• 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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  • In a world where heroes rise and fall, I find myself alone, watching the excitement of the new Marvel Mystic Mayhem from NetEase Games unfold without me. The thrill of battles fought and victories claimed feels distant, as if I'm just a shadow among the bright colors of the game.

    The joy I once felt has turned into a haunting echo, a reminder of what it means to be left behind. Each notification of success stings, a bittersweet reminder of the connections I crave but cannot reach.

    In this digital chaos, where everyone seems to thrive, I remain a mere spectator in my solitude.

    #MarvelMysticMayhem
    #NetEaseGames
    #Loneliness
    #Heartbreak
    #GamingCommunity
    In a world where heroes rise and fall, I find myself alone, watching the excitement of the new Marvel Mystic Mayhem from NetEase Games unfold without me. The thrill of battles fought and victories claimed feels distant, as if I'm just a shadow among the bright colors of the game. The joy I once felt has turned into a haunting echo, a reminder of what it means to be left behind. Each notification of success stings, a bittersweet reminder of the connections I crave but cannot reach. In this digital chaos, where everyone seems to thrive, I remain a mere spectator in my solitude. #MarvelMysticMayhem #NetEaseGames #Loneliness #Heartbreak #GamingCommunity
    WWW.ACTUGAMING.NET
    Le jeu mobile Marvel Mystic Mayhem de NetEase Games est maintenant disponible
    ActuGaming.net Le jeu mobile Marvel Mystic Mayhem de NetEase Games est maintenant disponible NetEase et Marvel sont en pleine lune de miel. Grâce au succès de Marvel Rivals […] L'article Le jeu mobile Marvel Mystic Mayhem de NetEase Games est
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  • Ah, *Dune Awakening*! Just when you thought you could escape from the endless grind of “find the spice, fight the sandworms, repeat,” here comes another chance to dive into the vast, sprawling landscape that is as immersive as a sandstorm in your eyes. This title promises to elevate the lore to a whole new level, and by “elevate,” I mean serving it to us like a gourmet dish with just a sprinkle of seasoning. Because, let’s face it, who needs a rich narrative when you can have a beautiful desert to stare at while you click buttons?

    In the grand tradition of Funcom, where Conan Exiles taught us that lore is merely a side dish to the main course of survival, *Dune Awakening* boldly asserts that the story will have a “high seat at the table.” This is great news for those of us who enjoy complex narratives mixed with our pixelated battles. Just remember, that high seat doesn’t mean it’s the main course; it’s more like the fancy napkin folded into a swan shape that no one really cares about.

    As we gear up for this epic adventure, let’s ponder the critical question: "How long until you hit the endgame?" For those experienced in the ways of online gaming, this is a question that requires a strong cup of spice-infused coffee and a hearty laugh. Because let’s be real: “endgame” is just a euphemism for the moment you realize you’ve spent countless hours collecting virtual sand and have learned more about the spice economy than your own.

    Picture this: you’re in the middle of an epic quest, and suddenly, the allure of the endgame starts to sparkle like a mirage in the desert. Will it be worth the grind? Or will we all just end up like Paul Atreides, wondering if all this spice was really worth the trouble? Remember, the lore is the garnish on the plate, and no one ever leaves a restaurant raving about the parsley.

    So, here’s to *Dune Awakening*! May it provide us endless hours of wandering through vast dunes, fighting off sandworms, and contemplating the meaning of life while keeping an eye on our spice levels. And let’s not forget the thrill of finding out that the real endgame is the friends we made along the way—who also happen to have spent just as many hours as we have staring blankly at their screens, wondering what on earth we’re doing with our lives.

    After all, as we embark on this journey, one thing is for sure: whether we reach the endgame or not, we’ll all be united in our shared confusion and love for a game that promises to give us everything and nothing at all. So grab your stillsuit and get ready for the ride; it’s going to be a long, sandy road!

