• Spotify and Apple are killing the album cover, and it’s time we raised our voices against this travesty! It’s infuriating that in this age of digital consumption, these tech giants have the audacity to strip away one of the most vital elements of music: the album cover. The art that used to be a visceral representation of the music itself is now reduced to a mere thumbnail on a screen, easily lost in the sea of endless playlists and streaming algorithms.

    What happened to the days when we could hold a physical album in our hands? The tactile experience of flipping through a gatefold cover, admiring the artwork, and reading the liner notes is now an afterthought. Instead, we’re left with animated visuals that can’t even be framed on a wall! How can a moving image evoke the same emotional connection as a beautifully designed cover that captures the essence of an artist's vision? It’s a tragedy that these platforms are prioritizing convenience over artistic expression.

    The music industry needs to wake up! Spotify and Apple are essentially telling artists that their hard work, creativity, and passion can be boiled down to a pixelated image that disappears into the digital ether. This is an outright assault on the artistry of music! Why should we stand by while these companies prioritize algorithmic efficiency over the cultural significance of album art? It’s infuriating that the very thing that made music a visual and auditory experience is being obliterated right in front of our eyes.

    Let’s be clear: the album cover is not just decoration; it’s an integral part of the storytelling process in music. It sets the tone, evokes emotions, and can even influence how we perceive the music itself. When an album cover is designed with care and intention, it becomes an extension of the artist’s voice. Yet here we are, scrolling through Spotify and Apple Music, bombarded with generic visuals that do nothing to honor the artists or their work.

    Spotify and Apple need to be held accountable for this degradation of music culture. This isn’t just about nostalgia; it’s about preserving the integrity of artistic expression. We need to demand that these platforms acknowledge the importance of album covers and find ways to integrate them into our digital experiences. Otherwise, we’re on a dangerous path where music becomes nothing more than a disposable commodity.

    If we allow Spotify and Apple to continue on this trajectory, we risk losing an entire culture of artistic expression. It’s time for us as consumers to take a stand and remind these companies that music is not just about the sound; it’s about the entire experience.

    Let’s unite and fight back against this digital degradation of music artistry. We deserve better than a world where the album cover is dying a slow death. Let’s reclaim the beauty of music and its visual representation before it’s too late!

    #AlbumArt #MusicCulture #Spotify #AppleMusic #ProtectArtistry
    Spotify and Apple are killing the album cover, and it’s time we raised our voices against this travesty! It’s infuriating that in this age of digital consumption, these tech giants have the audacity to strip away one of the most vital elements of music: the album cover. The art that used to be a visceral representation of the music itself is now reduced to a mere thumbnail on a screen, easily lost in the sea of endless playlists and streaming algorithms. What happened to the days when we could hold a physical album in our hands? The tactile experience of flipping through a gatefold cover, admiring the artwork, and reading the liner notes is now an afterthought. Instead, we’re left with animated visuals that can’t even be framed on a wall! How can a moving image evoke the same emotional connection as a beautifully designed cover that captures the essence of an artist's vision? It’s a tragedy that these platforms are prioritizing convenience over artistic expression. The music industry needs to wake up! Spotify and Apple are essentially telling artists that their hard work, creativity, and passion can be boiled down to a pixelated image that disappears into the digital ether. This is an outright assault on the artistry of music! Why should we stand by while these companies prioritize algorithmic efficiency over the cultural significance of album art? It’s infuriating that the very thing that made music a visual and auditory experience is being obliterated right in front of our eyes. Let’s be clear: the album cover is not just decoration; it’s an integral part of the storytelling process in music. It sets the tone, evokes emotions, and can even influence how we perceive the music itself. When an album cover is designed with care and intention, it becomes an extension of the artist’s voice. Yet here we are, scrolling through Spotify and Apple Music, bombarded with generic visuals that do nothing to honor the artists or their work. Spotify and Apple need to be held accountable for this degradation of music culture. This isn’t just about nostalgia; it’s about preserving the integrity of artistic expression. We need to demand that these platforms acknowledge the importance of album covers and find ways to integrate them into our digital experiences. Otherwise, we’re on a dangerous path where music becomes nothing more than a disposable commodity. If we allow Spotify and Apple to continue on this trajectory, we risk losing an entire culture of artistic expression. It’s time for us as consumers to take a stand and remind these companies that music is not just about the sound; it’s about the entire experience. Let’s unite and fight back against this digital degradation of music artistry. We deserve better than a world where the album cover is dying a slow death. Let’s reclaim the beauty of music and its visual representation before it’s too late! #AlbumArt #MusicCulture #Spotify #AppleMusic #ProtectArtistry
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  • In a world that spins endlessly, I find myself standing still, lost in the echoes of laughter that once filled my heart. The warmth of companionship feels like a distant memory, replaced by the cold reality of solitude. Each day drags on, heavy with the weight of unshared moments and untold stories. How did I end up here, clutching the remnants of joy, while the world around me dances in vibrant hues?

    I often wonder if anyone notices the silent battles I fight within. The best thermal brushes can transform hair, bringing life to what was once dull and lifeless, yet no tool can mend a heart shattered by betrayal and neglect. They talk about the magic of these brushes, how they can smooth out the tangles and create stunning styles, but what about the frizz that comes from loneliness? The ache that lingers long after the laughter fades?

    Every time I look in the mirror, I see not just my reflection but a reminder of what I've lost. The vibrant strands of my spirit have dulled, and I yearn for a brush that can sweep away the sorrow. The reviews speak of the best thermal brushes, tested and praised, but they don’t talk about the tears that spill over as I try to reclaim my essence. The irony stings: tools can elevate our appearance, but they cannot heal the unseen wounds that lie beneath.

    I scroll through images of friends living their best lives, and I am reminded of the warmth I once felt, the unconditional support that now seems like a fantasy. The brushes may help to achieve a perfect look, but they cannot fill the void of companionship. The ache in my chest serves as a constant reminder that no amount of styling can bring back the laughter shared, the moments cherished, or the love lost.

    As I stand in front of the mirror, I wish for a transformation that goes beyond the surface. I wish for a return to happiness, for the touch of a hand that understands the depths of my sorrow. The best thermal brush may create beauty, but I seek something deeper—a connection, a reason to smile again. Until then, I will continue to wander through this life, searching for solace in the shadows.

    #Loneliness #Heartbreak #EmotionalJourney #Healing #FindingSolace
    In a world that spins endlessly, I find myself standing still, lost in the echoes of laughter that once filled my heart. The warmth of companionship feels like a distant memory, replaced by the cold reality of solitude. Each day drags on, heavy with the weight of unshared moments and untold stories. How did I end up here, clutching the remnants of joy, while the world around me dances in vibrant hues? I often wonder if anyone notices the silent battles I fight within. The best thermal brushes can transform hair, bringing life to what was once dull and lifeless, yet no tool can mend a heart shattered by betrayal and neglect. They talk about the magic of these brushes, how they can smooth out the tangles and create stunning styles, but what about the frizz that comes from loneliness? The ache that lingers long after the laughter fades? Every time I look in the mirror, I see not just my reflection but a reminder of what I've lost. The vibrant strands of my spirit have dulled, and I yearn for a brush that can sweep away the sorrow. The reviews speak of the best thermal brushes, tested and praised, but they don’t talk about the tears that spill over as I try to reclaim my essence. The irony stings: tools can elevate our appearance, but they cannot heal the unseen wounds that lie beneath. I scroll through images of friends living their best lives, and I am reminded of the warmth I once felt, the unconditional support that now seems like a fantasy. The brushes may help to achieve a perfect look, but they cannot fill the void of companionship. The ache in my chest serves as a constant reminder that no amount of styling can bring back the laughter shared, the moments cherished, or the love lost. As I stand in front of the mirror, I wish for a transformation that goes beyond the surface. I wish for a return to happiness, for the touch of a hand that understands the depths of my sorrow. The best thermal brush may create beauty, but I seek something deeper—a connection, a reason to smile again. Until then, I will continue to wander through this life, searching for solace in the shadows. #Loneliness #Heartbreak #EmotionalJourney #Healing #FindingSolace
    3 Best Thermal Brush, Tested and Reviewed by WIRED (2025)
    Curious about the best thermal brush? Here’s what they can and can’t do for your hair, and which ones are worth buying.
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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.

    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
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    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
    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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  • Studio555 raises $4.6M to build playable app for interior design

    Studio555 announced today that it has raised €4 million, or about million in a seed funding round. It plans to put this funding towards creating a playable app, a game-like experience focused on interior design. HOF Capital and Failup Ventures led the round, with participation from the likes of Timo Soininen, co-founder of Small Giant Games; Mikko Kodisoja, co-founder of Supercell; and Riccardo Zacconi, co-founder of King.
    Studio555’s founders include entrepreneur Joel Roos, now the CEO, CTO Stina Larsson and CPO Axel Ullberger. The latter two formerly worked at King on the development of Candy Crush Saga. According to these founders, the app in development combines interior design with the design and consumer appeal of games and social apps. Users can create and design personal spaces without needing any technical expertise.
    The team plans to launch the app next year, and it plans to put its seed funding towards product development and growing its team. Roos said in a statement, “At Studio555, we’re reimagining interior design as something anyone can explore: open-ended, playful, and personal. We’re building an experience we always wished existed: a space where creativity is hands-on, social, and free from rigid rules. This funding is a major step forward in setting an entirely new category for creative expression.”
    Investor Timo Soininen said in a statement, “Studio555 brings together top-tier gaming talent and design vision. This team has built global hits before, and now they’re applying that experience to something completely fresh – think Pinterest in 3D meets TikTok, but for interiors. I’m honored to support Joel and this team with their rare mix of creativity, technical competence, and focus on execution.”
    #studio555 #raises #46m #build #playable
    Studio555 raises $4.6M to build playable app for interior design
    Studio555 announced today that it has raised €4 million, or about million in a seed funding round. It plans to put this funding towards creating a playable app, a game-like experience focused on interior design. HOF Capital and Failup Ventures led the round, with participation from the likes of Timo Soininen, co-founder of Small Giant Games; Mikko Kodisoja, co-founder of Supercell; and Riccardo Zacconi, co-founder of King. Studio555’s founders include entrepreneur Joel Roos, now the CEO, CTO Stina Larsson and CPO Axel Ullberger. The latter two formerly worked at King on the development of Candy Crush Saga. According to these founders, the app in development combines interior design with the design and consumer appeal of games and social apps. Users can create and design personal spaces without needing any technical expertise. The team plans to launch the app next year, and it plans to put its seed funding towards product development and growing its team. Roos said in a statement, “At Studio555, we’re reimagining interior design as something anyone can explore: open-ended, playful, and personal. We’re building an experience we always wished existed: a space where creativity is hands-on, social, and free from rigid rules. This funding is a major step forward in setting an entirely new category for creative expression.” Investor Timo Soininen said in a statement, “Studio555 brings together top-tier gaming talent and design vision. This team has built global hits before, and now they’re applying that experience to something completely fresh – think Pinterest in 3D meets TikTok, but for interiors. I’m honored to support Joel and this team with their rare mix of creativity, technical competence, and focus on execution.” #studio555 #raises #46m #build #playable
    VENTUREBEAT.COM
    Studio555 raises $4.6M to build playable app for interior design
    Studio555 announced today that it has raised €4 million, or about $4.6 million in a seed funding round. It plans to put this funding towards creating a playable app, a game-like experience focused on interior design. HOF Capital and Failup Ventures led the round, with participation from the likes of Timo Soininen, co-founder of Small Giant Games; Mikko Kodisoja, co-founder of Supercell; and Riccardo Zacconi, co-founder of King. Studio555’s founders include entrepreneur Joel Roos, now the CEO, CTO Stina Larsson and CPO Axel Ullberger. The latter two formerly worked at King on the development of Candy Crush Saga. According to these founders, the app in development combines interior design with the design and consumer appeal of games and social apps. Users can create and design personal spaces without needing any technical expertise. The team plans to launch the app next year, and it plans to put its seed funding towards product development and growing its team. Roos said in a statement, “At Studio555, we’re reimagining interior design as something anyone can explore: open-ended, playful, and personal. We’re building an experience we always wished existed: a space where creativity is hands-on, social, and free from rigid rules. This funding is a major step forward in setting an entirely new category for creative expression.” Investor Timo Soininen said in a statement, “Studio555 brings together top-tier gaming talent and design vision. This team has built global hits before, and now they’re applying that experience to something completely fresh – think Pinterest in 3D meets TikTok, but for interiors. I’m honored to support Joel and this team with their rare mix of creativity, technical competence, and focus on execution.”
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  • Creating a Highly Detailed Tech-Inspired Scene with Blender

