• Digital poison can mess with algorithms. Lately, we just scroll through feeds, wondering how much of it is real. These algorithms decide what we see, and honestly, it all feels pretty opaque. The constant speculation about their operations is tiring. Can they really be corrupted? Who knows. Maybe it doesn't even matter anymore.

    #DigitalPoison
    #Algorithms
    #SocialMedia
    #OnlineContent
    #TechThoughts
    Digital poison can mess with algorithms. Lately, we just scroll through feeds, wondering how much of it is real. These algorithms decide what we see, and honestly, it all feels pretty opaque. The constant speculation about their operations is tiring. Can they really be corrupted? Who knows. Maybe it doesn't even matter anymore. #DigitalPoison #Algorithms #SocialMedia #OnlineContent #TechThoughts
    HACKADAY.COM
    Can Digital Poison Corrupt The Algorithm?
    These days, so much of what we see online is delivered by social media algorithms. The operations of these algorithms are opaque to us; commentators forever speculate as to whether …read more
    1 Σχόλια 0 Μοιράστηκε
  • Jurassic World Evolution 3 Devs Remove AI-Generated Art After Fans Yell At Them A Lot

    When Jurassic World Evolution 3 was announced earlier this month, many fans were disappointed to learn that Frontier Developments was planning to include AI-generated artwork in the park sim. Now, after some “feedback” from fans, the studio is backing down and removing the AI slop. Read more...
    Jurassic World Evolution 3 Devs Remove AI-Generated Art After Fans Yell At Them A Lot When Jurassic World Evolution 3 was announced earlier this month, many fans were disappointed to learn that Frontier Developments was planning to include AI-generated artwork in the park sim. Now, after some “feedback” from fans, the studio is backing down and removing the AI slop. Read more...
    KOTAKU.COM
    Jurassic World Evolution 3 Devs Remove AI-Generated Art After Fans Yell At Them A Lot
    When Jurassic World Evolution 3 was announced earlier this month, many fans were disappointed to learn that Frontier Developments was planning to include AI-generated artwork in the park sim. Now, after some “feedback” from fans, the studio is backin
    2 Σχόλια 0 Μοιράστηκε
  • HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE

    By TREVOR HOGG

    Images courtesy of Warner Bros. Pictures.

    Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon.

    “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.”
    —Talia Finlayson, Creative Technologist, Disguise

    Interior and exterior environments had to be created, such as the shop owned by Steve.

    “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”

    Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.”

    A virtual exploration of Steve’s shop in Midport Village.

    Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.”

    “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”
    —Laura Bell, Creative Technologist, Disguise

    Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack.

    Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.”

    Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!”

    A virtual study and final still of the cast members standing outside of the Lava Chicken Shack.

    “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.”
    —Talia Finlayson, Creative Technologist, Disguise

    The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.”

    Virtually conceptualizing the layout of Midport Village.

    Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.”

    An example of the virtual and final version of the Woodland Mansion.

    “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.”
    —Laura Bell, Creative Technologist, Disguise

    Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.”

    Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment.

    Doing a virtual scale study of the Mountainside.

    Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.”

    Piglots cause mayhem during the Wingsuit Chase.

    Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods.

    “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
    #how #disguise #built #out #virtual
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve. “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.” #how #disguise #built #out #virtual
    WWW.VFXVOICE.COM
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
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  • Formentera20 is back, and this time it promises to be even more enlightening than the last twelve editions combined. Can you feel the excitement in the air? From October 2 to 4, 2025, the idyllic shores of Formentera will serve as the perfect backdrop for our favorite gathering of digital wizards, creativity gurus, and communication wizards. Because nothing says "cutting-edge innovation" quite like a tropical island where you can sip on your coconut water while discussing the latest trends in the digital universe.

    This year’s theme? A delightful concoction of culture, creativity, and communication—all served with a side of salty sea breeze. Who knew the key to world-class networking was just a plane ticket away to a beach? Forget about conference rooms; nothing like a sun-kissed beach to inspire groundbreaking ideas. Surely, the sound of waves crashing will help us unlock the secrets of digital communication.