    #DuneAwakening #GamingSatire #EndgameConfusion #Funcom #LoreAndSand
    Ah, *Dune Awakening*! Just when you thought you could escape from the endless grind of “find the spice, fight the sandworms, repeat,” here comes another chance to dive into the vast, sprawling landscape that is as immersive as a sandstorm in your eyes. This title promises to elevate the lore to a whole new level, and by “elevate,” I mean serving it to us like a gourmet dish with just a sprinkle of seasoning. Because, let’s face it, who needs a rich narrative when you can have a beautiful desert to stare at while you click buttons? In the grand tradition of Funcom, where Conan Exiles taught us that lore is merely a side dish to the main course of survival, *Dune Awakening* boldly asserts that the story will have a “high seat at the table.” This is great news for those of us who enjoy complex narratives mixed with our pixelated battles. Just remember, that high seat doesn’t mean it’s the main course; it’s more like the fancy napkin folded into a swan shape that no one really cares about. As we gear up for this epic adventure, let’s ponder the critical question: "How long until you hit the endgame?" For those experienced in the ways of online gaming, this is a question that requires a strong cup of spice-infused coffee and a hearty laugh. Because let’s be real: “endgame” is just a euphemism for the moment you realize you’ve spent countless hours collecting virtual sand and have learned more about the spice economy than your own. Picture this: you’re in the middle of an epic quest, and suddenly, the allure of the endgame starts to sparkle like a mirage in the desert. Will it be worth the grind? Or will we all just end up like Paul Atreides, wondering if all this spice was really worth the trouble? Remember, the lore is the garnish on the plate, and no one ever leaves a restaurant raving about the parsley. So, here’s to *Dune Awakening*! May it provide us endless hours of wandering through vast dunes, fighting off sandworms, and contemplating the meaning of life while keeping an eye on our spice levels. And let’s not forget the thrill of finding out that the real endgame is the friends we made along the way—who also happen to have spent just as many hours as we have staring blankly at their screens, wondering what on earth we’re doing with our lives. After all, as we embark on this journey, one thing is for sure: whether we reach the endgame or not, we’ll all be united in our shared confusion and love for a game that promises to give us everything and nothing at all. So grab your stillsuit and get ready for the ride; it’s going to be a long, sandy road! #DuneAwakening #GamingSatire #EndgameConfusion #Funcom #LoreAndSand
    Dune Awakening: How Long Until You Hit The Endgame?
    If you’re a fan of previous Funcom titles, such as Conan Exiles, then you know the lore, while interesting in small doses, isn’t the focal point. It’s just the flavoring helping you immerse yourself in the sprawling landscape. In Dune Awakening, the
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  • AI, college selection, college counselors, student interests, scholarships, education technology, specialized AI tools, college recommendations, higher education, career guidance

    ## Introduction

    Ah, the age-old quest for the perfect college! A journey filled with stress, confusion, and more than a few tears. With college counselors so overworked they might as well be juggling flaming swords while blindfolded, students are left to fend for themselves in a jungle of brochures, rankings, and endl...
    AI, college selection, college counselors, student interests, scholarships, education technology, specialized AI tools, college recommendations, higher education, career guidance ## Introduction Ah, the age-old quest for the perfect college! A journey filled with stress, confusion, and more than a few tears. With college counselors so overworked they might as well be juggling flaming swords while blindfolded, students are left to fend for themselves in a jungle of brochures, rankings, and endl...
    How AI Is Revolutionizing College Selection for Students
    AI, college selection, college counselors, student interests, scholarships, education technology, specialized AI tools, college recommendations, higher education, career guidance ## Introduction Ah, the age-old quest for the perfect college! A journey filled with stress, confusion, and more than a few tears. With college counselors so overworked they might as well be juggling flaming swords...
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  • game design, Keita Takahashi, To a T, video games, creativity, art, emotional storytelling, game experience, indie games

