• Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters

    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game.
    In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC.
    Tony Hawk’s Pro Skater 3 + 4 launches on July 11.
    THPS 3 + 4: Returning Skaters

    From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them.
    “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.”
    “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth!blew my mind, the impact it had.”
    “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”
     When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series.
    Tony Hawk

    San Diego, California
    Style: Vert / Stance: Goofy
    Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure.
    Bob Burnquist

    Rio de Janeiro, Brazil
    Style: Vert / Stance: Regular
    Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp.
    Bucky Lasek

    Baltimore, Maryland
    Style: Vert / Stance: Regular
    Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively.
    Steve Caballero

    San Jose, California
    Style: Vert / Stance: Goofy
    An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe.
    Kareem Campbell

    Harlem, New York
    Style: Street / Stance: Regular
    Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards.
    Geoff Rowley

    Liverpool, England
    Style: Street / Stance: Regular
    Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine.
    Andrew Reynolds

    North Hollywood, California
    Style: Street / Stance: Regular
    Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later.
    Elissa Steamer

    San Francisco, California
    Style: Street / Stance: Regular
    Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame.
    Chad Muska

    Los Angeles, California
    Style: Street / Stance: Regular
    Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.”
    Eric Koston

    Los Angeles, California
    Style: Street / Stance: Goofy
    Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist.
    Rodney Mullen

    Gainesville, Florida
    Style: Freestyle / Stance: Regular
    One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks.
    Jamie Thomas

    Dothan, Alabama
    Style: Street / Stance: Regular
    Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made.
    Rune Glifberg

    Copenhagen, Denmark
    Style: Vert / Stance: Regular
    Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition.
    Aori Nishimura

    Tokyo, Japan
    Style: Street / Stance: Regular
    Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games.
    Leo Baker

    Brooklyn, New York
    Style: Street / Stance: Goofy
    Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions. 
    Leticia Bufoni

    São Paulo, Brazil
    Style: Street / Stance: Goofy
    Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row.
    Lizzie Armanto

    Santa Monica, California
    Style: Park / Stance: Regular
    A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp.
    Nyjah Huston

    Laguna Beach, California
    Style: Street / Stance: Goofy
    One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics.
    Riley Hawk

    San Diego, California
    Style: Street / Stance: Goofy
    Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day.
    Shane O’Neill

    Melbourne, Australia
    Style: Street / Stance: Goofy
    Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS.
    Tyshawn Jones

    Bronx, New York
    Style: Street / Stance: Regular
    A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade.

    The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun. 

    Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate.
    Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more.

    Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here.

    Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date.
    Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear:

    Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard.
    Revenant: Get evil with the Revenant, including two unique special tricks.
    Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack.
    Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs.
    Create-A-Skater Items: Kit out your skater with additional apparel items.

    Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com.
    * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features.
    **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch datesubject to change. Internet connection required.
    *** Actual play time subject to possible outages and applicable time zone differences.
    #tony #hawks #pro #skater #returning
    Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters
    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC. Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth!blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features. **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch datesubject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences. #tony #hawks #pro #skater #returning
    WWW.TONYHAWKTHEGAME.COM
    Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters
    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC (Battle.net, Steam, Microsoft PC Store). Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth! [It] blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features (sold separately). **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch date(s) subject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences.
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  • David Cope, Godfather of A.I. Music, Is Dead at 83

    His EMI algorithm, an early form of artificial intelligence that he developed in the 1980s, prompted searching questions about the limits of human creativity.
    #david #cope #godfather #music #dead
    David Cope, Godfather of A.I. Music, Is Dead at 83
    His EMI algorithm, an early form of artificial intelligence that he developed in the 1980s, prompted searching questions about the limits of human creativity. #david #cope #godfather #music #dead
    WWW.NYTIMES.COM
    David Cope, Godfather of A.I. Music, Is Dead at 83
    His EMI algorithm, an early form of artificial intelligence that he developed in the 1980s, prompted searching questions about the limits of human creativity.
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  • What's New on Paramount+ With Showtime in June 2025

    Paramount+ has a lighter lineup of original content in June, though the platform will stream the live broadcast of the 78th annual Tony Awards from Radio City Music Hall in New York City. The show, hosted by Wicked's Cynthia Erivo, will air live on June 8 for Paramount+ With Showtime subscribers—other viewers can watch on-demand the next day. Other content available for Paramount+ With Showtime users is Love Me, a post-apocalyptic romance starring Kristen Steward and Steven Yeun, and Noah's Arc: The Movie, 20 years after the titular show first debuted. Darryl Stephens, Rodney Chester, Doug Spearman, Christian Vincent, Jensen Atwood, and Wilson Cruz are set to reprise their roles.

    Here’s everything else coming to the service in June. Note that titles with an asterisk are exclusive to Paramount+ With Showtime; everything else is also available to subscribers on the ad-supported plan. Those with two asterisks are available to Paramount+ With Showtime users streaming live on CBS and to all subscribers the following day.Paramount+ Originals and premieres coming in June 2025Available June 8The 78th Annual Tony Awards**Available June 16Love Me*Available June 20Noah's Arc: The Movie,* premiereTV shows coming to Paramount+ in June 2025Available June 4SpongeBob SquarePantsAvailable June 11The Really Loud HouseAvailable June 22Nickelodeon Kids' Choice AwardsAvailable June 25The Patrick Star ShowIce Airport AlaskaThe Last CowboyMovies coming to Paramount+ in June 2025Available June 13:10 to Yuma*12 Years a Slave Bad News Bears BlacKkKlansmanBoogie NightsBut I'm a CheerleaderCall Me By Your NameCarolCarriersCenter StageChanging LanesChasing AmyCloverfieldCrawlspaceDaddy Day CampDance FlickDog Day AfternoonDouble Jeopardy Eagle Eye ElfEnemy at the Gates EuroTripEverybody's Fine ExtractFirst Blood HeatwaveHow She MoveHow to Lose a Guy in 10 Days Imagine That In & OutIndiana Jones and the Kingdom of the Crystal SkullIndiana Jones and the Last CrusadeIndiana Jones and the Raiders of the Lost Ark Indiana Jones and the Temple of DoomJawbreakerKinky BootsLaw of DesireLayer Cake Light of My LifeLike a BossMarathon ManMastermindsMilitary Wives*Naked Gun 33 1/3: The Final InsultNo Country for Old MenOrange CountyOverdrivePretty In PinkPulp Fiction Racing with the MoonRambo IIIRambo: First Blood Part II RED* Reservoir Dogs Risky Business Road Trip Run & Gun Saturday Night FeverSave the Last Dance School Ties Scouts Guide to the Zombie Apocalypse She's All That Sky Captain and the World of Tomorrow Stand By Me Teen Titans GO! To the Movies The Autopsy of Jane Doe* The Crossing Guard The Dictator The Fighting Temptations The GamblerThe General's DaughterThe Girl Next Door The Godfather The Godfather Part II The Godfather Coda: The Death of Michael Corleone The Hunt for Red OctoberThe Ides of March The Kings of SummerThe Last Samurai The Lovely Bones The Naked Gun 2 1/2: The Smell of FearThe Naked Gun: From The Files of Police Squad! The Nice Guys The Other Woman* The People vs. Larry Flynt The Running ManThe ShootistThe Space Between Us* The Untouchables Tigerland Tommy BoyTootsie Total RecallTrue Grit Whiplash Without a Paddle xXxZola Available June 5Lions for Lambs*
    #what039s #new #paramount #with #showtime
    What's New on Paramount+ With Showtime in June 2025
    Paramount+ has a lighter lineup of original content in June, though the platform will stream the live broadcast of the 78th annual Tony Awards from Radio City Music Hall in New York City. The show, hosted by Wicked's Cynthia Erivo, will air live on June 8 for Paramount+ With Showtime subscribers—other viewers can watch on-demand the next day. Other content available for Paramount+ With Showtime users is Love Me, a post-apocalyptic romance starring Kristen Steward and Steven Yeun, and Noah's Arc: The Movie, 20 years after the titular show first debuted. Darryl Stephens, Rodney Chester, Doug Spearman, Christian Vincent, Jensen Atwood, and Wilson Cruz are set to reprise their roles. Here’s everything else coming to the service in June. Note that titles with an asterisk are exclusive to Paramount+ With Showtime; everything else is also available to subscribers on the ad-supported plan. Those with two asterisks are available to Paramount+ With Showtime users streaming live on CBS and to all subscribers the following day.Paramount+ Originals and premieres coming in June 2025Available June 8The 78th Annual Tony Awards**Available June 16Love Me*Available June 20Noah's Arc: The Movie,* premiereTV shows coming to Paramount+ in June 2025Available June 4SpongeBob SquarePantsAvailable June 11The Really Loud HouseAvailable June 22Nickelodeon Kids' Choice AwardsAvailable June 25The Patrick Star ShowIce Airport AlaskaThe Last CowboyMovies coming to Paramount+ in June 2025Available June 13:10 to Yuma*12 Years a Slave Bad News Bears BlacKkKlansmanBoogie NightsBut I'm a CheerleaderCall Me By Your NameCarolCarriersCenter StageChanging LanesChasing AmyCloverfieldCrawlspaceDaddy Day CampDance FlickDog Day AfternoonDouble Jeopardy Eagle Eye ElfEnemy at the Gates EuroTripEverybody's Fine ExtractFirst Blood HeatwaveHow She MoveHow to Lose a Guy in 10 Days Imagine That In & OutIndiana Jones and the Kingdom of the Crystal SkullIndiana Jones and the Last CrusadeIndiana Jones and the Raiders of the Lost Ark Indiana Jones and the Temple of DoomJawbreakerKinky BootsLaw of DesireLayer Cake Light of My LifeLike a BossMarathon ManMastermindsMilitary Wives*Naked Gun 33 1/3: The Final InsultNo Country for Old MenOrange CountyOverdrivePretty In PinkPulp Fiction Racing with the MoonRambo IIIRambo: First Blood Part II RED* Reservoir Dogs Risky Business Road Trip Run & Gun Saturday Night FeverSave the Last Dance School Ties Scouts Guide to the Zombie Apocalypse She's All That Sky Captain and the World of Tomorrow Stand By Me Teen Titans GO! To the Movies The Autopsy of Jane Doe* The Crossing Guard The Dictator The Fighting Temptations The GamblerThe General's DaughterThe Girl Next Door The Godfather The Godfather Part II The Godfather Coda: The Death of Michael Corleone The Hunt for Red OctoberThe Ides of March The Kings of SummerThe Last Samurai The Lovely Bones The Naked Gun 2 1/2: The Smell of FearThe Naked Gun: From The Files of Police Squad! The Nice Guys The Other Woman* The People vs. Larry Flynt The Running ManThe ShootistThe Space Between Us* The Untouchables Tigerland Tommy BoyTootsie Total RecallTrue Grit Whiplash Without a Paddle xXxZola Available June 5Lions for Lambs* #what039s #new #paramount #with #showtime
    LIFEHACKER.COM
    What's New on Paramount+ With Showtime in June 2025
    Paramount+ has a lighter lineup of original content in June, though the platform will stream the live broadcast of the 78th annual Tony Awards from Radio City Music Hall in New York City. The show, hosted by Wicked's Cynthia Erivo, will air live on June 8 for Paramount+ With Showtime subscribers—other viewers can watch on-demand the next day. Other content available for Paramount+ With Showtime users is Love Me (June 16), a post-apocalyptic romance starring Kristen Steward and Steven Yeun, and Noah's Arc: The Movie (June 20), 20 years after the titular show first debuted. Darryl Stephens, Rodney Chester, Doug Spearman, Christian Vincent, Jensen Atwood, and Wilson Cruz are set to reprise their roles. Here’s everything else coming to the service in June. Note that titles with an asterisk are exclusive to Paramount+ With Showtime; everything else is also available to subscribers on the ad-supported plan. Those with two asterisks are available to Paramount+ With Showtime users streaming live on CBS and to all subscribers the following day.Paramount+ Originals and premieres coming in June 2025Available June 8The 78th Annual Tony Awards**Available June 16Love Me*Available June 20Noah's Arc: The Movie,* premiereTV shows coming to Paramount+ in June 2025Available June 4SpongeBob SquarePants (season 14) Available June 11The Really Loud House (season 2) Available June 22Nickelodeon Kids' Choice Awards (on-demand) Available June 25The Patrick Star Show (season 3) Ice Airport Alaska (season 5) The Last Cowboy (season 5) Movies coming to Paramount+ in June 2025Available June 13:10 to Yuma*12 Years a Slave Bad News Bears BlacKkKlansmanBoogie NightsBut I'm a CheerleaderCall Me By Your NameCarolCarriersCenter StageChanging LanesChasing AmyCloverfieldCrawlspaceDaddy Day CampDance FlickDog Day AfternoonDouble Jeopardy Eagle Eye ElfEnemy at the Gates EuroTripEverybody's Fine ExtractFirst Blood HeatwaveHow She MoveHow to Lose a Guy in 10 Days Imagine That In & OutIndiana Jones and the Kingdom of the Crystal SkullIndiana Jones and the Last CrusadeIndiana Jones and the Raiders of the Lost Ark Indiana Jones and the Temple of DoomJawbreakerKinky BootsLaw of DesireLayer Cake Light of My LifeLike a BossMarathon ManMastermindsMilitary Wives*Naked Gun 33 1/3: The Final InsultNo Country for Old MenOrange CountyOverdrivePretty In PinkPulp Fiction Racing with the MoonRambo IIIRambo: First Blood Part II RED* Reservoir Dogs Risky Business Road Trip Run & Gun Saturday Night FeverSave the Last Dance School Ties Scouts Guide to the Zombie Apocalypse She's All That Sky Captain and the World of Tomorrow Stand By Me Teen Titans GO! To the Movies The Autopsy of Jane Doe* The Crossing Guard The Dictator The Fighting Temptations The GamblerThe General's DaughterThe Girl Next Door The Godfather The Godfather Part II The Godfather Coda: The Death of Michael Corleone The Hunt for Red OctoberThe Ides of March The Kings of SummerThe Last Samurai The Lovely Bones The Naked Gun 2 1/2: The Smell of FearThe Naked Gun: From The Files of Police Squad! The Nice Guys The Other Woman* The People vs. Larry Flynt The Running ManThe ShootistThe Space Between Us* The Untouchables Tigerland Tommy BoyTootsie Total Recall (1990) True Grit Whiplash Without a Paddle xXxZola Available June 5Lions for Lambs*
    0 Yorumlar 0 hisse senetleri 0 önizleme
  • Best National Streaming Day deals: Peacock, MGM+, Apple TV+, and more

