• Just when you thought the world of Pokémon couldn't get any more... magical, a brand new Pokémon park is set to breathe life back into the beloved Kanto region. Because, you know, what could possibly be better than pretending to be a trainer in a glorified amusement park? Forget real-life responsibilities; it’s time to catch 'em all while avoiding the existential dread of adulthood.

    Imagine the thrill of stepping into a world where the only thing more inflated than your Pikachu's ego is the price of admission! Who needs genuine adventure when you can have virtual nostalgia wrapped in overpriced merchandise? Can't wait to see the line for the “Pokémon Go” station—after all, nothing screams “I’m living my best life” quite like hunting
    Just when you thought the world of Pokémon couldn't get any more... magical, a brand new Pokémon park is set to breathe life back into the beloved Kanto region. Because, you know, what could possibly be better than pretending to be a trainer in a glorified amusement park? Forget real-life responsibilities; it’s time to catch 'em all while avoiding the existential dread of adulthood. Imagine the thrill of stepping into a world where the only thing more inflated than your Pikachu's ego is the price of admission! Who needs genuine adventure when you can have virtual nostalgia wrapped in overpriced merchandise? Can't wait to see the line for the “Pokémon Go” station—after all, nothing screams “I’m living my best life” quite like hunting
    Un tout nouveau parc Pokémon va faire revivre la région de Kanto
    Bientôt, les fans de Pokémon vont pouvoir s’amuser dans leur région préférée comme jamais auparavant. […] Cet article Un tout nouveau parc Pokémon va faire revivre la région de Kanto a été publié sur REALITE-VIRTUELLE.COM.
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  • Looks like Assassin's Creed Shadows is possibly coming to Switch 2 this year. Ubisoft hinted at it during their earnings call. The Switch 2 could be a decent fit for recent games, I guess. Not much else to say, really. Just another port in a long line of ports.

    #AssassinsCreed #Switch2 #Ubisoft #GamingNews #GamePorts
    Looks like Assassin's Creed Shadows is possibly coming to Switch 2 this year. Ubisoft hinted at it during their earnings call. The Switch 2 could be a decent fit for recent games, I guess. Not much else to say, really. Just another port in a long line of ports. #AssassinsCreed #Switch2 #Ubisoft #GamingNews #GamePorts
    KOTAKU.COM
    It Sure Sounds Like Assassin's Creed Shadows Is Coming To Switch 2 This Year
    The Switch 2 seemingly has the capacity to be a perfect port machine for recent blockbusters. Will Assassin’s Creed Shadows be one of them? Reading between the lines of a recent Ubisoft earnings call, it certainly sounds like that’s what the French p
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  • Have you ever pondered how a punch card controlled Cyberdeck could possibly fit into the 80s toy realm? Well, Attoparsec certainly did when he stumbled upon the Little Talking Scholar. I mean, who wouldn't want their childhood plaything to double as a retro computing device? Forget about tablets and smartphones; nothing screams "cutting-edge technology" quite like a toy that relies on punch cards! It's like mixing your grandma's knitting with the latest AI — a real masterpiece of innovation. Time to dust off those card punches and prepare for a nostalgic tech revolution that never quite left the basement!

    #PunchCardRevolution
    #80sToys
    #CyberdeckNostalgia
    #RetroInnovation
    #TalkingScholar
    Have you ever pondered how a punch card controlled Cyberdeck could possibly fit into the 80s toy realm? Well, Attoparsec certainly did when he stumbled upon the Little Talking Scholar. I mean, who wouldn't want their childhood plaything to double as a retro computing device? Forget about tablets and smartphones; nothing screams "cutting-edge technology" quite like a toy that relies on punch cards! It's like mixing your grandma's knitting with the latest AI — a real masterpiece of innovation. Time to dust off those card punches and prepare for a nostalgic tech revolution that never quite left the basement! #PunchCardRevolution #80sToys #CyberdeckNostalgia #RetroInnovation #TalkingScholar
    HACKADAY.COM
    Punch card controlled Cyberdeck Lives In 80s Toy
    Have you ever seen a toy and said “That wants to be a deck”? [Attoparsec] did, when his eyes fell upon the Little Talking Scholar, a punch card driven toy …read more
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  • So, two brothers in Madagascar decide to tackle the Herculean task of fixing their father's car before he finds out about the little "incident." Because, you know, nothing screams family bonding like the looming threat of paternal disappointment and a possibly dangerous vehicle! Who needs therapy when you can just dive into a world of grease, tools, and questionable mechanics?

    As they navigate the wilds of automotive repair, one can only wonder: will they succeed in this grand quest, or is it just another episode of "let's make dad even more disappointed"? Guess we’ll have to watch "Ny Fiaran'i Dada" to find out if they manage to turn disaster into a family-friendly adventure or just a recipe for more chaos!

    #Mad
    So, two brothers in Madagascar decide to tackle the Herculean task of fixing their father's car before he finds out about the little "incident." Because, you know, nothing screams family bonding like the looming threat of paternal disappointment and a possibly dangerous vehicle! Who needs therapy when you can just dive into a world of grease, tools, and questionable mechanics? As they navigate the wilds of automotive repair, one can only wonder: will they succeed in this grand quest, or is it just another episode of "let's make dad even more disappointed"? Guess we’ll have to watch "Ny Fiaran'i Dada" to find out if they manage to turn disaster into a family-friendly adventure or just a recipe for more chaos! #Mad
    Deux frères et une voiture à Madagascar
    L’école Piktura, qui enseigne notamment l’animation, poursuit la mise en ligne des films de sa promotion 2023. Voici Ny Fiaran’i Dada (La Voiture de Papa), réalisé par Jérémy Andriambolisoa, Cérine Raouraoua, William Ghyselen, Benja
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  • Would you switch browsers for a chatbot?

