Ahead of the release of Death Stranding 2: On the Beach later this month, Kojima Productions has shared a brand new look at the game.

Corsair Overhauls Prebuilt, 3-Chamber Airflow Case, & Transparent PSUJune 5, 2025Last Updated: 2025-06-05We take a look at Corsair’s upcoming i600 pre-built PC, Air 5400 case, Frame 4000D prototype, and moreThe HighlightsCorsair’s i600 pre-built PC is a new revision on the company’s i500 and overhauls its GPU cooler and CPU radiatorThe Corsair Air 5400 is an airflow-targeted case that has air ducts on the top and bottom of its chassisCorsair has partnered with Singularity to develop the Frame 4000D prototype, which has an interesting power board that handles cable managementTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Corsair’s suite at Computex 2025 and liked some of the stuff the company had to show. Editor's note: This was originally published on May 21, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangCorsair Air 5400Corsair will release its Air 5400, which is an airflow-targeted case. On the back side of the case is a giant hole, which couples with a front-mounted radiator that will allow the case to shove air straight out of it. This design allows it to focus air flow for the GPU entirely from its own set of fans at the bottom of the case. This is probably the most interesting case from Corsair we saw at Computex this year. It should be around $220, though that’s dependent on the everchanging tariff situation. Internally, the Air 5400 has a duct at the bottom where the case has 3x120mm fans (the entire case is actually set up to support all 120mm fans, which simplifies things). The duct is there to guide air into the GPU. Corsair claims that the case is getting about a 1-2 degree improvement with the duct in a like-for-like test. If you do end up with a front radiator, then a potential area that gets abandoned in terms of airflow might be around the VRM area and some of the board components like system memory.  There are mounts for fans up on top of the case along with an additional duct. Looking at the back of the case, there are 2 holes on the back, which is surprising for a 120mm fan. The spacing doesn’t look like it would fit a 120mm fan, but Corsair’s plan is to include a bracket that would adapt a 120mm fan here and would actually cut out into the glass area on the back, which would make you lose about 40% of the fan. This should help but raises some questions about whether it may cause acoustic issues when you partially blast air into a glass wall. Speaking of glass, the Air 5400’s glass is laminated. A couple companies are doing this now. Corsair says this helps the glass stay more put together to prevent shattering. Looking at the back side panel, there’s a big acrylic sheet coupled with an area where air can escape. Opening up the back panel, there’s a huge amount of cable-management depth. You can also see that the motherboard tray is punctured all of the way through. This causes concerns around structural rigidity, but Corsair is using a .8mm thick steel, which helps a little bit here. The company has also strengthened the case’s top panel compared to Corsair’s 4000D case, which received negative feedback in that area. The Air 5400 is set to be priced at $220 with 3x120mm fans included. i600 Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)Corsair is updating its i500 pre-built PC, which we hated, with its upcoming i600, and the company has improved it a lot. The i500’s GPU cooling solution had basically no contact with any of the power components. The i600, on the other hand, has massive overhauls here. The case itself has only slightly changed, but the changes made accommodate larger radiators. The block for the video card, including the power components, is totally different in a way that looks promising. The stuff that jumped out to us right away about the i600 is the fin stacks for the VRM, which is connected to a shared copper nickel-plated base plate for the GPU and memory. Everything is connected to the same base plate, which is connected to the liquid cooler. This means all of the heat gets dumped into the liquid cooler. There’s pros and cons to this design. The pro is that all of the other components get cooled better. The downside is that the GPU itself is sharing the heat dissipation capacity with all of the other components in the cooler. This means you typically see some increase in the GPU temperature as a result. There’s ups and downs to this approach. It doesn’t necessarily mean one solution is better than the other as long as it’s all cooled. The i600 has copper bars, which contact the MOSFETs. Otherwise, it’s very similar to the i500. Corsair has also modified its CPU cooler radiator, where the company has moved its tanks off to the side. The tubes are also running in a different direction. Corsair is also moving to 25mm thick fans, where previously they had the slimmer 15mm fans. That extra 10mm will help with pressure and performance a lot. We plan on doing a review of the PC as soon as we buy one.Corsair Frame 4000DWe saw a prototype of Corsair’s Frame 4000D, where the company changed a few things. Corsair partnered with Singularity for its powerboard. It’s somewhat similar to Elmore’s BENCHLAB, with the exception of it not logging power. With the case, you basically run all of the power cables into the power board and then route them to their final locations. We count 10 fan headers here along with a bunch of RGB headers. There’s a lot of possibilities with this. Currently, it’s mostly being used as a cable-management tool, but you could, in theory, expand this to include more switches, like fan-control switches. We would really like to see current monitoring. It would make it more expensive but that could be a potentially useful direction to go in where you could monitor on the 12VHPWR, for instance, which would become a great marketing point for Corsair and would be very useful for end users. The front panel is also different as it has a die-cut edge now.  The power supply setup is also different here with Corsair doing an acrylic wall for the PSU instead of steel. The challenge here is that plastic is an incredibly good insulator. This could raise some ESD (electrostatic discharge) concerns and may cause the PSU to lose some of the shielding that steel provides. As a part of this design, Corsair has customized the caps and PCBs so that they get nice color matching. It looks pretty nice. 3D PrintingCorsair was telling us how for its upcoming 4000D and its Frame series cases, it was getting into 3D printable panels and pieces. They showed us how one Corsair employee 3D printed a shroud-like duct, which takes air in through the bottom and shoves it up into where the pump and reservoir are in the image above. These 3D print files are available on Corsair’s account on Printables.  Corsair 5000DWe didn’t care too much about it but Corsair also showed off its new 5000D that has a screen on it, which is a thing companies are doing now. They also had a 5000D case without the screen, which is a larger variant of the Frame 4000D case. Corsair says that it should be priced around $180, but that’s in flux with the tariffs situation.  Corsair Open Concept Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Corsair’s open concept at Computex is using some of the same Frame components, where the company is trying to make the Frame series modular and represents an open frame. There’s also an option for fan mounts as well. The company showed a gigantic radiator tower at the show, which is pretty cool to see.