    Credit: Mashable Photo Composite / Apple TV+, MGM+, Mubi, Peacock

    Deal pricing and availability subject to change after time of publication.
    Learn more about how we select deals.

    The best streaming deals on National Streaming Day:

    Best overall streaming deal

    Peacock Premiumper year for one yearBest streaming deal for movie lovers

    Mubi

    per month for 4 monthsBest Roku Channel deal

    MGM+per month for 2 monthsBest free trial

    Apple TV+

    free for one monthHappy National Streaming Day, folks. Coined by Roku back in 2014 as a way of self-promoting its streaming devices and subscriptions, National Streaming Day is now an unofficial holiday falling on May 20 every year. If you've been searching for streaming deals, now's a good opportunity to sign up for new services for a steal. Although Roku created the holiday, we've seen other streamers throw their hats in the ring in years past — like this per month Hulu deal from 2022 — and this year is no different. But Roku still has the biggest selection of streaming deals to choose from. This time around, the streaming device company is offering up to 90 percent off subscriptions to MGM+, Starz, Shudder, AMC+, and more. The only catch is you have to sign up through the Roku Channel, which is completely free and can be accessed through your web browser, a Roku streaming device, or an Amazon Fire TV device. Without further ado, here are the best streaming deals on National Streaming Day 2025. Be sure to sign up ASAP, as most of the deals expire sooner than you think. For example, all the Roku Channel offers end May 21 at 2:59 a.m. ET.

    You May Also Like

    Best National Streaming Day deal

    Opens in a new window

    Credit: Peacock

    Peacock Premiumwith code SPRINGSAVINGS

    Technically this Peacock deal isn't exclusively for National Streaming Day, but we're including it because it's such an impressive deal. Through May 30, new and returning Peacock subscribers can get one year of Peacock Premium for only with code SPRINGSAVINGS. That's 68% off the usual cost of per year and breaks down to a little over per month. We're big fans of Peacock; it's easy to use, always has great deals, and features a highly impressive catalog of movies and shows. It's where you'll find movies like Wicked, Nosferatu, and Black Bag, popular shows like The Office, New Girl, and Yellowstone, and Peacock Originals like Poker Face and Long Bright River.Best National Streaming Day deal for movie lovers

    Opens in a new window

    Credit: MUBI

    Mubi

    /month for 4 monthsMubi is not your average streaming service. It's specifically made for cinephiles, with a library that's brimming with quality international cinema. It's home to Mubi originals like recent Oscar nominee The Substance, plus plenty of mainstream, classic, independent, and award-winning movies. It's also where you'll find The People's Joker and Bird, two more of our favorite movies of 2024. For a limited time, new and returning subscribers can get Mubi for only per month for 4 months. That's a massive in savings, as it usually costs per month.

    Related Stories

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    Want more hand-picked deals from our shopping experts?
    Sign up for the Mashable Deals newsletter.

    By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy.

    Thanks for signing up!

    Best National Streaming Day deal on Roku

    Opens in a new window

    Credit: MGM+

    MGM+/month for 2 monthsRoku's deals are aplenty this Streaming Day, but our favorite is this one on MGM+. Through May 22 at 2:59 a.m. ET, new and returning subscribers can sign up for MGM+ for only 99 cents per month for two months on the Roku Channel. Usually per month, that saves you total. MGM+ is home to a ton of movies we love, like Challengers, Better Man, Blink Twice, and Nickel Boys. The streamer also features its own original series like Godfather of Harlem, From, and Hotel Cocaine. Just be sure to cancel your subscription before your promotional period ends if you want to avoid paying full price.Best National Streaming Day free trial deal

    Opens in a new window

    Credit: Apple TV+

    Apple TV+

    free one-month trial

    Why we like itFree streaming? Yes, please. Through June 26, you can sign up for one month of Apple TV+ for free through Roku. Just install and open the app on your Roku device and follow the prompts to subscribe and you'll enjoy an entire month of free streaming, as opposed to the usual free seven-day trial. A month gives you more time to stream some Apple TV+ original series like Severance, Ted Lasso, and Palm Royale, and movies like The Gorge, Killers of the Flower Moon, and Echo Valley.More National Streaming Day dealsA&E Crime Central— /month for 2 monthsAcornTV— /month for 2 monthsallblk— /month for 2 monthsAMC+— /month for 2 monthsBBC Select— /month for 2 monthsBritBox— /month for 2 monthsCrunchyroll— /month for 2 monthsHallmark+— /month for 2 monthsHistory Vault— /month for 2 monthsHopster Learning— /month for 2 monthsLifetime Movie Club— /month for 2 monthsMHz Choice— /month for 2 monthsShudder— /month for 2 monthsStarz— /month for 2 monthsViX Premium— /month for 2 monthsTopics
    Streaming