    Hi, friends! Welcome to Installer No. 87, your guide to the best and Verge-iest stuff in the world.This week, I’ve been reading about Sabrina Carpenter and Khaby Lame and intimacy coordinators, finally making a dent in Barbarians at the Gate, watching all the Ben Schwartz and Friends I can find on YouTube, planning my days with the new Finalist beta, recklessly installing all the Apple developer betas after WWDC, thoroughly enjoying Dakota Johnson’s current press tour, and trying to clear all my inboxes before I go on parental leave. It’s… going.I also have for you a much-awaited new browser, a surprise update to a great photo editor, a neat trailer for a meh-looking movie, a classic Steve Jobs speech, and much more. Slightly shorter issue this week, sorry; there’s just a lot going on, but I didn’t want to leave y’all hanging entirely. Oh, and: we’ll be off next week, for Juneteenth, vacation, and general summer chaos reasons. We’ll be back in full force after that, though! Let’s get into it.The DropDia. I know there are a lot of Arc fans here in the Installerverse, and I know you, like me, will have a lot of feelings about the company’s new and extremely AI-focused browser. Personally, I don’t see leaving Arc anytime soon, but there are some really fascinating ideasin Dia already. Snapseed 3.0. I completely forgot Snapseed even existed, and now here’s a really nice update with a bunch of new editing tools and a nice new redesign! As straightforward photo editors go, this is one of the better ones. The new version is only on iOS right now, but I assume it’s heading to Android shortly.“I Tried To Make Something In America.” I was first turned onto the story of the Smarter Scrubber by a great Search Engine episode, and this is a great companion to the story about what it really takes to bring manufacturing back to the US. And why it’s hard to justify.. That link, and the trailer, will only do anything for you if you have a newer iPhone. But even if you don’t care about the movie, the trailer — which actually buzzes in sync with the car’s rumbles and revs — is just really, really cool. Android 16. You can’t get the cool, colorful new look just yet or the desktop mode I am extremely excited about — there’s a lot of good stuff in Android 16 but most of it is coming later. Still, Live Updates look good, and there’s some helpful accessibility stuff, as well.The Infinite Machine Olto. I am such a sucker for any kind of futuristic-looking electric scooter, and this one really hits the sweet spot. Part moped, part e-bike, all Blade Runner vibes. If it wasn’t then I would’ve probably ordered one already.The Fujifilm X-E5. I kept wondering why Fujifilm didn’t just make, like, a hundred different great-looking cameras at every imaginable price because everyone wants a camera this cool. Well, here we are! It’s a spin on the X100VI but with interchangeable lenses and a few power-user features. All my photographer friends are going to want this.Call Her Alex. I confess I’m no Call Her Daddy diehard, but I found this two-part doc on Alex Cooper really interesting. Cooper’s story is all about understanding people, the internet, and what it means to feel connected now. It’s all very low-stakes and somehow also existential? It’s only two parts, you should watch it.“Steve Jobs - 2005 Stanford Commencement Address.” For the 20th anniversary of Jobs’ famousspeech, the Steve Jobs Archive put together a big package of stories, notes, and other materials around the speech. Plus, a newly high-def version of the video. This one’s always worth the 15 minutes.Dune: Awakening. Dune has ascended to the rare territory of “I will check out anything from this franchise, ever, no questions asked.” This game is big on open-world survival and ornithopters, too, so it’s even more my kind of thing. And it’s apparently punishingly difficult in spots.CrowdsourcedHere’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.“I had tried the paper planner in the leather Paper Republic journal but since have moved onto the Remarkable Paper Pro color e-ink device which takes everything you like about paper but makes it editable and color coded. Combine this with a Remarkable planner in PDF format off of Etsy and you are golden.” — Jason“I started reading a manga series from content creator Cory Kenshin called Monsters We Make. So far, I love it. Already preordered Vol. 2.” — Rob“I recently went down the third party controller rabbit hole after my trusty adapted Xbox One controller finally kicked the bucket, and I wanted something I could use across my PC, phone, handheld, Switch, etc. I’ve been playing with the GameSir Cyclone 2 for a few weeks, and it feels really deluxe. The thumbsticks are impossibly smooth and accurate thanks to its TMR joysticks. The face buttons took a second for my brain to adjust to; the short travel distance initially registered as mushy, but once I stopped trying to pound the buttons like I was at the arcade, I found the subtle mechanical click super satisfying.” — Sam“The Apple TV Plus miniseries Long Way Home. It’s Ewan McGregor and Charley Boorman’s fourth Long Way series. This time they are touring some European countries on vintage bikes that they fixed, and it’s such a light-hearted show from two really down to earth humans. Connecting with other people in different cultures and seeing their journey is such a treat!” — Esmael“Podcast recommendation: Devil and the Deep Blue Sea by Christianity Today. A deep dive into the Satanic Panic of the 80’s and 90’s.” — Drew“Splatoon 3and the new How to Train Your Dragon.” — Aaron“I can’t put Mario Kart World down. When I get tired of the intense Knockout Tour mode I go to Free Roam and try to knock out P-Switch challenges, some of which are really tough! I’m obsessed.” — Dave“Fable, a cool app for finding books with virtual book clubs. It’s the closest to a more cozy online bookstore with more honest reviews. I just wish you could click on the author’s name to see their other books.” — Astrid“This is the Summer Games Fest weekand there are a TON of game demos to try out on Steam. One that has caught my attention / play time the most is Wildgate. It’s a team based spaceship shooter where ship crews battle and try to escape with a powerful artifact.” — Sean“Battlefront 2 is back for some reason. Still looks great.” — IanSigning offI have long been fascinated by weather forecasting. I recommend Andrew Blum’s book, The Weather Machine, to people all the time, as a way to understand both how we learned to predict the weather and why it’s a literally culture-changing thing to be able to do so. And if you want to make yourself so, so angry, there’s a whole chunk of Michael Lewis’s book, The Fifth Risk, about how a bunch of companies managed to basically privatize forecasts… based on government data. The weather is a huge business, an extremely powerful political force, and even more important to our way of life than we realize. And we’re really good at predicting the weather!I’ve also been hearing for years that weather forecasting is a perfect use for AI. It’s all about vast quantities of historical data, tiny fluctuations in readings, and finding patterns that often don’t want to be found. So, of course, as soon as I read my colleague Justine Calma’s story about a new Google project called Weather Lab, I spent the next hour poking through the data to see how well DeepMind managed to predict and track recent storms. It’s deeply wonky stuff, but it’s cool to see Big Tech trying to figure out Mother Nature — and almost getting it right. Almost.See you next week!See More:
    #would #you #switch #browsers #chatbot
    Would you switch browsers for a chatbot?
    Hi, friends! Welcome to Installer No. 87, your guide to the best and Verge-iest stuff in the world.This week, I’ve been reading about Sabrina Carpenter and Khaby Lame and intimacy coordinators, finally making a dent in Barbarians at the Gate, watching all the Ben Schwartz and Friends I can find on YouTube, planning my days with the new Finalist beta, recklessly installing all the Apple developer betas after WWDC, thoroughly enjoying Dakota Johnson’s current press tour, and trying to clear all my inboxes before I go on parental leave. It’s… going.I also have for you a much-awaited new browser, a surprise update to a great photo editor, a neat trailer for a meh-looking movie, a classic Steve Jobs speech, and much more. Slightly shorter issue this week, sorry; there’s just a lot going on, but I didn’t want to leave y’all hanging entirely. Oh, and: we’ll be off next week, for Juneteenth, vacation, and general summer chaos reasons. We’ll be back in full force after that, though! Let’s get into it.The DropDia. I know there are a lot of Arc fans here in the Installerverse, and I know you, like me, will have a lot of feelings about the company’s new and extremely AI-focused browser. Personally, I don’t see leaving Arc anytime soon, but there are some really fascinating ideasin Dia already. Snapseed 3.0. I completely forgot Snapseed even existed, and now here’s a really nice update with a bunch of new editing tools and a nice new redesign! As straightforward photo editors go, this is one of the better ones. The new version is only on iOS right now, but I assume it’s heading to Android shortly.“I Tried To Make Something In America.” I was first turned onto the story of the Smarter Scrubber by a great Search Engine episode, and this is a great companion to the story about what it really takes to bring manufacturing back to the US. And why it’s hard to justify.. That link, and the trailer, will only do anything for you if you have a newer iPhone. But even if you don’t care about the movie, the trailer — which actually buzzes in sync with the car’s rumbles and revs — is just really, really cool. Android 16. You can’t get the cool, colorful new look just yet or the desktop mode I am extremely excited about — there’s a lot of good stuff in Android 16 but most of it is coming later. Still, Live Updates look good, and there’s some helpful accessibility stuff, as well.The Infinite Machine Olto. I am such a sucker for any kind of futuristic-looking electric scooter, and this one really hits the sweet spot. Part moped, part e-bike, all Blade Runner vibes. If it wasn’t then I would’ve probably ordered one already.The Fujifilm X-E5. I kept wondering why Fujifilm didn’t just make, like, a hundred different great-looking cameras at every imaginable price because everyone wants a camera this cool. Well, here we are! It’s a spin on the X100VI but with interchangeable lenses and a few power-user features. All my photographer friends are going to want this.Call Her Alex. I confess I’m no Call Her Daddy diehard, but I found this two-part doc on Alex Cooper really interesting. Cooper’s story is all about understanding people, the internet, and what it means to feel connected now. It’s all very low-stakes and somehow also existential? It’s only two parts, you should watch it.“Steve Jobs - 2005 Stanford Commencement Address.” For the 20th anniversary of Jobs’ famousspeech, the Steve Jobs Archive put together a big package of stories, notes, and other materials around the speech. Plus, a newly high-def version of the video. This one’s always worth the 15 minutes.Dune: Awakening. Dune has ascended to the rare territory of “I will check out anything from this franchise, ever, no questions asked.” This game is big on open-world survival and ornithopters, too, so it’s even more my kind of thing. And it’s apparently punishingly difficult in spots.CrowdsourcedHere’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.“I had tried the paper planner in the leather Paper Republic journal but since have moved onto the Remarkable Paper Pro color e-ink device which takes everything you like about paper but makes it editable and color coded. Combine this with a Remarkable planner in PDF format off of Etsy and you are golden.” — Jason“I started reading a manga series from content creator Cory Kenshin called Monsters We Make. So far, I love it. Already preordered Vol. 2.” — Rob“I recently went down the third party controller rabbit hole after my trusty adapted Xbox One controller finally kicked the bucket, and I wanted something I could use across my PC, phone, handheld, Switch, etc. I’ve been playing with the GameSir Cyclone 2 for a few weeks, and it feels really deluxe. The thumbsticks are impossibly smooth and accurate thanks to its TMR joysticks. The face buttons took a second for my brain to adjust to; the short travel distance initially registered as mushy, but once I stopped trying to pound the buttons like I was at the arcade, I found the subtle mechanical click super satisfying.” — Sam“The Apple TV Plus miniseries Long Way Home. It’s Ewan McGregor and Charley Boorman’s fourth Long Way series. This time they are touring some European countries on vintage bikes that they fixed, and it’s such a light-hearted show from two really down to earth humans. Connecting with other people in different cultures and seeing their journey is such a treat!” — Esmael“Podcast recommendation: Devil and the Deep Blue Sea by Christianity Today. A deep dive into the Satanic Panic of the 80’s and 90’s.” — Drew“Splatoon 3and the new How to Train Your Dragon.” — Aaron“I can’t put Mario Kart World down. When I get tired of the intense Knockout Tour mode I go to Free Roam and try to knock out P-Switch challenges, some of which are really tough! I’m obsessed.” — Dave“Fable, a cool app for finding books with virtual book clubs. It’s the closest to a more cozy online bookstore with more honest reviews. I just wish you could click on the author’s name to see their other books.” — Astrid“This is the Summer Games Fest weekand there are a TON of game demos to try out on Steam. One that has caught my attention / play time the most is Wildgate. It’s a team based spaceship shooter where ship crews battle and try to escape with a powerful artifact.” — Sean“Battlefront 2 is back for some reason. Still looks great.” — IanSigning offI have long been fascinated by weather forecasting. I recommend Andrew Blum’s book, The Weather Machine, to people all the time, as a way to understand both how we learned to predict the weather and why it’s a literally culture-changing thing to be able to do so. And if you want to make yourself so, so angry, there’s a whole chunk of Michael Lewis’s book, The Fifth Risk, about how a bunch of companies managed to basically privatize forecasts… based on government data. The weather is a huge business, an extremely powerful political force, and even more important to our way of life than we realize. And we’re really good at predicting the weather!I’ve also been hearing for years that weather forecasting is a perfect use for AI. It’s all about vast quantities of historical data, tiny fluctuations in readings, and finding patterns that often don’t want to be found. So, of course, as soon as I read my colleague Justine Calma’s story about a new Google project called Weather Lab, I spent the next hour poking through the data to see how well DeepMind managed to predict and track recent storms. It’s deeply wonky stuff, but it’s cool to see Big Tech trying to figure out Mother Nature — and almost getting it right. Almost.See you next week!See More: #would #you #switch #browsers #chatbot
    WWW.THEVERGE.COM
    Would you switch browsers for a chatbot?
    Hi, friends! Welcome to Installer No. 87, your guide to the best and Verge-iest stuff in the world. (If you’re new here, welcome, happy It’s Officially Too Hot Now Week, and also you can read all the old editions at the Installer homepage.) This week, I’ve been reading about Sabrina Carpenter and Khaby Lame and intimacy coordinators, finally making a dent in Barbarians at the Gate, watching all the Ben Schwartz and Friends I can find on YouTube, planning my days with the new Finalist beta, recklessly installing all the Apple developer betas after WWDC, thoroughly enjoying Dakota Johnson’s current press tour, and trying to clear all my inboxes before I go on parental leave. It’s… going.I also have for you a much-awaited new browser, a surprise update to a great photo editor, a neat trailer for a meh-looking movie, a classic Steve Jobs speech, and much more. Slightly shorter issue this week, sorry; there’s just a lot going on, but I didn’t want to leave y’all hanging entirely. Oh, and: we’ll be off next week, for Juneteenth, vacation, and general summer chaos reasons. We’ll be back in full force after that, though! Let’s get into it.(As always, the best part of Installer is your ideas and tips. What do you want to know more about? What awesome tricks do you know that everyone else should? What app should everyone be using? Tell me everything: installer@theverge.com. And if you know someone else who might enjoy Installer, forward it to them and tell them to subscribe here.)The DropDia. I know there are a lot of Arc fans here in the Installerverse, and I know you, like me, will have a lot of feelings about the company’s new and extremely AI-focused browser. Personally, I don’t see leaving Arc anytime soon, but there are some really fascinating ideas (and nice design touches) in Dia already. Snapseed 3.0. I completely forgot Snapseed even existed, and now here’s a really nice update with a bunch of new editing tools and a nice new redesign! As straightforward photo editors go, this is one of the better ones. The new version is only on iOS right now, but I assume it’s heading to Android shortly.“I Tried To Make Something In America.” I was first turned onto the story of the Smarter Scrubber by a great Search Engine episode, and this is a great companion to the story about what it really takes to bring manufacturing back to the US. And why it’s hard to justify.. That link, and the trailer, will only do anything for you if you have a newer iPhone. But even if you don’t care about the movie, the trailer — which actually buzzes in sync with the car’s rumbles and revs — is just really, really cool. Android 16. You can’t get the cool, colorful new look just yet or the desktop mode I am extremely excited about — there’s a lot of good stuff in Android 16 but most of it is coming later. Still, Live Updates look good, and there’s some helpful accessibility stuff, as well.The Infinite Machine Olto. I am such a sucker for any kind of futuristic-looking electric scooter, and this one really hits the sweet spot. Part moped, part e-bike, all Blade Runner vibes. If it wasn’t $3,500, then I would’ve probably ordered one already.The Fujifilm X-E5. I kept wondering why Fujifilm didn’t just make, like, a hundred different great-looking cameras at every imaginable price because everyone wants a camera this cool. Well, here we are! It’s a spin on the X100VI but with interchangeable lenses and a few power-user features. All my photographer friends are going to want this.Call Her Alex. I confess I’m no Call Her Daddy diehard, but I found this two-part doc on Alex Cooper really interesting. Cooper’s story is all about understanding people, the internet, and what it means to feel connected now. It’s all very low-stakes and somehow also existential? It’s only two parts, you should watch it.“Steve Jobs - 2005 Stanford Commencement Address.” For the 20th anniversary of Jobs’ famous (and genuinely fabulous) speech, the Steve Jobs Archive put together a big package of stories, notes, and other materials around the speech. Plus, a newly high-def version of the video. This one’s always worth the 15 minutes.Dune: Awakening. Dune has ascended to the rare territory of “I will check out anything from this franchise, ever, no questions asked.” This game is big on open-world survival and ornithopters, too, so it’s even more my kind of thing. And it’s apparently punishingly difficult in spots.CrowdsourcedHere’s what the Installer community is into this week. I want to know what you’re into right now as well! Email installer@theverge.com or message me on Signal — @davidpierce.11 — with your recommendations for anything and everything, and we’ll feature some of our favorites here every week. For even more great recommendations, check out the replies to this post on Threads and this post on Bluesky.“I had tried the paper planner in the leather Paper Republic journal but since have moved onto the Remarkable Paper Pro color e-ink device which takes everything you like about paper but makes it editable and color coded. Combine this with a Remarkable planner in PDF format off of Etsy and you are golden.” — Jason“I started reading a manga series from content creator Cory Kenshin called Monsters We Make. So far, I love it. Already preordered Vol. 2.” — Rob“I recently went down the third party controller rabbit hole after my trusty adapted Xbox One controller finally kicked the bucket, and I wanted something I could use across my PC, phone, handheld, Switch, etc. I’ve been playing with the GameSir Cyclone 2 for a few weeks, and it feels really deluxe. The thumbsticks are impossibly smooth and accurate thanks to its TMR joysticks. The face buttons took a second for my brain to adjust to; the short travel distance initially registered as mushy, but once I stopped trying to pound the buttons like I was at the arcade, I found the subtle mechanical click super satisfying.” — Sam“The Apple TV Plus miniseries Long Way Home. It’s Ewan McGregor and Charley Boorman’s fourth Long Way series. This time they are touring some European countries on vintage bikes that they fixed, and it’s such a light-hearted show from two really down to earth humans. Connecting with other people in different cultures and seeing their journey is such a treat!” — Esmael“Podcast recommendation: Devil and the Deep Blue Sea by Christianity Today. A deep dive into the Satanic Panic of the 80’s and 90’s.” — Drew“Splatoon 3 (the free Switch 2 update) and the new How to Train Your Dragon.” — Aaron“I can’t put Mario Kart World down. When I get tired of the intense Knockout Tour mode I go to Free Roam and try to knock out P-Switch challenges, some of which are really tough! I’m obsessed.” — Dave“Fable, a cool app for finding books with virtual book clubs. It’s the closest to a more cozy online bookstore with more honest reviews. I just wish you could click on the author’s name to see their other books.” — Astrid“This is the Summer Games Fest week (formerly E3, RIP) and there are a TON of game demos to try out on Steam. One that has caught my attention / play time the most is Wildgate. It’s a team based spaceship shooter where ship crews battle and try to escape with a powerful artifact.” — Sean“Battlefront 2 is back for some reason. Still looks great.” — IanSigning offI have long been fascinated by weather forecasting. I recommend Andrew Blum’s book, The Weather Machine, to people all the time, as a way to understand both how we learned to predict the weather and why it’s a literally culture-changing thing to be able to do so. And if you want to make yourself so, so angry, there’s a whole chunk of Michael Lewis’s book, The Fifth Risk, about how a bunch of companies managed to basically privatize forecasts… based on government data. The weather is a huge business, an extremely powerful political force, and even more important to our way of life than we realize. And we’re really good at predicting the weather!I’ve also been hearing for years that weather forecasting is a perfect use for AI. It’s all about vast quantities of historical data, tiny fluctuations in readings, and finding patterns that often don’t want to be found. So, of course, as soon as I read my colleague Justine Calma’s story about a new Google project called Weather Lab, I spent the next hour poking through the data to see how well DeepMind managed to predict and track recent storms. It’s deeply wonky stuff, but it’s cool to see Big Tech trying to figure out Mother Nature — and almost getting it right. Almost.See you next week!See More:
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  • Aspora gets $50M from Sequioa to build remittance and banking solutions for Indian diaspora