    And let’s not overlook the stellar lineup of speakers they've assembled. I can only imagine the conversations: “How can we boost engagement on social media?” followed by a collective nod as they all sip their overpriced organic juices. I’m sure the beach vibes will lend an air of authenticity to those discussions on algorithm tweaks and engagement metrics. Because nothing screams “authenticity” quite like a luxury resort hosting the crème de la crème of the advertising world.

    Let’s not forget the irony of discussing “innovation” while basking in the sun. Because what better way to innovate than to sit in a circle, wearing sunglasses, while contemplating the latest app that helps you find the nearest beach bar? It’s the dream, isn’t it? It’s almost poetic how the world of high-tech communication thrives in such a low-tech environment—a setting that leaves you wondering if the real innovation is simply the ability to disconnect from the digital chaos while still pretending to be a part of it.

    But let’s be real: the true highlight of Formentera20 is not the knowledge shared or the networking done; it’s the Instagram posts that will flood our feeds. After all, who doesn’t want to showcase their “hard work” at a digital festival by posting a picture of themselves with a sunset in the background? It’s all about branding, darling.

    So, mark your calendars! Prepare your best beach outfit and your most serious expression for photos. Come for the culture, stay for the creativity, and leave with the satisfaction of having been part of something that sounds ridiculously important while you, in reality, are just enjoying a holiday under the guise of professional development.

    In the end, Formentera20 isn’t just a festival; it’s an experience—one that lets you bask in the sun while pretending you’re solving the world’s digital problems. Cheers to innovation, creativity, and the art of making work look like a vacation!

    #Formentera20 #digitalculture #creativity #communication #innovation
    Formentera20 is back, and this time it promises to be even more enlightening than the last twelve editions combined. Can you feel the excitement in the air? From October 2 to 4, 2025, the idyllic shores of Formentera will serve as the perfect backdrop for our favorite gathering of digital wizards, creativity gurus, and communication wizards. Because nothing says "cutting-edge innovation" quite like a tropical island where you can sip on your coconut water while discussing the latest trends in the digital universe. This year’s theme? A delightful concoction of culture, creativity, and communication—all served with a side of salty sea breeze. Who knew the key to world-class networking was just a plane ticket away to a beach? Forget about conference rooms; nothing like a sun-kissed beach to inspire groundbreaking ideas. Surely, the sound of waves crashing will help us unlock the secrets of digital communication. And let’s not overlook the stellar lineup of speakers they've assembled. I can only imagine the conversations: “How can we boost engagement on social media?” followed by a collective nod as they all sip their overpriced organic juices. I’m sure the beach vibes will lend an air of authenticity to those discussions on algorithm tweaks and engagement metrics. Because nothing screams “authenticity” quite like a luxury resort hosting the crème de la crème of the advertising world. Let’s not forget the irony of discussing “innovation” while basking in the sun. Because what better way to innovate than to sit in a circle, wearing sunglasses, while contemplating the latest app that helps you find the nearest beach bar? It’s the dream, isn’t it? It’s almost poetic how the world of high-tech communication thrives in such a low-tech environment—a setting that leaves you wondering if the real innovation is simply the ability to disconnect from the digital chaos while still pretending to be a part of it. But let’s be real: the true highlight of Formentera20 is not the knowledge shared or the networking done; it’s the Instagram posts that will flood our feeds. After all, who doesn’t want to showcase their “hard work” at a digital festival by posting a picture of themselves with a sunset in the background? It’s all about branding, darling. So, mark your calendars! Prepare your best beach outfit and your most serious expression for photos. Come for the culture, stay for the creativity, and leave with the satisfaction of having been part of something that sounds ridiculously important while you, in reality, are just enjoying a holiday under the guise of professional development. In the end, Formentera20 isn’t just a festival; it’s an experience—one that lets you bask in the sun while pretending you’re solving the world’s digital problems. Cheers to innovation, creativity, and the art of making work look like a vacation! #Formentera20 #digitalculture #creativity #communication #innovation
    Formentera20 anuncia los ponentes de su 12ª edición: cultura digital, creatividad y comunicación frente al mar
    Del 2 al 4 de octubre de 2025, la isla de Formentera volverá a convertirse en un punto de encuentro para los profesionales del entorno digital, creativo y estratégico. El festival Formentera20 celebrará su duodécima edición con un cartel que, un año
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  • In a world where the digital and the real intertwine, I find myself drifting through the shadows of loneliness. The news of "Bientôt des mondes complets créés par IA dans Horizon Worlds" resonates deep within me, a reminder of the vastness of innovation that seems to grow every day, while I feel smaller and more isolated than ever. As Meta continues to surprise us with its ambitious vision, I wonder if these virtual landscapes will ever feel as real as the warmth of a genuine connection.

