By TREVOR HOGG Denis Villeneuve (Dune: Part Two) finds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track. (Image courtesy of Warner Bros. Pictures) If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation. [VFX Supervisor] Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects is [Cinematographer] Roger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey. (Image courtesy of Paramount Pictures) Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow. (Image courtesy of Apple Studios) One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it. (Image courtesy of Paramount Pictures) Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters. (Image courtesy of Universal Pictures) Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, and [they] create a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky. (Image courtesy of Prime Video) Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles. (Image courtesy of Columbia Pictures) Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline. (Image courtesy of HBO) Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats. (Image courtesy of Universal Pictures) For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef. (Image courtesy of Netflix) Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once. (Image courtesy of A24) Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. For [the 2026 Netflix limited series] East of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well. [Director] Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise. (Image courtesy of HBO) Bluescreen and stunt doubles on Twisters. (Image courtesy of Universal Pictures) “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”

Mario Kart World – is it a backwards step? (Nintendo) The Friday letters page is surprised the Sony State of Play didn’t go down better with more people, as readers share images of the Switch 2 midnight launches. To join in with the discussions yourself email gamecentral@metro.co.uk Initial experience I’ve spent a few hours playing Mario Kart World in single and multiplayer, and my first impression is that it’s a bit… boring.The free roam aspect of the game seemed like it had heaps of potential but, for the most part, it feels aimless. Sure, there are things to collect and discover, but in-between there’s just driving. Lots and lots of driving. It’s not exactly a world brimming with things to do in the same way as the sandbox areas in Super Mario Odyssey, for example. As for the races, in principle it makes sense that the tracks need to be wider to accommodate 24 racers. However, the races themselves don’t generally feel any busier because you’re still, generally, just competing against those closest to your level of ability. Consequently, I felt the game lacks the chaotic energy of jostling your rivals to get ahead because there’s so much space on the otherwise well-designed courses. I know it’s unfair to compare Mario Kart World to Mario Kart 8 at this point, given the latter spanned two consoles, with a plethora of content reflecting that. But it’s hard not to feel that while the free roam section is a solid demonstration of technical advancement (even if the inability to integrate it with Grand Prix mode seems like a missed opportunity), the core gameplay is consistent, at best. In some respects, I’d say it’s more of a step backwards, if anything. That being said, I don’t think this is the same version of Mario Kart World we’ll be playing five years from now. Free roam mode feels like a playground in which Nintendo can experiment, and I fully expect them to do so. There’ll undoubtedly be a slew of DLC and perhaps better integration of the various modes into one seamless experience. Expert, exclusive gaming analysis Sign up to the GameCentral newsletter for a unique take on the week in gaming, alongside the latest reviews and more. Delivered to your inbox every Saturday morning. In the unlikely event that this is the final iteration of Mario Kart World, it’s currently a six or (generous) seven out of 10 and probably the least enthralled I’ve ever been with a new Mario Kart title. But I’ll give Nintendo the benefit of the doubt for now because this doesn’t feel like a game that’s even close to being finished.Needlemouse Just add SonyFirstly, I’m surprised by the relatively lukewarm response to the State of Play from some people; I thought it was one of the best in recent memory and there were only a few games that I personally had little interest in. The main reason for writing in is the recent addition of Destiny 2: The Final Shape to PS Plus subscription. In short, I played a lot of Destiny 2 back in the day but have subsequently not played any of the most recent DLCs/additions. Can The Final Shape be played as a standalone? (both logistically and in terms of the story)?John GC: We think people were upset that Sony themselves had nothing to show from their first parties, even though we agree it was overall a good show. As far as we understand, you don’t need any other expansions to play The Final Shape. Only one Just a quick heads up for anyone buying digital content on either a Switch or Switch 2 console, if you are Switch online subscriber you can purchase a voucher for £84 that lets you purchase any two titles from a list of games.This reduces each game to a