A novel vision sensor inspired by the neural transmission mechanisms of the human brain has been developed to efficiently and accurately extract object outlines even under fluctuating lighting environments. This advancement promises to significantly

In this Q&A, get a glimpse into the future of artificial intelligence (AI) and computer vision through the lens of longtime Unity user Gerard Espona, whose robot digital twin project was featured in the Made with Unity: AI series. Working as simulation lead at Luxonis, whose core technology makes it possible to embed human-level perception into robotics, Espona uses his years of experience in the industry to weigh in on the current state and anticipated progression of computer vision.During recent years, computer vision (CV) and AI have become the fastest-growing fields both in market size and industry adoption rate. Spatial CV and edge AI have been used to improve and automate repetitive tasks as well as complex processes.This new reality is thanks to the democratization of CV/AI. Increasingly affordable hardware access, including depth perception capability as well as improvements in machine learning (ML), has enabled the deployment of real solutions on edge CV/AI systems.Spatial CV using edge AI enables depth-based applications to be deployed without the need of a data center service, and also allows the user to preserve privacy by processing images on the device itself.Along with more accessible hardware, software and machine learning workflows are undergoing important improvements. Although they are still very specialized and full of technical challenges, they have become much more accessible, offering tools that allow users to train their own models.Within the standard ML pipeline/workflow, large-scale edge computing and deployment can still pose issues. One of the biggest general challenges is to reduce the costs and timelines currently required to create and/or improve machine learning models on real-world applications. In other words, the challenge is how to manage all these devices to enable a smooth pipeline for continuous improvement.Also, the implicit limitations in terms of compute processing need extra effort on the final model deployed on the device (that is, apps need to be lightweight, performant, etc.). That said, embedded technology evolves really fast, and each iteration is a big leap in processing capabilities.Spatial CV/AI is a field that still requires a lot of specialization and systems. Workflows are often complicated and tedious due to numerous technical challenges, so a lot of time is devoted to smoothing out the workflow instead of focusing on value-added tasks.Creating datasets (collecting and filtering images and videos), annotating the images, preprocessing/augmentation process, training, deploying and closing the feedback loop for continuous improvement is a complex process. Each step of the workflow is technically difficult and usually involves time and financial cost, and more so for systems working in remote areas with limited connectivity.At Luxonis, we help our customers build and deploy solutions to solve and automate complex tasks at scale, so we’re facing all these issues directly. Our mission, “Robotic vision made simple,” provides not only great and affordable depth-capable hardware, but also a solid and smooth ML pipeline with synthetic datasets and simulation.Another important challenge is the work that needs to be done on the interpretability of models and the creation of datasets from an ethical, privacy and bias point of view.Last but not least, global chip supply issues are making it difficult to get the hardware into everybody’s hands.Data-centric AI is potentially useful when a working model is underperforming. Investing a large amount of time to optimize the model often leads to almost zero real improvement. Instead, with data-centric AI the investment is in analysis, cleaning and improving of the dataset.Usually when a model is underperforming, the issue is within the dataset itself, as there is not enough data for the model to outperform. This could be the result of two possible reasons: 1) the model needs a much larger amount of data, which is difficult to collect in the real world, or 2) the model doesn’t have enough examples of rare cases, which take a lot of time to happen in the real world.In both situations, synthetic datasets could help.Thanks to Unity’s computer vision tools, it is very easy to create photorealistic scenes and randomize elements like materials, light conditions and object placement. The tools come with common labels like 2D bounding boxes, 3D bounding boxes, semantic and instance segmentation, and even human body key points. Additionally, these can be easily extended with custom randomizers, labelers and annotations.Almost any task you want to automate or improve using edge CV/AI very likely involves detecting people for obvious safety and security reasons. It’s critical to guarantee user safety around autonomous systems or robots when they’re working, requiring models to be trained on data about humans.That means we need to capture a large amount of images, including information like poses and physical appearance, that are representative of the entire human population. This task raises some concerns about privacy, ethics and bias when starting to capture real human data to train the model.Fortunately, we can use synthetic datasets to mitigate some of these concerns using human 3D models and poses. A very good example is the work done by the Unity team with PeopleSansPeople.PeopleSansPeople is a human-centric synthetic dataset creator using 3D models and standard animations to randomize human body poses. Also, we can use a Unity project template, to which we add our own 3D models and poses to create our own human synthetic dataset.At Luxonis, we’re using this project as the basis for creating our own human synthetic dataset and training models. In general, we use Unity’s computer vision tools to create large and complex datasets with a high level of customization on labelers, annotations and randomizations. This allows our ML team to iterate faster with our customers, without needing to wait for real-world data collection and manual annotation.Since the introduction of transformer architecture, CV tasks are more accessible. Generative models like DALL-E 2 could also be used to create synthetic datasets, and NeRF as a neural approach to generate novel point of views of known objects and scenes. It’s clear all these innovations are catching the attention of audiences.On the other hand, having access to better annotation tools and model zoos and libraries with pre-trained, ready-to-use models are helping drive wide adoption.One key element contributing to the uptick in computer vision use is the fast evolution of vision processing units (VPUs) that currently allow users to perform model inferences on device (without the need for any host) at 4 TOPS of processing power (current Intel Movidius Myriad X). The new generation of VPUs promises a big leap in capabilities, allowing even more complex CV/AI applications to be deployed on edge.Any application related to agriculture and farming always captures my attention. For example, there is now a cow tracking and monitoring CV/AI application using drones.Our thanks to Gerard for sharing his perspective with us – keep up with his latest thoughts on LinkedIn and Twitter. And, learn more about how Unity can help your team generate synthetic data to improve computer vision model training with Unity Computer Vision.