    India has been one of the top recipients of remittances in the world for more than a decade. Inward remittances jumped from billion in 2010-11 to billion in 2023-24, according to data from the country’s central bank. The bank projects that figure will reach billion in 2029.
    This means there is an increasing market for digitalized banking experiences for non-resident Indians, ranging from remittances to investing in different assets back home.
    Asporais trying to build a verticalized financial experience for the Indian diaspora by keeping convenience at the center. While a lot of financial products are in its future roadmap, the company currently focuses largely on remittances.
    “While multiple financial products for non-resident Indians exist, they don’t know about them because there is no digital journey for them. They possibly use the same banking app as residents, which makes it harder for them to discover products catered towards them,” Garg said.
    In the last year, the company has grown the volume of remittances by 6x — from million to billion in yearly volume processed.
    With this growth, the company has attracted a lot of investor interest. It raised million in Series A funding last December — which was previously unreported — led by Sequoia with participation from Greylock, Y Combinator, Hummingbird Ventures, and Global Founders Capital. The round pegged the company’s valuation at million. In the four months following, the company tripled its transaction volume, prompting investors to put in more money.
    The company announced today it has raised million in Series B funding, co-led by Sequoia and Greylock, with Hummingbird, Quantum Light Ventures, and Y Combinator also contributing to the round. The startup said this round values the company at million. The startup has raised over million in funding to date.

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    After pivoting from being Pipe.com for India, the company started by offering remittance for NRIs in the U.K. in 2023 and has expanded its presence in other markets, including Europe and the United Arab Emirates. It charges a flat fee for money transfer and offers a competitive rate. Now it also allows customers to invest in mutual funds in India. The startup markets its exchange rates as “Google rate” as customers often search for currency conversion rates, even though they may not reflect live rates.
    The startup is also set to launch in the U.S., one of the biggest remittance corridors to India, next month. Plus, it plans to open up shop in Canada, Singapore, and Australia by the fourth quarter of this year.
    Garg, who grew up in the UAE, said that remittances are just the start, and the company wants to build out more financial tools for NRIs.
    “We want to use remittances as a wedge and build all the financial solutions that the diaspora needs, including banking, investing, insurance, lending in the home country, and products that help them take care of their parents,” he told TechCrunch.
    He added that a large chunk of money that NRIs send home is for wealth creation rather than family sustenance. The startup said that 80% of its users are sending money to their own accounts back home.
    In the next few months, the company is launching a few products to offer more services. This month, it plans to launch a bill payment platform to let users pay for services like rent and utilities. Next month, it plans to launch fixed deposit accounts for non-resident Indians that allow them to park money in foreign currency. By the end of the year, it plans to launch a full-stack banking account for NRIs that typically takes days for users to open. While these accounts can help the diaspora maintain their tax status in India, a lot of people use a family member’s account because of the cumbersome process, and Aspora wants to simplify this.
    Apart from banking, the company also plans to launch a product that would help NRIs take care of their parents back home by offering regular medical checkups, emergency care coverage, and concierge services for other assistance.
    Besides global competitors like Remittly and Wise, the company also has India-based rivals like Abound, which was spun off from Times Internet.
    Sequoia’s Luciana Lixandru is confident that Aspora’s execution speed and verticalized solution will give it an edge.
    “Speed of execution, for me, is one of the main indicators in the early days of the future success of a company,” she told TechCrunch over a call. “Aspora moves fast, but it is also very deliberate in building corridor by corridor, which is very important in financial services.”
    #aspora #gets #50m #sequioa #build
    Aspora gets $50M from Sequioa to build remittance and banking solutions for Indian diaspora
    India has been one of the top recipients of remittances in the world for more than a decade. Inward remittances jumped from billion in 2010-11 to billion in 2023-24, according to data from the country’s central bank. The bank projects that figure will reach billion in 2029. This means there is an increasing market for digitalized banking experiences for non-resident Indians, ranging from remittances to investing in different assets back home. Asporais trying to build a verticalized financial experience for the Indian diaspora by keeping convenience at the center. While a lot of financial products are in its future roadmap, the company currently focuses largely on remittances. “While multiple financial products for non-resident Indians exist, they don’t know about them because there is no digital journey for them. They possibly use the same banking app as residents, which makes it harder for them to discover products catered towards them,” Garg said. In the last year, the company has grown the volume of remittances by 6x — from million to billion in yearly volume processed. With this growth, the company has attracted a lot of investor interest. It raised million in Series A funding last December — which was previously unreported — led by Sequoia with participation from Greylock, Y Combinator, Hummingbird Ventures, and Global Founders Capital. The round pegged the company’s valuation at million. In the four months following, the company tripled its transaction volume, prompting investors to put in more money. The company announced today it has raised million in Series B funding, co-led by Sequoia and Greylock, with Hummingbird, Quantum Light Ventures, and Y Combinator also contributing to the round. The startup said this round values the company at million. The startup has raised over million in funding to date. Techcrunch event + on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. + on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Boston, MA | July 15 REGISTER NOW After pivoting from being Pipe.com for India, the company started by offering remittance for NRIs in the U.K. in 2023 and has expanded its presence in other markets, including Europe and the United Arab Emirates. It charges a flat fee for money transfer and offers a competitive rate. Now it also allows customers to invest in mutual funds in India. The startup markets its exchange rates as “Google rate” as customers often search for currency conversion rates, even though they may not reflect live rates. The startup is also set to launch in the U.S., one of the biggest remittance corridors to India, next month. Plus, it plans to open up shop in Canada, Singapore, and Australia by the fourth quarter of this year. Garg, who grew up in the UAE, said that remittances are just the start, and the company wants to build out more financial tools for NRIs. “We want to use remittances as a wedge and build all the financial solutions that the diaspora needs, including banking, investing, insurance, lending in the home country, and products that help them take care of their parents,” he told TechCrunch. He added that a large chunk of money that NRIs send home is for wealth creation rather than family sustenance. The startup said that 80% of its users are sending money to their own accounts back home. In the next few months, the company is launching a few products to offer more services. This month, it plans to launch a bill payment platform to let users pay for services like rent and utilities. Next month, it plans to launch fixed deposit accounts for non-resident Indians that allow them to park money in foreign currency. By the end of the year, it plans to launch a full-stack banking account for NRIs that typically takes days for users to open. While these accounts can help the diaspora maintain their tax status in India, a lot of people use a family member’s account because of the cumbersome process, and Aspora wants to simplify this. Apart from banking, the company also plans to launch a product that would help NRIs take care of their parents back home by offering regular medical checkups, emergency care coverage, and concierge services for other assistance. Besides global competitors like Remittly and Wise, the company also has India-based rivals like Abound, which was spun off from Times Internet. Sequoia’s Luciana Lixandru is confident that Aspora’s execution speed and verticalized solution will give it an edge. “Speed of execution, for me, is one of the main indicators in the early days of the future success of a company,” she told TechCrunch over a call. “Aspora moves fast, but it is also very deliberate in building corridor by corridor, which is very important in financial services.” #aspora #gets #50m #sequioa #build
    TECHCRUNCH.COM
    Aspora gets $50M from Sequioa to build remittance and banking solutions for Indian diaspora
    India has been one of the top recipients of remittances in the world for more than a decade. Inward remittances jumped from $55.6 billion in 2010-11 to $118.7 billion in 2023-24, according to data from the country’s central bank. The bank projects that figure will reach $160 billion in 2029. This means there is an increasing market for digitalized banking experiences for non-resident Indians(NRIs), ranging from remittances to investing in different assets back home. Aspora (formerly Vance) is trying to build a verticalized financial experience for the Indian diaspora by keeping convenience at the center. While a lot of financial products are in its future roadmap, the company currently focuses largely on remittances. “While multiple financial products for non-resident Indians exist, they don’t know about them because there is no digital journey for them. They possibly use the same banking app as residents, which makes it harder for them to discover products catered towards them,” Garg said. In the last year, the company has grown the volume of remittances by 6x — from $400 million to $2 billion in yearly volume processed. With this growth, the company has attracted a lot of investor interest. It raised $35 million in Series A funding last December — which was previously unreported — led by Sequoia with participation from Greylock, Y Combinator, Hummingbird Ventures, and Global Founders Capital. The round pegged the company’s valuation at $150 million. In the four months following, the company tripled its transaction volume, prompting investors to put in more money. The company announced today it has raised $50 million in Series B funding, co-led by Sequoia and Greylock, with Hummingbird, Quantum Light Ventures, and Y Combinator also contributing to the round. The startup said this round values the company at $500 million. The startup has raised over $99 million in funding to date. Techcrunch event Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Save $200+ on your TechCrunch All Stage pass Build smarter. Scale faster. Connect deeper. Join visionaries from Precursor Ventures, NEA, Index Ventures, Underscore VC, and beyond for a day packed with strategies, workshops, and meaningful connections. Boston, MA | July 15 REGISTER NOW After pivoting from being Pipe.com for India, the company started by offering remittance for NRIs in the U.K. in 2023 and has expanded its presence in other markets, including Europe and the United Arab Emirates. It charges a flat fee for money transfer and offers a competitive rate. Now it also allows customers to invest in mutual funds in India. The startup markets its exchange rates as “Google rate” as customers often search for currency conversion rates, even though they may not reflect live rates. The startup is also set to launch in the U.S., one of the biggest remittance corridors to India, next month. Plus, it plans to open up shop in Canada, Singapore, and Australia by the fourth quarter of this year. Garg, who grew up in the UAE, said that remittances are just the start, and the company wants to build out more financial tools for NRIs. “We want to use remittances as a wedge and build all the financial solutions that the diaspora needs, including banking, investing, insurance, lending in the home country, and products that help them take care of their parents,” he told TechCrunch. He added that a large chunk of money that NRIs send home is for wealth creation rather than family sustenance. The startup said that 80% of its users are sending money to their own accounts back home. In the next few months, the company is launching a few products to offer more services. This month, it plans to launch a bill payment platform to let users pay for services like rent and utilities. Next month, it plans to launch fixed deposit accounts for non-resident Indians that allow them to park money in foreign currency. By the end of the year, it plans to launch a full-stack banking account for NRIs that typically takes days for users to open. While these accounts can help the diaspora maintain their tax status in India, a lot of people use a family member’s account because of the cumbersome process, and Aspora wants to simplify this. Apart from banking, the company also plans to launch a product that would help NRIs take care of their parents back home by offering regular medical checkups, emergency care coverage, and concierge services for other assistance. Besides global competitors like Remittly and Wise, the company also has India-based rivals like Abound, which was spun off from Times Internet. Sequoia’s Luciana Lixandru is confident that Aspora’s execution speed and verticalized solution will give it an edge. “Speed of execution, for me, is one of the main indicators in the early days of the future success of a company,” she told TechCrunch over a call. “Aspora moves fast, but it is also very deliberate in building corridor by corridor, which is very important in financial services.”
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  • Why Designers Get Stuck In The Details And How To Stop