    Christina Buff

    Christina Buff is a Nashville-based freelance writer for who covers shopping with a splash of entertainment. If you’re ever wondering what streaming service you need to watch something, she’s your girl.Christina received a B.S. in Business Communicationfrom Stevenson University and began her professional journey writing and editing press releases. Since then, she’s written content for a marketing agency, blogged for celebrities, and covered local news, politics, women’s lifestyle, fashion, beauty, and just about everything in between for various publications.When she’s not writing, she’s probably enjoying live music, studying human design, or embroidering and upcycling clothes. You can follow her on Instagram at @touchinfinity.
    #best #national #streaming #day #deals
    Best National Streaming Day deals: Peacock, MGM+, Apple TV+, and more
    Credit: Mashable Photo Composite / Apple TV+, MGM+, Mubi, Peacock Deal pricing and availability subject to change after time of publication. Learn more about how we select deals. The best streaming deals on National Streaming Day: Best overall streaming deal Peacock Premiumper year for one yearBest streaming deal for movie lovers Mubi per month for 4 monthsBest Roku Channel deal MGM+per month for 2 monthsBest free trial Apple TV+ free for one monthHappy National Streaming Day, folks. Coined by Roku back in 2014 as a way of self-promoting its streaming devices and subscriptions, National Streaming Day is now an unofficial holiday falling on May 20 every year. If you've been searching for streaming deals, now's a good opportunity to sign up for new services for a steal. Although Roku created the holiday, we've seen other streamers throw their hats in the ring in years past — like this per month Hulu deal from 2022 — and this year is no different. But Roku still has the biggest selection of streaming deals to choose from. This time around, the streaming device company is offering up to 90 percent off subscriptions to MGM+, Starz, Shudder, AMC+, and more. The only catch is you have to sign up through the Roku Channel, which is completely free and can be accessed through your web browser, a Roku streaming device, or an Amazon Fire TV device. Without further ado, here are the best streaming deals on National Streaming Day 2025. Be sure to sign up ASAP, as most of the deals expire sooner than you think. For example, all the Roku Channel offers end May 21 at 2:59 a.m. ET. You May Also Like Best National Streaming Day deal Opens in a new window Credit: Peacock Peacock Premiumwith code SPRINGSAVINGS Technically this Peacock deal isn't exclusively for National Streaming Day, but we're including it because it's such an impressive deal. Through May 30, new and returning Peacock subscribers can get one year of Peacock Premium for only with code SPRINGSAVINGS. That's 68% off the usual cost of per year and breaks down to a little over per month. We're big fans of Peacock; it's easy to use, always has great deals, and features a highly impressive catalog of movies and shows. It's where you'll find movies like Wicked, Nosferatu, and Black Bag, popular shows like The Office, New Girl, and Yellowstone, and Peacock Originals like Poker Face and Long Bright River.Best National Streaming Day deal for movie lovers Opens in a new window Credit: MUBI Mubi /month for 4 monthsMubi is not your average streaming service. It's specifically made for cinephiles, with a library that's brimming with quality international cinema. It's home to Mubi originals like recent Oscar nominee The Substance, plus plenty of mainstream, classic, independent, and award-winning movies. It's also where you'll find The People's Joker and Bird, two more of our favorite movies of 2024. For a limited time, new and returning subscribers can get Mubi for only per month for 4 months. That's a massive in savings, as it usually costs per month. Related Stories Mashable Deals Want more hand-picked deals from our shopping experts? Sign up for the Mashable Deals newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Best National Streaming Day deal on Roku Opens in a new window Credit: MGM+ MGM+/month for 2 monthsRoku's deals are aplenty this Streaming Day, but our favorite is this one on MGM+. Through May 22 at 2:59 a.m. ET, new and returning subscribers can sign up for MGM+ for only 99 cents per month for two months on the Roku Channel. Usually per month, that saves you total. MGM+ is home to a ton of movies we love, like Challengers, Better Man, Blink Twice, and Nickel Boys. The streamer also features its own original series like Godfather of Harlem, From, and Hotel Cocaine. Just be sure to cancel your subscription before your promotional period ends if you want to avoid paying full price.Best National Streaming Day free trial deal Opens in a new window Credit: Apple TV+ Apple TV+ free one-month trial Why we like itFree streaming? Yes, please. Through June 26, you can sign up for one month of Apple TV+ for free through Roku. Just install and open the app on your Roku device and follow the prompts to subscribe and you'll enjoy an entire month of free streaming, as opposed to the usual free seven-day trial. A month gives you more time to stream some Apple TV+ original series like Severance, Ted Lasso, and Palm Royale, and movies like The Gorge, Killers of the Flower Moon, and Echo Valley.More National Streaming Day dealsA&E Crime Central— /month for 2 monthsAcornTV— /month for 2 monthsallblk— /month for 2 monthsAMC+— /month for 2 monthsBBC Select— /month for 2 monthsBritBox— /month for 2 monthsCrunchyroll— /month for 2 monthsHallmark+— /month for 2 monthsHistory Vault— /month for 2 monthsHopster Learning— /month for 2 monthsLifetime Movie Club— /month for 2 monthsMHz Choice— /month for 2 monthsShudder— /month for 2 monthsStarz— /month for 2 monthsViX Premium— /month for 2 monthsTopics Streaming Christina Buff Christina Buff is a Nashville-based freelance writer for who covers shopping with a splash of entertainment. If you’re ever wondering what streaming service you need to watch something, she’s your girl.Christina received a B.S. in Business Communicationfrom Stevenson University and began her professional journey writing and editing press releases. Since then, she’s written content for a marketing agency, blogged for celebrities, and covered local news, politics, women’s lifestyle, fashion, beauty, and just about everything in between for various publications.When she’s not writing, she’s probably enjoying live music, studying human design, or embroidering and upcycling clothes. You can follow her on Instagram at @touchinfinity. #best #national #streaming #day #deals
    MASHABLE.COM
    Best National Streaming Day deals: Peacock, MGM+, Apple TV+, and more
    Credit: Mashable Photo Composite / Apple TV+, MGM+, Mubi, Peacock Deal pricing and availability subject to change after time of publication. Learn more about how we select deals. The best streaming deals on National Streaming Day: Best overall streaming deal Peacock Premium (Annual Subscription) $24.99 per year for one year (save $55 with code SPRINGSAVINGS) Best streaming deal for movie lovers Mubi $3.99 per month for 4 months (save $44) Best Roku Channel deal MGM+ (Roku Channel) $0.99 per month for 2 months (save $12) Best free trial Apple TV+ free for one month (save $9.99) Happy National Streaming Day, folks. Coined by Roku back in 2014 as a way of self-promoting its streaming devices and subscriptions, National Streaming Day is now an unofficial holiday falling on May 20 every year. If you've been searching for streaming deals, now's a good opportunity to sign up for new services for a steal. Although Roku created the holiday, we've seen other streamers throw their hats in the ring in years past — like this $1 per month Hulu deal from 2022 — and this year is no different. But Roku still has the biggest selection of streaming deals to choose from. This time around, the streaming device company is offering up to 90 percent off subscriptions to MGM+, Starz, Shudder, AMC+, and more. The only catch is you have to sign up through the Roku Channel, which is completely free and can be accessed through your web browser, a Roku streaming device, or an Amazon Fire TV device. Without further ado, here are the best streaming deals on National Streaming Day 2025. Be sure to sign up ASAP, as most of the deals expire sooner than you think. For example, all the Roku Channel offers end May 21 at 2:59 a.m. ET. You May Also Like Best National Streaming Day deal Opens in a new window Credit: Peacock Peacock Premium (Annual Subscription) $24.99 $79.99 Save $55 with code SPRINGSAVINGS Technically this Peacock deal isn't exclusively for National Streaming Day, but we're including it because it's such an impressive deal. Through May 30, new and returning Peacock subscribers can get one year of Peacock Premium for only $24.99 with code SPRINGSAVINGS. That's 68% off the usual cost of $79.99 per year and breaks down to a little over $2 per month. We're big fans of Peacock; it's easy to use, always has great deals, and features a highly impressive catalog of movies and shows. It's where you'll find movies like Wicked, Nosferatu, and Black Bag, popular shows like The Office, New Girl, and Yellowstone, and Peacock Originals like Poker Face and Long Bright River.Best National Streaming Day deal for movie lovers Opens in a new window Credit: MUBI Mubi $3.99/month for 4 months (save $44) Mubi is not your average streaming service. It's specifically made for cinephiles, with a library that's brimming with quality international cinema. It's home to Mubi originals like recent Oscar nominee The Substance, plus plenty of mainstream, classic, independent, and award-winning movies. It's also where you'll find The People's Joker and Bird, two more of our favorite movies of 2024. For a limited time, new and returning subscribers can get Mubi for only $3.99 per month for 4 months. That's a massive $44 in savings, as it usually costs $14.99 per month. Related Stories Mashable Deals Want more hand-picked deals from our shopping experts? Sign up for the Mashable Deals newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Best National Streaming Day deal on Roku Opens in a new window Credit: MGM+ MGM+ (Roku Channel) $0.99/month for 2 months (save $12) Roku's deals are aplenty this Streaming Day, but our favorite is this one on MGM+. Through May 22 at 2:59 a.m. ET, new and returning subscribers can sign up for MGM+ for only 99 cents per month for two months on the Roku Channel. Usually $6.99 per month, that saves you $12 total. MGM+ is home to a ton of movies we love, like Challengers, Better Man, Blink Twice, and Nickel Boys. The streamer also features its own original series like Godfather of Harlem, From, and Hotel Cocaine. Just be sure to cancel your subscription before your promotional period ends if you want to avoid paying full price.Best National Streaming Day free trial deal Opens in a new window Credit: Apple TV+ Apple TV+ free one-month trial Why we like itFree streaming? Yes, please. Through June 26, you can sign up for one month of Apple TV+ for free through Roku. Just install and open the app on your Roku device and follow the prompts to subscribe and you'll enjoy an entire month of free streaming, as opposed to the usual free seven-day trial. A month gives you more time to stream some Apple TV+ original series like Severance, Ted Lasso, and Palm Royale, and movies like The Gorge, Killers of the Flower Moon, and Echo Valley.More National Streaming Day dealsA&E Crime Central (on Roku Channel) — $1.99/month for 2 months (save $6)AcornTV (on Roku Channel) — $1.99/month for 2 months (save $14)allblk (on Roku Channel) — $0.99/month for 2 months (save $12)AMC+ (on Roku Channel) — $2.99/month for 2 months (save $14)BBC Select (on Roku Channel) — $1.99/month for 2 months (save $8)BritBox (on Roku Channel) — $2.99/month for 2 months (save $12)Crunchyroll (on Roku Channel) — $1.99/month for 2 months (save $12)Hallmark+ (on Roku Channel) — $1.99/month for 2 months (save $12)History Vault (on Roku Channel) — $1.99/month for 2 months (save $8)Hopster Learning (on Roku Channel) — $1.99/month for 2 months (save $6)Lifetime Movie Club (on Roku Channel) — $1.99/month for 2 months (save $6)MHz Choice (on Roku Channel) — $0.99/month for 2 months (save $14)Shudder (on Roku Channel) — $0.99/month for 2 months (save $16)Starz (on Roku Channel) — $1.99/month for 2 months (save $18)ViX Premium (on Roku Channel) — $1.99/month for 2 months (save $14) Topics Streaming Christina Buff Christina Buff is a Nashville-based freelance writer for who covers shopping with a splash of entertainment. If you’re ever wondering what streaming service you need to watch something (and the cheapest way to sign up for it), she’s your girl.Christina received a B.S. in Business Communication (concentration in writing) from Stevenson University and began her professional journey writing and editing press releases. Since then, she’s written content for a marketing agency, blogged for celebrities, and covered local news, politics, women’s lifestyle, fashion, beauty, and just about everything in between for various publications.When she’s not writing, she’s probably enjoying live music, studying human design, or embroidering and upcycling clothes. You can follow her on Instagram at @touchinfinity.
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  • Daredevil – Born Again: Gong Myung Lee – Production VFX Supervisor

    Interviews

    Daredevil – Born Again: Gong Myung Lee – Production VFX Supervisor

    By Vincent Frei - 15/05/2025

    With over two decades of experience in visual effects, Gong Myung Lee started her career in 2003 and went on to work at renowned studios like Mr. X and Method Studios. She became part of the Marvel Studios team in 2022. Her credits include The Finest Hours, Deadpool 2, Triple Frontier, and The Changeling.
    What is your background?
    I started in VFX as a Lighting Technical Director and Compositor, which gave me a deep appreciation for how images work—light, depth, and how all the parts come together. From there, I moved into CG supervision and eventually into VFX supervision, working across features, commercials, and episodic projects.
    I’ve worked both on the vendor side and in production. At facilities, I built and led teams and tackled creative challenges from inside the post pipeline. Shifting to the production side let me be involved earlier—helping shape decisions on set and ensuring VFX supports the storytelling from day one.
    How did you get involved on this show?
    I’d always hoped to work with Marvel on the production side, so when Jen Underdahl called me about this opportunity, I said yes immediately. I’ve been a fan of Daredevil for years—his internal conflict, his vulnerability, and the constant pull between justice and vengeance. And the fact that it was shooting entirely in New York made it even more exciting.
    Daredevil: Born Again has a distinct visual style. How did you collaborate with the showrunner and directors to ensure that the VFX seamlessly fit within their creative vision?
    From the start, it was clear this wasn’t going to be a typical superhero show. No lasers, no flying, no giant CG creatures. Daredevil is a street-level hero—he gets hurt, he bleeds, and he wrestles with morality and faith. The VFX had to reflect that same grounded humanity. Everything needed to feel physical, real, and restrained.
    We worked closely with showrunner Dario Scardapane, directors Justin Benson and Aaron Moorhead, and Marvel creative executive Sana Amanat to define a visual language built around subtlety. The VFX weren’t there to impress—they were there to disappear into the world. We also pulled from key comic book imagery that Sana wanted to preserve—Daredevil crouched on a rooftop, his mid-air baton throws, the skyline behind him. Those became touchpoints for our design language.
    Being involved from preproduction through delivery meant we could plan closely with every department—art, stunts, SFX, camera—so that VFX could step in where needed. We captured as much in camera as possible, using VFX for what couldn’t be achieved safely or practically. That ranged from invisible stitches to CG weapons, digi-doubles, and full digital builds.
    Because we had multiple directors and DPs, VFX became a continuity backbone—carrying consistent design and tone across episodes. That applied to everything from the sensory visuals and BB Report graphics, to how Daredevil’s baton behaved from one fight to the next.
    We also tracked the emotional and visual arc of the show. The intensity of violence escalates as the story deepens. In Episode 102, when Daredevil breaks a cop’s arm, we held back—the blood simply soaks through the sweater, staying grounded in realism. By Episode 109, when Fisk crushes Gallo’s head, the moment is fully on camera. That evolution was intentional.
    To make it all sit inside the frame, we were rigorous with data acquisition. Every set was LiDAR scanned with photogrammetry, and effects-heavy scenes were supported with HDRIs, cyberscans, clean plates, and lens grids. The goal wasn’t just coverage—it was making sure our work belonged inside the photography.