    IntroductionHello! My name is Denys. I was born and raised in Nigeria, where I'm currently based. I began my journey into 3D art in March 2022, teaching myself through online resources, starting, of course, with the iconic donut tutorial on YouTube. Since then, I've continued to grow my skills independently, and now I'm working toward a career in 3D generalism, with a particular interest in environment art.I originally got into Blender because SketchUp wasn't free, and I could not keep up with the subscriptions. While searching for alternatives, I came across Blender. That's when I realized I had installed it once years ago, but back then, the interface completely intimidated me, and I gave up on it. This time, though, I decided to stick with it – and I'm glad I did.I started out creating simple models. One of my first big projects was modeling the entire SpongeBob crew. That led to my first animation, and eventually, the first four episodes of a short animated series. As I grew more confident, I began participating in online 3D competitions, like cgandwe, where I focused on designing realistic environments. Those experiences have played a huge role in getting me to where I am today.Getting Started Before starting any scene, I always look for references. It might not be the most original approach, but it's what works best for me. One piece that inspired me was a beautiful artwork by Calder Moore. I bookmarked it as soon as I saw it back in 2023, and luckily, I finally found the time to bring it to life last month.BlockoutThe goal was to match the original camera angle and roughly model the main frame of the structures. It wasn't perfect, but modeling and placing the lower docks helped me get the perspective right. Then I moved on to modeling and positioning the major structures in the scene.I gave myself two weeks to complete this project. And as much as I enjoy modeling, I also enjoy not modeling, so I turned to asset kits and free models to help speed things up. I came across an awesome paid kit by Bigmediumsmall and instantly knew it would fit perfectly into my scene.I also downloaded a few models from Sketchfab, including a lamp, desk console, freighter controls, and a robotic arm, which I later took apart to add extra detail. Another incredibly helpful tool was the Random Flow add-on by BlenderGuppy, which made adding sci-fi elements much easier. Lastly, I pulled in some models from my older sci-fi and cyberpunk projects to round things out.Kitbashing Once I had the overall shape I was aiming for, I moved on to kitbashing to pack in as much detail as possible. There wasn't any strict method to the madness; I simply picked assets I liked, whether it was a set of pipes, vents, or even a random shape that just worked in the sci-fi context. I focused first on kitbashing the front structure, and used the Random Flow add-on to fill in areas where I didn't kitbash manually. Then I moved on to the other collections, following the same process.The freighter was the final piece of the puzzle, and I knew it was going to be a challenge. Part of me wanted to model it entirely from scratch, but the more practical side knew I could save a lot of time by sticking with my usual method. So I modeled the main shapes myself, then kitbashed the details to bring it to life. I also grabbed some crates from Sketchfab to fill out the scene.Texturing This part was easily my favorite, and there was no shortcut here. I had to meticulously create each material myself. Well, I did use PBR materials downloaded from CGAmbient as a base, but I spent a lot of time tweaking and editing them to get everything just right.Texturing has always been my favorite stage when building scenes like this. Many artists prefer external tools like Substance 3D Painter, but I've learned so much about procedural texturing, especially from RyanKingArt, that I couldn't let it go. It's such a flexible and rewarding approach, and I love pushing it as far as I can.I wanted most of the colors in the scene to be dark, but I did keep the original color of the pipes and the pillars, just to add a little bit of vibrance to the scene. I also wanted the overall texture to be very rough and grungy. One of the biggest helps in achieving this was using the Grunge Maps from Substance 3D Painter. I found a way to extract them into Blender, and it helped.A major tool during the texturing phase was Jsplacement, which I used to procedurally generate sci-fi grids and plates. This was the icing on the cake for adding intricate details. Whenever an area felt too flat, I applied bump maps with these grids and panels to bring the materials to life. For example, both the lamp pole and the entire black metal material feature these Jsplacement Maps.Lighting For this, I didn't do anything fancy. I knew the scene was in a high altitude, so I looked for HDRI with a cloudless sky, and I boosted the saturation up a little to give it that high altitude look.Post-Production The rendering phase was challenging since I was working on a low-end laptop. I couldn't render the entire scene all at once, so I broke it down by collections and rendered them as separate layers. Then, I composited the layers together in post-production. I'm not big on heavy post-work, so I kept it simple, mostly tweaking brightness and saturation on my phone. That's about it for the post-production process.Conclusion The entire project took me 10 days to complete, working at least four hours each day. Although I've expressed my love for texturing, my favorite part of this project was the detailing and kitbashing. I really enjoyed piecing all the small details together. The most challenging part was deciding which assets to use and where to place them. I had a lot of greebles to choose from, but I'm happy with the ones I selected; they felt like a perfect fit for the scene.I know kitbashing sometimes gets a negative reputation in the 3D community, but I found it incredibly relieving. Honestly, this project wouldn't have come together without it, so I fully embraced the process.I'm excited to keep making projects like this. The world of 3D art is truly an endless and vast realm, and I encourage every artist like me to keep exploring it, one project at a time.Denys Molokwu, 3D Artist
    #creating #highly #detailed #techinspired #scene
    Creating a Highly Detailed Tech-Inspired Scene with Blender
    IntroductionHello! My name is Denys. I was born and raised in Nigeria, where I'm currently based. I began my journey into 3D art in March 2022, teaching myself through online resources, starting, of course, with the iconic donut tutorial on YouTube. Since then, I've continued to grow my skills independently, and now I'm working toward a career in 3D generalism, with a particular interest in environment art.I originally got into Blender because SketchUp wasn't free, and I could not keep up with the subscriptions. While searching for alternatives, I came across Blender. That's when I realized I had installed it once years ago, but back then, the interface completely intimidated me, and I gave up on it. This time, though, I decided to stick with it – and I'm glad I did.I started out creating simple models. One of my first big projects was modeling the entire SpongeBob crew. That led to my first animation, and eventually, the first four episodes of a short animated series. As I grew more confident, I began participating in online 3D competitions, like cgandwe, where I focused on designing realistic environments. Those experiences have played a huge role in getting me to where I am today.Getting Started Before starting any scene, I always look for references. It might not be the most original approach, but it's what works best for me. One piece that inspired me was a beautiful artwork by Calder Moore. I bookmarked it as soon as I saw it back in 2023, and luckily, I finally found the time to bring it to life last month.BlockoutThe goal was to match the original camera angle and roughly model the main frame of the structures. It wasn't perfect, but modeling and placing the lower docks helped me get the perspective right. Then I moved on to modeling and positioning the major structures in the scene.I gave myself two weeks to complete this project. And as much as I enjoy modeling, I also enjoy not modeling, so I turned to asset kits and free models to help speed things up. I came across an awesome paid kit by Bigmediumsmall and instantly knew it would fit perfectly into my scene.I also downloaded a few models from Sketchfab, including a lamp, desk console, freighter controls, and a robotic arm, which I later took apart to add extra detail. Another incredibly helpful tool was the Random Flow add-on by BlenderGuppy, which made adding sci-fi elements much easier. Lastly, I pulled in some models from my older sci-fi and cyberpunk projects to round things out.Kitbashing Once I had the overall shape I was aiming for, I moved on to kitbashing to pack in as much detail as possible. There wasn't any strict method to the madness; I simply picked assets I liked, whether it was a set of pipes, vents, or even a random shape that just worked in the sci-fi context. I focused first on kitbashing the front structure, and used the Random Flow add-on to fill in areas where I didn't kitbash manually. Then I moved on to the other collections, following the same process.The freighter was the final piece of the puzzle, and I knew it was going to be a challenge. Part of me wanted to model it entirely from scratch, but the more practical side knew I could save a lot of time by sticking with my usual method. So I modeled the main shapes myself, then kitbashed the details to bring it to life. I also grabbed some crates from Sketchfab to fill out the scene.Texturing This part was easily my favorite, and there was no shortcut here. I had to meticulously create each material myself. Well, I did use PBR materials downloaded from CGAmbient as a base, but I spent a lot of time tweaking and editing them to get everything just right.Texturing has always been my favorite stage when building scenes like this. Many artists prefer external tools like Substance 3D Painter, but I've learned so much about procedural texturing, especially from RyanKingArt, that I couldn't let it go. It's such a flexible and rewarding approach, and I love pushing it as far as I can.I wanted most of the colors in the scene to be dark, but I did keep the original color of the pipes and the pillars, just to add a little bit of vibrance to the scene. I also wanted the overall texture to be very rough and grungy. One of the biggest helps in achieving this was using the Grunge Maps from Substance 3D Painter. I found a way to extract them into Blender, and it helped.A major tool during the texturing phase was Jsplacement, which I used to procedurally generate sci-fi grids and plates. This was the icing on the cake for adding intricate details. Whenever an area felt too flat, I applied bump maps with these grids and panels to bring the materials to life. For example, both the lamp pole and the entire black metal material feature these Jsplacement Maps.Lighting For this, I didn't do anything fancy. I knew the scene was in a high altitude, so I looked for HDRI with a cloudless sky, and I boosted the saturation up a little to give it that high altitude look.Post-Production The rendering phase was challenging since I was working on a low-end laptop. I couldn't render the entire scene all at once, so I broke it down by collections and rendered them as separate layers. Then, I composited the layers together in post-production. I'm not big on heavy post-work, so I kept it simple, mostly tweaking brightness and saturation on my phone. That's about it for the post-production process.Conclusion The entire project took me 10 days to complete, working at least four hours each day. Although I've expressed my love for texturing, my favorite part of this project was the detailing and kitbashing. I really enjoyed piecing all the small details together. The most challenging part was deciding which assets to use and where to place them. I had a lot of greebles to choose from, but I'm happy with the ones I selected; they felt like a perfect fit for the scene.I know kitbashing sometimes gets a negative reputation in the 3D community, but I found it incredibly relieving. Honestly, this project wouldn't have come together without it, so I fully embraced the process.I'm excited to keep making projects like this. The world of 3D art is truly an endless and vast realm, and I encourage every artist like me to keep exploring it, one project at a time.Denys Molokwu, 3D Artist #creating #highly #detailed #techinspired #scene
    80.LV
    Creating a Highly Detailed Tech-Inspired Scene with Blender
    IntroductionHello! My name is Denys. I was born and raised in Nigeria, where I'm currently based. I began my journey into 3D art in March 2022, teaching myself through online resources, starting, of course, with the iconic donut tutorial on YouTube. Since then, I've continued to grow my skills independently, and now I'm working toward a career in 3D generalism, with a particular interest in environment art.I originally got into Blender because SketchUp wasn't free, and I could not keep up with the subscriptions. While searching for alternatives, I came across Blender. That's when I realized I had installed it once years ago, but back then, the interface completely intimidated me, and I gave up on it. This time, though, I decided to stick with it – and I'm glad I did.I started out creating simple models. One of my first big projects was modeling the entire SpongeBob crew. That led to my first animation, and eventually, the first four episodes of a short animated series (though it's still incomplete). As I grew more confident, I began participating in online 3D competitions, like cgandwe, where I focused on designing realistic environments. Those experiences have played a huge role in getting me to where I am today.Getting Started Before starting any scene, I always look for references. It might not be the most original approach, but it's what works best for me. One piece that inspired me was a beautiful artwork by Calder Moore. I bookmarked it as soon as I saw it back in 2023, and luckily, I finally found the time to bring it to life last month.BlockoutThe goal was to match the original camera angle and roughly model the main frame of the structures. It wasn't perfect, but modeling and placing the lower docks helped me get the perspective right. Then I moved on to modeling and positioning the major structures in the scene.I gave myself two weeks to complete this project. And as much as I enjoy modeling, I also enjoy not modeling, so I turned to asset kits and free models to help speed things up. I came across an awesome paid kit by Bigmediumsmall and instantly knew it would fit perfectly into my scene.I also downloaded a few models from Sketchfab, including a lamp, desk console, freighter controls, and a robotic arm, which I later took apart to add extra detail. Another incredibly helpful tool was the Random Flow add-on by BlenderGuppy, which made adding sci-fi elements much easier. Lastly, I pulled in some models from my older sci-fi and cyberpunk projects to round things out.Kitbashing Once I had the overall shape I was aiming for, I moved on to kitbashing to pack in as much detail as possible. There wasn't any strict method to the madness; I simply picked assets I liked, whether it was a set of pipes, vents, or even a random shape that just worked in the sci-fi context. I focused first on kitbashing the front structure, and used the Random Flow add-on to fill in areas where I didn't kitbash manually. Then I moved on to the other collections, following the same process.The freighter was the final piece of the puzzle, and I knew it was going to be a challenge. Part of me wanted to model it entirely from scratch, but the more practical side knew I could save a lot of time by sticking with my usual method. So I modeled the main shapes myself, then kitbashed the details to bring it to life. I also grabbed some crates from Sketchfab to fill out the scene.Texturing This part was easily my favorite, and there was no shortcut here. I had to meticulously create each material myself. Well, I did use PBR materials downloaded from CGAmbient as a base, but I spent a lot of time tweaking and editing them to get everything just right.Texturing has always been my favorite stage when building scenes like this. Many artists prefer external tools like Substance 3D Painter (which I did use for some of the models), but I've learned so much about procedural texturing, especially from RyanKingArt, that I couldn't let it go. It's such a flexible and rewarding approach, and I love pushing it as far as I can.I wanted most of the colors in the scene to be dark, but I did keep the original color of the pipes and the pillars, just to add a little bit of vibrance to the scene. I also wanted the overall texture to be very rough and grungy. One of the biggest helps in achieving this was using the Grunge Maps from Substance 3D Painter. I found a way to extract them into Blender, and it helped.A major tool during the texturing phase was Jsplacement, which I used to procedurally generate sci-fi grids and plates. This was the icing on the cake for adding intricate details. Whenever an area felt too flat, I applied bump maps with these grids and panels to bring the materials to life. For example, both the lamp pole and the entire black metal material feature these Jsplacement Maps.Lighting For this, I didn't do anything fancy. I knew the scene was in a high altitude, so I looked for HDRI with a cloudless sky, and I boosted the saturation up a little to give it that high altitude look.Post-Production The rendering phase was challenging since I was working on a low-end laptop. I couldn't render the entire scene all at once, so I broke it down by collections and rendered them as separate layers. Then, I composited the layers together in post-production. I'm not big on heavy post-work, so I kept it simple, mostly tweaking brightness and saturation on my phone. That's about it for the post-production process.Conclusion The entire project took me 10 days to complete, working at least four hours each day. Although I've expressed my love for texturing, my favorite part of this project was the detailing and kitbashing. I really enjoyed piecing all the small details together. The most challenging part was deciding which assets to use and where to place them. I had a lot of greebles to choose from, but I'm happy with the ones I selected; they felt like a perfect fit for the scene.I know kitbashing sometimes gets a negative reputation in the 3D community, but I found it incredibly relieving. Honestly, this project wouldn't have come together without it, so I fully embraced the process.I'm excited to keep making projects like this. The world of 3D art is truly an endless and vast realm, and I encourage every artist like me to keep exploring it, one project at a time.Denys Molokwu, 3D Artist
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  • How AI is reshaping the future of healthcare and medical research

