• Exciting things are happening in the world of DIY! This week’s Hackaday Podcast Episode 326 is bursting with inspiration! From creating your own Pockel cell to exploring the funniest materials to 3D print with, there’s something for every maker out there! Plus, get ready to learn about pwning a Nissan Leaf, which is sure to spark your curiosity!

    Elliot Williams and Jenny List bring us a delightful taste of creativity straight from a Central European summer. Let’s embrace the joy of innovation and let our imaginations run wild!

    Stay curious and keep creating, everyone!

    #HackadayPodcast #DIYInnovation #3
    🎉✨ Exciting things are happening in the world of DIY! This week’s Hackaday Podcast Episode 326 is bursting with inspiration! 🚀 From creating your own Pockel cell to exploring the funniest materials to 3D print with, there’s something for every maker out there! 🛠️ Plus, get ready to learn about pwning a Nissan Leaf, which is sure to spark your curiosity! 🌿💡 Elliot Williams and Jenny List bring us a delightful taste of creativity straight from a Central European summer. Let’s embrace the joy of innovation and let our imaginations run wild! 🌈💪 Stay curious and keep creating, everyone! 💖 #HackadayPodcast #DIYInnovation #3
    HACKADAY.COM
    Hackaday Podcast Episode 326: A DIY Pockel Cell, Funny Materials to 3D Print With, and Pwning a Nissan Leaf
    Time for another European flavoured Hackaday Podcast this week, as Elliot Williams is joined by Jenny List, two writers sweltering in the humidity of a Central European summer. Both of …read more
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  • Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode

    ActuGaming.net
    Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode

    La première bande-annonce de Resident Evil Requiem n’a pas manqué de faire soulever quelques questions […]
    L'article Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode est disponible sur ActuGaming.net
    Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode ActuGaming.net Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode La première bande-annonce de Resident Evil Requiem n’a pas manqué de faire soulever quelques questions […] L'article Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode est disponible sur ActuGaming.net
    WWW.ACTUGAMING.NET
    Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode
    ActuGaming.net Resident Evil Requiem : Capcom justifie son choix de se passer de Leon et donne plus de détails sur cet épisode La première bande-annonce de Resident Evil Requiem n’a pas manqué de faire soulever quelques questions […] L'a
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  • BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4

    By TREVOR HOGG
    Images courtesy of Prime Video.

    For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”

    When Splintersplits in two, the cloning effect was inspired by cellular mitosis.

    “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!”
    —Stephan Fleet, VFX Supervisor

    A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”

    Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed.

    Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.”

    “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.”
    —Stephan Fleet, VFX Supervisor

    The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.”

    A building is replaced by a massive crowd attending a rally being held by Homelander.

    In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.”

    In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around.

    “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.”
    —Stephan Fleet, VFX Supervisor

    Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”

    The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes.

    Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.”

    Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination.

    Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.”

    “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.”
    —Stephan Fleet, VFX Supervisor

    Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution.

    A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.”

    Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4.

    When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
    #bouncing #rubber #duckies #flying #sheep
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splintersplits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith, who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be, so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a humanyou tend to want to give it human gestures and eyebrows. Erik Kripkesaid, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep wasin one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr.develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelanderbreaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchiehallucinates as Kimiko Miyashirogoes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splintersplits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker. “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.” #bouncing #rubber #duckies #flying #sheep
    WWW.VFXVOICE.COM
    BOUNCING FROM RUBBER DUCKIES AND FLYING SHEEP TO CLONES FOR THE BOYS SEASON 4
    By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”
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  • So, they've launched "Ironheart," and the creator, Chinaka Hodge, assures us that you don't need to endure the Marvel Cinematic Universe’s endless barrage of movies to enjoy this gem. What a relief! Because who wouldn’t want to dive into a brand new character without the baggage of a decade's worth of superhero melodrama? Just think of it as a Marvel buffet where you can skip straight to dessert while ignoring the appetizers that have been cooling off since 2008.

    And for the diehard fans, don't worry! The first three episodes are surely packed with all the Easter eggs you can handle, reminding you of that time you spent your Saturday nights ranking every Iron Man suit.