reasonable £42 and the vouchers are valid for a year. I didn’t get an alert about this until after I’d purchased Super Smash Bros. Ultimate, which I paid £59.99 for. I did at least then go on to buy a voucher for £84 and redeemed each token for Super Mario Bros. Wonder and Super Mario 3D Land + Bowser’s Fury.Charlie H. GC: It’s important to note these can’t be used for Switch 2 exclusive games. Email your comments to: gamecentral@metro.co.uk Midnight gathering I’ve seen a lot of pictures from the Switch 2 launch, so I thought I’d send you a picture of the queue at Smyth’s in Dublin city centre, a couple of minutes after midnight.I think there were a couple of hundred people there when I arrived. if I’d known then that I wouldn’t get out of the store until 2:30am, I might have gone home and tried again in the morning. But in the end, I’m glad I waited. I’ve just been tinkering with it so far, hooked it up to the TV, and played a little bit of Mario Kart World and Cyberpunk 2077, so I can’t really give any conclusions. But when my (dedicated non-gamer) wife saw it, her reaction was, ‘Oh, it looks much better! Can I play it?’ So I think Nintendo are on to another winner.Mickah Night-time rendezvous (Mickah) American retail I was on my way down to Smyths Leeds to collect my Switch 2 Mario Kart bundle, that I had pre-ordered a month ago.I called in at Costco on the way and was surprised to find they had the Mario Kart bundle for £419.99, so I decided to get one from there. It was late afternoon Thursday and they looked to have plenty left. It is limited to one per customer. I will let my pre-order lapse so it will cancel in two days.Martin GC: We had no idea Costco existed in the UK. Maybe we’re not the only ones and that’s why they have so many left. C’mon DoreenSomebody (not me, don’t know how) should start a petition to get Squirrel Girl in that Marvel game for you guys. How good did it all look? How good was that showcase? What have Sony been up too? That’s what. Mortal Kombat: Legacy Kollection is already on my wishlist. That surfing sword game wasn’t bad either. With Nintendo too, great times ahead.Indiegaz (PSN ID) GC: At least she’s in Marvel Rivals. Autumnal purchase So I won’t be buying the Nintendo Switch 2 at launch. I’ll be instead visiting Tenerife in August. But I do hope the system reviews well and those who have purchased it are zooming around on Mario Kart World. I’ll be hopefully purchasing the device before autumn of this year. But you never know what could happen.So my sister paid for my ticket and it of course must be paid back. A debt is a debt. Which is quite fitting, since I just finished my playthrough of Red Dead Redemption and just as John Marston paid his debt to a life of crime and Edgar Ross paid his debt to a vengeful son. I’ll be hopefully paid up in less than three months, then I’ll be purchasing the Switch 2 and with more information on the games, reviews, and what’s to come for the future. For now however, I look towards a week spent in the beaches of Spain and my focus on the remainder of my maths course. Also, a playthrough of Resident Evil 3 remake. Only six hours long. Can’t complain.Shahzaib Sadiq Free for all Borderlands 2 and Hellslave are currently free on Steam on PC. Hellslave is available for free until Sunday, 15th June. Also, Deathloop is currently free on Epic Games Store.I hope everyone who gets a Switch 2 enjoys it. I will have to probably get one next year now, as I need to buy a new gaming computer because my current gaming PC will not upgrade to Windows 11, unfortunately.Andrew J. Old reliable Just writing this after a couple of hours with the Switch 2. I always end up with whatever Nintendo’s latest console is at some point in its lifetime (going back to the Game Boy Advance) but for the first time I decided to jump onboard day one.The price rises for the PlayStation 5 and Xbox Series X have shown that the assumption consoles will get cheaper in the medium term isn’t a guarantee, and the feature list for the Switch 2 ticked pretty much every box I wanted from an upgrade to the original. Bump in specs, sturdier Joy-Con, and a new interface with the mouse controls. What I’ve not seen many people comment on yet is the set-up experience. It isn’t always a given with Nintendo that this is going to be smooth, but I found that the transfer from my original to Switch 2 was seamless. I had one error message in setting up GameChat, but restarting the process fixed that, and now I can settle into at least another few years of Nintendo gaming joy. As I approach the business end of 40 years old, it’s a comfort to know that the likes of Mario, Yoshi, and the other inhabitants of the Mushroom Kingdom are still karting away 30-odd years after the SNES original.Electric Crocosaurus GC: That’s a cool name. Inbox also-rans Yes! My Switch 2 has turned up and have the rest of the week off, and it’s Summer Game Fest on Friday night. Now that is what I call eating well for games fans!LemptonAs promised, here is the pic from the queue at Smyths toy store at midnight. Sorry I couldn’t get one from inside but they were only letting two at a time in. Not a bad turn out. I had about 20 people behind me too.woz_007 (NN ID) The way launches used to be (woz_007) Email your comments to: gamecentral@metro.co.uk More Trending The small printNew Inbox updates appear every weekday morning, with special Hot Topic Inboxes at the weekend. Readers’ letters are used on merit and may be edited for length and content. You can also submit your own 500 to 600-word Reader’s Feature at any time via email or our Submit Stuff page, which if used will be shown in the next available weekend slot. You can also leave your comments below and don’t forget to follow us on Twitter. GameCentral Sign up for exclusive analysis, latest releases, and bonus community content. This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply. Your information will be used in line with our Privacy Policy