    Transcript       
    PETER LEE: “In ‘The Little Black Bag,’ a classic science fiction story, a high-tech doctor’s kit of the future is accidentally transported back to the 1950s, into the shaky hands of a washed-up, alcoholic doctor. The ultimate medical tool, it redeems the doctor wielding it, allowing him to practice gratifyingly heroic medicine. … The tale ends badly for the doctor and his treacherous assistant, but it offered a picture of how advanced technology could transform medicine—powerful when it was written nearly 75 years ago and still so today. What would be the Al equivalent of that little black bag? At this moment when new capabilities are emerging, how do we imagine them into medicine?”          
    This is The AI Revolution in Medicine, Revisited. I’m your host, Peter Lee.   
    Shortly after OpenAI’s GPT-4 was publicly released, Carey Goldberg, Dr. Zak Kohane, and I published The AI Revolution in Medicine to help educate the world of healthcare and medical research about the transformative impact this new generative AI technology could have. But because we wrote the book when GPT-4 was still a secret, we had to speculate. Now, two years later, what did we get right, and what did we get wrong?    
    In this series, we’ll talk to clinicians, patients, hospital administrators, and others to understand the reality of AI in the field and where we go from here.  The book passage I read at the top is from “Chapter 10: The Big Black Bag.” 
    In imagining AI in medicine, Carey, Zak, and I included in our book two fictional accounts. In the first, a medical resident consults GPT-4 on her personal phone as the patient in front of her crashes. Within seconds, it offers an alternate response based on recent literature. In the second account, a 90-year-old woman with several chronic conditions is living independently and receiving near-constant medical support from an AI aide.   
    In our conversations with the guests we’ve spoken to so far, we’ve caught a glimpse of these predicted futures, seeing how clinicians and patients are actually using AI today and how developers are leveraging the technology in the healthcare products and services they’re creating. In fact, that first fictional account isn’t so fictional after all, as most of the doctors in the real world actually appear to be using AI at least occasionally—and sometimes much more than occasionally—to help in their daily clinical work. And as for the second fictional account, which is more of a science fiction account, it seems we are indeed on the verge of a new way of delivering and receiving healthcare, though the future is still very much open. 
    As we continue to examine the current state of AI in healthcare and its potential to transform the field, I’m pleased to welcome Bill Gates and Sébastien Bubeck.  
    Bill may be best known as the co-founder of Microsoft, having created the company with his childhood friend Paul Allen in 1975. He’s now the founder of Breakthrough Energy, which aims to advance clean energy innovation, and TerraPower, a company developing groundbreaking nuclear energy and science technologies. He also chairs the world’s largest philanthropic organization, the Gates Foundation, and focuses on solving a variety of health challenges around the globe and here at home. 
    Sébastien is a research lead at OpenAI. He was previously a distinguished scientist, vice president of AI, and a colleague of mine here at Microsoft, where his work included spearheading the development of the family of small language models known as Phi. While at Microsoft, he also coauthored the discussion-provoking 2023 paper “Sparks of Artificial General Intelligence,” which presented the results of early experiments with GPT-4 conducted by a small team from Microsoft Research.     
    Here’s my conversation with Bill Gates and Sébastien Bubeck. 
    LEE: Bill, welcome. 
    BILL GATES: Thank you. 
    LEE: Seb … 
    SÉBASTIEN BUBECK: Yeah. Hi, hi, Peter. Nice to be here. 
    LEE: You know, one of the things that I’ve been doing just to get the conversation warmed up is to talk about origin stories, and what I mean about origin stories is, you know, what was the first contact that you had with large language models or the concept of generative AI that convinced you or made you think that something really important was happening? 
    And so, Bill, I think I’ve heard the story about, you know, the time when the OpenAI folks—Sam Altman, Greg Brockman, and others—showed you something, but could we hear from you what those early encounters were like and what was going through your mind?  
    GATES: Well, I’d been visiting OpenAI soon after it was created to see things like GPT-2 and to see the little arm they had that was trying to match human manipulation and, you know, looking at their games like Dota that they were trying to get as good as human play. And honestly, I didn’t think the language model stuff they were doing, even when they got to GPT-3, would show the ability to learn, you know, in the same sense that a human reads a biology book and is able to take that knowledge and access it not only to pass a test but also to create new medicines. 
    And so my challenge to them was that if their LLM could get a five on the advanced placement biology test, then I would say, OK, it took biologic knowledge and encoded it in an accessible way and that I didn’t expect them to do that very quickly but it would be profound.  
    And it was only about six months after I challenged them to do that, that an early version of GPT-4 they brought up to a dinner at my house, and in fact, it answered most of the questions that night very well. The one it got totally wrong, we were … because it was so good, we kept thinking, Oh, we must be wrong. It turned out it was a math weaknessthat, you know, we later understood that that was an area of, weirdly, of incredible weakness of those early models. But, you know, that was when I realized, OK, the age of cheap intelligence was at its beginning. 
    LEE: Yeah. So I guess it seems like you had something similar to me in that my first encounters, I actually harbored some skepticism. Is it fair to say you were skeptical before that? 
    GATES: Well, the idea that we’ve figured out how to encode and access knowledge in this very deep sense without even understanding the nature of the encoding, … 
    LEE: Right.  
    GATES: … that is a bit weird.  
    LEE: Yeah. 
    GATES: We have an algorithm that creates the computation, but even say, OK, where is the president’s birthday stored in there? Where is this fact stored in there? The fact that even now when we’re playing around, getting a little bit more sense of it, it’s opaque to us what the semantic encoding is, it’s, kind of, amazing to me. I thought the invention of knowledge storage would be an explicit way of encoding knowledge, not an implicit statistical training. 
    LEE: Yeah, yeah. All right. So, Seb, you know, on this same topic, you know, I got—as we say at Microsoft—I got pulled into the tent. 
    BUBECK: Yes.  
    LEE: Because this was a very secret project. And then, um, I had the opportunity to select a small number of researchers in MSRto join and start investigating this thing seriously. And the first person I pulled in was you. 
    BUBECK: Yeah. 
    LEE: And so what were your first encounters? Because I actually don’t remember what happened then. 
    BUBECK: Oh, I remember it very well.My first encounter with GPT-4 was in a meeting with the two of you, actually. But my kind of first contact, the first moment where I realized that something was happening with generative AI, was before that. And I agree with Bill that I also wasn’t too impressed by GPT-3. 
    I though that it was kind of, you know, very naturally mimicking the web, sort of parroting what was written there in a nice way. Still in a way which seemed very impressive. But it wasn’t really intelligent in any way. But shortly after GPT-3, there was a model before GPT-4 that really shocked me, and this was the first image generation model, DALL-E 1. 
    So that was in 2021. And I will forever remember the press release of OpenAI where they had this prompt of an avocado chair and then you had this image of the avocado chair.And what really shocked me is that clearly the model kind of “understood” what is a chair, what is an avocado, and was able to merge those concepts. 
    So this was really, to me, the first moment where I saw some understanding in those models.  
    LEE: So this was, just to get the timing right, that was before I pulled you into the tent. 
    BUBECK: That was before. That was like a year before. 
    LEE: Right.  
    BUBECK: And now I will tell you how, you know, we went from that moment to the meeting with the two of you and GPT-4. 
    So once I saw this kind of understanding, I thought, OK, fine. It understands concept, but it’s still not able to reason. It cannot—as, you know, Bill was saying—it cannot learn from your document. It cannot reason.  
    So I set out to try to prove that. You know, this is what I was in the business of at the time, trying to prove things in mathematics. So I was trying to prove that basically autoregressive transformers could never reason. So I was trying to prove this. And after a year of work, I had something reasonable to show. And so I had the meeting with the two of you, and I had this example where I wanted to say, there is no way that an LLM is going to be able to do x. 
    And then as soon as I … I don’t know if you remember, Bill. But as soon as I said that, you said, oh, but wait a second. I had, you know, the OpenAI crew at my house recently, and they showed me a new model. Why don’t we ask this new model this question?  
    LEE: Yeah.
    BUBECK: And we did, and it solved it on the spot. And that really, honestly, just changed my life. Like, you know, I had been working for a year trying to say that this was impossible. And just right there, it was shown to be possible.  
    LEE:One of the very first things I got interested in—because I was really thinking a lot about healthcare—was healthcare and medicine. 
    And I don’t know if the two of you remember, but I ended up doing a lot of tests. I ran through, you know, step one and step two of the US Medical Licensing Exam. Did a whole bunch of other things. I wrote this big report. It was, you know, I can’t remember … a couple hundred pages.  
    And I needed to share this with someone. I didn’t … there weren’t too many people I could share it with. So I sent, I think, a copy to you, Bill. Sent a copy to you, Seb.  
    I hardly slept for about a week putting that report together. And, yeah, and I kept working on it. But I was far from alone. I think everyone who was in the tent, so to speak, in those early days was going through something pretty similar. All right. So I think … of course, a lot of what I put in the report also ended up being examples that made it into the book. 
    But the main purpose of this conversation isn’t to reminisce aboutor indulge in those reminiscences but to talk about what’s happening in healthcare and medicine. And, you know, as I said, we wrote this book. We did it very, very quickly. Seb, you helped. Bill, you know, you provided a review and some endorsements. 
    But, you know, honestly, we didn’t know what we were talking about because no one had access to this thing. And so we just made a bunch of guesses. So really, the whole thing I wanted to probe with the two of you is, now with two years of experience out in the world, what, you know, what do we think is happening today? 
    You know, is AI actually having an impact, positive or negative, on healthcare and medicine? And what do we now think is going to happen in the next two years, five years, or 10 years? And so I realize it’s a little bit too abstract to just ask it that way. So let me just try to narrow the discussion and guide us a little bit.  
    Um, the kind of administrative and clerical work, paperwork, around healthcare—and we made a lot of guesses about that—that appears to be going well, but, you know, Bill, I know we’ve discussed that sometimes that you think there ought to be a lot more going on. Do you have a viewpoint on how AI is actually finding its way into reducing paperwork? 
    GATES: Well, I’m stunned … I don’t think there should be a patient-doctor meeting where the AI is not sitting in and both transcribing, offering to help with the paperwork, and even making suggestions, although the doctor will be the one, you know, who makes the final decision about the diagnosis and whatever prescription gets done.  
    It’s so helpful. You know, when that patient goes home and their, you know, son who wants to understand what happened has some questions, that AI should be available to continue that conversation. And the way you can improve that experience and streamline things and, you know, involve the people who advise you. I don’t understand why that’s not more adopted, because there you still have the human in the loop making that final decision. 
    But even for, like, follow-up calls to make sure the patient did things, to understand if they have concerns and knowing when to escalate back to the doctor, the benefit is incredible. And, you know, that thing is ready for prime time. That paradigm is ready for prime time, in my view. 
    LEE: Yeah, there are some good products, but it seems like the number one use right now—and we kind of got this from some of the previous guests in previous episodes—is the use of AI just to respond to emails from patients.Does that make sense to you? 
    BUBECK: Yeah. So maybe I want to second what Bill was saying but maybe take a step back first. You know, two years ago, like, the concept of clinical scribes, which is one of the things that we’re talking about right now, it would have sounded, in fact, it sounded two years ago, borderline dangerous. Because everybody was worried about hallucinations. What happened if you have this AI listening in and then it transcribes, you know, something wrong? 
    Now, two years later, I think it’s mostly working. And in fact, it is not yet, you know, fully adopted. You’re right. But it is in production. It is used, you know, in many, many places. So this rate of progress is astounding because it wasn’t obvious that we would be able to overcome those obstacles of hallucination. It’s not to say that hallucinations are fully solved. In the case of the closed system, they are.  
    Now, I think more generally what’s going on in the background is that there is something that we, that certainly I, underestimated, which is this management overhead. So I think the reason why this is not adopted everywhere is really a training and teaching aspect. People need to be taught, like, those systems, how to interact with them. 
    And one example that I really like, a study that recently appeared where they tried to use ChatGPT for diagnosis and they were comparing doctors without and with ChatGPT. And the amazing thing … so this was a set of cases where the accuracy of the doctors alone was around 75%. ChatGPT alone was 90%. So that’s already kind of mind blowing. But then the kicker is that doctors with ChatGPT was 80%.  
    Intelligence alone is not enough. It’s also how it’s presented, how you interact with it. And ChatGPT, it’s an amazing tool. Obviously, I absolutely love it. But it’s not … you don’t want a doctor to have to type in, you know, prompts and use it that way. 
    It should be, as Bill was saying, kind of running continuously in the background, sending you notifications. And you have to be really careful of the rate at which those notifications are being sent. Because if they are too frequent, then the doctor will learn to ignore them. So you have to … all of those things matter, in fact, at least as much as the level of intelligence of the machine. 
    LEE: One of the things I think about, Bill, in that scenario that you described, doctors do some thinking about the patient when they write the note. So, you know, I’m always a little uncertain whether it’s actually … you know, you wouldn’t necessarily want to fully automate this, I don’t think. Or at least there needs to be some prompt to the doctor to make sure that the doctor puts some thought into what happened in the encounter with the patient. Does that make sense to you at all? 
    GATES: At this stage, you know, I’d still put the onus on the doctor to write the conclusions and the summary and not delegate that. 
    The tradeoffs you make a little bit are somewhat dependent on the situation you’re in. If you’re in Africa,
    So, yes, the doctor’s still going to have to do a lot of work, but just the quality of letting the patient and the people around them interact and ask questions and have things explained, that alone is such a quality improvement. It’s mind blowing.  
    LEE: So since you mentioned, you know, Africa—and, of course, this touches on the mission and some of the priorities of the Gates Foundation and this idea of democratization of access to expert medical care—what’s the most interesting stuff going on right now? Are there people and organizations or technologies that are impressing you or that you’re tracking? 
    GATES: Yeah. So the Gates Foundation has given out a lot of grants to people in Africa doing education, agriculture but more healthcare examples than anything. And the way these things start off, they often start out either being patient-centric in a narrow situation, like, OK, I’m a pregnant woman; talk to me. Or, I have infectious disease symptoms; talk to me. Or they’re connected to a health worker where they’re helping that worker get their job done. And we have lots of pilots out, you know, in both of those cases.  
    The dream would be eventually to have the thing the patient consults be so broad that it’s like having a doctor available who understands the local things.  
    LEE: Right.  
    GATES: We’re not there yet. But over the next two or three years, you know, particularly given the worsening financial constraints against African health systems, where the withdrawal of money has been dramatic, you know, figuring out how to take this—what I sometimes call “free intelligence”—and build a quality health system around that, we will have to be more radical in low-income countries than any rich country is ever going to be.  
    LEE: Also, there’s maybe a different regulatory environment, so some of those things maybe are easier? Because right now, I think the world hasn’t figured out how to and whether to regulate, let’s say, an AI that might give a medical diagnosis or write a prescription for a medication. 
    BUBECK: Yeah. I think one issue with this, and it’s also slowing down the deployment of AI in healthcare more generally, is a lack of proper benchmark. Because, you know, you were mentioning the USMLE, for example. That’s a great test to test human beings and their knowledge of healthcare and medicine. But it’s not a great test to give to an AI. 
    It’s not asking the right questions. So finding what are the right questions to test whether an AI system is ready to give diagnosis in a constrained setting, that’s a very, very important direction, which to my surprise, is not yet accelerating at the rate that I was hoping for. 
    LEE: OK, so that gives me an excuse to get more now into the core AI tech because something I’ve discussed with both of you is this issue of what are the right tests. And you both know the very first test I give to any new spin of an LLM is I present a patient, the results—a mythical patient—the results of my physical exam, my mythical physical exam. Maybe some results of some initial labs. And then I present or propose a differential diagnosis. And if you’re not in medicine, a differential diagnosis you can just think of as a prioritized list of the possible diagnoses that fit with all that data. And in that proposed differential, I always intentionally make two mistakes. 
    I make a textbook technical error in one of the possible elements of the differential diagnosis, and I have an error of omission. And, you know, I just want to know, does the LLM understand what I’m talking about? And all the good ones out there do now. But then I want to know, can it spot the errors? And then most importantly, is it willing to tell me I’m wrong, that I’ve made a mistake?  
    That last piece seems really hard for AI today. And so let me ask you first, Seb, because at the time of this taping, of course, there was a new spin of GPT-4o last week that became overly sycophantic. In other words, it was actually prone in that test of mine not only to not tell me I’m wrong, but it actually praised me for the creativity of my differential.What’s up with that? 
    BUBECK: Yeah, I guess it’s a testament to the fact that training those models is still more of an art than a science. So it’s a difficult job. Just to be clear with the audience, we have rolled back thatversion of GPT-4o, so now we don’t have the sycophant version out there. 
    Yeah, no, it’s a really difficult question. It has to do … as you said, it’s very technical. It has to do with the post-training and how, like, where do you nudge the model? So, you know, there is this very classical by now technique called RLHF, where you push the model in the direction of a certain reward model. So the reward model is just telling the model, you know, what behavior is good, what behavior is bad. 
    But this reward model is itself an LLM, and, you know, Bill was saying at the very beginning of the conversation that we don’t really understand how those LLMs deal with concepts like, you know, where is the capital of France located? Things like that. It is the same thing for this reward model. We don’t know why it says that it prefers one output to another, and whether this is correlated with some sycophancy is, you know, something that we discovered basically just now. That if you push too hard in optimization on this reward model, you will get a sycophant model. 
    So it’s kind of … what I’m trying to say is we became too good at what we were doing, and we ended up, in fact, in a trap of the reward model. 
    LEE: I mean, you do want … it’s a difficult balance because you do want models to follow your desires and … 
    BUBECK: It’s a very difficult, very difficult balance. 
    LEE: So this brings up then the following question for me, which is the extent to which we think we’ll need to have specially trained models for things. So let me start with you, Bill. Do you have a point of view on whether we will need to, you know, quote-unquote take AI models to med school? Have them specially trained? Like, if you were going to deploy something to give medical care in underserved parts of the world, do we need to do something special to create those models? 
    GATES: We certainly need to teach them the African languages and the unique dialects so that the multimedia interactions are very high quality. We certainly need to teach them the disease prevalence and unique disease patterns like, you know, neglected tropical diseases and malaria. So we need to gather a set of facts that somebody trying to go for a US customer base, you know, wouldn’t necessarily have that in there. 
    Those two things are actually very straightforward because the additional training time is small. I’d say for the next few years, we’ll also need to do reinforcement learning about the context of being a doctor and how important certain behaviors are. Humans learn over the course of their life to some degree that, I’m in a different context and the way I behave in terms of being willing to criticize or be nice, you know, how important is it? Who’s here? What’s my relationship to them?  
    Right now, these machines don’t have that broad social experience. And so if you know it’s going to be used for health things, a lot of reinforcement learning of the very best humans in that context would still be valuable. Eventually, the models will, having read all the literature of the world about good doctors, bad doctors, it’ll understand as soon as you say, “I want you to be a doctor diagnosing somebody.” All of the implicit reinforcement that fits that situation, you know, will be there.
    LEE: Yeah.
    GATES: And so I hope three years from now, we don’t have to do that reinforcement learning. But today, for any medical context, you would want a lot of data to reinforce tone, willingness to say things when, you know, there might be something significant at stake. 
    LEE: Yeah. So, you know, something Bill said, kind of, reminds me of another thing that I think we missed, which is, the context also … and the specialization also pertains to different, I guess, what we still call “modes,” although I don’t know if the idea of multimodal is the same as it was two years ago. But, you know, what do you make of all of the hubbub around—in fact, within Microsoft Research, this is a big deal, but I think we’re far from alone—you know, medical images and vision, video, proteins and molecules, cell, you know, cellular data and so on. 
    BUBECK: Yeah. OK. So there is a lot to say to everything … to the last, you know, couple of minutes. Maybe on the specialization aspect, you know, I think there is, hiding behind this, a really fundamental scientific question of whether eventually we have a singular AGIthat kind of knows everything and you can just put, you know, explain your own context and it will just get it and understand everything. 
    That’s one vision. I have to say, I don’t particularly believe in this vision. In fact, we humans are not like that at all. I think, hopefully, we are general intelligences, yet we have to specialize a lot. And, you know, I did myself a lot of RL, reinforcement learning, on mathematics. Like, that’s what I did, you know, spent a lot of time doing that. And I didn’t improve on other aspects. You know, in fact, I probably degraded in other aspects.So it’s … I think it’s an important example to have in mind. 
    LEE: I think I might disagree with you on that, though, because, like, doesn’t a model have to see both good science and bad science in order to be able to gain the ability to discern between the two? 
    BUBECK: Yeah, no, that absolutely. I think there is value in seeing the generality, in having a very broad base. But then you, kind of, specialize on verticals. And this is where also, you know, open-weights model, which we haven’t talked about yet, are really important because they allow you to provide this broad base to everyone. And then you can specialize on top of it. 
    LEE: So we have about three hours of stuff to talk about, but our time is actually running low.
    BUBECK: Yes, yes, yes.  
    LEE: So I think I want … there’s a more provocative question. It’s almost a silly question, but I need to ask it of the two of you, which is, is there a future, you know, where AI replaces doctors or replaces, you know, medical specialties that we have today? So what does the world look like, say, five years from now? 
    GATES: Well, it’s important to distinguish healthcare discovery activity from healthcare delivery activity. We focused mostly on delivery. I think it’s very much within the realm of possibility that the AI is not only accelerating healthcare discovery but substituting for a lot of the roles of, you know, I’m an organic chemist, or I run various types of assays. I can see those, which are, you know, testable-output-type jobs but with still very high value, I can see, you know, some replacement in those areas before the doctor.  
    The doctor, still understanding the human condition and long-term dialogues, you know, they’ve had a lifetime of reinforcement of that, particularly when you get into areas like mental health. So I wouldn’t say in five years, either people will choose to adopt it, but it will be profound that there’ll be this nearly free intelligence that can do follow-up, that can help you, you know, make sure you went through different possibilities. 
    And so I’d say, yes, we’ll have doctors, but I’d say healthcare will be massively transformed in its quality and in efficiency by AI in that time period. 
    LEE: Is there a comparison, useful comparison, say, between doctors and, say, programmers, computer programmers, or doctors and, I don’t know, lawyers? 