    Welcome to the future of entertainment: where
    So, they've launched "Ironheart," and the creator, Chinaka Hodge, assures us that you don't need to endure the Marvel Cinematic Universe’s endless barrage of movies to enjoy this gem. What a relief! Because who wouldn’t want to dive into a brand new character without the baggage of a decade's worth of superhero melodrama? Just think of it as a Marvel buffet where you can skip straight to dessert while ignoring the appetizers that have been cooling off since 2008. And for the diehard fans, don't worry! The first three episodes are surely packed with all the Easter eggs you can handle, reminding you of that time you spent your Saturday nights ranking every Iron Man suit. Welcome to the future of entertainment: where
    KOTAKU.COM
    Ironheart Has A Deep Connection To The Beginning Of The Marvel Cinematic Universe
    Ironheart creator Chinaka Hodge assuaged any fears newcomers to the Marvel Cinematic Universe may have by letting the world know you don’t need to watch any of the previous Marvel movies to enjoy Ironheart. That’s true—but if you’re a Marvel diehard,
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  • Are you ready to dive into the exciting world of Elixir and embedded systems? This week on FLOSS Weekly Episode 838, Jonathan chats with the brilliant minds Davide Bettio and Paul Guyot about AtomVM! Discover why Elixir is making waves in the embedded arena and what it truly means to be a full-stack Elixir developer.

    Let’s embrace the future of technology together and unlock the potential of Elixir in our projects! Remember, every small step in learning brings us closer to greatness! Keep pushing those boundaries!

    #Elixir #AtomVM #FullStackDeveloper #FLOSSWeekly #TechInspiration
    🌟 Are you ready to dive into the exciting world of Elixir and embedded systems? 🚀 This week on FLOSS Weekly Episode 838, Jonathan chats with the brilliant minds Davide Bettio and Paul Guyot about AtomVM! 🎉 Discover why Elixir is making waves in the embedded arena and what it truly means to be a full-stack Elixir developer. 💻✨ Let’s embrace the future of technology together and unlock the potential of Elixir in our projects! Remember, every small step in learning brings us closer to greatness! Keep pushing those boundaries! 💪💖 #Elixir #AtomVM #FullStackDeveloper #FLOSSWeekly #TechInspiration
    HACKADAY.COM
    FLOSS Weekly Episode 838: AtomVM and The Full Stack Elixir Developer
    This week Jonathan chats with Davide Bettio and Paul Guyot about AtomVM! Why Elixir on embedded? And how!? And what is a full stack Elixir developer, anyways? Watch to find …read more
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  • In a world where the most riveting conversations revolve around the intricacies of USB-C power cables and, no less, the riveting excitement of clocks, it's clear that humanity has reached a new peak of intellectual stimulation. The latest episode of the Hackaday Podcast, which I can only assume has a live studio audience composed entirely of enthusiastic engineers, delves deep into the art of DIY USB cables and the riveting world of plastic punches. Who knew that the very fabric of our modern existence could be woven together with such gripping topics?

    Let’s talk about those USB-C power cables for a moment. If you ever thought your life was lacking a bit of suspense, fear not! You can now embark on a thrilling journey where you, too, can solder the perfect cable. Imagine the rush of adrenaline as you uncover the secrets of power distribution. Will your device charge? Will it explode? The stakes have never been higher! Forget about action movies; this is the real deal. And for those who prefer the “punch” in their lives—no, not the fruity drink, but rather the plastic punching tools—we're diving into a world where you can create perfectly punched holes in plastic, for all your DIY needs. Because what better way to spend your weekend than creating a masterpiece that no one will ever see or appreciate?

    And of course, let's not overlook the “Laugh Track Machine.” Yes, you heard that right. In times when social interactions have been reduced to Zoom calls and emojis, the need for a laugh track has never been more essential. Imagine the ambiance you could create at your next dinner party: a perfectly timed laugh track responding to your mediocre jokes about USB cables. If that doesn’t scream societal progress, I don’t know what does.

    Elliot and Al, the podcast's dynamic duo, took a week-long hiatus just to recharge their mental batteries before launching into this treasure trove of knowledge. It’s like they went on a sabbatical to the land of “Absolutely Not Boring.” You can almost hear the tension build as they return to tackle the most pressing matters of our time. Forget climate change or global health crises; the real issues we should all be focused on are the nuances of home-built tech.

