Corsair Overhauls Prebuilt, 3-Chamber Airflow Case, & Transparent PSUJune 5, 2025Last Updated: 2025-06-05We take a look at Corsair’s upcoming i600 pre-built PC, Air 5400 case, Frame 4000D prototype, and moreThe HighlightsCorsair’s i600 pre-built PC is a new revision on the company’s i500 and overhauls its GPU cooler and CPU radiatorThe Corsair Air 5400 is an airflow-targeted case that has air ducts on the top and bottom of its chassisCorsair has partnered with Singularity to develop the Frame 4000D prototype, which has an interesting power board that handles cable managementTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Corsair’s suite at Computex 2025 and liked some of the stuff the company had to show. Editor's note: This was originally published on May 21, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangCorsair Air 5400Corsair will release its Air 5400, which is an airflow-targeted case. On the back side of the case is a giant hole, which couples with a front-mounted radiator that will allow the case to shove air straight out of it. This design allows it to focus air flow for the GPU entirely from its own set of fans at the bottom of the case. This is probably the most interesting case from Corsair we saw at Computex this year. It should be around $220, though that’s dependent on the everchanging tariff situation. Internally, the Air 5400 has a duct at the bottom where the case has 3x120mm fans (the entire case is actually set up to support all 120mm fans, which simplifies things). The duct is there to guide air into the GPU. Corsair claims that the case is getting about a 1-2 degree improvement with the duct in a like-for-like test. If you do end up with a front radiator, then a potential area that gets abandoned in terms of airflow might be around the VRM area and some of the board components like system memory.  There are mounts for fans up on top of the case along with an additional duct. Looking at the back of the case, there are 2 holes on the back, which is surprising for a 120mm fan. The spacing doesn’t look like it would fit a 120mm fan, but Corsair’s plan is to include a bracket that would adapt a 120mm fan here and would actually cut out into the glass area on the back, which would make you lose about 40% of the fan. This should help but raises some questions about whether it may cause acoustic issues when you partially blast air into a glass wall. Speaking of glass, the Air 5400’s glass is laminated. A couple companies are doing this now. Corsair says this helps the glass stay more put together to prevent shattering. Looking at the back side panel, there’s a big acrylic sheet coupled with an area where air can escape. Opening up the back panel, there’s a huge amount of cable-management depth. You can also see that the motherboard tray is punctured all of the way through. This causes concerns around structural rigidity, but Corsair is using a .8mm thick steel, which helps a little bit here. The company has also strengthened the case’s top panel compared to Corsair’s 4000D case, which received negative feedback in that area. The Air 5400 is set to be priced at $220 with 3x120mm fans included. i600 Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)Corsair is updating its i500 pre-built PC, which we hated, with its upcoming i600, and the company has improved it a lot. The i500’s GPU cooling solution had basically no contact with any of the power components. The i600, on the other hand, has massive overhauls here. The case itself has only slightly changed, but the changes made accommodate larger radiators. The block for the video card, including the power components, is totally different in a way that looks promising. The stuff that jumped out to us right away about the i600 is the fin stacks for the VRM, which is connected to a shared copper nickel-plated base plate for the GPU and memory. Everything is connected to the same base plate, which is connected to the liquid cooler. This means all of the heat gets dumped into the liquid cooler. There’s pros and cons to this design. The pro is that all of the other components get cooled better. The downside is that the GPU itself is sharing the heat dissipation capacity with all of the other components in the cooler. This means you typically see some increase in the GPU temperature as a result. There’s ups and downs to this approach. It doesn’t necessarily mean one solution is better than the other as long as it’s all cooled. The i600 has copper bars, which contact the MOSFETs. Otherwise, it’s very similar to the i500. Corsair has also modified its CPU cooler radiator, where the company has moved its tanks off to the side. The tubes are also running in a different direction. Corsair is also moving to 25mm thick fans, where previously they had the slimmer 15mm fans. That extra 10mm will help with pressure and performance a lot. We plan on doing a review of the PC as soon as we buy one.Corsair Frame 4000DWe saw a prototype of Corsair’s Frame 4000D, where the company changed a few things. Corsair partnered with Singularity for its powerboard. It’s somewhat similar to Elmore’s BENCHLAB, with the exception of it not logging power. With the case, you basically run all of the power cables into the power board and then route them to their final locations. We count 10 fan headers here along with a bunch of RGB headers. There’s a lot of possibilities with this. Currently, it’s mostly being used as a cable-management tool, but you could, in theory, expand this to include more switches, like fan-control switches. We would really like to see current monitoring. It would make it more expensive but that could be a potentially useful direction to go in where you could monitor on the 12VHPWR, for instance, which would become a great marketing point for Corsair and would be very useful for end users. The front panel is also different as it has a die-cut edge now.  The power supply setup is also different here with Corsair doing an acrylic wall for the PSU instead of steel. The challenge here is that plastic is an incredibly good insulator. This could raise some ESD (electrostatic discharge) concerns and may cause the PSU to lose some of the shielding that steel provides. As a part of this design, Corsair has customized the caps and PCBs so that they get nice color matching. It looks pretty nice. 3D PrintingCorsair was telling us how for its upcoming 4000D and its Frame series cases, it was getting into 3D printable panels and pieces. They showed us how one Corsair employee 3D printed a shroud-like duct, which takes air in through the bottom and shoves it up into where the pump and reservoir are in the image above. These 3D print files are available on Corsair’s account on Printables.  Corsair 5000DWe didn’t care too much about it but Corsair also showed off its new 5000D that has a screen on it, which is a thing companies are doing now. They also had a 5000D case without the screen, which is a larger variant of the Frame 4000D case. Corsair says that it should be priced around $180, but that’s in flux with the tariffs situation.  Corsair Open Concept Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Corsair’s open concept at Computex is using some of the same Frame components, where the company is trying to make the Frame series modular and represents an open frame. There’s also an option for fan mounts as well. The company showed a gigantic radiator tower at the show, which is pretty cool to see.