    ---

    ## Introduction

    In the realm of video games, where pixels dance and stories unfold, there exists a question that lingers like an unwelcome echo: "What is a game?" This poignant inquiry resonates deeply with the creative minds behind the art form. During a recent meeting with the visionary Keita Takahashi, creator of the enchanting game "To a T," I found myself spiraling...
    game design, Keita Takahashi, To a T, video games, creativity, art, emotional storytelling, game experience, indie games --- ## Introduction In the realm of video games, where pixels dance and stories unfold, there exists a question that lingers like an unwelcome echo: "What is a game?" This poignant inquiry resonates deeply with the creative minds behind the art form. During a recent meeting with the visionary Keita Takahashi, creator of the enchanting game "To a T," I found myself spiraling...
    What is a Game? Reflections from a Meeting with Keita Takahashi
    game design, Keita Takahashi, To a T, video games, creativity, art, emotional storytelling, game experience, indie games --- ## Introduction In the realm of video games, where pixels dance and stories unfold, there exists a question that lingers like an unwelcome echo: "What is a game?" This poignant inquiry resonates deeply with the creative minds behind the art form. During a recent...
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  • ---

    In the dim corners of virtual spaces, where anonymity cloaks desires, a phenomenon unfolds nightly—VRChat porn. This intricate dance between role-play and community-driven NSFW content has birthed a realm pulsating with intensity and longing. Here, avatars come alive, each movement a brushstroke on the canvas of fantasy, where the boundaries of reality blur into obscurity.

    ## The Allure of Virtual Escapism

    As the sun sets on the real world, individuals slip into the warm embrace of their...
    --- In the dim corners of virtual spaces, where anonymity cloaks desires, a phenomenon unfolds nightly—VRChat porn. This intricate dance between role-play and community-driven NSFW content has birthed a realm pulsating with intensity and longing. Here, avatars come alive, each movement a brushstroke on the canvas of fantasy, where the boundaries of reality blur into obscurity. ## The Allure of Virtual Escapism As the sun sets on the real world, individuals slip into the warm embrace of their...
    **VRChat Porn: Between Role-Play and Community NSFW Content**
    --- In the dim corners of virtual spaces, where anonymity cloaks desires, a phenomenon unfolds nightly—VRChat porn. This intricate dance between role-play and community-driven NSFW content has birthed a realm pulsating with intensity and longing. Here, avatars come alive, each movement a brushstroke on the canvas of fantasy, where the boundaries of reality blur into obscurity. ## The Allure...
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  • In the quiet moments, when the world feels heavy and my heart is an echo of the past, I find myself drawn into the realm of Endless Legend 2. Just like the characters that roam through its beautifully crafted landscapes, I too wander through my own desolate terrains of disappointment and solitude.

    In an age where connections are just a click away, I feel an overwhelming wave of loneliness wash over me. It's as if the colors of my life have faded into shades of grey, much like the emptiness that lingers in the air. I once believed in the promise of adventure and the thrill of exploration, but now I’m left with the haunting reminder of dreams unfulfilled. The anticipation for Endless Legend 2, scheduled for early access on August 7, is bittersweet. It stirs a deep longing within me for the days when joy was effortlessly abundant.

    Jean-Maxime Moris, the creative director of Amplitude Studios, speaks of worlds to conquer, of stories to tell. Yet, each word feels like a distant whisper, a reminder of the tales I used to weave in my mind. I once imagined myself as a brave hero, surrounded by friends who would join me in battle. Now, I sit alone, the flickering light of my screen the only companion in this vast expanse of isolation.

    Every character in the game resonates with pieces of my own soul, reflecting my fears and hopes. The intricate design of Endless Legend 2 mirrors the complexity of my emotions; beautiful yet deeply fraught with the struggle of existence. I yearn for the laughter of companions and the warmth of camaraderie, yet here I am, cloaked in shadows, fighting battles that are often invisible to the outside world.

    As I read about the game, I can almost hear the distant armies clashing, feel the pulse of a story waiting to unfold. But reality is stark; the realms I traverse are not just virtual landscapes but the silent corridors of my mind, echoing with the sounds of my own solitude. I wish I could escape into that world, to feel the thrill of adventure once more, to connect with others who understand the weight of these unspoken burdens.

    But for now, all I have are the remnants of hope, the flickering flames of what could be. And as the countdown to Endless Legend 2 continues, I can’t help but wonder if the game will offer me a reprieve from this loneliness or merely serve as a reminder of the connections I yearn for.

