Mid-century modern design enthusiasts, rejoice! Herman Miller has announced the return of the iconic Girard Stool, a versatile and charming piece originally designed by the legendary Alexander Girard in 1967. This reintroduction not only brings back a beloved classic but also updates it with a focus on contemporary sustainability. Alexander Girard, best known as the founding director of Herman Miller’s textile division, was a true polymath with a vibrant and expressive design sensibility. The Girard Stool, initially created for the Girard Group and inspired by his furniture designs for Braniff International, perfectly encapsulates this joyful approach to design. This isn’t just a stool; it’s a multi-purpose piece that can serve as a comfortable footrest, a convenient perch for quick seating, or a stylish standalone accent piece. Designer: Herman Miller What makes this re-release particularly exciting is Herman Miller’s commitment to evolving classic designs with modern values. The updated Girard Stool now features legs crafted from recycled aluminum, significantly reducing its environmental footprint. Furthermore, the seat cushion is made with bio-based foam, showcasing a move towards more sustainable materials without compromising on comfort or durability. Staying true to Girard’s signature aesthetic, the reintroduced stool is available in a curated selection of textile options that celebrate his highly sought-after motifs. These vibrant and engaging patterns add a playful touch to any space, reflecting Girard’s deep appreciation for folk art, typography, and vivid color. This new Girard stool is actually a faithful reproduction of Alexander Girard’s original 1967 design. You can use it as a footrest, extra seat, or a decorative perch for when you’re modeling or taking pictures. Or you can just use it as a regular stool. It’s upholstered in a curated selection of Alexander Girard’s celebrated patterns which can still fit in with a lot of modern aesthetics. It weighs only 7 lbs but has a weight capacity of 250 lbs. It’s also ready to use right out of the box so no need for any instructions or assembly. The reintroduction of the Girard Stool underscores Herman Miller’s ongoing dedication to preserving design history while embracing sustainable practices. This updated classic offers a perfect blend of timeless charm, everyday practicality, and responsible material choices, making it a welcome addition to any contemporary home or office. I’m not someone who loves sitting on stools as it’s not lower back friendly but it can be an interesting addition to your space even if you don’t use it for sitting. The post Herman Miller Girard Stool gets a modern update first appeared on Yanko Design.

For the last 10 years, all of my moves have happened within about a 15-block radius. For personal reasons (a dislike of annoyance and paperwork), I may never leave this neighborhood in Manhattan. Then again, I may not have a choice. You never know when something—a great job opportunity or the sudden desire to experience something new—may come up. If and when you find yourself moving not just locally, but quite a distance, there are some unexpected hurdles you'll need to keep in mind that differentiate this from your standard move. Your budget has to be on pointBudgeting for any kind of move is a key to not going broke during the process, but your expenses for a longer move are going to be more, obviously, and are also going to include quite a few things that you may not immediately think of. Monthly billsIf you're undergoing a more significant move, chances are good that you'll have a rent and utilities overlap, which should be part of your budget planning.In addition to billing overlap, consider any fees you may incur for canceling utility accounts or opening new ones—be sure to check with your new city on how much all of that costs around there. The city you're moving to might have higher taxes, for instance, which may make your monthly bills higher than you expect. You should also think about your other monthly expenses that may change after your move. Your gym membership is a good example. Are you locked into one that is going to be hard to cancel? Many gyms require proof that you're moving out of the region or a certified letter to cancel your membership. On this topic, while it's not quite related to budget, necessarily, check with your doctor, dentist, and other providers about getting referrals, having prescriptions moved to new pharmacies, and if there's anything you should consider related to your healthcare in the new city while you find new providers. Do a quick scan of your checking account to identify any city-specific recurring charges, like public transit passes or bills. Repairs on the new placeRepairs on the old or new home can also add up, especially if you're moving to the new place sight-unseen or if you haven't had a chance to truly assess it. One person I spoke to who moved cross-country, for instance, said the new house they moved to was great—but it had been unoccupied for a while before they moved in, which resulted in spending some time and money cleaning up that they hadn't accounted for.Food and lodgingThe farther you move, the longer you'll spend without a roof over your head and possibly even without a lot of your possessions, as they may still be in transit after you arrive. Don't forget to budget in some money for takeout and even hotel stays, if necessary.Building the budget will take time. Get quotes from a variety of moving companies, figure out your travel situation, add in money for food and bills in the new city, consider whether you need to make any repairs on your old place, and determine what, if anything, it will cost to update your identification and utilities. When you're done ballparking all that, add 10 to 15% onto the number you end up with, advises Rob Rimeris, owner of EverSafe Moving Co. According to him, that "isn't just practical," but "gives people back a sense of agency when plans shift." When you find yourself in a brand-new town, having a sense of agency will keep you feeling sane. How to choose the right moversFinding a good moving company is crucial for any move, but when your stuff is getting hauled across the state—or across the country—it's even more important to do your research. "Find a company that is licensed, insured, has good reviews, and has the proper checks and balances in place," says Charles Chica, co-owner of CT Best Movers. You might be tempted to go with whatever company is the cheapest, but it's important to weight price as just one of many factors.Spend time looking for a company, get your estimates in writing, and provide as much detail as you can about whether you will need help with packing and furniture disassembly and reassembly, as well as what the parking situation is at both the pickup and drop-off locations. Communicate clearly and honestly and make sure all of the communication you receive is backed up in writing. The farther you move, the more complicated this might be, so use an honesty-first approach to avoid any surprise fees or issues.What you might not realize about long-distance movesAlex Girard, whom I interviewed for this story, has lived in four states and recently completed his farthest move. He said that the process for selecting a moving company was trickier than he anticipated, partly because moving works a little differently over long distances."I didn't realize (though it makes sense) that basically the way it works is local movers on either end partner with some national trucking company to do the actual long-haul, so it was kind of hard to compare services," he says. Another difference is that the movers won't load your stuff up and drive directly to your new place, which