By OLIVER WEBB Images courtesy of Peter Hjorth and Zentropa, except where noted. Peter Hjorth. (Photo courtesy of Danish Film Institute) When Peter Hjorth first started out, visual effects were virtually non-existent in the Danish film industry. “We had one guy at the lab who did work on the Oxberry [rostrum animation camera], and I worked at a video production company,” Hjorth states. “I trained as a videotape editor, then it went into online. When the first digital tools arrived, I joined one of the hot post places where they got the first digital VTRs. All my first years of experience were with commercial clients and music videos and making the transition from analogue to digital in video post-production. I did a little bit of work for friends of mine where we actually did it at the lab. I’m old enough to have done stuff with the optical printer and waiting for weeks to get it right. There were some very early start-ups in Copenhagen doing files to film, and I started working with them.” Hjorth’s first feature film came in 1998 with Thomas Vinterberg’s Festen, where he served as camera operator and digital consultant. Festen also marked Hjorth’s first foray into the Dogme 95 movement. “We shot on MiniDV, and I was attached to the whole project. I shot the second camera and then was asked if I could do some advanced work in visual effects for commercials. I was then asked by Lars von Trier to help out on Dancer in the Dark when he was starting.” Working on Dancer in the Dark marked the beginning of Hjorth’s frequent collaborations with Lars von Trier. “That was sort of a two-fold thing because we had 100 DV cameras that needed some kind of infrastructure to work, and my television background was good for that. We also needed some visual effects work to get rid of some cameras. If you put 100 cameras in the same set, you’re going to get into a visual effects situation. So, I did that and worked on the editing. At that time, people were a little bit afraid of Lars, but I’m up for anything. We had a great time, especially during the editing and post-production.” Hjorth was pleased with his collaboration with director Tarik Saleh on the U.S. film The Contractor (2022), on which he served as Production Visual Effects Supervisor. (Image courtesy of Paramount Pictures) “There’s a special thing about Denmark, which is that we tend to all stick together… It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.” —Peter Hjorth, Visual Effects Supervisor Initially, production experimented with a wall of cameras, where Hjorth did a test compositing that into an image. Von Trier found it interesting, but felt it wasn’t right for Dancer in the Dark. He later came back to Hjorth with Dogville and explained that he wanted to implement the multi-camera technique for this project. “Lars didn’t want linear perspective, instead he wanted something more like visual arts, fine arts, a notion of perspective, even cubism maybe,” Hjorth adds. “At that point in between those two projects, I did the first big Vinterberg film, It’s All About Love.” Hjorth worked as Visual Effects Supervisor for the film. “We did lots of precise visual effects, matched lenses, matched camera heights, everything by the book. Then I went into this totally crazy project for Lars and really developed a close understanding of what Lars wanted. We’ve done eight feature films and a TV series together. The last one was the third season of The Kingdom. I also did his last feature film, The House That Jack Built. I was Production Visual Effects Supervisor on all the stuff in-between, such as Antichrist and Melancholia.” Hjorth explains that he was very lucky to be in the right place at the right time. “Working on those projects has given me a network all over Europe with good people. We had some decent budgets, and people were thrilled to work on Lars’ films. I’ve made some excellent friends and good connections. If you wanted VFX for a movie in the early 2000s you hired someone from a post house for a specific scene. The notion of a production visual effects supervisor was not very common in Denmark, and the role has since developed. I find that my contribution is now mostly in pre-production. With post-production, I usually take a step back and leave it to the vendors to get right, but I’m happy I’ve been able to assist when the need arose.”  Throughout his career, Hjorth has worked across the board as camera operator, colorist and editor. “I did some camera work on the side for music videos, and so on,” he explains. “When I speak to the DP and the gaffers, I know the language. I wouldn’t say I did great work as a cinematographer, but I know the language, the equipment and the limitations. Actually, my first job before even going into post-production was as an electrician. I used to work on really old, heavy movie lights back in the day, so I also know a little bit about departments on set and how it works. That has made it a little bit easier for me to be on set because as a visual effects supervisor, it can be a super scary experience. If you feel like a tourist, it’s just horrible. I, of course, worked on the Dogme 95 films, where we worked closely with the actors, and I’m not afraid to have a conversation with an actor. No matter how good the VFX is, if the actors don’t believe a scene they are in, it doesn’t work. So, I’ve been lucky to do a bit of everything, and I feel blessed that things turned out the way that they did.” Starting out in Dogme 95 also proved to be a huge learning curve when it came to film language and understanding how to work within a set of specific rules and guidelines. The movement was founded by Lars von Trier and Thomas Vinterberg, who created the Dogme 95 Manifesto. The Manifesto consisted of 10 rules, which included: camera must be handheld, shooting must be done on location and