Today, Sony held its latest State of Play and while it didn’t include some of the bigger games that people were likely hoping for, like a new God of War spin-off, it did include some cool surprises, including what might be the best-looking fighting game I’ve seen in years and a remake of a beloved Final Fantasy title. Suggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism Share SubtitlesOffEnglishview videoSuggested ReadingTears Of The Kingdom's Newspaper Questline And The State Of Hyrulean Journalism Share SubtitlesOffEnglishHere’s the full State of Play if you want to watch it all: State of Play | June 4, 2025 [English]Lumines Arise Lumines Arise - Announce Trailer | PS5 GamesThis fun announcement kicked off the 45-minute show. It’s from the devs behind Tetris Effect, and it looks (and sounds) awesome. This one is coming to PS5 and PSVR2 in Fall 2025.Pragmata delayed againPragmata - First Contact Trailer | PS5 GamesCapcom had a new gameplay trailer for its long-awaited space-adventure-action-horror game featuring a young robot girl and a cool astronaut dude fighting robots. The game was set to come out in 2022, got delayed until 2023, and then got delayed again. Now it’s set to arrive in 2026. Romeo Is a Deadman looks wildRomeo is a Dead Man - Announce Trailer | PS5 GamesZombies attack, nearly killing Romeo, but luckily his grandfather shoves a big sci-fi thing into his head and turns him into a sword-wielding half-dead undead killer. Okay, I’m interested. This one is “maybe” arriving in 2026. No shock that Suda51 and Grasshopper Manufacture are behind this wild-looking game. Silent Hill F arrives in SeptemberSilent Hill f - Release Date Trailer | PS5 GamesI’m very happy that we’ve entered a new and better era for the Silent Hill franchise after so, so many years of crap and lukewarm slop. This latest entry looks very different than past games, but still seems properly foggy, spooky, and creepy. And that’s all I need in a Silent Hill sequel. Don’t have to wait long for this one as it launches September 25, 2025.Bloodstained: The Scarlett Engagement is revealedBloodstained: The Scarlet Engagement - Announce Trailer | PS5 GamesSurprise! We are getting a new Bloodstained game. What started back in 2015 as a crowdfunded attempt to make a new Castlevania-inspired 2D action game has expanded into a large franchise of its own. And it’s about to get bigger when this new entry arrives sometime in the future on PS5. Digimon Story Time StrangerDigimon Story Time Stranger - Release Date Trailer | PS5 GamesWow, it’s wild how much better Digimon games look than Pokémon games. This latest time-traveling RPG set in the universe features some slick visuals and a lot of people screaming about the digital world. As someone living in 2025, I’m fine with the digital world being burned to the ground. Time Stranger is out October 3, 2025. Final Fantasy Tactics is finally getting a remakeFinal Fantasy Tactics - The Ivalice Chronicles - Announcement Trailer | PS5 GamesYou can read more about this in our story here, but suffice it to say that the legendary tactics RPG is, at long last, getting the remake fans have been clamoring for for ages. Sony devoted a few minutes to sharing trailers and a few bits of info on these four games, one of which is launching on PS4. Wild. Baby Steps - Release Date Announcement | PS5 GamesHirogami - Pre-order Trailer | PS5 GamesCairn - Release Date and Demo | PS5 GamesNinja Gaiden: Ragebound - Release Date Announcement | PS5 & PS4 GamesMortal Kombat Legacy Collection looks amazingMortal Kombat: Legacy Kollection - Announce Trailer | PS5 & PS4 GamesDigital Eclipse, the retro game wizards behind some excellent old-school video game collections, is taking on the Mortal Kombat series in 2025. Legacy Collection will contain a ton of games from the series, including handheld, console, and arcade ports, as well as rollback netcode and documentary content. I’m very excited to see more of this thing.Sony is making a fight stickProject Defiant Wireless Fight Stick - Teaser TrailerNot much info beyond that. Here’s Sony’s official description of the device:Join the fray at home or away with the Project Defiant wireless fight stick*. Take the fight to your opponents with the included sling carry case, and enjoy precise in-game response with ultra-low latency wireless and wired play options, along with a durable, ergonomic design that’s built for battle.New Metal Gear Solid Delta Snake Eater trailerMetal Gear Solid Δ: Snake Eater - Gameplay Trailer | PS5 GamesThe Ape Escape mode is back and looks bigger than before. But the big news is at the very end, where Konami