Mise à jour du 18/03 : la seconde offre a été retirée avant l’examen par le Tribunal de Commerce. La Paramount aurait rompu un contrat avec Mikros Animation, or il s’agissait d’une condition expresse du maintien de l’offre. Ar

By TREVOR HOGG Images courtesy of Prime Video. For those seeking an alternative to the MCU, Prime Video has two offerings of the live-action and animated variety that take the superhero genre into R-rated territory where the hands of the god-like figures get dirty, bloodied and severed. “The Boys is about the intersection of celebrity and politics using superheroes,” states Stephan Fleet, VFX Supervisor on The Boys. “Sometimes I see the news and I don’t even know we can write to catch up to it! But we try. Invincible is an intense look at an alternate DC Universe that has more grit to the superhero side of it all. On one hand, I was jealous watching Season 1 of Invincible because in animation you can do things that you can’t do in real life on a budget.” Season 4 does not tone down the blood, gore and body count. Fleet notes, “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” When Splinter (Rob Benedict) splits in two, the cloning effect was inspired by cellular mitosis. “The writers almost have this dialogue with us. Sometimes, they’ll write in the script, ‘And Fleet will come up with a cool visual effect for how to kill this person.’ Or, ‘Chhiu, our fight coordinator, will make an awesome fight.’ It is a frequent topic of conversation. We’re constantly trying to be inventive and create new ways to kill people!” —Stephan Fleet, VFX Supervisor A total of 1,600 visual effects shots were created for the eight episodes by ILM, Pixomondo, MPC Toronto, Spin VFX, DNEG, Untold Studios, Luma Pictures and Rocket Science VFX. Previs was a critical part of the process. “We have John Griffith [Previs Director], who owns a small company called CNCPT out of Texas, and he does wonderful Unreal Engine level previs,” Fleet remarks. “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” Founding Director of Federal Bureau of Superhuman Affairs, Victoria Neuman, literally gets ripped in half by two tendrils coming out of Compound V-enhanced Billy Butcher, the leader of superhero resistance group The Boys. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” Multiple plates were shot to enable Simon Pegg to phase through the actor laying in a hospital bed. Testing can get rather elaborate. “For that end scene with Butcher’s tendrils, the room was two stories, and we were able to put the camera up high along with a bunch of blood cannons,” Fleet recalls. “When the body rips in half and explodes, there is a practical component. We rained down a bunch of real blood and guts right in front of Huey. It’s a known joke that we like to douse Jack Quaid with blood as much as possible! In this case, the special effects team led by Hudson Kenny needed to test it the day before, and I said, “I’ll be the guinea pig for the test.’ They covered the whole place with plastic like it was a Dexter kill room because you don’t want to destroy the set. I’m standing there in a white hazmat suit with goggles on, covered from head to toe in plastic and waiting as they’re tweaking all of these things. It sounds like World War II going on. They’re on walkie talkies to each other, and then all of a sudden, it’s ‘Five, four, three, two, one…’  And I get exploded with blood. I wanted to see what it was like, and it’s intense.” “On set, we have a cartoon of what is going to be done, and you’ll be amazed, specifically for action and heavy visual effects stuff, how close those shots are to the previs when we finish.” —Stephan Fleet, VFX Supervisor The Deep has a love affair with an octopus called Ambrosius, voiced by Tilda Swinton. “It’s implied bestiality!” Fleet laughs. “I would call it more of a romance. What was fun from my perspective is that I knew what the look was going to be [from Season 3], so then it’s about putting in the details and the animation. One of the instincts that you always have when you’re making a sea creature that talks to a human [is] you tend to want to give it human gestures and eyebrows. Erik Kripke [Creator, Executive Producer, Showrunner, Director, Writer] said, ‘No. We have to find things that an octopus could do that conveys the same emotion.’ That’s when ideas came in, such as putting a little The Deep toy inside the water tank. When Ambrosius is trying to have an intimate moment or connect with him, she can wrap a tentacle around that. My favorite experience doing Ambrosius was when The Deep is reading poetry to her on a bed. CG creatures touching humans is one of the more complicated things to do and make look real. Ambrosius’ tentacles reach for his arm, and it becomes an intimate moment. More than touching the skin, displacing the bedsheet as Ambrosius moved ended up becoming a lot of CG, and we had to go back and forth a few times to get that looking right; that turned out to be tricky.” A building is replaced by a massive crowd attending a rally being held by Homelander. In a twisted form of sexual foreplay, Sister Sage has The Deep perform a transorbital lobotomy on her. “Thank you, Amazon for selling lobotomy tools as novelty items!” Fleet chuckles. “We filmed it with a lobotomy tool on set. There is a lot of safety involved in doing something like that. Obviously, you don’t want to put any performer in any situation where they come close to putting anything real near their eye. We created this half lobotomy tool and did this complicated split screen with the lobotomy tool on a teeter totter. The Deep was [acting in a certain way] in one shot and Sister Sage reacted in the other shot. To marry the two ended up being a lot of CG work. Then there are these close-ups which are full CG. I always keep a dummy head that is painted gray that I use all of the time for reference. In macrophotography I filmed this lobotomy tool going right into the eye area. I did that because the tool is chrome, so it’s reflective and has ridges. It has an interesting reflective property. I was able to see how and what part of the human eye reflects onto the tool. A lot of that shot became about realistic reflections and lighting on the tool. Then heavy CG for displacing the eye and pushing the lobotomy tool into it. That was one of the more complicated sequences that we had to achieve.” In order to create an intimate moment between Ambrosius and The Deep, a toy version of the superhero was placed inside of the water tank that she could wrap a tentacle around. “The word that we like to use on this show is ‘grounded,’ and I like to say ‘grounded’ with an asterisk in this day and age because we’re grounded until we get to killing people in the craziest ways. In this case, having someone floating in the air and being ripped in half by two tendrils was all CG.” —Stephan Fleet, VFX Supervisor Sheep and chickens embark on a violent rampage courtesy of Compound V with the latter piercing the chest of a bodyguard belonging to Victoria Neuman. “Weirdly, that was one of our more traditional shots,’ Fleet states. “What is fun about that one is I asked for real chickens as reference. The chicken flying through his chest is real. It’s our chicken wrangler in green suit gently tossing a chicken. We blended two real plates together with some CG in the middle.” A connection was made with a sci-fi classic. “The sheep kill this bull, and we shot it is in this narrow corridor of fencing. When they run, I always equated it as the Trench Run in Star Wars and looked at the sheep as TIE fighters or X-wings coming at them.” The scene was one of the scarier moments for the visual effects team. Fleet explains, “When I read the script, I thought this could be the moment where we jump the shark. For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” The sheep injected with Compound V develop the ability to fly and were shot in an imperfect manner to help ground the scenes. Once injected with Compound V, Hugh Campbell Sr. (Simon Pegg) develops the ability to phase through objects, including human beings. “We called it the Bro-nut because his name in the script is Wall Street Bro,” Fleet notes. “That was a complicated motion control shot, repeating the move over and over again. We had to shoot multiple plates of Simon Pegg and the guy in the bed. Special effects and prosthetics created a dummy guy with a hole in his chest with practical blood dripping down. It was meshing it together and getting the timing right in post. On top of that, there was the CG blood immediately around Simon Pegg.” The phasing effect had to avoid appearing as a dissolve. “I had this idea of doing high-frequency vibration on the X axis loosely based on how The Flash vibrates through walls. You want everything to have a loose motivation that then helps trigger the visuals. We tried not to overcomplicate that because, ultimately, you want something like that to be quick. If you spend too much time on phasing, it can look cheesy. In our case, it was a lot of false walls. Simon Pegg is running into a greenscreen hole which we plug in with a wall or coming out of one. I went off the actor’s action, and we added a light opacity mix with some