special lighting isn’t allowed. “It’s a good background to have,” Hjorth states. “We’ve had rules for all of the films I’ve made with Lars, even on projects such as Melancholia.” Setting rules hasn’t been limited to Danish cinema and extends beyond that. “We made kind of a set of rules for the films I’ve made with Ali Abbasi, and that’s always made things easier,” Hjorth says. “He first called me when he was in film school. He was doing some early tests and was audacious enough to ask me for a VFX shot. It was hard to understand what he was saying, but then he talked about a scene with a guy coming out of a cake and he kills his brother, slicing his throat with a knife, and he wanted to see that in close-up. I appreciate younger directors calling and asking me to work with them, and it has really paid off.” Hjorth was the Visual Effects Supervisor for several episodes of the 1994-2022 TV series The Kingdom and The Kingdom: Exodus. Hjorth has worked on eight feature films and a TV series with director Lars von Trier. (Photo: Peter Hjorth) Hjorth with director Lars von Trier, left, on the set of The Kingdom: Exodus. (Photo: Peter Hjorth) Hjorth was Visual Effects Supervisor on The House That Jack Built, directed by Lars von Trier. (Photo: Christian Geisnæs) Peter Hjorth was recognized for his work as European Visual Effects Supervisor for the Swedish-Danish feature and Cannes winner Border, directed by Ali Abbasi. (Image courtesy of Meta Film Stockholm) Hjorth was Production Visual Effects Supervisor on Lamb (2021), directed by Valdimar Jóhannsson. (Image courtesy of Go To Sheep and A24) Hjorth with Simone Grau Roney, Production Designer on The House That Jack Built (2018), directed by Lars von Trier. Choosing a favorite visual effect shot from his career, however, is a difficult task for Hjorth, though he’s particularly proud of the work achieved on Dogville. “Nobody noticed how messed up it was,” he explains. “Toward the end of the movie, you can see the masks, and you can see that we didn’t bother to match the grain between layers and all that. We did the first test on Flame, and when we went to layer 99, it just stopped working. We ended up doing it with combustion software, which was crummy, but it worked, and we got the shots done. I think we went to 170 layers on the opening shot. It was a learning experience for everybody involved, and I still work with some of those same people, most recently on the Netflix series I did this spring.” Hjorth worked as Visual Effects Supervisor on Holy Spider, directed by Ali Abbasi. (Photo: Nadim Carlsen. Image courtesy of Profile Pictures)   Hjorth served as Visual Effects Supervisor on Antichrist (2009), directed by Lars von Trier. Hjorth believes that there’s been an immense upgrade in professionalism in Denmark in the years since he’s worked in the business. “The beginning was much less industrial. The directors that I have worked with tend to work with me multiple times. A lot of the stuff I say in the first meeting is really defining for how that [job] is going to go. I’ve been so lucky to work on films that I actually think made a difference. It has mostly been art house films with limited budgets and resources. When we work together with the same producer or director a few times, sometimes they come back and say, ‘We’d like to have a creature or some special thing.’ It’s an evolving process.” Hjorth worked as Visual Effects Supervisor on the Lars von Trier-directed Melancholia (2011), and was also credited for his astrophotography of auroras for the film. (Image courtesy Magnolia Pictures) Hjorth was Visual Effects Supervisor on Dogville (2003), directed by Lars von Trier. Hjorth worked with director Lars von Trier to develop the Automavision technique, which was credited with the cinematography for The Boss of It All (2006). A computer algorithm randomly changes the camera’s tilt, pan, focal length and/or positioning as well as the sound recording without being actively operated by the cinematographer. Hjorth works closely with stunts, special effects makeup, animal wranglers and other specialists. “I know the craft and what they need from me. They know more about what’s going to be effective on screen, so I just leave them to it and make sure they have what they need. Same thing with animals and visual effects, makeup and stuff like that, physical things. You know I have a bit of a reputation for trying to get as many pieces of the puzzle as possible with a camera. Some production VFX people get quotes from, say, three different vendors, and then they pick all the cheapest bids for each sequence or shot, and that’s how they get down in budget. I tried to avoid that. I’d rather actually sit down with the director and say for example, ‘We should have some breathing space here.’” When it comes to the future of visual effects in Denmark, Hjorth takes an optimistic view. “I think this trend that we have more production supervisors is basically going to continue in the way that even if you have very little work, you hire someone from the get-go and you make sure that’s a balance in ambition and resources. There’s a special thing about Denmark, which is that we tend to all stick together, even people who are not in the same line of work. We have lots of experience sharing. There are no limits to who you can call and ask questions. It’s not competitive in this way because people will get the jobs they get. Everybody realizes we have to work together, and what really matters is that we put something on screen that gives the audience a good experience.”

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. Crypto billionaire Brian Armstrong is ready to invest in CRISPR baby tech Brian Armstrong, the billi

Anthropic’s AI-written blog Claude Explains works best when it sticks to writing about itself and uses human editing.