is teasing what looks like a multiplayer mode. Is Metal Gear Online returning? I hope so. Nioh 3 is coming in 2026, a demo is out nowNioh 3 - Announcement Trailer | PS5 GamesTeam Ninja is back with Nioh 3. The game will let players swap between a samurai and a ninja on the fly during combat, and looks slick as heck. This one drops in 2026, but you can check out a demo for it today on PS5. Thief VR spin-off coming to PSVR2 this yearThief VR: Legacy of Shadow - Reveal Trailer | PS VR2 GamesWhen I saw this trailer, I thought, “Hey, this looks like a new Thief game.” And I was right. Thief VR Legacy of Shadow arrives in 2025 and is being co-developed by Eidos-Montréal and Vertigo Games. Tides of Tomorrow looks like a colorful Waterworld gameTides of Tomorrow - Release Date Trailer | PS5 GamesI love colorful-looking games, so Tides of Tomorrow instantly caught my eye. The mix of online asynchronous gameplay and having to deal with other people’s decisions in a dying and flooded world sounds interesting. Tides of Tomorrow arrives in February 2026.Astro Bot is getting even more levels! Astro Bot - Challenge DLC Trailer | State of Play 2025One of the best PS5 games ever made, Astro Bot, is getting even more free levels later this month. Five new levels will soon be added to Astro Bot. And Sony is bringing back the fan-favorite Astro Bot PS5 controller that sold out instantly last year.Sea of Remnants is another colorful pirate gameSea of Remnants - Announce Trailer | PS5 GamesWait a minute, another colorful and fun-looking ocean-based adventure game? That’s strange. But anyway, this third-person pirate game has a cool style and big bosses to fight. and ship gameplay. And mermaids. It arrives on PS5 in 2026. Sword of the Sea is coming to PS PlusSword of the Sea - Launch Date Announcement | PS5 GamesThe people behind Abzu and Pathless have a new game coming out, and it looks like you’ll be doing a lot of sick sword surfing. This launches on PS Plus on August 19. More games coming to PS Plus Classic CatalogDeus Ex’s PS2 port - Jun 17Twisted Metal 3 and Twisted Metal 4 - July 15Resident Evil 2 and Resident Evil 3 - Later this summer007 First Light reveals its new Bond“Bond is a bullet without a target. Let’s give him one.” This new trailer looks exciting as heck, but I’m really bummed by how boring the new Bond himself looks. This is out in 2026. Read more here. Ghost of Yotei will get its own digital eventSony is promising a big gamepaly deep dive for Sucker Punch’s upcoming samurai game. Expect to learn more in July. MARVEL Tōkon: Fighting Souls | Announce TrailerWell, this is a wonderful surprise. Sony, Marvel, and Arc System Works (Guilty Gear, BlazBlue, Dragon Ball FighterZ) are teaming up to make a 2.5D Marvel Comics tag-team fighting game. And it looks sick as hell. Marvel Tōkon: Fighting Souls is coming out in 2026 on PS5 and PC. Here’s a separate video Sony posted about how the game came about and the work going into it: MARVEL Tōkon: Fighting Souls | From Japan to the World

June 3, 20255 min readAre We Ready for Death in Space?NASA has quietly taken steps to prepare for a death in space. We need to ask how nations will deal with this inevitability now, as more people start traveling off the planetBy Peter Cummings edited by Lee Billings SciePro/Science Photo Library/Getty ImagesIn 2012 NASA stealthily slipped a morgue into orbit.No press release. No fanfare. Just a sealed, soft-sided pouch tucked in a cargo shipment to the International Space Station (ISS) alongside freeze-dried meals and scientific gear. Officially, it was called the Human Remains Containment Unit (HRCU). To the untrained eye it looked like a shipping bag for frozen cargo. But to NASA it marked something far more sobering: a major advance in preparing for death beyond Earth.As a kid, I obsessed over how astronauts went to the bathroom in zero gravity. Now, decades later, as a forensic pathologist and a perennial applicant to NASA’s astronaut corps, I find myself fixated on a darker, more haunting question:On supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.What would happen if an astronaut died out there? Would they be brought home, or would they be left behind? If they expired on some other world, would that be their final resting place? If they passed away on a spacecraft or space station, would their remains be cast off into orbit—or sent on an escape-velocity voyage to the interstellar void?NASA, it turns out, has begun working out most of these answers. And none too soon. Because the question itself is no longer if someone will die in space—but when.A Graying CorpsNo astronaut has ever died of natural causes off-world. In 1971 the three-man crew of the Soviet Soyuz 11 mission asphyxiated in space when their spacecraft depressurized shortly before its automated atmospheric reentry—but their deaths were only discovered once the spacecraft landed on Earth. Similarly, every U.S. spaceflight fatality to date has occurred within Earth’s atmosphere—under gravity, oxygen and a clear national jurisdiction. That matters, because it means every spaceflight mortality has played out in familiar territory.But planned missions are getting longer, with destinations beyond low-Earth orbit. And NASA’s astronaut corps is getting older. The average age now hovers