After detailing the VFX work on The Last of Us Season 1 in 2023, Alex Wang returns to reflect on how the scope and complexity have evolved in Season 2. With close to 30 years of experience in the visual effects industry, Fiona Campbell Westgate has contributed to major productions such as Ghost in the Shell, Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and Nyad. Her work on Nyad earned her a VES Award for Outstanding Supporting Visual Effects in a Photoreal Feature. Collaboration with Craig Mazin and Neil Druckmann is key to shaping the visual universe of The Last of Us. Can you share with us how you work with them and how they influence the visual direction of the series? Alex Wang // Craig visualizes the shot or scene before putting words on the page. His writing is always exceptionally detailed and descriptive, ultimately helping us to imagine the shot. Of course, no one understands The Last of Us better than Neil, who knows all aspects of the lore very well. He’s done much research and design work with the Naughty Dog team, so he gives us good guidance regarding creature and environment designs. I always try to begin with concept art to get the ball rolling with Craig and Neil’s ideas. This season, we collaborated with Chromatic Studios for concept art. They also contributed to the games, so I felt that continuity was beneficial for our show. Fiona Campbell Westgate // From the outset, it was clear that collaborating with Craig would be an exceptional experience. Early meetings revealed just how personable and invested Craig is. He works closely with every department to ensure that each episode is done to the highest level. Craig places unwavering trust in our VFX Supervisor, Alex Wang. They have an understanding between them that lends to an exceptional partnership. As the VFX Producer, I know how vital the dynamic between the Showrunner and VFX Supervisor is; working with these two has made for one of the best professional experiences of my career.  Photograph by Liane Hentscher/HBO How has your collaboration with Craig evolved between the first and second seasons? Were there any adjustments in the visual approach or narrative techniques you made this season? Alex Wang // Since everything was new in Season 1, we dedicated a lot of time and effort to exploring the show’s visual language, and we all learned a great deal about what worked and what didn’t for the show. In my initial conversations with Craig about Season 2, it was clear that he wanted to expand the show’s scope by utilizing what we established and learned in Season 1. He felt significantly more at ease fully committing to using VFX to help tell the story this season. The first season involved multiple VFX studios to handle the complexity of the effects. How did you divide the work among different studios for the second season? Alex Wang // Most of the vendors this season were also in Season 1, so we already had a shorthand. The VFX Producer, Fiona Campbell Westgate, and I work closely together to decide how to divide the work among our vendors. The type of work needs to be well-suited for the vendor and fit into our budget and schedule. We were extremely fortunate to have the vendors we did this season. I want to take this opportunity to thank Weta FX, DNEG, RISE, Distillery VFX, Storm Studios, Important Looking Pirates, Blackbird, Wylie Co., RVX, and VDK. We also had ILM for concept art and Digital Domain for previs. Fiona Campbell Westgate // Alex Wang and I were very aware of the tight delivery schedule, which added to the challenge of distributing the workload. We planned the work based on the individual studio’s capabilities, and tried not to burden them with back to back episodes wherever possible. Fortunately, there was shorthand with vendors from Season One, who were well-acquainted with the process and the quality of work the show required. The town of Jackson is a key location in The Last of Us. Could you explain how you approached creating and expanding this environment for the second season? Alex Wang // Since Season 1, this show has created incredible sets. However, the Jackson town set build is by far the most impressive in terms of scope. They constructed an 822 ft x 400 ft set in Minaty Bay that resembled a real town! I had early discussions with Production Designer Don MacAulay and his team about where they should concentrate their efforts and where VFX would make the most sense to take over. They focused on developing the town’s main street, where we believed most scenes would occur. There is a big reveal of Jackson in the first episode after Ellie comes out of the barn. Distillery VFX was responsible for the town’s extension, which appears seamless because the team took great pride in researching and ensuring the architecture aligned with the set while staying true to the tone of Jackson, Wyoming. Fiona Campbell Westgate // An impressive set was constructed in Minaty Bay, which served as the foundation for VFX to build upon. There is a beautiful establishing shot of Jackson in Episode 1 that was completed by Distillery, showing a safe and almost normal setting as Season Two starts. Across the episodes, Jackson set extensions were completed by our partners at RISE and Weta. Each had a different phase of Jackson to create, from almost idyllic to a town immersed in Battle.  