Drones Set To Deliver Benefits for Labor-Intensive Industries: Forrester By John P. Mello Jr. June 3, 2025 5:00 AM PT ADVERTISEMENT Quality Leads That Turn Into Deals Full-service marketing programs from TechNewsWorld deliver sales-ready leads. Segment by geography, industry, company size, job title, and more. Get Started Now. Aerial drones are rapidly assuming a key role in the physical automation of business operations, according to a new report by Forrester Research. Aerial drones power airborne physical automation by addressing operational challenges in labor-intensive industries, delivering efficiency, intelligence, and experience, explained the report written by Principal Analyst Charlie Dai with Frederic Giron, Merritt Maxim, Arjun Kalra, and Bill Nagel. Some industries, like the public sector, are already reaping benefits, it continued. The report predicted that drones will deliver benefits within the next two years as technologies and regulations mature. It noted that drones can help organizations grapple with operational challenges that exacerbate risks and inefficiencies, such as overreliance on outdated, manual processes, fragmented data collection, geographic barriers, and insufficient infrastructure. Overreliance on outdated manual processes worsens inefficiencies in resource allocation and amplifies safety risks in dangerous work environments, increasing operational costs and liability, the report maintained. “Drones can do things more safely, at least from the standpoint of human risk, than humans,” said Rob Enderle, president and principal analyst at the Enderle Group, an advisory services firm, in Bend, Ore. “They can enter dangerous, exposed, very high-risk and even toxic environments without putting their operators at risk,” he told TechNewsWorld. “They can be made very small to go into areas where people can’t physically go. And a single operator can operate several AI-driven drones operating autonomously, keeping staffing levels down.” Sensor Magic “The magic of the drone is really in the sensor, while the drone itself is just the vehicle that holds the sensor wherever it needs to be,” explained DaCoda Bartels, senior vice president of operations with FlyGuys, a drone services provider, in Lafayette, La. “In doing so, it removes all human risk exposure because the pilot is somewhere safe on the ground, sending this sensor, which is, in most cases, more high-resolution than even a human eye,” he told TechNewsWorld. “In essence, it’s a better data collection tool than if you used 100 people. Instead, you deploy one drone around in all these different areas, which is safer, faster, and higher resolution.” Akash Kadam, a mechanical engineer with Caterpillar, maker of construction and mining equipment, based in Decatur, Ill., explained that drones have evolved into highly functional tools that directly respond to key inefficiencies and threats to labor-intensive industries. “Within the manufacturing and supply chains, drones are central to optimizing resource allocation and reducing the exposure of humans to high-risk duties,” he told TechNewsWorld. “Drones can be used in factory environments to automatically inspect overhead cranes, rooftops, and tight spaces — spaces previously requiring scaffolding or shutdowns, which carry both safety and cost risks,” he said. “A reduction in downtime, along with no requirement for manual intervention in hazardous areas, is provided through this aerial inspection by drones.” “In terms of resource usage, drones mounted with thermal cameras and tools for acquiring real-time data can spot bottlenecks, equipment failure, or energy leakage on the production floor,” he continued. “This can facilitate predictive maintenance processes and [optimal] usage of energy, which are an integral part of lean manufacturing principles.” Kadam added that drones provide accurate field mapping and multispectral imaging in agriculture, enabling the monitoring of crop health, soil quality, and irrigation distribution. “Besides the reduction in manual scouting, it ensures more effective input management, which leads to more yield while saving resources,” he observed. Better Data Collection The Forrester report also noted that drones can address problems with fragmented data collection and outdated monitoring systems. “Drones use cameras and sensors to get clear, up-to-date info,” said Daniel Kagan, quality manager at Rogers-O’Brien Construction, a general contractor in Dallas. “Some drones even make 3D maps or heat maps,” he told TechNewsWorld. “This helps farmers see where crops need more water, stores check roof damage after a storm, and builders track progress and find delays.” “The drone collects all this data in one flight, and it’s ready to view in minutes and not days,” he added. Dean Bezlov, global head of business development at MYX Robotics, a visualization technology company headquartered in Sofia, Bulgaria, added that drones are the most cost and time-efficient way to collect large amounts of visual data. “We are talking about two to three images per second with precision and speed unmatched by human-held cameras,” he told TechNewsWorld. “As such, drones are an excellent tool for ‘digital twins’ — timestamps of the real world with high accuracy which is useful in industries with physical assets such as roads, rail, oil and gas, telecom, renewables and agriculture, where the drone provides a far superior way of looking at the assets as a whole,” he said. Drone Adoption Faces Regulatory Hurdles While drones have great potential for many organizations, they will need to overcome some challenges and barriers. For example, Forrester pointed out that insurers deploy drones to evaluate asset risks but face evolving privacy regulations and gaps in data standardization. Media firms use drones to take cost-effective, cinematic aerial footage, but face strict regulations, it added, while in urban use cases like drone taxis and cargo transport remain experimental due to certification delays and airspace management complexities. “Regulatory frameworks, particularly in the U.S., remain complex, bureaucratic, and fragmented,” said Mark N. Vena, president and principal analyst with SmartTech Research in Las Vegas. “The FAA’s rules around drone operations — especially for flying beyond visual line of sight [BVLOS] — are evolving but still limit many high-value use cases.” “Privacy concerns also persist, especially in urban areas and sectors handling sensitive data,” he told TechNewsWorld. “For almost 20 years, we’ve been able to fly drones from a shipping container in one country, in a whole other country, halfway across the world,” said FlyGuys’ Bartels. “What’s limiting the technology from being adopted on a large scale is regulatory hurdles over everything.” Enderle added that innovation could also be a hangup for organizations. “This technology is advancing very quickly, making buying something that isn’t instantly obsolete very difficult,” he said. “In addition, there are a lot of drone choices, raising the risk you’ll pick one that isn’t ideal for your use case.” “We are still at the beginning of this trend,” he noted. “Robotic autonomous drones are starting to come to market, which will reduce dramatically the need for drone pilots. I expect that within 10 years, we’ll have drones doing many, if not most, of the dangerous jobs currently being done by humans, as robotics, in general, will displace much of the labor force.” John P. Mello Jr. has been an ECT News Network reporter since 2003. His areas of focus include cybersecurity, IT issues, privacy, e-commerce, social media, artificial intelligence, big data and consumer electronics. He has written and edited for numerous publications, including the Boston Business Journal, the Boston Phoenix, Megapixel.Net and Government Security News. Email John. Leave a Comment Click here to cancel reply. Please sign in to post or reply to a comment. New users create a free account. Related Stories More by John P. Mello Jr. view all More in Emerging Tech