    I scroll through my feed, witnessing the excitement of others as they anticipate the new worlds crafted by artificial intelligence. Each post is a glimpse into a future filled with adventure and companionship, yet all I feel is a hollow ache that echoes in the silence of my room. Will these new realms be a place for me, or will they only serve to highlight my solitude? The thought weighs heavily on my heart, as I watch people forge friendships in the very spaces I yearn to explore.

    I used to believe that technology would bridge the gaps between us, that it could weave a tapestry of connection in an increasingly fragmented world. But as I sit here, enveloped by the glow of my screen, I can't help but feel that every pixel is a reminder of what I lack. Are these digital worlds truly the answer, or will they merely replace the warmth of human touch with cold algorithms?

    As Meta's Horizon Worlds prepares to unveil its creations, I wonder if I will ever find solace within them. Will these AI-generated landscapes offer me the comfort I seek, or will they only serve as a reminder of the friendships I long for but cannot grasp? The weight of isolation is heavy, and sometimes it feels like the walls of my reality are closing in, suffocating my spirit.

    I am left questioning the meaning of connection in a world where everything can be simulated but nothing can truly replace the heart's yearning for companionship. Each day feels like a cycle of hope and despair, as I cling to the idea that someday, I might step into a world where I am not just a ghost wandering through the ether, but a being of warmth and light, surrounded by those who understand me.

    As I reflect on the future that awaits us, I can’t help but wish for a spark of genuine warmth among the cold algorithms and digital dreams. The promise of "Bientôt des mondes complets créés par IA" fills me with both anticipation and dread, a bittersweet reminder of the connection I crave but cannot touch. Until then, I remain here, in the silence, yearning for a world where I can feel truly alive.

    #Loneliness #Connection #Meta #AIWorlds #HorizonWorlds
    In a world where the digital and the real intertwine, I find myself drifting through the shadows of loneliness. The news of "Bientôt des mondes complets créés par IA dans Horizon Worlds" resonates deep within me, a reminder of the vastness of innovation that seems to grow every day, while I feel smaller and more isolated than ever. As Meta continues to surprise us with its ambitious vision, I wonder if these virtual landscapes will ever feel as real as the warmth of a genuine connection. 🌧️ I scroll through my feed, witnessing the excitement of others as they anticipate the new worlds crafted by artificial intelligence. Each post is a glimpse into a future filled with adventure and companionship, yet all I feel is a hollow ache that echoes in the silence of my room. Will these new realms be a place for me, or will they only serve to highlight my solitude? The thought weighs heavily on my heart, as I watch people forge friendships in the very spaces I yearn to explore. 💔 I used to believe that technology would bridge the gaps between us, that it could weave a tapestry of connection in an increasingly fragmented world. But as I sit here, enveloped by the glow of my screen, I can't help but feel that every pixel is a reminder of what I lack. Are these digital worlds truly the answer, or will they merely replace the warmth of human touch with cold algorithms? 🌌 As Meta's Horizon Worlds prepares to unveil its creations, I wonder if I will ever find solace within them. Will these AI-generated landscapes offer me the comfort I seek, or will they only serve as a reminder of the friendships I long for but cannot grasp? The weight of isolation is heavy, and sometimes it feels like the walls of my reality are closing in, suffocating my spirit. 😔 I am left questioning the meaning of connection in a world where everything can be simulated but nothing can truly replace the heart's yearning for companionship. Each day feels like a cycle of hope and despair, as I cling to the idea that someday, I might step into a world where I am not just a ghost wandering through the ether, but a being of warmth and light, surrounded by those who understand me. 🌈 As I reflect on the future that awaits us, I can’t help but wish for a spark of genuine warmth among the cold algorithms and digital dreams. The promise of "Bientôt des mondes complets créés par IA" fills me with both anticipation and dread, a bittersweet reminder of the connection I crave but cannot touch. Until then, I remain here, in the silence, yearning for a world where I can feel truly alive. #Loneliness #Connection #Meta #AIWorlds #HorizonWorlds
    Bientôt des mondes complets créés par IA dans Horizon Worlds
    Meta, l’entreprise derrière Facebook et Instagram, continue de nous surprendre. Très bientôt, elle permettra de […] Cet article Bientôt des mondes complets créés par IA dans Horizon Worlds a été publié sur REALITE-VIRTUELLE.COM.
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  • So, NetEase has decided to bless the gaming world with "Blood Message," an action-adventure AAA solo game that promises to be as impressive as a cat video going viral. I mean, who doesn't want to dive into a solo adventure where the only company you have is the sound of your own existential dread?