What challenges did you face filming Jackson on both real and virtual sets? Was there a particular fusion between visual effects and live-action shots to make it feel realistic? Alex Wang // I always advocate for building exterior sets outdoors to take advantage of natural light. However, the drawback is that we cannot control the weather and lighting when filming over several days across two units. In Episode 2, there’s supposed to be a winter storm in Jackson, so maintaining consistency within the episode was essential. On sunny and rainy days, we used cranes to lift large 30x60ft screens to block the sun or rain. It was impossible to shield the entire set from the rain or sun, so we prioritized protecting the actors from sunlight or rain. Thus, you can imagine there was extensive weather cleanup for the episode to ensure consistency within the sequences. Fiona Campbell Westgate // We were fortunate that production built a large scale Jackson set. It provided a base for the full CG Jackson aerial shots and CG Set Extensions. The weather conditions at Minaty Bay presented a challenge during the filming of the end of the Battle sequence in Episode 2. While there were periods of bright sunshine, rainfall occurred during the filming of the end of the Battle sequence in Episode 2. In addition to the obvious visual effects work, it became necessary to replace the ground cover. Photograph by Liane Hentscher/HBO The attack on Jackson by the horde of infected in season 2 is a very intense moment. How did you approach the visual effects for this sequence? What techniques did you use to make the scale of the attack feel as impressive as it did? Alex Wang // We knew this would be a very complex sequence to shoot, and for it to be successful, we needed to start planning with the HODs from the very beginning. We began previs during prep with Weta FX and the episode’s director, Mark Mylod. The previs helped us understand Mark and the showrunner’s vision. This then served as a blueprint for all departments to follow, and in many instances, we filmed the previs. Fiona Campbell Westgate // The sheer size of the CG Infected Horde sets the tone for the scale of the Battle. It’s an intimidating moment when they are revealed through the blowing snow. The addition of CG explosions and atmospheric effects contributed in adding scale to the sequence.  Can you give us an insight into the technical challenges of capturing the infected horde? How much of the effect was done using CGI, and how much was achieved with practical effects? Alex Wang // Starting with a detailed previs that Mark and Craig approved was essential for planning the horde. We understood that we would never have enough stunt performers to fill a horde, nor could they carry out some stunts that would be too dangerous. I reviewed the previs with Stunt Coordinator Marny Eng numerous times to decide the best placements for her team’s stunt performers. We also collaborated with Barrie Gower from the Prosthetics team to determine the most effective allocation of his team’s efforts. Stunt performers positioned closest to the camera would receive the full prosthetic treatment, which can take hours. Weta FX was responsible for the incredible CG Infected horde work in the Jackson Battle. They have been a creative partner with HBO’s The Last of Us since Season 1, so they were brought on early for Season 2. I began discussions with Weta’s VFX supervisor, Nick Epstein, about how we could tackle these complex horde shots very early during the shoot. Typically, repetition in CG crowd scenes can be acceptable, such as armies with soldiers dressed in the same uniform or armour. However, for our Infected horde, Craig wanted to convey that the Infected didn’t come off an assembly line or all shop at the same clothing department store. Any repetition would feel artificial. These Infected were once civilians with families, or they were groups of raiders. We needed complex variations in height, body size, age, clothing, and hair. We built our base library of Infected, and then Nick and the Weta FX team developed a “mix and match” system, allowing the Infected to wear any costume and hair groom. A procedural texturing system was also developed for costumes, providing even greater variation. The most crucial aspect of the Infected horde was their motion. We had numerous shots cutting back-to-back with practical Infected, as well as shots where our CG Infected ran right alongside a stunt horde. It was incredibly unforgiving! Weta FX’s animation supervisor from Season 1, Dennis Yoo, returned for Season 2 to meet the challenge. Having been part of the first season, Dennis understood the expectations of Craig and Neil. Similar to issues of model repetition within a horde, it was relatively easy to perceive repetition, especially if they were running toward the same target. It was essential to enhance the details of their performances with nuances such as tripping and falling, getting back up, and trampling over each other. There also needed to be a difference in the Infected’s running speed. To ensure we had enough complexity within the horde, Dennis motion-captured almost 600 unique motion cycles. We had over a hundred shots in episode 2 that required CG Infected horde. Fiona Campbell Westgate // Nick Epstein, Weta VFX Supervisor, and Dennis Yoo, Weta Animation Supervisor, were faced with having to add hero, close-up Horde that had to integrate with practical Stunt performers. They achieved this through over 60 motion capture sessions and running it through a deformation system they developed. Every detail was applied to allow for a seamless blend with our practical Stunt performances. The Weta team created a custom costume and hair system that provided individual looks to the CG Infected Horde. We were able to avoid the repetitive look of a CG crowd due to these efforts. The movement of the infected horde is crucial for the intensity of the scene. How did you manage the animation and simulation of the infected to ensure smooth and realistic interaction with the environment? Fiona Campbell Westgate // We worked closely with the Stunt department to plan out positioning and where VFX would be adding the CG Horde. Craig Mazin wanted the Infected Horde to move in a way that humans cannot. The deformation system kept the body shape anatomically correct and allowed us to push the limits from how a human physically moves.  