The joy of going camping is usually found in going off-grid for a few days and reconnecting with nature. However, having creature comforts like light and warmth, and even access to medical devices like a CPAP machine, make it worthwhile taking a portable power solution with you. That's where portable power stations come in. Think power banks, only bigger. Power stations come in a variety of power capacities and sizes, and that means that you can find a portable power station for every type of camping, no matter whether you're a backpacker, a car camper, or an RVer.  What is the best portable power station for camping right now?  We've tested dozens of portable power stations in a lab setting and have also done hands-on testing during camping trips and road trips. Based on both experiences, our pick for the best portable power station for camping overall is the Jackery Explorer 2000 Plus, thanks to its versatility and the amount of power it provides. As an avid camper myself, I've also included other portable power stations from brands like EcoFlow and Bluetti so you can improve your next camping experience. Sort by All The best portable power stations for camping in 2025 Show less View now at Amazon Jackery is a well-known brand in the power station space, and for good reason. Its versatile power stations consistently rank among our best products, thanks to the enormous power these devices provide and their flexibility in setup, especially in a camping scenario.Steve Conaway, the director of CNET Test Labs, at our sister site, has tested dozens of power stations and said the Jackery is one of his top picks. "The versatility of modularity is what makes this power station so impressive," Conaway said. "You can choose to take just the one unit for regular camping, but if you wanted a bigger setup to power a cabin, you could easily add on more units."Review: This portable battery station can power your home for 2 weeksAnd the great thing about this unit is that if you need more power storage capacity, you can add on the PackPlus E2000 Plus battery pack for an additional 2042.8Wh of electrical storage capacity to the system.Jackery has a long track record of building quality, durable, and long-lasting power stations -- which is exactly what you need if you are spending the big bucks on a power station.Remember that the more additions you add to this setup, the heavier it will be. On its own, it weighs 41.9 pounds but can reach well over 100 pounds with more units. Despite the weight, Reddit users note that the solar additions, in particular, have been useful in camping and outdoor situations.Jackery Explorer 2000 Plus specs: Watts/hr: 2042.8W | Continuous watts: 3000W | Surge watts: 6000W | Solar input (W): 1400 | Ports: 2 USB-A, 2 USB-C, 4 AC | Weight: 61.5 pounds Pros Clean, easy-to-read LCD display Expansion battery modules Solar panels are durable and highly efficient Wheels make moving it a lot easier Cons Expensive Jackery is a well-known brand in the power station space, and for good reason. Its versatile power stations consistently rank among our best products, thanks to the enormous power these devices provide and their flexibility in setup, especially in a camping scenario.Steve Conaway, the director of CNET Test Labs, at our sister site, has tested dozens of power stations and said the Jackery is one of his top picks. "The versatility of modularity is what makes this power station so impressive," Conaway said. "You can choose to take just the one unit for regular camping, but if you wanted a bigger setup to power a cabin, you could easily add on more units."Review: This portable battery station can power your home for 2 weeksAnd the great thing about this unit is that if you need more power storage capacity, you can add on the PackPlus E2000 Plus battery pack for an additional 2042.8Wh of electrical storage capacity to the system.Jackery has a long track record of building quality, durable, and long-lasting power stations -- which is exactly what you need if you are spending the big bucks on a power station.Remember that the more additions you add to this setup, the heavier it will be. On its own, it weighs 41.9 pounds but can reach well over 100 pounds with more units. Despite the weight, Reddit users note that the solar additions, in particular, have been useful in camping and outdoor situations.Jackery Explorer 2000 Plus specs: Watts/hr: 2042.8W | Continuous watts: 3000W | Surge watts: 6000W | Solar input (W): 1400 | Ports: 2 USB-A, 2 USB-C, 4 AC | Weight: 61.5 pounds Read More Show Expert Take Show less Show less Camping takes all sorts of forms, and there's a power station to suit everyone. For those who head outdoors in an RV or to a remote cabin, the EcoFlow Delta Pro Ultra (DPU) is a powerful option. EcoFlow debuted the Delta Pro Ultra at CES this year, and compared to the EcoFlow Delta Pro model, the Ultra has double the power and charges, a dedicated 4G LTE modem port to access the app in remote areas with weak Wi-Fi signals, and a 32-minute faster recharge time.ZDNET editor Maria Diaz went hands-on with this unit and called it the "Swiss Army Knife of home backup systems," and its impressive specs back that claim up. The single unit has a 6kWh capacity, 7200W output, and 5.6kW solar input, allowing it to run an entire RV or cabin, especially when stacked with other units for increased capacity.This great power packs a lot of weight,186.4 pounds, to be exact. However, it can be divided into two pieces: the inverter, the top portion, is 70 pounds, and the battery, the bottom portion, is 116 pounds. Diaz noted that her family experienced a power outage recently, and her husband was able to transport the battery part much more easily by separating the pieces.EcoFlow Delta Pro Ultra specs: Watts/hr. 7200W | Continuous watts: 6kWh | Surge watts: 10.8 kW | Solar input (W): 5.6kW | Ports: 2×USB-A, 2×USB-C (100W), 6×AC Output, 1×DC output | Weight: 186.4 pounds AC outputs 9 Total capacity 10 Expansion ready 10 USB ports 9 Max output 10 Pros Expandable to up to 90kWh Consumption insights in EcoFlow app Modular design Cons Expensive Heavy EcoFlow Delta Pro Ultra Best portable power station for RV camping 4.8 / 5 Score Camping takes all sorts of forms, and there's a power station to suit everyone. For those who head outdoors in an RV or to a remote cabin, the EcoFlow Delta Pro Ultra (DPU) is a powerful option. EcoFlow debuted the Delta Pro Ultra at CES this year, and compared to the EcoFlow Delta Pro model, the Ultra has double the power and charges, a dedicated 4G LTE modem port to access the app in remote areas with weak Wi-Fi signals, and a 32-minute faster recharge time.ZDNET editor Maria Diaz went hands-on with this unit and called it the "Swiss Army Knife of home backup systems," and its impressive specs back that claim up. The single unit has a 6kWh capacity, 7200W output, and 5.6kW solar input, allowing it to run an entire RV or cabin, especially when stacked with other units for increased capacity.This great power packs a lot of weight,186.4 pounds, to be exact. However, it can be divided into two pieces: the inverter, the top portion, is 70 pounds, and the battery, the bottom portion, is 116 pounds. Diaz noted that her family experienced a power outage recently, and her husband was able to transport the battery part much more easily by separating the pieces.EcoFlow Delta Pro Ultra specs: Watts/hr. 7200W | Continuous watts: 6kWh | Surge watts: 10.8 kW | Solar input (W): 5.6kW | Ports: 2×USB-A, 2×USB-C (100W), 6×AC Output, 1×DC output | Weight: 186.4 pounds Read More Show Expert Take Show less Show less Looking for something more compact for overnight camping or hiking? The EcoFlow River 2 Max 500 weighs just 13.1 pounds but has a battery capacity of 500Wh. In addition, you can recharge the unit using one of four methods: AC, solar, 12V in-car, or USB-C. If you choose AC, the unit can go from zero to 100% in an hour, which means you can leave charging to the last minute while camping.The company claims that one full charge of the River 2 Max can charge an iPhone 41 times, a drone 10 times, and an electric blanket eight times.ZDNET's Adrian Kingsley-Hughes tested this unit and called it "compact enough to be portable, big enough to be practical." "If you want to go totally off-grid, EcoFlow offers a 160W solar panel that can recharge the River 2 Max in about four hours," he wrote. "The panel is durable and waterproof to IP68, so it's the perfect adventure companion for the River 2 Max 500."Verified Amazon customers note that this compact unit has been helpful for everything from camping festivals to powering a CPAP machine in primitive areas.EcoFlow River 2 Max specs: Watts/hr: 500W | Continuous watts: 500W | Surge watts: 1000W | Solar input (W): 220W | Ports: 3 USB-A, 1 USB-C, 4 AC | Weight: 13.14 pounds Pros Compact and lightweight Durable build Inexpensive Cons More limited ports and power Looking for something more compact for overnight camping or hiking? The EcoFlow River 2 Max 500 weighs just 13.1 pounds but has a battery capacity of 500Wh. In addition, you can recharge the unit using one of four methods: AC, solar, 12V in-car, or USB-C. If you choose AC, the unit can go from zero to 100% in an hour, which means you can leave charging to the last minute while camping.The company claims that one full charge of the River 2 Max can charge an iPhone 41 times, a drone 10 times, and an electric blanket eight times.ZDNET's Adrian Kingsley-Hughes tested this unit and called it "compact enough to be