X-axis shake.” Providing a different twist to the fights was the replacement of spurting blood with photoreal rubber duckies during a drug-induced hallucination. Homelander (Anthony Starr) breaks a mirror which emphasizes his multiple personality disorder. “The original plan was that special effects was going to pre-break a mirror, and we were going to shoot Anthony Starr moving his head doing all of the performances in the different parts of the mirror,” Fleet reveals. “This was all based on a photo that my ex-brother-in-law sent me. He was walking down a street in Glendale, California, came across a broken mirror that someone had thrown out, and took a photo of himself where he had five heads in the mirror. We get there on the day, and I’m realizing that this is really complicated. Anthony has to do these five different performances, and we have to deal with infinite mirrors. At the last minute, I said, ‘We have to do this on a clean mirror.’ We did it on a clear mirror and gave Anthony different eyelines. The mirror break was all done in post, and we were able to cheat his head slightly and art-direct where the break crosses his chin. Editorial was able to do split screens for the timing of the dialogue.” “For the shots where the sheep are still and scream to the camera, Untold Studios did a bunch of R&D and came up with baboon teeth. I tried to keep anything real as much as possible, but, obviously, when sheep are flying, they have to be CG. I call it the Battlestar Galactica theory, where I like to shake the camera, overshoot shots and make it sloppy when they’re in the air so you can add motion blur. Comedy also helps sell visual effects.” —Stephan Fleet, VFX Supervisor Initially, the plan was to use a practical mirror, but creating a digital version proved to be the more effective solution. A different spin on the bloodbath occurs during a fight when a drugged Frenchie (Tomer Capone) hallucinates as Kimiko Miyashiro (Karen Fukuhara) goes on a killing spree. “We went back and forth with a lot of different concepts for what this hallucination would be,” Fleet remarks. “When we filmed it, we landed on Frenchie having a synesthesia moment where he’s seeing a lot of abstract colors flying in the air. We started getting into that in post and it wasn’t working. We went back to the rubber duckies, which goes back to the story of him in the bathtub. What’s in the bathtub? Rubber duckies, bubbles and water. There was a lot of physics and logic required to figure out how these rubber duckies could float out of someone’s neck. We decided on bubbles when Kimiko hits people’s heads. At one point, we had water when she got shot, but it wasn’t working, so we killed it. We probably did about 100 different versions. We got really detailed with our rubber duckie modeling because we didn’t want it to look cartoony. That took a long time.” Ambrosius, voiced by Tilda Swinton, gets a lot more screentime in Season 4. When Splinter (Rob Benedict) splits in two was achieved heavily in CG. “Erik threw out the words ‘cellular mitosis’ early on as something he wanted to use,” Fleet states. “We shot Rob Benedict on a greenscreen doing all of the different performances for the clones that pop out. It was a crazy amount of CG work with Houdini and particle and skin effects. We previs’d the sequence so we had specific actions. One clone comes out to the right and the other pulls backwards.” What tends to go unnoticed by many is Splinter’s clones setting up for a press conference being held by Firecracker (Valorie Curry). “It’s funny how no one brings up the 22-hour motion control shot that we had to do with Splinter on the stage, which was the most complicated shot!” Fleet observes. “We have this sweeping long shot that brings you into the room and follows Splinter as he carries a container to the stage and hands it off to a clone, and then you reveal five more of them interweaving each other and interacting with all of these objects. It’s like a minute-long dance. First off, you have to choreograph it. We previs’d it, but then you need to get people to do it. We hired dancers and put different colored armbands on them. The camera is like another performer, and a metronome is going, which enables you to find a pace. That took about eight hours of rehearsal. Then Rob has to watch each one of their performances and mimic it to the beat. When he is handing off a box of cables, it’s to a double who is going to have to be erased and be him on the other side. They have to be almost perfect in their timing and lineup in order to take it over in visual effects and make it work.”