Geoff Keighley has promised a record-breaking number of publishers at Summer Game Fest this year, so we’ve rounded up what we think we’ll be playing in the coming monthsTech23:00, 05 Jun 2025We're so ready to step into Samus' boots againE3 might be long gone, but Summer Game Fest has replaced it. While Nintendo Switch 2 has just launched, and Sony has held its own State of Play event, tonight’s show is about as unpredictable as you can get. So, naturally, we’re trying to predict what we’ll be seeing.With everyone from PlayStation to SEGA, Xbox and even Nintendo making an appearance, we’re expecting big things from the showcase, which will be packed with titles for 2025 and beyond.‌While some are known quantities, like Borderlands 4, Little Nightmares 3, and the upcoming Bond game from Hitman developer IO Interactive, we’re still expecting plenty of surprises. Here’s everything we’re predicting for Summer Game Fest 2025.‌There are plenty of big namesWith Geoff Keighley’s events in both the Summer and December being key fixtures on the gaming events calendar, he’s able to pull off plenty of surprises. The Game Awards 2023 revealed Monster Hunter Wilds, while the following year showcased the first gameplay of Slay The Spire 2 and Split Fiction, as well as Elden Ring Nightreign and Intergalactic: The Heretic Prophet.As for Summer Game Fest itself, the show last year featured Dragon Ball: Sparking Zero, Kingdom Come: Deliverance II and Warhammer 40,000: Space Marine 2 - all games which were released since then.Article continues belowWe’ve heard rumblings that Capcom’s Pragmata, revealed alongside the PS5 in June 2020, could be shown at the event following an indefinite delay in 2023. It’s just as well, since we have no idea what the game really is yet.We’re also very curious about what Nintendo could show. The Switch 2 is out, but only as of yesterday, so we’d expect a sizzle reel to show what the console is capable of, as well as another look at Donkey Kong Bananza.‌PlayStation is probably easier to predict since the company is launching Hideo Kojima’s Death Stranding 2: On The Beach in just a few short weeks, and Geoff Keighley will likely find some way of getting the man himself on stage.SEGA has plenty to show, too. Sonic Racing CrossWorlds is still due this year, while the company has an ambitious plan to resurrect classic titles starting with Shinobi: Art of Vengeance and leading into Streets of Rage and Crazy Taxi.We tipped a Final Fantasy 7 Remake Part 3 announcement for Sony’s State of Play, but we’re still waiting for more news on Kingdom Hearts 4.‌Pearl Abyss is still aiming to launch Crimson Desert this year (supposedly), but we’re without a release date as yet, while the company is also working on its colourful DokeV which has been MIA for years at this point.While Microsoft is expected to appear, the company has its own showcase just two days later with a big focus on The Outer Worlds 2. As a result, we might just get a sneak peek at this year’s Call of Duty with more to come on Sunday.With Bungie’s Marathon hit by plagiarism accusations, Embark Studios has a great chance to get players onto Arc Raiders as an alternative. Speaking of Bungie, expect a gameplay trailer for Destiny 2: Edge of Fate.‌Elden Ring is coming to Switch 2(Image: FromSoftware, Inc.)Call us crazy, but we want a bunch of Switch 2 news. We want to see From Software’s Duskbloods, get a release date for Elden Ring: Tarnished Edition, and maybe even a Metroid Prime 4 release date from Nintendo itself.Given the history of Monster Hunter on portable consoles, we’ve got everything crossed for the series to come to Switch 2, but coming off of the excellent Wilds, it’s perhaps unlikely.‌Naturally, we’ve always got our fingers crossed that we’ll see Silksong, but rumours have suggested that Team Cherry’s long-awaited Hollow Knight follow-up would be announced at Microsoft’s event if at all.As we said in our State of Play predictions, we’re also expecting to hear more about Resident Evil 9 by the end of this week, in some way, shape, or form.With The Division 2 getting what’s likely its final DLC recently, here’s hoping for The Division 3, which has been rumoured for a while. Or, maybe Ubisoft will finally share something about the Splinter Cell title it has in development.Article continues belowDid we get any correct? Find out with us, with the show kicking off at 10PM BST on Friday night.For the latest breaking news and stories from across the globe from the Daily Star, sign up for our newsletters.‌‌‌

With reclaimed land previously allocated to cars, the Grijalva River boardwalk offers generous public spaces and reconnects the Mexican city of Villahermosa to its river In Villahermosa, nature reigns supreme. Surrounded by rivers, lagoons, wild vegetation and the scorching heat of a humid tropical climate, the city’s identity is shaped by intense and unpredictable natural forces. The capital of the Mexican state of Tabasco was founded in 1564 on the banks of the Grijalva River, a vital trade route that has significantly shaped the city’s development. For locals, the river has long been both blessing and threat; major floods have been recorded since the 17th century. A devastating flood in 2007 submerged what officials estimated to be 80 per cent of the city, damaging or destroying more than 120,000 homes. In the aftermath of the inundation, high concrete retaining walls were built along both banks of the Grijalva River to prevent further flooding. While this was an understandable measure at first glance, it consequently caused residents to lose both their visual and physical connection with the river. As a result, people moved, particularly from the western bank where the historical centre is located, to new areas further away from the Grijalva River. The riverfront was left to deteriorate into a troubled zone. On the eastern bank, the neighbourhood of Gaviotas was already considered unsafe before the flood, yet it maintained more of its residential character. In 2022, 15 years after the dramatic flood, then‑president Andrés Manuel López Obrador, more commonly known as AMLO, announced the construction of a new 6km‑long riverfront promenade in Villahermosa, the capital of his home state. The idea was to enable the population to once again take pride in and live with their river, looking to Paris and Rome as examples. The monumental task, with its large urban scale and the population’s psychological trauma, was entrusted to the Ministry of Agricultural, Territorial and Urban Development (SEDATU) as part of their Programa de Mejoramiento Urbano (Urban Improvement Programme, or PMU). This programme aimed to use architecture as an ‘instrument of social transformation’. High expectations were placed on these projects; architects were asked to create ‘places of national pride’ while improving everyday living conditions. The architectural trio of Alejandro Castro Jiménez Labora, Mauricio Rocha Iturbide, and Óscar Rodríguez Castañeda, along with their teams, were commissioned to design a linear park along both banks of the Grijalva. Each architect contributed their strength: Castro brought his expertise in poetic urban furniture; Rocha his sensitive and atmospheric architectural approach; and Rodríguez his thoughtful urban and traffic planning skills. The SEDATU team provided technical and participatory expertise, enabling contextual sensitivity by sharing essential information about the site’s topography, soil conditions and water flows. From the city’s existing observatory, the Torre del Caballero landmark, visitors enjoy an excellent view over the redesigned riverbanks. The historical centre and the Gaviotas neighbourhood now form a single ensemble, while the intervention carefully responds to the different conditions found along the length of the river. The project’s main objective is to reclaim some of the land previously allocated to cars and create a promenade for pedestrians and slower vehicles, punctuated with public spaces and facilities. On both sides of the river, cars are now limited to just one or two grey asphalt lanes. Running alongside are generous cycle paths and pedestrian walkways made of earth‑coloured concrete. Speed bumps in the same material and colour connect the pavements on either side of the road while helping to limit traffic speed to 30km/h, further enhancing pedestrian safety. Several design elements are found along almost the entire promenade. A ribbon of light‑grey benches delineates the edge of the elevated riverfront; stone walls, steps and ramps are used to negotiate the slight changes in level; planters and lush vegetation soften the transition to the walkways, creating a welcome buffer from street traffic. The most visually striking components are the tall, red‑pigmented concrete light poles on the elevated path, adorned with elegant L‑shaped steel light fixtures, which establish a strong and cohesive visual rhythm. Only upon closer inspection you notice the 2007 retaining walls peeking through the dense tropical vegetation. Removing these unattractive concrete barriers was never an option; they stand as a symbol of successful flood protection for the local population. The architectural team ingeniously built the elevated promenade atop the existing wall – an effective concealment from the street side while simultaneously inviting residents to reconnect with the Grijalva.  