The second, and final, part of an extensive look behind the scenes of the visual effects production for Lucasfilm’s pirate-themed Star Wars adventure series. By Clayton Sandell (Credit: ILM & Lucasfilm) The Observatory Moon Still searching for At Attin’s coordinates, Jod (Jude Law) and the kids land the Onyx Cinder on the Observatory Moon, seeking help from an alien, owl-like astronomer named Kh’ymm (voiced by Alia Shawkat). The group treks from the ship to the observatory, a striking sequence that includes visuals of the characters silhouetted against a night sky dominated by a nearby planet. The scenes were all captured in camera on the StageCraft volume, with the actors walking across a practically built dirt mound and the background displayed on the LED screens. “That was another one of our more successful volume shoots,” ILM visual effects supervisor Eddie Pasquarello says. “Perfect use of that, in my opinion.” The volume also helped create the illusion of the observatory center rotating within the outer walls. “That one was the most technically challenging,” says ILM virtual production supervisor Chris Balog. “We had to figure out multiple ways of tracking the camera to make sure that the wall was moving in conjunction with it. For some shots they had a circular dolly moving around the set. So we had to make sure that the wall was moving correctly too.” The volume was used in 1,565 shots in all, Balog says, and 900 of those shots were in-camera finals. Like Neel (Robert Timothy Smith), Kh’ymm was also realized using a combination of digital and practical techniques, depending on the scene. In some shots, a practical puppet created by Legacy Effects captured her performance entirely in camera. In other scenes, ILM collaborator Important Looking Pirates created a full computer graphics head composited on top of the puppeteered body or utilized a fully digital replica carefully animated to closely match the movements of the puppet. The episode concludes with the arrival of a pair of familiar New Republic ships summoned by Kh’ymm. “Of course, we see our first X-wings,” Pasquarello smiles. “That was right in our wheelhouse and fun for everyone to do.” (Credit: ILM & Lucasfilm) Can’t Say I Remember No At Attin The Onyx Cinder arrives at a world that initially looks a lot like At Attin but is actually the conflict-battered sister planet At Achrann, a place where children are trained as soldiers in a war between the Troik and Hattan clans. The kids hike through the decayed remains of a neighborhood and city that once looked like their own. Live-action scenes were shot with minimal sets against blue screen backgrounds and completed with extensive environments created by ILM partner DNEG, including dilapidated buildings and streets, a fully-digital armored assault tank, and a small herd of horned eopie creatures. The heroes are challenged by a Troik warlord named General Strix (Mathieu Kassovitz) to prove their strength in battle. In exchange, Strix’s daughter Hayna (Hala Finley) takes them to an abandoned tower that may have the coordinates they need to get home. Inside the tower – another set that utilized the StageCraft volume – SM-33 (voiced by Nick Frost) reveals that his previous captain ordered him to destroy the coordinates to At Attin. Fern attempts to override his memory, triggering a hostile response and transformation sequence that required significant digital work by ILM’s Sydney studio. “Whenever SM-33 goes into attack mode, he’s more CG versus the puppeteered, less-docile version of him,” Pasquarello explains. “When he has those armored plates on, or whenever he grows, that’s all CG.” The abandoned tower set utilized a mix of 3D elements and backgrounds in the volume along with practical columns, floor, and set dressing. “I thought it had a really amazing photographic feel to it,” says Balog. “Some of the biggest challenges are blending the volume with the real set. And that’s why the virtual art department is such a key factor, because they have to work hand-in-hand with the set department and the 3D content to make sure the textures on everything look the same.” “ILM had a really great content team led by [visual effects associate supervisor] Dan Lobl, creating content that is believable and looks real,” Balog says. “We’re not successful unless they’re successful.” The setting also provides subtle foreshadowing to events that unfold inside the At Attin Supervisor’s Tower in episode eight,” says Pasquarello. “The environment was unique and custom,” he explains. “There’s a deliberate tilt up to the ceiling, and you can see some cables hanging. Those are the remnants of their Supervisor, who’s been totally gutted and ripped out. I think it’ll be fun for people to watch the series again, and they’ll understand.” (Credit: ILM & Lucasfilm) Lanupa’s Luxury and Peril Next stop is a mountain on the planet Lanupa, the site of an old pirate lair that SM-33 believes contains At Attin’s coordinates. It’s also the site of a lavish hotel and spa occupied by high-end patrons, including a Hutt who swallows a Troglof mud bath attendant and a massive, tentacled creature called Cthallops, both achieved digitally with the help of Important Looking Pirates. Jod is captured by the pirate horde and sentenced to death. He’s allowed a few remaining minutes for a final appeal, measured by an hourglass filled with churning blue plasma. “It wasn’t a fully fleshed-out idea on set. We knew we needed an hourglass, and we would be doing it, but it was just kind of a fun adventure to figure out,” Pasquarello says. “We were trying to do some fun ideas with how the plasma would show the passage of time.” Successfully navigating a series of booby traps, the children, Jod, and SM-33 enter the subterranean treasure lair of pirate captain Tak Rennod, another set that relied heavily on the StageCraft volume. “They built the big skull throne that the pirate king sat on,” says Balog. “They had all the treasure in the room, four big columns, and the stairs and the rock when they walked in. Everything else in the cave was created with the volume.” After finally discovering At Attin’s secret, as well as its location, Jod betrays the children, who escape the lair by sliding down a series of tunnels to the base of the mountain. As Wim (Ravi Cabot-Conyers), Neel, Fern (Ryan Kiera Armstrong), and KB (Kyriana Kratter) figure out how to get back to the Onyx Cinder, they encounter a cast of curious trash crabs. “They’re not droids,” explains Pasquarello. “They’re literally crabs with garbage on their backs. And that was a lot of work to make that understandable. They’re not synthetic. It’s one of those sequences that is very rich in detail, and there’s a lot going on.” While the baby crabs are digital, a massive mama crab was created as a detailed stop-motion puppet by Tippett Studio, the production company founded by original Star Wars animator and creature designer Phil Tippett. The beast’s jagged, rusty, junk-laden look prompted the Tippett crew to nickname it “Tet’niss.” (Credit: ILM & Lucasfilm) “We generally did the rough blocking of the shots at ILM first,” production visual effects supervisor John Knoll explains. “We figured out what the shots wanted to be, the pace, and how big the creature was going to be. Once we got all those layouts approved, it went to Tippett’s, including all the camera info so they could figure out where the camera was positioned relative to the set and the puppet.” A low-resolution, untextured 3D model of the mama crab also helped animators work out the creature’s speed and movement in advance of shooting on the stop-motion stage. “Since stop-motion is very labor intensive, you don’t want to have to go back and reshoot things,” Knoll says. “So we got approval on their preliminary animation, and then they would go in and do the detailed stop-motion. And that was a particularly complicated character because there are so many moving parts on it. Obviously, there are the eight legs, but then there are all kinds of little pieces on it that bounce and move when it starts to walk. I’m impressed that they were able to keep that all straight in their heads.” The mama crab puppet weighed