portable, big enough to be practical." "If you want to go totally off-grid, EcoFlow offers a 160W solar panel that can recharge the River 2 Max in about four hours," he wrote. "The panel is durable and waterproof to IP68, so it's the perfect adventure companion for the River 2 Max 500."Verified Amazon customers note that this compact unit has been helpful for everything from camping festivals to powering a CPAP machine in primitive areas.EcoFlow River 2 Max specs: Watts/hr: 500W | Continuous watts: 500W | Surge watts: 1000W | Solar input (W): 220W | Ports: 3 USB-A, 1 USB-C, 4 AC | Weight: 13.14 pounds Read More Show Expert Take Show less Show less View now at Amazon Portable power stations can get pretty pricey, but this one from Bluetti currently retails at only $359 for Amazon Prime members, making it a great budget pick. Plus, it charges quickly, especially when utilizing its turbocharging feature. Kingsley-Hughes also tested this model and praised it for delivering enough power to energy-intensive devices during a road trip. "It has enough capacity to meet the needs of a small group for several days," he wrote, adding, "I've relied on the power station to charge my smartphone, cameras, drones, and laptops efficiently."In his testing, he also found that charging the station from a car's 12V outlet is particularly efficient for keeping the unit charged, as long as the battery is not drained too much.Verified customers praised the AC70 on Bluetti's website, with most of the reviewers saying they bought it for camping and were pleased with the experience of using it for this purpose. Bluetti AC70 specs: Watts/hr: 768W | Continuous watts: 1000W | Surge watts: 2000W | Solar input (W): 500W | Ports: 2 USB-A, 2 USB-C, 2 AC | Weight: 22.5 pounds Pros Turbocharge feature Affordable price Cons Some of the better features are only available by using the app Portable power stations can get pretty pricey, but this one from Bluetti currently retails at only $359 for Amazon Prime members, making it a great budget pick. Plus, it charges quickly, especially when utilizing its turbocharging feature. Kingsley-Hughes also tested this model and praised it for delivering enough power to energy-intensive devices during a road trip. "It has enough capacity to meet the needs of a small group for several days," he wrote, adding, "I've relied on the power station to charge my smartphone, cameras, drones, and laptops efficiently."In his testing, he also found that charging the station from a car's 12V outlet is particularly efficient for keeping the unit charged, as long as the battery is not drained too much.Verified customers praised the AC70 on Bluetti's website, with most of the reviewers saying they bought it for camping and were pleased with the experience of using it for this purpose. Bluetti AC70 specs: Watts/hr: 768W | Continuous watts: 1000W | Surge watts: 2000W | Solar input (W): 500W | Ports: 2 USB-A, 2 USB-C, 2 AC | Weight: 22.5 pounds Read More Show Expert Take Show less Show less What makes this portable power station so versatile for camping is the amount of power and port options. There's a 100W and 60W USB-C port on the front, along with four USB-A ports, so all your devices are covered. There is also a 12V car socket capable of outputting 120W of power and six AC outputs, each capable of 1500W or 2400W in a power surge.Kingsley-Hughes tested this unit and said in his review that the Anker 757 Powerhouse is "well thought out, not overly complicated, built with ergonomics in mind, and packs quite a lot of power." Review: Anker 757 PowerhouseAnker is a company that has been in the portable power market for many years, starting out with chargers and power banks, and then later making the leap to power stations. That long heritage is obvious when looking at the overall build quality of the Anker 757.Customer reviews note that adding portable solar panels allows for greater battery charge retention, especially while camping. Kingsley-Hughes said that while he wouldn't carry this 43.9- pound unit too far, the ergonomic handles distribute the weight well, so it's well built for moving from the garage to a truck or RV.Anker 757 Powerhouse specs: Watts/hr: 1229W | Continuous watts: 1500 | Surge watts: 2400 | Solar input (W): 600W | Ports: 4 USB-A, 2 USB-C, 6 AC | Weight: 43.9 pounds Pros Ergonomic design Lots of ports Large display Cons Solar charging could be better What makes this portable power station so versatile for camping is the amount of power and port options. There's a 100W and 60W USB-C port on the front, along with four USB-A ports, so all your devices are covered. There is also a 12V car socket capable of outputting 120W of power and six AC outputs, each capable of 1500W or 2400W in a power surge.Kingsley-Hughes tested this unit and said in his review that the Anker 757 Powerhouse is "well thought out, not overly complicated, built with ergonomics in mind, and packs quite a lot of power." Review: Anker 757 PowerhouseAnker is a company that has been in the portable power market for many years, starting out with chargers and power banks, and then later making the leap to power stations. That long heritage is obvious when looking at the overall build quality of the Anker 757.Customer reviews note that adding portable solar panels allows for greater battery charge retention, especially while camping. Kingsley-Hughes said that while he wouldn't carry this 43.9- pound unit too far, the ergonomic handles distribute the weight well, so it's well built for moving from the garage to a truck or RV.Anker 757 Powerhouse specs: Watts/hr: 1229W | Continuous watts: 1500 | Surge watts: 2400 | Solar input (W): 600W | Ports: 4 USB-A, 2 USB-C, 6 AC | Weight: 43.9 pounds Read More Show Expert Take Show less What is the best portable power station for camping? Based on our hands-on experience and in-lab testing, the Jackery Explorer 2000 Plus is the best portable power station for camping. Its modularity makes it a versatile option for all types of camping. Show more Which portable power station for camping is right for you? It depends on the type of camping you prefer before you choose which portable power station will fit your needs. Consider what devices you want to bring with you and keep powered and whether you will be staying in an RV or cabin vs. a tent. Choose this portable power station for camping... If you want... Jackery Explorer 2000 Plus The best overall option. It packs a lot of power at 3000 continuous watts, and its modularity makes it versatile for camping. EcoFlow Delta Pro Ultra A powerful portable power station best for RV camping. It can run an entire RV or cabin, especially when stacked with other units for increased capacity. EcoFlow River 2 Max 500A compact portable power station for camping. It weighs just 13.4 pounds and features 60 minute fast charging. Bluetti AC70 A budget-friendly portable power station for camping. This unit also has 2,000W surge capability and a turbocharging feature, which allows for super fast charging that can take it from flat to 80% in 45 minutes. Anker 757 Powerhouse  A versatile portable power station for camping with lots of ports. It also has an ergonomic build, making it easier to carry despite its weight. Show more Factors to consider when choosing the best portable power station for camping: Power stations are a significant investment, but they can ultimately upgrade your camping experience to allow for power off-grid. Before making our top picks, we considered several factors.Weight: Bigger isn't always better, especially when it comes to camping. Will the portable power station be wheeled down a paved trail, or will you be moving it from your vehicle to your camp? Do you want something you could carry in a backpack for a day? Battery capacity: If you plan to power an RV or bigger devices from your power station, you want as much battery capacity as you can afford, but for off-grid adventures, it's important to bear in mind that there's a penalty here in the form of weight.Cost: Some units cost several thousand dollars, while others cost a couple hundred. Plus, add-ons like battery packs and solar panels also increase the price.Charging: How do you plan on charging your power station? Are you mostly going to use AC power from an outlet, or do you want the independence of solar?Battery Chemistry: Lithium-ion (Li-ion) is the traditional battery technology, but the newer lithium iron phosphate batteries (LiFePO4) are safer and have a much longer lifespan. Show more How did we test these portable power stations for camping? Over the past few years, we've tested well over 100 different portable power stations to find out which are the best of the best. To do this efficiently, because it takes days to do properly, we've developed a comprehensive testing structure. This not only ensures that manufacturers aren't playing fast and loose with their spec sheet data but also checks whether the units are safe and reliable. Here's an overview of how we test portable power stations.Unboxing and visual inspectionCapacity testsLoad testingUPS capability testingThermal testsSafety testsReal-world usageFor more detailed information on how these tests are carried out, check out this post, where we explore the process more thoroughly.  