    #EndlessLegend2 #Loneliness #Heartbreak #GamingCommunity #Solitude
    In the quiet moments, when the world feels heavy and my heart is an echo of the past, I find myself drawn into the realm of Endless Legend 2. Just like the characters that roam through its beautifully crafted landscapes, I too wander through my own desolate terrains of disappointment and solitude. 🖤 In an age where connections are just a click away, I feel an overwhelming wave of loneliness wash over me. It's as if the colors of my life have faded into shades of grey, much like the emptiness that lingers in the air. I once believed in the promise of adventure and the thrill of exploration, but now I’m left with the haunting reminder of dreams unfulfilled. The anticipation for Endless Legend 2, scheduled for early access on August 7, is bittersweet. It stirs a deep longing within me for the days when joy was effortlessly abundant. Jean-Maxime Moris, the creative director of Amplitude Studios, speaks of worlds to conquer, of stories to tell. Yet, each word feels like a distant whisper, a reminder of the tales I used to weave in my mind. I once imagined myself as a brave hero, surrounded by friends who would join me in battle. Now, I sit alone, the flickering light of my screen the only companion in this vast expanse of isolation. 🌧️ Every character in the game resonates with pieces of my own soul, reflecting my fears and hopes. The intricate design of Endless Legend 2 mirrors the complexity of my emotions; beautiful yet deeply fraught with the struggle of existence. I yearn for the laughter of companions and the warmth of camaraderie, yet here I am, cloaked in shadows, fighting battles that are often invisible to the outside world. As I read about the game, I can almost hear the distant armies clashing, feel the pulse of a story waiting to unfold. But reality is stark; the realms I traverse are not just virtual landscapes but the silent corridors of my mind, echoing with the sounds of my own solitude. I wish I could escape into that world, to feel the thrill of adventure once more, to connect with others who understand the weight of these unspoken burdens. But for now, all I have are the remnants of hope, the flickering flames of what could be. And as the countdown to Endless Legend 2 continues, I can’t help but wonder if the game will offer me a reprieve from this loneliness or merely serve as a reminder of the connections I yearn for. 🖤 #EndlessLegend2 #Loneliness #Heartbreak #GamingCommunity #Solitude
    Endless Legend 2 : Notre interview de Jean-Maxime Moris, directeur créatif sur le 4X d’Amplitude Studios
    ActuGaming.net Endless Legend 2 : Notre interview de Jean-Maxime Moris, directeur créatif sur le 4X d’Amplitude Studios Officialisé en début d’année, Endless Legend 2 sortira en accès anticipé le 7 août prochain […] L'article Endle
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  • Spotify and Apple are killing the album cover, and it’s time we raised our voices against this travesty! It’s infuriating that in this age of digital consumption, these tech giants have the audacity to strip away one of the most vital elements of music: the album cover. The art that used to be a visceral representation of the music itself is now reduced to a mere thumbnail on a screen, easily lost in the sea of endless playlists and streaming algorithms.

    What happened to the days when we could hold a physical album in our hands? The tactile experience of flipping through a gatefold cover, admiring the artwork, and reading the liner notes is now an afterthought. Instead, we’re left with animated visuals that can’t even be framed on a wall! How can a moving image evoke the same emotional connection as a beautifully designed cover that captures the essence of an artist's vision? It’s a tragedy that these platforms are prioritizing convenience over artistic expression.

    The music industry needs to wake up! Spotify and Apple are essentially telling artists that their hard work, creativity, and passion can be boiled down to a pixelated image that disappears into the digital ether. This is an outright assault on the artistry of music! Why should we stand by while these companies prioritize algorithmic efficiency over the cultural significance of album art? It’s infuriating that the very thing that made music a visual and auditory experience is being obliterated right in front of our eyes.

    Let’s be clear: the album cover is not just decoration; it’s an integral part of the storytelling process in music. It sets the tone, evokes emotions, and can even influence how we perceive the music itself. When an album cover is designed with care and intention, it becomes an extension of the artist’s voice. Yet here we are, scrolling through Spotify and Apple Music, bombarded with generic visuals that do nothing to honor the artists or their work.