requires extra planning on your part. "Since the moving companies are partnering with trucking lines," Girard says, "they don't do a special delivery straight to the new house from the old one. Your stuff sits at a warehouse on both sides for a while until they can be loaded onto the next truck out." To avoid the disastrous situation of having to live in a new home with absolutely nothing for two or three weeks, plan for this in advance. Most places Girard spoke to said the boxes and furniture would arrive within 10 to 20 days, so he shipped his most important necessities to his new house in advance, relying on the postal system to make sure he arrived to a new home that contained the essentials he needed to work and live. That was smart, since it actually took a few weeks for the moving companies to deliver everything else, but it was also "a bit expensive."Regardless of how far you're moving, there are things you'll need to keep with you, as movers may not want to (or may not be able to) move all of your belongings. These types of things include identification documents, medications, perishables, hazardous materials, pets (obviously), and even plants. Knowing in advance you'll need to find a safe way to transport all of these and keep them on you is important to ensuring a smooth move. Read online reviews, but don't obsess over themYou'll certainly spend time reading online reviews as you select your moving company—and that's good, but read them with skepticism, too. Girard says he spent a lot of time researching moving companies and pointed out that he read a lot of nightmare-sounding online reviews, but didn't experience anything as catastrophic as what they described. That's a good thing to keep in mind as you do your own research: In general, remember that online reviews only tell part of the story. Someone is more likely to write one when they're super mad and more likely to forget to write one when they have a totally unremarkable experience. Your best bet is to call as many companies as you can, speak to them directly, and make sure they're insured, knowledgeable, and reasonable. (And if you end up having a positive experience with them, consider writing a review just to help out the next person in this position.)Get on the phoneThis is a tip I learned from my mom and am always happy to share: Call people. You can get more done in a 15-minute phone call than a four-day email thread. Whenever she and I go on a trip, she calls the chamber of commerce in that city to ask a local what, exactly, we should be sure not to miss, which has resulted in us having incredible experiences we would never have found if we'd just relied on TripAdvisor or Reddit. The same applies here. Contact your new local government to get a straightforward answer to what, exactly, you need to do to have a smooth move. You'll need a new driver's license, for instance, and the process for obtaining it should be pretty simple, but that can vary by jurisdiction. Turning on your new utilities, updating your mailing address, learning about any new taxes or regulations—all of this should be explained to you by a knowledgeable local. It's likely they'll direct you to an online portal, yes, but you'll know you're working with the right information, which is half the battle. Ask for help from a localFinally, try to find a local who might be willing to answer some questions or tell you more about the town. When I moved from North Dakota to New York at 18, I was enrolled in a university where there were campus reps whose job it was to teach us about the city, but what I learned from them was nothing compared to what I ultimately learned from befriending kids who were born here. City employees can only get you so far. If you don't know anyone in the new place, post an inquiry on Reddit (most cities have their own subreddits—do some Googling to find the most active ones wherever you're moving). In my experience, people love talking up their hometowns. From hidden gems in the culinary landscape to unexpected expenses (Girard notes that he was unpleasantly surprised by the higher taxes on alcohol in his new town), everyday people will be more likely to tell you about the everyday experiences of living there, which will help you acclimate a lot faster.

We may earn a commission from links on this page.As you're planning your big move, you'll likely find yourself talking to a number of moving companies to figure out which one has policies, prices, and availability that work best for your needs. Through that process, you might be surprised to learn that there are things movers won't touch, though the exact types of objects they won't move do vary from company to company. This isn't their way of getting one over on you during a vulnerable time, though you might feel like it is. Rather, according to Rob Rimeris, owner of EverSafe Moving Co., "it's about respect and risk." What moving companies generally won't touchRimeris says his company won't move weapons, open liquids, or valuables like personal identification or heirlooms. That aligned with what I heard from a number of other pros, who also mentioned jewelry, cash, paperwork, passports, medication, anything "irreplaceable," anything flammable, cleaning products, fire extinguishers, paint, and fireworks. Some companies won't even transport your plants or perishable food. And, of course, they're not transporting your dog or other pets. Many pros told me that you should contact your moving company with an itemized list of what you want moved in advance. Your company might be fine moving some of these things and they'll let you know. Get that in writing. So what do you do with the stuff they won't move?First, ask moving companies for a written list of what they will not transport, just so you have an idea of what is going to fall under your responsibility and so you can avoid surprise refusals or fees when they get there. ValuablesKeep your valuables on you during the move, especially things like identification documents, prescriptions, and your birth certificate and social security card. It's a good idea to move those things yourself in your personal vehicle from one home to the next.Because these things are so important, consider a portable lockbox (around $30 or so). It's small enough to move around with you but can keep everything organized and untouchable. Hazardous materialsAs for any hazardous materials, don't transport those yourself—for the same reasons the movers don't want to. Kris Kay, director of operations at UNITS Moving and Portable Storage, cautions that you should contact local disposal centers for proper handling of anything like gasoline or propane tanks. Tiam Behdarvandan, CEO and founder of Let's Get Moving, says that even a small leak can cause a dangerous situation. Anything old or half-used can be disposed of at a local hazardous waste facility. If you have full canisters of gas or other hazardous materials and don't want to dispose of them, ask your local disposal center for specific recommendations on transport. PetsIf you're moving locally, Shainaiqua D'Sa, content marketing lead at Attic Self Storage, advises that "children and pets can unintentionally slow down the moving process," so you should arrange for someone to look after them on the day of the move. You should also flag your vet about the move well in advance. Alex Girard, who recently moved across the country, was surprised to find that his cat needed to be given a "certificate of health" before she was able to fly on a commercial airline to their new city, for instance. Your vet may also prescribe medication to calm your animal down if you have to fly or travel a long distance with them. Seek specific advice on all things travel-related from the vet, like how