    GATES: Programming is another one that has, kind of, a mathematical correctness to it, you know, and so the objective function that you’re trying to reinforce to, as soon as you can understand the state machines, you can have something that’s “checkable”; that’s correct. So I think programming, you know, which is weird to say, that the machine will beat us at most programming tasks before we let it take over roles that have deep empathy, you know, physical presence and social understanding in them. 
    LEE: Yeah. By the way, you know, I fully expect in five years that AI will produce mathematical proofs that are checkable for validity, easily checkable, because they’ll be written in a proof-checking language like Lean or something but will be so complex that no human mathematician can understand them. I expect that to happen.  
    I can imagine in some fields, like cellular biology, we could have the same situation in the future because the molecular pathways, the chemistry, biochemistry of human cells or living cells is as complex as any mathematics, and so it seems possible that we may be in a state where in wet lab, we see, Oh yeah, this actually works, but no one can understand why. 
    BUBECK: Yeah, absolutely. I mean, I think I really agree with Bill’s distinction of the discovery and the delivery, and indeed, the discovery’s when you can check things, and at the end, there is an artifact that you can verify. You know, you can run the protocol in the wet lab and seeproduced what you wanted. So I absolutely agree with that.  
    And in fact, you know, we don’t have to talk five years from now. I don’t know if you know, but just recently, there was a paper that was published on a scientific discovery using o3- mini. So this is really amazing. And, you know, just very quickly, just so people know, it was about this statistical physics model, the frustrated Potts model, which has to do with coloring, and basically, the case of three colors, like, more than two colors was open for a long time, and o3 was able to reduce the case of three colors to two colors.  
    LEE: Yeah. 
    BUBECK: Which is just, like, astounding. And this is not … this is now. This is happening right now. So this is something that I personally didn’t expect it would happen so quickly, and it’s due to those reasoning models.  
    Now, on the delivery side, I would add something more to it for the reason why doctors and, in fact, lawyers and coders will remain for a long time, and it’s because we still don’t understand how those models generalize. Like, at the end of the day, we are not able to tell you when they are confronted with a really new, novel situation, whether they will work or not. 
    Nobody is able to give you that guarantee. And I think until we understand this generalization better, we’re not going to be willing to just let the system in the wild without human supervision. 
    LEE: But don’t human doctors, human specialists … so, for example, a cardiologist sees a patient in a certain way that a nephrologist … 
    BUBECK: Yeah.
    LEE: … or an endocrinologist might not.
    BUBECK: That’s right. But another cardiologist will understand and, kind of, expect a certain level of generalization from their peer. And this, we just don’t have it with AI models. Now, of course, you’re exactly right. That generalization is also hard for humans. Like, if you have a human trained for one task and you put them into another task, then you don’t … you often don’t know.
    LEE: OK. You know, the podcast is focused on what’s happened over the last two years. But now, I’d like one provocative prediction about what you think the world of AI and medicine is going to be at some point in the future. You pick your timeframe. I don’t care if it’s two years or 20 years from now, but, you know, what do you think will be different about AI in medicine in that future than today? 
    BUBECK: Yeah, I think the deployment is going to accelerate soon. Like, we’re really not missing very much. There is this enormous capability overhang. Like, even if progress completely stopped, with current systems, we can do a lot more than what we’re doing right now. So I think this will … this has to be realized, you know, sooner rather than later. 
    And I think it’s probably dependent on these benchmarks and proper evaluation and tying this with regulation. So these are things that take time in human society and for good reason. But now we already are at two years; you know, give it another two years and it should be really …  
    LEE: Will AI prescribe your medicines? Write your prescriptions? 
    BUBECK: I think yes. I think yes. 
    LEE: OK. Bill? 
    GATES: Well, I think the next two years, we’ll have massive pilots, and so the amount of use of the AI, still in a copilot-type mode, you know, we should get millions of patient visits, you know, both in general medicine and in the mental health side, as well. And I think that’s going to build up both the data and the confidence to give the AI some additional autonomy. You know, are you going to let it talk to you at night when you’re panicked about your mental health with some ability to escalate?
    And, you know, I’ve gone so far as to tell politicians with national health systems that if they deploy AI appropriately, that the quality of care, the overload of the doctors, the improvement in the economics will be enough that their voters will be stunned because they just don’t expect this, and, you know, they could be reelectedjust on this one thing of fixing what is a very overloaded and economically challenged health system in these rich countries. 
    You know, my personal role is going to be to make sure that in the poorer countries, there isn’t some lag; in fact, in many cases, that we’ll be more aggressive because, you know, we’re comparing to having no access to doctors at all. And, you know, so I think whether it’s India or Africa, there’ll be lessons that are globally valuable because we need medical intelligence. And, you know, thank god AI is going to provide a lot of that. 
    LEE: Well, on that optimistic note, I think that’s a good way to end. Bill, Seb, really appreciate all of this.  
    I think the most fundamental prediction we made in the book is that AI would actually find its way into the practice of medicine, and I think that that at least has come true, maybe in different ways than we expected, but it’s come true, and I think it’ll only accelerate from here. So thanks again, both of you.  
    GATES: Yeah. Thanks, you guys. 
    BUBECK: Thank you, Peter. Thanks, Bill. 
    LEE: I just always feel such a sense of privilege to have a chance to interact and actually work with people like Bill and Sébastien.   
    With Bill, I’m always amazed at how practically minded he is. He’s really thinking about the nuts and bolts of what AI might be able to do for people, and his thoughts about underserved parts of the world, the idea that we might actually be able to empower people with access to expert medical knowledge, I think is both inspiring and amazing.  
    And then, Seb, Sébastien Bubeck, he’s just absolutely a brilliant mind. He has a really firm grip on the deep mathematics of artificial intelligence and brings that to bear in his research and development work. And where that mathematics takes him isn’t just into the nuts and bolts of algorithms but into philosophical questions about the nature of intelligence.  
    One of the things that Sébastien brought up was the state of evaluation of AI systems. And indeed, he was fairly critical in our conversation. But of course, the world of AI research and development is just moving so fast, and indeed, since we recorded our conversation, OpenAI, in fact, released a new evaluation metric that is directly relevant to medical applications, and that is something called HealthBench. And Microsoft Research also released a new evaluation approach or process called ADeLe.  
    HealthBench and ADeLe are examples of new approaches to evaluating AI models that are less about testing their knowledge and ability to pass multiple-choice exams and instead are evaluation approaches designed to assess how well AI models are able to complete tasks that actually arise every day in typical healthcare or biomedical research settings. These are examples of really important good work that speak to how well AI models work in the real world of healthcare and biomedical research and how well they can collaborate with human beings in those settings. 
    You know, I asked Bill and Seb to make some predictions about the future. You know, my own answer, I expect that we’re going to be able to use AI to change how we diagnose patients, change how we decide treatment options.  
    If you’re a doctor or a nurse and you encounter a patient, you’ll ask questions, do a physical exam, you know, call out for labs just like you do today, but then you’ll be able to engage with AI based on all of that data and just ask, you know, based on all the other people who have gone through the same experience, who have similar data, how were they diagnosed? How were they treated? What were their outcomes? And what does that mean for the patient I have right now? Some people call it the “patients like me” paradigm. And I think that’s going to become real because of AI within our lifetimes. That idea of really grounding the delivery in healthcare and medical practice through data and intelligence, I actually now don’t see any barriers to that future becoming real.  
    I’d like to extend another big thank you to Bill and Sébastien for their time. And to our listeners, as always, it’s a pleasure to have you along for the ride. I hope you’ll join us for our remaining conversations, as well as a second coauthor roundtable with Carey and Zak.  
    Until next time.  
    #how #reshaping #future #healthcare #medical
    How AI is reshaping the future of healthcare and medical research
    Transcript        PETER LEE: “In ‘The Little Black Bag,’ a classic science fiction story, a high-tech doctor’s kit of the future is accidentally transported back to the 1950s, into the shaky hands of a washed-up, alcoholic doctor. The ultimate medical tool, it redeems the doctor wielding it, allowing him to practice gratifyingly heroic medicine. … The tale ends badly for the doctor and his treacherous assistant, but it offered a picture of how advanced technology could transform medicine—powerful when it was written nearly 75 years ago and still so today. What would be the Al equivalent of that little black bag? At this moment when new capabilities are emerging, how do we imagine them into medicine?”           This is The AI Revolution in Medicine, Revisited. I’m your host, Peter Lee.    Shortly after OpenAI’s GPT-4 was publicly released, Carey Goldberg, Dr. Zak Kohane, and I published The AI Revolution in Medicine to help educate the world of healthcare and medical research about the transformative impact this new generative AI technology could have. But because we wrote the book when GPT-4 was still a secret, we had to speculate. Now, two years later, what did we get right, and what did we get wrong?     In this series, we’ll talk to clinicians, patients, hospital administrators, and others to understand the reality of AI in the field and where we go from here.  The book passage I read at the top is from “Chapter 10: The Big Black Bag.”  In imagining AI in medicine, Carey, Zak, and I included in our book two fictional accounts. In the first, a medical resident consults GPT-4 on her personal phone as the patient in front of her crashes. Within seconds, it offers an alternate response based on recent literature. In the second account, a 90-year-old woman with several chronic conditions is living independently and receiving near-constant medical support from an AI aide.    In our conversations with the guests we’ve spoken to so far, we’ve caught a glimpse of these predicted futures, seeing how clinicians and patients are actually using AI today and how developers are leveraging the technology in the healthcare products and services they’re creating. In fact, that first fictional account isn’t so fictional after all, as most of the doctors in the real world actually appear to be using AI at least occasionally—and sometimes much more than occasionally—to help in their daily clinical work. And as for the second fictional account, which is more of a science fiction account, it seems we are indeed on the verge of a new way of delivering and receiving healthcare, though the future is still very much open.  As we continue to examine the current state of AI in healthcare and its potential to transform the field, I’m pleased to welcome Bill Gates and Sébastien Bubeck.   Bill may be best known as the co-founder of Microsoft, having created the company with his childhood friend Paul Allen in 1975. He’s now the founder of Breakthrough Energy, which aims to advance clean energy innovation, and TerraPower, a company developing groundbreaking nuclear energy and science technologies. He also chairs the world’s largest philanthropic organization, the Gates Foundation, and focuses on solving a variety of health challenges around the globe and here at home.  Sébastien is a research lead at OpenAI. He was previously a distinguished scientist, vice president of AI, and a colleague of mine here at Microsoft, where his work included spearheading the development of the family of small language models known as Phi. While at Microsoft, he also coauthored the discussion-provoking 2023 paper “Sparks of Artificial General Intelligence,” which presented the results of early experiments with GPT-4 conducted by a small team from Microsoft Research.      Here’s my conversation with Bill Gates and Sébastien Bubeck.  LEE: Bill, welcome.  BILL GATES: Thank you.  LEE: Seb …  SÉBASTIEN BUBECK: Yeah. Hi, hi, Peter. Nice to be here.  LEE: You know, one of the things that I’ve been doing just to get the conversation warmed up is to talk about origin stories, and what I mean about origin stories is, you know, what was the first contact that you had with large language models or the concept of generative AI that convinced you or made you think that something really important was happening?  And so, Bill, I think I’ve heard the story about, you know, the time when the OpenAI folks—Sam Altman, Greg Brockman, and others—showed you something, but could we hear from you what those early encounters were like and what was going through your mind?   GATES: Well, I’d been visiting OpenAI soon after it was created to see things like GPT-2 and to see the little arm they had that was trying to match human manipulation and, you know, looking at their games like Dota that they were trying to get as good as human play. And honestly, I didn’t think the language model stuff they were doing, even when they got to GPT-3, would show the ability to learn, you know, in the same sense that a human reads a biology book and is able to take that knowledge and access it not only to pass a test but also to create new medicines.  And so my challenge to them was that if their LLM could get a five on the advanced placement biology test, then I would say, OK, it took biologic knowledge and encoded it in an accessible way and that I didn’t expect them to do that very quickly but it would be profound.   And it was only about six months after I challenged them to do that, that an early version of GPT-4 they brought up to a dinner at my house, and in fact, it answered most of the questions that night very well. The one it got totally wrong, we were … because it was so good, we kept thinking, Oh, we must be wrong. It turned out it was a math weaknessthat, you know, we later understood that that was an area of, weirdly, of incredible weakness of those early models. But, you know, that was when I realized, OK, the age of cheap intelligence was at its beginning.  LEE: Yeah. So I guess it seems like you had something similar to me in that my first encounters, I actually harbored some skepticism. Is it fair to say you were skeptical before that?  GATES: Well, the idea that we’ve figured out how to encode and access knowledge in this very deep sense without even understanding the nature of the encoding, …  LEE: Right.   GATES: … that is a bit weird.   LEE: Yeah.  GATES: We have an algorithm that creates the computation, but even say, OK, where is the president’s birthday stored in there? Where is this fact stored in there? The fact that even now when we’re playing around, getting a little bit more sense of it, it’s opaque to us what the semantic encoding is, it’s, kind of, amazing to me. I thought the invention of knowledge storage would be an explicit way of encoding knowledge, not an implicit statistical training.  LEE: Yeah, yeah. All right. So, Seb, you know, on this same topic, you know, I got—as we say at Microsoft—I got pulled into the tent.  BUBECK: Yes.   LEE: Because this was a very secret project. And then, um, I had the opportunity to select a small number of researchers in MSRto join and start investigating this thing seriously. And the first person I pulled in was you.  BUBECK: Yeah.  LEE: And so what were your first encounters? Because I actually don’t remember what happened then.  BUBECK: Oh, I remember it very well.My first encounter with GPT-4 was in a meeting with the two of you, actually. But my kind of first contact, the first moment where I realized that something was happening with generative AI, was before that. And I agree with Bill that I also wasn’t too impressed by GPT-3.  I though that it was kind of, you know, very naturally mimicking the web, sort of parroting what was written there in a nice way. Still in a way which seemed very impressive. But it wasn’t really intelligent in any way. But shortly after GPT-3, there was a model before GPT-4 that really shocked me, and this was the first image generation model, DALL-E 1.  So that was in 2021. And I will forever remember the press release of OpenAI where they had this prompt of an avocado chair and then you had this image of the avocado chair.And what really shocked me is that clearly the model kind of “understood” what is a chair, what is an avocado, and was able to merge those concepts.  So this was really, to me, the first moment where I saw some understanding in those models.   LEE: So this was, just to get the timing right, that was before I pulled you into the tent.  BUBECK: That was before. That was like a year before.  LEE: Right.   BUBECK: And now I will tell you how, you know, we went from that moment to the meeting with the two of you and GPT-4.  So once I saw this kind of understanding, I thought, OK, fine. It understands concept, but it’s still not able to reason. It cannot—as, you know, Bill was saying—it cannot learn from your document. It cannot reason.   So I set out to try to prove that. You know, this is what I was in the business of at the time, trying to prove things in mathematics. So I was trying to prove that basically autoregressive transformers could never reason. So I was trying to prove this. And after a year of work, I had something reasonable to show. And so I had the meeting with the two of you, and I had this example where I wanted to say, there is no way that an LLM is going to be able to do x.  And then as soon as I … I don’t know if you remember, Bill. But as soon as I said that, you said, oh, but wait a second. I had, you know, the OpenAI crew at my house recently, and they showed me a new model. Why don’t we ask this new model this question?   LEE: Yeah. BUBECK: And we did, and it solved it on the spot. And that really, honestly, just changed my life. Like, you know, I had been working for a year trying to say that this was impossible. And just right there, it was shown to be possible.   LEE:One of the very first things I got interested in—because I was really thinking a lot about healthcare—was healthcare and medicine.  And I don’t know if the two of you remember, but I ended up doing a lot of tests. I ran through, you know, step one and step two of the US Medical Licensing Exam. Did a whole bunch of other things. I wrote this big report. It was, you know, I can’t remember … a couple hundred pages.   And I needed to share this with someone. I didn’t … there weren’t too many people I could share it with. So I sent, I think, a copy to you, Bill. Sent a copy to you, Seb.   I hardly slept for about a week putting that report together. And, yeah, and I kept working on it. But I was far from alone. I think everyone who was in the tent, so to speak, in those early days was going through something pretty similar. All right. So I think … of course, a lot of what I put in the report also ended up being examples that made it into the book.  But the main purpose of this conversation isn’t to reminisce aboutor indulge in those reminiscences but to talk about what’s happening in healthcare and medicine. And, you know, as I said, we wrote this book. We did it very, very quickly. Seb, you helped. Bill, you know, you provided a review and some endorsements.  But, you know, honestly, we didn’t know what we were talking about because no one had access to this thing. And so we just made a bunch of guesses. So really, the whole thing I wanted to probe with the two of you is, now with two years of experience out in the world, what, you know, what do we think is happening today?  You know, is AI actually having an impact, positive or negative, on healthcare and medicine? And what do we now think is going to happen in the next two years, five years, or 10 years? And so I realize it’s a little bit too abstract to just ask it that way. So let me just try to narrow the discussion and guide us a little bit.   Um, the kind of administrative and clerical work, paperwork, around healthcare—and we made a lot of guesses about that—that appears to be going well, but, you know, Bill, I know we’ve discussed that sometimes that you think there ought to be a lot more going on. Do you have a viewpoint on how AI is actually finding its way into reducing paperwork?  GATES: Well, I’m stunned … I don’t think there should be a patient-doctor meeting where the AI is not sitting in and both transcribing, offering to help with the paperwork, and even making suggestions, although the doctor will be the one, you know, who makes the final decision about the diagnosis and whatever prescription gets done.   It’s so helpful. You know, when that patient goes home and their, you know, son who wants to understand what happened has some questions, that AI should be available to continue that conversation. And the way you can improve that experience and streamline things and, you know, involve the people who advise you. I don’t understand why that’s not more adopted, because there you still have the human in the loop making that final decision.  But even for, like, follow-up calls to make sure the patient did things, to understand if they have concerns and knowing when to escalate back to the doctor, the benefit is incredible. And, you know, that thing is ready for prime time. That paradigm is ready for prime time, in my view.  LEE: Yeah, there are some good products, but it seems like the number one use right now—and we kind of got this from some of the previous guests in previous episodes—is the use of AI just to respond to emails from patients.Does that make sense to you?  BUBECK: Yeah. So maybe I want to second what Bill was saying but maybe take a step back first. You know, two years ago, like, the concept of clinical scribes, which is one of the things that we’re talking about right now, it would have sounded, in fact, it sounded two years ago, borderline dangerous. Because everybody was worried about hallucinations. What happened if you have this AI listening in and then it transcribes, you know, something wrong?  Now, two years later, I think it’s mostly working. And in fact, it is not yet, you know, fully adopted. You’re right. But it is in production. It is used, you know, in many, many places. So this rate of progress is astounding because it wasn’t obvious that we would be able to overcome those obstacles of hallucination. It’s not to say that hallucinations are fully solved. In the case of the closed system, they are.   Now, I think more generally what’s going on in the background is that there is something that we, that certainly I, underestimated, which is this management overhead. So I think the reason why this is not adopted everywhere is really a training and teaching aspect. People need to be taught, like, those systems, how to interact with them.  And one example that I really like, a study that recently appeared where they tried to use ChatGPT for diagnosis and they were comparing doctors without and with ChatGPT. And the amazing thing … so this was a set of cases where the accuracy of the doctors alone was around 75%. ChatGPT alone was 90%. So that’s already kind of mind blowing. But then the kicker is that doctors with ChatGPT was 80%.   Intelligence alone is not enough. It’s also how it’s presented, how you interact with it. And ChatGPT, it’s an amazing tool. Obviously, I absolutely love it. But it’s not … you don’t want a doctor to have to type in, you know, prompts and use it that way.  It should be, as Bill was saying, kind of running continuously in the background, sending you notifications. And you have to be really careful of the rate at which those notifications are being sent. Because if they are too frequent, then the doctor will learn to ignore them. So you have to … all of those things matter, in fact, at least as much as the level of intelligence of the machine.  LEE: One of the things I think about, Bill, in that scenario that you described, doctors do some thinking about the patient when they write the note. So, you know, I’m always a little uncertain whether it’s actually … you know, you wouldn’t necessarily want to fully automate this, I don’t think. Or at least there needs to be some prompt to the doctor to make sure that the doctor puts some thought into what happened in the encounter with the patient. Does that make sense to you at all?  GATES: At this stage, you know, I’d still put the onus on the doctor to write the conclusions and the summary and not delegate that.  The tradeoffs you make a little bit are somewhat dependent on the situation you’re in. If you’re in Africa, So, yes, the doctor’s still going to have to do a lot of work, but just the quality of letting the patient and the people around them interact and ask questions and have things explained, that alone is such a quality improvement. It’s mind blowing.   LEE: So since you mentioned, you know, Africa—and, of course, this touches on the mission and some of the priorities of the Gates Foundation and this idea of democratization of access to expert medical care—what’s the most interesting stuff going on right now? Are there people and organizations or technologies that are impressing you or that you’re tracking?  GATES: Yeah. So the Gates Foundation has given out a lot of grants to people in Africa doing education, agriculture but more healthcare examples than anything. And the way these things start off, they often start out either being patient-centric in a narrow situation, like, OK, I’m a pregnant woman; talk to me. Or, I have infectious disease symptoms; talk to me. Or they’re connected to a health worker where they’re helping that worker get their job done. And we have lots of pilots out, you know, in both of those cases.   The dream would be eventually to have the thing the patient consults be so broad that it’s like having a doctor available who understands the local things.   LEE: Right.   GATES: We’re not there yet. But over the next two or three years, you know, particularly given the worsening financial constraints against African health systems, where the withdrawal of money has been dramatic, you know, figuring out how to take this—what I sometimes call “free intelligence”—and build a quality health system around that, we will have to be more radical in low-income countries than any rich country is ever going to be.   LEE: Also, there’s maybe a different regulatory environment, so some of those things maybe are easier? Because right now, I think the world hasn’t figured out how to and whether to regulate, let’s say, an AI that might give a medical diagnosis or write a prescription for a medication.  BUBECK: Yeah. I think one issue with this, and it’s also slowing down the deployment of AI in healthcare more generally, is a lack of proper benchmark. Because, you know, you were mentioning the USMLE, for example. That’s a great test to test human beings and their knowledge of healthcare and medicine. But it’s not a great test to give to an AI.  