in at about 15 pounds, requiring support from a mechanical harness that was digitally erased in post-production. (Credit: ILM & Lucasfilm) Onyx Cinder Metamorphosis The kids reach the Onyx Cinder just as an enormous scrapper barge closes in, threatening to pulverize the ship and ingest the remains into its fiery maw. “There’s sort of a tug-of-war between the ship and this garbage muncher,” Knoll explains. When the ship is snagged by one of the muncher’s claw-like arms, Fern decides their only hope for an escape is by triggering the emergency hull demolition sequencer. A series of rapid explosions ripple down the hull, causing the Onyx Cinder to shed its worn outer shell. A smaller, silver-colored version of the ship is freed and rises out of the debris. “Our code was the ‘ironclad’ and the ‘sleek ship,’” Pasquarello says of the two Onyx Cinder variants. “We went around a lot with the shedding of the hull. We didn’t want it to all blow off and just be conveniently revealed. It had to come off like a snake’s skin. “And the effects are just dialed up to 11,” continues Pasquarello, who hopes that fans notice a key storytelling detail of the ship’s metamorphosis. “One cool thing that I don’t think everybody knows is that when you transition between the ships, we don’t share all the same engines, but the engines that we do share between the ships change from a warm color to blue. “One of our challenges was that the sleek Onyx Cinder is a cleaner-burning ship,” Pasquarello says. “The whole conceit was that the engines were that orange color because they were dirty and running bad oil. We kept debating: ‘When would it turn blue?’ The sequence is a very elegant transition shot where you see it sputtering away all of that oil and dirt to the cleaner burning blue that we got.” Knoll says the transformation was one of the more “complicated” scenes to pull off. “There are a lot of simulation layers that are in there, and the sleek ship doesn’t actually fit inside the armored hull, so there was some sleight of hand that had to happen to make that appear to work,” he explains. The end result is one of Pasquarello’s favorite sequences. “Every time I watch it, I still get chills,” he says. “It just speaks to the detail that the creators had about this show. They thought of everything. [Jon] Watts was very clear with us that this is why this is happening. And we just had to figure out how to execute that.” (Credit: ILM & Lucasfilm) The Return to At At Attin’s coordinates in hand, Wim, Fern, KB, and Neel arrive at their home planet aboard the transformed Onyx Cinder. A horde of pirates led by Captain Brutus (portrayed by Fred Tatasciore and performance artist Stephen Oyoung) are not far behind. But the pirates are stopped by the planet’s protective, nebula-like barrier. “Going through the barrier for us was a really big endeavor,” says Pasquarello. “It’s something that started early because it’s so effects-driven and heavy and large scale, and there’s a lot of story to be told in there.” An array of satellites protect At Attin, blasting deadly arcs of lightning toward unauthorized ships. SM-33 reveals the Onyx Cinder is an At Attin vessel, which allows it to pass safely. The design and function of the satellites – crafted by ILM’s digital modeling department – evolved over time, says Pasquarello. “At one point, the satellites were actually emitting atmosphere. There were versions where you could literally see atmosphere coming out of them to create that cloudy environment,” he explains. Pirate ships pursue the Onyx Cinder through a toxic swirl of greenish-blue gasses but are destroyed by the satellites. “There’s a lot of heavy, heavy sims [simulations] and work that went into that sequence, and then the landing on At Attin,” Pasquarello says, giving credit to ILM’s compositing and effects teams. One element featured in the return to At Attin came along late in the production process. With shot delivery deadlines approaching faster than a ship in hyperspace, John Knoll got an email from Jon Watts. “He said, ‘We’ve done animatronic creatures, we’ve done rubber monsters, we’ve done stop-motion creatures. We did miniature and motion control. The only thing we haven’t really done from the old days is a traditionally-painted matte painting. Is it too late to do one?’” Knoll recalls. With only two months to make it happen, Knoll reached out to former ILM artist Jett Green at her home in Hawaii and asked if she’d like to put her brushes to work creating a traditional oil matte painting of At Attin. Using paint instead of pixels to compose a matte image is something ILM hadn’t done in about 30 years, according to Knoll. Green – with a long list of credits as a traditional matte painter on films including Indiana Jones and the Temple of Doom (1984), Labyrinth (1986), and Willow (1988) – says she was honored to be asked. “I love being part of this history,” Green tells ILM.com. “John and I had this conversation about it being a planet. He had the references already, and he told me what he needed. I even built the Masonite panel for it, and it just felt really good.” Knoll now has the roughly six-by-two-foot painting displayed in his ILM office. At Attin matte painting created by Jett Green (Credit: ILM & Lucasfilm) Posing as an emissary from the New Republic, Jod gains access to At Attin’s bountiful treasure: 1,139 subterranean, credit-filled vaults. The vault is an entirely digital environment that DNEG populated with security droids, industrial robotic arms, and a seemingly endless supply of golden computer graphics credits that line the walls and spill into Jod’s rapacious hands. Jod, Fern, and her mother, Fara (Kerry Condon), ascend the Supervisor’s Tower. The Supervisor is revealed to be a large, domed droid with a red eye. Only a small part of the Supervisor droid was constructed physically, with the StageCraft volume completing the illusion. “Virtual production is the future of visual effects,” says Chris Balog, a 20-year ILM veteran with a background as a digital compositing artist. “It’s where the next evolution is going. And if you can do it successfully, it’s an amazing tool.” Jod destroys the Supervisor with a lightsaber, triggering a citywide power outage and disabling the barrier satellites, clearing the way for the massive pirate frigate to reach the planet’s surface.  The enormous frigate survives the barrier and floats ominously over the city. “The great effects work done with the frigate coming through the clouds was Travis Harkleroad, our effects supervisor,” Pasquarello says. “Those explosions all come from him and his people.” The all-computer graphics frigate’s arrival is meant to evoke the alien-arrival feeling of films like Close Encounters of the Third Kind (1977) and Independence Day (1996). “There was no practical frigate,” Pasquarello says. “It’s a gorgeous ship. It’s a very complex-looking ship, and there’s a lower and upper deck that was built inside, and ships and skiffs that come out of that.” Wim, Neel, and KB devise a two-part plan to rescue Fern and call Kh’ymm for help. Jumping on speeder bikes and pursued by skiffs loaded with angry pirates, the kids – along with Wim’s dad, Wendel (Tunde Adebimpe), make their way across the city. For close-up shots, the actors were shot on a blue screen stage, with the more dangerous action – like a perilous jump across a canyon – requiring the use of digital doubles. “The speeder bikes on this show were a real challenge in the sense that we can’t put kids into a lot of heavy stunt work,” says Pasquarello. “So there was a lot of work done to help the dynamics and the physics of that chase.” The action continues through an all-computer graphics forest, through the city, to the school. Pasquarello praises ILM’s animation, layout, simulation, and environments teams for the extensive 3D build. “They’re going through an entirely CG environment, created by the environments team that you just don’t question,” he says. “Not one thing that they fly over or go through is real.” Summoned by Kh’ymm, New Republic forces arrive at At Attin, attacking the pirate frigate and saving the day. The squadron of X-wings is backed up by B-wings, another