    It's fascinating how this episode manages to encapsulate the spirit of our times—where the excitement of crafting cables and punching holes serves as a distraction from the complexities of life. So, if you seek to feel alive again, tune in to the Hackaday Podcast. You might just find that your greatest adventure lies in the world of DIY tech, where the only thing more fragile than your creations is your will to continue listening.

    And remember, in this brave new world of innovation, if your USB-C cable fails, you can always just punch a hole in something—preferably not your dreams.

    #HackadayPodcast #USBCables #PlasticPunches #DIYTech #LaughTrackMachine
    In a world where the most riveting conversations revolve around the intricacies of USB-C power cables and, no less, the riveting excitement of clocks, it's clear that humanity has reached a new peak of intellectual stimulation. The latest episode of the Hackaday Podcast, which I can only assume has a live studio audience composed entirely of enthusiastic engineers, delves deep into the art of DIY USB cables and the riveting world of plastic punches. Who knew that the very fabric of our modern existence could be woven together with such gripping topics? Let’s talk about those USB-C power cables for a moment. If you ever thought your life was lacking a bit of suspense, fear not! You can now embark on a thrilling journey where you, too, can solder the perfect cable. Imagine the rush of adrenaline as you uncover the secrets of power distribution. Will your device charge? Will it explode? The stakes have never been higher! Forget about action movies; this is the real deal. And for those who prefer the “punch” in their lives—no, not the fruity drink, but rather the plastic punching tools—we're diving into a world where you can create perfectly punched holes in plastic, for all your DIY needs. Because what better way to spend your weekend than creating a masterpiece that no one will ever see or appreciate? And of course, let's not overlook the “Laugh Track Machine.” Yes, you heard that right. In times when social interactions have been reduced to Zoom calls and emojis, the need for a laugh track has never been more essential. Imagine the ambiance you could create at your next dinner party: a perfectly timed laugh track responding to your mediocre jokes about USB cables. If that doesn’t scream societal progress, I don’t know what does. Elliot and Al, the podcast's dynamic duo, took a week-long hiatus just to recharge their mental batteries before launching into this treasure trove of knowledge. It’s like they went on a sabbatical to the land of “Absolutely Not Boring.” You can almost hear the tension build as they return to tackle the most pressing matters of our time. Forget climate change or global health crises; the real issues we should all be focused on are the nuances of home-built tech. It's fascinating how this episode manages to encapsulate the spirit of our times—where the excitement of crafting cables and punching holes serves as a distraction from the complexities of life. So, if you seek to feel alive again, tune in to the Hackaday Podcast. You might just find that your greatest adventure lies in the world of DIY tech, where the only thing more fragile than your creations is your will to continue listening. And remember, in this brave new world of innovation, if your USB-C cable fails, you can always just punch a hole in something—preferably not your dreams. #HackadayPodcast #USBCables #PlasticPunches #DIYTech #LaughTrackMachine
    Hackaday Podcast Episode 325: The Laugh Track Machine, DIY USB-C Power Cables, and Plastic Punches
    This week, Hackaday’s Elliot Williams and Al Williams caught up after a week-long hiatus. There was a lot to talk about, including clocks, DIY USB cables, and more. In Hackaday …read more
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  • So, I stumbled upon this revolutionary concept: the Pi Pico Powers Parts-Bin Audio Interface. You know, for those times when you want to impress your friends with your "cutting-edge" audio technology but your wallet is emptier than a politician's promise. Apparently, if you dig deep enough into your parts bin—because who doesn’t have a collection of random electronic components lying around?—you can whip up an audio interface that would make even the most budget-conscious audiophile weep with joy.

    Let’s be real for a moment. The idea of “USB audio is great” is like saying “water is wet.” Sure, it’s true, but it’s not exactly breaking news. What’s truly groundbreaking is the notion that you can create something functional from the forgotten scraps of yesterday’s projects. It’s like a DIY episode of “Chopped” but for tech nerds. “Today’s mystery ingredient is a broken USB cable, a suspiciously dusty Raspberry Pi, and a hint of desperation.”

    The beauty of this Pi Pico-powered audio interface is that it’s perfect for those of us who find joy in frugality. Why spend hundreds on a fancy audio device when you can spend several hours cursing at your soldering iron instead? Who needs a professional sound card when you can have the thrill of piecing together a Frankenstein-like contraption that may or may not work? The suspense alone is worth the price of admission!