    Were there specific requests from the directors regarding the way VFX should enhance the realism and grittiness of the series, particularly in terms of lighting, camera movement, or fight choreography?
    Absolutely. From the get-go, directors Justin Benson and Aaron Moorhead established a clear visual rulebook. Camera language was closely tied to character: Fisk’s scenes leaned into locked-off frames and symmetry, while Murdock’s were more handheld and reactive. Zooms were preferred over push-ins, and dutch angles were generally avoided. Even when VFX took over a shot—like a CG camera move—we stuck to those same principles to preserve the tone.
    Our DP, Hillary Spera, shot on Alexa 35s using custom-tweaked anamorphic lenses, which created beautiful lens flares and optical distortions. We mapped those lenses and captured a full library of flare elements so that VFX could match them precisely. That look carried through to DI and helped define the show’s distinct texture.
    Atmosphere—especially fog and wetdowns—was critical to the show’s look. It shaped lighting and grounded the environments. But in shots requiring CG or 2D elements, we often recreated matching FX atmosphere in post to ensure seamless interaction and integration into the plate.
    Action followed the same grounded approach. Our Action Director and Supervising Stunt Coordinator, Philip Silvera, choreographed fights based on real-world combat logic, but with emotional weight built into the pacing—breath, exhaustion, impact. For digital takeovers, we started with mocap of stunt performances, then refined using video reference to match the actors’ specific movement and intention.
    We didn’t shy away from gore either. The directive was clear: keep it grounded, but don’t pull punches. We referenced surgical and forensic material to guide the look of blood hits, wounds, and trauma. Practical prosthetics and squibs formed the base, with VFX adding layers—muscle tear, splatter, and dynamic blood flow—to heighten realism without drifting into stylization.
    Photo credit: Giovanni Rufino

    How did you choose the various vendors and split the work amongst them?
    VFX is a team sport—and like any good team, you need to know your players and play to their strengths. Every facility brings something unique, and a big part of our early conversations was about assigning work based on where each vendor excels. It was about setting everyone up for success.
    The best VFX comes from the artist’s eye and hand. That final 5%—the nuance and polish—is where the work really comes alive. So I looked for teams who not only had the technical chops but understood the tone of the show and cared deeply about the craft. When that alignment happens, the collaboration just works.
    We planned the vendor split early, ensuring shared assets would work across facilities and that pipelines were compatible. The Third Floor handled previs, techviz, and postviz. LolaVFX supported early look development. RISE took on some of the most technically complex sequences—like the opening oner at Josie’s, digi-double transitions, and full environment builds. Folks VFX delivered rooftop environments, the finale apartment fight, and key continuity-heavy scenes. Ghost VFX handled the subway fight and Daredevil’s tunnel run, while Phosphene developed the sensory language and crafted bespoke moments like the blackout sequence and car comps. Soho VFX and Powerhouse VFX focused on fight choreography, weapon augmentation, and full-CG sequences. Cantina Creative created all in-world monitor graphics and interfaces. Anibrain, SDFX, and Base FX tackled difficult cleanups, split comps, and continuity patches. Dark Red Studios handled the BB Report design.
    Scanable handled all LiDAR and cyberscans across our sets and cast—crucial for digi-double and environment work. And we also had an internal team dedicated to the more subtle sensory shots.
    It was a true team effort, and the final result reflects the strength and dedication each vendor brought to the table.
    Photo credit: Giovanni Rufino

    The opening sequence is an incredibly complex oner action scene. Can you walk us through the planning and VFX techniques used to stitch everything together seamlessly?
    This sequence was a massive effort across all departments, and for VFX, it was one of the most complex and rewarding challenges of the season. The scene begins with Daredevil and Bullseye crashing through the window of Josie’s Bar, moves into the back room, up through a stairway, and eventually emerges onto a rooftop. None of those locations existed together physically, so stitching them into one continuous action required close collaboration between stunts, camera, SFX, and VFX from day one.
    Our stunt team, led by Philip Silvera, provided a detailed stuntviz that broke the choreography into stitchable beats, which became our foundation. Directors Justin Benson and Aaron Moorhead wanted the camera to feel intentional and fluid—no fast whips or chaotic edits—so every transition had to be precise. There was nowhere to hide a bad seam.
    RISE led the VFX for the sequence, using a blend of techniques—2D wipes with foreground elements, bluescreen set extensions, FX smoke, and CG transitions—but the real connective tissue was in 3D. We LiDAR-scanned all key locations and rebuilt them in CG, allowing us to bridge multiple stages, extend environments, and support digi-double and FX work with accuracy. Stitching those spaces and action beats required careful spatial continuity and character animation. We used motion capture as the base for digital double work, then enhanced it with keyframed animation to preserve choreography and hit those iconic silhouettes that are signature to Daredevil and Bullseye.
    The camera tilt moment—where we drop down to see Foggy on the street and then tilt back up to Daredevil and Bullseye—was a digital blend using a 2.5D street projection and a full-CG building facade. That allowed us to link two separate physical locations with one fluid camera move.
    SFX, supervised by our SFX Coordinator Roy Savoy, handled all the glass breaks and practical sparks inside Josie’s, while Props took care of the breakaway items. Together, they gave us strong in-camera interaction points that VFX could build on. We layered in additional CG debris, neon signage, and more sparks to push the action further. The smoke and atmosphere—inside the bar and on the rooftop—were fully CG to allow precise interaction with digital characters, weapons, gore, and FX.
    Everything—smoke, blood hits, atmosphere, digi-double transitions—had to feel cohesive and continuous. The real achievement was making the stitching and technical complexity disappear.

    Given the mix of practical stunts and digital enhancements, what were the biggest challenges in maintaining continuity and realism throughout this oner?
    One of the biggest challenges was maintaining character integrity—especially for Daredevil. Charlie brings such a specific physicality to the role that even under smoke or in silhouette, his movement reads clearly. Every digital double had to mirror that language—his timing, stance, and how he moves through space—so the audience never questioned the switch.
    RISE used stunt mocap as the foundation for the digital doubles, then layered in character-specific adjustments to preserve that continuity. At the same time, we were building out full-CG environments to bridge shots, which meant matching textures, lighting, geometry, and camera lensing so that transitions were seamless.
    Weapons were another layer. Daredevil’s baton, Bullseye’s firearms and knives—all were CG. In one sequence, Daredevil is stabbed by 17 blades, some of which he pulls out to fight back. We had to track each knife’s position, contact shadow, suit tear, and blood drip from shot to shot, which required full-body rotomation and progressive damage built into the suit asset. That also extended to the environment—any damage had to be tracked through the sequence.
    Grounding the action was essential. Even when Daredevil lands from a rooftop with his grappling hook, it had to feel weighty. We added dust bursts, imperfect footfalls, and a bit of camera vibration to keep it visceral. In a sequence this seamless, every movement, every transition, every detail had to hold up. The illusion depended on total cohesion.

    How did you approach the digital recreation of New York and Hell’s Kitchen to match the series’ darker, more grounded aesthetic?
    New York is more than a backdrop—it’s part of Daredevil’s identity. So our approach to the digital builds had to feel authentic, responsive, and emotionally aligned with the show’s tone.
    We LiDAR-scanned full city blocks, rooftops, and adjacent buildings, and captured tiled plates and HDRIs throughout the day to map real lighting conditions. This gave us a strong base to work from, while still allowing flexibility for framing and layout.
    Folks VFX handled Matt’s rooftop in Episode 103, while RISE built the Josie’s rooftop and surrounding Hell’s Kitchen. Both spaces had to feel true to the city—textured and believable. Even slight changes in building height or placement could shift the tone of the scene, so we were careful to maintain a balance between realism and composition.
    Atmosphere was a defining element. We added fog, steam, wetdowns, reflections, and other city-layered effects—like flickering windows and distant traffic—to give each environment weight and depth. These elements weren’t just aesthetic—they helped shape the lighting and made our digital spaces feel physically inhabited and consistent with the show’s tone.

    Were there any key locations that had to be fully CG or heavily augmented with VFX? If so, what was the process of integrating them into the live-action footage?
    Yes—several locations had to be fully CG or significantly augmented. Matt’s apartment rooftop in Williamsburg, the Hell’s Kitchen rooftop at Josie’s, the fire escape sequence, Hector’s subway fight, Daredevil’s tunnel run, and the sensory bank vault scene all required extensive digital builds.
    We began by scanning or photographing real-world references, scouted in collaboration with our creative team, Production Designer and DP. Using LiDAR and photogrammetry, we rebuilt those environments in 3D, preserving scale and lighting using on-set HDRIs. Foreground and midground buildings were modeled in high detail, and wherever windows were visible, we added interior structure and depth to maintain a sense of life beyond the facade.
    In some cases, city regulations or safety concerns limited our ability to fully scan practical locations. For sequences like the subway platform and the tunnel Daredevil runs through in Episode 106, we used partial scans and reference photography to reconstruct and extend those environments in CG—including the train asset and the tunnel’s structural continuity.
    In Episode 105, the bank vault sensory sequence was shot on stage with only the real vault door present. Everything else—the spatial layout, dimensionality, and lighting—was designed in CG to reflect the show’s established visual language for Daredevil’s heightened perception.
    Not exactly an environment extension, but for the “blackout” sequences in the finale, we had to heavily modify our plates to feel like a true city-wide outage. That involved blending day-for-night captures with digital relighting in comp. In Times Square, we replaced the practical LED content with FISK delivering his New Year’s Eve speech. And to build tension, we expanded Fisk’s motorcade in Red Hook using CG mocaped taskforce units and Humvees.
    Whether it was a full CG build or a heavy plate modification, every element was grounded back into the photography through precise matchmove, consistent lighting cues, and environmental reference.

    Marvel projects often have a mix of on-location and green-screen work. What techniques did you use to ensure a seamless blend between real and digital environments?
    The key was always grounding the visual effects in something tangible. Whether we were working on a full bluescreen stage or extending a rooftop, the more real-world reference we could gather, the more seamlessly the VFX would sit in the frame.
    On Daredevil: Born Again, we captured practical plates and tiled reference footage wherever possible—especially throughout New York. That gave us a photographic base to match to. From there, we built every VFX setup on solid acquisition: LiDAR scans, high-res photogrammetry, HDRIs for lighting, and texture capture from all angles.
    We avoided relying entirely on CG whenever we could. Even in the most complex shots, we tried to include a practical element—whether it was a foreground prop, atmospheric haze, wet-downs or interactive lighting on set. Those physical components gave us something real to build off and helped the audience feel rooted in the scene.
    For environments, 2.5D extensions were backed by real plates, and full-CG builds were constructed from real-world geometry and surface data. Even on bluescreen stages, we lit to match the look and feel of the corresponding practical scenes to preserve continuity. We also worked closely with DI to carry through the grade and environmental treatment. That final layer ensured the shot didn’t just blend technically—but emotionally felt like it belonged to the same world.