fan-favorite fighter that first appeared in Star Wars: Return of the Jedi (1983) and later in Star Wars: Rebels (2014-2018). “The B-wings were a favorite of mine as a kid, so I did my best to try to get them featured in some big, heroic moments,” says ILM animation supervisor Shawn Kelly. “Initially, we had them dropping bombs on the pirate ship, but [Lucasfilm chief creative officer] Dave Filoni had the great suggestion to try the ‘composite laser’ weapon. Honestly, I had no idea what that was at first. As soon as the meeting was over, I looked it up and realized it’s the ridiculously cool quadruple-beam attack seen in Rebels. I got so excited by the idea that I stayed up late and designed a new shot that could really show off that attack. I felt like I was 10 years old again, playing with my B-wing toy in the backyard!” Balog would composite the B-wing shot himself, working in collaboration with the FX team to evoke the feeling of the laser as seen in Rebels, but with a more realistic style appropriate for live-action. The battle-wounded pirate frigate makes a spectacular crash landing, a completely computer graphics sequence that Pasquarello says was carefully designed to depict minimal casualties. “The conceit is that everyone’s been rounded up to a specific space, so we know that everybody evacuated,” he explains. “You notice it doesn’t really tear into buildings as the frigate crashes; it’s just pulling up the street and abandoned cars. It crashes gently into the waterway.” (Credit: ILM & Lucasfilm) Galactic Global Effort Bringing Skeleton Crew to life with its creative mix of old and new took a tremendous amount of effort from artists around the globe. “I worked with a team of 50 animators that were in San Francisco, Vancouver, Singapore, Sydney, and Mumbai,” says Pasquarello. “A big team. We’re one big happy family; we’re all working together to bring these characters to life.” Knoll and veteran ILM modelmaker John Goodson say they feel lucky to still be bringing old-school ILM effects expertise to new productions. “You know, there’s only a few of us that still know how to do this stuff,” says Knoll. “And part of this for me was, I want to bring some younger people who are exposed to what we’re doing, who are trained up to use the gear so that when I’m not available to do this stuff there are people who know how to do it.” “We both came here because we wanted to shoot spaceship models,” Goodson adds. “And we’re still getting this opportunity. It’s a phenomenal experience to be able to do this, to take advantage of some of the newer technologies, and revisit this stuff from our past, which is the reason we got in the business to begin with.” For Shawn Kelly, a 28-year ILM veteran, working on Skeleton Crew was a career highlight. “Our review sessions on this project were by far the most enjoyable, fun, collaborative,” he says. “Watts and Ford are awesome. They have tons of great ideas. They’re really collaborative and open to ideas. It felt like a family just trying to make the best thing we can make all together.” (Credit: ILM & Lucasfilm) – Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

Documents reveal team tested options including building over station’s entire listed trainshed New image of Acme's proposals for the station's main entrance 1/22 show caption The City of London has published the planning application for Network Rail’s proposed redevelopment of Liverpool Station, revealing new images of how the scheme could look when built. The £1bn Acme designed scheme was submitted at the beginning of April and has been validated by Square Mile planners in the space of just six weeks.  A highly controversial previous version designed by Herzog & de Meuron for Network Rail and its former development partner Sellar, which has since been dropped, took more than six months to appear on the City’s planning portal. More than 20 previously unseen images of the new proposals, set to be one of the largest schemes in London, have been unveiled along with new details about how the scheme would be built. Acme’s plans would see a 21-storey office block built above the 1980s extension to the grade II-listed station’s train shed and a set of new vaulted gothic entrances built to replace the building’s existing gateways. These entrances would be faced predominately with yellow stock bricks, the same type used for the original 1875 station building and its 20th century extension, with bricks from parts of the extension set to be demolished to be reused in the new entrances. Acme has also proposed incorporating amber-tinted glass bricks, which will be “speckled” in the upper parts of the 18m-high entrance vaults and concentrated at the top of the concave areas of the arches between the ribs. Network Rail said the glass bricks will “serve as one of the contemporary subversions of an otherwise historic typology”, adding a “crystalline light scatter of the material [to] mark the stations thresholds as spaces of architectural interest”. The application documents also reveal Network Rail had considered building over the entire listed train shed roof prior to opting for a limited development over the 1980s concourse area. Options tested included a single block facing Exchange Square at the northern end of the train shed, three blocks spaced over the length of the train shed, elongated blocks running along either side and a large block containing multiple light wells which would sprawled over the full extent of the station. Options for the over-station development tested by Network Rail prior to the selection of the current proposal for a building above the concourse A further option to build a tower scheme over the existing Metropolitan Arcade opposite the main station building on Liverpool Street was also considered but was ruled out due to ownership issues and below ground constraints of the Circle and Elizabeth Lines. Network Rail initially favoured an over station development facing Exchange Square but concluded this was scrapped because of its impact on train services, its engineering complexity and difficulty in creating viable entrances. The preferred development above the concourse was identified as the most viable, although it will not include building above the grade II*-listed former Great Eastern Hotel which had been one of the most controversial aspects of Herzog & de Meuron’s proposals for the site. The plans confirm Network Rail’s pledge last year to take a more “heritage-led” approach to the redevelopment compared to the previous scheme, which had proposed interventions in a strikingly different design to the 19th century station. That scheme was abandoned last year with Network Rail’s development partner Sellar dropped after the application amassed more than 2,000 objections from members of the public and criticism from heritage groups including Historic England. A selection of Acme’s early design concepts for the station entrances Network Rail’s property arm, Network Rail Property, is now leading the redevelopment and has sought closer collaboration with heritage groups on the design, although the Victorian Society, which led the campaign against the previous proposals, is still objecting to the new designs and has described the planned over-station office tower as “perverse”. The office component is being used to fund improvements to the rest of the station, which is currently the UK’s busiest with around 118 million people a year crossing its concourse with annual passenger numbers expected to hit 158 million by 2041. Network Rail said the redevelopment, which will significantly enlarge the building’s concourse, will enable the station to serve more than 200 million passengers a year. It also aims to turn the station into a “destination in its own right” with new retail, leisure and workspace, aligning with the City of London’s Destination City ambition to diversify its economy. The project team includes Aecom on engineering and transport, Certo as project manager, Newmark, previously known as Gerald Eve, on planning, Gleeds as cost manager, Donald Insall Associates on heritage and townscape, GIA on daylight and sunlight and SLA as landscape architect.