It’s not asking the right questions. So finding what are the right questions to test whether an AI system is ready to give diagnosis in a constrained setting, that’s a very, very important direction, which to my surprise, is not yet accelerating at the rate that I was hoping for.  LEE: OK, so that gives me an excuse to get more now into the core AI tech because something I’ve discussed with both of you is this issue of what are the right tests. And you both know the very first test I give to any new spin of an LLM is I present a patient, the results—a mythical patient—the results of my physical exam, my mythical physical exam. Maybe some results of some initial labs. And then I present or propose a differential diagnosis. And if you’re not in medicine, a differential diagnosis you can just think of as a prioritized list of the possible diagnoses that fit with all that data. And in that proposed differential, I always intentionally make two mistakes.  I make a textbook technical error in one of the possible elements of the differential diagnosis, and I have an error of omission. And, you know, I just want to know, does the LLM understand what I’m talking about? And all the good ones out there do now. But then I want to know, can it spot the errors? And then most importantly, is it willing to tell me I’m wrong, that I’ve made a mistake?   That last piece seems really hard for AI today. And so let me ask you first, Seb, because at the time of this taping, of course, there was a new spin of GPT-4o last week that became overly sycophantic. In other words, it was actually prone in that test of mine not only to not tell me I’m wrong, but it actually praised me for the creativity of my differential.What’s up with that?  BUBECK: Yeah, I guess it’s a testament to the fact that training those models is still more of an art than a science. So it’s a difficult job. Just to be clear with the audience, we have rolled back thatversion of GPT-4o, so now we don’t have the sycophant version out there.  Yeah, no, it’s a really difficult question. It has to do … as you said, it’s very technical. It has to do with the post-training and how, like, where do you nudge the model? So, you know, there is this very classical by now technique called RLHF, where you push the model in the direction of a certain reward model. So the reward model is just telling the model, you know, what behavior is good, what behavior is bad.  But this reward model is itself an LLM, and, you know, Bill was saying at the very beginning of the conversation that we don’t really understand how those LLMs deal with concepts like, you know, where is the capital of France located? Things like that. It is the same thing for this reward model. We don’t know why it says that it prefers one output to another, and whether this is correlated with some sycophancy is, you know, something that we discovered basically just now. That if you push too hard in optimization on this reward model, you will get a sycophant model.  So it’s kind of … what I’m trying to say is we became too good at what we were doing, and we ended up, in fact, in a trap of the reward model.  LEE: I mean, you do want … it’s a difficult balance because you do want models to follow your desires and …  BUBECK: It’s a very difficult, very difficult balance.  LEE: So this brings up then the following question for me, which is the extent to which we think we’ll need to have specially trained models for things. So let me start with you, Bill. Do you have a point of view on whether we will need to, you know, quote-unquote take AI models to med school? Have them specially trained? Like, if you were going to deploy something to give medical care in underserved parts of the world, do we need to do something special to create those models?  GATES: We certainly need to teach them the African languages and the unique dialects so that the multimedia interactions are very high quality. We certainly need to teach them the disease prevalence and unique disease patterns like, you know, neglected tropical diseases and malaria. So we need to gather a set of facts that somebody trying to go for a US customer base, you know, wouldn’t necessarily have that in there.  Those two things are actually very straightforward because the additional training time is small. I’d say for the next few years, we’ll also need to do reinforcement learning about the context of being a doctor and how important certain behaviors are. Humans learn over the course of their life to some degree that, I’m in a different context and the way I behave in terms of being willing to criticize or be nice, you know, how important is it? Who’s here? What’s my relationship to them?   Right now, these machines don’t have that broad social experience. And so if you know it’s going to be used for health things, a lot of reinforcement learning of the very best humans in that context would still be valuable. Eventually, the models will, having read all the literature of the world about good doctors, bad doctors, it’ll understand as soon as you say, “I want you to be a doctor diagnosing somebody.” All of the implicit reinforcement that fits that situation, you know, will be there. LEE: Yeah. GATES: And so I hope three years from now, we don’t have to do that reinforcement learning. But today, for any medical context, you would want a lot of data to reinforce tone, willingness to say things when, you know, there might be something significant at stake.  LEE: Yeah. So, you know, something Bill said, kind of, reminds me of another thing that I think we missed, which is, the context also … and the specialization also pertains to different, I guess, what we still call “modes,” although I don’t know if the idea of multimodal is the same as it was two years ago. But, you know, what do you make of all of the hubbub around—in fact, within Microsoft Research, this is a big deal, but I think we’re far from alone—you know, medical images and vision, video, proteins and molecules, cell, you know, cellular data and so on.  BUBECK: Yeah. OK. So there is a lot to say to everything … to the last, you know, couple of minutes. Maybe on the specialization aspect, you know, I think there is, hiding behind this, a really fundamental scientific question of whether eventually we have a singular AGIthat kind of knows everything and you can just put, you know, explain your own context and it will just get it and understand everything.  That’s one vision. I have to say, I don’t particularly believe in this vision. In fact, we humans are not like that at all. I think, hopefully, we are general intelligences, yet we have to specialize a lot. And, you know, I did myself a lot of RL, reinforcement learning, on mathematics. Like, that’s what I did, you know, spent a lot of time doing that. And I didn’t improve on other aspects. You know, in fact, I probably degraded in other aspects.So it’s … I think it’s an important example to have in mind.  LEE: I think I might disagree with you on that, though, because, like, doesn’t a model have to see both good science and bad science in order to be able to gain the ability to discern between the two?  BUBECK: Yeah, no, that absolutely. I think there is value in seeing the generality, in having a very broad base. But then you, kind of, specialize on verticals. And this is where also, you know, open-weights model, which we haven’t talked about yet, are really important because they allow you to provide this broad base to everyone. And then you can specialize on top of it.  LEE: So we have about three hours of stuff to talk about, but our time is actually running low. BUBECK: Yes, yes, yes.   LEE: So I think I want … there’s a more provocative question. It’s almost a silly question, but I need to ask it of the two of you, which is, is there a future, you know, where AI replaces doctors or replaces, you know, medical specialties that we have today? So what does the world look like, say, five years from now?  GATES: Well, it’s important to distinguish healthcare discovery activity from healthcare delivery activity. We focused mostly on delivery. I think it’s very much within the realm of possibility that the AI is not only accelerating healthcare discovery but substituting for a lot of the roles of, you know, I’m an organic chemist, or I run various types of assays. I can see those, which are, you know, testable-output-type jobs but with still very high value, I can see, you know, some replacement in those areas before the doctor.   The doctor, still understanding the human condition and long-term dialogues, you know, they’ve had a lifetime of reinforcement of that, particularly when you get into areas like mental health. So I wouldn’t say in five years, either people will choose to adopt it, but it will be profound that there’ll be this nearly free intelligence that can do follow-up, that can help you, you know, make sure you went through different possibilities.  And so I’d say, yes, we’ll have doctors, but I’d say healthcare will be massively transformed in its quality and in efficiency by AI in that time period.  LEE: Is there a comparison, useful comparison, say, between doctors and, say, programmers, computer programmers, or doctors and, I don’t know, lawyers?  GATES: Programming is another one that has, kind of, a mathematical correctness to it, you know, and so the objective function that you’re trying to reinforce to, as soon as you can understand the state machines, you can have something that’s “checkable”; that’s correct. So I think programming, you know, which is weird to say, that the machine will beat us at most programming tasks before we let it take over roles that have deep empathy, you know, physical presence and social understanding in them.  LEE: Yeah. By the way, you know, I fully expect in five years that AI will produce mathematical proofs that are checkable for validity, easily checkable, because they’ll be written in a proof-checking language like Lean or something but will be so complex that no human mathematician can understand them. I expect that to happen.   I can imagine in some fields, like cellular biology, we could have the same situation in the future because the molecular pathways, the chemistry, biochemistry of human cells or living cells is as complex as any mathematics, and so it seems possible that we may be in a state where in wet lab, we see, Oh yeah, this actually works, but no one can understand why.  BUBECK: Yeah, absolutely. I mean, I think I really agree with Bill’s distinction of the discovery and the delivery, and indeed, the discovery’s when you can check things, and at the end, there is an artifact that you can verify. You know, you can run the protocol in the wet lab and seeproduced what you wanted. So I absolutely agree with that.   And in fact, you know, we don’t have to talk five years from now. I don’t know if you know, but just recently, there was a paper that was published on a scientific discovery using o3- mini. So this is really amazing. And, you know, just very quickly, just so people know, it was about this statistical physics model, the frustrated Potts model, which has to do with coloring, and basically, the case of three colors, like, more than two colors was open for a long time, and o3 was able to reduce the case of three colors to two colors.   LEE: Yeah.  BUBECK: Which is just, like, astounding. And this is not … this is now. This is happening right now. So this is something that I personally didn’t expect it would happen so quickly, and it’s due to those reasoning models.   Now, on the delivery side, I would add something more to it for the reason why doctors and, in fact, lawyers and coders will remain for a long time, and it’s because we still don’t understand how those models generalize. Like, at the end of the day, we are not able to tell you when they are confronted with a really new, novel situation, whether they will work or not.  Nobody is able to give you that guarantee. And I think until we understand this generalization better, we’re not going to be willing to just let the system in the wild without human supervision.  LEE: But don’t human doctors, human specialists … so, for example, a cardiologist sees a patient in a certain way that a nephrologist …  BUBECK: Yeah. LEE: … or an endocrinologist might not. BUBECK: That’s right. But another cardiologist will understand and, kind of, expect a certain level of generalization from their peer. And this, we just don’t have it with AI models. Now, of course, you’re exactly right. That generalization is also hard for humans. Like, if you have a human trained for one task and you put them into another task, then you don’t … you often don’t know. LEE: OK. You know, the podcast is focused on what’s happened over the last two years. But now, I’d like one provocative prediction about what you think the world of AI and medicine is going to be at some point in the future. You pick your timeframe. I don’t care if it’s two years or 20 years from now, but, you know, what do you think will be different about AI in medicine in that future than today?  BUBECK: Yeah, I think the deployment is going to accelerate soon. Like, we’re really not missing very much. There is this enormous capability overhang. Like, even if progress completely stopped, with current systems, we can do a lot more than what we’re doing right now. So I think this will … this has to be realized, you know, sooner rather than later.  And I think it’s probably dependent on these benchmarks and proper evaluation and tying this with regulation. So these are things that take time in human society and for good reason. But now we already are at two years; you know, give it another two years and it should be really …   LEE: Will AI prescribe your medicines? Write your prescriptions?  BUBECK: I think yes. I think yes.  LEE: OK. Bill?  GATES: Well, I think the next two years, we’ll have massive pilots, and so the amount of use of the AI, still in a copilot-type mode, you know, we should get millions of patient visits, you know, both in general medicine and in the mental health side, as well. And I think that’s going to build up both the data and the confidence to give the AI some additional autonomy. You know, are you going to let it talk to you at night when you’re panicked about your mental health with some ability to escalate? And, you know, I’ve gone so far as to tell politicians with national health systems that if they deploy AI appropriately, that the quality of care, the overload of the doctors, the improvement in the economics will be enough that their voters will be stunned because they just don’t expect this, and, you know, they could be reelectedjust on this one thing of fixing what is a very overloaded and economically challenged health system in these rich countries.  You know, my personal role is going to be to make sure that in the poorer countries, there isn’t some lag; in fact, in many cases, that we’ll be more aggressive because, you know, we’re comparing to having no access to doctors at all. And, you know, so I think whether it’s India or Africa, there’ll be lessons that are globally valuable because we need medical intelligence. And, you know, thank god AI is going to provide a lot of that.  LEE: Well, on that optimistic note, I think that’s a good way to end. Bill, Seb, really appreciate all of this.   I think the most fundamental prediction we made in the book is that AI would actually find its way into the practice of medicine, and I think that that at least has come true, maybe in different ways than we expected, but it’s come true, and I think it’ll only accelerate from here. So thanks again, both of you.   GATES: Yeah. Thanks, you guys.  BUBECK: Thank you, Peter. Thanks, Bill.  LEE: I just always feel such a sense of privilege to have a chance to interact and actually work with people like Bill and Sébastien.    With Bill, I’m always amazed at how practically minded he is. He’s really thinking about the nuts and bolts of what AI might be able to do for people, and his thoughts about underserved parts of the world, the idea that we might actually be able to empower people with access to expert medical knowledge, I think is both inspiring and amazing.   And then, Seb, Sébastien Bubeck, he’s just absolutely a brilliant mind. He has a really firm grip on the deep mathematics of artificial intelligence and brings that to bear in his research and development work. And where that mathematics takes him isn’t just into the nuts and bolts of algorithms but into philosophical questions about the nature of intelligence.   One of the things that Sébastien brought up was the state of evaluation of AI systems. And indeed, he was fairly critical in our conversation. But of course, the world of AI research and development is just moving so fast, and indeed, since we recorded our conversation, OpenAI, in fact, released a new evaluation metric that is directly relevant to medical applications, and that is something called HealthBench. And Microsoft Research also released a new evaluation approach or process called ADeLe.   HealthBench and ADeLe are examples of new approaches to evaluating AI models that are less about testing their knowledge and ability to pass multiple-choice exams and instead are evaluation approaches designed to assess how well AI models are able to complete tasks that actually arise every day in typical healthcare or biomedical research settings. These are examples of really important good work that speak to how well AI models work in the real world of healthcare and biomedical research and how well they can collaborate with human beings in those settings.  You know, I asked Bill and Seb to make some predictions about the future. You know, my own answer, I expect that we’re going to be able to use AI to change how we diagnose patients, change how we decide treatment options.   If you’re a doctor or a nurse and you encounter a patient, you’ll ask questions, do a physical exam, you know, call out for labs just like you do today, but then you’ll be able to engage with AI based on all of that data and just ask, you know, based on all the other people who have gone through the same experience, who have similar data, how were they diagnosed? How were they treated? What were their outcomes? And what does that mean for the patient I have right now? Some people call it the “patients like me” paradigm. And I think that’s going to become real because of AI within our lifetimes. That idea of really grounding the delivery in healthcare and medical practice through data and intelligence, I actually now don’t see any barriers to that future becoming real.   I’d like to extend another big thank you to Bill and Sébastien for their time. And to our listeners, as always, it’s a pleasure to have you along for the ride. I hope you’ll join us for our remaining conversations, as well as a second coauthor roundtable with Carey and Zak.   Until next time.   #how #reshaping #future #healthcare #medical
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    How AI is reshaping the future of healthcare and medical research
    Transcript [MUSIC]      [BOOK PASSAGE]   PETER LEE: “In ‘The Little Black Bag,’ a classic science fiction story, a high-tech doctor’s kit of the future is accidentally transported back to the 1950s, into the shaky hands of a washed-up, alcoholic doctor. The ultimate medical tool, it redeems the doctor wielding it, allowing him to practice gratifyingly heroic medicine. … The tale ends badly for the doctor and his treacherous assistant, but it offered a picture of how advanced technology could transform medicine—powerful when it was written nearly 75 years ago and still so today. What would be the Al equivalent of that little black bag? At this moment when new capabilities are emerging, how do we imagine them into medicine?”   [END OF BOOK PASSAGE]     [THEME MUSIC]     This is The AI Revolution in Medicine, Revisited. I’m your host, Peter Lee.    Shortly after OpenAI’s GPT-4 was publicly released, Carey Goldberg, Dr. Zak Kohane, and I published The AI Revolution in Medicine to help educate the world of healthcare and medical research about the transformative impact this new generative AI technology could have. But because we wrote the book when GPT-4 was still a secret, we had to speculate. Now, two years later, what did we get right, and what did we get wrong?     In this series, we’ll talk to clinicians, patients, hospital administrators, and others to understand the reality of AI in the field and where we go from here.   [THEME MUSIC FADES] The book passage I read at the top is from “Chapter 10: The Big Black Bag.”  In imagining AI in medicine, Carey, Zak, and I included in our book two fictional accounts. In the first, a medical resident consults GPT-4 on her personal phone as the patient in front of her crashes. Within seconds, it offers an alternate response based on recent literature. In the second account, a 90-year-old woman with several chronic conditions is living independently and receiving near-constant medical support from an AI aide.    In our conversations with the guests we’ve spoken to so far, we’ve caught a glimpse of these predicted futures, seeing how clinicians and patients are actually using AI today and how developers are leveraging the technology in the healthcare products and services they’re creating. In fact, that first fictional account isn’t so fictional after all, as most of the doctors in the real world actually appear to be using AI at least occasionally—and sometimes much more than occasionally—to help in their daily clinical work. And as for the second fictional account, which is more of a science fiction account, it seems we are indeed on the verge of a new way of delivering and receiving healthcare, though the future is still very much open.  As we continue to examine the current state of AI in healthcare and its potential to transform the field, I’m pleased to welcome Bill Gates and Sébastien Bubeck.   Bill may be best known as the co-founder of Microsoft, having created the company with his childhood friend Paul Allen in 1975. He’s now the founder of Breakthrough Energy, which aims to advance clean energy innovation, and TerraPower, a company developing groundbreaking nuclear energy and science technologies. He also chairs the world’s largest philanthropic organization, the Gates Foundation, and focuses on solving a variety of health challenges around the globe and here at home.  Sébastien is a research lead at OpenAI. He was previously a distinguished scientist, vice president of AI, and a colleague of mine here at Microsoft, where his work included spearheading the development of the family of small language models known as Phi. While at Microsoft, he also coauthored the discussion-provoking 2023 paper “Sparks of Artificial General Intelligence,” which presented the results of early experiments with GPT-4 conducted by a small team from Microsoft Research.    [TRANSITION MUSIC]   Here’s my conversation with Bill Gates and Sébastien Bubeck.  LEE: Bill, welcome.  BILL GATES: Thank you.  LEE: Seb …  SÉBASTIEN BUBECK: Yeah. Hi, hi, Peter. Nice to be here.  LEE: You know, one of the things that I’ve been doing just to get the conversation warmed up is to talk about origin stories, and what I mean about origin stories is, you know, what was the first contact that you had with large language models or the concept of generative AI that convinced you or made you think that something really important was happening?  And so, Bill, I think I’ve heard the story about, you know, the time when the OpenAI folks—Sam Altman, Greg Brockman, and others—showed you something, but could we hear from you what those early encounters were like and what was going through your mind?   GATES: Well, I’d been visiting OpenAI soon after it was created to see things like GPT-2 and to see the little arm they had that was trying to match human manipulation and, you know, looking at their games like Dota that they were trying to get as good as human play. And honestly, I didn’t think the language model stuff they were doing, even when they got to GPT-3, would show the ability to learn, you know, in the same sense that a human reads a biology book and is able to take that knowledge and access it not only to pass a test but also to create new medicines.  And so my challenge to them was that if their LLM could get a five on the advanced placement biology test, then I would say, OK, it took biologic knowledge and encoded it in an accessible way and that I didn’t expect them to do that very quickly but it would be profound.   And it was only about six months after I challenged them to do that, that an early version of GPT-4 they brought up to a dinner at my house, and in fact, it answered most of the questions that night very well. The one it got totally wrong, we were … because it was so good, we kept thinking, Oh, we must be wrong. It turned out it was a math weakness [LAUGHTER] that, you know, we later understood that that was an area of, weirdly, of incredible weakness of those early models. But, you know, that was when I realized, OK, the age of cheap intelligence was at its beginning.  LEE: Yeah. So I guess it seems like you had something similar to me in that my first encounters, I actually harbored some skepticism. Is it fair to say you were skeptical before that?  GATES: Well, the idea that we’ve figured out how to encode and access knowledge in this very deep sense without even understanding the nature of the encoding, …  LEE: Right.   GATES: … that is a bit weird.   LEE: Yeah.  GATES: We have an algorithm that creates the computation, but even say, OK, where is the president’s birthday stored in there? Where is this fact stored in there? The fact that even now when we’re playing around, getting a little bit more sense of it, it’s opaque to us what the semantic encoding is, it’s, kind of, amazing to me. I thought the invention of knowledge storage would be an explicit way of encoding knowledge, not an implicit statistical training.  LEE: Yeah, yeah. All right. So, Seb, you know, on this same topic, you know, I got—as we say at Microsoft—I got pulled into the tent. [LAUGHS]  BUBECK: Yes.   LEE: Because this was a very secret project. And then, um, I had the opportunity to select a small number of researchers in MSR [Microsoft Research] to join and start investigating this thing seriously. And the first person I pulled in was you.  BUBECK: Yeah.  LEE: And so what were your first encounters? Because I actually don’t remember what happened then.  BUBECK: Oh, I remember it very well. [LAUGHS] My first encounter with GPT-4 was in a meeting with the two of you, actually. But my kind of first contact, the first moment where I realized that something was happening with generative AI, was before that. And I agree with Bill that I also wasn’t too impressed by GPT-3.  I though that it was kind of, you know, very naturally mimicking the web, sort of parroting what was written there in a nice way. Still in a way which seemed very impressive. But it wasn’t really intelligent in any way. But shortly after GPT-3, there was a model before GPT-4 that really shocked me, and this was the first image generation model, DALL-E 1.  So that was in 2021. And I will forever remember the press release of OpenAI where they had this prompt of an avocado chair and then you had this image of the avocado chair. [LAUGHTER] And what really shocked me is that clearly the model kind of “understood” what is a chair, what is an avocado, and was able to merge those concepts.  So this was really, to me, the first moment where I saw some understanding in those models.   LEE: So this was, just to get the timing right, that was before I pulled you into the tent.  BUBECK: That was before. That was like a year before.  LEE: Right.   BUBECK: And now I will tell you how, you know, we went from that moment to the meeting with the two of you and GPT-4.  So once I saw this kind of understanding, I thought, OK, fine. It understands concept, but it’s still not able to reason. It cannot—as, you know, Bill was saying—it cannot learn from your document. It cannot reason.   So I set out to try to prove that. You know, this is what I was in the business of at the time, trying to prove things in mathematics. So I was trying to prove that basically autoregressive transformers could never reason. So I was trying to prove this. And after a year of work, I had something reasonable to show. And so I had the meeting with the two of you, and I had this example where I wanted to say, there is no way that an LLM is going to be able to do x.  And then as soon as I … I don’t know if you remember, Bill. But as soon as I said that, you said, oh, but wait a second. I had, you know, the OpenAI crew at my house recently, and they showed me a new model. Why don’t we ask this new model this question?   