At the foot of the observatory, directly below the retaining wall, the earth‑toned concrete platforms of the Carlos A Madrazo Becerra Park stretch towards the river. Visitors can access the park via a ramp from the promenade on the western bank or by ferry from the opposite side. In the park, concrete furnishings invite visitors to linger among tropical vegetation set against tall natural stone walls. Importantly, it is a space that is durable and requires minimal maintenance – a survival formula for public parks in the Mexican context. Small traces on the concrete benches reveal that the park weathered its baptism of fire last year: the design accommodates the river’s natural dynamics, adapting to fluctuating water levels without compromising public safety. Beyond providing much‑needed shade, the extensive planting of native, low‑maintenance plants on both riverbanks has improved soil stability. Above the park, on a broad extension of the elevated pathway, stand three long, elegant buildings with large cantilevered roofs supported by hefty beams resting on distinctive double columns. The tall glass walls that enclose the interiors are set back, creating a visual flow between interior and exterior spaces. While the beams evoke timber construction, they – like the columns – are made of the same pigmented concrete used for the promenade paving. Despite their refined composition, these structures have remained largely unused since their completion over a year ago, neither serving their intended function as restaurants nor hosting alternative uses. Even the beautifully designed park sees only limited public engagement. The ambitious goal of SEDATU with the PMU projects to ‘counteract violence and strengthen the social fabric’ appears, for now, to have fallen short in this area. According to national statistics, Villahermosa ranks first in perceived insecurity among Mexican cities. This sense of insecurity is tangible on the promenade by the city centre, where buildings that look abandoned contribute to an atmosphere of neglect. The situation is markedly different on the opposite riverbank, in the Gaviotas neighbourhood. Construction of the 3.5km promenade on this side began in 2021 with three open pavilions housing several small kiosks, which quickly evolved into popular taco stands. The Plaza Solidaridad, revitalised by the architectural trio, draws people from the surrounding vibrant neighbourhood. Further south, the final section that was built is a large sports area and children’s playground, which were embraced by the local community even before their official inauguration in February 2024. Especially after sunset, when the air cools, the well‑lit Gaviotas riverfront comes to life. During daylight hours, however, air‑conditioned shopping centres remain the preferred gathering places for the residents of Villahermosa. Rocha describes the city’s new promenade as a ‘jazz composition’, a striking metaphor that speaks of rhythmic complexity and the freedom to improvise. With just a few designed elements and carefully selected colours, the architects have harmoniously layered the river’s urban spaces. The project is earning international recognition but, in Mexico, it faced sharp criticism and was overshadowed by accusations of nepotism. Castro is a friend of AMLO’s son, and the fact that the intervention took place in the home state of the then‑president, coupled with its substantial budget by local standards, drew considerable attention. According to residents, this undermined public acceptance. When asked about the negative press, Rocha speaks of the need to develop a ‘crisis muscle’; he says architects working on public projects in Mexico must ‘let go of perfectionism’ as much lies beyond their control.  During AMLO’s six‑year term, which ended in 2024, SEDATU implemented 1,300 PMU projects in 193 highly marginalised municipalities across the country. While many of these interventions undoubtedly improved people’s quality of life, the Villahermosa riverside project also reveals architecture’s limitations, exposing some of the programme’s weaknesses: architectural interventions often act as sticking plasters on an extensively damaged urban fabric. They are handed over from a national ministry with comprehensive expertise and funding to local governments lacking the means to sustain them. Although SEDATU conducted participatory consultations during the project’s implementation, this engagement was absent once the project was completed. Public acceptance and appropriation can take time; what this project does is send an invitation out. 2025-06-05 Reuben J Brown Share AR June 2025RoadsBuy Now

Posted on : June 3, 2025 By Tech World Times General  Rate this post Owen Mac, the talented country and gospel singer from Northern Ireland, has made significant strides in the music industry since his debut. Born in 2003 in Coleraine, Northern Ireland, Owen’s passion for music was evident from a young age. Influenced by artists like Jimmy Buckley, Derek Ryan, Gene Watson, and Rascal Flatts, as well as his father, Owen’s musical journey has been both inspiring and successful. Early Life and Musical Beginnings Owen Mac’s love for country music was nurtured in his hometown, where he began singing at local events and church gatherings. His soulful voice and heartfelt performances quickly garnered attention, leading to opportunities to perform on larger stages and collaborate with established artists. Discography and Musical Achievements Over the years, Owen has released several albums that have resonated with fans worldwide. Some of his notable works include: “This I Promise You” “My Journey” “Heart and Soul” “Especially For You” “How Beautiful Heaven Must Be” These albums showcase Owen’s versatility and deep connection to his musical roots. His rendition of classics and original compositions have solidified his place in the country and gospel music scenes. Online Presence and YouTube Earnings Owen’s online presence, particularly on YouTube, has contributed significantly to his popularity and income. As of June 2025, his YouTube channel boasts over 80,700 subscribers and has accumulated nearly 40 million views. This platform not only allows fans to access his music easily but also serves as a revenue stream through advertising and sponsorships. starstat.yt Merchandise and Live Performances In addition to album sales and online streaming, Owen offers merchandise through his official website, including CDs and DVDs of his performances. Live performances remain a significant part of his career, with concerts and appearances across Ireland and beyond. These events not only provide income but also strengthen his connection with fans. Owen Mac Net Worth in 2025 Estimating Owen Mac’s net worth involves considering various income sources: starstat.yt YouTube Earnings: Approximately $28,000 annually from ad revenue. Album and Merchandise Sales: With multiple albums and merchandise offerings, this could contribute significantly to his income. Live Performances: Concerts and events add to his earnings, though exact figures vary. Considering these factors, Owen Mac’s net worth in 2025 is estimated to be in the range of $85,000 to $100,000. FAQs: Q: What is Owen Mac’s primary genre of music? A: Owen specializes in country and gospel music, often blending traditional and contemporary styles.Q: Where can I purchase Owen Mac’s music and merchandise? A: His official website, owenmacmusic.co.uk, offers a range of albums and merchandise.Q: Does Owen Mac perform live concerts? A: Yes, Owen regularly performs at various venues and events. Details about upcoming performances are typically available on his official website and social media channels.Q: How did Owen Mac gain popularity? A: Owen’s unique voice and heartfelt performances, combined with his online presence, particularly on YouTube, have played significant roles in his rise to fame.Tech World TimesTech World Times (TWT), a global collective focusing on the latest tech news and trends in blockchain, Fintech, Development & Testing, AI and Startups. If you are looking for the guest post then contact at techworldtimes@gmail.com