Complementary colors, positioned opposite each other on the color wheel, can produce some of the most vibrant and visually compelling images in photography. By understanding and strategically using them, photographers can create striking, balanced compositions that immediately captivate viewers. Here’s how to effectively harness this to infuse your photographs with drama and visual tension. Understanding Complementary Colors Complementary colors—like red and green, blue and orange, or yellow and purple—create powerful visual contrasts. When placed together, these colors enhance each other’s intensity, leading to dynamic and eye-catching images. Understanding the emotional impact of complementary colors can significantly improve your photographic storytelling: Red and Green: evoke passion and vitality Blue and Orange: provide depth and warmth Yellow and Purple: suggest creativity and vibrancy Creating Balance and Visual Tension with Complementary Colors The key to successfully using complementary colors lies in achieving visual harmony. Allow one color to dominate the scene while using its complementary counterpart as a strategic accent. Thoughtful placement of these colors can effectively guide the viewer’s attention and create powerful visual interest without overwhelming the frame. Utilizing Lighting to Enhance Color Contrasts Lighting significantly influences how colors interact and appear in photographs: Natural Lighting: During golden hour or blue hour, natural lighting emphasizes color contrasts, enhancing warmth or coolness. Artificial Lighting: Controlled artificial lighting, such as colored gels or studio lights, can intensify color relationships and dramatize your compositions. Composition Techniques Effective complementary color photography involves intentional composition: Simplify your frame by removing unnecessary distractions to help colors stand out clearly. Use neutral or uncluttered backgrounds to make colors truly pop. Thoughtfully integrate complementary colors within your background to further enhance your subject. Refining Your Image in Post-Processing Post-processing plays an important role in finalizing the visual drama of your complementary color images: Adjust contrast, saturation, and color balance to strengthen color relationships. Enhance the overall aesthetic appeal and cohesiveness of your composition through careful editing. Harnessing complementary colors effectively is a dynamic skill that enables photographers to convey vivid emotions, highlight intriguing narratives, and produce unforgettable imagery. By thoughtfully balancing composition, lighting, and post-processing, you can utilize colors contrast to create powerful and visually captivating photographs that resonate deeply with viewers. Explore the potential of complementary colors and elevate your photographic vision with bold, impactful compositions. Extended reading: Transforming ordinary scenes with vibrant colors The post Harnessing Complementary Colors for Visual Drama appeared first on 500px.

NimueIntroductionFor three semesters, our student team has been hard at work on the prototype for Nimue, a 3D platformer in which you play an enchanted princess who lost her memories. She needs to find her way through the castle ruins on a misty lake to uncover her past. Water is a visual core element of this game prototype, so we took extra care in its development. In this article, we will take an in-depth look at the design and technical implementation of a lake water material.The first prototype of Nimue can be played on itch.io soon. A link to our shader for use in your own projects can be found at the end of this article.Taxonomy of WaterBefore we dive into the design decisions and technical implementation, we present a simplified taxonomy of visual water components to better understand the requirements of its representation:RiMEWind WavesWaves generated by wind, which form on an open water surface, can be divided into capillary waves and gravity waves. Capillary waves, or ripples, are small, short-wavelength waves caused by weak winds affecting surface tension in calm water. They can overlap longer and larger gravity waves. How these physically complex wave types are represented in stylized video games varies depending on the respective style. Both types are usually heavily simplified in form and motion, and capillary waves are sometimes omitted entirely to reduce detail.Sea of ThievesFoam PatternsFoam patterns refer to white foam crests that form on a water surface without breaking against an obstacle or shoreline. In reality, this effect occurs when different water layers collide, and waves become steeper until their peaks collapse, and the resulting bubbles and drops scatter the sunlight. Stylized foam patterns can be found in many video game water representations and can easily be abstracted into patterns. Such patterns contribute to a cartoon look and can sometimes even replace waveforms entirely.The Legend of Zelda: The Wind WakerFoam LinesFoam lines are a very common water element in video games, represented as white graphical lines surrounding shorelines and obstacles like rocks. They typically reference two different water phenomena: foam forming around obstacles due to wave breaking, and foam along shorelines, resulting from wave breaking and the mixing of algaes with organic and artificial substances.Foam lines can have different visual appearances depending on the surface angle: The shallower the angle, the wider the foam effect. Due to the weaker waves, distinctive foam lines are rarely observed on natural lakes, but they can be included in a stylization for aesthetic purposes. Animal Crossing: New HorizonsReflectionsWhen light hits a water surface, it can either be reflected (specular reflection) or transmitted into the water, where it may be absorbed, scattered, or reflected back through the surface. The Fresnel effect describes the perceived balance between reflection and transmission: at steep angles, more transmitted light reaches the eye, making the water appear more translucent, while at shallow angles, increased reflection makes it appear more opaqueIn stylized video games, implementations of water reflections vary: RiME, for example, imitates the Fresnel effect but does not reflect the environment at all, only a simple, otherwise invisible cube map. Wind Waker, on the other hand, completely foregoes reflection calculations and renders a flat-shaded water surface.RiMETranslucencyAs an inhomogeneous medium, water scatters some of the transmitted light before it can be reflected back to the surface. This is why water is described as translucent rather than transparent. Some scattered light is not reflected back but absorbed, reducing intensity and shifting color toward the least absorbed wavelengths, typically blue, blue-green, or turquoise. Increased distance amplifies scattering and absorption, altering color perception. Modern real-time engines simulate these effects, including absorption-based color variation with depth. However, stylized games often simplify or omit transmission entirely, rendering water as an opaque surface.RiMERefractionAn additional aspect of water transmission is refraction, the bending of light as it transitions between air and water due to their differing densities. This causes light to bend toward the normal upon entering the water, creating the apparent distortion of submerged objects. Refraction effects also commonly appear in stylized water rendering. Kirby's Forgotten Land, for example, showcases two key visual characteristics of refraction: distortion increases with steeper viewing angles and is amplified by ripples on the water's surface.Kirby and the Forgotten LandCausticsCaustic patterns form when light rays are focused by a curved water surface (caused by waves and ripples), projecting bundled light patterns onto underwater surfaces or even back to surfaces above water. These patterns are influenced by the clarity of the water, the depth of the water, and the strength of the light source. They contribute greatly to the atmosphere of virtual worlds and are often found in stylized games, although only as simplistic representations.The Legend of Zelda: Ocarina of Time 3DDesign DecisionsDue to the fact that the setting of Nimue is a lake with a calm overall atmosphere, the decision was made to use very reduced gravity waves, as a calm water surface underlines this atmosphere. Capillary waves have too high a level of detail for the stylistic requirements of Nimue and were, therefore, not implemented.NimueShapesThe mood in Nimue can be summarized as calm and mystical. The design language of Nimue is graphic, rounded, and elegant. Shapes are vertically elongated and highly abstracted. Convex corners are always rounded or have a strong bevel, while concave corners are pointed to prevent the overall mass of objects from becoming too rounded.ColorsNimue uses