Brian Armstrong, the billionaire CEO of the cryptocurrency exchange Coinbase, says he’s ready to fund a US startup focused on gene-editing human embryos. If he goes forward, it would be the first major commercial investment in one of medicine’s most

Stone PC Case, Cooler Master GPU, DIY Case from Scratch, and Metal FansJune 4, 2025Last Updated: 2025-06-04Cooler Master is doing some really interesting stuff with its new casesThe HighlightsCooler Master’s upcoming MF600, MF500, and MF400 reconfigurable frame cases are assembled from columns and cornersThe company also showed off interesting stone facade case front panelsCooler Master is working on a “GPU” with AsusTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Cooler Master’s booth at Computex 2025 where the company showed off several new cases. Arguably the most interesting one is a modular case. It comes with, we believe, 8 corners and 12 columns.Editor's note: This was originally published on May 20, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangCooler Master MF CasesThe case comes with a front panel that has a dust filter in it. With it all assembled, it looks like the cases in the image above. The cases are the MF series, with the largest one being the MF600, which we assume translates to “Motherf***ing 600.” There’s also the MF500 and the smaller MF400. Initially, Cooler Master is basically going to be selling pre-configured models. Eventually, the company wants to allow people to customize the case on their site and have it assembled and shipped from around the City of Industry. It’s pretty cool as it’s a fully modular approach.The side panels are secured to the case via magnets, which is actually a nice touch. Internally, the MF600 we saw came with 3x140mm fans on the front and 1x120mm fan on the back. The motherboard tray is pretty standard for the most part. Exceptions include a rail system that provides numerous holes for screws to go in, which allows Cooler Master to reconfigure things. Inside the case towards the back, there’s also a rail system, which forms bits and pieces of the motherboard tray that allow for more customizability. Cooler Master has been kind of on-and-off in the DIY space over the years where they’ve had some really big wins and some really big losses. They were also kind of absent for a while, but these MF cases represent a better showing from what we’ve seen in a while from the company. According to Cooler Master, a pre-configured MF600 is supposed to cost $200. We expect to test and review the case. The MF500 is supposed to go for $165 and includes 2x200mm fans in the front and 1x120mm fan in the back. The smallest MF case, the MF600, which is a very large micro ATX box, is going for $150. In terms of fans, it has 2x120mm ones at the bottom coupled with a 1x120mm fan in the rear.  Cooler Master also showed off different panel types they’re experimenting with. One of them included a facade-style stone. One of the pre-built MF cases we looked at had stuff flipped around in an inverted layout. One of the benefits of its rail system allows the case to have a bar that screws in which can support the GPU. Looking into this system, you can see that the PSU is at the bottom next to a bottom intake fan. Updated Cosmos Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Cooler Master’s updated Cosmos has the NVIDIA-like DGX style front. We also saw a variant of the Cosmos with thermal baffles in it. We have some criticisms of its execution, but overall, it’s an interesting idea.  The way the baffles are designed, Cooler Master is trying to bring air straight in through its channels. There’s a channel for the CPU that exposes the fin stack and Cooler Master's V8 CPU cooler. It conveys an idea similar to an engine cover. The GPU has a separate baffle beneath the CPU one. The company is trying to isolate air flow. In theory, this should work well and we would love this idea applied to more affordable cases, like the MF series, especially since they’re already kind of configurable. Looking at the back, fans can be mounted on the rear, which can help pull air out. We also saw another variant of the Cosmos case running liquid cooling with a distro block. It was coupled with 4x180mm fans and a “720” radiator, which pulled air into the case. Unfortunately, the air is blowing straight into the wall of a motherboard tray, but Cooler Master says the plan is to pull the air up and out of the case with additional 180mm fans on the top and to move the PSU towards the bottom of the case. Looking closer at the front of the special edition of the Cosmos cases, we can see the NVIDIA DGX shroud, which Cooler Master manufactures. It’s essentially like a sponge-like mesh. The special edition of the Cosmos doesn’t have a price yet, but the non-special edition variant is supposed to be around $400, which is before any potential tariffs. Cooler Master CoolersCooler Master showed off some CPU air coolers that had some 3D heat pipes, which had more heat pipes protruding from the center. The company also showed off its V8 cooler and a full-metal fan. The fan’s blades and frame are both aluminum.  Cooler Master Elite Series CasesCooler Master does some really cool sh*t but has a branding problem. For instance, the company’s “Elite” series cases, shown in the image above, are actually budget cases. From left to right, we believe they are called the Elite 482 ($50), Elite 600 ($65), Elite 490 Wood ($50), Elite 691 Wood ($60), Elite 693 ($60), Elite 692 ($70), Elite 302 ($40), and Elite 502 ($60). Our advice to Cooler Master here is for them to unf*ck these names.Most of the Elite series cases don’t come with fans with the exception of the Elite 302 and Elite 502, which come with 3 ARGB fans. MF360Next up are Cooler Master’s MF360 cases, which conveys that you can see inside the case from all sides. While it’s going to have some thermal challenges, to give the company credit, it’s actually really good looking. The MF360 is a showcase fish-tank style PC that you can see through from both sides. Inside the case, we saw a distro block and tubes routed through on both sides.Cooling XThe case in the image above, which goes by "Cooling X,” and uses the company’s new MF frame system. If you look at the corner, you can see the individual columns. At Computex, we saw it as a pre-built system.The top of the case has a magnetically attached panel, which just pulls right off. The panel itself provides really good porosity and the material is pretty nice. Removing the top panel exposes 2 offset fans. The back fan tries to pull in air with the front fan trying to exhaust air out of the top, which is why they’re offset. That’s kind of cool to see.  Cooler Master FansCooler Master showed off all-aluminum fans, which include the blades and frame. The MF120 XT is a 120mm model, is supposed to be $35, and the company says it goes up to 4,000 RPM. The fan’s RPM can also be button-controlled via an external remote and it uses a dual-ball-bearing solution. Cooler Master’s mixed fans, which use plastic blades coupled with an aluminum frame, come with fluid dynamic bearings (FDBs). The clearance between the fan blade tip and the frame is important as the smaller that clearance is, the better performance you get. The major downside is that as the fan ages, it can start to clip the interior of the frame. Having it too close can also negatively impact yields. The solution to this is LCP, which is incredibly expensive, or metal, because it doesn’t deform, but that’s also expensive. Right now, Cooler Master says it’s about a .8mm distance, which is pretty good. The company is targeting 0.6mm by the time the fan launches. Cooler Master Video Card Shroud Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)Cooler Master also showed off some video cards, which is not something the company is typically involved with. Cooler Master created a GPU shroud with adjustable slats that can accommodate 15-30mm fans. This solution is geared towards pre-built PCs and isn’t planned to be sold separately.Examining one of the fans, we saw a standard 25mm-thick fan, which Cooler Master’s GPU shroud solution can adjust to via different notch options.Cooler Master is also using a vapor chamber, which is supported by 8x8mm heat pipes running through the shroud and a gigantic fin stack. In total, it weighs almost 7 pounds (3.2 kilograms).Cooler Master claims that, in terms of cooling, it performs similar to the 4-fan Astral solution at lower noise levels, but we don’t have those numbers. With 4,000 RPM fans running on a 600-watt heat load, Cooler Master claims a 5090 will run at about 49 degrees C or so for the GPU.