big your carrying case should be, and contact your airline if you're flying to get information on their policies around animal travel. Like your valuables, you need to keep pet supplies on you. From food to poop bags, these will need to travel with you personally—and you should pack more than you think you'll need in case of any hiccups. Pet identification, medications, accessories, and a favorite item that smells like you should also be included. PlantsPlants are tricky. Start by watering them well a few days before the move and then find a box slightly bigger than the pot, stuffing packing materials around it to keep it cushioned inside. (As with valuables and delicate objects, you can use t-shirts, towels, or other soft goods for this.) Then, cover the plant itself with a large plastic bag, like a trash bag. You should move the plant in a sturdy, temperature-controlled environment, like in your personal vehicle. If you have to fly, it'll be a little more complicated. The TSA allows plants in both carry-on and checked luggage, but you need to contact your airline directly to find out about their policies. Perishable foodsA few weeks in advance, obviously, try to eat these if you can. Decluttering is the best way to save time, space, and money ahead of a move. Consider donating to a food kitchen, especially if you're moving a long distance. Otherwise, these, too, need to be boxed up and taken with you, whether in your personal vehicle or on a plane. Depending on how far you have to travel, consider picking up a cooler. Travel-safe versions with carry straps can be as low as $15.The less straightforward objectsThere are some items that movers will move (or could refuse on a case-by-case basis) but they, too, are important to mention in advance. "Like most movers, we do not handle hazardous or prohibited materials like gas canisters, explosives, or chemicals," says Marshall Aikman, owner of Amazing Moves Moving and Storage. "If you need to move something unusual like a piano, a safe, or antiques, make sure to tell us ahead of time because these require special handling and planning."A few different pros I spoke to mentioned things like pianos and aquariums, actually, and while they will generally move them, they do need to know about them in advance. You might have to pay extra fees for certain objects, depending on what they are and which company you're going with, so get that information in advance to avoid budgetary surprises on the day of the move. If possible, try to move those yourself, but keep in mind that a fee might be worth paying if the other option is literally moving a piano on your own. If you don't declare these things in advance, fees won't be your only problem. Without advance knowledge of tricky, heavy objects, movers may not show up with the right tools and materials, meaning they can't move those and there's nothing you or they can do about it. In the best-case scenario, they have to take extra time to go get the right tools, which can cost you hourly fees and precious time. In the worst-case scenario, they can't do that and you're stuck there with some huge thing you also don't have the tools to move. In the event you find yourself in a situation where you have to move a piano, safe, aquarium, or other unwieldy object, you need moving blankets. Matt Graber, co-owner of Cool Hand Movers, says, "If you're doing your own move, don't skip blanket wrapping furniture pieces. It will protect the pieces themselves in transit, but also reduce the chance of nicking walls and doorways with the edges of bulky items." A 12-pack is about $60. Secure them around the object with heavy-duty tape and place sliders under the legs or corners. Even if you are doing the move yourself, it would be beneficial to contact moving companies for quotes on what it would cost for them to simply help you get these bulky items out of your space and into your U-Haul. Again, movers will move heavier items in most cases, but you have to tell them in advance.

Henry Goodsell captained a schooner similar to the one seen above. Credit: Deposit Photos Get the Popular Science daily newsletter💡 Breakthroughs, discoveries, and DIY tips sent every weekday. In 1995, a mystery skull washed onto a beach in Longport, New Jersey. Four years later, additional bone fragments were discovered less than two miles away on a shore in the neighboring southern New Jersey town of Margate. It would take another 14 years for even more skeletal remains to arrive on a beach another five miles away in Ocean City. But over those three decades, forensic experts and law enforcement couldn’t put a name to the individual known only as “Scattered Man John Doe.” After 30 years, the mystery has finally been solved thanks to a combination of genetic testing, historical research, and archival analysis. “Scattered Man John Doe” wasn’t a victim of foul play—he wasn’t even a comparatively recent death. Instead, the bones belong to Henry Goodsell, a 29-year-old merchant ship captain who perished along with his crew during a storm in the winter of 1844. The identification comes two years after state law enforcement reached out to the Ramapo College of New Jersey’s Investigative Genetic Genealogy Center. After sending bone samples to Intermountain Forensics, a nonprofit dedicated to identifying missing person remains, Ramapo undergraduates began crossreferencing archival files in the hopes of finding a lead. Genetic analysis results traced ancestry as far back as the 1600s, to Connecticut’s Litchfield and Fairfield counties. From there, they also started investigating newspaper reports of any shipwrecks off the coast of New Jersey. Eventually, the students flagged two articles dated from December 20 and 24, 1844. “The schooner Oriental… was lost on the evening of the 4th on Brigantine shoals and all hands with her,” read the Friday edition of the York Democratic Press. An initial report of the ‘Oriental’ shipwreck from December 20, 1844. Credit: Ramapo College According to the paper’s account, the ship left Bridgeport, Connecticut for Philadelphia with around 60 tons of marble intended for Girard College. While cautioning that it was “possible that the crew had taken off, and that the vessel had been abandoned. Four days later, however, newspapers across the northeast confirmed the worst case outcome. “The Bridgeport Standard (Conn.) has further accounts from this ill-fated vessel, which render it certain that all on board must have perished,” reported the Boston Daily Bee on December 24. The consensus at the time was that the Oriental likely sprung a leak before sinking less than a mile from the shoreline, but an intense storm prevented any rescue attempts. All five crew members including Capt. Goodsell ultimately drowned, but only one sailor “was thrown on the shore” five miles away. Authorities later identified him as John Keith before seeing that he was “decently buried,” according to the Daily Bee. Capt. Goodsell left behind a wife and three children. After digging deeper into his family tree, the students suggested he warranted a closer look from the New Jersey State Police (NJSP). On March 7, 2025, authorities collected a DNA reference sample from one of Goodsell’s great-great grandchildren. One month later, the NJSP confirmed “Scattered Man John Doe” to be the late Capt. Goodsell. “The ability to bring answers to families—even generations later—shows how far science and dedication can take us,” NJSP superintendent Col. Patrick Callahan said in a university announcement on May 21. While Goodsell marks the school’s Investigative Genetic Genealogy Center’s  92nd consultancy project, Ramapo College reports it is one of the oldest cold case files ever solved using this advanced type of investigative genealogy.

