Spend any time on the internet where fans of CD Projekt Red’s Cyberpunk 2077 gather and you’ll see endless photos of various versions of protagonist V hanging out with any number of NPCs from the game. Some shots depict scenes that are very much insp

Ari Aster tells WIRED he wrote Eddington during the height of the pandemic and BLM protests. The western depicts the explosive consequences of his characters’ conspiracy-fueled social media diets.

In case you can’t wait for your flash memory to die from write cycling, TeamGroup now has a drive that, via software or hardware, can destroy its own flash chips …read more

June 13, 20255 min readFive Climate Issues to Watch When Trump Goes to CanadaPresident Trump will attend the G7 summit on Sunday in a nation he threatened to annex. He will also be an outlier on climate issuesBy Sara Schonhardt & E&E News Saul Loeb/AFP via Getty ImagesCLIMATEWIRE | The world’s richest nations are gathering Sunday in the Canadian Rockies for a summit that could reveal whether President Donald Trump's policies are shaking global climate efforts.The Group of Seven meeting comes at a challenging time for international climate policy. Trump’s tariff seesaw has cast a shade over the global economy, and his domestic policies have threatened billions of dollars in funding for clean energy programs. Those pressures are colliding with record-breaking temperatures worldwide and explosive demand for energy, driven by power-hungry data centers linked to artificial intelligence technologies.On top of that, Trump has threatened to annex the host of the meeting — Canada — and members of his Cabinet have taken swipes at Europe’s use of renewable energy. Rather than being aligned with much of the world's assertion that fossil fuels should be tempered, Trump embraces the opposite position — drill for more oil and gas and keep burning coal, while repealing environmental regulations on the biggest sources of U.S. carbon pollution.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.Those moves illustrate his rejection of climate science and underscore his outlying positions on global warming in the G7.Here are five things to know about the summit.Who will be there?The group comprises Canada, France, Germany, Italy, Japan, the United Kingdom and the United States — plus the European Union. Together they account for more than 40 percent of gross domestic product globally and around a quarter of all energy-related carbon dioxide pollution, according to the International Energy Agency. The U.S. is the only one among them that is not trying to hit a carbon reduction goal.Some emerging economies have also been invited, including Mexico, India, South Africa and Brazil, the host of this year’s COP30 climate talks in November.Ahead of the meeting, the office of Canada's prime minister, Mark Carney, said he and Brazilian President Luiz Inácio Lula da Silva agreed to strengthen cooperation on energy security and critical minerals. White House press secretary Karoline Leavitt said Trump would be having "quite a few" bilateral meetings but that his schedule was in flux.The G7 first came together 50 years ago following the Arab oil embargo. Since then, its seven members have all joined the United Nations Framework Convention on Climate Change and the Paris Agreement. The U.S. is the only nation in the group that has withdrawn from the Paris Agreement, which counts almost every country in the world as a signatory.What’s on the table?Among Canada’s top priorities as host are strengthening energy security and fortifying critical mineral supply chains. Carney would also like to see some agreement on joint wildfire action.Expanding supply chains for critical minerals — and competing more aggressively with China over those resources — could be areas of common ground among the leaders. Climate change is expected to remain divisive. Looming over the discussions will be tariffs — which Trump has applied across the board — because they will have an impact on the clean energy transition.“I think probably the majority of the conversation will be less about climate per se, or certainly not using climate action as the frame, but more about energy transition and infrastructure as a way of kind of bridging the known gaps between most of the G7 and where the United States is right now,” said Dan Baer, director of the Europe program at the Carnegie Endowment for International Peace.What are the possible outcomes?The leaders could issue a communique at the end of their meeting, but those statements are based on consensus, something that would be difficult to reach without other G7 countries capitulating to Trump. Bloomberg reported Wednesday that nations won’t try to reach a joint agreement, in part because bridging gaps on climate change could be too hard.Instead, Carney could issue a chair’s summary or joint statements based on certain issues.The question is how far Canada will go to accommodate the U.S., which could try to roll back past statements on advancing clean energy, said Andrew Light, former assistant secretary of Energy for international affairs, who led ministerial-level negotiations for the G7.