    Daredevil is known for its brutal, grounded action sequences. How did VFX help enhance the stunt work while keeping it as practical as possible?
    Our approach was always practical-first. If it could be done in camera—blood hits, breakaways, physical impacts—we shot it that way. Then VFX would step in to enhance what was already there and bring the moment to full fidelity.
    For example, blood on faces and inside mouths was done practically using SFX makeup. But for continuity or when choreography called for additional impact, we added digital blood sprays, squibs, or drips—carefully tracked to the performance so they felt embedded, not layered on.
    Our stunt team gave us strong reference across all key fight beats. We combined that with mocap when needed, especially in sequences that transitioned into digital doubles. Having that real-world base allowed us to maintain physicality and character intention throughout.
    We also captured a library of flares and lens artifacts from our camera package, giving VFX the right visual language to match the look and feel of the photography—especially during close-quarters combat, where blood, smoke, and light moved dynamically through frame. It helped reinforce the tactile, in-camera aesthetic, even in fully augmented shots.

    Were there any particular fight sequences that required extensive digital double work, and how did you ensure they remained indistinguishable from the real actors?
    There were definitely moments where digi-doubles became essential—sometimes for safety, sometimes to maintain camera continuity, and sometimes because the physical environment couldn’t support the choreography as scripted. Sequences like Daredevil’s rooftop runs, tunnel chases, fire escape landings, grappling hook jumps, transitions within the oner, and background extensions to enhance Fisk’s task force all required digital double work at varying levels of complexity.
    In every action scene, our approach was to ground the work in real-world performance. We captured motion for all key stunts and fight beats, and did detailed cyberscans of the main cast and their stunt doubles. That gave us accurate silhouettes, proportions, and suit detail—everything we needed to maintain visual continuity between live-action and CG.
    While we didn’t use facial capture rigs or volume setups, Charlie Cox gave us highly expressive reference performances. His focused takes gave us insight into the intention behind each movement, which we either projected in 2.5D or matched in animation for the digi-double moments.
    What really sold it was the integration. We were meticulous about matching HDRI lighting, lensing, atmosphere, and even subtle depth-of-field cues. Every digital element had to feel like it was captured on the same lens, in the same space, at the same time. That’s what kept the illusion seamless—even in full-CG moments.

    Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint?
    One that stands out is the rooftop environment for Matt’s apartment. It was our first major VFX presentation to the directors and creatives, and it set the tone for what our digital New York would become. It needed to feel cinematic, atmospheric, and emotionally grounded. We scanned and photographed rooftops around Williamsburg, then composited those elements into a custom layout tailored for our scenes. But even subtle changes—like shifting a building’s height or shape—could disrupt the familiarity of the skyline. It’s like adjusting features on a face: subtle, but if it’s wrong, you feel it. Getting that balance right, while still supporting our camera moves and blocking, was incredibly rewarding.
    Another favorite was developing Daredevil’s sensory language, which we crafted in close collaboration with Phosphene. It evolved throughout the season, but the most ambitious moment was what we called the “Grande Sensory” shot—when Daredevil tunes into a specific sound and his world expands perceptually. We shot it using a custom three-camera rig: a spherical zoom lens in the center, flanked by wide primes. As we pushed in while zooming out—a zolly—we stitched the feeds together at the widest focal length into an approximately 230° field of view, with extra image gathering on the sides. Simultaneously, the aspect ratio expands. Once Daredevil locks onto the target sound, we “unstitch” back to the center camera and compress the aspect ratio as we zoom in for a clean finish. The transitions are subtle but emotionally impactful—designed to be felt, not noticed.
    We also had the “petite sensory” moments—simpler, analog-feeling visual cues that suggest Daredevil is focusing in. These used optical lens tricks, subtle distortions, and flares—many based on practical elements we shot—so even the heightened perception moments felt grounded in the show’s visual language.
    And finally, the Gallo head-crush—one of the season’s most graphic shots. The practical prosthetic was impressive, but once pressure was applied, it deformed in a way that didn’t mimic human anatomy. We scanned both the actor and prosthetic for a partial digital takeover—replacing areas with CG muscle, bone, blood, and facial details. Folks VFX handled this sequence and absolutely nailed it, especially the vascular bursts in the eyes and the blink just before the fade.

    Looking back on the project, what aspects of the visual effects are you most proud of?
    There’s a lot to be proud of, but what stands out most to me is the consistency of tone and craft—how the visual effects supported the grounded, emotional feel of the show without ever pulling focus. Even in sequences that were technically complex—like the rooftop builds, sensory moments, or the opening oner—we always came back to story. The VFX weren’t about spectacle. They were about precision, intention, and integration.
    I’m also proud of the continuity we maintained across multiple directors and DPs. Visual effects became a steady thread—carrying design language, violence levels, atmosphere, and choreography from one episode to the next.
    Most of all, I’m proud that the work feels cohesive. Whether it’s a subtle stitch or a full CG shot, it never distracts. It feels lived in—part of the world, not outside of it.