Rite Aid is moving quickly to close additional store locations after selling a substantial chunk of its pharmacy business to other companies last week. The drugstore chain, which is winding down operations after seeking Chapter 11 bankruptcy protection for a second time earlier this month, has listed 95 store locations that it wants to close as it continues to seek buyers for its retail operations. The locations span six states, with Rite Aid’s home state of Pennsylvania being hit hardest. The list includes more than 70 Pennsylvania stores. Competitors scoop up Rite Aid’s pharmacy assets The move to close additional locations was disclosed in a court filing one day after Rite Aid announced that it has reached agreements to sell its prescription files for more than 1,000 pharmacy locations, most of Rite Aid’s fleet. CVS Pharmacy, Walgreens, Albertsons, Kroger, and Giant Eagle were among the successful bidders, the company said. The sale agreements still need to be approved by a court. Rite Aid also said that CVS will take over “many” pharmacy locations in Washington state, Oregon, and Idaho, although it did not name the locations. CVS, in its own announcement, said it planned to buy prescription files for 625 locations but that it was only taking over 64 physical Rite Aid stores. That leaves the immediate fate of many Rite Aid locations uncertain. Although all locations will cease to be Rite Aid stores eventually, Rite Aid is still seeking to sell some of them to other retailers. An auction is planned for June. In the meantime, expect the 95 stores listed below to close soon. Fast Company reached out to Rite Aid for a more specific timeline. The shuttering of these locations comes after previous Rite Aid filings revealed that it would close 47 initial stores followed by 68 additional stores last week, for a total of 210 closures so far. At the time of its bankruptcy filing, Rite Aid revealed that it had 1,277 pharmacies, three distribution centers, and more than 24,000 employees across 15 states. Rite Aid closures revealed on May 16: California 1583 Highway 99, Gridley, CA 95948 2140 Contra Costa Boulevard, Pleasant Hill, CA 94523 3105 Rancho Vista Boulevard, Palmdale, CA 93551 37435 Main Street, Burney, CA 96013 Delaware 38169 Dupont Boulevard, Selbyville, DE 19975 Maryland 2801 Foster Avenue, Baltimore, MD 21224 101 Marlboro Ave Ste 15, Easton, MD 21601 25 Jones Station Road West, Severna Park, MD 21146 Oregon 1900 Mcloughlin Blvd., Oregon City, OR 97045 16261 South Highway 101, Harbor, OR 97415 2336 North Coast Highway, Newport, OR 97365 4500 Commercial Street, S.E., Salem, OR 97302 1430 NW Garden Valley Blvd, Roseburg, OR 97471 Pennsylvania 1701 Duncan Avenue, Allison Park, PA 15101 2302 Sheffield Road, Aliquippa, PA 15001 3331 Pleasant Valley Blvd., Altoona, PA 16602 4400 Pennell Road, Aston, PA 19014 1799 Third Street, Beaver, PA 15009 5100 Library Road, Bethel Park, PA 15102 503 Clifton Road, Bethel Park, PA 15102 417 Chartiers Street, Bridgeville, PA 15017 139 South Main Street, Butler, PA 16001 1520 N Main Street Ext, Butler, PA 16001 200 Greater Butler Mart, Butler, PA 16001 3434 William Penn Highway, Churchill, PA 15235 412 Broadway Street, Coraopolis, PA 15108 20480 Route 19, Cranberry TWP, PA 16066 101 5th Street, Charleroi, PA 15022 300 Market Street, Elizabeth, PA 15037 4606 Admiral Peary Highway, Ebensburg, PA 15931 5430 Peach Street, Erie, PA 16509 4145 Buffalo Road, Erie, PA 16510 925 West Erie Plaza, Erie, PA 16505 700 Sharon New Castle Rd., Farrell, PA 16121 1020 Liberty Street, Franklin, PA 16323 335 Main Street, Greenville, PA 16125 9141 Ridge Road, Girard, PA 16417 1710 Mount Royal Blvd., Glenshaw, PA 15116 4155 Ewalt Road, Gibsonia, PA 15044 3730 Brighton Road, Pittsburgh, PA 15212 5633 Baum Boulevard, Pittsburgh, PA 15206 1800-1814 Morningside Avenue, Pittsburgh, PA 15206 1700 Murray Avenue, Pittsburgh, PA 15217 3210 Banksville Road, Pittsburgh, PA 15216 5504 Walnut Street, Pittsburgh, PA 15232 410 Cooke Lane, Pittsburgh, PA 15234 568 Caste Village, Pittsburgh, PA 15236 1130 Perry Highway Ste 35, Pittsburgh, PA 15237 1125 Freeport Road, Pittsburgh, PA 15238 2336 Ardmore Boulevard, Pittsburgh, PA 15221 7345 Saltsburg Road, Penn Hills, PA 15235 3434 William Penn Highway, Pittsburgh, PA 15235 1700 Pine Hollow Road, McKees Rocks, PA 15136 4185 Washington Road, McMurray, PA 15317 975 Market Street, Meadville, PA 16335 109 Allegheny River Blvd., Oakmont, PA 15139 3730 Brighton Road, Pittsburgh, PA 15212 300 Market Street, Elizabeth, PA 15037 135 South Market Street, New Wilmington, PA 16142 1501 Scalp Avenue, Johnstown, PA 15904 407 Central Avenue, Johnstown, PA 15902 4960 Bedford Street, Johnstown, PA 15904 113 West Main Street, West Newton, PA 15089 1236 Long Run Road, White Oak, PA 15131 6375 Library Road, South Park, PA 15129 2655 E Carson Street, Pittsburgh, PA 15203 1200 Pittsburgh Street, Cheswick, PA 15024 517 Beaver Street, Sewickley, PA 15143 221 Grove City Road, Slippery Rock, PA 16057 446 West Main Street, Monongahela, PA 15063 4111 William Penn Hwy., Monroeville, PA 15146 600 William Marks Drive, Munhall, PA 15120 1120 Philadelphia Avenue, Northern Cambria, PA 15714 8775 Norwin Avenue, North Huntingdon, PA 15642 3550 Route 130, Irwin, PA 15642 1440 East High Street, Waynesburg, PA 15370 201 Devine Drive, Wexford, PA 15090 100 Seven Fields Blvd, Seven Fields, PA 16046 334 Main Street, Greenville, PA 16125 1851 East State Street, Hermitage, PA 16148 811 East State Street, Sharon, PA 16146 802 Pennsylvania Avenue, Pittsburgh, PA 15233 880 Butler Street, Pittsburgh, PA 15223 900 Mount Royal Blvd., Pittsburgh, PA 15223 25 Jones Station Road West, Severna Park, MD 21146 1800-1814 Morningside Avenue, Pittsburgh, PA 15206 139 South Main Street, Butler, PA 16001 Virginia 2600 Weir Place, Chester, VA 23831 520 West Broad Street, Richmond, VA 23220 Warwick Shopping Center, Newport News, VA 23601 3701 Kecoughtan Road, Hampton, VA 23669 421 Wythe Creek Road, Poquoson, VA 23662 Cape Henry SC, Virginia Beach, VA 23451

