At GTC Paris — held alongside VivaTech, Europe’s largest tech event — NVIDIA founder and CEO Jensen Huang delivered a clear message: Europe isn’t just adopting AI — it’s building it. “We now have a new industry, an AI industry, and it’s now part of the new infrastructure, called intelligence infrastructure, that will be used by every country, every society,” Huang said, addressing an audience gathered online and at the iconic Dôme de Paris. From exponential inference growth to quantum breakthroughs, and from infrastructure to industry, agentic AI to robotics, Huang outlined how the region is laying the groundwork for an AI-powered future. A New Industrial Revolution At the heart of this transformation, Huang explained, are systems like GB200 NVL72 — “one giant GPU” and NVIDIA’s most powerful AI platform yet — now in full production and powering everything from sovereign models to quantum computing. “This machine was designed to be a thinking machine, a thinking machine, in the sense that it reasons, it plans, it spends a lot of time talking to itself,” Huang said, walking the audience through the size and scale of these machines and their performance. At GTC Paris, Huang showed audience members the innards of some of NVIDIA’s latest hardware. There’s more coming, with Huang saying NVIDIA’s partners are now producing 1,000 GB200 systems a week, “and this is just the beginning.” He walked the audience through a range of available systems ranging from the tiny NVIDIA DGX Spark to rack-mounted RTX PRO Servers. Huang explained that NVIDIA is working to help countries use technologies like these to build both AI infrastructure — services built for third parties to use and innovate on — and AI factories, which companies build for their own use, to generate revenue. NVIDIA is partnering with European governments, telcos and cloud providers to deploy NVIDIA technologies across the region. NVIDIA is also expanding its network of technology centers across Europe — including new hubs in Finland, Germany, Spain, Italy and the U.K. — to accelerate skills development and quantum growth. Quantum Meets Classical Europe’s quantum ambitions just got a boost. The NVIDIA CUDA-Q platform is live on Denmark’s Gefion supercomputer, opening new possibilities for hybrid AI and quantum engineering. In addition, Huang announced that CUDA-Q is now available on NVIDIA Grace Blackwell systems. Across the continent, NVIDIA is partnering with supercomputing centers and quantum hardware builders to advance hybrid quantum-AI research and accelerate quantum error correction. “Quantum computing is reaching an inflection point,” Huang said. “We are within reach of being able to apply quantum computing, quantum classical computing, in areas that can solve some interesting problems in the coming years.” Sovereign Models, Smarter Agents European developers want more control over their models. Enter NVIDIA Nemotron, designed to help build large language models tuned to local needs. “And so now you know that you have access to an enhanced open model that is still open, that is top of the leader chart,” Huang said. These models will be coming to Perplexity, a reasoning search engine, enabling secure, multilingual AI deployment across Europe. “You can now ask and get questions answered in the language, in the culture, in the sensibility of your country,” Huang said. Huang explained how NVIDIA is helping countries across Europe build AI infrastructure. Every company will build its own agents, Huang said. To help create those agents, Huang introduced a suite of agentic AI blueprints, including an Agentic AI Safety blueprint for enterprises and governments. The new NVIDIA NeMo Agent toolkit and NVIDIA AI Blueprint for building data flywheels further accelerate the development of safe, high-performing AI agents. To help deploy these agents, NVIDIA is partnering with European governments, telcos and cloud providers to deploy the DGX Cloud Lepton platform across the region, providing instant access to accelerated computing capacity. “One model architecture, one deployment, and you can run it anywhere,” Huang said, adding that Lepton is now integrated with Hugging Face, giving developers direct access to global compute. The Industrial Cloud Goes Live AI isn’t just virtual. It’s powering physical systems, too, sparking a new industrial revolution. “We’re working on industrial AI with one company after another,” Huang said, describing work to build digital twins based on the NVIDIA Omniverse platform with companies across the continent. Huang explained that everything he showed during his keynote was “computer simulation, not animation” and that it looks beautiful because “it turns out the world is beautiful, and it turns out math is beautiful.” To further this work, Huang announced NVIDIA is launching the world’s first industrial AI cloud — to be built in Germany — to help Europe’s manufacturers simulate, automate and optimize at scale. “Soon, everything that moves will be robotic,” Huang said. “And the car is the next one.” NVIDIA DRIVE, NVIDIA’s full-stack AV platform, is now in production to accelerate the large-scale deployment of safe, intelligent transportation. And to show what’s coming next, Huang was joined on stage by Grek, a pint-sized robot, as Huang talked about how NVIDIA partnered with DeepMind and Disney to build Newton, the world’s most advanced physics training engine for robotics. The Next Wave The next wave of AI has begun — and it’s exponential, Huang explained. “We have physical robots, and we have information robots. We call them agents,” Huang said. “The technology necessary to teach a robot to manipulate, to simulate — and of course, the manifestation of an incredible robot — is now right in front of us.” This new era of AI is being driven by a surge in inference workloads. “The number of people using inference has gone from 8 million to 800 million — 100x in just a couple of years,” Huang said. To meet this demand, Huang emphasized the need for a new kind of computer: “We need a special computer designed for thinking, designed for reasoning. And that’s what Blackwell is — a thinking machine.” Huang and Grek, as he explained how AI is driving advancements in robotics. These Blackwell-powered systems will live in a new class of data centers — AI factories — built to generate tokens, the raw material of modern intelligence. “These AI factories are going to generate tokens,” Huang said, turning to Grek with a smile. “And these tokens are going to become your food, little Grek.” With that, the keynote closed on a bold vision: a future powered by sovereign infrastructure, agentic AI, robotics — and exponential inference — all built in partnership with Europe. Watch the NVIDIA GTC Paris keynote from Huang at VivaTech and explore GTC Paris sessions.