    You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar?
    In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap.
    Reason #1 You’re Afraid To Show Rough Work
    We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed.
    I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them.
    The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief.
    The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem.
    So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychologyshows there are a couple of flavors driving this:

    Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den.
    Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off.

    Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback.
    Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift:
    Treat early sketches as disposable tools for thinking and actively share them to get feedback faster.

    Reason #2: You Fix The Symptom, Not The Cause
    Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data.
    From my experience, here are several reasons why users might not be clicking that coveted button:

    Users don’t understand that this step is for payment.
    They understand it’s about payment but expect order confirmation first.
    Due to incorrect translation, users don’t understand what the button means.
    Lack of trust signals.
    Unexpected additional coststhat appear at this stage.
    Technical issues.

    Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly.
    Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button.
    Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers— and understanding that using our product logic expertise proactively is crucial for modern designers.
    There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers.
    Reason #3: You’re Solving The Wrong Problem
    Before solving anything, ask whether the problem even deserves your attention.
    During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B testsshowed minimal impact, we continued to tweak those buttons.
    Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned:
    Without the right context, any visual tweak is lipstick on a pig.

    Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising.
    It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours.
    Reason #4: You’re Drowning In Unactionable Feedback
    We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow.
    What matters here are two things:

    The question you ask,
    The context you give.

    That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it.
    For instance:
    “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?”

    Here, you’ve stated the problem, shared your insight, explained your solution, and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?”
    Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside.
    I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory.
    So, to wrap up this point, here are two recommendations:

    Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”.
    Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it.

    Reason #5 You’re Just Tired
    Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing.
    A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the daycompared to late in the daysimply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity.
    What helps here:

    Swap tasks.Trade tickets with another designer; novelty resets your focus.
    Talk to another designer.If NDA permits, ask peers outside the team for a sanity check.
    Step away.Even a ten‑minute walk can do more than a double‑shot espresso.

    By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit.