One of the most influential pieces of visual effects in history (no, seriously). Admit it, whenever you drive past a logging truck these days, you get nervous, right? I think that behavior can be squarely blamed on the infamous logging truck sequence in David R. Ellis’ Final Destination 2, from 2003. The deadly pile-up caused by logs falling off the truck still induces nightmares in drivers today. Back then, it came about via some elaborate stunts, special effects, and visual effects by Digital Dimension (the film’s overall visual effects supervisor was Joe Bauer). With Final Destination: Bloodlines currently in cinemas, I thought it would be fun to go back to this notable VFX scene. I crawled through Digital Dimension’s old website and found some fantastic video from one part of the scene–when the logs first drop–and detailed descriptions of the whole sequence, both including the tests the VFX studio produced. With the video, I’ve put together a ‘remake’ of their VFX breakdown, and the text is also reproduced below (you can find the original here.) Enjoy a look back! Digital Dimension text For New Line Cinema’s teen thriller sequel, Final Destination II, Digital Dimension completed over 80 visual effects shots. Early Tests Digital Dimension’s involvement in FDII began early on with a series of tests to help Director Dave Ellis and VFX Supervisor Joe Bauer decide on the approach to take for the complex log sequence. The earliest of these tests included simple dynamics and rendering tests using temporary textures and cylinder primitives for the CG logs. Log Sequence Test Shot The log sequence was originally planned to be shot practically, if possible, but with promising results from the preliminary CG tests, it was decided that test footage would be shot in Vancouver with the intention of comparing real logs to CG logs. Digital Dimension went on-site to oversee the test. It became apparent during the test that real-life logs would be nearly impossible to control and would not exhibit the liveliness required for the sequence. Now it was a matter of whether CG logs would be believable and offer a more dramatic performance. Meanwhile, the CG Supervisor was working out the log dynamics and particles using the storyboards as reference. It was clear from the beginning that the whole pipeline was going to have to be flexible enough to accommodate changes in timing and feel of the shots. This basically ruled out hand keyframing of the logs and particles. Once preliminary dynamics had worked out, the team began experimenting with different types of layers that would contribute to the final composited test shot. The results of this experimentation would serve as the foundation for the pipeline used for the actual effects shots later in the production. On location in Vancouver The test shot was a complete success, and it was clear to everyone that using CG logs for the log sequence would provide the necessary control without sacrificing realism. So with Digital Dimension greenlit to create the digital logs, the Sr. Technical Director voyaged to Vancouver, BC, to serve as Digital Dimension’s eyes and ears on set, and to acquire detailed location measurements and reference photography for the sequence. Camera Tracking With data from the set, reference photography, and film scans in hand, it was now time to dig into the principal effects work. One of the first major challenges for FDII was camera tracking over two dozen shots making up the log sequence. The shots used lenses ranging from wide angle (~15mm) to telephoto (~450mm) with very few lock-offs. To complete the tracking in minimal time, most of Digital Dimension’s staff was involved in roughing out the tracking. A collection of before/after images. Modeling the Logs With the test shots completed using only temporary models and textures, the Sr. VFX Designer then began working out modeling and textures for the final log, ultimately creating 22 unique logs with custom textures built from reference photos. Close attention was paid to fine details such as scrapes and missing bark on the logs. In addition, custom displacement maps were built for each of the logs. For the final touch, a hair system was used to add frayed wood on some of the logs. Log Dynamics and Particles Revisions to the dynamics were completed on a regular basis, allowing critiques from the Director and VFX Supervisor to be incorporated. This insured the sequence held together as a whole. Meanwhile, working from the foundation built for the test shot, particle debris for the test shots were being refined for the final effects. Using a rule-based particle system, an automated approach was developed which detected the impact of a log and emitted various amounts of bark, dirt, dust and debris based on that impact. This meant that all the particle animation was generated in real time in response to the dynamic motion of the logs. The final approach included details to help convey the realism of the shot such as making “particle debris” at rest lay flat on the road without penetrating it. Bringing It All Together Visual effects are typically generated from a buildup of several layers to give the compositors the fine control needed to achieve seamless integration with the plate. FDII was no exception, with the complexity of a given shot often determining the number of layers needed for the CG elements. For example, the CG logs had layers for the logs themselves, large debris such as slabs of bark, small debris such as bark particulate, dust, and even earth kicked up by the logs. Additional layers included direct shadows, contact shadows, and a variety of masks such as log highlights, log cap masks, and height maps from the road for reflection layers. The CG logs also needed to change from dry to wet while interacting with the road, and they typically had great depth – traveling from near to far or vice versa. For this reason, all log-related layers typically included Z information used to apply depth of field and ambient density in the composite. And since the road was wet in many shots, reflection layers were added, nearly doubling the number of layers needed for the log elements. Some layers, such as water spray, were created directly in the composite with 2D particles. Finally, details such as focal changes and reflection quality were carefully matched for maximum integration. For the shot where the log crashes into Thomas’s squad car, a still frame of a real log was rotoscoped and warped based on a CG wireframe to give the illusion of rotation as it crashed into the car. From the beginning, the cycle of refinement was in effect. CG artists generated layers for the compositors. The compositors took the layers and worked them into the plates. This process was repeated continuously, with composite test renders re-edited into the sequence on a daily basis. This allowed both animators and compositors to review their work in context and make assessments for revisions based on seeing their work in its most final form. Digital Dimension Credits for Final Destination II Facility VFX Supervisor: Benoit Girard Facility VFX Producer: Jerome Morin Facility VFX Designer: Edmund Kozin Sr. Technical Director: James Coulter CG Supervisor: Jason Crosby CG Animators: Brandon Davis, Justin Mitchell, Andy Roberts, Marion Spates, Sung-Wook Su Lead Compositor: Leandro Visconti Compositors: Jeremy Appelbaum, Miguel Bautista, Jim Cabonetti, Dan Walker, Adam Zepeda The post An ode to the logging truck VFX from ‘Final Destination 2’ appeared first on befores & afters.