Stone PC Case, Cooler Master GPU, DIY Case from Scratch, and Metal FansJune 4, 2025Last Updated: 2025-06-04Cooler Master is doing some really interesting stuff with its new casesThe HighlightsCooler Master’s upcoming MF600, MF500, and MF400 reconfigurable frame cases are assembled from columns and cornersThe company also showed off interesting stone facade case front panelsCooler Master is working on a “GPU” with AsusTable of ContentsAutoTOC Grab a GN Tear-Down Toolkit to support our AD-FREE reviews and IN-DEPTH testing while also getting a high-quality, highly portable 10-piece toolkit that was custom designed for use with video cards for repasting and water block installation. Includes a portable roll bag, hook hangers for pegboards, a storage compartment, and instructional GPU disassembly cards.IntroWe visited Cooler Master’s booth at Computex 2025 where the company showed off several new cases. Arguably the most interesting one is a modular case. It comes with, we believe, 8 corners and 12 columns.Editor's note: This was originally published on May 20, 2025 as a video. This content has been adapted to written format for this article and is unchanged from the original publication.CreditsHostSteve BurkeCamera, Video EditingMike GaglioneVitalii MakhnovetsWriting, Web EditingJimmy ThangCooler Master MF CasesThe case comes with a front panel that has a dust filter in it. With it all assembled, it looks like the cases in the image above. The cases are the MF series, with the largest one being the MF600, which we assume translates to “Motherf***ing 600.” There’s also the MF500 and the smaller MF400. Initially, Cooler Master is basically going to be selling pre-configured models. Eventually, the company wants to allow people to customize the case on their site and have it assembled and shipped from around the City of Industry. It’s pretty cool as it’s a fully modular approach.The side panels are secured to the case via magnets, which is actually a nice touch. Internally, the MF600 we saw came with 3x140mm fans on the front and 1x120mm fan on the back. The motherboard tray is pretty standard for the most part. Exceptions include a rail system that provides numerous holes for screws to go in, which allows Cooler Master to reconfigure things. Inside the case towards the back, there’s also a rail system, which forms bits and pieces of the motherboard tray that allow for more customizability. Cooler Master has been kind of on-and-off in the DIY space over the years where they’ve had some really big wins and some really big losses. They were also kind of absent for a while, but these MF cases represent a better showing from what we’ve seen in a while from the company. According to Cooler Master, a pre-configured MF600 is supposed to cost $200. We expect to test and review the case. The MF500 is supposed to go for $165 and includes 2x200mm fans in the front and 1x120mm fan in the back. The smallest MF case, the MF600, which is a very large micro ATX box, is going for $150. In terms of fans, it has 2x120mm ones at the bottom coupled with a 1x120mm fan in the rear.  Cooler Master also showed off different panel types they’re experimenting with. One of them included a facade-style stone. One of the pre-built MF cases we looked at had stuff flipped around in an inverted layout. One of the benefits of its rail system allows the case to have a bar that screws in which can support the GPU. Looking into this system, you can see that the PSU is at the bottom next to a bottom intake fan. Updated Cosmos Visit our Patreon page to contribute a few dollars toward this website's operation (or consider a direct donation or buying something from our GN Store!) Additionally, when you purchase through links to retailers on our site, we may earn a small affiliate commission.Cooler Master’s updated Cosmos has the NVIDIA-like DGX style front. We also saw a variant of the Cosmos with thermal baffles in it. We have some criticisms of its execution, but overall, it’s an interesting idea.  The way the baffles are designed, Cooler Master is trying to bring air straight in through its channels. There’s a channel for the CPU that exposes the fin stack and Cooler Master's V8 CPU cooler. It conveys an idea similar to an engine cover. The GPU has a separate baffle beneath the CPU one. The company is trying to isolate air flow. In theory, this should work well and we would love this idea applied to more affordable cases, like the MF series, especially since they’re already kind of configurable. Looking at the back, fans can be mounted on the rear, which can help pull air out. We also saw another variant of the Cosmos case running liquid cooling with a distro block. It was coupled with 4x180mm fans and a “720” radiator, which pulled air into the case. Unfortunately, the air is blowing straight into the wall of a motherboard tray, but Cooler Master says the plan is to pull the air up and out of the case with additional 180mm fans on the top and to move the PSU towards the bottom of the case. Looking closer at the front of the special edition of the Cosmos cases, we can see the NVIDIA DGX shroud, which Cooler Master manufactures. It’s essentially like a sponge-like mesh. The special edition of the Cosmos doesn’t have a price yet, but the non-special edition variant is supposed to be around $400, which is before any potential tariffs. Cooler Master CoolersCooler Master showed off some CPU air coolers that had some 3D heat pipes, which had more heat pipes protruding from the center. The company also showed off its V8 cooler and a full-metal fan. The fan’s blades and frame are both aluminum.  Cooler Master Elite Series CasesCooler Master does some really cool sh*t but has a branding problem. For instance, the company’s “Elite” series cases, shown in the image above, are actually budget cases. From left to right, we believe they are called the Elite 482 ($50), Elite 600 ($65), Elite 490 Wood ($50), Elite 691 Wood ($60), Elite 693 ($60), Elite 692 ($70), Elite 302 ($40), and Elite 502 ($60). Our advice to Cooler Master here is for them to unf*ck these names.Most of the Elite series cases don’t come with fans with the exception of the Elite 302 and Elite 502, which come with 3 ARGB fans. MF360Next up are Cooler Master’s MF360 cases, which conveys that you can see inside the case from all sides. While it’s going to have some thermal challenges, to give the company credit, it’s actually really good looking. The MF360 is a showcase fish-tank style PC that you can see through from both sides. Inside the case, we saw a distro block and tubes routed through on both sides.Cooling XThe case in the image above, which goes by "Cooling X,” and uses the company’s new MF frame system. If you look at the corner, you can see the individual columns. At Computex, we saw it as a pre-built system.The top of the case has a magnetically attached panel, which just pulls right off. The panel itself provides really good porosity and the material is pretty nice. Removing the top panel exposes 2 offset fans. The back fan tries to pull in air with the front fan trying to exhaust air out of the top, which is why they’re offset. That’s kind of cool to see.  Cooler Master FansCooler Master showed off all-aluminum fans, which include the blades and frame. The MF120 XT is a 120mm model, is supposed to be $35, and the company says it goes up to 4,000 RPM. The fan’s RPM can also be button-controlled via an external remote and it uses a dual-ball-bearing solution. Cooler Master’s mixed fans, which use plastic blades coupled with an aluminum frame, come with fluid dynamic bearings (FDBs). The clearance between the fan blade tip and the frame is important as the smaller that clearance is, the better performance you get. The major downside is that as the fan ages, it can start to clip the interior of the frame. Having it too close can also negatively impact yields. The solution to this is LCP, which is incredibly expensive, or metal, because it doesn’t deform, but that’s also expensive. Right now, Cooler Master says it’s about a .8mm distance, which is pretty good. The company is targeting 0.6mm by the time the fan launches. Cooler Master Video Card Shroud Grab a GN15 Large Anti-Static Modmat to celebrate our 15th Anniversary and for a high-quality PC building work surface. The Modmat features useful PC building diagrams and is anti-static conductive. Purchases directly fund our work! (or consider a direct donation or a Patreon contribution!)Cooler Master also showed off some video cards, which is not something the company is typically involved with. Cooler Master created a GPU shroud with adjustable slats that can accommodate 15-30mm fans. This solution is geared towards pre-built PCs and isn’t planned to be sold separately.Examining one of the fans, we saw a standard 25mm-thick fan, which Cooler Master’s GPU shroud solution can adjust to via different notch options.Cooler Master is also using a vapor chamber, which is supported by 8x8mm heat pipes running through the shroud and a gigantic fin stack. In total, it weighs almost 7 pounds (3.2 kilograms).Cooler Master claims that, in terms of cooling, it performs similar to the 4-fan Astral solution at lower noise levels, but we don’t have those numbers. With 4,000 RPM fans running on a 600-watt heat load, Cooler Master claims a 5090 will run at about 49 degrees C or so for the GPU.