Show more FAQs on portable power stations How long will a power station last while camping based on its watts? To figure this out, you're going to need to get a pencil and do some back of the envelope calculations.  You're going to need a couple of bits of information.First, you need to know what devices you are going to power. List them all, because forgetting that coffee pot or heated blanket could make the difference between the power station lasting all day, or giving up the ghost on you before the day is over.Specifically, you want to know how much power, in watts, each device draws. This information is usually found on a label on the device. For example, a heater might draw 1,000W, while a CPAP machine might draw 60W. This figure represents the maximum power consumption, and you will find that the power consumption of some devices, such as CPAP machines, fluctuates greatly, while for other devices, like the heater, the power consumption remains quite stable.Next, you need to know how long you plan on running your devices during a day, or between recharges of your power station. Your heater might run for two hours, while the CPAP machine could run for eight hours.Power station capacities are measured in watt-hours (Wh). A device drawing 1,000W running for one hour uses 1,000Wh. Therefore, the same device running for two hours will need 2,000Wh. Heaters are some of the most power-hungry devices that people find themselves needing to run.Similarly, a CPAP machine that uses 60W will consume 60Wh per hour, so running it for eight hours would consume 480Wh.Your total energy usage over 24 hours would then be 2,480Wh.Based on this, you might think that a 2,500Wh capacity power station would be sufficient. However, in reality, nothing is perfect, and there are energy losses in the system. The rule of thumb is to add 20% to your total and then round up to the next highest capacity available. So, you'd be looking at a power station with a capacity of around 3,000Wh to ensure you have enough stored power for the day. Show more How can I make my power station run longer? Simple: Find your biggest power draws and replace them with more energy efficient alternatives. For example, you might find that you can replace that 1,000W heater with a heated throw that only takes 100W to power. That quilt would run for 10 hours on the power that the heater would use in an hour!Another big power hog is incandescent lights. Swapping these out for LEDs will result in huge power savings and dramatically boost your power station's runtime.   Show more What is the difference between a power station and a power bank? The main difference between portable power stations and portable power banks is the amount of power and what they can charge. Power stations have AC outlets and allow you to charge more and bigger devices, including life-saving ones like a CPAP machine, a cooler, or a floodlight for the campsite while going off-grid.Power banks are much smaller and are best for charging devices like phones, headphones, and smartwatches.  Show more Other portable power stations we've tested Further ZDNET Tech Coverage Smartphones Smartwatches Tablets Laptops TVs Other Tech Resources ZDNET Recommends

After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Mace (DFX Supervisor) led a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025

It's the same every year. Like clockwork, both social media and real media clamour to do what they do best: moan. Not about politics. Not about the trains. Not even about the weather. No, it's Glastonbury Festival time, which means it's time for the annual whinge-fest over how much it costs and how bad the line-up is. It's a tradition as sacred as Glastonbury itself. Within minutes of the headliners being announced, someone somewhere will tweet "WHO?" as if that settles the matter. The tickets, they declare, are extortionate. The food is overpriced. The toilets are... well, they're not wrong there, to be fair. And yet Glastonbury sells out. Every. Single. Time. In minutes. Not hours, not days, but minutes; just 35 of them, this time around. A digital stampede of fans crashes the ticketing servers, elbows each other out of the virtual queue, and desperately parts with £373.50 of their hard-earned cash. If people really thought it wasn't worth it, why would that happen? Deep down, Glastonbury fans know it is worth it. Not just for the vibes. Not just for the bragging rights. In terms of basic maths alone, it remains a much cheaper way to see all your favourite bands compared with buying tickets to individual gigs. Let's break it down. From this year's stacked, genre-hopping, generation-spanning line-up, these are my 10 ride-or-die bands, the ones I'm determined to see come hell or high water at this year's Glastonbury. And next to them is a reasonable estimate of how much it would cost to see them individually on tour. Alanis Morissette: £60-£135 Charli XCX: £85-£200+ English Teacher: £25-£35 Gracie Abrams: £100-£400+ John Fogerty: £35-£130+ Lola Young: £25-£40 Olivia Rodrigo: £120-£200+ Raye: £50-£100+ Wet Leg: £30-£40 Wolf Alice: £40-£60 You can quickly see how these individual tickets would add up, and that's before the beer-soaked chips and £17 parking surcharges at the O2. But at Glastonbury, they're all included, alongside more than two thousand other acts. Plus five nights of camping, firewood, circus performers, standup comedy, theatre performers, secret gigs, DnB raves, late-night poetry slams, kids' clubs, drone shows, the visionary chaos of Shangri-La, a bloke dressed as a badger doing tai chi at 4am, and the very real possibility of watching Chris Martin duet with a kestrel. All for less than the price of one premium Olivia Rodrigo ticket at the Birmingham NEC with a half-decent sightline. © Amy Fern © George Harrison © Amy Fern No one involved with the festival will ever say this out loud... but in truth, this is underpricing. Glastonbury doesn't cost too much; it's that it's charging less than it's worth. The organisers know it, the scalpers know it, and deep down, so do we. Why else would the event remain massively oversubscribed year after year? The lesson for freelancers Herein lies the lesson for anyone who's ever said yes to a freelance gig, then immediately regretted it because the fee barely covers your oat milk habit. Every time you flinch at raising our rates, worrying, "What if they say no?" you need to remember that people will always complain about the price. But then they pay it anyway, if what you're offering is good. Just like a Glastonbury ticket, your work has value that goes beyond the sum of its parts. Clients might baulk at a day rate, grumble at a quote, or attempt the classic "Can you do it for exposure?". But if they really want you, they'll find the budget. Sure, you could try to undercut your peers. Offer the cheapest design package. Throw in extra concepts for free. Discount your fee before they even ask. But all that gets you is the creative equivalent of being the sad burger stand next to the rave tent: underpaid, undervalued, and slightly sticky. Here's the uncomfortable truth: clients don't always know what things should cost. They base their expectations on their last hire, a Fiverr ad, or what their mate's cousin paid a graphic design student in 2017. © George Harrison © Yushy Pachnanda © JodyHartley But it's not your job to price yourself within their comfort zone. It's your job to price yourself according to your value. If clients can't afford you, that's not rejection; that's redirection. Someone else—someone better, someone ready—will always pay you what you're worth. Just like someone always buys the last Glastonbury ticket. So ignore the noise. Just like the festival, you're not for everyone, and that's fine. Your rates should make you feel slightly nervous, not make your client feel overly comfortable. That's how you grow. That's how you stay booked. That's how you avoid burnout and build a business rather than a bargain bin. In other words, next time you feel the urge to knock 20% off your quote "just to be safe", picture yourself standing in a Somerset field surrounded by 200,000 sweaty strangers who all agreed—despite the price, despite the moaning, despite the toilets—that it was absolutely worth it. And then charge accordingly.