“They might say, rather than watering everything down that we accomplished in the last four years, we just do a chair's statement, which summarizes the debate,” Light said. “That will show you that you didn't get consensus, but you also didn't get capitulation.”What to watch forIf there is a communique, Light says he’ll be looking for whether there is tougher language on China and any signal of support for science and the Paris Agreement. During his first term, Trump refused to support the Paris accord in the G7 and G20 declarations.The statement could avoid climate and energy issues entirely. But if it backtracks on those issues, that could be a sign that countries made a deal by trading climate-related language for something else, Light said.Baer of Carnegie said a statement framed around energy security and infrastructure could be seen as a “pragmatic adaptation” to the U.S. administration, rather than an indication that other leaders aren’t concerned about climate change.Climate activists have lower expectations.“Realistically, we can expect very little, if any, mention of climate change,” said Caroline Brouillette, executive director of Climate Action Network Canada.“The message we should be expecting from those leaders is that climate action remains a priority for the rest of the G7 … whether it's on the transition away from fossil fuels and supporting developing countries through climate finance,” she said. “Especially now that the U.S. is stepping back, we need countries, including Canada, to be stepping up.”Best- and worst-case scenariosThe challenge for Carney will be preventing any further rupture with Trump, analysts said.In 2018, Trump made a hasty exit from the G7 summit, also in Canada that year, due largely to trade disagreements. He retracted his support for the joint statement.“The best, [most] realistic case outcome is that things don't get worse,” said Baer.The worst-case scenario? Some kind of “highly personalized spat” that could add to the sense of disorder, he added.“I think the G7 on the one hand has the potential to be more important than ever, as fewer and fewer platforms for international cooperation seem to be able to take action,” Baer said. “So it's both very important and also I don't have super-high expectations.”Reprinted from E&E News with permission from POLITICO, LLC. Copyright 2025. E&E News provides essential news for energy and environment professionals.

Garry Elmendorf isn’t just a special effects supervisor, he’s a master of controlled chaos. With over 50 years in the business, from Logan’s Run in the ’70s to the high-octane worlds of Yellowstone, 1883, 1923, and Landman. Elmendorf has shaped the visual DNA of Taylor Sheridan’s TV empire with a mix of old-school craft and jaw-dropping spectacle. In the latest fxpodcast, Garry joins us to break down the physical effects work behind some of the most explosive moments in Landman. As regular listeners know, we occasionally conduct interviews with individuals working in SFX, rather than with VFX. Garry’s work is not the kind of work that’s built in post and his approach is grounded in real-world physics, practical fabrication, and deeply collaborative on-set discipline. Take the aircraft crash in Landman’s premiere: there was no CGI here, other than comp cleanup. It was shot with just a Frankenstein plane built from scrap, rigged with trip triggers and detonated in real time. Or the massive oil rig explosion, which involved custom pump jacks, 2,000 gallons of burning diesel and gasoline, propane cannons, and tightly timed pyro rigs. The scale is cinematic. Safety, Garry insists, is always his first concern, but what keeps him up at night is timing. One mistimed trigger, one failed ignition, and the shot is ruined. In our conversation, Garry shares incredible behind-the-scenes insights into how these sequences are devised, tested, and executed, whether it’s launching a van skyward via an air cannon or walking Billy Bob Thornton within 40 feet of a roaring fireball. There’s a tactile intensity to his work, and a trust among his crew that only comes from decades of working under pressure. From assembling a crashable aircraft out of mismatched parts to rigging oil rig explosions with precise control over flame size, duration, and safety, his work is rooted in mechanical problem-solving and coordination across departments. In Landman, whether coordinating multiple fuel types to achieve specific smoke density or calculating safe clearances for actors and crew around high-temperature pyrotechnics, Elmendorf’s contribution reflects a commitment to realism and repeatability on set. The result is a series where the physicality of explosions, crashes, and fire-driven action carries weight, both in terms of production logistics and visual impact. Listen to the full interview on the fxpodcast.