LEE: Yeah. BUBECK: And we did, and it solved it on the spot. And that really, honestly, just changed my life. Like, you know, I had been working for a year trying to say that this was impossible. And just right there, it was shown to be possible.   LEE: [LAUGHS] One of the very first things I got interested in—because I was really thinking a lot about healthcare—was healthcare and medicine.  And I don’t know if the two of you remember, but I ended up doing a lot of tests. I ran through, you know, step one and step two of the US Medical Licensing Exam. Did a whole bunch of other things. I wrote this big report. It was, you know, I can’t remember … a couple hundred pages.   And I needed to share this with someone. I didn’t … there weren’t too many people I could share it with. So I sent, I think, a copy to you, Bill. Sent a copy to you, Seb.   I hardly slept for about a week putting that report together. And, yeah, and I kept working on it. But I was far from alone. I think everyone who was in the tent, so to speak, in those early days was going through something pretty similar. All right. So I think … of course, a lot of what I put in the report also ended up being examples that made it into the book.  But the main purpose of this conversation isn’t to reminisce about [LAUGHS] or indulge in those reminiscences but to talk about what’s happening in healthcare and medicine. And, you know, as I said, we wrote this book. We did it very, very quickly. Seb, you helped. Bill, you know, you provided a review and some endorsements.  But, you know, honestly, we didn’t know what we were talking about because no one had access to this thing. And so we just made a bunch of guesses. So really, the whole thing I wanted to probe with the two of you is, now with two years of experience out in the world, what, you know, what do we think is happening today?  You know, is AI actually having an impact, positive or negative, on healthcare and medicine? And what do we now think is going to happen in the next two years, five years, or 10 years? And so I realize it’s a little bit too abstract to just ask it that way. So let me just try to narrow the discussion and guide us a little bit.   Um, the kind of administrative and clerical work, paperwork, around healthcare—and we made a lot of guesses about that—that appears to be going well, but, you know, Bill, I know we’ve discussed that sometimes that you think there ought to be a lot more going on. Do you have a viewpoint on how AI is actually finding its way into reducing paperwork?  GATES: Well, I’m stunned … I don’t think there should be a patient-doctor meeting where the AI is not sitting in and both transcribing, offering to help with the paperwork, and even making suggestions, although the doctor will be the one, you know, who makes the final decision about the diagnosis and whatever prescription gets done.   It’s so helpful. You know, when that patient goes home and their, you know, son who wants to understand what happened has some questions, that AI should be available to continue that conversation. And the way you can improve that experience and streamline things and, you know, involve the people who advise you. I don’t understand why that’s not more adopted, because there you still have the human in the loop making that final decision.  But even for, like, follow-up calls to make sure the patient did things, to understand if they have concerns and knowing when to escalate back to the doctor, the benefit is incredible. And, you know, that thing is ready for prime time. That paradigm is ready for prime time, in my view.  LEE: Yeah, there are some good products, but it seems like the number one use right now—and we kind of got this from some of the previous guests in previous episodes—is the use of AI just to respond to emails from patients. [LAUGHTER] Does that make sense to you?  BUBECK: Yeah. So maybe I want to second what Bill was saying but maybe take a step back first. You know, two years ago, like, the concept of clinical scribes, which is one of the things that we’re talking about right now, it would have sounded, in fact, it sounded two years ago, borderline dangerous. Because everybody was worried about hallucinations. What happened if you have this AI listening in and then it transcribes, you know, something wrong?  Now, two years later, I think it’s mostly working. And in fact, it is not yet, you know, fully adopted. You’re right. But it is in production. It is used, you know, in many, many places. So this rate of progress is astounding because it wasn’t obvious that we would be able to overcome those obstacles of hallucination. It’s not to say that hallucinations are fully solved. In the case of the closed system, they are.   Now, I think more generally what’s going on in the background is that there is something that we, that certainly I, underestimated, which is this management overhead. So I think the reason why this is not adopted everywhere is really a training and teaching aspect. People need to be taught, like, those systems, how to interact with them.  And one example that I really like, a study that recently appeared where they tried to use ChatGPT for diagnosis and they were comparing doctors without and with ChatGPT (opens in new tab). And the amazing thing … so this was a set of cases where the accuracy of the doctors alone was around 75%. ChatGPT alone was 90%. So that’s already kind of mind blowing. But then the kicker is that doctors with ChatGPT was 80%.   Intelligence alone is not enough. It’s also how it’s presented, how you interact with it. And ChatGPT, it’s an amazing tool. Obviously, I absolutely love it. But it’s not … you don’t want a doctor to have to type in, you know, prompts and use it that way.  It should be, as Bill was saying, kind of running continuously in the background, sending you notifications. And you have to be really careful of the rate at which those notifications are being sent. Because if they are too frequent, then the doctor will learn to ignore them. So you have to … all of those things matter, in fact, at least as much as the level of intelligence of the machine.  LEE: One of the things I think about, Bill, in that scenario that you described, doctors do some thinking about the patient when they write the note. So, you know, I’m always a little uncertain whether it’s actually … you know, you wouldn’t necessarily want to fully automate this, I don’t think. Or at least there needs to be some prompt to the doctor to make sure that the doctor puts some thought into what happened in the encounter with the patient. Does that make sense to you at all?  GATES: At this stage, you know, I’d still put the onus on the doctor to write the conclusions and the summary and not delegate that.  The tradeoffs you make a little bit are somewhat dependent on the situation you’re in. If you’re in Africa, So, yes, the doctor’s still going to have to do a lot of work, but just the quality of letting the patient and the people around them interact and ask questions and have things explained, that alone is such a quality improvement. It’s mind blowing.   LEE: So since you mentioned, you know, Africa—and, of course, this touches on the mission and some of the priorities of the Gates Foundation and this idea of democratization of access to expert medical care—what’s the most interesting stuff going on right now? Are there people and organizations or technologies that are impressing you or that you’re tracking?  GATES: Yeah. So the Gates Foundation has given out a lot of grants to people in Africa doing education, agriculture but more healthcare examples than anything. And the way these things start off, they often start out either being patient-centric in a narrow situation, like, OK, I’m a pregnant woman; talk to me. Or, I have infectious disease symptoms; talk to me. Or they’re connected to a health worker where they’re helping that worker get their job done. And we have lots of pilots out, you know, in both of those cases.   The dream would be eventually to have the thing the patient consults be so broad that it’s like having a doctor available who understands the local things.   LEE: Right.   GATES: We’re not there yet. But over the next two or three years, you know, particularly given the worsening financial constraints against African health systems, where the withdrawal of money has been dramatic, you know, figuring out how to take this—what I sometimes call “free intelligence”—and build a quality health system around that, we will have to be more radical in low-income countries than any rich country is ever going to be.   LEE: Also, there’s maybe a different regulatory environment, so some of those things maybe are easier? Because right now, I think the world hasn’t figured out how to and whether to regulate, let’s say, an AI that might give a medical diagnosis or write a prescription for a medication.  BUBECK: Yeah. I think one issue with this, and it’s also slowing down the deployment of AI in healthcare more generally, is a lack of proper benchmark. Because, you know, you were mentioning the USMLE [United States Medical Licensing Examination], for example. That’s a great test to test human beings and their knowledge of healthcare and medicine. But it’s not a great test to give to an AI.  It’s not asking the right questions. So finding what are the right questions to test whether an AI system is ready to give diagnosis in a constrained setting, that’s a very, very important direction, which to my surprise, is not yet accelerating at the rate that I was hoping for.  LEE: OK, so that gives me an excuse to get more now into the core AI tech because something I’ve discussed with both of you is this issue of what are the right tests. And you both know the very first test I give to any new spin of an LLM is I present a patient, the results—a mythical patient—the results of my physical exam, my mythical physical exam. Maybe some results of some initial labs. And then I present or propose a differential diagnosis. And if you’re not in medicine, a differential diagnosis you can just think of as a prioritized list of the possible diagnoses that fit with all that data. And in that proposed differential, I always intentionally make two mistakes.  I make a textbook technical error in one of the possible elements of the differential diagnosis, and I have an error of omission. And, you know, I just want to know, does the LLM understand what I’m talking about? And all the good ones out there do now. But then I want to know, can it spot the errors? And then most importantly, is it willing to tell me I’m wrong, that I’ve made a mistake?   That last piece seems really hard for AI today. And so let me ask you first, Seb, because at the time of this taping, of course, there was a new spin of GPT-4o last week that became overly sycophantic. In other words, it was actually prone in that test of mine not only to not tell me I’m wrong, but it actually praised me for the creativity of my differential. [LAUGHTER] What’s up with that?  BUBECK: Yeah, I guess it’s a testament to the fact that training those models is still more of an art than a science. So it’s a difficult job. Just to be clear with the audience, we have rolled back that [LAUGHS] version of GPT-4o, so now we don’t have the sycophant version out there.  Yeah, no, it’s a really difficult question. It has to do … as you said, it’s very technical. It has to do with the post-training and how, like, where do you nudge the model? So, you know, there is this very classical by now technique called RLHF [reinforcement learning from human feedback], where you push the model in the direction of a certain reward model. So the reward model is just telling the model, you know, what behavior is good, what behavior is bad.  But this reward model is itself an LLM, and, you know, Bill was saying at the very beginning of the conversation that we don’t really understand how those LLMs deal with concepts like, you know, where is the capital of France located? Things like that. It is the same thing for this reward model. We don’t know why it says that it prefers one output to another, and whether this is correlated with some sycophancy is, you know, something that we discovered basically just now. That if you push too hard in optimization on this reward model, you will get a sycophant model.  So it’s kind of … what I’m trying to say is we became too good at what we were doing, and we ended up, in fact, in a trap of the reward model.  LEE: I mean, you do want … it’s a difficult balance because you do want models to follow your desires and …  BUBECK: It’s a very difficult, very difficult balance.  LEE: So this brings up then the following question for me, which is the extent to which we think we’ll need to have specially trained models for things. So let me start with you, Bill. Do you have a point of view on whether we will need to, you know, quote-unquote take AI models to med school? Have them specially trained? Like, if you were going to deploy something to give medical care in underserved parts of the world, do we need to do something special to create those models?  GATES: We certainly need to teach them the African languages and the unique dialects so that the multimedia interactions are very high quality. We certainly need to teach them the disease prevalence and unique disease patterns like, you know, neglected tropical diseases and malaria. So we need to gather a set of facts that somebody trying to go for a US customer base, you know, wouldn’t necessarily have that in there.  Those two things are actually very straightforward because the additional training time is small. I’d say for the next few years, we’ll also need to do reinforcement learning about the context of being a doctor and how important certain behaviors are. Humans learn over the course of their life to some degree that, I’m in a different context and the way I behave in terms of being willing to criticize or be nice, you know, how important is it? Who’s here? What’s my relationship to them?   Right now, these machines don’t have that broad social experience. And so if you know it’s going to be used for health things, a lot of reinforcement learning of the very best humans in that context would still be valuable. Eventually, the models will, having read all the literature of the world about good doctors, bad doctors, it’ll understand as soon as you say, “I want you to be a doctor diagnosing somebody.” All of the implicit reinforcement that fits that situation, you know, will be there. LEE: Yeah. GATES: And so I hope three years from now, we don’t have to do that reinforcement learning. But today, for any medical context, you would want a lot of data to reinforce tone, willingness to say things when, you know, there might be something significant at stake.  LEE: Yeah. So, you know, something Bill said, kind of, reminds me of another thing that I think we missed, which is, the context also … and the specialization also pertains to different, I guess, what we still call “modes,” although I don’t know if the idea of multimodal is the same as it was two years ago. But, you know, what do you make of all of the hubbub around—in fact, within Microsoft Research, this is a big deal, but I think we’re far from alone—you know, medical images and vision, video, proteins and molecules, cell, you know, cellular data and so on.  BUBECK: Yeah. OK. So there is a lot to say to everything … to the last, you know, couple of minutes. Maybe on the specialization aspect, you know, I think there is, hiding behind this, a really fundamental scientific question of whether eventually we have a singular AGI [artificial general intelligence] that kind of knows everything and you can just put, you know, explain your own context and it will just get it and understand everything.  That’s one vision. I have to say, I don’t particularly believe in this vision. In fact, we humans are not like that at all. I think, hopefully, we are general intelligences, yet we have to specialize a lot. And, you know, I did myself a lot of RL, reinforcement learning, on mathematics. Like, that’s what I did, you know, spent a lot of time doing that. And I didn’t improve on other aspects. You know, in fact, I probably degraded in other aspects. [LAUGHTER] So it’s … I think it’s an important example to have in mind.  LEE: I think I might disagree with you on that, though, because, like, doesn’t a model have to see both good science and bad science in order to be able to gain the ability to discern between the two?  BUBECK: Yeah, no, that absolutely. I think there is value in seeing the generality, in having a very broad base. But then you, kind of, specialize on verticals. And this is where also, you know, open-weights model, which we haven’t talked about yet, are really important because they allow you to provide this broad base to everyone. And then you can specialize on top of it.  LEE: So we have about three hours of stuff to talk about, but our time is actually running low. BUBECK: Yes, yes, yes.   LEE: So I think I want … there’s a more provocative question. It’s almost a silly question, but I need to ask it of the two of you, which is, is there a future, you know, where AI replaces doctors or replaces, you know, medical specialties that we have today? So what does the world look like, say, five years from now?  GATES: Well, it’s important to distinguish healthcare discovery activity from healthcare delivery activity. We focused mostly on delivery. I think it’s very much within the realm of possibility that the AI is not only accelerating healthcare discovery but substituting for a lot of the roles of, you know, I’m an organic chemist, or I run various types of assays. I can see those, which are, you know, testable-output-type jobs but with still very high value, I can see, you know, some replacement in those areas before the doctor.   The doctor, still understanding the human condition and long-term dialogues, you know, they’ve had a lifetime of reinforcement of that, particularly when you get into areas like mental health. So I wouldn’t say in five years, either people will choose to adopt it, but it will be profound that there’ll be this nearly free intelligence that can do follow-up, that can help you, you know, make sure you went through different possibilities.  And so I’d say, yes, we’ll have doctors, but I’d say healthcare will be massively transformed in its quality and in efficiency by AI in that time period.  LEE: Is there a comparison, useful comparison, say, between doctors and, say, programmers, computer programmers, or doctors and, I don’t know, lawyers?  GATES: Programming is another one that has, kind of, a mathematical correctness to it, you know, and so the objective function that you’re trying to reinforce to, as soon as you can understand the state machines, you can have something that’s “checkable”; that’s correct. So I think programming, you know, which is weird to say, that the machine will beat us at most programming tasks before we let it take over roles that have deep empathy, you know, physical presence and social understanding in them.  LEE: Yeah. By the way, you know, I fully expect in five years that AI will produce mathematical proofs that are checkable for validity, easily checkable, because they’ll be written in a proof-checking language like Lean or something but will be so complex that no human mathematician can understand them. I expect that to happen.   I can imagine in some fields, like cellular biology, we could have the same situation in the future because the molecular pathways, the chemistry, biochemistry of human cells or living cells is as complex as any mathematics, and so it seems possible that we may be in a state where in wet lab, we see, Oh yeah, this actually works, but no one can understand why.  BUBECK: Yeah, absolutely. I mean, I think I really agree with Bill’s distinction of the discovery and the delivery, and indeed, the discovery’s when you can check things, and at the end, there is an artifact that you can verify. You know, you can run the protocol in the wet lab and see [if you have] produced what you wanted. So I absolutely agree with that.   And in fact, you know, we don’t have to talk five years from now. I don’t know if you know, but just recently, there was a paper that was published on a scientific discovery using o3- mini (opens in new tab). So this is really amazing. And, you know, just very quickly, just so people know, it was about this statistical physics model, the frustrated Potts model, which has to do with coloring, and basically, the case of three colors, like, more than two colors was open for a long time, and o3 was able to reduce the case of three colors to two colors.   LEE: Yeah.  BUBECK: Which is just, like, astounding. And this is not … this is now. This is happening right now. So this is something that I personally didn’t expect it would happen so quickly, and it’s due to those reasoning models.   Now, on the delivery side, I would add something more to it for the reason why doctors and, in fact, lawyers and coders will remain for a long time, and it’s because we still don’t understand how those models generalize. Like, at the end of the day, we are not able to tell you when they are confronted with a really new, novel situation, whether they will work or not.  Nobody is able to give you that guarantee. And I think until we understand this generalization better, we’re not going to be willing to just let the system in the wild without human supervision.  LEE: But don’t human doctors, human specialists … so, for example, a cardiologist sees a patient in a certain way that a nephrologist …  BUBECK: Yeah. LEE: … or an endocrinologist might not. BUBECK: That’s right. But another cardiologist will understand and, kind of, expect a certain level of generalization from their peer. And this, we just don’t have it with AI models. Now, of course, you’re exactly right. That generalization is also hard for humans. Like, if you have a human trained for one task and you put them into another task, then you don’t … you often don’t know. LEE: OK. You know, the podcast is focused on what’s happened over the last two years. But now, I’d like one provocative prediction about what you think the world of AI and medicine is going to be at some point in the future. You pick your timeframe. I don’t care if it’s two years or 20 years from now, but, you know, what do you think will be different about AI in medicine in that future than today?  BUBECK: Yeah, I think the deployment is going to accelerate soon. Like, we’re really not missing very much. There is this enormous capability overhang. Like, even if progress completely stopped, with current systems, we can do a lot more than what we’re doing right now. So I think this will … this has to be realized, you know, sooner rather than later.  And I think it’s probably dependent on these benchmarks and proper evaluation and tying this with regulation. So these are things that take time in human society and for good reason. But now we already are at two years; you know, give it another two years and it should be really …   LEE: Will AI prescribe your medicines? Write your prescriptions?  BUBECK: I think yes. I think yes.  LEE: OK. Bill?  GATES: Well, I think the next two years, we’ll have massive pilots, and so the amount of use of the AI, still in a copilot-type mode, you know, we should get millions of patient visits, you know, both in general medicine and in the mental health side, as well. And I think that’s going to build up both the data and the confidence to give the AI some additional autonomy. You know, are you going to let it talk to you at night when you’re panicked about your mental health with some ability to escalate? And, you know, I’ve gone so far as to tell politicians with national health systems that if they deploy AI appropriately, that the quality of care, the overload of the doctors, the improvement in the economics will be enough that their voters will be stunned because they just don’t expect this, and, you know, they could be reelected [LAUGHTER] just on this one thing of fixing what is a very overloaded and economically challenged health system in these rich countries.  You know, my personal role is going to be to make sure that in the poorer countries, there isn’t some lag; in fact, in many cases, that we’ll be more aggressive because, you know, we’re comparing to having no access to doctors at all. And, you know, so I think whether it’s India or Africa, there’ll be lessons that are globally valuable because we need medical intelligence. And, you know, thank god AI is going to provide a lot of that.  LEE: Well, on that optimistic note, I think that’s a good way to end. Bill, Seb, really appreciate all of this.   I think the most fundamental prediction we made in the book is that AI would actually find its way into the practice of medicine, and I think that that at least has come true, maybe in different ways than we expected, but it’s come true, and I think it’ll only accelerate from here. So thanks again, both of you.  [TRANSITION MUSIC]  GATES: Yeah. Thanks, you guys.  BUBECK: Thank you, Peter. Thanks, Bill.  LEE: I just always feel such a sense of privilege to have a chance to interact and actually work with people like Bill and Sébastien.    With Bill, I’m always amazed at how practically minded he is. He’s really thinking about the nuts and bolts of what AI might be able to do for people, and his thoughts about underserved parts of the world, the idea that we might actually be able to empower people with access to expert medical knowledge, I think is both inspiring and amazing.   And then, Seb, Sébastien Bubeck, he’s just absolutely a brilliant mind. He has a really firm grip on the deep mathematics of artificial intelligence and brings that to bear in his research and development work. And where that mathematics takes him isn’t just into the nuts and bolts of algorithms but into philosophical questions about the nature of intelligence.   One of the things that Sébastien brought up was the state of evaluation of AI systems. And indeed, he was fairly critical in our conversation. But of course, the world of AI research and development is just moving so fast, and indeed, since we recorded our conversation, OpenAI, in fact, released a new evaluation metric that is directly relevant to medical applications, and that is something called HealthBench. And Microsoft Research also released a new evaluation approach or process called ADeLe.   HealthBench and ADeLe are examples of new approaches to evaluating AI models that are less about testing their knowledge and ability to pass multiple-choice exams and instead are evaluation approaches designed to assess how well AI models are able to complete tasks that actually arise every day in typical healthcare or biomedical research settings. These are examples of really important good work that speak to how well AI models work in the real world of healthcare and biomedical research and how well they can collaborate with human beings in those settings.  You know, I asked Bill and Seb to make some predictions about the future. You know, my own answer, I expect that we’re going to be able to use AI to change how we diagnose patients, change how we decide treatment options.   If you’re a doctor or a nurse and you encounter a patient, you’ll ask questions, do a physical exam, you know, call out for labs just like you do today, but then you’ll be able to engage with AI based on all of that data and just ask, you know, based on all the other people who have gone through the same experience, who have similar data, how were they diagnosed? How were they treated? What were their outcomes? And what does that mean for the patient I have right now? Some people call it the “patients like me” paradigm. And I think that’s going to become real because of AI within our lifetimes. That idea of really grounding the delivery in healthcare and medical practice through data and intelligence, I actually now don’t see any barriers to that future becoming real.  [THEME MUSIC]  I’d like to extend another big thank you to Bill and Sébastien for their time. And to our listeners, as always, it’s a pleasure to have you along for the ride. I hope you’ll join us for our remaining conversations, as well as a second coauthor roundtable with Carey and Zak.   Until next time.   [MUSIC FADES]
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  • 432 Park Avenue by Rafael Viñoly Architects: Minimalism in the New York Skyline