    How long have you worked on this show?
    I was on from November 2022 through November 2024, so a full two years. Being involved early really helped—we had time to plan things properly, make smart choices, and stay ahead instead of playing catch-up.
    What’s the VFX shot count?
    We delivered 1,380 final shots in the official turnover cut.
    What is your next project?
    We’re already shooting Season 2 of Daredevil: Born Again, which has been exciting. Coming back with the same core team means there’s already a rhythm in place—we know how to work together, and that gives us room to push things further. We’re building on what we set up in Season 1, keeping the tone grounded, but also exploring new visual ideas and storytelling challenges. It’s great to be back in this world, with a chance to evolve it in new ways.
    What are the four movies that gave you the passion for cinema?
    There are many, but ones that come to mind immediately are The Godfather I & II, The Shining, In the Mood for Love, and Dune: Part One & Part Two.
    A big thanks for your time.
    WANT TO KNOW MORE?RISE: Dedicated page about Daredevil: Born Again on RISE website.
    © Vincent Frei – The Art of VFX – 2025
    #daredevil #born #again #gong #myung
    Daredevil – Born Again: Gong Myung Lee – Production VFX Supervisor
    Interviews Daredevil – Born Again: Gong Myung Lee – Production VFX Supervisor By Vincent Frei - 15/05/2025 With over two decades of experience in visual effects, Gong Myung Lee started her career in 2003 and went on to work at renowned studios like Mr. X and Method Studios. She became part of the Marvel Studios team in 2022. Her credits include The Finest Hours, Deadpool 2, Triple Frontier, and The Changeling. What is your background? I started in VFX as a Lighting Technical Director and Compositor, which gave me a deep appreciation for how images work—light, depth, and how all the parts come together. From there, I moved into CG supervision and eventually into VFX supervision, working across features, commercials, and episodic projects. I’ve worked both on the vendor side and in production. At facilities, I built and led teams and tackled creative challenges from inside the post pipeline. Shifting to the production side let me be involved earlier—helping shape decisions on set and ensuring VFX supports the storytelling from day one. How did you get involved on this show? I’d always hoped to work with Marvel on the production side, so when Jen Underdahl called me about this opportunity, I said yes immediately. I’ve been a fan of Daredevil for years—his internal conflict, his vulnerability, and the constant pull between justice and vengeance. And the fact that it was shooting entirely in New York made it even more exciting. Daredevil: Born Again has a distinct visual style. How did you collaborate with the showrunner and directors to ensure that the VFX seamlessly fit within their creative vision? From the start, it was clear this wasn’t going to be a typical superhero show. No lasers, no flying, no giant CG creatures. Daredevil is a street-level hero—he gets hurt, he bleeds, and he wrestles with morality and faith. The VFX had to reflect that same grounded humanity. Everything needed to feel physical, real, and restrained. We worked closely with showrunner Dario Scardapane, directors Justin Benson and Aaron Moorhead, and Marvel creative executive Sana Amanat to define a visual language built around subtlety. The VFX weren’t there to impress—they were there to disappear into the world. We also pulled from key comic book imagery that Sana wanted to preserve—Daredevil crouched on a rooftop, his mid-air baton throws, the skyline behind him. Those became touchpoints for our design language. Being involved from preproduction through delivery meant we could plan closely with every department—art, stunts, SFX, camera—so that VFX could step in where needed. We captured as much in camera as possible, using VFX for what couldn’t be achieved safely or practically. That ranged from invisible stitches to CG weapons, digi-doubles, and full digital builds. Because we had multiple directors and DPs, VFX became a continuity backbone—carrying consistent design and tone across episodes. That applied to everything from the sensory visuals and BB Report graphics, to how Daredevil’s baton behaved from one fight to the next. We also tracked the emotional and visual arc of the show. The intensity of violence escalates as the story deepens. In Episode 102, when Daredevil breaks a cop’s arm, we held back—the blood simply soaks through the sweater, staying grounded in realism. By Episode 109, when Fisk crushes Gallo’s head, the moment is fully on camera. That evolution was intentional. To make it all sit inside the frame, we were rigorous with data acquisition. Every set was LiDAR scanned with photogrammetry, and effects-heavy scenes were supported with HDRIs, cyberscans, clean plates, and lens grids. The goal wasn’t just coverage—it was making sure our work belonged inside the photography. Were there specific requests from the directors regarding the way VFX should enhance the realism and grittiness of the series, particularly in terms of lighting, camera movement, or fight choreography? Absolutely. From the get-go, directors Justin Benson and Aaron Moorhead established a clear visual rulebook. Camera language was closely tied to character: Fisk’s scenes leaned into locked-off frames and symmetry, while Murdock’s were more handheld and reactive. Zooms were preferred over push-ins, and dutch angles were generally avoided. Even when VFX took over a shot—like a CG camera move—we stuck to those same principles to preserve the tone. Our DP, Hillary Spera, shot on Alexa 35s using custom-tweaked anamorphic lenses, which created beautiful lens flares and optical distortions. We mapped those lenses and captured a full library of flare elements so that VFX could match them precisely. That look carried through to DI and helped define the show’s distinct texture. Atmosphere—especially fog and wetdowns—was critical to the show’s look. It shaped lighting and grounded the environments. But in shots requiring CG or 2D elements, we often recreated matching FX atmosphere in post to ensure seamless interaction and integration into the plate. Action followed the same grounded approach. Our Action Director and Supervising Stunt Coordinator, Philip Silvera, choreographed fights based on real-world combat logic, but with emotional weight built into the pacing—breath, exhaustion, impact. For digital takeovers, we started with mocap of stunt performances, then refined using video reference to match the actors’ specific movement and intention. We didn’t shy away from gore either. The directive was clear: keep it grounded, but don’t pull punches. We referenced surgical and forensic material to guide the look of blood hits, wounds, and trauma. Practical prosthetics and squibs formed the base, with VFX adding layers—muscle tear, splatter, and dynamic blood flow—to heighten realism without drifting into stylization. Photo credit: Giovanni Rufino How did you choose the various vendors and split the work amongst them? VFX is a team sport—and like any good team, you need to know your players and play to their strengths. Every facility brings something unique, and a big part of our early conversations was about assigning work based on where each vendor excels. It was about setting everyone up for success. The best VFX comes from the artist’s eye and hand. That final 5%—the nuance and polish—is where the work really comes alive. So I looked for teams who not only had the technical chops but understood the tone of the show and cared deeply about the craft. When that alignment happens, the collaboration just works. We planned the vendor split early, ensuring shared assets would work across facilities and that pipelines were compatible. The Third Floor handled previs, techviz, and postviz. LolaVFX supported early look development. RISE took on some of the most technically complex sequences—like the opening oner at Josie’s, digi-double transitions, and full environment builds. Folks VFX delivered rooftop environments, the finale apartment fight, and key continuity-heavy scenes. Ghost VFX handled the subway fight and Daredevil’s tunnel run, while Phosphene developed the sensory language and crafted bespoke moments like the blackout sequence and car comps. Soho VFX and Powerhouse VFX focused on fight choreography, weapon augmentation, and full-CG sequences. Cantina Creative created all in-world monitor graphics and interfaces. Anibrain, SDFX, and Base FX tackled difficult cleanups, split comps, and continuity patches. Dark Red Studios handled the BB Report design. Scanable handled all LiDAR and cyberscans across our sets and cast—crucial for digi-double and environment work. And we also had an internal team dedicated to the more subtle sensory shots. It was a true team effort, and the final result reflects the strength and dedication each vendor brought to the table. Photo credit: Giovanni Rufino The opening sequence is an incredibly complex oner action scene. Can you walk us through the planning and VFX techniques used to stitch everything together seamlessly? This sequence was a massive effort across all departments, and for VFX, it was one of the most complex and rewarding challenges of the season. The scene begins with Daredevil and Bullseye crashing through the window of Josie’s Bar, moves into the back room, up through a stairway, and eventually emerges onto a rooftop. None of those locations existed together physically, so stitching them into one continuous action required close collaboration between stunts, camera, SFX, and VFX from day one. Our stunt team, led by Philip Silvera, provided a detailed stuntviz that broke the choreography into stitchable beats, which became our foundation. Directors Justin Benson and Aaron Moorhead wanted the camera to feel intentional and fluid—no fast whips or chaotic edits—so every transition had to be precise. There was nowhere to hide a bad seam. RISE led the VFX for the sequence, using a blend of techniques—2D wipes with foreground elements, bluescreen set extensions, FX smoke, and CG transitions—but the real connective tissue was in 3D. We LiDAR-scanned all key locations and rebuilt them in CG, allowing us to bridge multiple stages, extend environments, and support digi-double and FX work with accuracy. Stitching those spaces and action beats required careful spatial continuity and character animation. We used motion capture as the base for digital double work, then enhanced it with keyframed animation to preserve choreography and hit those iconic silhouettes that are signature to Daredevil and Bullseye. The camera tilt moment—where we drop down to see Foggy on the street and then tilt back up to Daredevil and Bullseye—was a digital blend using a 2.5D street projection and a full-CG building facade. That allowed us to link two separate physical locations with one fluid camera move. SFX, supervised by our SFX Coordinator Roy Savoy, handled all the glass breaks and practical sparks inside Josie’s, while Props took care of the breakaway items. Together, they gave us strong in-camera interaction points that VFX could build on. We layered in additional CG debris, neon signage, and more sparks to push the action further. The smoke and atmosphere—inside the bar and on the rooftop—were fully CG to allow precise interaction with digital characters, weapons, gore, and FX. Everything—smoke, blood hits, atmosphere, digi-double transitions—had to feel cohesive and continuous. The real achievement was making the stitching and technical complexity disappear. Given the mix of practical stunts and digital enhancements, what were the biggest challenges in maintaining continuity and realism throughout this oner? One of the biggest challenges was maintaining character integrity—especially for Daredevil. Charlie brings such a specific physicality to the role that even under smoke or in silhouette, his movement reads clearly. Every digital double had to mirror that language—his timing, stance, and how he moves through space—so the audience never questioned the switch. RISE used stunt mocap as the foundation for the digital doubles, then layered in character-specific adjustments to preserve that continuity. At the same time, we were building out full-CG environments to bridge shots, which meant matching textures, lighting, geometry, and camera lensing so that transitions were seamless. Weapons were another layer. Daredevil’s baton, Bullseye’s firearms and knives—all were CG. In one sequence, Daredevil is stabbed by 17 blades, some of which he pulls out to fight back. We had to track each knife’s position, contact shadow, suit tear, and blood drip from shot to shot, which required full-body rotomation and progressive damage built into the suit asset. That also extended to the environment—any damage had to be tracked through the sequence. Grounding the action was essential. Even when Daredevil lands from a rooftop with his grappling hook, it had to feel weighty. We added dust bursts, imperfect footfalls, and a bit of camera vibration to keep it visceral. In a sequence this seamless, every movement, every transition, every detail had to hold up. The illusion depended on total cohesion. How did you approach the digital recreation of New York and Hell’s Kitchen to match the series’ darker, more grounded aesthetic? New York is more than a backdrop—it’s part of Daredevil’s identity. So our approach to the digital builds had to feel authentic, responsive, and emotionally aligned with the show’s tone. We LiDAR-scanned full city blocks, rooftops, and adjacent buildings, and captured tiled plates and HDRIs throughout the day to map real lighting conditions. This gave us a strong base to work from, while still allowing flexibility for framing and layout. Folks VFX handled Matt’s rooftop in Episode 103, while RISE built the Josie’s rooftop and surrounding Hell’s Kitchen. Both spaces had to feel true to the city—textured and believable. Even slight changes in building height or placement could shift the tone of the scene, so we were careful to maintain a balance between realism and composition. Atmosphere was a defining element. We added fog, steam, wetdowns, reflections, and other city-layered effects—like flickering windows and distant traffic—to give each environment weight and depth. These elements weren’t just aesthetic—they helped shape the lighting and made our digital spaces feel physically inhabited and consistent with the show’s tone. Were there any key locations that had to be fully CG or heavily augmented with VFX? If so, what was the process of integrating them into the live-action footage? Yes—several locations had to be fully CG or significantly augmented. Matt’s apartment rooftop in Williamsburg, the Hell’s Kitchen rooftop at Josie’s, the fire escape sequence, Hector’s subway fight, Daredevil’s tunnel run, and the sensory bank vault scene all required extensive digital builds. We began by scanning or photographing real-world references, scouted in collaboration with our creative team, Production Designer and DP. Using LiDAR and photogrammetry, we rebuilt those environments in 3D, preserving scale and lighting using on-set HDRIs. Foreground and midground buildings were modeled in high detail, and wherever windows were visible, we added interior structure and depth to maintain a sense of life beyond the facade. In some cases, city regulations or safety concerns limited our ability to fully scan practical locations. For sequences like the subway platform and the tunnel Daredevil runs through in Episode 106, we used partial scans and reference photography to reconstruct and extend those environments in CG—including the train asset and the tunnel’s structural continuity. In Episode 105, the bank vault sensory sequence was shot on stage with only the real vault door present. Everything else—the spatial layout, dimensionality, and lighting—was designed in CG to reflect the show’s established visual language for Daredevil’s heightened perception. Not exactly an environment extension, but for the “blackout” sequences in the finale, we had to heavily modify our plates to feel like a true city-wide outage. That involved blending day-for-night captures with digital relighting in comp. In Times Square, we replaced the practical LED content with FISK delivering his New Year’s Eve speech. And to build tension, we expanded Fisk’s motorcade in Red Hook using CG mocaped taskforce units and Humvees. Whether it was a full CG build or a heavy plate modification, every element was grounded back into the photography through precise matchmove, consistent