    And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time.
    Four Steps I Use to Avoid Drowning In Detail
    Knowing these potential traps, here’s the practical process I use to stay on track:
    1. Define the Core Problem & Business Goal
    Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream.
    2. Choose the MechanicOnce the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels.
    3. Wireframe the Flow & Get Focused Feedback
    Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear contextto get actionable feedback, not just vague opinions.
    4. Polish the VisualsI only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution.
    Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering.
    Wrapping Up
    Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution.
    Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink.
    #why #designers #get #stuck #details
    Why Designers Get Stuck In The Details And How To Stop
    You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar? In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap. Reason #1 You’re Afraid To Show Rough Work We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed. I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them. The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief. The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem. So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychologyshows there are a couple of flavors driving this: Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den. Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off. Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback. Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift: Treat early sketches as disposable tools for thinking and actively share them to get feedback faster. Reason #2: You Fix The Symptom, Not The Cause Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data. From my experience, here are several reasons why users might not be clicking that coveted button: Users don’t understand that this step is for payment. They understand it’s about payment but expect order confirmation first. Due to incorrect translation, users don’t understand what the button means. Lack of trust signals. Unexpected additional coststhat appear at this stage. Technical issues. Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly. Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button. Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers— and understanding that using our product logic expertise proactively is crucial for modern designers. There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers. Reason #3: You’re Solving The Wrong Problem Before solving anything, ask whether the problem even deserves your attention. During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B testsshowed minimal impact, we continued to tweak those buttons. Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned: Without the right context, any visual tweak is lipstick on a pig. Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising. It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours. Reason #4: You’re Drowning In Unactionable Feedback We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow. What matters here are two things: The question you ask, The context you give. That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it. For instance: “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?” Here, you’ve stated the problem, shared your insight, explained your solution, and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?” Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside. I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory. So, to wrap up this point, here are two recommendations: Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”. Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it. Reason #5 You’re Just Tired Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing. A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the daycompared to late in the daysimply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity. What helps here: Swap tasks.Trade tickets with another designer; novelty resets your focus. Talk to another designer.If NDA permits, ask peers outside the team for a sanity check. Step away.Even a ten‑minute walk can do more than a double‑shot espresso. By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit. And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time. Four Steps I Use to Avoid Drowning In Detail Knowing these potential traps, here’s the practical process I use to stay on track: 1. Define the Core Problem & Business Goal Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream. 2. Choose the MechanicOnce the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels. 3. Wireframe the Flow & Get Focused Feedback Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear contextto get actionable feedback, not just vague opinions. 4. Polish the VisualsI only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution. Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering. Wrapping Up Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution. Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink. #why #designers #get #stuck #details
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    Why Designers Get Stuck In The Details And How To Stop
    You’ve drawn fifty versions of the same screen — and you still hate every one of them. Begrudgingly, you pick three, show them to your product manager, and hear: “Looks cool, but the idea doesn’t work.” Sound familiar? In this article, I’ll unpack why designers fall into detail work at the wrong moment, examining both process pitfalls and the underlying psychological reasons, as understanding these traps is the first step to overcoming them. I’ll also share tactics I use to climb out of that trap. Reason #1 You’re Afraid To Show Rough Work We designers worship detail. We’re taught that true craft equals razor‑sharp typography, perfect grids, and pixel precision. So the minute a task arrives, we pop open Figma and start polishing long before polish is needed. I’ve skipped the sketch phase more times than I care to admit. I told myself it would be faster, yet I always ended up spending hours producing a tidy mock‑up when a scribbled thumbnail would have sparked a five‑minute chat with my product manager. Rough sketches felt “unprofessional,” so I hid them. The cost? Lost time, wasted energy — and, by the third redo, teammates were quietly wondering if I even understood the brief. The real problem here is the habit: we open Figma and start perfecting the UI before we’ve even solved the problem. So why do we hide these rough sketches? It’s not just a bad habit or plain silly. There are solid psychological reasons behind it. We often just call it perfectionism, but it’s deeper than wanting things neat. Digging into the psychology (like the research by Hewitt and Flett) shows there are a couple of flavors driving this: Socially prescribed perfectionismIt’s that nagging feeling that everyone else expects perfect work from you, which makes showing anything rough feel like walking into the lion’s den. Self-oriented perfectionismWhere you’re the one setting impossibly high standards for yourself, leading to brutal self-criticism if anything looks slightly off. Either way, the result’s the same: showing unfinished work feels wrong, and you miss out on that vital early feedback. Back to the design side, remember that clients rarely see architects’ first pencil sketches, but these sketches still exist; they guide structural choices before the 3D render. Treat your thumbnails the same way — artifacts meant to collapse uncertainty, not portfolio pieces. Once stakeholders see the upside, roughness becomes a badge of speed, not sloppiness. So, the key is to consciously make that shift: Treat early sketches as disposable tools for thinking and actively share them to get feedback faster. Reason #2: You Fix The Symptom, Not The Cause Before tackling any task, we need to understand what business outcome we’re aiming for. Product managers might come to us asking to enlarge the payment button in the shopping cart because users aren’t noticing it. The suggested solution itself isn’t necessarily bad, but before redesigning the button, we should ask, “What data suggests they aren’t noticing it?” Don’t get me wrong, I’m not saying you shouldn’t trust your product manager. On the contrary, these questions help ensure you’re on the same page and working with the same data. From my experience, here are several reasons why users might not be clicking that coveted button: Users don’t understand that this step is for payment. They understand it’s about payment but expect order confirmation first. Due to incorrect translation, users don’t understand what the button means. Lack of trust signals (no security icons, unclear seller information). Unexpected additional costs (hidden fees, shipping) that appear at this stage. Technical issues (inactive button, page freezing). Now, imagine you simply did what the manager suggested. Would you have solved the problem? Hardly. Moreover, the responsibility for the unresolved issue would fall on you, as the interface solution lies within the design domain. The product manager actually did their job correctly by identifying a problem: suspiciously, few users are clicking the button. Psychologically, taking on this bigger role isn’t easy. It means overcoming the fear of making mistakes and the discomfort of exploring unclear problems rather than just doing tasks. This shift means seeing ourselves as partners who create value — even if it means fighting a hesitation to question product managers (which might come from a fear of speaking up or a desire to avoid challenging authority) — and understanding that using our product logic expertise proactively is crucial for modern designers. There’s another critical reason why we, designers, need to be a bit like product managers: the rise of AI. I deliberately used a simple example about enlarging a button, but I’m confident that in the near future, AI will easily handle routine design tasks. This worries me, but at the same time, I’m already gladly stepping into the product manager’s territory: understanding product and business metrics, formulating hypotheses, conducting research, and so on. It might sound like I’m taking work away from PMs, but believe me, they undoubtedly have enough on their plates and are usually more than happy to delegate some responsibilities to designers. Reason #3: You’re Solving The Wrong Problem Before solving anything, ask whether the problem even deserves your attention. During a major home‑screen redesign, our goal was to drive more users into paid services. The initial hypothesis — making service buttons bigger and brighter might help returning users — seemed reasonable enough to test. However, even when A/B tests (a method of comparing two versions of a design to determine which performs better) showed minimal impact, we continued to tweak those buttons. Only later did it click: the home screen isn’t the place to sell; visitors open the app to start, not to buy. We removed that promo block, and nothing broke. Contextual entry points deeper into the journey performed brilliantly. Lesson learned: Without the right context, any visual tweak is lipstick on a pig. Why did we get stuck polishing buttons instead of stopping sooner? It’s easy to get tunnel vision. Psychologically, it’s likely the good old sunk cost fallacy kicking in: we’d already invested time in the buttons, so stopping felt like wasting that effort, even though the data wasn’t promising. It’s just easier to keep fiddling with something familiar than to admit we need a new plan. Perhaps the simple question I should have asked myself when results stalled was: “Are we optimizing the right thing or just polishing something that fundamentally doesn’t fit the user’s primary goal here?” That alone might have saved hours. Reason #4: You’re Drowning In Unactionable Feedback We all discuss our work with colleagues. But here’s a crucial point: what kind of question do you pose to kick off that discussion? If your go-to is “What do you think?” well, that question might lead you down a rabbit hole of personal opinions rather than actionable insights. While experienced colleagues will cut through the noise, others, unsure what to evaluate, might comment on anything and everything — fonts, button colors, even when you desperately need to discuss a user flow. What matters here are two things: The question you ask, The context you give. That means clearly stating the problem, what you’ve learned, and how your idea aims to fix it. For instance: “The problem is our payment conversion rate has dropped by X%. I’ve interviewed users and found they abandon payment because they don’t understand how the total amount is calculated. My solution is to show a detailed cost breakdown. Do you think this actually solves the problem for them?” Here, you’ve stated the problem (conversion drop), shared your insight (user confusion), explained your solution (cost breakdown), and asked a direct question. It’s even better if you prepare a list of specific sub-questions. For instance: “Are all items in the cost breakdown clear?” or “Does the placement of this breakdown feel intuitive within the payment flow?” Another good habit is to keep your rough sketches and previous iterations handy. Some of your colleagues’ suggestions might be things you’ve already tried. It’s great if you can discuss them immediately to either revisit those ideas or definitively set them aside. I’m not a psychologist, but experience tells me that, psychologically, the reluctance to be this specific often stems from a fear of our solution being rejected. We tend to internalize feedback: a seemingly innocent comment like, “Have you considered other ways to organize this section?” or “Perhaps explore a different structure for this part?” can instantly morph in our minds into “You completely messed up the structure. You’re a bad designer.” Imposter syndrome, in all its glory. So, to wrap up this point, here are two recommendations: Prepare for every design discussion.A couple of focused questions will yield far more valuable input than a vague “So, what do you think?”. Actively work on separating feedback on your design from your self-worth.If a mistake is pointed out, acknowledge it, learn from it, and you’ll be less likely to repeat it. This is often easier said than done. For me, it took years of working with a psychotherapist. If you struggle with this, I sincerely wish you strength in overcoming it. Reason #5 You’re Just Tired Sometimes, the issue isn’t strategic at all — it’s fatigue. Fussing over icon corners can feel like a cozy bunker when your brain is fried. There’s a name for this: decision fatigue. Basically, your brain’s battery for hard thinking is low, so it hides out in the easy, comfy zone of pixel-pushing. A striking example comes from a New York Times article titled “Do You Suffer From Decision Fatigue?.” It described how judges deciding on release requests were far more likely to grant release early in the day (about 70% of cases) compared to late in the day (less than 10%) simply because their decision-making energy was depleted. Luckily, designers rarely hold someone’s freedom in their hands, but the example dramatically shows how fatigue can impact our judgment and productivity. What helps here: Swap tasks.Trade tickets with another designer; novelty resets your focus. Talk to another designer.If NDA permits, ask peers outside the team for a sanity check. Step away.Even a ten‑minute walk can do more than a double‑shot espresso. By the way, I came up with these ideas while walking around my office. I was lucky to work near a river, and those short walks quickly turned into a helpful habit. And one more trick that helps me snap out of detail mode early: if I catch myself making around 20 little tweaks — changing font weight, color, border radius — I just stop. Over time, it turned into a habit. I have a similar one with Instagram: by the third reel, my brain quietly asks, “Wait, weren’t we working?” Funny how that kind of nudge saves a ton of time. Four Steps I Use to Avoid Drowning In Detail Knowing these potential traps, here’s the practical process I use to stay on track: 1. Define the Core Problem & Business Goal Before anything, dig deep: what’s the actual problem we’re solving, not just the requested task or a surface-level symptom? Ask ‘why’ repeatedly. What user pain or business need are we addressing? Then, state the clear business goal: “What metric am I moving, and do we have data to prove this is the right lever?” If retention is the goal, decide whether push reminders, gamification, or personalised content is the best route. The wrong lever, or tackling a symptom instead of the cause, dooms everything downstream. 2. Choose the Mechanic (Solution Principle) Once the core problem and goal are clear, lock the solution principle or ‘mechanic’ first. Going with a game layer? Decide if it’s leaderboards, streaks, or badges. Write it down. Then move on. No UI yet. This keeps the focus high-level before diving into pixels. 3. Wireframe the Flow & Get Focused Feedback Now open Figma. Map screens, layout, and transitions. Boxes and arrows are enough. Keep the fidelity low so the discussion stays on the flow, not colour. Crucially, when you share these early wires, ask specific questions and provide clear context (as discussed in ‘Reason #4’) to get actionable feedback, not just vague opinions. 4. Polish the Visuals (Mindfully) I only let myself tweak grids, type scales, and shadows after the flow is validated. If progress stalls, or before a major polish effort, I surface the work in a design critique — again using targeted questions and clear context — instead of hiding in version 47. This ensures detailing serves the now-validated solution. Even for something as small as a single button, running these four checkpoints takes about ten minutes and saves hours of decorative dithering. Wrapping Up Next time you feel the pull to vanish into mock‑ups before the problem is nailed down, pause and ask what you might be avoiding. Yes, that can expose an uncomfortable truth. But pausing to ask what you might be avoiding — maybe the fuzzy core problem, or just asking for tough feedback — gives you the power to face the real issue head-on. It keeps the project focused on solving the right problem, not just perfecting a flawed solution. Attention to detail is a superpower when used at the right moment. Obsessing over pixels too soon, though, is a bad habit and a warning light telling us the process needs a rethink.
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  • NVIDIA helps Germany lead Europe’s AI manufacturing race