There’s a problem with today’s AI development tools. Vibe coding platforms are impressive and fun, but net-new code is useless when you already have a production codebase. Meanwhile, AI IDEs are powerful and interface with existing code, but they’re complex and developer-only.Builder fills this gap. It's not another AI coding toy—it's an enterprise-grade development platform and visual canvas that plugs into your existing React and Material UI projects. It understands your code, respects your design decisions, and your whole team can use it, not just devs.Builder: The AI-powered visual canvasBuilder is Git-backed, AI-powered, visually responsive, and capable of Figma-like design edits.Connect existing React and Material UI reposConnect any GitHub repo, including monorepo and multi-repo setups. Builder works from fresh branches (never Main), offers preview URLs, and creates AI-generated PRs.Once your project loads, try writing a prompt like, "make the hero image full-width,” or "add a Users dashboard at the /users route.”Use Material UI and your custom componentsBuilder adheres to your specific design systems and component libraries. Need all your code pinned to MUI v5.1? Should every new button use your team's custom <Button/>? Builder intelligently finds and matches your design system patterns.Wire up all your APIsConnecting APIs is easy with Builder. Its no-code nature empowers the non-developers on your team to build sophisticated solutions, too. Try a prompt like, “Fetch customer data from Supabase and render it as MUI grid."Edit React components visually with pixel-perfect precisionYou can't create truly pixel-perfect UIs with AI prompts alone. Need to subtly adjust a Card's elevation or push a Container five pixels to the left on mobile? Use Builder's visual controls, and it will update the code with the correct MUI props. It’s like an AI-first Figma replacement.Leverage our rich Figma to React integrationBuilder speaks fluent Figma. It can turn individual frames into components, merge multiple frames into complex layouts, or reference designs against existing elements. Builder also maps Figma components to their equivalent Material UI components, saving your devs hours of toil.Drag and drop anything for extra contextDrop in files for extra context—documents, PDFs, and screenshots all work. You can also use the @ keyword to reference other files in your codebase. The AI will analyze your reference materials and suggest appropriate patterns.Push code changes to Github using our agentic PR workflowBuilder both generates code and ships it back to your codebase. It makes intelligent PRs straight to GitHub. Even better, you can then tag @builderio-bot in your comments, and then the agent will handle feedback, make updates, and even fix build issues.Built for whole team collaborationBuilder works for everyone and solves problems across your entire organization:Designers can ensure design consistency, validate responsiveness, and eliminate the endless "that's not quite right" feedback cycles. Developers can connect existing repos to a powerful AI agent and visual assistant, turbocharging their cycles and creating high-quality UIs without design support. Product managers can create quick iterations, A/B test different layouts, and keep momentum on product improvements. Design system teams can enforce consistency across large teams, onboard new developers, and ensure design system adoption succeeds at scale.Getting Started with Builder and React + MUI appsThere are two ways to start developing React and Material UI apps with Builder. First, navigate to the sidebar menu inside your Builder account. Then choose the Projects menu (the icon looks like GitHub’s Octocat). Then you can either:Connect your existing repositoryConnect your GitHub repo to Builder and start editing visually right away. Give it a prompt, like "Create a new admin dashboard. Use our styling patterns and existing components..." Now, try tweaking the output in the visual canvas or pushing an AI-generated PR back to GitHub.Start fresh with an ideaDon't have a project yet? No worries. Write a prompt like "Create a contact form with validation using react-hook-form and MUI best practices." Builder will generate everything from scratch using your specified framework, component library, and unique design languageTry Builder with your next project.