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.

5 June, 2025 In this series, Clare Dowdy speaks with design studios that are 30+ years old, to find out some of the secrets behind their longevity. Michael Johnson set up his London-based brand consultancy Johnson Banks in 1992. From Duolingo to Pink Floyd, Cancer Research UK to the Royal Astronomical Society, the studio works with “people who want to do big things.” He sat down with Clare Dowdy to discuss what he’s learned over the past 33 years. Michael Johnson How did Johnson Banks come about? My 20s were very turbulent: eight jobs in eight years, a lot of different countries, different cities, learning on the job. My last job – at Smith & Milton – was relatively settled, I was kind of running a corporate design department. I had a client there, Tom Banks. After I left, he also left his role at Legal & General with the projects I had been working on, and we used that as a basis for the company. That was 1992, the back end of a recession. For a couple of years, everything was fine. Then we started having “creative differences.” And the pressures of running a tiny design company are substantial. So we parted ways in 1995, but I kept the name. Johnson Banks’ symbol for the V&A’s William Morris show At that time, we weren’t really in the branding world. For a decade, we were very distracted by getting on the graphic design map, trying to win D&AD awards, doing lovely stamp projects. And then we started to get some cultural projects: the V&A and the British Council. I started to think, OK, now we’re beginning to show what we can do. When and why did you start thinking seriously about your strategy offering? When we started to get into the branding arena, I knew we were underpowered in terms of the strategic thinking. I may have thought that I could do it, but it takes a bit to persuade clients when you’re 35, with hair almost down to your knees. If you’re up against important-looking people who can field a few grey hairs, you’re going to lose that pitch. So we partnered with strategic companies like management consultancy Circus, and followed that model for much of the 2000s. That led to the Shelter rebrand, and a few other quite big branding projects followed. Johnson Banks’ visual identity for Shelter Eventually we realised that we could do the strategy ourselves. I had sometimes been a little frustrated by the work that my strategic partners – naming no names – were doing. It sounds a bit mean, but sometimes I would get this 90-page PowerPoint document from them, and I’d put it on my designers’ desks, and their faces would go blank. I think that 20 years ago, there was still a bit of the idea that you’ve paid £100,000, so here’s your huge document. We slowly realised that if we were in control of the process, and were involved all the way through, then that jump out of the verbal brand to the visual brand could be much better managed. How did you rethink your strategy offer? The penny dropped in the mid-2000s when we worked with Save The Children. At the time, and I don’t think they’d mind me saying this, Save The Children were a bit of a basket case. They were associated with WI fairs and cake baking, and they had a royal as their patron – they were nothing like what they are now. I realised we needed to work out what they stood for before we did any design. I did this huge chart, and stuck it on a wall at the client’s office. And I said, it strikes me that there are strategic choices that you have got to make as a comms team about where you want to take the Save the Children brand. Johnson Banks’ poster for Save the Children That was an incredibly productive meeting, and also it helped us realise that before we got anywhere near the design, we needed to sort this out. I know that sounds like really basic stuff now. I didn’t trust my instinct for a decade or so, but in that Save the Children meeting, a light bulb went on for me. Once you’d worked out how to do strategy in-house why didn’t you scale up? A lot of companies would have done that. That’s how companies grow, and can end up quite quickly at 60 people. We have nearly always been around six to eight people. Because I could bridge that gap between the verbal and the visual, it meant we didn’t need to add people. And I’ve discovered over the last 25 years, that with a really good account director, Katherine Heaton, and me, and a design team, there is a heck of a lot that we can do. So we stayed small and partnered with filmmakers, animators, cultural specialists. Post-pandemic, a lot of people have adopted that hub and spoke model – we did it 20 years ago. Probably twice a year we’ll lose a pitch because of our scale. But conversely, with some clients you can sell in the fact that they’ll always deal with Michael Johnson. They’re not going to be handed down the chain, because there is no chain. Johnson Banks’ logos for Jodrell Bank Alongside this direct contact with you, what’s your main selling point? It seems to be that we think pretty hard about stuff. We almost never jump into design. A lot of thought goes into what we do, sometimes way too much. Sometimes