around 50—an age bracket where natural death becomes statistically relevant, even for clean-living fitness buffs. Death in space is no longer a thought experiment. It’s a probability curve—and NASA knows it.In response, the agency is making subtle but decisive moves. The most recent astronaut selection cycle was extended—not only to boost intake but also to attract younger crew members capable of handling future long-duration missions.NASA’s Space MorgueIf someone were to die aboard the ISS today, their body would be placed in the HRCU, which would then be sealed and secured in a nonpressurized area to await eventual return to Earth.The HRCU itself is a modified version of a military-grade body bag designed to store human remains in hazardous environments. It integrates with refrigeration systems already aboard the ISS to slow decomposition and includes odor-control filters and moisture-absorbent linings, as well as reversed zippers for respectful access at the head. There are straps to secure the body in a seat for return, and patches for name tags and national flags.Cadaver tests conducted in 2019 at Sam Houston State University have proved the system durable. Some versions held for over 40 days before decomposition breached the barrier. NASA even drop-tested the bag from 19 feet to simulate a hard landing.But it’s never been used in space. And since no one yet knows how a body decomposes in true microgravity (or, for that matter, on the moon), no one can really say whether the HRCU would preserve tissue well enough for a forensic autopsy.This is a troubling knowledge gap, because in space, a death isn’t just a tragic loss—it’s also a vital data point. Was an astronaut’s demise from a fluke of their physiology, or an unavoidable stroke of cosmic bad luck—or was it instead a consequence of flaws in a space habitat’s myriad systems that might be found and fixed? Future lives may depend on understanding what went wrong, via a proper postmortem investigation.But there’s no medical examiner in orbit. So NASA trains its crews in something called the In-Mission Forensic Sample Collection protocol. The space agency’s astronauts may avoid talking about it, but they all have it memorized: Document everything, ideally with real-time guidance from NASA flight surgeons. Photograph the body. Collect blood and vitreous fluid, as well as hair and tissue samples. Only then can the remains be stowed in the HRCU.NASA has also prepared for death outside the station—on spacewalks, the moon or deep space missions. If a crew member perishes in vacuum but their remains are retrieved, the body is wrapped in a specially designed space shroud.The goal isn’t just a technical matter of preventing contamination. It’s psychological, too, as a way of preserving dignity. Of all the “firsts” any space agency hopes to achieve, the first-ever human corpse drifting into frame on a satellite feed is not among them.If a burial must occur—in lunar regolith or by jettisoning into solar orbit—the body will be dutifully tracked and cataloged, treated forevermore as a hallowed artifact of space history.Such gestures are also of relevance to NASA’s plans for off-world mourning; grief and memorial protocols are now part of official crew training. If a death occurs, surviving astronauts are tasked with holding a simple ceremony to honor the fallen—then to move on with their mission.Uncharted RealmsSo far we’ve only covered the “easy” questions. NASA and others are still grappling with harder ones.Consider the issue of authority over a death and mortal remains. On the ISS, it’s simple: the deceased astronaut’s home country retains jurisdiction. But that clarity fades as destinations grow more distant and the voyages more diverse: What really happens on space-agency missions to the moon, or to Mars? How might rules change for commercial or multinational spaceflights—or, for that matter, the private space stations and interplanetary settlements that are envisioned by Elon Musk, Jeff Bezos and other tech multibillionaires?NASA and its partners have started drafting frameworks, like the Artemis Accords—agreements signed by more than 50 nations to govern behavior in space. But even those don’t address many intimate details of death.What happens, for instance, if foul play is suspected?The Outer Space Treaty, a legal document drafted in 1967 under the United Nations that is humanity’s foundational set of rules for orbit and beyond, doesn’t say.Of course, not everything can be planned for in advance. And NASA has done an extraordinary job of keeping astronauts in orbit alive. But as more people venture into space, and as the frontier stretches to longer voyages and farther destinations, it becomes a statistical certainty that sooner or later someone won’t come home.When that happens, it won’t just be a tragedy. It will be a test. A test of our systems, our ethics and our ability to adapt to a new dimension of mortality. To some, NASA’s preparations for astronautical death may seem merely morbid, even silly—but that couldn’t be further from the truth.Space won’t care of course, whenever it claims more lives. But we will. And rising to that grim occasion with reverence, rigor and grace will define not just policy out in the great beyond—but what it means to be human there, too.