NimueIntroductionFor three semesters, our student team has been hard at work on the prototype for Nimue, a 3D platformer in which you play an enchanted princess who lost her memories. She needs to find her way through the castle ruins on a misty lake to uncover her past. Water is a visual core element of this game prototype, so we took extra care in its development. In this article, we will take an in-depth look at the design and technical implementation of a lake water material.The first prototype of Nimue can be played on itch.io soon. A link to our shader for use in your own projects can be found at the end of this article.Taxonomy of WaterBefore we dive into the design decisions and technical implementation, we present a simplified taxonomy of visual water components to better understand the requirements of its representation:RiMEWind WavesWaves generated by wind, which form on an open water surface, can be divided into capillary waves and gravity waves. Capillary waves, or ripples, are small, short-wavelength waves caused by weak winds affecting surface tension in calm water. They can overlap longer and larger gravity waves. How these physically complex wave types are represented in stylized video games varies depending on the respective style. Both types are usually heavily simplified in form and motion, and capillary waves are sometimes omitted entirely to reduce detail.Sea of ThievesFoam PatternsFoam patterns refer to white foam crests that form on a water surface without breaking against an obstacle or shoreline. In reality, this effect occurs when different water layers collide, and waves become steeper until their peaks collapse, and the resulting bubbles and drops scatter the sunlight. Stylized foam patterns can be found in many video game water representations and can easily be abstracted into patterns. Such patterns contribute to a cartoon look and can sometimes even replace waveforms entirely.The Legend of Zelda: The Wind WakerFoam LinesFoam lines are a very common water element in video games, represented as white graphical lines surrounding shorelines and obstacles like rocks. They typically reference two different water phenomena: foam forming around obstacles due to wave breaking, and foam along shorelines, resulting from wave breaking and the mixing of algaes with organic and artificial substances.Foam lines can have different visual appearances depending on the surface angle: The shallower the angle, the wider the foam effect. Due to the weaker waves, distinctive foam lines are rarely observed on natural lakes, but they can be included in a stylization for aesthetic purposes. Animal Crossing: New HorizonsReflectionsWhen light hits a water surface, it can either be reflected (specular reflection) or transmitted into the water, where it may be absorbed, scattered, or reflected back through the surface. The Fresnel effect describes the perceived balance between reflection and transmission: at steep angles, more transmitted light reaches the eye, making the water appear more translucent, while at shallow angles, increased reflection makes it appear more opaqueIn stylized video games, implementations of water reflections vary: RiME, for example, imitates the Fresnel effect but does not reflect the environment at all, only a simple, otherwise invisible cube map. Wind Waker, on the other hand, completely foregoes reflection calculations and renders a flat-shaded water surface.RiMETranslucencyAs an inhomogeneous medium, water scatters some of the transmitted light before it can be reflected back to the surface. This is why water is described as translucent rather than transparent. Some scattered light is not reflected back but absorbed, reducing intensity and shifting color toward the least absorbed wavelengths, typically blue, blue-green, or turquoise. Increased distance amplifies scattering and absorption, altering color perception. Modern real-time engines simulate these effects, including absorption-based color variation with depth. However, stylized games often simplify or omit transmission entirely, rendering water as an opaque surface.RiMERefractionAn additional aspect of water transmission is refraction, the bending of light as it transitions between air and water due to their differing densities. This causes light to bend toward the normal upon entering the water, creating the apparent distortion of submerged objects. Refraction effects also commonly appear in stylized water rendering. Kirby's Forgotten Land, for example, showcases two key visual characteristics of refraction: distortion increases with steeper viewing angles and is amplified by ripples on the water's surface.Kirby and the Forgotten LandCausticsCaustic patterns form when light rays are focused by a curved water surface (caused by waves and ripples), projecting bundled light patterns onto underwater surfaces or even back to surfaces above water. These patterns are influenced by the clarity of the water, the depth of the water, and the strength of the light source. They contribute greatly to the atmosphere of virtual worlds and are often found in stylized games, although only as simplistic representations.The Legend of Zelda: Ocarina of Time 3DDesign DecisionsDue to the fact that the setting of Nimue is a lake with a calm overall atmosphere, the decision was made to use very reduced gravity waves, as a calm water surface underlines this atmosphere. Capillary waves have too high a level of detail for the stylistic