mostly broken colors and pastels to create a serene, reflective mood and highlight the player's character with her saturated blue tones. Platforms and obstacles are depicted with a lower tonal value (darker) to increase their visibility. Overall, the game world is kept in very unsaturated shades of blue, with the atmospheric depth, i.e., the sky and objects in the distance, falling into the complementary orange range. Shades of green and yellow are either completely avoided or extremely desaturated. The resulting reduced color palette additionally supports the atmosphere and makes it appear more harmonious.Color gamut & value/tone tests Hue, Tone & SaturationSince the color of the water, with its hue, tone, and saturation, is technically achieved by several components, a 2D mockup was first designed to more easily compare different colors in the environment. Here it could be observed that both the low and the high tonal value formed too great a contrast to the rest of the environment and thus placed an undesirable focus on the water. Therefore, the medium tone value was chosen.The hue and saturation were tested in relativity to the sky, the player character, and the background. Here, too, the color variant that harmonizes the most with the rest of the environment and contrasts the least was chosen.Foam LinesFor the design of the foam lines, we proceeded in the same way as for the color selection: In this case, a screenshot of the test scene was used as the basis for three overpaints to try out different foam lines on the stones in the scene. Version 3 offers the greatest scope in terms of movement within the patterns. Due to this, and because of the greater visual interest, we opted for variant 3. Following the mockup, the texture was prepared so that it could be technically implemented.ReflectionThe reflection of the water surface contributes to how realistic the water looks, as one would always expect a reflection with natural water, depending on the angle. However, a reflection could also contribute to the overall appearance of the water becoming less calm. The romantic character created by the reflection of diffuse light on water is more present in version 1.In addition, the soft, wafting shapes created by the reflection fit in well with the art style. A reflection is desirable, but the reflections must not take up too much focus. Ideally, the water should be lighter in tone, and the reflections should be present but less pronounced. Reflection intensityRefraction & CausticsEven though most light in our water gets absorbed, we noticed an improvement in the believability of the ground right underneath the water's surface when utilizing refraction together with the waveforms. When it comes to caustics, the diffuse lighting conditions of our scene would make visible caustic patterns physically implausible, but it felt right aesthetically, which is why we included it anyway (not being bound to physical plausibility is one of the perks of stylized graphics).Technical Realization in Unreal Engine 5When building a water material in Unreal, choosing the right shading model and blend mode is crucial. While a Default Lit Translucent material with Surface Forward Shading offers the most control, it is very costly to render. The more efficient choice is the Single Layer Water shading model introduced in Unreal 4.27, which supports light absorption, scattering, reflection, refraction, and shadowing at a lower instruction count. However, there are some downsides. For example, as it only uses a single depth layer, it lacks back-face rendering, making it less suitable for underwater views. And while still quite expensive by itself, its benefits outweigh the drawbacks of our stylized water material.WaveformsStarting with the waveforms, we used panning normal maps to simulate the rather calm low-altitude gravity waves. The approach here is simple: create a wave normal map in Substance 3D Designer, sample it twice, and continuously offset the samples' UV coordinates in opposing directions at different speeds. Give one of the two samples a higher speed and normal intensity to create a sense of wind direction. This panning operation does not need to run in the fragment shader, you can move it to the vertex shader through the Vertex Interpolator without quality loss and thereby reduce the instruction count.Texture RepetitionTo reduce visible tiling, we used three simple and fairly efficient tricks. First, we offset the UVs of the Wave Samplers with a large panning noise texture to dynamically distort the wave patterns. Second, we used another sampler of that noise texture with different tiling, speed, and direction to modulate the strength of the normal maps across the surface. We sampled this noise texture four times with different variables in the material, which is a lot, but we reused them many times for most of the visual features of our water. Third, we sampled the pixel depth of the surface to mask out the waves that were far from the camera so that there were no waves in the far distance.Vertex DisplacementWhile these normal waves are enough to create the illusion of altitude on the water surface itself, they are lacking when it comes to the intersections around objects in the water, as these intersections are static without any actual vertex displacement. To fix that, two very simple sine operations (one along the X-axis and the other on the Y-axis) were added to drive the World Position Offset of the water mesh on the Z-axis. To keep the polycounts in check, we built a simple blueprint grid system that spawns high-res plane meshes at the center in a variable radius, and low-res plane meshes around that. This enables the culling of non-visible planes and the use of a less complex version of the water material for distant planes, where features like WPO are not needed.ColorThe general transmission amount is controlled by the opacity input of the material output, but scattering and absorption are defined via the Single Layer Water material output. The inputs Scattering Coefficients and Absorption Coefficients, which are responsible for reproducing how and how far different wavelengths travel through water, are decisive here. We use two scattering colors as parameters, which are interpolated depending on the camera distance. Close to the camera, the blue scattering color (ScatteringColorNear) dominates, while at a distance, the orange scattering color (ScatteringColorFar) takes over. The advantage is a separation of the water's color from the sky's color and, thus, higher artistic control.Reflections & RefractionReflections in the Single Layer Water shading model are as usual determined by the inputs for Specular (reflection intensity) and Roughness (reflection diffusion). In our case, however, we use Lumen reflections for their accuracy and quality, and as of Unreal 5.4, the Single Layer Water model’s roughness calculation does not work with Lumen reflections. It forces mirror reflections (Roughness = 0), no matter the value input, leaving the specular lobe unaffected. Instead, it only offsets the reflection brightness, as the specular input does.For our artistic purposes, this is fine, and we do use the roughness input to fine-tune the specular level while having the specular input as the base level. A very low value was set for the specular value to keep the reflection brightness low. We further stylized the reflections by decreasing this brightness near the camera by using the already mentioned masking method via camera to interpolate between two values (RoughnessNear and RoughnessFar). For refraction, the Pixel Normal Offset mode was used, and a scalar parameter interpolates between the base refraction and the output of the normal waves.CausticsFor the caustic effect, we created a Voronoi noise pattern by using Unreal's Noise node and exporting it with a render target. In Photoshop, the pattern was duplicated twice, rotated each, colored, and blended. This texture is then projected on the objects below by using the ColorScaleBehindWater input of the Single Layer Water Material output. The pattern is dynamically distorted by adding one of the aforementioned panning noise textures to the UV coordinates.FoamlinesWe started by creating custom meshes for foam lines and applied the earlier texture pattern, but quickly realized that such a workflow would be too cumbersome and inflexible for even a small scene, so we decided to do it procedurally. Two common methods for generating intersection masks on a plane are Depth Sampling and Distance Fields. The first works by subtracting the camera's distance to the water surface at the current pixel (i.e., the "PixelDepth") from the camera's distance to the closest scene object at that pixel (i.e., the "SceneDepth"). The second method is to use the node "DistanceToNearestSurface" which calculates the shortest distance between a point on the water surface and the nearest