    Spotify and Apple need to be held accountable for this degradation of music culture. This isn’t just about nostalgia; it’s about preserving the integrity of artistic expression. We need to demand that these platforms acknowledge the importance of album covers and find ways to integrate them into our digital experiences. Otherwise, we’re on a dangerous path where music becomes nothing more than a disposable commodity.

    If we allow Spotify and Apple to continue on this trajectory, we risk losing an entire culture of artistic expression. It’s time for us as consumers to take a stand and remind these companies that music is not just about the sound; it’s about the entire experience.

    Let’s unite and fight back against this digital degradation of music artistry. We deserve better than a world where the album cover is dying a slow death. Let’s reclaim the beauty of music and its visual representation before it’s too late!

    #AlbumArt #MusicCulture #Spotify #AppleMusic #ProtectArtistry
    Spotify and Apple are killing the album cover, and it’s time we raised our voices against this travesty! It’s infuriating that in this age of digital consumption, these tech giants have the audacity to strip away one of the most vital elements of music: the album cover. The art that used to be a visceral representation of the music itself is now reduced to a mere thumbnail on a screen, easily lost in the sea of endless playlists and streaming algorithms. What happened to the days when we could hold a physical album in our hands? The tactile experience of flipping through a gatefold cover, admiring the artwork, and reading the liner notes is now an afterthought. Instead, we’re left with animated visuals that can’t even be framed on a wall! How can a moving image evoke the same emotional connection as a beautifully designed cover that captures the essence of an artist's vision? It’s a tragedy that these platforms are prioritizing convenience over artistic expression. The music industry needs to wake up! Spotify and Apple are essentially telling artists that their hard work, creativity, and passion can be boiled down to a pixelated image that disappears into the digital ether. This is an outright assault on the artistry of music! Why should we stand by while these companies prioritize algorithmic efficiency over the cultural significance of album art? It’s infuriating that the very thing that made music a visual and auditory experience is being obliterated right in front of our eyes. Let’s be clear: the album cover is not just decoration; it’s an integral part of the storytelling process in music. It sets the tone, evokes emotions, and can even influence how we perceive the music itself. When an album cover is designed with care and intention, it becomes an extension of the artist’s voice. Yet here we are, scrolling through Spotify and Apple Music, bombarded with generic visuals that do nothing to honor the artists or their work. Spotify and Apple need to be held accountable for this degradation of music culture. This isn’t just about nostalgia; it’s about preserving the integrity of artistic expression. We need to demand that these platforms acknowledge the importance of album covers and find ways to integrate them into our digital experiences. Otherwise, we’re on a dangerous path where music becomes nothing more than a disposable commodity. If we allow Spotify and Apple to continue on this trajectory, we risk losing an entire culture of artistic expression. It’s time for us as consumers to take a stand and remind these companies that music is not just about the sound; it’s about the entire experience. Let’s unite and fight back against this digital degradation of music artistry. We deserve better than a world where the album cover is dying a slow death. Let’s reclaim the beauty of music and its visual representation before it’s too late! #AlbumArt #MusicCulture #Spotify #AppleMusic #ProtectArtistry
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  • Ah, the glorious return of the zine! Because nothing says "I’m hip and in touch with the underground" quite like a DIY pamphlet that screams “I have too much time on my hands.” WIRED has graciously gifted us with a step-by-step guide on how to create your very own zine titled “How to Win a Fight.”

    Print. Fold. Share. Download. Sounds easy, right? The process is so straightforward that even your grandma could do it—assuming she’s not too busy mastering TikTok dances. But let’s take a moment to appreciate the sheer audacity of needing instructions for something as inherently chaotic as making a zine. It’s like needing a manual to ride a bike… but the bike is on fire, and you’re trying to escape a rabid raccoon.

    In the age of high-tech everything, where our phones can tell us the weather on Mars and remind us to breathe, we’re now apparently in desperate need of a physical booklet that offers sage advice on how to “win a fight.” Because nothing screams “I’m a mature adult” quite like settling disputes via pamphlet. Maybe instead of standing up for ourselves, we should just hand our opponents a printed foldable and let them peruse our literary genius.