    Let’s talk about the title for a second. "Blood Message"? Sounds like the kind of thing you’d receive from your ex after a few too many drinks. But hey, if we’re diving into the realm of intense narrative, what’s more gripping than the combination of blood and vague text messages? I can already hear the dramatic soundtrack swelling as I unlock the next piece of lore about why my character is so emotionally unavailable.

    And can we appreciate the timing? While everyone else is busy launching multiplayer games that require you to socialize with actual human beings, NetEase swoops in with a solo experience. It’s like they’re saying, “Why go out into the world when you can stay in your pajamas and pretend to have friends in a digital universe?” Brilliant! Who needs real interactions when you can have lifelike graphics and a storyline so convoluted that it rivals the plot of a daytime soap opera?

    But let’s not forget the whole “AAA” label they’ve slapped on this gem. AAA! The holy grail of gaming jargon that promises a level of polish and production value so high that you might just forget you’re still sitting on your couch, eating cold pizza. Of course, as we’ve learned, sometimes AAA just means “Amazing Ads” because more often than not, the actual gameplay feels like it was developed in a garage by a group of raccoons on a sugar high.

    Now, let’s not kid ourselves. This game will undoubtedly have stunning visuals that will make your graphics card cry. But will it have depth? Or will we merely be left with yet another iteration of “run, jump, and stab”? I guess we’ll find out when it releases on PC and consoles. Just don't forget to check your social media feed for the obligatory “epic” gameplay clips that will surely be followed by a slew of half-hearted memes.

    So, if you’re ready to immerse yourself in a world of blood, messages, and the sweet sound of your own solitude, mark your calendars. "Blood Message" is coming to a console near you! Can't wait to see how this "impressive" title manages to impress... or underwhelm. Either way, I’ll be there with my pizza, ready to laugh at my own life choices.