    Germany and NVIDIA are building possibly the most ambitious European tech project of the decade: the continent’s first industrial AI cloud.NVIDIA has been on a European tour over the past month with CEO Jensen Huang charming audiences at London Tech Week before dazzling the crowds at Paris’s VivaTech. But it was his meeting with German Chancellor Friedrich Merz that might prove the most consequential stop.The resulting partnership between NVIDIA and Deutsche Telekom isn’t just another corporate handshake; it’s potentially a turning point for European technological sovereignty.An “AI factory”will be created with a focus on manufacturing, which is hardly surprising given Germany’s renowned industrial heritage. The facility aims to give European industrial players the computational firepower to revolutionise everything from design to robotics.“In the era of AI, every manufacturer needs two factories: one for making things, and one for creating the intelligence that powers them,” said Huang. “By building Europe’s first industrial AI infrastructure, we’re enabling the region’s leading industrial companies to advance simulation-first, AI-driven manufacturing.”It’s rare to hear such urgency from a telecoms CEO, but Deutsche Telekom’s Timotheus Höttges added: “Europe’s technological future needs a sprint, not a stroll. We must seize the opportunities of artificial intelligence now, revolutionise our industry, and secure a leading position in the global technology competition. Our economic success depends on quick decisions and collaborative innovations.”The first phase alone will deploy 10,000 NVIDIA Blackwell GPUs spread across various high-performance systems. That makes this Germany’s largest AI deployment ever; a statement the country isn’t content to watch from the sidelines as AI transforms global industry.A Deloitte study recently highlighted the critical importance of AI technology development to Germany’s future competitiveness, particularly noting the need for expanded data centre capacity. When you consider that demand is expected to triple within just five years, this investment seems less like ambition and more like necessity.Robots teaching robotsOne of the early adopters is NEURA Robotics, a German firm that specialises in cognitive robotics. They’re using this computational muscle to power something called the Neuraverse which is essentially a connected network where robots can learn from each other.Think of it as a robotic hive mind for skills ranging from precision welding to household ironing, with each machine contributing its learnings to a collective intelligence.“Physical AI is the electricity of the future—it will power every machine on the planet,” said David Reger, Founder and CEO of NEURA Robotics. “Through this initiative, we’re helping build the sovereign infrastructure Europe needs to lead in intelligent robotics and stay in control of its future.”The implications of this AI project for manufacturing in Germany could be profound. This isn’t just about making existing factories slightly more efficient; it’s about reimagining what manufacturing can be in an age of intelligent machines.AI for more than just Germany’s industrial titansWhat’s particularly promising about this project is its potential reach beyond Germany’s industrial titans. The famed Mittelstand – the network of specialised small and medium-sized businesses that forms the backbone of the German economy – stands to benefit.These companies often lack the resources to build their own AI infrastructure but possess the specialised knowledge that makes them perfect candidates for AI-enhanced innovation. Democratising access to cutting-edge AI could help preserve their competitive edge in a challenging global market.Academic and research institutions will also gain access, potentially accelerating innovation across numerous fields. The approximately 900 Germany-based startups in NVIDIA’s Inception program will be eligible to use these resources, potentially unleashing a wave of entrepreneurial AI applications.However impressive this massive project is, it’s viewed merely as a stepping stone towards something even more ambitious: Europe’s AI gigafactory. This planned 100,000 GPU-powered initiative backed by the EU and Germany won’t come online until 2027, but it represents Europe’s determination to carve out its own technological future.As other European telecom providers follow suit with their own AI infrastructure projects, we may be witnessing the beginning of a concerted effort to establish technological sovereignty across the continent.For a region that has often found itself caught between American tech dominance and Chinese ambitions, building indigenous AI capability represents more than economic opportunity. Whether this bold project in Germany will succeed remains to be seen, but one thing is clear: Europe is no longer content to be a passive consumer of AI technology developed elsewhere.Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.Explore other upcoming enterprise technology events and webinars powered by TechForge here.
    #nvidia #helps #germany #lead #europes
    NVIDIA helps Germany lead Europe’s AI manufacturing race
    Germany and NVIDIA are building possibly the most ambitious European tech project of the decade: the continent’s first industrial AI cloud.NVIDIA has been on a European tour over the past month with CEO Jensen Huang charming audiences at London Tech Week before dazzling the crowds at Paris’s VivaTech. But it was his meeting with German Chancellor Friedrich Merz that might prove the most consequential stop.The resulting partnership between NVIDIA and Deutsche Telekom isn’t just another corporate handshake; it’s potentially a turning point for European technological sovereignty.An “AI factory”will be created with a focus on manufacturing, which is hardly surprising given Germany’s renowned industrial heritage. The facility aims to give European industrial players the computational firepower to revolutionise everything from design to robotics.“In the era of AI, every manufacturer needs two factories: one for making things, and one for creating the intelligence that powers them,” said Huang. “By building Europe’s first industrial AI infrastructure, we’re enabling the region’s leading industrial companies to advance simulation-first, AI-driven manufacturing.”It’s rare to hear such urgency from a telecoms CEO, but Deutsche Telekom’s Timotheus Höttges added: “Europe’s technological future needs a sprint, not a stroll. We must seize the opportunities of artificial intelligence now, revolutionise our industry, and secure a leading position in the global technology competition. Our economic success depends on quick decisions and collaborative innovations.”The first phase alone will deploy 10,000 NVIDIA Blackwell GPUs spread across various high-performance systems. That makes this Germany’s largest AI deployment ever; a statement the country isn’t content to watch from the sidelines as AI transforms global industry.A Deloitte study recently highlighted the critical importance of AI technology development to Germany’s future competitiveness, particularly noting the need for expanded data centre capacity. When you consider that demand is expected to triple within just five years, this investment seems less like ambition and more like necessity.Robots teaching robotsOne of the early adopters is NEURA Robotics, a German firm that specialises in cognitive robotics. They’re using this computational muscle to power something called the Neuraverse which is essentially a connected network where robots can learn from each other.Think of it as a robotic hive mind for skills ranging from precision welding to household ironing, with each machine contributing its learnings to a collective intelligence.“Physical AI is the electricity of the future—it will power every machine on the planet,” said David Reger, Founder and CEO of NEURA Robotics. “Through this initiative, we’re helping build the sovereign infrastructure Europe needs to lead in intelligent robotics and stay in control of its future.”The implications of this AI project for manufacturing in Germany could be profound. This isn’t just about making existing factories slightly more efficient; it’s about reimagining what manufacturing can be in an age of intelligent machines.AI for more than just Germany’s industrial titansWhat’s particularly promising about this project is its potential reach beyond Germany’s industrial titans. The famed Mittelstand – the network of specialised small and medium-sized businesses that forms the backbone of the German economy – stands to benefit.These companies often lack the resources to build their own AI infrastructure but possess the specialised knowledge that makes them perfect candidates for AI-enhanced innovation. Democratising access to cutting-edge AI could help preserve their competitive edge in a challenging global market.Academic and research institutions will also gain access, potentially accelerating innovation across numerous fields. The approximately 900 Germany-based startups in NVIDIA’s Inception program will be eligible to use these resources, potentially unleashing a wave of entrepreneurial AI applications.However impressive this massive project is, it’s viewed merely as a stepping stone towards something even more ambitious: Europe’s AI gigafactory. This planned 100,000 GPU-powered initiative backed by the EU and Germany won’t come online until 2027, but it represents Europe’s determination to carve out its own technological future.As other European telecom providers follow suit with their own AI infrastructure projects, we may be witnessing the beginning of a concerted effort to establish technological sovereignty across the continent.For a region that has often found itself caught between American tech dominance and Chinese ambitions, building indigenous AI capability represents more than economic opportunity. Whether this bold project in Germany will succeed remains to be seen, but one thing is clear: Europe is no longer content to be a passive consumer of AI technology developed elsewhere.Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.Explore other upcoming enterprise technology events and webinars powered by TechForge here. #nvidia #helps #germany #lead #europes
    WWW.ARTIFICIALINTELLIGENCE-NEWS.COM
    NVIDIA helps Germany lead Europe’s AI manufacturing race
    Germany and NVIDIA are building possibly the most ambitious European tech project of the decade: the continent’s first industrial AI cloud.NVIDIA has been on a European tour over the past month with CEO Jensen Huang charming audiences at London Tech Week before dazzling the crowds at Paris’s VivaTech. But it was his meeting with German Chancellor Friedrich Merz that might prove the most consequential stop.The resulting partnership between NVIDIA and Deutsche Telekom isn’t just another corporate handshake; it’s potentially a turning point for European technological sovereignty.An “AI factory” (as they’re calling it) will be created with a focus on manufacturing, which is hardly surprising given Germany’s renowned industrial heritage. The facility aims to give European industrial players the computational firepower to revolutionise everything from design to robotics.“In the era of AI, every manufacturer needs two factories: one for making things, and one for creating the intelligence that powers them,” said Huang. “By building Europe’s first industrial AI infrastructure, we’re enabling the region’s leading industrial companies to advance simulation-first, AI-driven manufacturing.”It’s rare to hear such urgency from a telecoms CEO, but Deutsche Telekom’s Timotheus Höttges added: “Europe’s technological future needs a sprint, not a stroll. We must seize the opportunities of artificial intelligence now, revolutionise our industry, and secure a leading position in the global technology competition. Our economic success depends on quick decisions and collaborative innovations.”The first phase alone will deploy 10,000 NVIDIA Blackwell GPUs spread across various high-performance systems. That makes this Germany’s largest AI deployment ever; a statement the country isn’t content to watch from the sidelines as AI transforms global industry.A Deloitte study recently highlighted the critical importance of AI technology development to Germany’s future competitiveness, particularly noting the need for expanded data centre capacity. When you consider that demand is expected to triple within just five years, this investment seems less like ambition and more like necessity.Robots teaching robotsOne of the early adopters is NEURA Robotics, a German firm that specialises in cognitive robotics. They’re using this computational muscle to power something called the Neuraverse which is essentially a connected network where robots can learn from each other.Think of it as a robotic hive mind for skills ranging from precision welding to household ironing, with each machine contributing its learnings to a collective intelligence.“Physical AI is the electricity of the future—it will power every machine on the planet,” said David Reger, Founder and CEO of NEURA Robotics. “Through this initiative, we’re helping build the sovereign infrastructure Europe needs to lead in intelligent robotics and stay in control of its future.”The implications of this AI project for manufacturing in Germany could be profound. This isn’t just about making existing factories slightly more efficient; it’s about reimagining what manufacturing can be in an age of intelligent machines.AI for more than just Germany’s industrial titansWhat’s particularly promising about this project is its potential reach beyond Germany’s industrial titans. The famed Mittelstand – the network of specialised small and medium-sized businesses that forms the backbone of the German economy – stands to benefit.These companies often lack the resources to build their own AI infrastructure but possess the specialised knowledge that makes them perfect candidates for AI-enhanced innovation. Democratising access to cutting-edge AI could help preserve their competitive edge in a challenging global market.Academic and research institutions will also gain access, potentially accelerating innovation across numerous fields. The approximately 900 Germany-based startups in NVIDIA’s Inception program will be eligible to use these resources, potentially unleashing a wave of entrepreneurial AI applications.However impressive this massive project is, it’s viewed merely as a stepping stone towards something even more ambitious: Europe’s AI gigafactory. This planned 100,000 GPU-powered initiative backed by the EU and Germany won’t come online until 2027, but it represents Europe’s determination to carve out its own technological future.As other European telecom providers follow suit with their own AI infrastructure projects, we may be witnessing the beginning of a concerted effort to establish technological sovereignty across the continent.For a region that has often found itself caught between American tech dominance and Chinese ambitions, building indigenous AI capability represents more than economic opportunity. Whether this bold project in Germany will succeed remains to be seen, but one thing is clear: Europe is no longer content to be a passive consumer of AI technology developed elsewhere.(Photo by Maheshkumar Painam)Want to learn more about AI and big data from industry leaders? Check out AI & Big Data Expo taking place in Amsterdam, California, and London. The comprehensive event is co-located with other leading events including Intelligent Automation Conference, BlockX, Digital Transformation Week, and Cyber Security & Cloud Expo.Explore other upcoming enterprise technology events and webinars powered by TechForge here.
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  • Fortnite x Squid Game skins, release date, leaks, and more

    You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here

    The Squid Game collaboration is the next big thing for Fortnite. Its release date is right around the corner, and Epic Games has already revealed some of the things that will come with it. The iconic South Korean series will bring much more than just cosmetics, and here’s everything you need to know about it.
    In this article, we will reveal everything we know about Squid Game skins in Fortnite, as well as Creative tools. Furthermore, we will reveal the release date and take a look at several leaks that have come out since the collab announcement.
    Will the Squid Game collaboration bring Fortnite skins?
    According to trusted Fortnite leakers, the Squid Game partnership will introduce new cosmetics, including character skins. At the moment, it’s unknown what these skins will look like, but we should find out more details soon. The release date of the Squid Game collab is set for Friday, June 27, which is also the release date of the last season of the series.
    Earlier this month, Epic Games confirmed that the collaboration will bring new UEFNtools. Thanks to this, creators will be able to make Squid Game-themed maps with new items and mechanics.
    The Squid Game collaboration will bring new Fortnite cosmetics. Image by VideoGamer
    Epic has already released a cryptic teaser for the collab which reveals the following: “Red Greens, Square Meals, Affluent Arrivals, June 27th.” With less than two weeks to go until the big update, we expect even more teasers and possibly skin leaks. Considering how popular Squid Game is, this could become one of Fortnite’s most iconic collaborations.
    The next Fortnite update is set to come out on Tuesday, June 17. Since this update will contain Squid Game data, we could see more early leaks in just a few more days.