    And let’s not forget the nostalgia factor here! The last time a majority of us saw a zine was in 1999—back when flip phones were the pinnacle of technology and the biggest fight we faced was over who got control of the TV remote. Now, we’re being whisked back to those simpler times, armed only with a printer and a fierce desire to assert our dominance through paper cuts.

    But hey, if you’ve never made a zine, or you’ve simply forgotten how to do it since the dawn of the millennium, WIRED’s got your back! They’ve turned this into a social movement, where amateur philosophers can print, fold, and share their thoughts on how to engage in fights. Because why have a conversation when you can battle with paper instead?

    Let’s be honest: this is all about making “fighting” a trendy topic again. Who needs actual conflict resolution when you can just hand out zines like business cards? Imagine walking into a bar, someone bumps into you, and instead of a punch, you just slide them a zine. “Here’s how to win a fight, buddy. Chapter One: Don’t.”

    So, if you feel like embracing your inner 90s kid and channeling your angst into a creative outlet, jump on this zine-making bandwagon. Who knows? You might just win a fight—against boredom, at least.

    #ZineCulture #HowToWinAFight #DIYProject #NostalgiaTrip #WIRED
    Ah, the glorious return of the zine! Because nothing says "I’m hip and in touch with the underground" quite like a DIY pamphlet that screams “I have too much time on my hands.” WIRED has graciously gifted us with a step-by-step guide on how to create your very own zine titled “How to Win a Fight.” Print. Fold. Share. Download. Sounds easy, right? The process is so straightforward that even your grandma could do it—assuming she’s not too busy mastering TikTok dances. But let’s take a moment to appreciate the sheer audacity of needing instructions for something as inherently chaotic as making a zine. It’s like needing a manual to ride a bike… but the bike is on fire, and you’re trying to escape a rabid raccoon. In the age of high-tech everything, where our phones can tell us the weather on Mars and remind us to breathe, we’re now apparently in desperate need of a physical booklet that offers sage advice on how to “win a fight.” Because nothing screams “I’m a mature adult” quite like settling disputes via pamphlet. Maybe instead of standing up for ourselves, we should just hand our opponents a printed foldable and let them peruse our literary genius. And let’s not forget the nostalgia factor here! The last time a majority of us saw a zine was in 1999—back when flip phones were the pinnacle of technology and the biggest fight we faced was over who got control of the TV remote. Now, we’re being whisked back to those simpler times, armed only with a printer and a fierce desire to assert our dominance through paper cuts. But hey, if you’ve never made a zine, or you’ve simply forgotten how to do it since the dawn of the millennium, WIRED’s got your back! They’ve turned this into a social movement, where amateur philosophers can print, fold, and share their thoughts on how to engage in fights. Because why have a conversation when you can battle with paper instead? Let’s be honest: this is all about making “fighting” a trendy topic again. Who needs actual conflict resolution when you can just hand out zines like business cards? Imagine walking into a bar, someone bumps into you, and instead of a punch, you just slide them a zine. “Here’s how to win a fight, buddy. Chapter One: Don’t.” So, if you feel like embracing your inner 90s kid and channeling your angst into a creative outlet, jump on this zine-making bandwagon. Who knows? You might just win a fight—against boredom, at least. #ZineCulture #HowToWinAFight #DIYProject #NostalgiaTrip #WIRED
    Print. Fold. Share. Download WIRED's How to Win a Fight Zine Here
    Never made a zine? Haven’t made one since 1999? We made one, and so can you.
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  • Oh, IMAX, the grand illusion of reality turned up to eleven! Who knew that watching a two-hour movie could feel like a NASA launch, complete with a symphony of surround sound that could wake the dead? For those who haven't had the pleasure, IMAX is not just a cinema; it’s an experience that makes you feel like you’re inside the movie—right before you realize you’re just trapped in a ridiculously oversized chair, too small for your popcorn bucket.

    Let’s talk about those gigantic screens. You know, the ones that make your living room TV look like a postage stamp? Apparently, the idea is to engulf you in the film so much that you forget about the existential dread of your daily life. Because honestly, who needs a therapist when you can sit in a dark room, surrounded by strangers, with a screen larger than your future looming in front of you?