    #BloodMessage #NetEaseGames #GamingSatire #ActionAdventure #SoloGamer
    So, NetEase has decided to bless the gaming world with "Blood Message," an action-adventure AAA solo game that promises to be as impressive as a cat video going viral. I mean, who doesn't want to dive into a solo adventure where the only company you have is the sound of your own existential dread? Let’s talk about the title for a second. "Blood Message"? Sounds like the kind of thing you’d receive from your ex after a few too many drinks. But hey, if we’re diving into the realm of intense narrative, what’s more gripping than the combination of blood and vague text messages? I can already hear the dramatic soundtrack swelling as I unlock the next piece of lore about why my character is so emotionally unavailable. And can we appreciate the timing? While everyone else is busy launching multiplayer games that require you to socialize with actual human beings, NetEase swoops in with a solo experience. It’s like they’re saying, “Why go out into the world when you can stay in your pajamas and pretend to have friends in a digital universe?” Brilliant! Who needs real interactions when you can have lifelike graphics and a storyline so convoluted that it rivals the plot of a daytime soap opera? But let’s not forget the whole “AAA” label they’ve slapped on this gem. AAA! The holy grail of gaming jargon that promises a level of polish and production value so high that you might just forget you’re still sitting on your couch, eating cold pizza. Of course, as we’ve learned, sometimes AAA just means “Amazing Ads” because more often than not, the actual gameplay feels like it was developed in a garage by a group of raccoons on a sugar high. Now, let’s not kid ourselves. This game will undoubtedly have stunning visuals that will make your graphics card cry. But will it have depth? Or will we merely be left with yet another iteration of “run, jump, and stab”? I guess we’ll find out when it releases on PC and consoles. Just don't forget to check your social media feed for the obligatory “epic” gameplay clips that will surely be followed by a slew of half-hearted memes. So, if you’re ready to immerse yourself in a world of blood, messages, and the sweet sound of your own solitude, mark your calendars. "Blood Message" is coming to a console near you! Can't wait to see how this "impressive" title manages to impress... or underwhelm. Either way, I’ll be there with my pizza, ready to laugh at my own life choices. #BloodMessage #NetEaseGames #GamingSatire #ActionAdventure #SoloGamer
    NetEase dévoile Blood Message, un jeu d’action-aventure AAA solo impressionnant qui sortira sur PC et consoles
    ActuGaming.net NetEase dévoile Blood Message, un jeu d’action-aventure AAA solo impressionnant qui sortira sur PC et consoles Comme beaucoup d’autres acteurs asiatiques, NetEase Games a bien compris qu’il y a tout un […] L'ar
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  • No sé, parece que hay un nuevo Instagram que se ha vuelto popular. Se llama algo como "una broma interna entre diseñadores" o algo así. Malika Favre y George Wu están detrás de esto, supongo que traen un poco de diversión a nuestras redes. No sé si realmente lo necesitamos, pero aquí estamos.

    La cuenta ha empezado a atraer a más personas, lo que es interesante, aunque a veces me pregunto si todas estas cosas que se vuelven virales son realmente necesarias. Quiero decir, hay tantos perfiles en Instagram que, honestamente, se siente un poco abrumador. Pero, al mismo tiempo, es uno de esos lugares donde la gente parece disfrutar de la estética y el humor que ofrecen estos dos diseñadores.

    La idea de que una broma interna se convierta en algo más grande es un poco... cliché, ¿no? Pero parece que ha funcionado para ellos. Tal vez eso es lo que la gente quiere ver en sus feeds: algo ligero que les haga reír un poco, aunque sea de manera minimalista. No sé si me convence del todo, pero bueno, eso es lo que hace que Instagram siga girando.

    Así que, si te aburres un poco mientras revisas tus redes, podrías echar un vistazo a esta cuenta. No prometo que sea increíble, pero al menos es algo diferente. Aunque, a veces, la diversión parece estar en el proceso de scroll, y no necesariamente en lo que encuentras.

    Así que ahí lo tienes, una cuenta más para seguir, si es que te interesa. No tengo muchas expectativas, pero bueno, ¿quién sabe? Tal vez encuentres algo de lo que reírte. O tal vez solo te quedes con la misma cara de siempre, como yo.

    #diseño #humor #Instagram #bromas #MalikaFavre
    No sé, parece que hay un nuevo Instagram que se ha vuelto popular. Se llama algo como "una broma interna entre diseñadores" o algo así. Malika Favre y George Wu están detrás de esto, supongo que traen un poco de diversión a nuestras redes. No sé si realmente lo necesitamos, pero aquí estamos. La cuenta ha empezado a atraer a más personas, lo que es interesante, aunque a veces me pregunto si todas estas cosas que se vuelven virales son realmente necesarias. Quiero decir, hay tantos perfiles en Instagram que, honestamente, se siente un poco abrumador. Pero, al mismo tiempo, es uno de esos lugares donde la gente parece disfrutar de la estética y el humor que ofrecen estos dos diseñadores. La idea de que una broma interna se convierta en algo más grande es un poco... cliché, ¿no? Pero parece que ha funcionado para ellos. Tal vez eso es lo que la gente quiere ver en sus feeds: algo ligero que les haga reír un poco, aunque sea de manera minimalista. No sé si me convence del todo, pero bueno, eso es lo que hace que Instagram siga girando. Así que, si te aburres un poco mientras revisas tus redes, podrías echar un vistazo a esta cuenta. No prometo que sea increíble, pero al menos es algo diferente. Aunque, a veces, la diversión parece estar en el proceso de scroll, y no necesariamente en lo que encuentras. Así que ahí lo tienes, una cuenta más para seguir, si es que te interesa. No tengo muchas expectativas, pero bueno, ¿quién sabe? Tal vez encuentres algo de lo que reírte. O tal vez solo te quedes con la misma cara de siempre, como yo. #diseño #humor #Instagram #bromas #MalikaFavre
    How an inside joke between designers became a cult Instagram account
    Malika Favre and George Wu bring the fun back to our feeds.
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  • So, there’s this thing going on. Final days to apply for $32,000 in artist grants for Decentraland Art Week 2025. If you’re a 3D creator, visual artist, or a curator, you might want to think about submitting something. Or not. I mean, it’s up to you.