L’avenir des différentes branches du groupe Technicolor se dessine peu à peu. Voici les dernières informations dont nous disposons sur le futur des studios Mikros Animation, MPC et The Mill. Comme vous le verrez, selon le pays, la situation var

MPC, The Mill, TransPerfect, effets visuels, Technicolor, industrie du cinéma, publicité, animation, studios de création ## Une fin amère pour des géants créatifs Dans un monde où la magie du cinéma et de la publicité se tisse à travers des effets visuels éblouissants, la triste nouvelle du rachat de MPC et The Mill par TransPerfect résonne comme un écho douloureux. Ces deux studios, réputés...

Dorothy Ballarini, character and creature artist, 3D modeling, Brazilian artist, Jurassic World, La Petite Sirène, Blanche-Neige, DNEG, Cinesite, MPC, Framestore --- In the shadows of the vibrant Brazilian landscape, where dreams intertwine with the pain of reality, a quiet artist breathes life into the depths of imagination. Dorothy Ballarini, a name that resonates with both magic and...

Nous vous proposons un retour en vidéo sur les effets visuels du film Emilia Pérez de Jacques Audiard, avec Cédric Fayolle (Superviseur VFX Général, Les Artizans) et Rodolphe Zirah (Superviseur VFX, MPC Paris). Le duo revient sur les défis d’un

If we don’t lock them down, it will be too late. The official trailer and key art have been revealed for Alien: Earth, which hits FX and Hulu August 12. In the upcoming series, when the mysterious deep space research vessel USCSS Maginot crash-lands on Earth, Wendy and a ragtag group of tactical soldiers make a fateful discovery that puts them face-to-face with the planet’s greatest threat. The series stars Sydney Chandler as Wendy; Timothy Olyphant as Kirsh; Alex Lawther as Hermit; Samuel Blenkin as Boy Kavalier; Babou Ceesay as Morrow;  Adrian Edmondson as Atom Eins; David Rysdahl as Arthur Sylvia; Essie Davis as Dame Sylvia; Lily Newmark as Nibs; Erana James as Curly; Adarsh Gourav as Slightly; Jonathan Ajayi as Smee; Kit Young as Tootles; Diêm Camille as Siberian; Moe Bar-El as Rashidi; and Sandra Yi Sencindiver as Yutani. Noah Hawley is creator and executive producer. Ridley Scott, David W. Zucker, Joseph Iberti, Dana Gonzales, and Clayton Krueger also executive produce. FX Productions produces. VFX are created by Clear Angle Studios, Fin Design & Effects, MPC, Pixomondo, The Third Floor, Untold Studios, and Zoic Studios, with Jonathan Rothbart acting as visual effects supervisor. Check out the official trailer now: Source: FX Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions.