our projects are incredibly difficult, gargantuan, intertwined and really hard to unpick. That’s a slightly poisoned chalice, because then people go, gosh, well, if they could unpick that, then they could unpick our Gordian knot. For example, we’re working on a major London university brand at the moment that has over 60,000 staff and students, 11 faculties, and hundreds of centres and institutes and departments, and we’re trying to navigate a way through. How did you work out what you wanted to specialise in? Sometimes you can get sucked into something that you just don’t want to be doing. By the end of the 1990s, Johnson Banks had got a reputation for doing annual reports. Part of me quite liked doing them because there was an interplay between words and pictures. And we were getting senior level access to clients, which makes you feel a bit better, because you’re having an interface with chief executives. But then I was thinking, hang on, we’re in danger of getting stuck here, because of course, they’re cyclical. And the death of the annual report – and the death of print – was coming over the horizon, with the internet. Johnson Banks’ Annual Report for Polygram (1995) Since then, my interests have changed. I do not have any interest any more in doing awful blue chips or terrible fintechs. I want to apply all the comms and the branding that I’ve learned to people who could really use it – not-for-profit, culture, education, philanthropy. You know, doing good. How did you build up this not-for-profit work? You lean into the referrals you’ll inevitably get within silos where you want to be referred. I learned this from Mary Lewis of Lewis Moberly. We were pretty close in the 1990s and she always said that referral business is the best business. Over 85% of our clients are not-for-profit – most design companies have a 20-80 split between non-profits and commercial clients. I never liked that ratio, what you might cruelly call ‘the Robin Hood principle’ – we are going to steal from our luxury car account and give to the charity. We did do a bit of that for a while. We did an airline in 2009/10 at the same time we were doing charities. I would justify that with the Robin Hood principle, but I just felt more and more uncomfortable with that. Johnson Banks’ campaign visuals for Cancer Research UK As our percentages went up and up in not-for-profit, eventually I said, look, we should just tell people this is who we are, and this is what we do. It was obvious anyway, so let’s be explicit about it. A few people said we were crazy, that we’d never get any work. But the reverse has been the case. We’re on our sixth environmental project. If you say this is what we want to do, and this is what we will do for you, then I think, funnily enough, clients find that very helpful. How did you build up to bigger projects? Let’s take education. We’ve done three or four really interesting campaigns for universities and now we’re in the position where we can do university rebrands, and have won a top 10 global university. But it has taken 15 years of education work to get to that point. I may not have thought that it would take quite so long to persuade people that we could do their identity. But education is a very conservative sector, and moves slowly, like museums and galleries. If you’re small, you can afford for a sector to move slowly, whereas bigger agencies need a pipeline. I’ve watched dozens of companies get to this critical point where they’ve grown and grown and then they’ve just fallen off the cliff because they’ve been feeding the monster. To help with that, agencies often add a new business person. No-one ever talks about this, but a new business person costs around £50,000. The rule of thumb, in my world at least, is that you have to take that salary and triple it with turnover to pay that salary. So you need £150,000 worth of projects to pay for the new business person before you’ve made a penny. So to make a profit, the new business person has to bring in over £200,000 of work. And if this person can do it, which is not guaranteed, then the company has to scale. It’s so easy to get caught on a treadmill. What else has helped you stay in business so long? We’ve always led with the thought behind the idea, not the way it looked. Because I was always much more interested in the idea behind something, I think that has helped us not get sucked into the visual, to use the type face du jour, the colour that everyone else is using. And it’s understandable, because graphic designers want to do stuff that their peers really like. But paradoxically the trick, in my opinion, is to try and zag away from the trends. Create a new trend yourself. Johnson Banks’ globe symbol for the COP 26 climate conference Design disciplines in this article Industries in this article Brands in this article What to read next Neville Brody on clients, education, and his unexpected OBE Graphic Design 30 Jan, 2025