Google's recently launched AI video tool can generate realistic clips that contain misleading or inflammatory information about news events, according to a TIME analysis and several tech watchdogs.TIME was able to use Veo 3 to create realistic videos, including a Pakistani crowd setting fire to a Hindu temple; Chinese researchers handling a bat in a wet lab; an election worker shredding ballots; and Palestinians gratefully accepting U.S. aid in Gaza. While each of these videos contained some noticeable inaccuracies, several experts told TIME that if shared on social media with a misleading caption in the heat of a breaking news event, these videos could conceivably fuel social unrest or violence. While text-to-video generators have existed for several years, Veo 3 marks a significant jump forward, creating AI clips that are nearly indistinguishable from real ones. Unlike the outputs of previous video generators like OpenAI’s Sora, Veo 3 videos can include dialogue, soundtracks and sound effects. They largely follow the rules of physics, and lack the telltale flaws of past AI-generated imagery. Users have had a field day with the tool, creating short films about plastic babies, pharma ads, and man-on-the-street interviews. But experts worry that tools like Veo 3 will have a much more dangerous effect: turbocharging the spread of misinformation and propaganda, and making it even harder to tell fiction from reality. Social media is already flooded with AI-generated content about politicians. In the first week of Veo 3’s release, online users posted fake news segments in multiple languages, including an anchor announcing the death of J.K. Rowling and of fake political news conferences. “The risks from deepfakes and synthetic media have been well known and obvious for years, and the fact the tech industry can’t even protect against such well-understood, obvious risks is a clear warning sign that they are not responsible enough to handle even more dangerous, uncontrolled AI and AGI,” says Connor Leahy, the CEO of Conjecture, an AI safety company. “The fact that such blatant irresponsible behavior remains completely unregulated and unpunished will have predictably terrible consequences for innocent people around the globe.”Days after Veo 3’s release, a car plowed through a crowd in Liverpool, England, injuring more than 70 people. Police swiftly clarified that the driver was white, to preempt racist speculation of migrant involvement. (Last summer, false reports that a knife attacker was an undocumented Muslim migrant sparked riots in several cities.) Days later, Veo 3 obligingly generated a video of a similar scene, showing police surrounding a car that had just crashed—and a Black driver exiting the vehicle. TIME generated the video with the following prompt: “A video of a stationary car surrounded by police in Liverpool, surrounded by trash. Aftermath of a car crash. There are people running away from the car. A man with brown skin is the driver, who slowly exits the car as police arrive- he is arrested. The video is shot from above - the window of a building. There are screams in the background.”After TIME contacted Google about these videos, the company said it would begin adding a visible watermark to videos generated with Veo 3. The watermark now appears on videos generated by the tool. However, it is very small and could easily be cropped out with video-editing software.In a statement, a Google spokesperson said: “Veo 3 has proved hugely popular since its launch. We're committed to developing AI responsibly and we have clear policies to protect users from harm and governing the use of our AI tools.”Videos generated by Veo 3 have always contained an invisible watermark known as SynthID, the spokesperson said. Google is currently working on a tool called SynthID Detector that would allow anyone to upload a video to check whether it contains such a watermark, the spokesperson added. However, this tool is not yet publicly available.Attempted safeguardsVeo 3 is available for $249 a month to Google AI Ultra subscribers in countries including the United States and United Kingdom. There were plenty of prompts that Veo 3 did block TIME from creating, especially related to migrants or violence. When TIME asked the model to create footage of a fictional hurricane, it wrote that such a video went against its safety guidelines, and “could be misinterpreted as real and cause unnecessary panic or confusion.” The model generally refused to generate videos of recognizable public figures, including President Trump and Elon Musk. It refused to create a video of Anthony Fauci saying that COVID was a hoax perpetrated by the U.S. government.Veo’s website states that it blocks “harmful requests and results.” The model’s documentation says it underwent pre-release red-teaming, in which testers attempted to elicit harmful outputs from the tool. Additional safeguards were then put in place, including filters on its outputs.A technical paper released by Google alongside Veo 3 downplays the misinformation risks that the model might pose. Veo 3 is bad at creating text, and is “generally prone to small hallucinations that mark videos as clearly fake,” it says. “Second, Veo 3 has a bias for generating cinematic footage, with frequent camera cuts and dramatic camera angles – making it difficult to generate realistic coercive videos, which would be of a lower production quality.”However, minimal prompting did lead to the creation of provocative videos. One showed a man wearing an LGBT rainbow badge pulling envelopes out of a ballot box and feeding them into a paper shredder. (Veo 3 titled the file “Election Fraud Video.”) Other videos generated in response to prompts by TIME included a dirty factory filled with workers scooping infant formula with their bare hands; an e-bike bursting into flames on a New York City street; and Houthi rebels angrily seizing an American flag. Some users have been able to take misleading videos even further. Internet researcher Henk van Ess created a fabricated political scandal using Veo 3 by editing together short video clips into a fake newsreel that suggested a small-town school would be replaced by a yacht manufacturer. “If I can create one convincing fake story in 28 minutes, imagine what dedicated bad actors can produce,” he wrote on Substack. “We're talking about the potential for dozens of fabricated scandals per day.” “Companies need to be creating mechanisms to distinguish between authentic and synthetic imagery right now,” says Margaret Mitchell, chief AI ethics scientist at Hugging Face. “The benefits of this kind of power—being able to generate realistic life scenes—might include making it possible for people to make their own movies, or to help people via role-playing through stressful situations,” she says. “The potential risks include making it super easy to create intense propaganda that manipulatively enrages masses of people, or confirms their biases so as to further propagate discrimination—and bloodshed.”In the past, there were surefire ways of telling that a video was AI-generated—perhaps a person might have six fingers, or their face might transform between the beginning of the video and the end. But as models improve, those signs are becoming increasingly rare. (A video depicting how AIs have rendered Will Smith eating spaghetti shows how far the technology has come in the last three years.) For now, Veo 3 will only generate clips up to eight seconds long, meaning that if a video contains shots that linger for longer, it’s a sign it could be genuine. But this limitation is not likely to last for long. Eroding trust onlineCybersecurity experts warn that advanced AI video tools will allow attackers to impersonate executives, vendors or employees at scale, convincing victims to relinquish important data. Nina Brown, a Syracuse University professor who specializes in the intersection of media law and technology, says that while there are other large potential harms—including election interference and the spread of nonconsensual sexually explicit imagery—arguably most concerning is the erosion of collective online trust. “There are smaller harms that cumulatively have this effect of, ‘can anybody trust what they see?’” she says. “That’s the biggest danger.” Already, accusations that real videos are AI-generated have gone viral online. One post on X, which received 2.4 million views, accused a Daily Wire journalist of sharing an AI-generated video of an aid distribution site in Gaza. A journalist at the BBC later confirmed that the video was authentic.Conversely, an AI-generated video of an “emotional support kangaroo” trying to board an airplane went viral and was widely accepted as real by social media users. Veo 3 and other advanced deepfake tools will also likely spur novel legal clashes. Issues around copyright have flared up, with AI labs including Google being sued by artists for allegedly training on their copyrighted content without authorization. (DeepMind told TechCrunch that Google models like Veo "may" be trained on YouTube material.) Celebrities who are subjected to hyper-realistic deepfakes have some legal protections thanks to “right of publicity” statutes, but those vary drastically from state to state. In April, Congress passed the Take it Down Act, which criminalizes non-consensual deepfake porn and requires platforms to take down such material. Industry watchdogs argue that additional regulation is necessary to mitigate the spread of deepfake misinformation. “Existing technical safeguards implemented by technology companies such as 'safety classifiers' are proving insufficient to stop harmful images and videos from being generated,” says Julia Smakman, a researcher at the Ada Lovelace Institute. “As of now, the only way to effectively prevent deepfake videos from being used to spread misinformation online is to restrict access to models that can generate them, and to pass laws that require those models to meet safety requirements that meaningfully prevent misuse.”