requirements of Nimue and were, therefore, not implemented.NimueShapesThe mood in Nimue can be summarized as calm and mystical. The design language of Nimue is graphic, rounded, and elegant. Shapes are vertically elongated and highly abstracted. Convex corners are always rounded or have a strong bevel, while concave corners are pointed to prevent the overall mass of objects from becoming too rounded.ColorsNimue uses mostly broken colors and pastels to create a serene, reflective mood and highlight the player's character with her saturated blue tones. Platforms and obstacles are depicted with a lower tonal value (darker) to increase their visibility. Overall, the game world is kept in very unsaturated shades of blue, with the atmospheric depth, i.e., the sky and objects in the distance, falling into the complementary orange range. Shades of green and yellow are either completely avoided or extremely desaturated. The resulting reduced color palette additionally supports the atmosphere and makes it appear more harmonious.Color gamut & value/tone tests Hue, Tone & SaturationSince the color of the water, with its hue, tone, and saturation, is technically achieved by several components, a 2D mockup was first designed to more easily compare different colors in the environment. Here it could be observed that both the low and the high tonal value formed too great a contrast to the rest of the environment and thus placed an undesirable focus on the water. Therefore, the medium tone value was chosen.The hue and saturation were tested in relativity to the sky, the player character, and the background. Here, too, the color variant that harmonizes the most with the rest of the environment and contrasts the least was chosen.Foam LinesFor the design of the foam lines, we proceeded in the same way as for the color selection: In this case, a screenshot of the test scene was used as the basis for three overpaints to try out different foam lines on the stones in the scene. Version 3 offers the greatest scope in terms of movement within the patterns. Due to this, and because of the greater visual interest, we opted for variant 3. Following the mockup, the texture was prepared so that it could be technically implemented.ReflectionThe reflection of the water surface contributes to how realistic the water looks, as one would always expect a reflection with natural water, depending on the angle. However, a reflection could also contribute to the overall appearance of the water becoming less calm. The romantic character created by the reflection of diffuse light on water is more present in version 1.In addition, the soft, wafting shapes created by the reflection fit in well with the art style. A reflection is desirable, but the reflections must not take up too much focus. Ideally, the water should be lighter in tone, and the reflections should be present but less pronounced. Reflection intensityRefraction & CausticsEven though most light in our water gets absorbed, we noticed an improvement in the believability of the ground right underneath the water's surface when utilizing refraction together with the waveforms. When it comes to caustics, the diffuse lighting conditions of our scene would make visible caustic patterns physically implausible, but it felt right aesthetically, which is why we included it anyway (not being bound to physical plausibility is one of the perks of stylized graphics).Technical Realization in Unreal Engine 5When building a water material in Unreal, choosing the right shading model and blend mode is crucial. While a Default Lit Translucent material with Surface Forward Shading offers the most control, it is very costly to render. The more efficient choice is the Single Layer Water shading model introduced in Unreal 4.27, which supports light absorption, scattering, reflection, refraction, and shadowing at a lower instruction count. However, there are some downsides. For example, as it only uses a single depth layer, it lacks back-face rendering, making it less suitable for underwater views. And while still quite expensive by itself, its benefits outweigh the drawbacks of our stylized water material.WaveformsStarting with the waveforms, we used panning normal maps to simulate the rather calm low-altitude gravity waves. The approach here is simple: create a wave normal map in Substance 3D Designer, sample it twice, and continuously offset the samples' UV coordinates in opposing directions at different speeds. Give one of the two samples a higher speed and normal intensity to create a sense of wind direction. This panning operation does not need to run in the fragment shader, you can move it to the vertex shader through the Vertex Interpolator without quality loss and thereby reduce the instruction count.Texture RepetitionTo reduce visible tiling, we used three simple and fairly efficient tricks. First, we offset the UVs of the Wave Samplers with a large panning noise texture to dynamically distort the wave patterns. Second, we used another sampler of that noise texture with different tiling, speed, and direction to modulate the strength of the normal maps across the surface. We sampled this noise texture four times with different variables in the material, which is a lot, but we reused them many times for most of the visual features of our water. Third, we sampled the pixel depth of the surface to mask out the waves that were far from the camera so that there were no waves in the far distance.Vertex DisplacementWhile these normal waves are enough to create the illusion of altitude on the water surface itself, they are lacking when it comes to the intersections around objects in the water, as these intersections are static without any actual vertex displacement. To fix that, two very simple sine operations (one along the X-axis and the other on the Y-axis) were added to drive the World Position Offset of the water mesh on the Z-axis. To keep the polycounts in check, we built a simple blueprint grid system that spawns high-res plane meshes at the center in a variable radius, and low-res plane meshes around that. This enables the culling of non-visible planes and the use of a less complex version of the water material for distant planes, where features like WPO are not needed.ColorThe general transmission amount is controlled by the opacity input of the material