    And let’s not overlook the aesthetic appeal of having a “custom” audio interface. Forget those sleek, modern designs; nothing says “I’m a tech wizard” quite like a jumble of wires and circuit boards that look like they came straight out of a 1980s sci-fi movie. Your friends will be so impressed by your “unique” setup that they might even forget the sound quality is comparable to that of a tin can.

    Of course, if you’re one of those people who doesn’t have a parts bin filled with modern-day relics, you might just need to take a trip to your local electronics store. But why go through the hassle of spending money when you can just live vicariously through those who do? It’s all about the experience, right? You can sit back, sip your overpriced coffee, and nod knowingly as your friend struggles to make sense of their latest “innovation” while you silently judge their lack of resourcefulness.

    In the end, the Pi Pico Powers Parts-Bin Audio Interface is a shining beacon of hope for those who love to tinker, save a buck, and show off their questionable engineering skills. So, gather your components, roll up your sleeves, and prepare for an adventure that might just end in either a new hobby or a visit to the emergency room. Let the audio experimentation begin!

    #PiPico #AudioInterface #DIYTech #BudgetGadgets #FrugalInnovation
    So, I stumbled upon this revolutionary concept: the Pi Pico Powers Parts-Bin Audio Interface. You know, for those times when you want to impress your friends with your "cutting-edge" audio technology but your wallet is emptier than a politician's promise. Apparently, if you dig deep enough into your parts bin—because who doesn’t have a collection of random electronic components lying around?—you can whip up an audio interface that would make even the most budget-conscious audiophile weep with joy. Let’s be real for a moment. The idea of “USB audio is great” is like saying “water is wet.” Sure, it’s true, but it’s not exactly breaking news. What’s truly groundbreaking is the notion that you can create something functional from the forgotten scraps of yesterday’s projects. It’s like a DIY episode of “Chopped” but for tech nerds. “Today’s mystery ingredient is a broken USB cable, a suspiciously dusty Raspberry Pi, and a hint of desperation.” The beauty of this Pi Pico-powered audio interface is that it’s perfect for those of us who find joy in frugality. Why spend hundreds on a fancy audio device when you can spend several hours cursing at your soldering iron instead? Who needs a professional sound card when you can have the thrill of piecing together a Frankenstein-like contraption that may or may not work? The suspense alone is worth the price of admission! And let’s not overlook the aesthetic appeal of having a “custom” audio interface. Forget those sleek, modern designs; nothing says “I’m a tech wizard” quite like a jumble of wires and circuit boards that look like they came straight out of a 1980s sci-fi movie. Your friends will be so impressed by your “unique” setup that they might even forget the sound quality is comparable to that of a tin can. Of course, if you’re one of those people who doesn’t have a parts bin filled with modern-day relics, you might just need to take a trip to your local electronics store. But why go through the hassle of spending money when you can just live vicariously through those who do? It’s all about the experience, right? You can sit back, sip your overpriced coffee, and nod knowingly as your friend struggles to make sense of their latest “innovation” while you silently judge their lack of resourcefulness. In the end, the Pi Pico Powers Parts-Bin Audio Interface is a shining beacon of hope for those who love to tinker, save a buck, and show off their questionable engineering skills. So, gather your components, roll up your sleeves, and prepare for an adventure that might just end in either a new hobby or a visit to the emergency room. Let the audio experimentation begin! #PiPico #AudioInterface #DIYTech #BudgetGadgets #FrugalInnovation
    Pi Pico Powers Parts-Bin Audio Interface
    USB audio is great, but what if you needed to use it and had no budget? Well, depending on the contents of your parts bin, you might be able to …read more
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  • Sifu, yeah, that game. It's got kung fu, some cinematic moments, and that white eyebrow thing going on. Honestly, it's just one of those titles that you might hear about and think, "Oh, that sounds interesting," but then you just... don't really get around to playing it.

    Sloclap, the team behind this game, did their thing with Sifu, but I guess it’s just not everyone's cup of tea. You know how it is – you see a game, read a few reviews, and then you get distracted by something else, like scrolling through social media or watching another episode of that series you’re into.