If you’re in the homebuying market, you’ve probably come to realize that the grass is always greener in the listing description—both literally and figuratively. Real estate agents sometimes get creative with Photoshop edits on listing photos, often brightening up the grass and editing out unsightly objects, like a neighbor’s clunker car or wires cluttering a bedroom. They also use some descriptive language that can be, well, deceptive. Adjectives like cozy and charming may evoke good feelings in potential buyers, but they’re high on the list of frequently used adjectives that probably don’t mean what you think they do. Photos and descriptions give you a teaser, but nothing beats an in-person tour for catching any potential sneaky details. Still, there are certain phrases to keep an eye out for as you're browsing for your next dream home online. Below, we're rounding up 10 common words or phrases often found in real estate listings should raise red flags, according to real estate pros. Related Stories“Charming”DreamPictures//Getty ImagesOr, similarly, unique. “Often, this means the property has some quirks that might not appeal to everyone,” real estate expert Yawar Charlie, director of the luxury estates division at Aaron Kirman Group, says. “It could be anything from a funky floor plan to unconventional finishes.” Think about resale value and whether any of these quirks might be a dealbreaker for future buyers, should you choose to sell“Cozy”Cozy is most likely a code word for lacking square footage, Charlie says. “When they call it cozy, they’re hinting that it might be a bit cramped,” he says. “Check for square footage and layout specifics.”“Home Being Sold As Is”"As is" is perhaps one of the biggest red flags in real estate. “It often signals that the property may have significant issues the seller is trying to offload,” says Nikki Bernstein, a global real estate advisor with Engel & Völkers Scottsdale.According to Bernstein, an "as is" condition indicates that the seller is likely emotionally detached and unwilling to negotiate on price or concessions. It also suggests they may be withholding information, indicating there could be hidden problems waiting to be uncovered during inspection, she says. “As is might as well be a warning: ‘Buyer beware,’” Bernstein says. “Fixer Upper”Mableen//Getty ImagesIf you’ve got a design-build background or are looking for homes that are worth renovating, a property advertised as a fixer-upper might make for a fun challenge. But this phrase usually means the property has seen better days and needs some TLC, which is not what most buyers are looking for. Charlie's advice? Bring a contractor or a handyman to the home inspection with you. “You’re not just checking for cosmetic issues; you want to get the lowdown on structural problems, electrical updates, and plumbing repairs,” Charlie says. “A fixer-upper can quickly turn into a money pit.”If you choose to pursue a home that needs a fair amount of love, make sure you’ve got the right loan, Virginia Realtor and real estate broker Michelle Brown cautions. For example, a FHA 203K loan lets buyers roll home improvement costs into their mortgage.“Investors’ Dream”This phrase typically signals the property is in poor condition but priced low for potential profit through renovations or redevelopment, Brown says. This is another instance where you’ll want to have a contractor with you to get a full picture of all the repairs that may be needed.“Make This Home Your Own”This phrase signals the home is likely outdated and in need of cosmetic updates at the very least, New Jersey Realtor Larry Devardo says. Listings that advertise “potential” or say “home has endless possibilities” are also indicators that repairs and updates are needed, he says. “Great Bones”DreamPictures//Getty ImagesOn the upside, “great bones” means the home is structurally sound with strong infrastructure, Maryland Realtor Ellie Hitt says. On the downside, it likely needs a lot of cosmetic updates to bring it up to date with modern conveniences and aesthetics.“Needs TLC”Often, when a home requires cosmetic work, “TLC” is noted, indicating the property needs someone who is willing to put in a little bit of elbow grease, agent Karen Kostiw of Coldwell Banker Warburg says. You may be thinking of new carpet, updated cabinets, and a few other touch-ups, but in some cases, TLC could actually mean the property requires a gut renovation.“Motivated Seller”Translation: The seller is eager to sell, possibly due to financial issues, a pending foreclosure, or a property that has been on the market for a while, says Jeffrey Borham, owner of Tampa Bay, Florida Team Borham. “This could be an opportunity for negotiation,” he adds. “However, investigate why the seller is motivated; there could be hidden issues that have deterred other buyers.”Similarly, “priced to sell” could mean a whole host of things, ranging from the property needs some work or the seller wants to start a bidding war, New York City Broker Sean Adu-Gyamfi of Coldwell Banker Warburg says.“Hot Listing”Some agents advertise “hot listings” on the MLS to create urgency, even if there are no other offers, Misty Spittler, a licensed public insurance adjuster and certified roof inspector, says. Don’t feel pressured, though. She recently had a client bid $20,000 over asking on a listing advertised as hot. Spittler’s inspection found $30,000 of necessary repairs, so the client was able to renegotiate.Follow House Beautiful on Instagram and TikTok.