Sangral Powered by Friendship™ Member Feb 17, 2022 8,649 From one of the biggest and most dedicated HDR analysis channels out there. Thought that's a big enough topic on its own, because of the analysis, for a separate thread. View: https://www.youtube.com/watch?v=N637VB4FYxg 450 nits maximum peak brightness (personal comparison, Switch OLED without any HDR has 340 nits, an LG C2 TV in HDR has 800 nits, Steam Deck OLED screen has 1000 nits, Samsung Galaxy S24 Ultra 2600 nits.) Games like Zelda Breath of the Wild have raised blacks even in Docked HDR gameplay with a raised black level floor and the game looking washed out HDR docked can be good if games are optimized for it like Cyberpunk, which he refers to being exactly like on PS5 and PC, HDR wise or Fast Fusion as one of the rare games that actually have a good black level floor in HDR   Last edited: 39 minutes ago blueredandgold Member Oct 25, 2017 8,739 Could you please translate for those of us who haven't been able to watch or digest after we saw this posted in the other thread please?   gabdeg Member Oct 26, 2017 7,420 🐝 Sadly what I expected since the moment we learned it was edge-lit LCD. Would've at least expected nigher peak nits though.   Kouriozan Member Oct 25, 2017 25,072 A shame, because Switch 2 is like the first time I'll see HDR, as my old TV isn't compatible :/   Paper Cheese Member Oct 9, 2019 558 I've got to assume this is the sort of thing that most of us hi-fi tech illiterate lot won't notice until they bring out a better screen model in a few years.   Fortinbras Member Oct 27, 2017 2,073 Well that sucks but it's Nintendo...did anyone expect anything different? I'm only going to use it docked so hopefully they can fix the HDR via update.  Universal Acclaim Member Oct 5, 2024 2,482 Not surprised, but not a big issue for me personally.   Antony Member Oct 25, 2017 4,054 Ahhh the obligatory Nintendo Crap Display (Before You Buy a Whole New Model to Get a Decent One) it's positively tradition at this point   Friendly Bear Member Jan 11, 2019 4,162 I Don’t Care Where (Just Far) Even with an edge lit LCD, I was expecting brighter highlights. A lot of the preview event coverage made it sound like the screen was insanely bright, and that's clearly not the case.   NoSpin Member Nov 1, 2017 83 As so often with gaming, I am relieved to have this person to tell me the thing I am enjoying looking at is bad actually. :)   Mivey Member Oct 25, 2017 20,753 Paper Cheese said: I've got to assume this is the sort of thing that most of us hi-fi tech illiterate lot won't notice until they bring out a better screen model in a few years. Click to expand... Click to shrink... the raised blacks on dark content is pretty clear if you play in any kind of darker environment, if you have any kind of OLED screen to compare. Case in point, if you own a Switch 1 OLED, you'll notice the stark differences for certain kinds of content right away. OTOH, if you have been using a launch Switch 1 and never had any issues with how it looks, you'll be fine. Just make sure to stay away from OLED screen, lest you gain the ability to see the differences.   Decarb Member Oct 27, 2017 9,280 HDR on edge-lit LCD is kind of a scam anyway. Kouriozan said: A shame, because Switch 2 is like the first time I'll see HDR, as my old TV isn't compatible :/ Click to expand... Click to shrink... If you have a phone made in last couple of years you've probably seen HDR.   horkrux Member Oct 27, 2017 6,531 Well, kinda expected, so I'm not too bothered by it. Not like you can change it.   Maximo Member Oct 25, 2017 11,041 Nintendo saving that sweet sweet OLED for a refresh.   Buddy Member Oct 25, 2017 1,773 Germany I have mine in my hands right now.... don't know about HDR stuff too much but Mario Kart looks gorgeous on it.   DieH@rd Member Oct 26, 2017 12,083 Decarb said: HDR on edge-lit LCD is kind of a scam anyway. Click to expand... Click to shrink... ^ this.   cw_sasuke Member Oct 27, 2017 30,321 Most of this stuff was clear from the Preview Events, at least DF talked about it. Didn't seem to bother a majority of people playing though. Was pretty much set when it wasn't going to be OLED.  John Frost Member Oct 27, 2017 9,658 Canada Well, that's disappointing..   Milk Prophet of Truth Avenger Oct 25, 2017 4,301 NoSpin said: As so often with gaming, I am relieved to have this person to tell me the thing I am enjoying looking at is bad actually. :) Click to expand... Click to shrink... It's not a personal attack on you. Pointing out objective shortcomings about the technology is a good thing for consumers.   345 Member Oct 30, 2017 10,410 it's about as good as i was expecting. HDR on an LCD basically means "we're actually going to tune content for the screen's color gamut", and it does the job on that level. mario kart does look punchier and more vibrant than it would in SDR while obviously not offering the same contrast as an OLED. dunno who this guy is but if he's really "very disappointed" i'm not sure he knows very much about screens. i'm sure it's just ragebait  JimNastics Member Jan 11, 2018 1,607 345 said: 'm sure it's just ragebait Click to expand... Click to shrink... No way!! :D You could tell just from the thumbnail.  Aleh Member Oct 27, 2017 20,238 "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is.   cw_sasuke Member Oct 27, 2017 30,321 Milk said: It's not a personal attack on you. Pointing out objective shortcomings about the technology is a good thing for consumers. Click to expand... Click to shrink... Seems to be on par what you would get with an LCD. The OG Switch 1 has a bad LCD Screen, the OG Steam Deck has an even worse.....this video is making it seem like Switch 2 Screen is as bad as these screens or even worse. When it seems to be quite solid for an LCD, but in certain areas it can compete with an OLED.  Alex840 Member Oct 31, 2017 5,373 And yet most of the games media doing previews have been like "oh I can barely tell the difference compared to the OLED". Am really sad they took a step back with this, how much more could an OLED screen have cost them?  Universal Acclaim Member Oct 5, 2024 2,482 SDR low brightness in a dark room then   Dranakin Member Oct 27, 2017 2,999 Ooof. Although, I will admit, I probably can't tell between good and bad sceens. I mean, I have the Ayaneo Pocket DMG and everyone says it's an amazing screen. It looks normal to me? Alex840 said: Am really sad they took a step back with this, how much more could an OLED screen have cost them? Click to expand... Click to shrink... An OLED 120hz? The Odin 2 Portal has one (smaller size and without VRR), but I don't have a sense of the component cost.  Kabuki Waq Member Oct 26, 2017 6,034 The screen is a pretty big downgrade from oled but a huge upgrade from the OG. I really miss the perfect blacks. MKW is gorgeous but would have looked so much better on an oled screen  Harmen Member Aug 30, 2023 1,462 The HDR and lifted black should not come as a surprise. But the video doesn't really analyze why it would be below average for an LCD screen? Colours? Pixel response time? For example the original Switch 1 LCD look reaaally bad to me these days, but my Steam Deck LCD screen (similar resolution) looks good to me outside of raised blacks in dark scenes (which I do get used to).   nogoodnamesleft Member Oct 25, 2017 8,605 Yep. I fucking knew it. Knew it was going to be trash. LCD is trash as a standard (yes miniled included with its trash ass pixel response time) Will wait for oled version.  cw_sasuke Member Oct 27, 2017 30,321 Aleh said: "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is. Click to expand... Click to shrink... Focus of the whole channel is HDR. Dude is likely just used to comparing HDR content on very expensive OLED Screens. So HDR bad = everything trash for him. Something that won't be the case for 99% of users out there. Its the single voter issue again, disregarding everything else because of one focus point and expecting every one to feel the same way about it.  Serif Member Oct 31, 2024 410 Alex840 said: Am really sad they took a step back with this, how much more could an OLED screen have cost them? Click to expand... Click to shrink... An OLED 1080p HDR VRR 120 Hz screen does not sound like it would be cost-effective. It makes sense to establish baseline specs like 120 Hz support for developers to target and upgrade to OLED in the future instead of trying to add 120 Hz support later on.  fourfourfun Member Oct 27, 2017 9,149 England Aleh said: "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is. Click to expand... Click to shrink... If you're an enthusiast display platform, you're going to be benchmarking against the absolute best. So comparatively it could not be as good. Obviously it doesn't take into account what the entire platform delivers as a whole and the price it was trying to hit. It's a rather zoomed in look at just one thing.  RailWays One Winged Slayer Avenger Oct 25, 2017 18,449 Still sounds like an upgrade from the launch Switch LCD, though those nits are pretty low   Koklusz Member Oct 27, 2017 3,971 blueredandgold said: Could you please translate for those of us who haven't been able to watch or digest after we saw this posted in the other thread please? Click to expand... Click to shrink... The screen is bad, and the native HDR implementation in the games he tested is shoddy.   NoSpin Member Nov 1, 2017 83 Milk said: It's not a personal attack on you. Pointing out objective shortcomings about the technology is a good thing for consumers. Click to expand... Click to shrink... I didn't see it as a personal attack, I just imagined him reviewing the Game Boy Pocket or the OG DS screes and how disappointed he would have been, whilst we were all busy enjoying video games.  