    Fortnite

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    Android, iOS, macOS, Nintendo Switch, PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S/X

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    #fortnite #squid #game #skins #release
    Fortnite x Squid Game skins, release date, leaks, and more
    You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here The Squid Game collaboration is the next big thing for Fortnite. Its release date is right around the corner, and Epic Games has already revealed some of the things that will come with it. The iconic South Korean series will bring much more than just cosmetics, and here’s everything you need to know about it. In this article, we will reveal everything we know about Squid Game skins in Fortnite, as well as Creative tools. Furthermore, we will reveal the release date and take a look at several leaks that have come out since the collab announcement. Will the Squid Game collaboration bring Fortnite skins? According to trusted Fortnite leakers, the Squid Game partnership will introduce new cosmetics, including character skins. At the moment, it’s unknown what these skins will look like, but we should find out more details soon. The release date of the Squid Game collab is set for Friday, June 27, which is also the release date of the last season of the series. Earlier this month, Epic Games confirmed that the collaboration will bring new UEFNtools. Thanks to this, creators will be able to make Squid Game-themed maps with new items and mechanics. The Squid Game collaboration will bring new Fortnite cosmetics. Image by VideoGamer Epic has already released a cryptic teaser for the collab which reveals the following: “Red Greens, Square Meals, Affluent Arrivals, June 27th.” With less than two weeks to go until the big update, we expect even more teasers and possibly skin leaks. Considering how popular Squid Game is, this could become one of Fortnite’s most iconic collaborations. The next Fortnite update is set to come out on Tuesday, June 17. Since this update will contain Squid Game data, we could see more early leaks in just a few more days. Fortnite Platform: Android, iOS, macOS, Nintendo Switch, PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S/X Genre: Action, Massively Multiplayer, Shooter 9 VideoGamer Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share #fortnite #squid #game #skins #release
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    Fortnite x Squid Game skins, release date, leaks, and more
    You can trust VideoGamer. Our team of gaming experts spend hours testing and reviewing the latest games, to ensure you're reading the most comprehensive guide possible. Rest assured, all imagery and advice is unique and original. Check out how we test and review games here The Squid Game collaboration is the next big thing for Fortnite. Its release date is right around the corner, and Epic Games has already revealed some of the things that will come with it. The iconic South Korean series will bring much more than just cosmetics, and here’s everything you need to know about it. In this article, we will reveal everything we know about Squid Game skins in Fortnite, as well as Creative tools. Furthermore, we will reveal the release date and take a look at several leaks that have come out since the collab announcement. Will the Squid Game collaboration bring Fortnite skins? According to trusted Fortnite leakers, the Squid Game partnership will introduce new cosmetics, including character skins. At the moment, it’s unknown what these skins will look like, but we should find out more details soon. The release date of the Squid Game collab is set for Friday, June 27, which is also the release date of the last season of the series. Earlier this month, Epic Games confirmed that the collaboration will bring new UEFN (Unreal Editor for Fortnite) tools. Thanks to this, creators will be able to make Squid Game-themed maps with new items and mechanics. The Squid Game collaboration will bring new Fortnite cosmetics. Image by VideoGamer Epic has already released a cryptic teaser for the collab which reveals the following: “Red Greens, Square Meals, Affluent Arrivals, June 27th.” With less than two weeks to go until the big update, we expect even more teasers and possibly skin leaks. Considering how popular Squid Game is, this could become one of Fortnite’s most iconic collaborations. The next Fortnite update is set to come out on Tuesday, June 17. Since this update will contain Squid Game data, we could see more early leaks in just a few more days. Fortnite Platform(s): Android, iOS, macOS, Nintendo Switch, PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S/X Genre(s): Action, Massively Multiplayer, Shooter 9 VideoGamer Subscribe to our newsletters! By subscribing, you agree to our Privacy Policy and may receive occasional deal communications; you can unsubscribe anytime. Share
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  • Looking Back at Two Classics: ILM Deploys the Fleet in ‘Star Trek: First Contact’ and ‘Rogue One: A Star Wars Story’

    Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One.
    By Jay Stobie
    Visual effects supervisor John Knollconfers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact.
    Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contactand Rogue One: A Star Wars Storypropelled their respective franchises to new heights. While Star Trek Generationswelcomed Captain Jean-Luc Picard’screw to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk. Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope, it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story, The Mandalorian, Andor, Ahsoka, The Acolyte, and more.
    The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif.
    A final frame from the Battle of Scarif in Rogue One: A Star Wars Story.
    A Context for Conflict
    In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design.
    On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Ersoand Cassian Andorand the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival.
    From Physical to Digital
    By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical modelsfor its features was gradually giving way to innovative computer graphicsmodels, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001.
    Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com.
    However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.”
    John Knollconfers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact.
    Legendary Lineages
    In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.”
    Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet.
    While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got fromVER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.”
    The U.S.S. Enterprise-E in Star Trek: First Contact.
    Familiar Foes
    To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generationand Star Trek: Deep Space Nine, creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin.
    As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.”
    Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back, respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.”
    A final frame from Rogue One: A Star Wars Story.
    Forming Up the Fleets
    In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics.
    Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs, live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples. These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’spersonal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography…
    Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized.
    Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story.
    Tough Little Ships
    The Federation and Rebel Alliance each deployed “tough little ships”in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001!
    Exploration and Hope
    The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire.
    The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope?