html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The MetaHuman client reel. Epic Games’ framework for generating realistic 3D characters for games is out of early access, and can now be used with any DCC app or game engine. Epic Games has officially launched MetaHuman, its framework for generating realistic 3D characters for games, animation and VFX work, after four years in early access.The core applications, MetaHuman Creator, Mesh to MetaHuman and MetaHuman Animator, are now integrated into Unreal Engine 5.6, the latest version of the game engine. In addition, Epic has updated the licensing for MetaHuman characters, making it possible to use them in any game engine or DCC application, including in commercial projects. There are also two new free plugins, MetaHuman for Maya and MetaHuman for Houdini, intended to streamline the process of editing MetaHumans in Maya and Houdini. A suite of tools for generating and animating realistic real-time 3D characters First launched in early access in 2021, MetaHuman is a framework of tools for generating realistic 3D characters for next-gen games, animation, virtual production and VFX.The first component, MetaHuman Creator, enables users to design realistic digital humans. Users can generate new characters by blending between presets, then adjusting the proportions of the face by hand, and customising readymade hairstyles and clothing. The second component, Mesh to MetaHuman, makes it possible to create MetaHumans matching 3D scans or facial models created in other DCC apps. The final component, MetaHuman Animator, streamlines the process of transferring the facial performance of an actor from video footage to a MetaHuman character. MetaHuman Creator was originally a cloud-based tool, while Mesh to MetaHuman and MetaHuman Animator were available via the old MetaHuman plugin for Unreal Engine. Now integrated directly into Unreal Engine 5.6 That changes with the end of early access, with MetaHuman Creator, Mesh to MetaHuman and MetaHuman Animator all now integrated directly into Unreal Engine itself.Integration – available in Unreal Engine 5.6, the latest version of the engine – is intended to simplify character creation and asset management worklows. Studios also get access to the MetaHuman source code, since Unreal Engine itself comes with full C++ source code access. However, the tools still cannot be run entirely locally: according to Epic, in-editor workflow is “enhanced by cloud services that deliver autorigging and texture synthesis”. https://www.cgchannel.com/wp-content/uploads/2025/06/250604_MetaHumanOfficialLaunch_LicensingChanges_UnifiedClothing.mp4 Users can now adjust MetaHumans’ bodies, with a new unified Outfit Asset making it possible to create 3D clothing that adjusts automatically to bodily proportions. Updates to both MetaHuman Creator and MetaHuman Animator In addition, the official release introduces new features, with MetaHuman Creator’s parametric system for creating faces now extended to body shapes.Users can now adjust proportions like height, chest and waist measurements, and leg length, rather than simply selecting preset body types. Similarly, a new unified Outfit Asset makes it possible to author custom 3D clothing, rather than selecting readymade presets, with garments resizing to characters’ body shapes. MetaHuman Animator – which previously required footage from stereo head-mounted cameras or iPhones – now supports footage from mono cameras like webcams. The toolset can also now generate facial animation – both lip sync and head movement – solely from audio recordings, as well as from video footage. You can find fuller descriptions of the new features in Epic Games’ blog post. Use MetaHumans in Unity or Godot games, or sell them on online marketplaces Equally significantly, Epic has changed the licensing for MetaHumans.The MetaHuman toolset is now covered by the standard Unreal Engine EULA, meaning that it can be used for free by any artist or studio with under $1 million/year in revenue. MetaHuman characters and clothing can also now be sold on online marketplaces, or used in commercial projects created with other DCC apps or game engines. The only exception is for AI: you can use MetaHumans in “workflows that incorporate artificial intelligence technology”, but not to train or enhance the AI models themselves. Studios earning more than $1 million/year from projects that use MetaHuman characters need Unreal Engine seat licenses, with currently cost $1,850/year. However, since MetaHuman characters and animations are classed as ‘non-engine products’, they can be used in games created in other engines, like Unity or Godot, without incurring the 5% cut of the revenue that Epic takes from Unreal Engine games. https://www.cgchannel.com/wp-content/uploads/2025/06/250604_MetaHumanOfficialLaunch_LicensingChanges_MetaHumanForMaya.mp4 The free MetaHuman for Maya plugin lets you edit MetaHumans with Maya’s native tools. New plugins streamline editing MetaHumans in Maya and Houdini Last but not least, Epic Games has released new free add-ons intended to streamline the process of editing MetaHumans in other DCC software.The MetaHuman for Maya plugin makes it possible to manipulate the MetaHuman mesh directly with Maya’s standard mesh-editing and sculpting tools. Users can also create MetaHuman-compatible hair grooms using Maya’s XGen toolset, and export them in Alembic format. The MetaHuman for Houdini plugin seems to be confined to grooming, with users able to create hairstyles using Houdini’s native tools, and export them in Alembic format. The plugins themselves are supplemented by MetaHuman Groom Starter Kits for Maya and Houdini, which provide readymade sample files for generating grooms. Price, licensing and system requirements MetaHuman Creator and MetaHuman Animator are integrated into Unreal Engine 5.6. The Unreal Editor is compatible with Windows 10+, macOS 14.0+ and RHEL/Rocky Linux 8+.The MetaHuman plugin for Maya is compatible with Maya 2022-2025. The MetaHuman for Houdini plugin is compatible with Houdini 20.5 with SideFX Labs installed. All of the software is free to use, including for commercial projects, if you earn under $1 million/year. You can find more information on licensing in the story above. Read an overview of the changes to the MetaHuman software on Epic Games’ blog Download the free MetaHuman for Maya and Houdini plugins and starter kits Read Epic Games’ FAQs about the changes to licensing for MetaHumans Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.