    432 Park Avenue | © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects
    Located in Midtown Manhattan, 432 Park Avenue is a prominent figure in the evolution of supertall residential towers. Completed in 2015, this 1,396-foot-high building by Rafael Viñoly Architects asserts a commanding presence over the city’s skyline. Its minimalist form and rigorous geometry have sparked considerable debate within the architectural community, marking it as a significant and controversial addition to New York City’s built environment.

    432 Park Avenue Technical Information

    Architects1-8: Rafael Viñoly Architects
    Location: Midtown Manhattan, New York City, USA
    Gross Area: 38,344 m2 | 412,637 Sq. Ft.
    Project Years: 2011 – 2015
    Photographs: © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects

    It’s a building designed for the enjoyment of its occupants, not for the delight of its creator.
    – Rafael Viñoly

    432 Park Avenue Photographs

    © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects

    Courtesy of Rafael Viñoly Architects

    Courtesy of Rafael Viñoly Architects

    Courtesy of Rafael Viñoly Architects

    Courtesy of Rafael Viñoly Architects
    Design Intent and Conceptual Framework
    At the heart of 432 Park Avenue’s design lies a commitment to pure geometry. The square, an elemental form, defines every aspect of the building, from its floor plate to its overall silhouette. This strict adherence to geometry speaks to Viñoly’s rationalist sensibilities and interest in stripping architecture to its fundamental components. The tower’s proportions, with its height-to-width ratio of roughly 1:15, transform this simple geometry into a monumental presence. This conceptual rigor positions the building as an object of formal clarity and a deliberate statement within the city’s varied skyline.
    The design’s minimalism extends beyond the building’s shape, reflecting Viñoly’s pursuit of a refined and disciplined expression. Eschewing decorative flourishes, the tower’s form directly responds to programmatic needs and structural imperatives. This disciplined approach underpins the project’s ambition to redefine the experience of vertical living, asserting that luxury in residential design can emerge from formal simplicity and a mastery of proportion.
    Spatial Organization and Interior Volumes
    The interior organization of 432 Park Avenue reveals an equally uncompromising commitment to clarity and openness. Each residential floor is free of interior columns, a testament to the structural ingenuity of the concrete exoskeleton. This column-free arrangement grants unobstructed floor plans and expansive panoramic views of the city, the rivers, and beyond. Floor-to-ceiling windows, measuring nearly 10 feet in height, accentuate the sense of openness and lightness within each residence.
    The tower’s slender core houses the vertical circulation and mechanical systems, ensuring the perimeter remains uninterrupted. This core placement allows for generous living spaces that maximize privacy and connection to the urban landscape. The interplay between structural precision and panoramic transparency shapes the experience of inhabiting these spaces. The result is a sequence of interiors that privilege intimacy and vastness, anchoring domestic life within an architectural expression of purity.
    Materiality, Structural Clarity, and Detailing
    Material choices in 432 Park Avenue reinforce the project’s disciplined approach. The building’s exposed concrete frame, treated as structure and façade, lends the tower a stark yet refined character. The grid of square windows, systematically repeated across the height of the building, becomes a defining feature of its visual identity. This modular repetition establishes a rhythmic order and speaks to the building’s underlying structural logic.
    High-strength concrete enables the tower’s slender profile and exceptional height while imparting a tactile materiality that resists the glassy anonymity typical of many contemporary towers. The restrained palette and attention to detail emphasize the tectonic clarity of the building’s assembly. By treating the structure itself as an architectural finish, Viñoly’s design elevates the material expression of concrete into a fundamental element of the building’s identity.
    Urban and Cultural Significance
    As one of the tallest residential buildings in the Western Hemisphere, 432 Park Avenue has significantly altered the Manhattan skyline. Its unwavering verticality and minimal ornamentation create a dialogue with the city’s diverse architectural heritage, juxtaposing a severe abstraction against a backdrop of historic and contemporary towers.
    432 Park Avenue occupies a distinctive place in the ongoing narrative of New York City’s architectural evolution. Its reductive form, structural clarity, and spatial generosity offer a compelling study of the power of minimalism at an urban scale.
    432 Park Avenue Plans

    Floor Plans | © Rafael Viñoly Architects

    Floor Plans | © Rafael Viñoly Architects

    Floor Plans | © Rafael Viñoly Architects

    Floor Plans | © Rafael Viñoly Architects
    432 Park Avenue Image Gallery

    © Rafael Viñoly Architects

    About Rafael Viñoly Architects
    Rafael Viñoly, a Uruguayan-born architect, founded Rafael Viñoly Architects in New York City in 1983. After studies in Buenos Aires and early practice in Argentina, he relocated to the U.S.. He established a global firm with offices in cities including London, Palo Alto, and Abu Dhabi. Renowned for large-scale, function-driven projects such as the Tokyo International Forum, Cleveland Museum of Art expansions, and 432 Park Avenue, the firm is praised for combining structural clarity, context-sensitive design, and institutional rigor across six continents.
    Credits and Additional Notes