June 13, 20253 min readCould Iran Have Been Close to Making a Nuclear Weapon? Uranium Enrichment ExplainedWhen Israeli aircraft recently struck a uranium-enrichment complex in the nation, Iran could have been days away from achieving “breakout,” the ability to quickly turn “yellowcake” uranium into bomb-grade fuel, with its new high-speed centrifugesBy Deni Ellis Béchard edited by Dean VisserMen work inside of a uranium conversion facility just outside the city of Isfahan, Iran, on March 30, 2005. The facility in Isfahan made hexaflouride gas, which was then enriched by feeding it into centrifuges at a facility in Natanz, Iran. Getty ImagesIn the predawn darkness on Friday local time, Israeli military aircraft struck one of Iran’s uranium-enrichment complexes near the city of Natanz. The warheads aimed to do more than shatter concrete; they were meant to buy time, according to news reports. For months, Iran had seemed to be edging ever closer to “breakout,” the point at which its growing stockpile of partially enriched uranium could be converted into fuel for a nuclear bomb. (Iran has denied that it has been pursuing nuclear weapons development.)But why did the strike occur now? One consideration could involve the way enrichment complexes work. Natural uranium is composed almost entirely of uranium 238, or U-238, an isotope that is relatively “heavy” (meaning it has more neutrons in its nucleus). Only about 0.7 percent is uranium 235 (U-235), a lighter isotope that is capable of sustaining a nuclear chain reaction. That means that in natural uranium, only seven atoms in 1,000 are the lighter, fission-ready U-235; “enrichment” simply means raising the percentage of U-235.U-235 can be used in warheads because its nucleus can easily be split. The International Atomic Energy Agency uses 25 kilograms of contained U-235 as the benchmark amount deemed sufficient for a first-generation implosion bomb. In such a weapon, the U-235 is surrounded by conventional explosives that, when detonated, compress the isotope. A separate device releases a neutron stream. (Neutrons are the neutral subatomic particle in an atom’s nucleus that adds to their mass.) Each time a neutron strikes a U-235 atom, the atom fissions; it divides and spits out, on average, two or three fresh neutrons—plus a burst of energy in the form of heat and gamma radiation. And the emitted neutrons in turn strike other U-235 nuclei, creating a self-sustaining chain reaction among the U-235 atoms that have been packed together into a critical mass. The result is a nuclear explosion. By contrast, the more common isotope, U-238, usually absorbs slow neutrons without splitting and cannot drive such a devastating chain reaction.On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.To enrich uranium so that it contains enough U-235, the “yellowcake” uranium powder that comes out of a mine must go through a lengthy process of conversions to transform it from a solid into the gas uranium hexafluoride. First, a series of chemical processes refine the uranium and then, at high temperatures, each uranium atom is bound to six fluorine atoms. The result, uranium hexafluoride, is unusual: below 56 degrees Celsius (132.8 degrees Fahrenheit) it is a white, waxy solid, but just above that temperature, it sublimates into a dense, invisible gas.During enrichment, this uranium hexafluoride is loaded into a centrifuge: a metal cylinder that spins at tens of thousands of revolutions per minute—faster than the blades of a jet engine. As the heavier U-238 molecules drift toward the cylinder wall, the lighter U-235 molecules remain closer to the center and are siphoned off. This new, slightly U-235-richer gas is then put into the next centrifuge. The process is repeated 10 to 20 times as ever more enriched gas is sent through a series of centrifuges.Enrichment is a slow process, but the Iranian government has been working on this for years and already holds roughly 400 kilograms of uranium enriched to 60 percent U-235. This falls short of the 90 percent required for nuclear weapons. But whereas Iran’s first-generation IR-1 centrifuges whirl at about 63,000 revolutions per minute and do relatively modest work, its newer IR-6 models, built from high-strength carbon fiber, spin faster and produce enriched uranium far more quickly.Iran has been installing thousands of these units, especially at Fordow, an underground enrichment facility built beneath 80 to 90 meters of rock. According to a report released on Monday by the Institute for Science and International Security, the new centrifuges could produce enough 90 percent U-235 uranium for a warhead “in as little as two to three days” and enough for nine nuclear weapons in three weeks—or 19 by the end of the third month.