Wasp Member Oct 29, 2017 351 It's a shame they couldn't release an OLED SKU at launch. I would have happily paid an extra $100 for an OLED model and I'm sure many are the same. I know I'll be keeping my box in pristine condition to get maximum value when I trade the console in for a Switch 2 OLED in hopefully a few years.  Last edited: 51 minutes ago pswii60 Member Oct 27, 2017 28,932 The Milky Way This means that for handheld purposes, Switch 2 is actually a downgrade on Switch 1 OLED, for any games that aren't taking advantage of the additional power/resolution. So basically, you might want to hold on to your Switch 1 OLED for all your pixel art indies, and any games not getting a patch/upgrade.  Shadow One Winged Slayer Member Oct 28, 2017 4,837 Kinda what I expected. Being LCD with HDR especially on portable device at that is never a good combo. I'll just play on my OLED TV when I want to get the full experience, which again, is what I expected. I hope it's a bit usable outside at least. I was hoping closer to 600 nits for that alone, as the Deck OLED is JUST usable on a sunny day. But you can't have everything I guess.  UnderJollyRoger Member Jun 16, 2023 648 Germany The screen is also my biggest concern of the unit. The og switch has an absolutely atrocious screen and LCDs just dont cut it anymore for me. The low nits will make it again pretty difficult to properly play outside. I am commuting a lot and sitting on a train with a bit of sun outside was already too much for the og switch. Here is hoping that an OLED variant will come earlier this time.  Milk Prophet of Truth Avenger Oct 25, 2017 4,301 NoSpin said: I didn't see it as a personal attack, I just imagined him reviewing the Game Boy Pocket or the OG DS screes and how disappointed he would have been, whilst we were all busy enjoying video games. Click to expand... Click to shrink... You're implying being critical means you're not also enjoying the video games. I'm critical of tons of my favorite games. I'm still having a fun time with the games 🤷  HandsomeCharles Member Oct 26, 2017 4,717 Disappointing to hear, but as someone who thinks his OG switch's screen is fine, I'm sure it won't really bother me.   OP OP Sangral Powered by Friendship™ Member Feb 17, 2022 8,649 blueredandgold said: Could you please translate for those of us who haven't been able to watch or digest after we saw this posted in the other thread please? Click to expand... Click to shrink... I'm trying to add some bullet points to the OT.  Ghost Slayer Member Oct 30, 2017 1,433 is it like PS Portal LCD screen? Because I think the Portal LCD screen is really good   Decarb Member Oct 27, 2017 9,280 pswii60 said: This means that for handheld purposes, Switch 2 is actually a downgrade on Switch 1 OLED, for any games that aren't taking advantage of the additional power/resolution. So basically, you might want to hold on to your Switch 1 OLED for all your pixel art indies, and any games not getting a patch/upgrade. Click to expand... Click to shrink... Oh I don't think there's any doubt from pure IQ perspective its a downgrade from Switch 1 OLED. Even without HDR support at max brightness that screen pops like nothing else.   Maximo Member Oct 25, 2017 11,041 NoSpin said: I didn't see it as a personal attack, I just imagined him reviewing the Game Boy Pocket or the OG DS screes and how disappointed he would have been, whilst we were all busy enjoying video games. Click to expand... Click to shrink... This is a silly comparison since he's not reviewing a screen from 1996 when it first came out, screen technology has exploded since the first iPhone, seems like a needless jab.  Melhadf Member Dec 25, 2017 2,528 My understanding is that 400nits is the minimum for HDR. So it's technically HDR, but usually dismissed by purists as not "real HDR" such as this vid with his HDR10 testing (1000nits standard). So it's a definite improvement over SDR content, but Nintendo then used an LCD instead of OLED so it most likely looks worse than the OLED switch. Feels like Nintendo is using minimum HDR as a crutch to cheap out on the screen and people are saying it's not "TRUE HDR" even though it's completely within spec.  vegtro Member Oct 25, 2017 808 Aleh said: "crap display" is a huge exaggeration. Everyone who has actually seen it in person says it looks really good, HDR isn't everything, however disappointing that is. Click to expand... Click to shrink... When I first booted the Switch 2, I wanted to believe the screen will be ok from the news. Nope, the screen pretty much is pretty bad compared to OLED.   Alvis Saw the truth behind the copied door Member Oct 25, 2017 12,148 EU A bit of a shame, meh NoSpin said: As so often with gaming, I am relieved to have this person to tell me the thing I am enjoying looking at is bad actually. :) Click to expand... Click to shrink... Yes indeed, this dude is set on a mission to personally ruin your experience, and he's now crying in a corner knowing that he failed.   fourfourfun Member Oct 27, 2017 9,149 England Shadow said: But you can't have everything I guess. Click to expand... Click to shrink... I think that's the thing, they went for resolution and VRR as a priority. I'm sure I also read on here a while ago that it also centres around the availability of appropriate screens. OLED only became viable after a certain point.  Pargon Member Oct 27, 2017 14,110 I thought I had appropriately-low expectations, but I was thinking it would be a 600 nit 1800:1 panel. Not 450 nits and 900:1. The only thing "HDR" about it is probably that content will be authored to make use of a wider color gamut. 

Great star corals in the grip of disease have been saved with probiotics — beneficial bacteria that attack or displace invading pathogens or possibly trigger immune responses to them. What’s causing this deadly disease remains unidentified. But researchers at the Smithsonian Marine Station in Fort Pierce, Fla., were able to successfully halt progression of the disease’s symptoms, the team reports June 5 in Frontiers in Marine Science. The condition is called stony coral tissue loss disease and is characterized by white lesions that lead to the loss of polyps — tiny soft-bodied organisms similar to sea anemones — blanketing coral. Eventually, nothing but the white coral skeleton is left behind. The disease emerged in Florida in 2014 and has spread rampantly throughout the Florida Keys and the Caribbean. A great star coral (M. cavernosa) colony is infected with stony coral tissue loss disease on the coral reef in Fort Lauderdale. The lesion, where the white band of tissue occurs, typically moves across the coral, killing coral tissue along the way. Kelly Pitts/Smithsonian Researchers suspect that the disease is bacterial in nature. Antibiotic treatments can offer a quick fix, but these drugs do not prevent reinfection and carry the risk of the mysterious pathogen building resistance against them. So, in late 2020, the Smithsonian group tried for a more sustainable solution, giving probiotics to 30 infected great star coral colonies. The helpful microbes came from corals tested in the lab that showed resistance to the disease. “We noticed that one of the coral fragments would not get infected … so one of the first things we did was try to culture the microbes that are on this coral,” says microbiologist Blake Ushijima, who developed the probiotic used in the team’s experiment. “These microbes produce antibacterial compounds … and one had a high level of activity against bacteria from diseased corals,” acting as a “pro” biotic, by somehow neutralizing pathogens. The identified microbe, a bacterium called McH1-7, became the active ingredient in a paste delivered by divers to several infected colonies. They covered these colonies with plastic bags to immerse them in the probiotic solution, injecting the paste into the bags using a syringe. They also applied the paste directly to other colonies, slathering lesions caused by the disease. A probiotic paste of McH1-7 is applied to the disease lesion of a great star coral (M. cavernosa) colony infected with stony coral tissue loss disease. The paste was then smoothed flat with a gloved hand so that all apparently infected tissue was covered by the lesion-specific treatment.Kelly Pitts/Smithsonian For two and a half years, the team monitored the corals’ health. The probiotics slowed or stopped the disease from spreading in all eight colonies treated inside bags. On average, the disease’s ugly advance was held to only 7 percent of tissue, compared with an aggressive 30 percent on untreated colonies. The paste put directly on the coral had no beneficial effect. The results are encouraging, but coauthor Valerie Paul cautions against declaring the probiotic a cure. She doubts the practicality of swimming around with heavily weighted plastic bags and putting them on corals. And, she points out, the study was limited to one species of coral, when the disease plagues over 30. Sponsor Message Still, Ushijima considers the study a proof of concept. “The idea of coral probiotics has been thrown around for decades, but no one has directly shown their effects on disease in the wild,” he says. “I think it’s very exciting because it’s actually opening the door to a new field.”