The longtime Luke Skywalker thinks Star Wars should start looking forward and prioritizing its newer cast of characters.

Despite its appearance as just another arcady sandbox game, Deliver At All Costs is shockingly story-minded. So much so, that its constant focus on narrative might deter those just looking for some dumb fun. And after seeing the narrative through to the end, I wouldn’t blame them, given how hard the game tries to be a grand tapestry of storytelling excellence. The adventure is structured into three acts, each with a unique town to explore and complete missions in. One act even features a time skip accompanied by a moment of no return. So even if you just want to ignore story and focus on acing deliveries and causing mayhem in the streets, you still have to go through some cutscenes and narrative progression to unlock the next towns and side missions.   "The majority of the side content in Deliver At All Costs isn’t very enticing." Not that the side missions are worth doing anyway. The majority of side content in Deliver At All Costs isn’t very enticing. The rewards aren’t worth it and the fetch quest design doesn’t warrant the effort. I’d only recommend going out of your way for the side content if you’re already keen on exploring the various maps. The treasure chests and small boxes hidden throughout the game give cash that is used on materials for vehicle upgrades; however, a majority of upgrades can be purchased from the main story mission rewards anyway. I expected to have fun with the vehicle upgrades, but ended up sorely disappointed in their limited application. This is because upgrades cannot be used outside of curated story missions; bummer. Not that the crane attachment or extreme hauling capacity upgrade aren’t fun to play with; they are rather fun, but exclusively used for their particular missions. Again, if you’re expected a zany vehicular sandbox with a lot of options and unlockables, Deliver At All Costs isn’t that. The reason I keep associating the game with sandbox playability is due to its map design. It has an old-school 2D Grand Theft Auto style of isometric driving. In between story missions, you’re given the leisure to roam around town freely. All of your driving and running around is done through a top-down isometric camera angle that gives the environments a nice diorama look to them, and what’s more, you can move the camera between two different angles in case it’s difficult to see something. "Speaking of scenery, there’s a surprising amount of activity going on while you’re driving around delivering stuff." All the unique shops and landmarks of this diorama give off a classic vibe well. Oh, and the soundtrack fits the setting wonderfully. Lounge jazz and instrumental surfer rock accompany your deliveries, and it rarely gets repetitive. Tying it into GTA even more is the radio, with infrequent broadcasts that add flavor lore to the setting. Each town has multiple districts, each with their own theme, which helps vary up the scenery just that much more. Speaking of scenery, there’s a surprising amount of activity going on while you’re driving around delivering stuff. NPCs go about their business, birds glide across the sky, and plenty of vehicle traffic accompany the streets. In fact, there’s often a tad too much activity. Streets are so packed with cars and people that collisions are unavoidable. "NPCs roam the streets and become aggressive when threatened." I like how populated the game is, but it’s tuned a bit too high, getting in the way of enjoyability a lot of the time. Perhaps, it would have been better balanced to up the street traffic the further you get into the game, especially since the towns progress from rural to metropolitan through the course of the narrative. At the very least, there’s an attractive mini-map with well designed labels and indicators. Navigation is aided with helpful arrows showing the way to a mission destination too. But you aren’t merely delivering parcels to a destination in a given time limit; there’s a variety of ways the game mixes up its missions. Part of the game’s initial draw is its physics-based driving, which manifests in hilarious ways. One of the first missions tasks you with delivering a truck full of rotted watermelons. The first step is to bring them to a sanitizer, then you paint them so they look presentable, all while avoiding traffic and trying not to knock them over as they roll around in the back of the truck. It’s one of the enjoyable missions in the game, and one that demonstrates the physics gameplay best. I like how the missions get progressively more wacky and clever as you progress too. You even become a UFO hunter during one late-game job. It’s just too bad the very high traffic and wonky controls hamper the overall experience. "I like how the missions get progressively more wacky and clever as you progress." The driving controls are rather simple. Just aim in the direction you want to drive and hold the accelerate button. It’s the high sensitivity of the acceleration and the hard braking and turning that contribute to a somewhat frustrating experience. The high traffic just further compounds the controls to make for a somewhat clunky driving experience. Vehicles don’t differ in how they