RoboCop: Rogue City – Unfinished Business preview: ‘We created something bigger than we expected’ Adam Starkey Published June 3, 2025 9:00am Stay out of trouble (Nacon) GameCentral goes hands-on with the standalone expansion of RoboCop: Rogue City, which dials up the action and gory splatter of 2023’s surprise hit. For a franchise that has arguably done nothing of worth since the early 90s, the future of RoboCop is looking surprisingly bright. Following Amazon’s acquisition of MGM, a new TV show is currently in the works, with rumbles of a new film as well. Whether this leads to a major rejuvenation for everyone’s favourite cyborg law enforcer remains to be seen, but the original source of any RoboCop redemption arc has to start with 2023’s RoboCop: Rogue City.  Developed by Polish studio Teyon, RoboCop: Rogue City was the kind of unexpected surprise you rarely get from licensed games. It recaptured the original’s wit and 80s aesthetic, but also found a way to deliver the fantasy of playing as the half-human cyborg without streamlining any of the character’s personality. The bloody action was built around his hulking, slow movement, dry one-liners were in abundance, and missions weren’t always reduced to mowing down thugs in corridors – you also handed people parking tickets, settled trivial civilian disputes, and, in one wonderfully mundane side mission, did the rounds in the office for a get well card.  The game became publisher Nacon’s ‘best ever launch’ with 435,000 players within two weeks. Now, a year and a half later, developer Teyon is back with a standalone expansion. Marketing around Unfinished Business has purposefully dodged the term *DLC*, but as explained by the studio’s communications manager, Dawid Biegun, it started out as exactly that.  ‘When we released RoboCop: Rogue City, we were thinking about, this story has many things [we can] do in the future,’ says Biegun. ‘We had many paths we could choose. So we basically started slowly developing some new storyline. The game was planned to be DLC but it grew out of control. It was a really rare situation where we created something bigger than we expected, so it became a standalone expansion from then.’ Unlike Rogue City, this expansion, which we’re told spans around eight hours on average, is centred around one location in the OmniTower. Like most things in the RoboCop realm created by OCP, this promised idyllic housing complex quickly goes south when a band of mercenaries assume control. To restore order, and after a creepy opening where an attack on the Detroit police station leaves several officers frozen solid, RoboCop is assigned to the case.  RoboCop has new moves at his disposal (Nacon) Unfinished Business wastes little time in throwing you into the action, and quickly amps up the chaos. For anyone who has played Rogue City, all the original tenets of the combat are here, albeit with a slight increase in difficulty. You’ll be looking for explosive cans to blast, illuminated panels to ricochet bullets off walls, and all the while trying not to expose yourself to too much gunfire. The combat purposefully doesn’t have the slick speed of Call Of Duty, but it is still aggressively punchy, with headshots resulting in satisfyingly bloody splatters and RoboCop’s famed Auto-9 machine pistol still having the kickback of a pocket pneumatic drill.  From the get-go, Unfinished Business pushes back in a way Rogue City never did. New enemies equipped with riot shields are a real nuisance if you don’t utilise the ricochet panels, while the ability to slow down time is a much bigger crutch to chip down the enemy numbers from a distance. Health pick-ups felt in shorter supply too, even on the normal difficulty, to the point where we barely scraped through several encounters.  While it’s unclear if this applies to the whole game, Unfinished Business feels like a gnarlier experience, when compared to the original. RoboCop has some new context sensitive finishing moves, like throwing enemy heads into concrete walls or vending machines, which is a satisfying addition to the melee arsenal. There’s greater enemy variety too, between fierce minigun heavyweights and flying drones, along with some neat action set pieces. In one standout, we had to operate a walkway bridge to deactivate a giant turret at the end of a room, dashing between cover as it rains down bullets and destroys the surrounding environment. Anyone who has played action games before will recognise all the mechanics at play in this scenario, but it was still well executed and effective. Another had a whiff of Star Wars, as you rush around shooting electrical panels to stop a trash compactor from crushing you via the descending ceiling. The action shift in Unfinished Business is best defined by a later sequence we got to play, where you take control of the franchise’s signature mech, ED-209. If the power fantasy of playing as RoboCop is tested in this expansion, ED-209’s section was pure mental catharsis, where you blast away enemy hordes with miniguns and rockets, and clean up any stragglers with a rigid, robotic stomp. The rush of piloting ED-209, with its cacophony of explosions and bullets, felt like a throwback to vehicle sections in a long lost Xbox 360 game – but in a good way.  While there’s a definite lean towards combat, rather than gift card signing, when compared to Rogue City, it hasn’t entirely abandoned the detective side. According to the developers, if Rogue City had a 60/40 percent split between guns and detective work, Unfinished Business ‘would be like 70/30, or 80/20’ in comparison. More Trending We saw some of this , with one memorable encounter seeing you quizzed by a RoboCop superfan who is unconvinced you’re the actual RoboCop, leading to a series of questions based on the history of the franchise. There is optional side missions too, although the time we had with our preview limited our chance to fully delve into them. The sales and positive reviews for RoboCop: Rogue City emboldened Teyon’s vision and scope for Unfinished Business – and that confidence shines through in what we played. Some might be disappointed by the steer towards action, and we were heading into this preview, but by the end, this felt like a welcome extension with its own unique flavour. This is RoboCop: Rogue City with its pedal to the floor, confined and concentrated into a lean, tightly focused machine.  