    Client: Macklowe Properties and CIM Group
    Design Team: Rafael Viñoly, Deborah Berke Partners, Bentel & BentelStructural Engineer: WSP Cantor Seinuk
    Mechanical, Electrical, and Plumbing Engineers: Jaros, Baum & BollesConstruction Manager: Lendlease
    Height: 1,396 feetNumber of Floors: 96 stories
    Construction Years: 2011–2015
    #park #avenue #rafael #viñoly #architects
    432 Park Avenue by Rafael Viñoly Architects: Minimalism in the New York Skyline
    432 Park Avenue | © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Located in Midtown Manhattan, 432 Park Avenue is a prominent figure in the evolution of supertall residential towers. Completed in 2015, this 1,396-foot-high building by Rafael Viñoly Architects asserts a commanding presence over the city’s skyline. Its minimalist form and rigorous geometry have sparked considerable debate within the architectural community, marking it as a significant and controversial addition to New York City’s built environment. 432 Park Avenue Technical Information Architects1-8: Rafael Viñoly Architects Location: Midtown Manhattan, New York City, USA Gross Area: 38,344 m2 | 412,637 Sq. Ft. Project Years: 2011 – 2015 Photographs: © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects It’s a building designed for the enjoyment of its occupants, not for the delight of its creator. – Rafael Viñoly 432 Park Avenue Photographs © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Design Intent and Conceptual Framework At the heart of 432 Park Avenue’s design lies a commitment to pure geometry. The square, an elemental form, defines every aspect of the building, from its floor plate to its overall silhouette. This strict adherence to geometry speaks to Viñoly’s rationalist sensibilities and interest in stripping architecture to its fundamental components. The tower’s proportions, with its height-to-width ratio of roughly 1:15, transform this simple geometry into a monumental presence. This conceptual rigor positions the building as an object of formal clarity and a deliberate statement within the city’s varied skyline. The design’s minimalism extends beyond the building’s shape, reflecting Viñoly’s pursuit of a refined and disciplined expression. Eschewing decorative flourishes, the tower’s form directly responds to programmatic needs and structural imperatives. This disciplined approach underpins the project’s ambition to redefine the experience of vertical living, asserting that luxury in residential design can emerge from formal simplicity and a mastery of proportion. Spatial Organization and Interior Volumes The interior organization of 432 Park Avenue reveals an equally uncompromising commitment to clarity and openness. Each residential floor is free of interior columns, a testament to the structural ingenuity of the concrete exoskeleton. This column-free arrangement grants unobstructed floor plans and expansive panoramic views of the city, the rivers, and beyond. Floor-to-ceiling windows, measuring nearly 10 feet in height, accentuate the sense of openness and lightness within each residence. The tower’s slender core houses the vertical circulation and mechanical systems, ensuring the perimeter remains uninterrupted. This core placement allows for generous living spaces that maximize privacy and connection to the urban landscape. The interplay between structural precision and panoramic transparency shapes the experience of inhabiting these spaces. The result is a sequence of interiors that privilege intimacy and vastness, anchoring domestic life within an architectural expression of purity. Materiality, Structural Clarity, and Detailing Material choices in 432 Park Avenue reinforce the project’s disciplined approach. The building’s exposed concrete frame, treated as structure and façade, lends the tower a stark yet refined character. The grid of square windows, systematically repeated across the height of the building, becomes a defining feature of its visual identity. This modular repetition establishes a rhythmic order and speaks to the building’s underlying structural logic. High-strength concrete enables the tower’s slender profile and exceptional height while imparting a tactile materiality that resists the glassy anonymity typical of many contemporary towers. The restrained palette and attention to detail emphasize the tectonic clarity of the building’s assembly. By treating the structure itself as an architectural finish, Viñoly’s design elevates the material expression of concrete into a fundamental element of the building’s identity. Urban and Cultural Significance As one of the tallest residential buildings in the Western Hemisphere, 432 Park Avenue has significantly altered the Manhattan skyline. Its unwavering verticality and minimal ornamentation create a dialogue with the city’s diverse architectural heritage, juxtaposing a severe abstraction against a backdrop of historic and contemporary towers. 432 Park Avenue occupies a distinctive place in the ongoing narrative of New York City’s architectural evolution. Its reductive form, structural clarity, and spatial generosity offer a compelling study of the power of minimalism at an urban scale. 432 Park Avenue Plans Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects 432 Park Avenue Image Gallery © Rafael Viñoly Architects About Rafael Viñoly Architects Rafael Viñoly, a Uruguayan-born architect, founded Rafael Viñoly Architects in New York City in 1983. After studies in Buenos Aires and early practice in Argentina, he relocated to the U.S.. He established a global firm with offices in cities including London, Palo Alto, and Abu Dhabi. Renowned for large-scale, function-driven projects such as the Tokyo International Forum, Cleveland Museum of Art expansions, and 432 Park Avenue, the firm is praised for combining structural clarity, context-sensitive design, and institutional rigor across six continents. Credits and Additional Notes Client: Macklowe Properties and CIM Group Design Team: Rafael Viñoly, Deborah Berke Partners, Bentel & BentelStructural Engineer: WSP Cantor Seinuk Mechanical, Electrical, and Plumbing Engineers: Jaros, Baum & BollesConstruction Manager: Lendlease Height: 1,396 feetNumber of Floors: 96 stories Construction Years: 2011–2015 #park #avenue #rafael #viñoly #architects
    ARCHEYES.COM
    432 Park Avenue by Rafael Viñoly Architects: Minimalism in the New York Skyline
    432 Park Avenue | © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Located in Midtown Manhattan, 432 Park Avenue is a prominent figure in the evolution of supertall residential towers. Completed in 2015, this 1,396-foot-high building by Rafael Viñoly Architects asserts a commanding presence over the city’s skyline. Its minimalist form and rigorous geometry have sparked considerable debate within the architectural community, marking it as a significant and controversial addition to New York City’s built environment. 432 Park Avenue Technical Information Architects1-8: Rafael Viñoly Architects Location: Midtown Manhattan, New York City, USA Gross Area: 38,344 m2 | 412,637 Sq. Ft. Project Years: 2011 – 2015 Photographs: © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects It’s a building designed for the enjoyment of its occupants, not for the delight of its creator. – Rafael Viñoly 432 Park Avenue Photographs © Halkin Mason Photography, Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Courtesy of Rafael Viñoly Architects Design Intent and Conceptual Framework At the heart of 432 Park Avenue’s design lies a commitment to pure geometry. The square, an elemental form, defines every aspect of the building, from its floor plate to its overall silhouette. This strict adherence to geometry speaks to Viñoly’s rationalist sensibilities and interest in stripping architecture to its fundamental components. The tower’s proportions, with its height-to-width ratio of roughly 1:15, transform this simple geometry into a monumental presence. This conceptual rigor positions the building as an object of formal clarity and a deliberate statement within the city’s varied skyline. The design’s minimalism extends beyond the building’s shape, reflecting Viñoly’s pursuit of a refined and disciplined expression. Eschewing decorative flourishes, the tower’s form directly responds to programmatic needs and structural imperatives. This disciplined approach underpins the project’s ambition to redefine the experience of vertical living, asserting that luxury in residential design can emerge from formal simplicity and a mastery of proportion. Spatial Organization and Interior Volumes The interior organization of 432 Park Avenue reveals an equally uncompromising commitment to clarity and openness. Each residential floor is free of interior columns, a testament to the structural ingenuity of the concrete exoskeleton. This column-free arrangement grants unobstructed floor plans and expansive panoramic views of the city, the rivers, and beyond. Floor-to-ceiling windows, measuring nearly 10 feet in height, accentuate the sense of openness and lightness within each residence. The tower’s slender core houses the vertical circulation and mechanical systems, ensuring the perimeter remains uninterrupted. This core placement allows for generous living spaces that maximize privacy and connection to the urban landscape. The interplay between structural precision and panoramic transparency shapes the experience of inhabiting these spaces. The result is a sequence of interiors that privilege intimacy and vastness, anchoring domestic life within an architectural expression of purity. Materiality, Structural Clarity, and Detailing Material choices in 432 Park Avenue reinforce the project’s disciplined approach. The building’s exposed concrete frame, treated as structure and façade, lends the tower a stark yet refined character. The grid of square windows, systematically repeated across the height of the building, becomes a defining feature of its visual identity. This modular repetition establishes a rhythmic order and speaks to the building’s underlying structural logic. High-strength concrete enables the tower’s slender profile and exceptional height while imparting a tactile materiality that resists the glassy anonymity typical of many contemporary towers. The restrained palette and attention to detail emphasize the tectonic clarity of the building’s assembly. By treating the structure itself as an architectural finish, Viñoly’s design elevates the material expression of concrete into a fundamental element of the building’s identity. Urban and Cultural Significance As one of the tallest residential buildings in the Western Hemisphere, 432 Park Avenue has significantly altered the Manhattan skyline. Its unwavering verticality and minimal ornamentation create a dialogue with the city’s diverse architectural heritage, juxtaposing a severe abstraction against a backdrop of historic and contemporary towers. 432 Park Avenue occupies a distinctive place in the ongoing narrative of New York City’s architectural evolution. Its reductive form, structural clarity, and spatial generosity offer a compelling study of the power of minimalism at an urban scale. 432 Park Avenue Plans Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects Floor Plans | © Rafael Viñoly Architects 432 Park Avenue Image Gallery © Rafael Viñoly Architects About Rafael Viñoly Architects Rafael Viñoly, a Uruguayan-born architect (1944–2023), founded Rafael Viñoly Architects in New York City in 1983. After studies in Buenos Aires and early practice in Argentina, he relocated to the U.S.. He established a global firm with offices in cities including London, Palo Alto, and Abu Dhabi. Renowned for large-scale, function-driven projects such as the Tokyo International Forum, Cleveland Museum of Art expansions, and 432 Park Avenue, the firm is praised for combining structural clarity, context-sensitive design, and institutional rigor across six continents. Credits and Additional Notes Client: Macklowe Properties and CIM Group Design Team: Rafael Viñoly (Architect), Deborah Berke Partners (Interior Design of residential units), Bentel & Bentel (Amenity Spaces Design) Structural Engineer: WSP Cantor Seinuk Mechanical, Electrical, and Plumbing Engineers: Jaros, Baum & Bolles (JB&B) Construction Manager: Lendlease Height: 1,396 feet (425.5 meters) Number of Floors: 96 stories Construction Years: 2011–2015
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  • Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals

    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals
    She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access

    Stephanie Rudig

    - Freelance Writer

    June 11, 2025

    Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987
    Andrea Legge / © NYPL

    Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story.
    One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots.

    Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957

    Martha Swope / © NYPL

    At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School.
    Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’”
    Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library.

    An ensemble of dancers in rehearsal for the stage production Cats in 1982

    Martha Swope / © NYPL

    “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.”
    According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older,was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.”
    Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar.

    Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986

    Martha Swope / © NYPL

    It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.”
    Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.”
    Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space.

    From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988

    Martha Swope / © NYPL

    Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera.
    Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.”

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    #meet #martha #swope #legendary #broadway
    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals
    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older,was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox. #meet #martha #swope #legendary #broadway
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    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals
    Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older, [Swope] was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox.
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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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  • This Surprising Kitchen Trend Is Making Designers Ditch Tile

    Here at Country Living, we love to study trends, especially those with timeless appeal. As the Senior Homes and Style Editor, it's my job to track these trends and decide which ones are worth covering and which ones are not, which is exactly why I've been watching the rise of wood paneling the last few years. People are desperate to move away from cold, clinical minimalism and make their homes feel more welcoming and lived-in. I was surprised, though, when I started seeing more and more paneling in the kitchen—not just on the walls, but acting as a backsplash. Below, we're diving into everything you need to know about the material set to replace tile as the designer-preferred kitchen backsplash this year. Related Stories What Types of Wood Paneling Are Trending? Before we get too far, let's be clear: Tile backsplash isn't going anywhere any time soon, and I'm definitely not saying you should rip out all your tile and replace it with wood paneling just because it's popular. Wood paneling offers a fresh alternative to tile that adds a warm layer to a space that can otherwise feel sterile. It's been beloved as an easy way to add character to your walls for decades, and its foray into the kitchen shouldn't be a surprise as cottage kitchens become more and more popular both online and in real life. Before you toss out your tile samples, let's examine which types of paneling might be best for your kitchen. ShiplapLove it or hate it, shiplap is here to stay. This style, made popular by Chip and Joanna Gaines more than a decade ago, offers a classic look, making it perfect for homes regardless of their age or location. If you love this look but want something that feels less ubiquitous, avoid white shiplap and choose a warmer neutral, such as Interactive Cream by Sherwin-Williams or Rhine River by Benjamin Moore. Nickel Gap Paneling Think of nickel gap paneling, which gets its name from the consistent, nickel-width gap between each of the planks, as shiplap's older, more refined cousin. Unlike shiplap, which uses a type of connecting grove called a rabbet joint, nickel gap uses a classic tongue-and-groove joinery system. Once installed, the planks feel more elevated and purposeful than standard shiplap. While any type of wood can be used for nickel gap paneling, inexpensive woods, such as pine and poplar, or even MDF are popular options. BeadboardA longtime favorite in country kitchens, beadboard paneling is full of historic cottage charm.Because beadboard has a raised edge—the "bead" that gives it its name—it's a great way to add texture and a sense of history to a space, and might be the best option if you're trying to add age to a newly built kitchen. Related StoryIs a Wood Backsplash Safe?If you love the lived-in look, then wood backsplash is perfect for you, and when installed with care and paired with the right materials, wood is just as safe as tile. If you have a gas stove, always pair wood backsplash with a fire-safe material such as marble or quartz. This not only keeps your wood backsplash in pristine condition but also protects it from any open flame. If you're using an induction cooktop, feel free to leave your wood backsplash uncovered. Related StoryExamples of Wood BacksplashBecky Luigart-Stayner for Country LivingBeadboard backsplash adds a cozy twist to this gingham-filled kitchen’s stove cove from designer Trinity Holmes. Stacy Zarin GoldbergIn designer Molly Singer’s kitchen, simple wood paneling adds country charm. Ali Harper for Country LivingIn this Alabama river cottage, designed by Jensen Killen, wood-planked walls were painted a creamy white and run horizontally throughout the kitchen. Mike D'AvelloKnotty pine adds country charm to this kitchen designed by HGTV star Jenny Marrs.Becky Luigart-Stayner for Country LivingIn Maribeth Jones’ Alabama kitchen, yellow walls and paneling add cottage charm when paired with painted floors and a fruit-inspired wallpaper. Related StoriesAnna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.
     
    #this #surprising #kitchen #trend #making
    This Surprising Kitchen Trend Is Making Designers Ditch Tile
    Here at Country Living, we love to study trends, especially those with timeless appeal. As the Senior Homes and Style Editor, it's my job to track these trends and decide which ones are worth covering and which ones are not, which is exactly why I've been watching the rise of wood paneling the last few years. People are desperate to move away from cold, clinical minimalism and make their homes feel more welcoming and lived-in. I was surprised, though, when I started seeing more and more paneling in the kitchen—not just on the walls, but acting as a backsplash. Below, we're diving into everything you need to know about the material set to replace tile as the designer-preferred kitchen backsplash this year. Related Stories What Types of Wood Paneling Are Trending? Before we get too far, let's be clear: Tile backsplash isn't going anywhere any time soon, and I'm definitely not saying you should rip out all your tile and replace it with wood paneling just because it's popular. Wood paneling offers a fresh alternative to tile that adds a warm layer to a space that can otherwise feel sterile. It's been beloved as an easy way to add character to your walls for decades, and its foray into the kitchen shouldn't be a surprise as cottage kitchens become more and more popular both online and in real life. Before you toss out your tile samples, let's examine which types of paneling might be best for your kitchen. ShiplapLove it or hate it, shiplap is here to stay. This style, made popular by Chip and Joanna Gaines more than a decade ago, offers a classic look, making it perfect for homes regardless of their age or location. If you love this look but want something that feels less ubiquitous, avoid white shiplap and choose a warmer neutral, such as Interactive Cream by Sherwin-Williams or Rhine River by Benjamin Moore. Nickel Gap Paneling Think of nickel gap paneling, which gets its name from the consistent, nickel-width gap between each of the planks, as shiplap's older, more refined cousin. Unlike shiplap, which uses a type of connecting grove called a rabbet joint, nickel gap uses a classic tongue-and-groove joinery system. Once installed, the planks feel more elevated and purposeful than standard shiplap. While any type of wood can be used for nickel gap paneling, inexpensive woods, such as pine and poplar, or even MDF are popular options. BeadboardA longtime favorite in country kitchens, beadboard paneling is full of historic cottage charm.Because beadboard has a raised edge—the "bead" that gives it its name—it's a great way to add texture and a sense of history to a space, and might be the best option if you're trying to add age to a newly built kitchen. Related StoryIs a Wood Backsplash Safe?If you love the lived-in look, then wood backsplash is perfect for you, and when installed with care and paired with the right materials, wood is just as safe as tile. If you have a gas stove, always pair wood backsplash with a fire-safe material such as marble or quartz. This not only keeps your wood backsplash in pristine condition but also protects it from any open flame. If you're using an induction cooktop, feel free to leave your wood backsplash uncovered. Related StoryExamples of Wood BacksplashBecky Luigart-Stayner for Country LivingBeadboard backsplash adds a cozy twist to this gingham-filled kitchen’s stove cove from designer Trinity Holmes. Stacy Zarin GoldbergIn designer Molly Singer’s kitchen, simple wood paneling adds country charm. Ali Harper for Country LivingIn this Alabama river cottage, designed by Jensen Killen, wood-planked walls were painted a creamy white and run horizontally throughout the kitchen. Mike D'AvelloKnotty pine adds country charm to this kitchen designed by HGTV star Jenny Marrs.Becky Luigart-Stayner for Country LivingIn Maribeth Jones’ Alabama kitchen, yellow walls and paneling add cottage charm when paired with painted floors and a fruit-inspired wallpaper. Related StoriesAnna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.   #this #surprising #kitchen #trend #making
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    This Surprising Kitchen Trend Is Making Designers Ditch Tile
    Here at Country Living, we love to study trends, especially those with timeless appeal. As the Senior Homes and Style Editor, it's my job to track these trends and decide which ones are worth covering and which ones are not, which is exactly why I've been watching the rise of wood paneling the last few years. People are desperate to move away from cold, clinical minimalism and make their homes feel more welcoming and lived-in. I was surprised, though, when I started seeing more and more paneling in the kitchen—not just on the walls, but acting as a backsplash. Below, we're diving into everything you need to know about the material set to replace tile as the designer-preferred kitchen backsplash this year. Related Stories What Types of Wood Paneling Are Trending? Before we get too far, let's be clear: Tile backsplash isn't going anywhere any time soon, and I'm definitely not saying you should rip out all your tile and replace it with wood paneling just because it's popular. Wood paneling offers a fresh alternative to tile that adds a warm layer to a space that can otherwise feel sterile. It's been beloved as an easy way to add character to your walls for decades, and its foray into the kitchen shouldn't be a surprise as cottage kitchens become more and more popular both online and in real life. Before you toss out your tile samples, let's examine which types of paneling might be best for your kitchen. ShiplapLove it or hate it, shiplap is here to stay. This style, made popular by Chip and Joanna Gaines more than a decade ago, offers a classic look, making it perfect for homes regardless of their age or location. If you love this look but want something that feels less ubiquitous, avoid white shiplap and choose a warmer neutral, such as Interactive Cream by Sherwin-Williams or Rhine River by Benjamin Moore. Nickel Gap Paneling Think of nickel gap paneling, which gets its name from the consistent, nickel-width gap between each of the planks, as shiplap's older, more refined cousin. Unlike shiplap, which uses a type of connecting grove called a rabbet joint, nickel gap uses a classic tongue-and-groove joinery system. Once installed, the planks feel more elevated and purposeful than standard shiplap. While any type of wood can be used for nickel gap paneling, inexpensive woods, such as pine and poplar, or even MDF are popular options. BeadboardA longtime favorite in country kitchens, beadboard paneling is full of historic cottage charm. (My two cents: If a design element was good enough for the Victorians, it's good enough for me!) Because beadboard has a raised edge—the "bead" that gives it its name—it's a great way to add texture and a sense of history to a space, and might be the best option if you're trying to add age to a newly built kitchen. Related StoryIs a Wood Backsplash Safe?If you love the lived-in look, then wood backsplash is perfect for you, and when installed with care and paired with the right materials, wood is just as safe as tile. If you have a gas stove, always pair wood backsplash with a fire-safe material such as marble or quartz. This not only keeps your wood backsplash in pristine condition but also protects it from any open flame. If you're using an induction cooktop, feel free to leave your wood backsplash uncovered. Related StoryExamples of Wood BacksplashBecky Luigart-Stayner for Country LivingBeadboard backsplash adds a cozy twist to this gingham-filled kitchen’s stove cove from designer Trinity Holmes. Stacy Zarin GoldbergIn designer Molly Singer’s kitchen, simple wood paneling adds country charm. Ali Harper for Country LivingIn this Alabama river cottage, designed by Jensen Killen, wood-planked walls were painted a creamy white and run horizontally throughout the kitchen. Mike D'AvelloKnotty pine adds country charm to this kitchen designed by HGTV star Jenny Marrs.Becky Luigart-Stayner for Country LivingIn Maribeth Jones’ Alabama kitchen, yellow walls and paneling add cottage charm when paired with painted floors and a fruit-inspired wallpaper. Related StoriesAnna LoganSenior Homes & Style EditorAnna Logan is the Senior Homes & Style Editor at Country Living, where she has been covering all things home design, including sharing exclusive looks at beautifully designed country kitchens, producing home features, writing everything from timely trend reports on the latest viral aesthetic to expert-driven explainers on must-read topics, and rounding up pretty much everything you’ve ever wanted to know about paint, since 2021. Anna has spent the last seven years covering every aspect of the design industry, previously having written for Traditional Home, One Kings Lane, House Beautiful, and Frederic. She holds a degree in journalism from the University of Georgia. When she’s not working, Anna can either be found digging around her flower garden or through the dusty shelves of an antique shop. Follow her adventures, or, more importantly, those of her three-year-old Maltese and official Country Living Pet Lab tester, Teddy, on Instagram.  
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