    Jay Stobieis a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.
    #looking #back #two #classics #ilm
    Looking Back at Two Classics: ILM Deploys the Fleet in ‘Star Trek: First Contact’ and ‘Rogue One: A Star Wars Story’
    Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knollconfers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact. Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contactand Rogue One: A Star Wars Storypropelled their respective franchises to new heights. While Star Trek Generationswelcomed Captain Jean-Luc Picard’screw to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk. Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope, it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story, The Mandalorian, Andor, Ahsoka, The Acolyte, and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story. A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Ersoand Cassian Andorand the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical modelsfor its features was gradually giving way to innovative computer graphicsmodels, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knollconfers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact. Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got fromVER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact. Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generationand Star Trek: Deep Space Nine, creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back, respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story. Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs, live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples. These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’spersonal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story. Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships”in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobieis a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy. #looking #back #two #classics #ilm
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    Looking Back at Two Classics: ILM Deploys the Fleet in ‘Star Trek: First Contact’ and ‘Rogue One: A Star Wars Story’
    Guided by visual effects supervisor John Knoll, ILM embraced continually evolving methodologies to craft breathtaking visual effects for the iconic space battles in First Contact and Rogue One. By Jay Stobie Visual effects supervisor John Knoll (right) confers with modelmakers Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Bolstered by visual effects from Industrial Light & Magic, Star Trek: First Contact (1996) and Rogue One: A Star Wars Story (2016) propelled their respective franchises to new heights. While Star Trek Generations (1994) welcomed Captain Jean-Luc Picard’s (Patrick Stewart) crew to the big screen, First Contact stood as the first Star Trek feature that did not focus on its original captain, the legendary James T. Kirk (William Shatner). Similarly, though Rogue One immediately preceded the events of Star Wars: A New Hope (1977), it was set apart from the episodic Star Wars films and launched an era of storytelling outside of the main Skywalker saga that has gone on to include Solo: A Star Wars Story (2018), The Mandalorian (2019-23), Andor (2022-25), Ahsoka (2023), The Acolyte (2024), and more. The two films also shared a key ILM contributor, John Knoll, who served as visual effects supervisor on both projects, as well as an executive producer on Rogue One. Currently, ILM’s executive creative director and senior visual effects supervisor, Knoll – who also conceived the initial framework for Rogue One’s story – guided ILM as it brought its talents to bear on these sci-fi and fantasy epics. The work involved crafting two spectacular starship-packed space clashes – First Contact’s Battle of Sector 001 and Rogue One’s Battle of Scarif. Although these iconic installments were released roughly two decades apart, they represent a captivating case study of how ILM’s approach to visual effects has evolved over time. With this in mind, let’s examine the films’ unforgettable space battles through the lens of fascinating in-universe parallels and the ILM-produced fleets that face off near Earth and Scarif. A final frame from the Battle of Scarif in Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). A Context for Conflict In First Contact, the United Federation of Planets – a 200-year-old interstellar government consisting of more than 150 member worlds – braces itself for an invasion by the Borg – an overwhelmingly powerful collective composed of cybernetic beings who devastate entire planets by assimilating their biological populations and technological innovations. The Borg only send a single vessel, a massive cube containing thousands of hive-minded drones and their queen, pushing the Federation’s Starfleet defenders to Earth’s doorstep. Conversely, in Rogue One, the Rebel Alliance – a fledgling coalition of freedom fighters – seeks to undermine and overthrow the stalwart Galactic Empire – a totalitarian regime preparing to tighten its grip on the galaxy by revealing a horrifying superweapon. A rebel team infiltrates a top-secret vault on Scarif in a bid to steal plans to that battle station, the dreaded Death Star, with hopes of exploiting a vulnerability in its design. On the surface, the situations could not seem to be more disparate, particularly in terms of the Federation’s well-established prestige and the Rebel Alliance’s haphazardly organized factions. Yet, upon closer inspection, the spaceborne conflicts at Earth and Scarif are linked by a vital commonality. The threat posed by the Borg is well-known to the Federation, but the sudden intrusion upon their space takes its defenses by surprise. Starfleet assembles any vessel within range – including antiquated Oberth-class science ships – to intercept the Borg cube in the Typhon Sector, only to be forced back to Earth on the edge of defeat. The unsanctioned mission to Scarif with Jyn Erso (Felicity Jones) and Cassian Andor (Diego Luna) and the sudden need to take down the planet’s shield gate propels the Rebel Alliance fleet into rushing to their rescue with everything from their flagship Profundity to GR-75 medium transports. Whether Federation or Rebel Alliance, these fleets gather in last-ditch efforts to oppose enemies who would embrace their eradication – the Battles of Sector 001 and Scarif are fights for survival. From Physical to Digital By the time Jonathan Frakes was selected to direct First Contact, Star Trek’s reliance on constructing traditional physical models (many of which were built by ILM) for its features was gradually giving way to innovative computer graphics (CG) models, resulting in the film’s use of both techniques. “If one of the ships was to be seen full-screen and at length,” associate visual effects supervisor George Murphy told Cinefex’s Kevin H. Martin, “we knew it would be done as a stage model. Ships that would be doing a lot of elaborate maneuvers in space battle scenes would be created digitally.” In fact, physical and CG versions of the U.S.S. Enterprise-E appear in the film, with the latter being harnessed in shots involving the vessel’s entry into a temporal vortex at the conclusion of the Battle of Sector 001. Despite the technological leaps that ILM pioneered in the decades between First Contact and Rogue One, they considered filming physical miniatures for certain ship-related shots in the latter film. ILM considered filming physical miniatures for certain ship-related shots in Rogue One. The feature’s fleets were ultimately created digitally to allow for changes throughout post-production. “If it’s a photographed miniature element, it’s not possible to go back and make adjustments. So it’s the additional flexibility that comes with the computer graphics models that’s very attractive to many people,” John Knoll relayed to writer Jon Witmer at American Cinematographer’s TheASC.com. However, Knoll aimed to develop computer graphics that retained the same high-quality details as their physical counterparts, leading ILM to employ a modern approach to a time-honored modelmaking tactic. “I also wanted to emulate the kit-bashing aesthetic that had been part of Star Wars from the very beginning, where a lot of mechanical detail had been added onto the ships by using little pieces from plastic model kits,” explained Knoll in his chat with TheASC.com. For Rogue One, ILM replicated the process by obtaining such kits, scanning their parts, building a computer graphics library, and applying the CG parts to digitally modeled ships. “I’m very happy to say it was super-successful,” concluded Knoll. “I think a lot of our digital models look like they are motion-control models.” John Knoll (second from left) confers with Kim Smith and John Goodson with the miniature of the U.S.S. Enterprise-E during production of Star Trek: First Contact (Credit: ILM). Legendary Lineages In First Contact, Captain Picard commanded a brand-new vessel, the Sovereign-class U.S.S. Enterprise-E, continuing the celebrated starship’s legacy in terms of its famous name and design aesthetic. Designed by John Eaves and developed into blueprints by Rick Sternbach, the Enterprise-E was built into a 10-foot physical model by ILM model project supervisor John Goodson and his shop’s talented team. ILM infused the ship with extraordinary detail, including viewports equipped with backlit set images from the craft’s predecessor, the U.S.S. Enterprise-D. For the vessel’s larger windows, namely those associated with the observation lounge and arboretum, ILM took a painstakingly practical approach to match the interiors shown with the real-world set pieces. “We filled that area of the model with tiny, micro-scale furniture,” Goodson informed Cinefex, “including tables and chairs.” Rogue One’s rebel team initially traversed the galaxy in a U-wing transport/gunship, which, much like the Enterprise-E, was a unique vessel that nonetheless channeled a certain degree of inspiration from a classic design. Lucasfilm’s Doug Chiang, a co-production designer for Rogue One, referred to the U-wing as the film’s “Huey helicopter version of an X-wing” in the Designing Rogue One bonus featurette on Disney+ before revealing that, “Towards the end of the design cycle, we actually decided that maybe we should put in more X-wing features. And so we took the X-wing engines and literally mounted them onto the configuration that we had going.” Modeled by ILM digital artist Colie Wertz, the U-wing’s final computer graphics design subtly incorporated these X-wing influences to give the transport a distinctive feel without making the craft seem out of place within the rebel fleet. While ILM’s work on the Enterprise-E’s viewports offered a compelling view toward the ship’s interior, a breakthrough LED setup for Rogue One permitted ILM to obtain realistic lighting on actors as they looked out from their ships and into the space around them. “All of our major spaceship cockpit scenes were done that way, with the gimbal in this giant horseshoe of LED panels we got from [equipment vendor] VER, and we prepared graphics that went on the screens,” John Knoll shared with American Cinematographer’s Benjamin B and Jon D. Witmer. Furthermore, in Disney+’s Rogue One: Digital Storytelling bonus featurette, visual effects producer Janet Lewin noted, “For the actors, I think, in the space battle cockpits, for them to be able to see what was happening in the battle brought a higher level of accuracy to their performance.” The U.S.S. Enterprise-E in Star Trek: First Contact (Credit: Paramount). Familiar Foes To transport First Contact’s Borg invaders, John Goodson’s team at ILM resurrected the Borg cube design previously seen in Star Trek: The Next Generation (1987) and Star Trek: Deep Space Nine (1993), creating a nearly three-foot physical model to replace the one from the series. Art consultant and ILM veteran Bill George proposed that the cube’s seemingly straightforward layout be augmented with a complex network of photo-etched brass, a suggestion which produced a jagged surface and offered a visual that was both intricate and menacing. ILM also developed a two-foot motion-control model for a Borg sphere, a brand-new auxiliary vessel that emerged from the cube. “We vacuformed about 15 different patterns that conformed to this spherical curve and covered those with a lot of molded and cast pieces. Then we added tons of acid-etched brass over it, just like we had on the cube,” Goodson outlined to Cinefex’s Kevin H. Martin. As for Rogue One’s villainous fleet, reproducing the original trilogy’s Death Star and Imperial Star Destroyers centered upon translating physical models into digital assets. Although ILM no longer possessed A New Hope’s three-foot Death Star shooting model, John Knoll recreated the station’s surface paneling by gathering archival images, and as he spelled out to writer Joe Fordham in Cinefex, “I pieced all the images together. I unwrapped them into texture space and projected them onto a sphere with a trench. By doing that with enough pictures, I got pretty complete coverage of the original model, and that became a template upon which to redraw very high-resolution texture maps. Every panel, every vertical striped line, I matched from a photograph. It was as accurate as it was possible to be as a reproduction of the original model.” Knoll’s investigative eye continued to pay dividends when analyzing the three-foot and eight-foot Star Destroyer motion-control models, which had been built for A New Hope and Star Wars: The Empire Strikes Back (1980), respectively. “Our general mantra was, ‘Match your memory of it more than the reality,’ because sometimes you go look at the actual prop in the archive building or you look back at the actual shot from the movie, and you go, ‘Oh, I remember it being a little better than that,’” Knoll conveyed to TheASC.com. This philosophy motivated ILM to combine elements from those two physical models into a single digital design. “Generally, we copied the three-footer for details like the superstructure on the top of the bridge, but then we copied the internal lighting plan from the eight-footer,” Knoll explained. “And then the upper surface of the three-footer was relatively undetailed because there were no shots that saw it closely, so we took a lot of the high-detail upper surface from the eight-footer. So it’s this amalgam of the two models, but the goal was to try to make it look like you remember it from A New Hope.” A final frame from Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Forming Up the Fleets In addition to the U.S.S. Enterprise-E, the Battle of Sector 001 debuted numerous vessels representing four new Starfleet ship classes – the Akira, Steamrunner, Saber, and Norway – all designed by ILM visual effects art director Alex Jaeger. “Since we figured a lot of the background action in the space battle would be done with computer graphics ships that needed to be built from scratch anyway, I realized that there was no reason not to do some new designs,” John Knoll told American Cinematographer writer Ron Magid. Used in previous Star Trek projects, older physical models for the Oberth and Nebula classes were mixed into the fleet for good measure, though the vast majority of the armada originated as computer graphics. Over at Scarif, ILM portrayed the Rebel Alliance forces with computer graphics models of fresh designs (the MC75 cruiser Profundity and U-wings), live-action versions of Star Wars Rebels’ VCX-100 light freighter Ghost and Hammerhead corvettes, and Star Wars staples (Nebulon-B frigates, X-wings, Y-wings, and more). These ships face off against two Imperial Star Destroyers and squadrons of TIE fighters, and – upon their late arrival to the battle – Darth Vader’s Star Destroyer and the Death Star. The Tantive IV, a CR90 corvette more popularly referred to as a blockade runner, made its own special cameo at the tail end of the fight. As Princess Leia Organa’s (Carrie Fisher and Ingvild Deila) personal ship, the Tantive IV received the Death Star plans and fled the scene, destined to be captured by Vader’s Star Destroyer at the beginning of A New Hope. And, while we’re on the subject of intricate starship maneuvers and space-based choreography… Although the First Contact team could plan visual effects shots with animated storyboards, ILM supplied Gareth Edwards with a next-level virtual viewfinder that allowed the director to select his shots by immersing himself among Rogue One’s ships in real time. “What we wanted to do is give Gareth the opportunity to shoot his space battles and other all-digital scenes the same way he shoots his live-action. Then he could go in with this sort of virtual viewfinder and view the space battle going on, and figure out what the best angle was to shoot those ships from,” senior animation supervisor Hal Hickel described in the Rogue One: Digital Storytelling featurette. Hickel divulged that the sequence involving the dish array docking with the Death Star was an example of the “spontaneous discovery of great angles,” as the scene was never storyboarded or previsualized. Visual effects supervisor John Knoll with director Gareth Edwards during production of Rogue One: A Star Wars Story (Credit: ILM & Lucasfilm). Tough Little Ships The Federation and Rebel Alliance each deployed “tough little ships” (an endearing description Commander William T. Riker [Jonathan Frakes] bestowed upon the U.S.S. Defiant in First Contact) in their respective conflicts, namely the U.S.S. Defiant from Deep Space Nine and the Tantive IV from A New Hope. VisionArt had already built a CG Defiant for the Deep Space Nine series, but ILM upgraded the model with images gathered from the ship’s three-foot physical model. A similar tactic was taken to bring the Tantive IV into the digital realm for Rogue One. “This was the Blockade Runner. This was the most accurate 1:1 reproduction we could possibly have made,” model supervisor Russell Paul declared to Cinefex’s Joe Fordham. “We did an extensive photo reference shoot and photogrammetry re-creation of the miniature. From there, we built it out as accurately as possible.” Speaking of sturdy ships, if you look very closely, you can spot a model of the Millennium Falcon flashing across the background as the U.S.S. Defiant makes an attack run on the Borg cube at the Battle of Sector 001! Exploration and Hope The in-universe ramifications that materialize from the Battles of Sector 001 and Scarif are monumental. The destruction of the Borg cube compels the Borg Queen to travel back in time in an attempt to vanquish Earth before the Federation can even be formed, but Captain Picard and the Enterprise-E foil the plot and end up helping their 21st century ancestors make “first contact” with another species, the logic-revering Vulcans. The post-Scarif benefits take longer to play out for the Rebel Alliance, but the theft of the Death Star plans eventually leads to the superweapon’s destruction. The Galactic Civil War is far from over, but Scarif is a significant step in the Alliance’s effort to overthrow the Empire. The visual effects ILM provided for First Contact and Rogue One contributed significantly to the critical and commercial acclaim both pictures enjoyed, a victory reflecting the relentless dedication, tireless work ethic, and innovative spirit embodied by visual effects supervisor John Knoll and ILM’s entire staff. While being interviewed for The Making of Star Trek: First Contact, actor Patrick Stewart praised ILM’s invaluable influence, emphasizing, “ILM was with us, on this movie, almost every day on set. There is so much that they are involved in.” And, regardless of your personal preferences – phasers or lasers, photon torpedoes or proton torpedoes, warp speed or hyperspace – perhaps Industrial Light & Magic’s ability to infuse excitement into both franchises demonstrates that Star Trek and Star Wars encompass themes that are not competitive, but compatible. After all, what goes together better than exploration and hope? – Jay Stobie (he/him) is a writer, author, and consultant who has contributed articles to ILM.com, Skysound.com, Star Wars Insider, StarWars.com, Star Trek Explorer, Star Trek Magazine, and StarTrek.com. Jay loves sci-fi, fantasy, and film, and you can learn more about him by visiting JayStobie.com or finding him on Twitter, Instagram, and other social media platforms at @StobiesGalaxy.
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