object by referencing the scene's global distance field. We used both methods to control the mask width, as each alone varies with the object's surface slope, causing undesirable variations. Combining them allowed us to switch between two different mask widths, turning off "Affect Distance Field Lighting" for shallow slopes where narrower lines are wanted.The added mask of all intersections is then used for two effects to create the foam lines: "edge foam" (that does not depart from the intersection) and "edge waves" (which go outwards from the edge foam). Both are shaped with the noise samplers shown above to approximate the hand-drawn foam line texture.Foam PatternsThe same noise samplers are also used to create a sparkling foam effect, loosely imitating whitecaps/foam crests to add more visual interest to the water surface. Since it only reuses operations, this effect is very cheap. Similarly, the wave normals are used to create something like fake subsurface scattering to further distinguish the moving water surface. Interactive RipplesA third type of foam is added as interactive waves that ripple around the player character when walking through shallow water. This is done through a Render Target and particles, as demonstrated in this Unity tutorial by Minions Art. The steps described there are all easily applicable in Unreal with a Niagara System, a little Blueprint work, and common material nodes. We added a Height to Normal conversion for better visual integration into our existing wave setup. Finally, here are all those operations combined for the material inputs:NimueBest PracticesUse Single Layer Water for efficient translucency, but note it lacks back-face rendering and forces mirror reflections with Lumen;For simple low-altitude waves, pan two offset samples of a normal map at different speeds; move panning to Vertex Shader for better performance;Break up texture tiling efficiently by offsetting UVs with a large panning noise, modulating normal strength, and fading distant waves using pixel depth;Sampling one small noise texture at different scales can power this and many other features of a water shader efficiently;If high-altitude waves aren't needed, a simple sine-based WPO can suffice for vertex displacement; implement a grid system for LODs and culling of subdivided water meshes;Blend two scattering colors by camera distance for artistic watercolor control and separation from sky reflections;Combining depth sampling and distance fields to derive the foam lines allows for more flexible intersection widths but comes at a higher cost. Further ResourcesHere are some resources that helped us in the shader creation process:General shader theory and creation: tharlevfx, Ben Cloward;Interactive water in Unity: Minions Art;Another free stylized water material in Unreal by Fabian Lopez Arosa;Technical art wizardry: Ghislain Girardot.ConclusionWe hope this breakdown of our water material creation process will help you in your projects.If you want to take a look at our shader yourself or even use it for your own game projects, you can download the complete setup on Gumroad. We look forward to seeing your water shaders and exchanging ideas. Feel free to reach out if you have any questions or want to connect.Kolja Bopp, Academic SupervisorLeanna Geideck, Concept ArtistStephan zu Münster, Technical Artist

Author Colour prediction games have gained massive popularity across digital platforms in recent years, especially in regions like India. These games are easy to play, visually engaging, and promise quick results. But there's one question that every player or potential participant asks: Are colour prediction games based on luck or skill? This article dives deep into the mechanics, psychology, and patterns of these games to answer that question thoroughly. Understanding Colour Prediction GamesColour prediction games are a category of online games where players predict the outcome of the next color (often red, green, or violet) that will appear on a screen or wheel. If their prediction matches the result, they win and earn rewards. Many platforms and apps host such games, often labeling them as entertainment or lottery-style games.One such platform making waves is the 82 lottery game, which combines colour prediction with a digital lottery model. This has led to increased searches for 82 lottery download, as users are eager to try their luck or test their predictive skills on these platforms. The Appeal of Colour Prediction Games in IndiaIndia has witnessed a surge in casual gaming, and colour prediction games India has become a trending search term. With the rise of smartphone penetration and cheap internet access, millions are participating in these games, either for fun or for potential monetary gain.Games like lottery 82 not only offer a chance to win but also present an exciting challenge. The minimal entry barrier, instant results, and the possibility of winning make these games a top choice among young players and casual gamers. Are They Games of Luck or Skill?This is the core question — are these games purely chance-based, or do they require a level of skill? The answer isn’t entirely black and white. The Argument for LuckMany players argue that colour prediction games are fundamentally based on luck. Since the outcomes are typically generated by Random Number Generators (RNGs), each result is independent of the previous ones. This makes it almost impossible to accurately predict the next outcome using any pattern or strategy.Moreover, games like 82 lottery game or others on any colour prediction website often operate similarly to online lotteries, where luck plays the dominant role. In such cases, previous results offer little or no clue about the future outcome. The Argument for SkillOn the other hand, some seasoned players believe that there is a skill element involved, especially in understanding patterns, probability, and psychological tactics. These players use data analysis, game theory, and risk management strategies to make predictions that are slightly better than random guessing.Moreover, experienced users who frequently engage with platforms like lottery 82 often claim that consistent gameplay, proper bankroll management, and emotional control contribute significantly to success. Elements of Skill That May Influence ResultsWhile RNG systems are designed to be random, some subtle aspects of gameplay and human behavior can introduce a skill factor:Pattern Recognition: Some platforms may not use perfectly random systems, and users sometimes identify patterns.Probability and Statistics: Understanding odds and probability distribution helps make informed decisions.Risk Management: Smart players avoid all-in bets and stick to calculated risks.Experience: Like poker or fantasy sports, experience might provide an edge over new players.So while luck dominates, there is some room for skill—particularly on platforms where data transparency or algorithmic design allows for analytical prediction. Responsible Gaming Is KeyWhether you're playing the top colour prediction game or downloading the latest 82 lottery download, it’s crucial to play responsibly. These games can be entertaining and even rewarding, but they should not be seen as a reliable income source. Set a budget, know your limits, and avoid chasing losses.Several colour prediction websites now also offer responsible gaming features to help players manage their time and money effectively. This is a positive step, especially in markets like India, where regulatory frameworks are still evolving. Final Verdict: Luck or Skill?In conclusion, while colour prediction games may seem like they involve skill due to the decision-making element, the majority of their outcomes are driven by randomness. Luck plays a significant role, especially when RNG systems are involved. However, with proper strategies and experience, a small skill factor might influence outcomes in a player’s favor.For casual players, games like lottery 82 or the top colour prediction game provide thrilling entertainment. But always remember — treat them as games, not as a source of guaranteed earnings. Keywords Summary:82 lottery game: A popular colour prediction platform.82 lottery download: Refers to downloading the mobile version of the 82 lottery game.lottery 82: Another name or variant of the 82 lottery platform.top colour prediction game: Highlights the most popular platforms in this genre.colour prediction games India: Discusses the rise of such games specifically in the Indian market.colour prediction website: Refers to platforms offering these games online. Final ThoughtsThe rise of colour prediction games reflects our age-old fascination with prediction, chance, and challenge. Whether you're in it for fun or the thrill of winning, always remember the balance between luck and skill. Play smart, stay safe, and enjoy the colourful world of online predictions.