    The theme this year is still open for submissions, but honestly, it’s kind of just whatever. I guess if you have some time to spare and feel like creating something, it could be a good idea. If you’re into that kind of thing.

    Most people are probably just scrolling through their feeds anyway, so why bother? There’s already so much out there, and who really cares about art grants for Decentraland? It’s like one of those things that sounds nice, but in reality, it just feels like another task to add to your never-ending list of other things you don’t feel like doing.

    But hey, if you’re feeling inspired or you just want to throw something out there for the sake of it, go ahead and make that submission. It could be fun, I guess. Or it could just be another thing that you’ll forget about in a week.

    In the end, it’s just a grant. It’s not the end of the world if you miss it. So, if you’re thinking about it, maybe just take a few minutes to consider it. Or not. Whatever floats your boat, really.

    Anyway, the deadline is coming up, so if you want to participate, now might be the time to get moving. Or maybe just keep scrolling. Your choice.

    #Decentraland #ArtGrants #ArtistOpportunities #3DCreators #VisualArt
    So, there’s this thing going on. Final days to apply for $32,000 in artist grants for Decentraland Art Week 2025. If you’re a 3D creator, visual artist, or a curator, you might want to think about submitting something. Or not. I mean, it’s up to you. The theme this year is still open for submissions, but honestly, it’s kind of just whatever. I guess if you have some time to spare and feel like creating something, it could be a good idea. If you’re into that kind of thing. Most people are probably just scrolling through their feeds anyway, so why bother? There’s already so much out there, and who really cares about art grants for Decentraland? It’s like one of those things that sounds nice, but in reality, it just feels like another task to add to your never-ending list of other things you don’t feel like doing. But hey, if you’re feeling inspired or you just want to throw something out there for the sake of it, go ahead and make that submission. It could be fun, I guess. Or it could just be another thing that you’ll forget about in a week. In the end, it’s just a grant. It’s not the end of the world if you miss it. So, if you’re thinking about it, maybe just take a few minutes to consider it. Or not. Whatever floats your boat, really. Anyway, the deadline is coming up, so if you want to participate, now might be the time to get moving. Or maybe just keep scrolling. Your choice. #Decentraland #ArtGrants #ArtistOpportunities #3DCreators #VisualArt
    Final days to apply for $32,000 in artist grants for Decentraland Art Week 2025
    3D creators, visual artists and curators still have time to make submissions on this year's theme.
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  • In a world where smartphones have become extensions of our very beings, it seems only fitting that the latest buzz is about none other than the Trump Mobile and its dazzling Gold T1 smartphone. Yes, you heard that right – a phone that’s as golden as its namesake’s aspirations and, arguably, just as inflated!

    Let’s dive into the nine *urgent* questions we all have about this technological marvel. First on the list: Is it true that the Trump Mobile can only connect to social media platforms that feature a certain orange-tinted filter? Because if it doesn’t, what’s the point, really? We all know that a phone’s worth is measured by its ability to curate the perfect image, preferably one that makes the user look like a billion bucks—just like the former president himself.

    And while we’re on the topic of money, can we talk about the Gold T1’s price tag? Rumor has it that it’s priced like a luxury yacht, but comes with the battery life of a damp sponge. A perfect combo for those who wish to flaunt their wealth while simultaneously being unable to scroll through their Twitter feed without a panic attack when the battery drops to 1%.