Greg Touhill, director of the Software Engineering’s Institute’s (SEI’s) Computer Emergency Response Team (CERT) division is an atypical technology leader. For one thing, he’s been in tech and other leadership positions that span the US Air Force, the US government, the private sector and now SEI’s CERT. More importantly, he’s been a major force in the cybersecurity realm, making the world a safer place and even saving lives. Touhill earned a bachelor’s degree from the Pennsylvania State University, a master’s degree from the University of Southern California, a master’s degree from the Air War College, was a senior executive fellow at the Harvard University Kennedy School of Government and completed executive education studies at the University of North Carolina. “I was a student intern at Carnegie Mellon, but I was going to college at Penn State and studying chemical engineering. As an Air Force ROTC scholarship recipient, I knew I was going to become an Air Force officer but soon realized that I didn’t necessarily want to be a chemical engineer in the Air Force,” says Touhill. “Because I passed all the mathematics, physics, and engineering courses, I ended up becoming a communications, electronics, and computer systems officer in the Air Force. I spent 30 years, one month and three days on active duty in the United States Air Force, eventually retiring as a brigadier general and having done many different types of jobs that were available to me within and even beyond my career field.” Related:Specifically, he was an operational commander at the squadron, group, and wing levels. For example, as a colonel, Touhill served as director of command, control, communications and computers (C4) for the United States Central Command Forces, then he was appointed chief information officer and director, communications and information at Air Mobility Command. Later, he served as commander, 81st Training Wing at Kessler Air Force Base where he was promoted to brigadier general and commanded over 12,500 personnel. After that, he served as the senior defense officer and US defense attaché at the US Embassy in Kuwait, before concluding his military career as the chief information officer and director, C4 systems at the US Transportation Command, one of 10 US combatant commands, where he and his team were awarded the NSA Rowlett Award for the best cybersecurity program in the government. While in the Air Force, Touhill received numerous awards and decorations including the Bronze Star medal and the Air Force Science and Engineering Award. He is the only three-time recipient of the USAF C4 Professionalism Award. Related:Greg Touhill“I got to serve at major combatant commands, work with coalition partners from many different countries and represented the US as part of a diplomatic mission to Kuwait for two years as the senior defense official at a time when America was withdrawing forces out of Iraq. I also led the negotiation of a new bilateral defense agreement with the Kuwaitis,” says Touhill. “Then I was recruited to continue my service and was asked to serve as the deputy assistant secretary of cybersecurity and communications at the Department of Homeland Security, where I ran the operations of what is now known as the Cybersecurity and Infrastructure Security Agency. I was there at a pivotal moment because we were building up the capacity of that organization and setting the stage for it to become its own agency.” While at DHS, there were many noteworthy breaches including the infamous US Office of People Management (OPM) breach. Those events led to Obama’s visit to the National Cybersecurity and Communications Integration Center.  “I got to brief the president on the state of cybersecurity, what we had seen with the OPM breach and some other deficiencies,” says Touhill. “I was on the federal CIO council as the cybersecurity advisor to that since I’d been a federal CIO before and I got to conclude my federal career by being the first United States government chief information security officer. From there, I pivoted to industry, but I also got to return to Carnegie Mellon as a faculty member at Carnegie Mellon’s Heinz College, where I've been teaching since January 2017.” Related:Touhill has been involved in three startups, two of which were successfully acquired. He also served on three Fortune 100 advisory boards and on the Information Systems Audit and Control Association board, eventually becoming its chair for a term during the seven years he served there. Touhill just celebrated his fourth year at CERT, which he considers the pinnacle of the cybersecurity profession and everything he’s done to date. “Over my career I've led teams that have done major software builds in the national security space. I've also been the guy who's pulled cables and set up routers, hubs and switches, and I've been a system administrator. I've done everything that I could do from the keyboard up all the way up to the White House,” says Touhill. “For 40 years, the Software Engineering Institute has been leading the world in secure by design, cybersecurity, software engineering, artificial intelligence and engineering, pioneering best practices, and figuring out how to make the world a safer more secure and trustworthy place. I’ve had a hand in the making of today’s modern military and government information technology environment, beginning as a 22-year-old lieutenant, and hope to inspire the next generation to do even better.” What ‘Success’ Means Many people would be satisfied with their careers as a brigadier general, a tech leader, the White House’s first anything, or working