Tech Jeff Bezos backs radical $20,000 small electric pickup truck Newly announced Slate Truck could revolutionize the EV industry by making it more affordable Published May 15, 2025 6:00am EDT close Jeff Bezos backs radical $20,000 small electric pickup truck The Slate Truck is priced at $20,000 after federal EV incentives. Jeff Bezos is backing a bold new venture that's positioning itself to disrupt the electric vehicle space: Slate Auto. It's a startup that has unveiled a simple, modular electric pickup truck called the Slate Truck. It's priced at $20,000 after federal EV incentives, a concept some would consider radical and even inconceivable.The Slate Truck's base model defies industry norms by stripping down to essentials, with no power windows, no touchscreen and a minimalist dashboard. However, at the same time, it offers a range of customization options, allowing buyers to transform it into a five-seat SUV. Image of the exterior of the Slate Truck. (Slate Auto)Slate Truck by the numbersThe Slate Truck is a compact electric pickup, measuring 174.6 inches in length, 70.6 inches wide excluding mirrors and 69.3 inches tall, making it more than 20 inches shorter than a Ford Maverick and reminiscent of classic pickups like the 1985 Toyota truck. It rides on a 108.9-inch wheelbase and features a five-foot bed that is slightly longer and wider than the Maverick's, offering 37 cubic feet of cargo space. The truck is powered by a single rear-mounted electric motor producing 201 horsepower and 195 lb-ft of torque, delivering rear-wheel drive only and accelerating from 0 to 60 mph in about 8 seconds, with a top speed near 90 mph.AMERICA'S SMALLEST EV TRUCK PROTOTYPE HAS ARRIVEDBuyers can choose between a standard 52.7 kWh battery with an estimated 150-mile range or an optional 84.3 kWh pack for up to 240 miles of range. Charging is flexible, with an 11 kW onboard AC charger and DC fast charging up to 120 kW through a NACS connector, allowing a 20% to 80% charge in about half an hour. The Slate Truck has a maximum payload capacity of 1,433 pounds and can tow up to 1,000 pounds, making it practical for everyday hauling needs.Safety features include traction control, electronic stability control, automated emergency braking, forward collision warning with pedestrian detection and up to eight airbags, with the company targeting a five-star NCAP safety rating. The curb weight is about 3,600 pounds. Specific details of the Slate Truck. (Slate Auto)Funding and missionSlate Auto, founded in 2022, secured $111 million in funding from Bezos and other investors, including Mark Walter, the controlling owner of the Los Angeles Dodgers. The company aims to disrupt the EV market by making electric trucks accessible to budget-conscious consumers. This is a stark contrast to an industry dominated by high-priced models. The exterior of the Slate Truck. (Slate Auto)Slate Truck manufacturing strategySlate Auto's production is set to begin in Warsaw, Indiana, at a repurposed paper facility, an unconventional approach to manufacturing. The company is betting on affordability and modularity to carve out a niche in the EV market and is looking to challenge industry giants like Tesla and Ford. Maybe with Bezos' backing, Slate Auto can redefine what an affordable EV looks like. An illustration of the Slate Truck’s customization options. (Slate Auto)Customization optionsOne of Slate’s standout features is its extensive customization. Starting as a minimalist two-seater, the Slate Truck can be transformed into a five-seat SUV with an add-on kit that includes rear seats, a roll cage and airbags. Buyers can choose from over 100 accessories, including roof racks, cargo storage, all-terrain tires and lift kits. The vehicle’s exterior can be wrapped in different colors and designs instead of painted, allowing owners to easily change its look or even do it themselves with a DIY kit. This modular, build-it-your-way philosophy makes the Slate Truck feel like a rolling Lego set, appealing to both everyday drivers and enthusiasts who want a personalized EV experience.TESLA LAUNCHES LOW-PRICED MODEL Y MUSK CALLED UNACCEPTABLE AS FORD, VW ENTER SEGMENT The Slate Truck. (Slate Auto)When will the Slate Truck be available?Reservations for the Slate Truck are open for a refundable $50 deposit. Customers should expect deliveries to start in late 2026. You can go to the Slate Auto website to reserve yours by clicking on this link. The exterior of the Slate Truck. (Slate Auto)Kurt's key takeawaysSlate Auto’s approach to building a simple, modular electric pickup truck at an affordable price could shake up the EV market. Its focus on practicality and customization, backed by Jeff Bezos, offers a fresh alternative to pricey, tech-heavy trucks. With production starting in Indiana and deliveries expected in late 2026, the Slate Truck may well redefine what an affordable EV looks like.CLICK HERE TO GET THE FOX NEWS APPWould you consider buying a Slate Truck, with its minimalist design and customizable features? Why or why not? Let us know by writing us at Cyberguy.com/ContactFor more of my tech tips and security alerts, subscribe to my free CyberGuy Report Newsletter by heading to Cyberguy.com/NewsletterAsk Kurt a question or let us know what stories you'd like us to cover.Follow Kurt on his social channels:Answers to the most-asked CyberGuy questions:New from Kurt:Copyright 2025 CyberGuy.com. All rights reserved.   Kurt "CyberGuy" Knutsson is an award-winning tech journalist who has a deep love of technology, gear and gadgets that make life better with his contributions for Fox News & FOX Business beginning mornings on "FOX & Friends." Got a tech question? Get Kurt’s free CyberGuy Newsletter, share your voice, a story idea or comment at CyberGuy.com.

