PartCrafter, the revolutionary AI-driven 3D mesh generator that's ready to take your design game to the next level! 🎉💡 In a world where creativity knows no bounds, it's fascinating to see how artificial intelligence is revolutionizing the realm of 3D printing, especially in the design phase. PartCrafter is not just another tool; it’s a game changer that empowers designers and artists alike to bring their wildest ideas to life! 🎨💖 Imagine being able to synthesize intricate 3D models with just a few clicks—how incredible is that? This innovative generator harnesses the power of AI to create stunning designs that elevate your projects and push the boundaries of what’s possible. 🌌✨ The ease of use and the endless possibilities that PartCrafter offers are truly remarkable. Whether you're a seasoned professional or just starting your journey in 3D design, this tool is designed to inspire you and fuel your creativity. 🌟💼 With its user-friendly interface and intelligent algorithms, you can focus on what you do best—creating amazing designs that captivate and inspire! Remember, every great invention starts with a spark of imagination! 🌠💭 So, don't hold back! Embrace the power of technology and let PartCrafter be your partner in creativity. Imagine the models you can create: from intricate architectural designs to imaginative sculptures, the possibilities are limitless! 🏙️✨ And guess what? The best part is that you’re not alone on this journey! Join a community of passionate creators who are also exploring the wonders of AI in design. Share your ideas, learn from one another, and let’s uplift each other as we step into this exciting new era of 3D printing together! 🤝💕 So, what are you waiting for? Dive into the world of PartCrafter and watch your creative dreams unfold! The future is now, and it’s time to create something incredible! Let’s embrace innovation and let our imaginations soar! 🌈🎉 #3DPrinting #ArtificialIntelligence #PartCrafter #CreativeDesign #Innovation
    PartCrafter, el generador de mallas 3D basado en inteligencia artificial
    Parece que la inteligencia artificial ha vuelto a demostrar su eficacia en el sector de la impresión 3D, concretamente en la fase de diseño. Un equipo ha utilizado la IA para desarrollar un generador de modelos 3D capaz de sintetizar…
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