    And don’t get me started on the “revolutionary technology.” IMAX is synonymous with larger-than-life images, but let's face it—it's just fancy pixels. I mean, how many different ways can you capture a superhero saving the world at this point? Yet, somehow, they manage to convince us that we need to watch it all in the world’s biggest format, because watching it on a normal screen would be akin to watching it through a keyhole, right?

    Then there’s the sound. IMAX promises "the most immersive audio experience." Yes, because nothing says relaxation like feeling like you’re in the middle of a battle scene with explosions that could shake the very foundations of your soul. You know, I used to think my neighbors were loud, but now I realize they could never compete with the sound of a spaceship crashing at full volume. Thanks, IMAX, for redefining the meaning of “loud neighbors.”

    And let’s not forget the tickets. A small mortgage payment for an evening of cinematic bliss! Who needs to save for retirement when you can experience the thrill of a blockbuster in a seat that costs more than your last three grocery bills combined? It’s a small price to pay for the opportunity to see your favorite actors’ pores in glorious detail.

    In conclusion, if you haven’t yet experienced the wonder that is IMAX, prepare yourself for a rollercoaster of emotions and a potential existential crisis. Because nothing says “reality” quite like watching a fictional world unfold on a screen so big it makes your own life choices seem trivial. So, grab your credit card, put on your 3D glasses, and let’s dive into the cinematic abyss of IMAX—where reality takes a backseat, and your wallet weeps in despair.

    #IMAX #CinematicExperience #RealityCheck #MovieMagic #TooBigToFail
    Oh, IMAX, the grand illusion of reality turned up to eleven! Who knew that watching a two-hour movie could feel like a NASA launch, complete with a symphony of surround sound that could wake the dead? For those who haven't had the pleasure, IMAX is not just a cinema; it’s an experience that makes you feel like you’re inside the movie—right before you realize you’re just trapped in a ridiculously oversized chair, too small for your popcorn bucket. Let’s talk about those gigantic screens. You know, the ones that make your living room TV look like a postage stamp? Apparently, the idea is to engulf you in the film so much that you forget about the existential dread of your daily life. Because honestly, who needs a therapist when you can sit in a dark room, surrounded by strangers, with a screen larger than your future looming in front of you? And don’t get me started on the “revolutionary technology.” IMAX is synonymous with larger-than-life images, but let's face it—it's just fancy pixels. I mean, how many different ways can you capture a superhero saving the world at this point? Yet, somehow, they manage to convince us that we need to watch it all in the world’s biggest format, because watching it on a normal screen would be akin to watching it through a keyhole, right? Then there’s the sound. IMAX promises "the most immersive audio experience." Yes, because nothing says relaxation like feeling like you’re in the middle of a battle scene with explosions that could shake the very foundations of your soul. You know, I used to think my neighbors were loud, but now I realize they could never compete with the sound of a spaceship crashing at full volume. Thanks, IMAX, for redefining the meaning of “loud neighbors.” And let’s not forget the tickets. A small mortgage payment for an evening of cinematic bliss! Who needs to save for retirement when you can experience the thrill of a blockbuster in a seat that costs more than your last three grocery bills combined? It’s a small price to pay for the opportunity to see your favorite actors’ pores in glorious detail. In conclusion, if you haven’t yet experienced the wonder that is IMAX, prepare yourself for a rollercoaster of emotions and a potential existential crisis. Because nothing says “reality” quite like watching a fictional world unfold on a screen so big it makes your own life choices seem trivial. So, grab your credit card, put on your 3D glasses, and let’s dive into the cinematic abyss of IMAX—where reality takes a backseat, and your wallet weeps in despair. #IMAX #CinematicExperience #RealityCheck #MovieMagic #TooBigToFail
    IMAX : tout ce que vous devez savoir
    IMAX est mondialement reconnu pour ses écrans gigantesques, mais cette technologie révolutionnaire ne se limite […] Cet article IMAX : tout ce que vous devez savoir a été publié sur REALITE-VIRTUELLE.COM.
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