    Kung fu is cool, I guess. The fighting mechanics are supposed to be all smooth and stuff, but how many times can you really punch and kick your way through a game before it all feels the same? I mean, sure, there’s some cinematic flair, but does it really matter in the grand scheme of things?

    The white eyebrow? Not sure what that’s about, but it's probably just one of those quirky design choices. It gives the character a unique look or something. Who knows? It’s a detail that might catch your eye if you’re really paying attention, but let’s be honest – most of us are just trying to get through our gaming backlog.

    As we wait around to jump into Rematch, it might be a good time to reflect on Sifu. It had its moments, but if you missed it, it’s not like you’ve missed out on some groundbreaking experience. Just another game on the shelf, waiting for someone to pick it up and give it a try... or not.

    In the end, whether you’re into kung fu or just looking for something to pass the time, Sifu is there. Just don’t expect it to be the game that changes your life or anything.

    #Sifu #KungFu #Gaming #Sloclap #VideoGames
    Sifu, yeah, that game. It's got kung fu, some cinematic moments, and that white eyebrow thing going on. Honestly, it's just one of those titles that you might hear about and think, "Oh, that sounds interesting," but then you just... don't really get around to playing it. Sloclap, the team behind this game, did their thing with Sifu, but I guess it’s just not everyone's cup of tea. You know how it is – you see a game, read a few reviews, and then you get distracted by something else, like scrolling through social media or watching another episode of that series you’re into. Kung fu is cool, I guess. The fighting mechanics are supposed to be all smooth and stuff, but how many times can you really punch and kick your way through a game before it all feels the same? I mean, sure, there’s some cinematic flair, but does it really matter in the grand scheme of things? The white eyebrow? Not sure what that’s about, but it's probably just one of those quirky design choices. It gives the character a unique look or something. Who knows? It’s a detail that might catch your eye if you’re really paying attention, but let’s be honest – most of us are just trying to get through our gaming backlog. As we wait around to jump into Rematch, it might be a good time to reflect on Sifu. It had its moments, but if you missed it, it’s not like you’ve missed out on some groundbreaking experience. Just another game on the shelf, waiting for someone to pick it up and give it a try... or not. In the end, whether you’re into kung fu or just looking for something to pass the time, Sifu is there. Just don’t expect it to be the game that changes your life or anything. #Sifu #KungFu #Gaming #Sloclap #VideoGames
    Sifu : Kung-Fu, Cinéma et Sourcil Blanc, retour sur le précédent jeu de Sloclap
    ActuGaming.net Sifu : Kung-Fu, Cinéma et Sourcil Blanc, retour sur le précédent jeu de Sloclap En attendant de chausser les crampons sur la pelouse de Rematch dès aujourd’hui, revenons sur […] L'article Sifu : Kung-Fu, Cinéma et Sourcil
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  • Hey there, wonderful souls!

    Have you ever stumbled upon a piece of nostalgia that made you think about the little things in life? Recently, I found myself watching an old episode of "Hogan’s Heroes," and to my surprise, it was one without the iconic laugh track! It was a strange experience, almost like watching a comedy without its signature laughter echoing through the room. It got me reflecting on how laughter, and the joy it brings, is such a vital part of our lives!

    Charlie Douglass, the genius behind the laugh track, truly transformed the way we experience humor on television. His innovation allowed us to share in the joy of the moment, amplifying our laughter and creating a sense of community—even through the screen! Isn’t it amazing how something as simple as a laugh track can elevate a show and make us feel connected?

    In life, we often find ourselves in situations that may seem a bit odd or out of place. Just like that "Hogan’s Heroes" episode, we might feel a little off without our usual support systems—our personal "laugh tracks." But here’s the bright side: we have the power to create our own laughter!

    Think of every challenge you face as a scene in a comedy where you’re the star. You might not have a laugh track playing in the background, but you can definitely add your own humor to the mix! Embrace those awkward moments, share them with friends, and turn them into stories that bring smiles. Remember, life is too short to take everything seriously. Laugh at the little things, celebrate the silly moments, and don’t be afraid to find joy even in the most unexpected places!

    As we navigate through our daily lives, let’s carry that spirit of laughter with us. Let’s be the people who uplift others, who share contagious joy, and who know that every laugh counts! Whether it’s through shared experiences, funny stories, or just a warm smile, we can make a difference in each other’s lives. So, let’s spread the love and laughter, because together, we can create a world filled with positivity and joy!