June 5: World Environment Day; Day of Arafah (Shia Islam) Antonio Luna 1897 – The Ancient Temples and Shrines Preservation Law was passed, instituting the protection of structures and artifacts in Japan designated National Treasures. 1899 – Antonio Luna (pictured), Commanding General of the Philippine Army, was assassinated in the midst of the Philippine–American War. 1997 – Anticipating a coup attempt, President Pascal Lissouba of the Republic of the Congo ordered the detention of his rival Denis Sassou Nguesso, initiating a second civil war. 2004 – Noël Mamère, the mayor of Bègles, conducted a marriage ceremony for two men, even though same-sex marriage in France had not yet been legalised. 2009 – After almost two months of civil disobedience, at least 31 people were killed in clashes between the National Police and indigenous people in Bagua province, Peru. Ivy Compton-Burnett (b. 1884)Theippan Maung Wa (b. 1899)Elizabeth Gloster (b. 1949)Megumi Nakajima (b. 1989) More anniversaries: June 4 June 5 June 6 Archive By email List of days of the year About

By JENNIFER CHAMPAGNE House of the Dragon expands its dragon-filled world in its second season, offering more large-scale battles and heightened aerial warfare. (Image courtesy of HBO) The 2025 Emmy race for outstanding visual effects is shaping up to be one of the most competitive in years with major genre heavyweights breaking new ground on what’s possible on television. As prestige fantasy and sci-fi continue to dominate, the battle for the category will likely come down to sheer scale, technical innovation and how seamlessly effects are integrated into storytelling. Returning titans like House of the Dragon and The Lord of the Rings: The Rings of Power have proven their ability to deliver breathtaking visuals. At the same time, Dune: Prophecy enters the conversation as a visually stunning newcomer. The Boys remains the category’s wildcard, bringing its own brand of hyper-realistic, shock-value effects to the race. With its subtle yet immersive world-building, The Penguin stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis. Each series offers a distinct approach to digital effects, making for an intriguing showdown between blockbuster-scale world-building and more nuanced, atmospheric craftsmanship. Sharing the arena with marquee pacesetters HBO’s The Last of Us, Disney+’s Andor and Netflix’s Squid Game, these series lead the charge in ensuring that the 2025 Emmy race isn’t just about visual spectacle; it’s about which shows will set the next benchmark for visual effects on television. The following insights and highlights from VFX supervisors of likely Emmy contenders illustrate why their award-worthy shows have caught the attention of TV watchers and VFX Emmy voters. The Penguin, with its subtle yet immersive world-building, stands apart from the spectacle-driven contenders, using “invisible” VFX to transform Gotham into a post-flooded, decaying metropolis.  (Image courtesy of HBO) For The Lord of the Rings: The Rings of Power VFX Supervisor Jason Smith, the second season presented some of the Amazon series’ most ambitious visual effects challenges. From the epic Battle of Eregion to the painstaking design of the Entwives, Smith and his team at Wētā FX sought to advance digital world-building while staying true to J.R.R. Tolkien’s vision. “The Battle of Eregion was amazing to work on – and challenging too, because it’s a pivotal moment in Tolkien’s story,” Smith states. Unlike typical large-scale clashes, this battle begins as a siege culminating in an explosive cavalry charge. “We looked for every way we could to heighten the action during the siege by keeping the armies interacting, even at a distance,” Smith explains. His team introduced projectiles and siege weaponry to create dynamic action, ensuring the prolonged standoff felt kinetic. The environment work for Eregion posed another challenge. The city was initially constructed as a massive digital asset in Season 1, showcasing the collaborative brilliance of the Elves and Dwarves. In Season 2, that grandeur had to be systematically razed to the ground. “The progression of destruction had to be planned extremely carefully,” Smith notes. His team devised seven distinct levels of damage, mapping out in granular detail which areas would be smoldering, reduced to rubble or utterly consumed by fire. “Our goal was to have the audience feel the loss that the Elves feel as this beautiful symbol of the height of Elvendom is utterly razed.” The SSVFX team helped shape a world for Lady in the Lake that felt rich, lived-in and historically precise. (Image courtesy of Apple TV+) One of most ambitious effects for Season 4 of The Boys was Splinter, who has the ability to duplicate himself. The sequence required eight hours of rehearsal, six hours of filming, for one shot. The final effect was a mix of prosthetic cover-up pieces and VFX face replacement. (Image courtesy of Prime Video) The Penguin, HBO Max’s spinoff series of The Batman, centers on Oswald ‘Oz’ Cobb’s ruthless rise to power, and relies on meticulous environmental effects, smoothly integrating CG elements to enhance Gotham’s noir aesthetic without ever calling attention to the work itself. “The most rewarding part of our work was crafting VFX that don’t feel like VFX,” says VFX Supervisor Johnny Han. Across the series’ 3,100 VFX shots, every collapsing freeway, skyline extension and flicker of light from a muzzle flash had to feel utterly real – woven so naturally into the world of Gotham that viewers never stopped to question its authenticity. Zimia spaceport, an enormous hub of interstellar commerce in Dune: Prophecy. The production team built a vast practical set to provide a strong scale foundation, but its full grandeur came to life in post by extending this environment with CG.(Images courtesy of HBO) The second season of The Lord of the Rings: The Rings of Power refined its environments, which elevate Middle-earth’s realism. (Image courtesy of Prime Video) Some of the series’ most striking visual moments were also its most understated. The shift of Gotham’s seasons – transforming sunlit summer shoots into autumn’s muted chill – helped shape the show’s somber tone, reinforcing the bleak, crime-ridden undercurrent. The city’s bridges and skyscrapers were meticulously augmented, stretching Gotham beyond the limits of practical sets while preserving its grounded, brutalist aesthetic. Even the scars and wounds on Sofia Falcone were enhanced through digital artistry, ensuring that her past traumas remained ever-present, etched into her skin. The series wasn’t without its large-scale effects – far from it. Han and his team orchestrated massive sequences of urban devastation. “The floodwaters were one of our biggest challenges,” Han notes, referring to the ongoing impact of the catastrophic deluge that left Gotham in ruins. One particularly harrowing sequence required simulating a tsunami tearing through the streets – not as an action set piece, but as a deeply personal moment of loss. “Telling Victor’s story of how he lost his entire family in the bombing and floods of Gotham was heartbreaking,” Han says. “Normally, you create an event like that for excitement, for tension. But for us, it was about capturing emotional devastation.” Perhaps the most technically intricate sequences were the shootouts, hallmarks of Gotham’s criminal underbelly. “We programmed millisecond-accurate synced flash guns to mimic dramatic gunfire light,” Han explains, ensuring that the interplay of practical and digital elements remained imperceptible. Every muzzle flash, every ricochet was meticulously planned and rendered. The ultimate achievement for Han and his team wasn’t crafting the biggest explosion or the most elaborate digital sequence – it was making Gotham itself feel inescapably real. He says, “Nothing was more important to us than for you to forget that there are 3,100 VFX shots in this series.” The challenge for The Residence was making one of the most recognizable buildings in the world feel both immersive and narratively engaging. (Photo: Erin Simkin. Courtesy of Netflix) Bringing the universe of Dune to life on TV for HBO’s Dune: Prophecy requires a delicate balance of realism and imagination, grounded in natural physics, yet awe-inspiring in scale. Dune: Prophecy looks to challenge traditional fantasy dominance with its stunning, desert-bound landscapes and intricate space-faring visuals, uniting the grandeur of Denis Villeneuve’s films with the demands of episodic storytelling. Set thousands of years before the events of the films, the series explores the early days of the Bene Gesserit, a secretive order wielding extraordinary abilities. Translating that power into a visual language required technical innovation. “Kudos to Important Looking Pirates for the space folding and [Lila’s] Agony work,” says VFX Supervisor Mike Enriquez. No Dune project would be complete without its most iconic inhabitant, the sandworm. VFX Producer Terron Pratt says. “We’re incredibly proud of what the team at Image Engine created. Precise animation conveyed this creature’s weight and massive scale, while incredibly detailed sand simulations integrated it into the environment.” Every grain of sand had to move believably in response to the worm’s colossal presence to ensure the physics of Arrakis remained authentic. Floodwaters play a significant part in the destruction of Gotham in The Penguin. One particularly harrowing sequence required simulating a tsunami tearing through the streets. (Image courtesy of HBO) American Primeval integrated visual effects with practical techniques in creative, unconventional ways. The massacre sequence showcases technical mastery and pulls the audience into the brutal reality of the American frontier. (Photo: Justin Lubin. Courtesy of Netflix) For the Zimia spaceport, an enormous hub of interstellar commerce, the Dune: Prophecy production team built a vast practical set to provide a strong scale foundation. However, its full grandeur came to life in post. “By extending this environment with CG, we amplified the scope of our world, making it feel expansive and deeply impactful,” Pratt explains. The result was a sprawling, futuristic cityscape that retained a tangible weight with impeccably amalgamated practical and digital elements. Wētā FX sought to advance digital world-building for Season 2 of The Lord of the Rings: The Rings of Power while staying true to J.R.R. Tolkien’s vision. (Image courtesy of Prime Video) Visual effects extended beyond character work for Lady in the Lake, playing