lighting cues, and environmental reference. Marvel projects often have a mix of on-location and green-screen work. What techniques did you use to ensure a seamless blend between real and digital environments? The key was always grounding the visual effects in something tangible. Whether we were working on a full bluescreen stage or extending a rooftop, the more real-world reference we could gather, the more seamlessly the VFX would sit in the frame. On Daredevil: Born Again, we captured practical plates and tiled reference footage wherever possible—especially throughout New York. That gave us a photographic base to match to. From there, we built every VFX setup on solid acquisition: LiDAR scans, high-res photogrammetry, HDRIs for lighting, and texture capture from all angles. We avoided relying entirely on CG whenever we could. Even in the most complex shots, we tried to include a practical element—whether it was a foreground prop, atmospheric haze, wet-downs or interactive lighting on set. Those physical components gave us something real to build off and helped the audience feel rooted in the scene. For environments, 2.5D extensions were backed by real plates, and full-CG builds were constructed from real-world geometry and surface data. Even on bluescreen stages, we lit to match the look and feel of the corresponding practical scenes to preserve continuity. We also worked closely with DI to carry through the grade and environmental treatment. That final layer ensured the shot didn’t just blend technically—but emotionally felt like it belonged to the same world. Daredevil is known for its brutal, grounded action sequences. How did VFX help enhance the stunt work while keeping it as practical as possible? Our approach was always practical-first. If it could be done in camera—blood hits, breakaways, physical impacts—we shot it that way. Then VFX would step in to enhance what was already there and bring the moment to full fidelity. For example, blood on faces and inside mouths was done practically using SFX makeup. But for continuity or when choreography called for additional impact, we added digital blood sprays, squibs, or drips—carefully tracked to the performance so they felt embedded, not layered on. Our stunt team gave us strong reference across all key fight beats. We combined that with mocap when needed, especially in sequences that transitioned into digital doubles. Having that real-world base allowed us to maintain physicality and character intention throughout. We also captured a library of flares and lens artifacts from our camera package, giving VFX the right visual language to match the look and feel of the photography—especially during close-quarters combat, where blood, smoke, and light moved dynamically through frame. It helped reinforce the tactile, in-camera aesthetic, even in fully augmented shots. Were there any particular fight sequences that required extensive digital double work, and how did you ensure they remained indistinguishable from the real actors? There were definitely moments where digi-doubles became essential—sometimes for safety, sometimes to maintain camera continuity, and sometimes because the physical environment couldn’t support the choreography as scripted. Sequences like Daredevil’s rooftop runs, tunnel chases, fire escape landings, grappling hook jumps, transitions within the oner, and background extensions to enhance Fisk’s task force all required digital double work at varying levels of complexity. In every action scene, our approach was to ground the work in real-world performance. We captured motion for all key stunts and fight beats, and did detailed cyberscans of the main cast and their stunt doubles. That gave us accurate silhouettes, proportions, and suit detail—everything we needed to maintain visual continuity between live-action and CG. While we didn’t use facial capture rigs or volume setups, Charlie Cox gave us highly expressive reference performances. His focused takes gave us insight into the intention behind each movement, which we either projected in 2.5D or matched in animation for the digi-double moments. What really sold it was the integration. We were meticulous about matching HDRI lighting, lensing, atmosphere, and even subtle depth-of-field cues. Every digital element had to feel like it was captured on the same lens, in the same space, at the same time. That’s what kept the illusion seamless—even in full-CG moments. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? One that stands out is the rooftop environment for Matt’s apartment. It was our first major VFX presentation to the directors and creatives, and it set the tone for what our digital New York would become. It needed to feel cinematic, atmospheric, and emotionally grounded. We scanned and photographed rooftops around Williamsburg, then composited those elements into a custom layout tailored for our scenes. But even subtle changes—like shifting a building’s height or shape—could disrupt the familiarity of the skyline. It’s like adjusting features on a face: subtle, but if it’s wrong, you feel it. Getting that balance right, while still supporting our camera moves and blocking, was incredibly rewarding. Another favorite was developing Daredevil’s sensory language, which we crafted in close collaboration with Phosphene. It evolved throughout the season, but the most ambitious moment was what we called the “Grande Sensory” shot—when Daredevil tunes into a specific sound and his world expands perceptually. We shot it using a custom three-camera rig: a spherical zoom lens in the center, flanked by wide primes. As we pushed in while zooming out—a zolly—we stitched the feeds together at the widest focal length into an approximately 230° field of view, with extra image gathering on the sides. Simultaneously, the aspect ratio expands. Once Daredevil locks onto the target sound, we “unstitch” back to the center camera and compress the aspect ratio as we zoom in for a clean finish. The transitions are subtle but emotionally impactful—designed to be felt, not noticed. We also had the “petite sensory” moments—simpler, analog-feeling visual cues that suggest Daredevil is focusing in. These used optical lens tricks, subtle distortions, and flares—many based on practical elements we shot—so even the heightened perception moments felt grounded in the show’s visual language. And finally, the Gallo head-crush—one of the season’s most graphic shots. The practical prosthetic was impressive, but once pressure was applied, it deformed in a way that didn’t mimic human anatomy. We scanned both the actor and prosthetic for a partial digital takeover—replacing areas with CG muscle, bone, blood, and facial details. Folks VFX handled this sequence and absolutely nailed it, especially the vascular bursts in the eyes and the blink just before the fade. Looking back on the project, what aspects of the visual effects are you most proud of? There’s a lot to be proud of, but what stands out most to me is the consistency of tone and craft—how the visual effects supported the grounded, emotional feel of the show without ever pulling focus. Even in sequences that were technically complex—like the rooftop builds, sensory moments, or the opening oner—we always came back to story. The VFX weren’t about spectacle. They were about precision, intention, and integration. I’m also proud of the continuity we maintained across multiple directors and DPs. Visual effects became a steady thread—carrying design language, violence levels, atmosphere, and choreography from one episode to the next. Most of all, I’m proud that the work feels cohesive. Whether it’s a subtle stitch or a full CG shot, it never distracts. It feels lived in—part of the world, not outside of it. How long have you worked on this show? I was on from November 2022 through November 2024, so a full two years. Being involved early really helped—we had time to plan things properly, make smart choices, and stay ahead instead of playing catch-up. What’s the VFX shot count? We delivered 1,380 final shots in the official turnover cut. What is your next project? We’re already shooting Season 2 of Daredevil: Born Again, which has been exciting. Coming back with the same core team means there’s already a rhythm in place—we know how to work together, and that gives us room to push things further. We’re building on what we set up in Season 1, keeping the tone grounded, but also exploring new visual ideas and storytelling challenges. It’s great to be back in this world, with a chance to evolve it in new ways. What are the four movies that gave you the passion for cinema? There are many, but ones that come to mind immediately are The Godfather I & II, The Shining, In the Mood for Love, and Dune: Part One & Part Two. A big thanks for your time. WANT TO KNOW MORE?RISE: Dedicated page about Daredevil: Born Again on RISE website. © Vincent Frei – The Art of VFX – 2025 #daredevil #born #again #gong #myung
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    Daredevil – Born Again: Gong Myung Lee – Production VFX Supervisor
    Interviews Daredevil – Born Again: Gong Myung Lee – Production VFX Supervisor By Vincent Frei - 15/05/2025 With over two decades of experience in visual effects, Gong Myung Lee started her career in 2003 and went on to work at renowned studios like Mr. X and Method Studios. She became part of the Marvel Studios team in 2022. Her credits include The Finest Hours, Deadpool 2, Triple Frontier, and The Changeling. What is your background? I started in VFX as a Lighting Technical Director and Compositor, which gave me a deep appreciation for how images work—light, depth, and how all the parts come together. From there, I moved into CG supervision and eventually into VFX supervision, working across features, commercials, and episodic projects. I’ve worked both on the vendor side and in production. At facilities, I built and led teams and tackled creative challenges from inside the post pipeline. Shifting to the production side let me be involved earlier—helping shape decisions on set and ensuring VFX supports the storytelling from day one. How did you get involved on this show? I’d always hoped to work with Marvel on the production side, so when Jen Underdahl called me about this opportunity, I said yes immediately. I’ve been a fan of Daredevil for years—his internal conflict, his vulnerability, and the constant pull between justice and vengeance. And the fact that it was shooting entirely in New York made it even more exciting. Daredevil: Born Again has a distinct visual style. How did you collaborate with the showrunner and directors to ensure that the VFX seamlessly fit within their creative vision? From the start, it was clear this wasn’t going to be a typical superhero show. No lasers, no flying, no giant CG creatures. Daredevil is a street-level hero—he gets hurt, he bleeds, and he wrestles with morality and faith. The VFX had to reflect that same grounded humanity. Everything needed to feel physical, real, and restrained. We worked closely with showrunner Dario Scardapane, directors Justin Benson and Aaron Moorhead, and Marvel creative executive Sana Amanat to define a visual language built around subtlety. The VFX weren’t there to impress—they were there to disappear into the world. We also pulled from key comic book imagery that Sana wanted to preserve—Daredevil crouched on a rooftop, his mid-air baton throws, the skyline behind him. Those became touchpoints for our design language. Being involved from preproduction through delivery meant we could plan closely with every department—art, stunts, SFX, camera—so that VFX could step in where needed. We captured as much in camera as possible, using VFX for what couldn’t be achieved safely or practically. That ranged from invisible stitches to CG weapons, digi-doubles, and full digital builds. Because we had multiple directors and DPs, VFX became a continuity backbone—carrying consistent design and tone across episodes. That applied to everything from the sensory visuals and BB Report graphics, to how Daredevil’s baton behaved from one fight to the next. We also tracked the emotional and visual arc of the show. The intensity of violence escalates as the story deepens. In Episode 102, when Daredevil breaks a cop’s arm, we held back—the blood simply soaks through the sweater, staying grounded in realism. By Episode 109, when Fisk crushes Gallo’s head, the moment is fully on camera. That evolution was intentional. To make it all sit inside the frame, we were rigorous with data acquisition. Every set was LiDAR scanned with photogrammetry, and effects-heavy scenes were supported with HDRIs, cyberscans, clean plates, and lens grids. The goal wasn’t just coverage—it was making sure our work belonged inside the photography. Were there specific requests from the directors regarding the way VFX should enhance the realism and grittiness of the series, particularly in terms of lighting, camera movement, or fight choreography? Absolutely. From the get-go, directors Justin Benson and Aaron Moorhead established a clear visual rulebook. Camera language was closely tied to character: Fisk’s scenes leaned into locked-off frames and symmetry, while Murdock’s were more handheld and reactive. Zooms were preferred over push-ins, and dutch angles were generally avoided. Even when VFX took over a shot—like a CG camera move—we stuck to those same principles to preserve the tone. Our DP, Hillary Spera, shot on Alexa 35s using custom-tweaked anamorphic lenses, which created beautiful lens flares and optical distortions. We mapped those lenses and captured a full library of flare elements so that VFX could match them precisely. That look carried through to DI and helped define the show’s distinct texture. Atmosphere—especially fog and wetdowns—was critical to the show’s look. It shaped lighting and grounded the environments. But in shots requiring CG or 2D elements, we often recreated matching FX atmosphere in post to ensure seamless interaction and integration into the plate. Action followed the same grounded approach. Our Action Director and Supervising Stunt Coordinator, Philip Silvera, choreographed fights based on real-world combat logic, but with emotional weight built into the pacing—breath, exhaustion, impact. For digital takeovers, we started with mocap of stunt performances, then refined using video reference to match the actors’ specific movement and intention. We didn’t shy away from gore either. The directive was clear: keep it grounded, but don’t pull punches. We referenced surgical and forensic material to guide the look of blood hits, wounds, and trauma. Practical prosthetics and squibs formed the base, with VFX adding layers—muscle tear, splatter, and dynamic blood flow—to heighten realism without drifting into stylization. Photo credit: Giovanni Rufino How did you choose the various vendors and split the work amongst them? VFX is a team sport—and like any good team, you need to know your players and play to their strengths. Every facility brings something unique, and a big part of our early conversations was about assigning work based on where each vendor excels. It was about setting everyone up for success. The best VFX comes from the artist’s eye and hand. That final 5%—the nuance and polish—is where the work really comes alive. So I looked for teams who not only had the technical chops but understood the tone of the show and cared deeply about the craft. When that alignment happens, the collaboration just works. We planned the vendor split early, ensuring shared assets would work across facilities and that pipelines were compatible. The Third Floor handled previs, techviz, and postviz. LolaVFX supported early look development. RISE took on some of the most technically complex sequences—like the opening oner at Josie’s, digi-double transitions, and full environment builds. Folks VFX delivered rooftop environments, the finale apartment fight, and key continuity-heavy scenes. Ghost VFX handled the subway fight and Daredevil’s tunnel run, while Phosphene developed the sensory language and crafted bespoke moments like the blackout sequence and car comps. Soho VFX and Powerhouse VFX focused on fight choreography, weapon augmentation, and full-CG sequences. Cantina Creative created all in-world monitor graphics and interfaces. Anibrain, SDFX, and Base FX tackled difficult cleanups, split comps, and continuity patches. Dark Red Studios handled the BB Report design. Scanable handled all LiDAR and cyberscans across our sets and cast—crucial for digi-double and environment work. And we also had an internal team dedicated to the more subtle sensory shots. It was a true team effort, and the final result reflects