output, but scattering and absorption are defined via the Single Layer Water material output. The inputs Scattering Coefficients and Absorption Coefficients, which are responsible for reproducing how and how far different wavelengths travel through water, are decisive here. We use two scattering colors as parameters, which are interpolated depending on the camera distance. Close to the camera, the blue scattering color (ScatteringColorNear) dominates, while at a distance, the orange scattering color (ScatteringColorFar) takes over. The advantage is a separation of the water's color from the sky's color and, thus, higher artistic control.Reflections & RefractionReflections in the Single Layer Water shading model are as usual determined by the inputs for Specular (reflection intensity) and Roughness (reflection diffusion). In our case, however, we use Lumen reflections for their accuracy and quality, and as of Unreal 5.4, the Single Layer Water model’s roughness calculation does not work with Lumen reflections. It forces mirror reflections (Roughness = 0), no matter the value input, leaving the specular lobe unaffected. Instead, it only offsets the reflection brightness, as the specular input does.For our artistic purposes, this is fine, and we do use the roughness input to fine-tune the specular level while having the specular input as the base level. A very low value was set for the specular value to keep the reflection brightness low. We further stylized the reflections by decreasing this brightness near the camera by using the already mentioned masking method via camera to interpolate between two values (RoughnessNear and RoughnessFar). For refraction, the Pixel Normal Offset mode was used, and a scalar parameter interpolates between the base refraction and the output of the normal waves.CausticsFor the caustic effect, we created a Voronoi noise pattern by using Unreal's Noise node and exporting it with a render target. In Photoshop, the pattern was duplicated twice, rotated each, colored, and blended. This texture is then projected on the objects below by using the ColorScaleBehindWater input of the Single Layer Water Material output. The pattern is dynamically distorted by adding one of the aforementioned panning noise textures to the UV coordinates.FoamlinesWe started by creating custom meshes for foam lines and applied the earlier texture pattern, but quickly realized that such a workflow would be too cumbersome and inflexible for even a small scene, so we decided to do it procedurally. Two common methods for generating intersection masks on a plane are Depth Sampling and Distance Fields. The first works by subtracting the camera's distance to the water surface at the current pixel (i.e., the "PixelDepth") from the camera's distance to the closest scene object at that pixel (i.e., the "SceneDepth"). The second method is to use the node "DistanceToNearestSurface" which calculates the shortest distance between a point on the water surface and the nearest object by referencing the scene's global distance field. We used both methods to control the mask width, as each alone varies with the object's surface slope, causing undesirable variations. Combining them allowed us to switch between two different mask widths, turning off "Affect Distance Field Lighting" for shallow slopes where narrower lines are wanted.The added mask of all intersections is then used for two effects to create the foam lines: "edge foam" (that does not depart from the intersection) and "edge waves" (which go outwards from the edge foam). Both are shaped with the noise samplers shown above to approximate the hand-drawn foam line texture.Foam PatternsThe same noise samplers are also used to create a sparkling foam effect, loosely imitating whitecaps/foam crests to add more visual interest to the water surface. Since it only reuses operations, this effect is very cheap. Similarly, the wave normals are used to create something like fake subsurface scattering to further distinguish the moving water surface. Interactive RipplesA third type of foam is added as interactive waves that ripple around the player character when walking through shallow water. This is done through a Render Target and particles, as demonstrated in this Unity tutorial by Minions Art. The steps described there are all easily applicable in Unreal with a Niagara System, a little Blueprint work, and common material nodes. We added a Height to Normal conversion for better visual integration into our existing wave setup. Finally, here are all those operations combined for the material inputs:NimueBest PracticesUse Single Layer Water for efficient translucency, but note it lacks back-face rendering and forces mirror reflections with Lumen;For simple low-altitude waves, pan two offset samples of a normal map at different speeds; move panning to Vertex Shader for better performance;Break up texture tiling efficiently by offsetting UVs with a large panning noise, modulating normal strength, and fading distant waves using pixel depth;Sampling one small noise texture at different scales can power this and many other features of a water shader efficiently;If high-altitude waves aren't needed, a simple sine-based WPO can suffice for vertex displacement; implement a grid system for LODs and culling of subdivided water meshes;Blend two scattering colors by camera distance for artistic watercolor control and separation from sky reflections;Combining depth sampling and distance fields to derive the foam lines allows for more flexible intersection widths but comes at a higher cost. Further ResourcesHere are some resources that helped us in the shader creation process:General shader theory and creation: tharlevfx, Ben Cloward;Interactive water in Unity: Minions Art;Another free stylized water material in Unreal by Fabian Lopez Arosa;Technical art wizardry: Ghislain Girardot.ConclusionWe hope this breakdown of our water material creation process will help you in your projects.If you want to take a look at our shader yourself or even use it for your own game projects, you can download the complete setup on Gumroad. We look forward to seeing your water shaders and exchanging ideas. Feel free to reach out if you have any questions or want to connect.Kolja Bopp, Academic SupervisorLeanna Geideck, Concept ArtistStephan zu Münster, Technical Artist