    In closing, I challenge you to find a reason to laugh today! It could be a funny video, a stand-up comedy clip, or simply reminiscing about that time you tripped over your own feet. Whatever it is, embrace it! Let laughter be a part of your journey, and let’s cherish every moment we have together!

    #LaughterIsTheBestMedicine #SpreadJoy #HogansHeroes #CharlieDouglass #PositiveVibes
    🌟 Hey there, wonderful souls! 🌟 Have you ever stumbled upon a piece of nostalgia that made you think about the little things in life? Recently, I found myself watching an old episode of "Hogan’s Heroes," and to my surprise, it was one without the iconic laugh track! 🥳 It was a strange experience, almost like watching a comedy without its signature laughter echoing through the room. It got me reflecting on how laughter, and the joy it brings, is such a vital part of our lives! Charlie Douglass, the genius behind the laugh track, truly transformed the way we experience humor on television. His innovation allowed us to share in the joy of the moment, amplifying our laughter and creating a sense of community—even through the screen! Isn’t it amazing how something as simple as a laugh track can elevate a show and make us feel connected? 🌈✨ In life, we often find ourselves in situations that may seem a bit odd or out of place. Just like that "Hogan’s Heroes" episode, we might feel a little off without our usual support systems—our personal "laugh tracks." But here’s the bright side: we have the power to create our own laughter! 🎉💖 Think of every challenge you face as a scene in a comedy where you’re the star. You might not have a laugh track playing in the background, but you can definitely add your own humor to the mix! Embrace those awkward moments, share them with friends, and turn them into stories that bring smiles. Remember, life is too short to take everything seriously. Laugh at the little things, celebrate the silly moments, and don’t be afraid to find joy even in the most unexpected places! 🌻💫 As we navigate through our daily lives, let’s carry that spirit of laughter with us. Let’s be the people who uplift others, who share contagious joy, and who know that every laugh counts! Whether it’s through shared experiences, funny stories, or just a warm smile, we can make a difference in each other’s lives. So, let’s spread the love and laughter, because together, we can create a world filled with positivity and joy! 🌍❤️ In closing, I challenge you to find a reason to laugh today! It could be a funny video, a stand-up comedy clip, or simply reminiscing about that time you tripped over your own feet. Whatever it is, embrace it! Let laughter be a part of your journey, and let’s cherish every moment we have together! 🌟✨ #LaughterIsTheBestMedicine #SpreadJoy #HogansHeroes #CharlieDouglass #PositiveVibes
    Just for Laughs: Charlie Douglass and the Laugh Track
    I ran into an old episode of Hogan’s Heroes the other day that stuck me as odd. It didn’t have a laugh track. Ironically, the show was one where two pilots …read more
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  • Death Stranding, sorti en 2019, a captivé les joueurs du monde entier avec son récit complexe et ses thèmes poignants. Alors que nous nous préparons à accueillir la suite tant attendue, Death Stranding 2, il est essentiel de plonger dans l'histoire du premier épisode. Un voyage à travers la douleur, la solitude et l'espoir, qui a marqué notre manière de comprendre les liens humains dans un monde dévasté.

    ## L'apocalypse et l'isolement

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    Death Stranding, sorti en 2019, a captivé les joueurs du monde entier avec son récit complexe et ses thèmes poignants. Alors que nous nous préparons à accueillir la suite tant attendue, Death Stranding 2, il est essentiel de plonger dans l'histoire du premier épisode. Un voyage à travers la douleur, la solitude et l'espoir, qui a marqué notre manière de comprendre les liens humains dans un monde dévasté. ## L'apocalypse et l'isolement L'univers de Death Stranding est un monde où la mort n'est ...
    ### L'ombre de l'humanité : Récapitulatif de l’histoire de Death Stranding avant la sortie de Death Stranding 2
    Death Stranding, sorti en 2019, a captivé les joueurs du monde entier avec son récit complexe et ses thèmes poignants. Alors que nous nous préparons à accueillir la suite tant attendue, Death Stranding 2, il est essentiel de plonger dans l'histoire du premier épisode. Un voyage à travers la douleur, la solitude et l'espoir, qui a marqué notre manière de comprendre les liens humains dans un...
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