06/03 — 2025 by abduzeedo Explore the impactful branding and visual identity for Culture & Community Power Fund by Outside. See how design elevates community action. Hey creatives! Let's dive into some truly inspiring work today. Our friends at Outside, a global design and tech studio based in Kathmandu, recently rolled out a fresh brand and website for the Culture & Community Power Fund (C&CPF). This project isn't just about aesthetics; it's about design with a deeper purpose. Crafting a Visual Voice for Community Power C&CPF champions grassroots organizations. They focus on communities most affected by systemic oppression. Their mission involves direct funding, sharing resources, and building networks. Outside's goal was clear: uplift grantee work, create a wisdom hub, and clarify culture's role in social action . Elizabeth Lepro, Editorial Lead at Outside, shared that the project expanded their understanding of "culture." They aimed to visually inject the celebratory and communal aspects of shared spaces, rituals, stories, and traditions throughout the brand . This passion shines through in the final output. The Ampersand: A Symbol of Collaboration One standout element in C&CPF's new branding and visual identity is the ampersand (&). Outside emphasized this symbol in the logo, a direct nod to C&CPF's collaborative ethos. What's really clever is how they rendered the ampersand in various fonts. Each typeface reflects the diverse visions of C&CPF's partner-grantees. For instance, the rounded Akaya Kanadaka typeface conveys the joyful spirit of culturally infused community power building. Pilowlava, another typeface, speaks to a grantee-partner's work in urban farming and sustainability . It's a subtle yet powerful way to represent unity in diversity. Gritty, Bold, and Inviting Visuals Established in 2022, C&CPF is relatively new. They wanted to avoid looking overly traditional. Outside delivered a gritty, bold aesthetic, drawing inspiration from protest signs and zines. Snappy animations complement this vibe. They even provided image frames to unify varying aesthetics from featured organizations. The chosen color palette is a rich blend of orange, purple, yellow, black, and white. This combination expresses warmth and invitation, perfectly aligning with the Fund's focus on people and communities. The brand incorporates vibrant photography, showcasing scenes like festivals, local games, and urban farms. Bridging the Knowledge Gap Beyond the visual, Outside also provided copywriting and narrative support. They made sure the site explains "community power building" in accessible language. The "What is Community Power Building?" page breaks down basics, relevant vocabulary, and context. It clarifies that culture extends beyond art and music, encompassing traditions, stories, rituals, and shared spaces. A key feature is the "Knowledge Commons," a custom-built resource library. It serves both experienced practitioners and newcomers, fostering shared wisdom. This hub even accepts submissions, allowing C&CPF team members to edit and publish them. This project by Outside is a fantastic example of how thoughtful branding and visual identity can empower a mission. It shows that design isn't just about looking good; it's about building understanding, fostering connection, and driving meaningful change. What aspects of this purposeful design resonate most with you? Explore more of Outside's work and the Culture & Community Power Fund's initiatives to see how design can truly make an impact. Learn more about Outside's work Branding and visual identity artifacts Tags branding

Posted on : June 3, 2025 By Tech World Times Technology  Rate this post This article walks you through five practical steps to implement network segmentation effectively, backed by real-world use cases that showcase its value in different industries. Networks are constantly expanding across offices, cloud services, remote users, and connected devices. With so many moving parts, security gaps can easily form. Once attackers breach a weak point, they often move freely across the network, targeting critical systems and sensitive data. That’s where network segmentation comes in. It’s a practical approach to divide your network into smaller, manageable zones to control access, limit exposure, and isolate threats before they spread. But simply deploying VLANs or access rules isn’t enough. True segmentation needs planning, alignment with your business, and the right mix of technology. Step 1: Assess and Map Your Current Network Start by figuring out what’s on your network and how it communicates. Inventory Devices and Applications: List all system servers, user machines, IoT devices, cloud assets. Map Data Flows: Understand how applications and services interact. Which systems talk to each other? What ports and protocols are used? Identify Critical Assets: Highlight the systems that handle sensitive data, such as payment processing, health records, or intellectual property. Tip: Network discovery tools or NAC solutions can automate asset inventory and reveal communication paths you might miss. Step 2: Define Segmentation Goals and Policies Once you understand your environment, it’s time to set your objectives. Security Objectives: Do you want to reduce lateral movement, isolate sensitive systems, or meet