the strength and dedication each vendor brought to the table. Photo credit: Giovanni Rufino The opening sequence is an incredibly complex oner action scene. Can you walk us through the planning and VFX techniques used to stitch everything together seamlessly? This sequence was a massive effort across all departments, and for VFX, it was one of the most complex and rewarding challenges of the season. The scene begins with Daredevil and Bullseye crashing through the window of Josie’s Bar, moves into the back room, up through a stairway, and eventually emerges onto a rooftop. None of those locations existed together physically, so stitching them into one continuous action required close collaboration between stunts, camera, SFX, and VFX from day one. Our stunt team, led by Philip Silvera, provided a detailed stuntviz that broke the choreography into stitchable beats, which became our foundation. Directors Justin Benson and Aaron Moorhead wanted the camera to feel intentional and fluid—no fast whips or chaotic edits—so every transition had to be precise. There was nowhere to hide a bad seam. RISE led the VFX for the sequence, using a blend of techniques—2D wipes with foreground elements, bluescreen set extensions, FX smoke, and CG transitions—but the real connective tissue was in 3D. We LiDAR-scanned all key locations and rebuilt them in CG, allowing us to bridge multiple stages, extend environments, and support digi-double and FX work with accuracy. Stitching those spaces and action beats required careful spatial continuity and character animation. We used motion capture as the base for digital double work, then enhanced it with keyframed animation to preserve choreography and hit those iconic silhouettes that are signature to Daredevil and Bullseye. The camera tilt moment—where we drop down to see Foggy on the street and then tilt back up to Daredevil and Bullseye—was a digital blend using a 2.5D street projection and a full-CG building facade. That allowed us to link two separate physical locations with one fluid camera move. SFX, supervised by our SFX Coordinator Roy Savoy, handled all the glass breaks and practical sparks inside Josie’s, while Props took care of the breakaway items. Together, they gave us strong in-camera interaction points that VFX could build on. We layered in additional CG debris, neon signage, and more sparks to push the action further. The smoke and atmosphere—inside the bar and on the rooftop—were fully CG to allow precise interaction with digital characters, weapons, gore, and FX. Everything—smoke, blood hits, atmosphere, digi-double transitions—had to feel cohesive and continuous. The real achievement was making the stitching and technical complexity disappear. Given the mix of practical stunts and digital enhancements, what were the biggest challenges in maintaining continuity and realism throughout this oner? One of the biggest challenges was maintaining character integrity—especially for Daredevil. Charlie brings such a specific physicality to the role that even under smoke or in silhouette, his movement reads clearly. Every digital double had to mirror that language—his timing, stance, and how he moves through space—so the audience never questioned the switch. RISE used stunt mocap as the foundation for the digital doubles, then layered in character-specific adjustments to preserve that continuity. At the same time, we were building out full-CG environments to bridge shots, which meant matching textures, lighting, geometry, and camera lensing so that transitions were seamless. Weapons were another layer. Daredevil’s baton, Bullseye’s firearms and knives—all were CG. In one sequence, Daredevil is stabbed by 17 blades, some of which he pulls out to fight back. We had to track each knife’s position, contact shadow, suit tear, and blood drip from shot to shot, which required full-body rotomation and progressive damage built into the suit asset. That also extended to the environment—any damage had to be tracked through the sequence. Grounding the action was essential. Even when Daredevil lands from a rooftop with his grappling hook, it had to feel weighty. We added dust bursts, imperfect footfalls, and a bit of camera vibration to keep it visceral. In a sequence this seamless, every movement, every transition, every detail had to hold up. The illusion depended on total cohesion. How did you approach the digital recreation of New York and Hell’s Kitchen to match the series’ darker, more grounded aesthetic? New York is more than a backdrop—it’s part of Daredevil’s identity. So our approach to the digital builds had to feel authentic, responsive, and emotionally aligned with the show’s tone. We LiDAR-scanned full city blocks, rooftops, and adjacent buildings, and captured tiled plates and HDRIs throughout the day to map real lighting conditions. This gave us a strong base to work from, while still allowing flexibility for framing and layout. Folks VFX handled Matt’s rooftop in Episode 103, while RISE built the Josie’s rooftop and surrounding Hell’s Kitchen. Both spaces had to feel true to the city—textured and believable. Even slight changes in building height or placement could shift the tone of the scene, so we were careful to maintain a balance between realism and composition. Atmosphere was a defining element. We added fog, steam, wetdowns, reflections, and other city-layered effects—like flickering windows and distant traffic—to give each environment weight and depth. These elements weren’t just aesthetic—they helped shape the lighting and made our digital spaces feel physically inhabited and consistent with the show’s tone. Were there any key locations that had to be fully CG or heavily augmented with VFX? If so, what was the process of integrating them into the live-action footage? Yes—several locations had to be fully CG or significantly augmented. Matt’s apartment rooftop in Williamsburg, the Hell’s Kitchen rooftop at Josie’s, the fire escape sequence, Hector’s subway fight, Daredevil’s tunnel run, and the sensory bank vault scene all required extensive digital builds. We began by scanning or photographing real-world references, scouted in collaboration with our creative team, Production Designer and DP. Using LiDAR and photogrammetry, we rebuilt those environments in 3D, preserving scale and lighting using on-set HDRIs. Foreground and midground buildings were modeled in high detail, and wherever windows were visible, we added interior structure and depth to maintain a sense of life beyond the facade. In some cases, city regulations or safety concerns limited our ability to fully scan practical locations. For sequences like the subway platform and the tunnel Daredevil runs through in Episode 106, we used partial scans and reference photography to reconstruct and extend those environments in CG—including the train asset and the tunnel’s structural continuity. In Episode 105, the bank vault sensory sequence was shot on stage with only the real vault door present. Everything else—the spatial layout, dimensionality, and lighting—was designed in CG to reflect the show’s established visual language for Daredevil’s heightened perception. Not exactly an environment extension, but for the “blackout” sequences in the finale, we had to heavily modify our plates to feel like a true city-wide outage. That involved blending day-for-night captures with digital relighting in comp. In Times Square, we replaced the practical LED content with FISK delivering his New Year’s Eve speech. And to build tension, we expanded Fisk’s motorcade in Red Hook using CG mocaped taskforce units and Humvees. Whether it was a full CG build or a heavy plate modification, every element was grounded back into the photography through precise matchmove, consistent lighting cues, and environmental reference. Marvel projects often have a mix of on-location and green-screen work. What techniques did you use to ensure a seamless blend between real and digital environments? The key was always grounding the visual effects in something tangible. Whether we were working on a full bluescreen stage or extending a rooftop, the more real-world reference we could gather, the more seamlessly the VFX would sit in the frame. On Daredevil: Born Again, we captured practical plates and tiled reference footage wherever possible—especially throughout New York. That gave us a photographic base to match to. From there, we built every VFX setup on solid acquisition: LiDAR scans, high-res photogrammetry, HDRIs for lighting, and texture capture from all angles. We avoided relying entirely on CG whenever we could. Even in the most complex shots, we tried to include a practical element—whether it was a foreground prop, atmospheric haze, wet-downs or interactive lighting on set. Those physical components gave us something real to build off and helped the audience feel rooted in the scene. For environments, 2.5D extensions were backed by real plates, and full-CG builds were constructed from real-world geometry and surface data. Even on bluescreen stages, we lit to match the look and feel of the corresponding practical scenes to preserve continuity. We also worked closely with DI to carry through the grade and environmental treatment. That final layer ensured the shot didn’t just blend technically—but emotionally felt like it belonged to the same world. Daredevil is known for its brutal, grounded action sequences. How did VFX help enhance the stunt work while keeping it as practical as possible? Our approach was always practical-first. If it could be done in camera—blood hits, breakaways, physical impacts—we shot it that way. Then VFX would step in to enhance what was already there and bring the moment to full fidelity. For example, blood on faces and inside mouths was done practically using SFX makeup. But for continuity or when choreography called for additional impact, we added digital blood sprays, squibs, or drips—carefully tracked to the performance so they felt embedded, not layered on. Our stunt team gave us strong reference across all key fight beats. We combined that with mocap when needed, especially in sequences that transitioned into digital doubles. Having that real-world base allowed us to maintain physicality and character intention throughout. We also captured a library of flares and lens artifacts from our camera package, giving VFX the right visual language to match the look and feel of the photography—especially during close-quarters combat, where blood, smoke, and light moved dynamically through frame. It helped reinforce the tactile, in-camera aesthetic, even in fully augmented shots. Were there any particular fight sequences that required extensive digital double work, and how did you ensure they remained indistinguishable from the real actors? There were definitely moments where digi-doubles became essential—sometimes for safety, sometimes to maintain camera continuity, and sometimes because the physical environment couldn’t support the choreography as scripted. Sequences like Daredevil’s rooftop runs, tunnel chases, fire escape landings, grappling hook jumps, transitions within the oner, and background extensions to enhance Fisk’s task force all required digital double work at varying levels of complexity. In every action scene, our approach was to ground the work in real-world performance. We captured motion for all key stunts and fight beats, and did detailed cyberscans of the main cast and their stunt doubles. That gave us accurate silhouettes, proportions, and suit detail—everything we needed to maintain visual continuity between live-action and CG. While we didn’t use facial capture rigs or volume setups, Charlie Cox gave us highly expressive reference performances. His focused takes gave us insight into the intention behind each movement, which we either projected in 2.5D or matched in animation for the digi-double moments. What really sold it was the integration. We were meticulous about matching HDRI lighting, lensing, atmosphere, and even subtle depth-of-field cues. Every digital element had to feel like it was captured on the same lens, in the same space, at the same time. That’s what kept the illusion seamless—even in full-CG moments. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? One that stands out is the rooftop environment for Matt’s apartment. It was our first major VFX presentation to the directors and creatives, and it set the tone for what our digital New York would become. It needed to feel cinematic, atmospheric, and emotionally grounded. We scanned and photographed rooftops around Williamsburg, then composited those elements into a custom layout tailored for our scenes. But even subtle changes—like shifting a building’s height or shape—could disrupt the familiarity of the skyline. It’s like adjusting features on a face: subtle, but if it’s wrong, you feel it. Getting that balance right, while still supporting our camera moves and blocking, was incredibly rewarding. Another favorite was developing Daredevil’s sensory language, which we crafted in close collaboration with Phosphene. It evolved throughout the season, but the most ambitious moment was what we called the “Grande Sensory” shot—when Daredevil tunes into a specific sound and his world expands perceptually. We shot it using a custom three-camera rig: a spherical zoom lens in the center, flanked by wide primes. As we pushed in while zooming out—a zolly—we stitched the feeds together at the widest focal length into an approximately 230° field of view, with extra image gathering on the sides. Simultaneously, the aspect ratio expands. Once Daredevil locks onto the target sound, we “unstitch” back to the center camera and compress the aspect ratio as we zoom in for a clean finish. The transitions are subtle but emotionally impactful—designed to be felt, not noticed. We also had the “petite sensory” moments—simpler, analog-feeling visual cues that suggest Daredevil is focusing in. These used optical lens tricks, subtle distortions, and flares—many based on practical elements we shot—so even the heightened perception moments felt grounded in the show’s visual language. And finally, the Gallo head-crush—one of the season’s most graphic shots. The practical prosthetic was impressive, but once pressure was applied, it deformed in a way that didn’t mimic human anatomy. We scanned both the actor and prosthetic for a partial digital takeover—replacing areas with CG muscle, bone, blood, and facial details. Folks VFX handled this sequence and absolutely nailed it, especially the vascular bursts in the eyes and the blink just before the fade. Looking back on the project, what aspects of the visual effects are you most proud of? There’s a lot to be proud of, but what stands out most to me is the consistency of tone and craft—how the visual effects supported the grounded, emotional feel of the show without ever pulling focus. Even in sequences that were technically complex—like the rooftop builds, sensory moments, or the opening oner—we always came back to story. The VFX weren’t about spectacle. They were about precision, intention, and integration. I’m also proud of the continuity we maintained across multiple directors and DPs. Visual effects became a steady thread—carrying design language, violence levels, atmosphere, and choreography from one episode to the next. Most of all, I’m proud that the work feels cohesive. Whether it’s a subtle stitch or a full CG shot, it never distracts. It feels lived in—part of the world, not outside of it. How long have you worked on this show? I was on from November 2022 through November 2024, so a full two years. Being involved early really helped—we had time to plan things properly, make smart choices, and stay ahead instead of playing catch-up. What’s the VFX shot count? We delivered 1,380 final shots in the official turnover cut. What is your next project? We’re already shooting Season 2 of Daredevil: Born Again, which has been exciting. Coming back with the same core team means there’s already a rhythm in place—we know how to work together, and that gives us room to push things further. We’re building on what we set up in Season 1, keeping the tone grounded, but also exploring new visual ideas and storytelling challenges. It’s great to be back in this world, with a chance to evolve it in new ways. What are the four movies that gave you the passion for cinema? There are many, but ones that come to mind immediately are The Godfather I & II, The Shining, In the Mood for Love, and Dune: Part One & Part Two. A big thanks for your time. WANT TO KNOW MORE?RISE: Dedicated page about Daredevil: Born Again on RISE website. © Vincent Frei – The Art of VFX – 2025
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