at CERT, let alone running it. Touhill has spent his entire career making the world a safer place, so it’s not surprising that he considers his greatest achievement saving lives. “In the Middle East and Iraq, convoys were being attacked with improvised explosive devices. There were also ‘direct fire’ attacks where people are firing weapons at you and indirect fire attacks where you could be in the line of fire,” says Touhill. “The convoys were using SINCGARS line-of-site walkie-talkies for communications that are most effective when the ground is flat, and Iraq is not flat. As a result, our troops were at risk of not having reliable communications while under attack. As my team brainstormed options to remedy the situation, one of my guys found some technology, about the size of an iPhone, that could covert a radio signal, which is basically a waveform, into a digital pulse I could put on a dedicated network to support the convoy missions.” For $11 million, Touhill and his team quickly architected, tested, and fielded the Radio over IP network (aka “Ripper Net”) that had a 99% reliability rate anywhere in Iraq. Better still, convoys could communicate over the network using any radios. That solution saved a minimum of six lives. In one case, the hospital doctor said if the patient had arrived five minutes later, he would have died. Sage Advice Anyone who has ever spent time in the military or in a military family knows that soldiers are very well disciplined, or they wash out. Other traits include being physically fit, mentally fit, and achieving balance in life, though that’s difficult to achieve in combat. Still, it’s a necessity. “I served three and a half years down range in combat operations. My experience taught me you could be doing 20-hour days for a year or two on end. If you haven’t built a good foundation of being disciplined and fit, it impacts your ability to maintain presence in times of stress, and CISOs work in stressful situations,” says Touhill. “Staying fit also fortifies you for the long haul, so you don’t get burned out as fast.” Another necessary skill is the ability to work well with others.  “Cybersecurity is an interdisciplinary practice. One of the great joys I have as CERT director is the wide range of experts in many different fields that include software engineers, computer engineers, computer scientists, data scientists, mathematicians and physicists,” says Touhill. “I have folks who have business degrees and others who have philosophy degrees. It's really a rich community of interests all coming together towards that common goal of making the world a safer, more secure and more trusted place in the cyber domain. We’re are kind of like the cyber neighborhood watch for the whole world.” He also says that money isn’t everything, having taken a pay cut to go from being an Air Force brigadier general to the deputy assistant secretary of the Department of Homeland Security . “You’ll always do well if you pick the job that matters most. That’s what I did, and I’ve been rewarded every step,” says Touhill.  The biggest challenge he sees is the complexity of cyber systems and software, which can have second, third, and fourth order effects.  “Complexity raises the cost of the attack surface, increases the attack surface, raises the number of vulnerabilities and exploits human weaknesses,” says Touhill. “The No. 1 thing we need to be paying attention to is privacy when it comes to AI because AI can unearth and discover knowledge from data we already have. While it gives us greater insights at greater velocities, we need to be careful that we take precautions to better protect our privacy, civil rights and civil liberties.” 

By CHRIS McGOWAN Images courtesy of Warner Bros. Pictures. Final Destination Bloodlines, the sixth installment in the graphic horror series, kicks off with the film’s biggest challenge – deploying an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant. While there in 1968, young Iris Campbell (Brec Bassinger) has a premonition about the Skyview burning, cracking, crumbling and collapsing. Then, when she sees these events actually starting to happen around her, she intervenes and causes an evacuation of the tower, thus thwarting death’s design and saving many lives. Years later, her granddaughter, Stefani Reyes (Kaitlyn Santa Juana), inherits the vision of the destruction that could have occurred and realizes death is still coming for the survivors. “I knew we couldn’t put the whole [Skyview restaurant] on fire, but Tony [Lazarowich, Special Effects Supervisor] tried and put as much fire as he could safely and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction that can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” —Nordin Rahhali, VFX Supervisor The film opens with an elaborate, large-scale set piece involving the 400-foot-high Skyview Tower restaurant – and its collapse. Drone footage was digitized to create a 3D asset for the LED wall so the time of day could be changed as needed. “The set that the directors wanted was very large,” says Nordin Rahhali, VFX Supervisor. “We had limited space options in stages given the scale and the footprint of the actual restaurant that they wanted. It was the first set piece, the first big thing we shot, so we had to get it all ready and going right off the bat. We built a bigger volume for our needs, including an LED wall that we built the assets for.” “We were outside Vancouver at Bridge Studios in Burnaby. The custom-built LED volume was a little over 200 feet in length” states Christian Sebaldt, ASC, the movie’s DP. The volume was 98 feet in diameter and 