a compliance mandate? Business Alignment: Segment by business unit, sensitivity of data, or risk profile-whatever makes the most operational sense. Compliance Requirements: PCI DSS, HIPAA, and other standards often require network segmentation. Example: A healthcare provider might create separate zones for patient records, lab equipment, guest Wi-Fi, and billing systems. Step 3: Choose the Right Segmentation Method Segmentation can be done in several ways. The right approach depends on your infrastructure goals and types: a. Physical Segmentation Use separate routers, switches, and cables. This offers strong isolation but can be costly and harder to scale. b. Logical Segmentation (VLANs/Subnets) Group devices into virtual segments based on function or department. It’s efficient and easier to manage in most environments. c. Micro segmentation Control access at the workload or application level using software-defined policies. Ideal for cloud or virtualized environments where you need granular control. d. Cloud Segmentation In the cloud, segmentation happens using security groups, VPCs, and IAM roles to isolate workloads and define access rules. Use a combination- VLANs for broader segmentation and micro segmentation for finer control where it matters. Step 4: Implement Controls and Monitor Traffic Time to put those policies into action. Firewalls and ACLs: Use access controls to manage what can move between zones. Block anything that isn’t explicitly allowed. Zero Trust Principles: Never assume trust between segments. Always validate identity and permissions. Monitoring and Alerts: Use your SIEM, flow monitoring tools, or NDR platform to watch for unusual traffic or policy violations. Common Pitfall: Avoid “allow all” rules between segments, it defeats the purpose. Step 5: Test, Validate, and Fine-Tune Even a well-designed segmentation plan can have gaps. Regular validation helps ensure it works as expected. Penetration Testing: Simulate attacks to check if boundaries hold. Review Policies: Business needs to change your segmentation strategy too. Performance Monitoring: Make sure segmentation doesn’t impact legitimate operations or application performance. Automation tools can help simplify this process and ensure consistency. Real-World Use Cases of Network Segmentation 1. Healthcare – Protecting Patient Data and Devices Hospitals use segmentation to keep medical devices, patient records, and visitor Wi-Fi on separate zones. This prevents an infected guest device from interfering with critical systems. Result: Reduced attack surface and HIPAA compliance. 2. Manufacturing – Isolating Industrial Systems Production environments often have fragile legacy systems. Segmenting OT (Operational Technology) from IT ensures ransomware or malware doesn’t disrupt manufacturing lines. Result: More uptime and fewer operational risks. 3. Finance – Securing Payment Systems Banks and payment providers use segmentation to isolate cardholder data environments (CDE) from the rest of the corporate network. This helps meet PCI DSS and keeps sensitive data protected. Result: Easier audits and stronger data security. 4. Education – Managing High-Volume BYOD Traffic Universities segment student Wi-Fi, research labs, and administrative systems. This keeps a vulnerable student device from spreading malware to faculty or internal systems. Result: Safer environment for open access campuses. 5. Cloud – Segmenting Apps and Microservices In the cloud, developers use security groups, VPCs, and IAM roles to isolate applications and limit who can access what. This reduces risk if one workload is compromised. Result: Controlled access and better cloud hygiene. Common Challenges Legacy Tech: Older devices may not support modern segmentation. Lack of Visibility: Hard to secure what you don’t know exists. Operational Hiccups: Poorly planned segmentation can block business workflows. Policy Complexity: Keeping access rules up to date across dynamic environments takes effort. Best Practices Start with High-Risk Areas: Prioritize zones handling sensitive data or vulnerable systems. Keep Documentation Updated: Maintain clear diagrams and policy records. Align Teams: Get buy-in from IT, security, and business units. Automate Where You Can: Especially for monitoring and policy enforcement. Review Regularly: Networks evolve- so should your segmentation. Final Thoughts Segmentation isn’t about creating walls it’s about building smart pathways. Done right, it helps you take control of your network, reduce risk, and respond faster when something goes wrong. It’s a foundational layer of cybersecurity that pays off in resilience, compliance, and peace of mind. About the Author: Prajwal Gowda is a cybersecurity expert with 10+ years of experience. He has built businesses and was a Business Unit Head for Compliance and Testing services. Currently, he is the Chief Technology Officer at Ampcus Cyber, leading the company’s technology strategy and innovation efforts. He has also been involved in the Payment Card Industry, Software Security Framework, ISO 27001 Controls Gap Analysis, ISMS, Risk Analysis, OCTAVE, ISO 27005, Information Security Audit and Network Security. Prajwal is a Master Trainer who has conducted 100+ cybersecurity training sessions worldwide. 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