As for the studio’s next steps, the success of RoboCop has only reaffirmed Teyon’s strengths and identity as a team. Between its three studios across Poland and Japan, with over 140 employees in total, Teyon wants to maintain its grip within the AA space. ‘We feel strong here in such games,’ Biegun said. ‘We wouldn’t want to grow like 200, 300, 400 people, because we’re going to lose our soul this way. We want to stay as we are right now.’ ED-209 needs be wary of stairs (Nacon) Email gamecentral@metro.co.uk, leave a comment below, follow us on Twitter, and sign-up to our newsletter. To submit Inbox letters and Reader’s Features more easily, without the need to send an email, just use our Submit Stuff page here. For more stories like this, check our Gaming page. Arrow MORE: How to get a Nintendo Switch 2 this week in the UK GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

This is today's edition of The Download, our weekday newsletter that provides a daily dose of what's going on in the world of technology. The Trump administration has shut down more than 100 climate studies The Trump administration has terminated National Science Foundation grants for more than 100 research projects related to climate change, according to an MIT Technology Review analysis of a database that tracks such cuts. The move will cut off what’s likely to amount to tens of millions of dollars for studies that were previously approved and, in most cases, already in the works. Many believe the administration’s broader motivation is to undermine the power of the university system and prevent research findings that cut against its politics. Read the full story. —James Temple This architect wants to build cities out of lava Arnhildur Pálmadóttir is an architect with an extraordinary mission: to harness molten lava and build cities out of it. Pálmadóttir believes the lava that flows from a single eruption could yield enough building material to lay the foundations of an entire city. She has been researching this possibility for more than five years as part of a project she calls Lavaforming. Together with her son and colleague Arnar Skarphéðinsson, she has identified three potential techniques that could change how future homes are designed and built from repurposed lava. Read the full story.—Elissaveta M. BrandonThis story is from the most recent edition of our print magazine, which is all about how technology is changing creativity. Subscribe now to read it and to receive future print copies once they land. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 America is failing to win the tech race against China In fields as diverse as drones and energy. (WSJ $)+ Humanoid robots is an area of particular interest. (Bloomberg $)+ China has accused the US of violating the pair’s trade truce. (FT $)2 Who is really in charge of DOGE? According to a fired staffer, it wasn’t Elon Musk. (Wired $)+ DOGE’s tech takeover threatens the safety and stability of our critical data. (MIT Technology Review) 3 Brazilians will soon be able to sell their digital dataIt’s the first time citizens will be able to monetize their digital footprint. (Rest of World) 4 The Trump administration’s anti-vaccine stance is stoking fear among scientists It’s slashing funding for mRNA trials, and experts are afraid to speak out. (The Atlantic $)+ This annual shot might protect against HIV infections. (MIT Technology Review)5 Tech companies want us to spend longer talking to chatbots Those conversations can easily veer into dangerous territory. (WP $)+ How we use AI in the future is up to us. (New Yorker $)+ This benchmark used Reddit’s AITA to test how much AI models suck up to us. (MIT Technology Review)6 Tiktok’s mental health videos are rife with misinformationA lot of the advice is useless at best, and harmful at worst. (The Guardian) 7 Lawyers are hooked on ChatGPTEven though it’s inherently unreliable. (The Verge) + Yet another lawyer has been found referencing nonexistent citations. (The Guardian)+ How AI is introducing errors into courtrooms. (MIT Technology Review)8 How chefs are using generative AI 👩‍🍳NYT $) + Watch this robot cook shrimp and clean autonomously. (MIT Technology Review)9 The influencer suing her rival has dropped her lawsuit The legal fight over ownership of a basic aesthetic has come to an end. (NBC News)10 Roblox’s new game has sparked a digital fruit underground market And players are already spending millions of dollars every week. (Bloomberg $) Quote of the day “We can’t substitute complex thinking with machines. AI can’t replace our curiosity, creativity or emotional intelligence.” —Mateusz Demski, a journalist in Poland, tells the Guardian about how his radio station employer laid him off, only to later launch shows fronted by AI-generated presenters. One more thing ​​Adventures in the genetic time machineAn ancient-DNA revolution is turning the high-speed equipment used to study the DNA of living things on to specimens from the past. The technology is being used to create genetic maps of saber-toothed cats, cave bears, and thousands of ancient humans, including Vikings, Polynesian navigators, and numerous Neanderthals. The total number of ancient humans studied is more than 10,000 and rising fast.The old genes have already revealed remarkable stories of human migrations around the globe.But researchers are hoping ancient DNA will be more than a telescope on the past—they hope it will have concrete practical use in the present. Read the full story. —Antonio Regalado We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet 'em at me.) + The ancient Persians managed to keep cool using an innovative breeze-catching technique that could still be useful today.+ Knowledge is power—here’s a helpful list of hoaxes to be aware of.+ How said it: Homer Simpson or Pete Hegseth?+ I had no idea London has so many cat statues.