24 feet tall. Rahhali explains, “Pixomondo was the vendor that we contracted to come in and build the volume. They also built the asset that went on the LED wall, so they were part of our filming team and production shoot. Subsequently, they were also the main vendor doing post, which was by design. By having them design and take care of the asset during production, we were able to leverage their assets, tools and builds for some of the post VFX.” Rahhali adds, “It was really important to make sure we had days with the volume team and with Christian and his camera team ahead of the shoot so we could dial it in.” Built at Bridge Studios in Burnaby outside Vancouver, the custom-built LED volume for events at the Skyview restaurant was over 200 feet long, 98 feet wide and 24 feet tall. Extensive previs with Digital Domain was done to advance key shots. (Photo: Eric Milner) Zach Lipovsky and Adam Stein directed Final Destination Bloodlines for New Line film, distributed by Warner Bros., in which chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated death at some point. Pixomondo was the lead VFX vendor, followed by FOLKS VFX. Picture Shop also contributed. There were around 800 VFX shots. Tony Lazarowich was the Special Effects Supervisor. “The Skyview restaurant involved building a massive set [that] was fire retardant, which meant the construction took longer than normal because they had to build it with certain materials and coat it with certain things because, obviously, it serves for the set piece. As it’s falling into chaos, a lot of that fire was practical. I really jived with what Christian and directors wanted and how Tony likes to work – to augment as much real practical stuff as possible,” Rahhali remarks. “I knew we couldn’t put the whole thing on fire, but Tony tried and put as much fire as he could safely, and then we just built off that [in VFX] and added a lot more. Even when it’s just a little bit of real fire, the lighting and interaction can’t be simulated, so I think it was a success in terms of blending that practical with the visual.” The Skyview restaurant required building a massive set that was fire retardant. Construction on the set took longer because it had to be built and coated with special materials. As the Skyview restaurant falls into chaos, much of the fire was practical. (Photo: Eric Milner) “We got all the Vancouver skyline [with drones] so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” —Christian Sebaldt, ASC, Director of Photography For drone shots, the team utilized a custom heavy-lift drone with three RED Komodo Digital Cinema cameras “giving us almost 180 degrees with overlap that we would then stitch in post and have a ridiculous amount of resolution off these three cameras,” Sebaldt states. “The other drone we used was a DJI Inspire 3, which was also very good. And we flew these drones up at the height [we needed]. We flew them at different times of day. We flew full 360s, and we also used them for photogrammetry. We got all the Vancouver skyline so we could rebuild our version of the city, which was based a little on the Vancouver footprint. So, we used all that to build a digital recreation of a city that was in line with what the directors wanted, which was a coastal city somewhere in the States that doesn’t necessarily have to be Vancouver or Seattle, but it looks a little like the Pacific Northwest.” Rahhali adds, “All of this allowed us to figure out what we were going to shoot. We had the stage build, and we had the drone footage that we then digitized and created a 3D asset to go on the wall [so] we could change the times of day” Pixomondo built the volume and the asset that went on the LED wall for the Skyview sequence. They were also the main vendor during post. FOLKS VFX and Picture Shop contributed. (Photo: Eric Milner) “We did extensive previs with Digital Domain,” Rahhali explains. “That was important because we knew the key shots that the directors wanted. With a combination of those key shots, we then kind of reverse-engineered [them] while we did techvis off the previs and worked with Christian and the art department so we would have proper flexibility with the set to be able to pull off some of these shots. [For example,] some of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Max Lloyd-Jones] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” Some shots required the Skyview’s ceiling to be lifted and partially removed to get a crane to shoot Paul Campbell (Max Lloyd-Jones) as he’s about to fall. The character Iris lived in a fortified house, isolating herself methodically to avoid the Grim Reaper. Rahhali comments, “That was a beautiful location [in] GVRD [Greater Vancouver], very cold. It was a long, hard shoot, because it was all nights. It was just this beautiful pocket out in the middle of the mountains. We in visual effects didn’t do a ton other than a couple of clean-ups of the big establishing shots when you see them pull up to the compound. We had to clean up small roads we wanted to make look like one road and make the road look like dirt.” There were flames involved. Sebaldt says, “The explosion [of Iris’s home] was unbelievably big. We had eight cameras on it at night and shot it at high speed, and we’re all going ‘Whoa.’” Rahhali notes, “There was some clean-up, but the explosion was 100% practical. Our Special Effects Supervisor, Tony, went to town on that. He blew up the whole house, and it looked spectacular.” The tattoo shop piercing scene is one of the most talked-about sequences in the movie, where a dangling chain from a ceiling fan attaches itself to the septum nose piercing of Erik Campbell (Richard Harmon) and drags him toward a raging fire. Rahhali observes, “That was very Final Destination and a great Rube Goldberg build-up event. Richard was great. He was tied up on a stunt line for most of it, balancing on top of furniture. All of that was him doing it for real with a stunt line.” Some effects solutions can be surprisingly extremely simple. Rahhali continues, “Our producer [Craig Perry] came up with a great gag [for the] septum ring.” Richard’s nose was connected with just a nose plug that went inside his nostrils. “All that tugging and everything that you’re seeing was real. For weeks and weeks, we were all trying to figure out how to do it without it being a big visual effects thing. ‘How are we gonna pull his nose for real?’ Craig said, ‘I have these things I use to help me open up my nose and you can’t really see them.’ They built it off of that, and it looked great.” Filmmakers spent weeks figuring out how to execute the harrowing tattoo shop scene. A dangling chain from a ceiling fan attaches itself to the septum nose ring of Erik Campbell (Richard Harmon) – with the actor’s nose being tugged by the chain connected to a nose plug that went inside his nostrils. “[S]ome of these shots required the Skyview restaurant ceiling to be lifted and partially removed for us to get a crane to shoot Paul [Campbell] as he’s about to fall and the camera’s going through a roof, that we then digitally had to recreate. Had we not done the previs to know those shots in advance, we would not have been able to build that in time to accomplish the look. We had many other shots that were driven off the previs that allowed the art department, construction and camera teams to work out how they would get those shots.” —Nordin Rahhali, VFX Supervisor Most of the fire in the tattoo parlor was practical. “There are some fire bars and stuff that you’re seeing in there from SFX and the big pool of fire on the wide shots.” Sebaldt adds, “That was a lot of fun to shoot because it’s so insane when he’s dancing and balancing on all this stuff – we were laughing and laughing. We were convinced that this was going to be the best scene in the movie up to that moment.” Rahhali says, “They used the scene wholesale for the trailer. It went viral – people were taking out their septum rings.” Erik survives the parlor blaze only to meet his fate in a hospital when he is pulled by a wheelchair into an out-of-control MRI machine at its highest magnetic level. Rahhali comments, “That is a good combination of a bunch of different departments. Our Stunt Coordinator, Simon Burnett, came up with this hard pull-wire line [for] when Erik flies and hits the MRI. That’s a real stunt with a double, and he hit hard. All the other shots are all CG wheelchairs because the directors wanted to art-direct how the crumpling metal was snapping and bending to show pressure on him as his body starts going into the MRI.” To augment the believability that comes with reality, the directors aimed to capture as much practically as possible, then VFX Supervisor Nordin Rahhali and his team built on that result. (Photo: Eric Milner) A train derailment concludes the film after Stefani and her brother, Charlie, realize they are still on death’s list. A train goes off the tracks, and logs from one of the cars fly though the air and kills them. “That one was special because it’s a hard sequence and was also shot quite late, so we didn’t have a lot of time. We went back to Vancouver and shot the actual street, and we shot our actors performing. They fell onto stunt pads, and the moment they get touched by the logs, it turns into CG as it was the only way to pull that off and the train of course. We had to add all that. The destruction of the houses and everything was done in visual effects.” Erik survives the tattoo parlor blaze only to meet his fate in a hospital when he is crushed by a wheelchair while being pulled into an out-of-control MRI machine. Erik (Richard Harmon) appears about to be run over by a delivery truck at the corner of 21A Ave. and 132A St., but he’s not – at least not then. The truck is actually on the opposite side of the road, and the person being run over is Howard. A rolling penny plays a major part in the catastrophic chain reactions and seems to be a character itself. “The magic penny was a mix from two vendors, Pixomondo and FOLKS; both had penny shots,” Rahhali says. “All the bouncing pennies you see going through the vents and hitting the fan blade are all FOLKS. The bouncing penny at the end as a lady takes it out of her purse, that goes down the ramp and into the rail – that’s FOLKS. The big explosion shots in the Skyview with the penny slowing down after the kid throws it [off the deck] are all Pixomondo shots. It was a mix. We took a little time to find that balance between readability and believability.” Approximately 800 VFX shots were required for Final Destination Bloodlines. (Photo: Eric Milner) Chain reactions of small and big events lead to bloody catastrophes befalling those who have cheated Death at some point in the Final Destination films. From left: Kaitlyn Santa Juana as Stefani Reyes, director Adam Stein, director Zach Lipovsky and Gabrielle Rose as Iris. (Photo: Eric Milner) Rahhali adds, “The film is a great collaboration of departments. Good visual effects are always a good combination of special effects, makeup effects and cinematography; it’s all the planning of all the pieces coming together. For a film of this size, I’m really proud of the work. I think we punched above our weight class, and it looks quite good.”