drive either, though you really only have the one truck for a large majority of the game anyway, so it doesn’t really make a difference. And the cars aren’t great to look at either. Heck, nothing looks particularly nice in the game, especially the characters. Facial animations are frankly bad and the bland art style doesn’t make up for the graphical shortcomings. What’s worse is there’s still some pretty substantial load times in-between regions, which hurts the flow of the open-world. But the element that gets hurt from graphics the most is the mixed story. It’s hard to take the drama seriously when its presented so poorly. There’s an attempt at cinematic camera angles during cutscenes, but textures are featureless and close-ups of people’s faces are serious PS1 quality stuff. Thankfully, a handful of characters are quite likable despite what their low poly models suggest. Winston’s delivery mates have surprising depth and a good amount of backstory. And Winston himself is a fully fledged personality and someone you can imagine working with. "Winston’s delivery mates have surprising depth and a good amount of backstory." Characters like Norman are instantly likeable while Winston’s arch-nemesis and hardline boss, Donovon, is perfectly punchable. I’m also impressed with a majority of the dialogue writing. Characters speak with a down-to-earth tone and level of informality that makes them realistic, even if they look like untextured Unity assets. Going back to where I started the review, the game goes surprisingly hard on the story axis, but it doesn’t fully land for me. The wacky yet earnest tone is great, but the execution of the plot doesn’t wrap up in a satisfying way. Winston’s mysterious past and the true motives of the delivery company’s executives had so much potential for an intriguing narrative thread. But alas, the finale just kinda falls flat without the payoff that the game was teasing. "The game goes surprisingly hard on the story front, but it didn’t fully land for me." As a whole, Delivery At All Costs delivers a zany and fun, though frustrating, isometric delivery experience with a story that tries a bit too hard. I can easily see this game being a cult classic, but for a majority of gamers, it won’t deliver a truly stunning experience. If you’re looking for a game with a wacky and inventive premise that experiments a bit, and don’t mind gameplay and graphics from three generations ago, give Deliver At All Costs a try and it might just deliver. This game was reviewed on the PlayStation 5.

If you were wondering whether Mark Hamill might play Luke Skywalker once again as a Force ghost, think again. The legendary actor has ruled out a return to the world famous sci-fi franchise, saying it’s now time for Star Wars to move past legacy characters and focus on the future.In an interview with ComicBook.com to promote his new movie, The Life of Chuck, Hamill was asked about a potential return as Luke’s Force ghost in upcoming Rey-led Star Wars movie, New Jedi Order. His answer was loud and clear: no chance. After all, Luke left his robes behind in 2017's The Last Jedi.Mark Hamill first played Luke Skywalker in 1977's Star Wars: Episode IV - A New Hope.“I am so grateful to George [Lucas] for letting me be a part of that back in the day, the humble days when George called Star Wars ‘the most expensive low-budget movie ever made,’” Hamill replied.“We never expected it to become a permanent franchise and a part of pop culture like that. But my deal is, I had my time. I’m appreciative of that, but I really think they should focus on the future and all the new characters.“And by the way, when I disappeared in [The Last Jedi], I left my robes behind. And there’s no way I’m gonna appear as a naked Force ghost.”PlayRey, however, is set to return to the world of Star Wars in the Sharmeen Obaid-Chinoy-directed sequel to the universally panned Star Wars: Episode 9 - The Rise of Skywalker. It will tell the story of Rey as she looks to rebuild the Jedi Order roughly 15 years after the events of that film.We know next to nothing about New Jedi Order. In January 2024, speaking to AlloCiné, Ridley teased a little more about her new film: "Once I knew what the story was and everything, I knew that it was something I really wanted to do," she said. “I think it's a really fantastic exploration of the Star Wars world. It's a really cool way of taking the story on in a bit of a different direction."In the shorter term, The Mandalorian and Grogu is due out 2026. Star Wars: Starfighter, Shawn Levy's Star Wars movie starring Ryan Gosling, is due out in 2027.Every Upcoming Star Wars Movie and TV ShowAt 2023's Star Wars Celebration, Lucasfilm announced three new Star Wars feature films: a Dave Filoni-directed New Republic film set in his Mando-verse, a Dawn of the Jedi movie led by James Mangold, and the aforementioned New Jedi Order.There is still so much that can and will change when it comes to upcoming Star Wars movies and TV shows. But what we can be sure of is Mark Hamill playing Force Luke won’t be a part of them.Photo by Sunset Boulevard/Corbis via Getty Images.Wesley is Director, News at IGN. Find him on Twitter at @wyp100. You can reach Wesley at wesley_yinpoole@ign.com or confidentially at wyp100@proton.me.