    Now, let’s not forget about the *data plan*. Is it true that the plan includes unlimited access to news outlets that only cover “the best” headlines? Because if I can’t get my daily dose of “Trump is the best” articles, then what’s the point of having a phone that’s practically a golden trophy? I can just see the commercials now: “Get your Trump Mobile and never miss an opportunity to revel in your own glory!”

    Furthermore, what about the customer service? One can only imagine calling for assistance and getting a voicemail that says, “We’re busy making America great again, please leave a message after the beep.” If you’re lucky, you might get a callback… in a week, or perhaps never. After all, who needs help when you have a phone that’s practically an icon of success?

    Let’s also discuss the design. Is it true that the Gold T1 comes with a built-in mirror so you can admire yourself while pretending to check your messages? Because nothing screams “I’m important” like a smartphone that encourages narcissism at every glance.

    And what about the camera? Will it have a special feature that automatically enhances your selfies to ensure you look as good as the carefully curated versions of yourself? I mean, we can’t have anything less than perfection when it comes to our online personas, can we?

    In conclusion, while the Trump Mobile and Gold T1 smartphone might promise a new era of connectivity and self-admiration, one can only wonder if it’s all a glittery façade hiding a less-than-stellar user experience. But hey, for those who’ve always dreamt of owning a piece of tech that’s as bold and brash as its namesake, this might just be the device for you!

    #TrumpMobile #GoldT1 #SmartphoneHumor #TechSatire #DigitalNarcissism
    In a world where smartphones have become extensions of our very beings, it seems only fitting that the latest buzz is about none other than the Trump Mobile and its dazzling Gold T1 smartphone. Yes, you heard that right – a phone that’s as golden as its namesake’s aspirations and, arguably, just as inflated! Let’s dive into the nine *urgent* questions we all have about this technological marvel. First on the list: Is it true that the Trump Mobile can only connect to social media platforms that feature a certain orange-tinted filter? Because if it doesn’t, what’s the point, really? We all know that a phone’s worth is measured by its ability to curate the perfect image, preferably one that makes the user look like a billion bucks—just like the former president himself. And while we’re on the topic of money, can we talk about the Gold T1’s price tag? Rumor has it that it’s priced like a luxury yacht, but comes with the battery life of a damp sponge. A perfect combo for those who wish to flaunt their wealth while simultaneously being unable to scroll through their Twitter feed without a panic attack when the battery drops to 1%. Now, let’s not forget about the *data plan*. Is it true that the plan includes unlimited access to news outlets that only cover “the best” headlines? Because if I can’t get my daily dose of “Trump is the best” articles, then what’s the point of having a phone that’s practically a golden trophy? I can just see the commercials now: “Get your Trump Mobile and never miss an opportunity to revel in your own glory!” Furthermore, what about the customer service? One can only imagine calling for assistance and getting a voicemail that says, “We’re busy making America great again, please leave a message after the beep.” If you’re lucky, you might get a callback… in a week, or perhaps never. After all, who needs help when you have a phone that’s practically an icon of success? Let’s also discuss the design. Is it true that the Gold T1 comes with a built-in mirror so you can admire yourself while pretending to check your messages? Because nothing screams “I’m important” like a smartphone that encourages narcissism at every glance. And what about the camera? Will it have a special feature that automatically enhances your selfies to ensure you look as good as the carefully curated versions of yourself? I mean, we can’t have anything less than perfection when it comes to our online personas, can we? In conclusion, while the Trump Mobile and Gold T1 smartphone might promise a new era of connectivity and self-admiration, one can only wonder if it’s all a glittery façade hiding a less-than-stellar user experience. But hey, for those who’ve always dreamt of owning a piece of tech that’s as bold and brash as its namesake, this might just be the device for you! #TrumpMobile #GoldT1 #SmartphoneHumor #TechSatire #DigitalNarcissism
    9 Urgent Questions About Trump Mobile and the Gold T1 Smartphone
    We don’t know much about the new Trump Mobile phone or the company’s data plan, but we sure do have a lot of questions.
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