This is today's edition of The Download, our weekday newsletter that provides a daily dose of what's going on in the world of technology. The Trump administration has shut down more than 100 climate studies The Trump administration has terminated National Science Foundation grants for more than 100 research projects related to climate change, according to an MIT Technology Review analysis of a database that tracks such cuts. The move will cut off what’s likely to amount to tens of millions of dollars for studies that were previously approved and, in most cases, already in the works. Many believe the administration’s broader motivation is to undermine the power of the university system and prevent research findings that cut against its politics. Read the full story. —James Temple This architect wants to build cities out of lava Arnhildur Pálmadóttir is an architect with an extraordinary mission: to harness molten lava and build cities out of it. Pálmadóttir believes the lava that flows from a single eruption could yield enough building material to lay the foundations of an entire city. She has been researching this possibility for more than five years as part of a project she calls Lavaforming. Together with her son and colleague Arnar Skarphéðinsson, she has identified three potential techniques that could change how future homes are designed and built from repurposed lava. Read the full story.—Elissaveta M. BrandonThis story is from the most recent edition of our print magazine, which is all about how technology is changing creativity. Subscribe now to read it and to receive future print copies once they land. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 America is failing to win the tech race against China In fields as diverse as drones and energy. (WSJ $)+ Humanoid robots is an area of particular interest. (Bloomberg $)+ China has accused the US of violating the pair’s trade truce. (FT $)2 Who is really in charge of DOGE? According to a fired staffer, it wasn’t Elon Musk. (Wired $)+ DOGE’s tech takeover threatens the safety and stability of our critical data. (MIT Technology Review) 3 Brazilians will soon be able to sell their digital dataIt’s the first time citizens will be able to monetize their digital footprint. (Rest of World) 4 The Trump administration’s anti-vaccine stance is stoking fear among scientists It’s slashing funding for mRNA trials, and experts are afraid to speak out. (The Atlantic $)+ This annual shot might protect against HIV infections. (MIT Technology Review)5 Tech companies want us to spend longer talking to chatbots Those conversations can easily veer into dangerous territory. (WP $)+ How we use AI in the future is up to us. (New Yorker $)+ This benchmark used Reddit’s AITA to test how much AI models suck up to us. (MIT Technology Review)6 Tiktok’s mental health videos are rife with misinformationA lot of the advice is useless at best, and harmful at worst. (The Guardian) 7 Lawyers are hooked on ChatGPTEven though it’s inherently unreliable. (The Verge) + Yet another lawyer has been found referencing nonexistent citations. (The Guardian)+ How AI is introducing errors into courtrooms. (MIT Technology Review)8 How chefs are using generative AI 👩‍🍳NYT $) + Watch this robot cook shrimp and clean autonomously. (MIT Technology Review)9 The influencer suing her rival has dropped her lawsuit The legal fight over ownership of a basic aesthetic has come to an end. (NBC News)10 Roblox’s new game has sparked a digital fruit underground market And players are already spending millions of dollars every week. (Bloomberg $) Quote of the day “We can’t substitute complex thinking with machines. AI can’t replace our curiosity, creativity or emotional intelligence.” —Mateusz Demski, a journalist in Poland, tells the Guardian about how his radio station employer laid him off, only to later launch shows fronted by AI-generated presenters. One more thing ​​Adventures in the genetic time machineAn ancient-DNA revolution is turning the high-speed equipment used to study the DNA of living things on to specimens from the past. The technology is being used to create genetic maps of saber-toothed cats, cave bears, and thousands of ancient humans, including Vikings, Polynesian navigators, and numerous Neanderthals. The total number of ancient humans studied is more than 10,000 and rising fast.The old genes have already revealed remarkable stories of human migrations around the globe.But researchers are hoping ancient DNA will be more than a telescope on the past—they hope it will have concrete practical use in the present. Read the full story. —Antonio Regalado We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet 'em at me.) + The ancient Persians managed to keep cool using an innovative breeze-catching technique that could still be useful today.+ Knowledge is power—here’s a helpful list of hoaxes to be aware of.+ How said it: Homer Simpson or Pete Hegseth?+ I had no idea London has so many cat statues.

This is today’s edition of The Download, our weekday newsletter that provides a daily dose of what’s going on in the world of technology. The Trump administration has shut down more than 100 climate studies The Trump administration has terminated National Science Foundation grants for more than 100 research projects related to climate change, according to an MIT Technology Review analysis of a database that tracks such cuts. The move will cut off what’s likely to amount to tens of millions of dollars for studies that were previously approved and, in most cases, already in the works. Many believe the administration’s broader motivation is to undermine the power of the university system and prevent research findings that cut against its politics. Read the full story. —James Temple This architect wants to build cities out of lava Arnhildur Pálmadóttir is an architect with an extraordinary mission: to harness molten lava and build cities out of it.Pálmadóttir believes the lava that flows from a single eruption could yield enough building material to lay the foundations of an entire city. She has been researching this possibility for more than five years as part of a project she calls Lavaforming. Together with her son and colleague Arnar Skarphéðinsson, she has identified three potential techniques that could change how future homes are designed and built from repurposed lava. Read the full story.—Elissaveta M. Brandon This story is from the most recent edition of our print magazine, which is all about how technology is changing creativity. Subscribe now to read it and to receive future print copies once they land. The must-reads I’ve combed the internet to find you today’s most fun/important/scary/fascinating stories about technology. 1 America is failing to win the tech race against ChinaIn fields as diverse as drones and energy. (WSJ $)+ Humanoid robots is an area of particular interest. (Bloomberg $)+ China has accused the US of violating the pair’s trade truce. (FT $) 2 Who is really in charge of DOGE?According to a fired staffer, it wasn’t Elon Musk. (Wired $)+ DOGE’s tech takeover threatens the safety and stability of our critical data. (MIT Technology Review) 3 Brazilians will soon be able to sell their digital dataIt’s the first time citizens will be able to monetize their digital footprint. (Rest of World) 4 The Trump administration’s anti-vaccine stance is stoking fear among scientistsIt’s slashing funding for mRNA trials, and experts are afraid to speak out. (The Atlantic $)+ This annual shot might protect against HIV infections. (MIT Technology Review) 5 Tech companies want us to spend longer talking to chatbotsThose conversations can easily veer into dangerous territory. (WP $)+ How we use AI in the future is up to us. (New Yorker $)+ This benchmark used Reddit’s AITA to test how much AI models suck up to us. (MIT Technology Review) 6 Tiktok’s mental health videos are rife with misinformationA lot of the advice is useless at best, and harmful at worst. (The Guardian) 7 Lawyers are hooked on ChatGPTEven though it’s inherently unreliable. (The Verge)+ Yet another lawyer has been found referencing nonexistent citations. (The Guardian)+ How AI is introducing errors into courtrooms. (MIT Technology Review) 8 How chefs are using generative AI They’re starting to experiment with using it to create innovative new dishes. (NYT $)+ Watch this robot cook shrimp and clean autonomously. (MIT Technology Review) 9 The influencer suing her rival has dropped her lawsuitThe legal fight over ownership of a basic aesthetic has come to an end. (NBC News) 10 Roblox’s new game has sparked a digital fruit underground marketAnd players are already spending millions of dollars every week. (Bloomberg $) Quote of the day “We can’t substitute complex thinking with machines. AI can’t replace our curiosity, creativity or emotional intelligence.” —Mateusz Demski, a journalist in Poland, tells the Guardian about how his radio station employer laid him off, only to later launch shows fronted by AI-generated presenters. One more thing ​​Adventures in the genetic time machineAn ancient-DNA revolution is turning the high-speed equipment used to study the DNA of living things on to specimens from the past.The technology is being used to create genetic maps of saber-toothed cats, cave bears, and thousands of ancient humans, including Vikings, Polynesian navigators, and numerous Neanderthals. The total number of ancient humans studied is more than 10,000 and rising fast.The old genes have already revealed remarkable stories of human migrations around the globe.But researchers are hoping ancient DNA will be more than a telescope on the past—they hope it will have concrete practical use in the present. Read the full story.  —Antonio Regalado We can still have nice things A place for comfort, fun and distraction to brighten up your day. (Got any ideas? Drop me a line or skeet ’em at me.) + The ancient Persians managed to keep cool using an innovative breeze-catching technique that could still be useful today.+ Knowledge is power—here’s a helpful list of hoaxes to be aware of.+ How said it: Homer Simpson or Pete Hegseth?+ I had no idea London has so many cat statues.