a key role in the show’s immersive world-building. (Image courtesy of Apple TV+) For House of the Dragon VFX Supervisor Daði Einarsson, Season 2 presented some of the HBO show’s most complex and ambitious visual effects work. The Battle at Rook’s Rest in Episode 4 was a milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege,” Einarsson says. Capturing the actors’ performances mid-flight required a combination of motion-controlled cameras, preprogrammed motion bases with saddles and LED volume lighting – all mapped directly from fully animated previsualized sequences approved by director Alan Taylor and Showrunner Ryan J. Condal. On the ground, the battlefield required digital crowd replication, extensive environment extensions, and pyrotechnic enhancements to create a war zone that felt both vast and intimately chaotic. “In the air, we created a fully CG version of the environment to have full control over the camera work,” Einarsson explains. Under the supervision of Sven Martin, the Pixomondo team stitched together breathtaking aerial combat, ensuring the dragons moved with the weight and raw power befitting their legendary status. Blood, weapon effects and period-accurate muzzle flashes heightened the intensity of the brutal fight sequences in American Primeval. The natural elements and violence reflected the harsh realities of the American west in 1857. (Image courtesy of Netflix) The Residence brings a refined, detailed approach to environmental augmentation, using visual effects to take the audience on a journey through the White House in this political murder mystery. (Photo: Jessica Brooks. Courtesy of Netflix) Episode 7 introduced Hugh Hammer’s claim of Vermithor, Westeros’ second-largest dragon. Rather than breaking the sequence into multiple shots, Einarsson and director Loni Peristere saw an opportunity to craft something exceptional: a single, uninterrupted long take reminiscent of Children of Men and Gravity. “It took a lot of planning to design a series of beats that cohesively flowed from one into the next, with Hugh leading the camera by action and reaction,” Einarsson says. The sequence, which involved Hugh dodging Vermithor’s flames and ultimately claiming the beast through sheer bravery, was technically demanding. To achieve this, the team stitched together five separate takes of Hugh’s performance, shot over two separate days weeks apart, due to the set needing to be struck and rebuilt in different configurations. VFX Supervisor Wayne Stables and the team at Wētā ensured the transitions were imperceptible, uniting practical and digital elements into a continuous, immersive moment. “The Dragonmont Cavern environment was a beautiful, raised gantry and cave designed by [Production Designer] Jim Clay and expanded by Wētā,” Einarsson says. Then Rowley Imran’s stunt team and Mike Dawson’s SFX team engulfed the set in practical flames so every element, from fire to dust to movement, contributed to the illusion of real-time danger. For Einarsson, the most significant challenge wasn’t just in making these sequences visually spectacular – it was ensuring they belonged within the same world as the quiet, dialogue-driven moments in King’s Landing. “The aim is for incredibly complex and spectacular visual effects scenes to feel like they belong in the same world as two people talking in a council chamber,” he states. Every dragon, flame and gust of wind had to feel as lived-in as the politics playing out beneath them. Season 4 of The Boys delivered the fully CG octopus character, Ambrosius. A challenge was crafting a believable yet expressive sea creature and keeping it grounded while still embracing the show’s signature absurdity. (Image courtesy of Prime Video) In The Penguin, Gotham isn’t just a city; it’s a living, breathing entity shaped by destruction, decay and the quiet menace lurking beneath its streets. (Images courtesy of HBO) The Boys continues to defy genre norms, delivering audacious, technically complex effects that lean into its hyperviolent, satirical take on superheroes. For The Boys VFX Supervisor Stephan Fleet, Season 4 delivered some of the Amazon Prime show’s most dramatic effects yet, from the self-replicating Splinter to the fully CG octopus character, Ambrosius. Splinter, who has the ability to duplicate himself, presented a unique challenge. Fleet says, “His introduction on the podium was a complex motion control sequence. Eight hours of rehearsal, six hours of filming – for one shot.” Splinter’s design came with an added layer of difficulty. “We had to figure out how to make a nude male clone,” Fleet says. “Normally, you can hide doubles’ bodies in clothes – not this time!” The final effect required a mix of prosthetic cover-up pieces and VFX face replacement, requiring multiple iterations to make it work. Ambrosius became one of The Boys’ most unexpected breakout characters. “It’s fun making a full-on character in the show that’s an octopus,” Fleet reveals in a nod to the show’s absurd side. “As much as possible, we aim for a grounded approach and try to attain a level of thought and detail you don’t often find on TV.” While the battle for outstanding visual effects will likely be dominated by large-scale fantasy and sci-fi productions, several standout series are also making waves with their innovative and immersive visual storytelling. Netflix’s The Residence, led by VFX Supervisor Seth Hill, brings a refined, detailed approach to environmental augmentation, enhancing the grandeur of the White House setting in this political murder mystery. “Using visual effects to take the audience on a journey through an iconic location like the White House was really fun,” Hill says. “It’s a cool and unique use of visual effects.” One of the most ambitious sequences involved what the team called the Doll House, a digital rendering of the White House with its south façade removed, exposing the interior like a cross-section of a dollhouse. Hill explains. “Going back and forth from filmed footage to full CGI – that jump from grounded realism to abstract yet still real – was quite tricky,” he says, adding, “VFX is best when it is in service of the storytelling, and The Residence presented a unique opportunity to do just that. It was a big challenge and a tough nut to crack, but those creative and technical hurdles are a good part of what makes it so rewarding.” “We were tasked with pitting three dragons against each other in an all-out aerial war above a castle siege. In the air, we created a fully CG version of the environment to have full control over the camera work.”—Daði Einarsson, VFX Supervisor, House of the Dragon The Battle at Rook’s Rest in Episode 4 of House of the Dragon Season 2 was a major milestone for the series, marking the first full-scale dragon-on-dragon aerial battle. (Image courtesy of HBO) Season 2 of House of the Dragon presented some of the most complex and ambitious visual effects work for the show to date. (Photo: Theo Whiteman. Courtesy of HBO) For Jay Worth, VFX Supervisor on Apple TV+’s Lady in the Lake, the challenge was two-fold: create seamless effects and preserve the raw emotional truth of a performance. One of the most significant technical achievements was de-aging Natalie Portman. “It seems so easy on paper, but the reality was far more challenging,” Worth admits. Worth had tackled de-aging before, but never with the same level of success. “For me, it is simply because of her performance.” Portman delivered a nuanced, youthful portrayal that felt entirely authentic to the time period. “It made our job both so much easier and set the bar so high for us. Sometimes, you can hide in a scene like this – you pull the camera back, cut away before the most expressive parts of the dialogue, or the illusion breaks,” Worth explains. In Lady in the Lake, there was nowhere to hide. “I think that is what I am most proud of with these shots. It felt like the longer you stayed on them, the more you believed them. That is a real feat with this sort of work.” Skully VFX handled the de-aging. “They nailed the look early on and delivered throughout the project on this difficult task.” Working alongside Production Designer Jc Molina, the VFX team helped shape a world that felt rich, lived-in and historically precise. “We were entrusted with the most important part of this show – do we believe this performance from this character in this part of her journey? – and we feel like we were able to deliver on this challenge.” On the other end of the spectrum, Netflix’s American Primeval, under the guidance of VFX Supervisor Andrew Ceperley, delivers rugged, visceral realism in its portrayal of the untamed American frontier. With brutal battle sequences, sprawling landscapes and historical re-creations that interweave practical and digital effects, the series stands as a testament to how VFX can enhance grounded, historical storytelling. Ceperley says, “The standout is definitely the nearly three-minute single-shot massacre sequence in the forest episode.” Designed to immerse the audience in the raw, chaotic violence of the frontier, the scene captures every brutal detail with unrelenting intensity. The challenge was crafting invisible visual effects, enhancing practical stunts and destruction without breaking the immersive, handheld camera style. “The sequence was designed to be one shot made up of 10 individual takes, shot over seven days, seamlessly stitched together, all while using a handheld camera on an extremely wide-angle lens.” One of the most complex moments involved a bull smashing through a wagon while the characters hid underneath. Rather than relying on CGI, the team took a practical approach, placing a 360-degree camera under the wagon while the special effects team rigged it to explode in a way that simulated an impact. “A real bull was then guided to run toward the 360 camera and leap over it,” Ceperley says. The footage was blended with live-action shots of the actors with minimal CGI enhancements – just dust and debris – to complete the effect. Adding to the difficulty, the scene was set at sunset, giving the team an extremely limited window to capture each day’s footage. The massacre sequence was a prime example of integrating visual effects with practical techniques in creative, unconventional ways, blending old-school in-camera effects with modern stitching techniques to create a visceral cinematic moment that stayed true to the show’s raw, historical aesthetic. “Using old techniques in new, even strange ways and seeing it pay off and deliver on the original vision was the most rewarding part.”