Following the breakout success of ‘Your Friends and Neighbors’, which stars Jon Hamm and wrapped its first season last week, Apple has extended its deal with showrunner Jonathan Tropper, Deadline reports. Three-time Apple signee Apple TV+ first partnered with Tropper back in 2019, when he served as executive producer and showrunner for See, one of the platform’s launch titles. Since then he’s quietly become one of the most prolific creators on Apple TV+, with two active series and two high-profile films currently in the pipeline. Under the terms of this latest multi-year extension, he’ll continue developing and producing original content for Apple through his production company, Tropper Ink. Here’s Tropper: “Working with the entire team at Apple continues to be the single most creatively fulfilling collaboration of my career, and I’m looking forward to bringing Lucky and other new projects to the platform, while making more seasons of Your Friends & Neighbors” Breakout success According to Nielsen sampling data, Your Friends and Neighbors is the most-watched new Apple drama series of the year, based on first-month viewership across U.S. households. It’s also on track to break into the Nielsen Streaming Top 10 for the first time, a rare feat for a newer Apple TV+ original. Notably, Apple had already seen the breakout coming: the show was renewed for a second season back in November, months before it even premiered. Season 2 is currently in production. Up next Coming up next from Tropper: Lucky, a limited series starring Anya Taylor-Joy (The Gorge, Furiosa: A Mad Max Saga) and based on Marissa Stapley’s bestselling novel, is expected to debut later this year. On the film side, Tropper is writing and producing The Corsair Code, a sci-fi mystery adventure starring Chris Hemsworth (Thor: Ragnarok), and Matchbox, an action-comedy based on the iconic toy brand, featuring John Cena (Peacemaker), Jessica Biel (The Illusionist), and Sam Richardson (Veep). Outside of Apple, Tropper is also writing an upcoming Star Wars film for director Shawn Levy. Not bad. Apple TV+ is available for $9.99 per month and features hit TV shows and movies like Ted Lasso, Severance, The Studio, The Morning Show, Shrinking and Silo. Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. Don’t know where to start? Check out our exclusive stories, reviews, how-tos, and subscribe to our YouTube channel

Former Star Wars Jedi director Stig Asmussen’s independent AAA studio Giant Skull was formally unveiled last March, with the developer confirming at the time that it was working on a AAA single-player action-adventure title developed on Unreal Engine 5. Now we know a little bit more about what the game will be. It has been announced that Giant Skull has partnered with Wizards of the Coast to develop an action-adventure title based on Dungeons and Dragons. Work on the AAA single-player title is underway, though further details on the game, what exactly players can expect from it, or when more will be unveiled are currently scarce. The game is in development for PC and consoles. Giant Skull CEO and former Star Wars Jedi: Fallen Order, Star Wars Jedi: Survivor, and God of War 3 director Stig Asmussen said, “Our talented and experienced team at Giant Skull is built on creativity and curiosity,” said Stig Asmussen, CEO, Giant Skull. “Our goal is to craft a rich new Dungeons and Dragons universe filled with immersive storytelling, heroic combat and exhilarating traversal that players will fully embrace.” President of Wizards of the Coast and digital gaming at Hasbro John Hight said, “Stig and the team at Giant Skull are exactly the type of exceptionally talented creators we want to work with, and I’m so happy to be reuniting with him on this new project. In our time working together on God of War I got to see firsthand Stig’s artistry and expertise, and he and the Giant Skull team are the perfect fit for our new game. Worldbuilding and storytelling is in our DNA, and this collaboration reflects our evolution and commitment to our Playing to Win Strategy, building a stronger presence in digital play. We look forward to revealing more about this brand-new Dungeons and Dragons game in the future.” Stay tuned for more details on the project in the coming months and years.

Sports Interactive cancelled Football Manager 25 to work on the next entry in the series, but Sega has something else to fill the potential gap. Launching this year worldwide, Sega Football Club Champions 2025 is a free-to-play title for PS4, PS5, PC via Steam, iOS and Android. Check out the first trailer below. Described as a “multiplatform football management simulator” powered by Football Manager, Sega Football Club Champions 2025 has two core modes. Career Mode involves building and managing your team. Dream Team is about battling other players online. You can tussle in the Arena and Event Matches or set up Room Matches. Players can expect 10,000 professional footballers to bring to their teams. Japan’s J1-J3 leagues, FIFPRO, K League, and Manchester City F.C. contribute 1,500 players. While others have yet to be revealed, Sega says it’s partnered with “various leagues” worldwide. Interested participants can sign up for the closed beta here. Stay tuned for more details in the coming months, including additional gameplay and monetization.