Elden Ring Nightreign may have only just launched but a well-known modder has already released a much requested Duos mode mod that players can download from the Elden Ring Nightreign Nexus for the PC version of the game.The mod comes from Luke Yui, the modder also responsible for the popular Seamless Co-op mod for Elden Ring, as well as other From Software games. Within a few hours of Nightreign going live, Yui shared a short video demonstrating a prototype two-player setup that wasn't connected to matchmaking servers. It wasn't long after that that the actual mod launched for everyone else to use.Elden Ring Nightreign is intended as an online co-op game for three players, or solo, but with no option to only play in pairs unless they match with a random third wheel. While a three-person group is quite common in online games, including Apex Legends and Destiny, the lack of a duo option has not gone down well for folks who just want to play with a friend or partner. It's one of the criticisms highlighted amongst the negative reviews on Steam, where the game is currently sitting at a "Mixed" rating. Continue Reading at GameSpot

Pentagram partners Jody Hudson-Powell and Luke Powell have created a dynamic equine identity for AI video company TwelveLabs. Based between San Francisco and Seoul, TwelveLabs describes itself as “the world’s most powerful video intelligence platform.” Unlike generative video tools which help users create videos from scratch, TwelveLabs uses AI analysis to help people understand their existing videos at a very granular level, which makes them more searchable. Co-founder and CEO Jae Lee explains that communicating this difference – between video generation and video understanding – was at the heart of their work with Pentagram. “In the middle of last year our models were improving pretty rapidly, and we thought we needed to up our game in terms of our storytelling, why we matter, and to match the design, the tone, and the messaging to our ambition,” he says. Lee described the previous branding as “straight out of Silicon Valley” and they chose Hudson–Powell and his team due to their tech-savvy design practice. In creating a new identity, it was important not to be “lumped in” with other generative AI video companies, Lee says, but also to differentiate themselves from other video analysis tools. “Our competitors essentially do frame-by-frame analysis, but we look at it temporally,” lead product designer Sean Barclay explains. “That’s what differentiates us, and we wanted to convey that secret sauce.” “On the first call, they had me at temporal reasoning,” Hudson-Powell laughs. His team had to avoid the visual cliches AI tools tend to embrace – “it’s a very noisy category with lots of sparkles.”  But they also had to capture and communicate TwelveLabs’ offering in a way that was accessible and exciting, but not dumbed down. “We had a distinct stream of work that wasn’t strategic or creative – it was just understanding the technology,” Hudson-Powell says. “We kept asking them, could we imagine your technology to look something like this? Or this? “We were trying to put some kind of conceptual apparatus around the technology, to see if we could find a visual communication language that we could start to build on.” “Jody was very good at pulling out those threads about what video looks like in our brains,” Lee says. Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs The Pentagram team homed in on the core idea of “video as volume” rather than a timeline, and they built a series of thread-based diagrams to help explain how it works. This visual motif could be scaled across the touchpoints, from product pages to sales and branding. “You get this graphic stretch, so you’re speaking to different audiences with the same concept,” Hudson-Powell explains. The horse logo was grounded in what Hudson-Powell calls TwelveLabs’ existing “lore” – Lee says they were inspired by Eadweard Muybridge’s famous 1887 animation of a horse, and he likes the metaphor of a user as a jockey steering their technology. The logo – which has 12 layers in a nod to the company’s name – is often used in motion, galloping across a screen. “We worked a lot of animation into the identity,” Hudson-Powell says. “Animation can be quite frivolous, but we did it really intentionally. The logo gives you this feeling of perpetual motion, this rhythm at the heart of the brand, which is really important.” https://d3faj0w6aqatyx.cloudfront.net/uploads/2025/05/01_TL_Logo_Gradient_16x9_60fps_10s_LOW.mp4 The team chose Milling for the typeface for its combination of “technicality and soft edges” and the visual identity uses the LCH colour system, which, compared to RGB, represents colour in a more similar way to how our eyes perceive colour. “You can match any two colours and they’ll be harmonious, which you don’t get with RGB,” Hudson-Powell says. “We can find infinite combinations.” There were also three colour subsets for TwelveLabs’ three key features – pink-purple for search, orange-yellow for generate and green-blue for embed. Pentagram’s Luke Powell and Jody Hudson Powell’s new colour palette for TwelveLabs Lee says the new identity has resonated with investors, employees and most importantly, customers. “It’s given them this confidence that they’re working with not only a super-technical team, but also a team that cares deeply about video,” he says. “So we can communicate with our science community, but also with the people who are building the content we love consuming. There’s a duality which feels really connected.” Barclay agrees, and adds that it helps people grasp what TwelveLabs does – and what it might do for them – more quickly. “It’s definitely improved our website tremendously in terms of telling a better story,” he says. “Before it took a lot of time to comprehend what TwelveLabs is, and what we’re offering. We have definitely shortened that.” Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new logo for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new icons for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs Pentagram’s Luke Powell and Jody Hudson Powell’s new identity palette for TwelveLabs