Group looking to overhaul Docklands estate in wake of changing working practicesThe Greater London Authority (GLA) has granted permission for a 912-bedroom student accommodation scheme at Canary Wharf in east London. Canary Wharf Group’s (CWG) 46-storey student accommodation tower at 7 Brannan Street in Wood Wharf was called in by the mayor’s office after being rejected by Tower Hamlets councul in November last year.  The local authority had deemed that the development by “virtue of its density and high number of student occupants” would lead to anti-social behaviour and noise that would be “detrimental to the existing residential amenity of neighbouring properties”. Source: CWGThe scheme at Wood Wharf will be home to more than 900 students But officers at the GLA recommended the council’s decision be overruled, which was confirmed after a hearing yesterday afternoon (Tuesday). Designed by Howells, the scheme includes a range of amenities at ground, mezzanine, ninth and roof levels, as well as ground floor retail and two waterside public gardens. Others working on the scheme include Chapmanbdsp as M&E and sustainability engineer, Waterman Group as structural engineer, Arup as fire engineer, T&T Alinea as cost consultant and WSP as planning consultant. The tower will be located to the south of Blackwall Basin and falls within both the Isle of Dogs Opportunity Area and the Wood Wharf masterplan, the latter of which was approved in December 2014 under outline planing permission for between 1,700 and 3,610 homes. A S106 agreement for the scheme requires provision of 320 affordable rooms, secured at equal to or below 55% of the maximum government maintenance loan for living costs. Tom Venner, chief development officer for Canary Wharf Group, said: “7 Brannan Street will be a fantastic addition to the diverse range of residential offerings at Canary Wharf. “We are already home to world-leading education and learning facilities, including the UCL School of Management operating from One Canada Square. “This building will help meet the demand for modern, high-quality accommodation located within a metropolitan environment offering a rich mix of retail, leisure, hospitality and green spaces for students to enjoy.”   Canary Wharf has historically been office-focused and dominated by the financial and professional sectors, but recent years have seen CWG, which owns nearly 40ha of land across the estate, push for a diversification of the site, with additional residential, educational and life science uses. CWG currently owns and manages interests in more than 1,100 build-to-rent apartments and claims that 3,500 people already live in Canary Wharf. Earlier this year, the UCL School of Management doubled the size of its presence in the One Canada Square building in Canary Wharf.

The world of work is being dominated by the transformative power of artificial intelligence. We see it reshaping processes, driving efficiencies, and promising new levels of productivity across every business. And while AI’s technical capabilities are undeniable, we must also recognize the enduring—and even amplified—importance of uniquely human skills, particularly our ability to connect with one another. In this age of algorithms, fostering genuine human connection is not a soft skill; it’s becoming a core driver of innovation and progress.  More than ever, employees want stronger relationships, a sense of connection, and to be seen and valued. In fact, according to McKinsey & Company research, the top reasons for quitting, as cited by former employees, were that they didn’t feel valued by their organizations (54%) or their managers (52%), or didn’t feel a sense of belonging at work (51%).  Moreover, extensive research has found that workplace loneliness is associated with lower job performance, reduced job satisfaction, poorer employee-boss relationships, and higher burnout.  It’s vital for organizations to understand how human connection can benefit their businesses.  AI and the human element  The promise of AI is vast, analyzing data in seconds and automating complex tasks. Yet, this very power presents a potential paradox. If we are not intentional, AI risks creating intellectual silos, limiting our exposure to diverse viewpoints, and stifling innovation. The human capacity to connect, to truly understand and appreciate different ways of thinking stemming from various life experiences and backgrounds, is essential to spark innovation and tackle shared problems.  The capacity and desire for connection is already causing a shift in AI usage. According to Harvard Business Review findings, the top usage of GenAI right now is for “therapy/companionship,” whereas just last year, it was for “generating ideas.”  The power of understanding: Insights on connection  Insightful research about connection is being done by academic researchers and nonprofit organizations like More in Common, a Workday Foundation grantee. Their two-year study, The Connection Opportunity, underscores a fundamental human truth: We are wired for connection. They found that 66% of Americans across all demographic groups feel they can learn something valuable from others who are different—and 70% of those surveyed also feel that responsibility. In a separate poll, they found that 82% of Americans either somewhat or strongly agree that “our success as a nation depends on our ability to work across differences” and a majority express an interest in better understanding one another.  When we are working toward a shared goal, there are core values and shared aspirations that bind us. By actively seeking out this common ground and fostering positive interactions, we can all bridge divides, both in our personal lives and within our organizations.   Feeling connection is not just good for our own wellbeing, it is also crucial for business outcomes. According to research, 94% of employees say that feeling connected to their colleagues makes them more productive at work, and over four times as likely to feel job satisfaction and half as likely to leave their jobs within the next year.   More in Common has identified key “connectors”—shared values and experiences that have the power to bring seemingly disparate groups together. These can range from a shared commitment to community well-being to ensuring participants feel confident they would have something in common with one another—like shared identities or interests.  This emphasis on shared values and the active pursuit of connection resonates deeply with the principles we strive for at Workday and underscores why supporting nonprofit organizations and funder collaboratives like More in Common, the U.S. Chamber of Connection, One America, New Pluralists, and many more, is so vital for business and society to thrive.  The elevated human: Skills for an AI-driven era  Workday’s recent global study, Elevating Human Potential: The AI Skills Revolution, delves into the evolving impact of AI on the workplace. Strikingly, our research found that while AI will undoubtedly transform how we work, it is simultaneously elevating the importance of uniquely human skills, like empathy, ethical decision making, conflict resolution, and relationship building.   Our findings also confirm that employees are feeling a need for increased human connection as AI adoption grows, with 82% employees recognizing a greater demand for it.  Lead with connection  These studies all underscore a vital leadership imperative. As we integrate AI deeper into our workflows, we should be deliberate in cultivating environments that prioritize genuine human connection and the development of these essential human skills.   This means creating intentional spaces—both physical and virtual—that encourage open dialogue, active listening, and the respectful exchange of diverse perspectives. Leaders should champion empathy and relationship-building skill development within their teams, actively working to promote thoughtful opportunities for human connection in our AI-driven environment.  Ultimately, the future of innovation and progress will be shaped by our ability to harness the power of AI in a way that amplifies our uniquely human capacities, especially our innate drive to connect with one another. By prioritizing human connection and cultivating these essential skills, we can ensure that AI empowers a more collaborative, innovative, and ultimately, more human-centered future of work.  Carrie Varoquiers is the chief philanthropy officer at Workday.