The Bloater makes a terrifying return this season. What were the key challenges in designing and animating this creature? How did you work on the Bloater’s interaction with the environment and other characters? Alex Wang // In Season 1, the Kansas City cul-de-sac sequence featured only a handful of Bloater shots. This season, however, nearly forty shots showcase the Bloater in broad daylight during the Battle of Jackson. We needed to redesign the Bloater asset to ensure it looked good in close-up shots from head to toe. Weta FX designed the Bloater for Season 1 and revamped the design for this season. Starting with the Bloater’s silhouette, it had to appear large, intimidating, and menacing. We explored enlarging the cordyceps head shape to make it feel almost like a crown, enhancing the Bloater’s impressive and strong presence. During filming, a stunt double stood in for the Bloater. This was mainly for scale reference and composition. It also helped the Infected stunt performers understand the Bloater’s spatial position, allowing them to avoid running through his space. Once we had an edit, Dennis mocapped the Bloater’s performances with his team. It is always challenging to get the motion right for a creature that weighs 600 pounds. We don’t want the mocap to be overly exaggerated, but it does break the character if the Bloater feels too “light.” The brilliant animation team at Weta FX brought the Bloater character to life and nailed it! When Tommy goes head-to-head with the Bloater, Craig was quite specific during the prep days about how the Bloater would bubble, melt, and burn as Tommy torches him with the flamethrower. Important Looking Pirates took on the “Burning Bloater” sequence, led by VFX Supervisor Philip Engstrom. They began with extensive R&D to ensure the Bloater’s skin would start to bubble and burn. ILP took the final Bloater asset from Weta FX and had to resculpt and texture the asset for the Bloater’s final burn state. Craig felt it was important for the Bloater to appear maimed at the end. The layers of FX were so complex that the R&D continued almost to the end of the delivery schedule. Fiona Campbell Westgate // This season the Bloater had to be bigger, more intimidating. The CG Asset was recreated to withstand the scrutiny of close ups and in daylight. Both Craig Mazin and Neil Druckmann worked closely with us during the process of the build. We referenced the game and applied elements of that version with ours. You’ll notice that his head is in the shape of crown, this is to convey he’s a powerful force.  During the Burning Bloater sequence in Episode 2, we brainstormed with Philip Engström, ILP VFX Supervisor, on how this creature would react to the flamethrower and how it would affect the ground as it burns. When the Bloater finally falls to the ground and dies, the extraordinary detail of the embers burning, fluid draining and melting the surrounding snow really sells that the CG creature was in the terrain.  Given the Bloater’s imposing size, how did you approach its integration into scenes with the actors? What techniques did you use to create such a realistic and menacing appearance? Fiona Campbell Westgate // For the Bloater, a stunt performer wearing a motion capture suit was filmed on set. This provided interaction with the actors and the environment. VFX enhanced the intensity of his movements, incorporating simulations to the CG Bloater’s skin and muscles that would reflect the weight and force as this terrifying creature moves.  Seattle in The Last of Us is a completely devastated city. Can you talk about how you recreated this destruction? What were the most difficult visual aspects to realize for this post-apocalyptic city? Fiona Campbell Westgate // We were meticulous in blending the CG destruction with the practical environment. The flora’s ability to overtake the environment had to be believable, and we adhered to the principle of form follows function. Due to the vastness of the CG devastation it was crucial to avoid repetitive effects. Consequently, our vendors were tasked with creating bespoke designs that evoked a sense of awe and beauty. Was Seattle’s architecture a key element in how you designed the visual effects? How did you adapt the city’s real-life urban landscape to meet the needs of the story while maintaining a coherent aesthetic? Alex Wang // It’s always important to Craig and Neil that we remain true to the cities our characters are in. DNEG was one of our primary vendors for Boston in Season 1, so it was natural for them to return for Season 2, this time focusing on Seattle. DNEG’s VFX Supervisor, Stephen James, who played a crucial role in developing the visual language of Boston for Season 1, also returns for this season. Stephen and Melaina Mace (DFX Supervisor) led a team to Seattle to shoot plates and perform lidar scans of parts of the city. We identified the buildings unique to Seattle that would have existed in 2003, so we ensured these buildings were always included in our establishing shots. Overgrowth and destruction have significantly influenced the environments in The Last of Us. The environment functions almost as a character in both Season 1 and Season 2. In the last season, the building destruction in Boston was primarily caused by military bombings. During this season, destruction mainly arises from dilapidation. Living in the Pacific Northwest, I understand how damp it can get for most of the year. I imagined that, over 20 years, the integrity of the buildings would be compromised by natural forces. This abundant moisture creates an exceptionally lush and vibrant landscape for much of the year. Therefore, when designing Seattle, we ensured that the destruction and overgrowth appeared intentional and aesthetically distinct from those of Boston. Fiona Campbell Westgate // Led by Stephen James, DNEG VFX Supervisor, and Melaina Mace, DNEG DFX Supervisor, the team captured photography, drone footage and the Clear Angle team captured LiDAR data over a three-day period in Seattle. It was crucial to include recognizable Seattle landmarks that would resonate with people familiar with the game.  The devastated city almost becomes a character in itself this season. What aspects of the visual effects did you have to enhance to increase the immersion of the viewer into this hostile and deteriorated environment? Fiona Campbell Westgate // It is indeed a character. Craig wanted it to be deteriorated but to have moments where it’s also beautiful in its devastation. For instance, in the Music Store in Episode 4 where Ellie is playing guitar for Dina, the deteriorated interior provides a beautiful backdrop to this intimate moment. The Set Decorating team dressed a specific section of the set, while VFX extended the destruction and overgrowth to encompass the entire environment, immersing the viewer in strange yet familiar surroundings. Photograph by Liane Hentscher/HBO The sequence where Ellie navigates a boat through a violent storm is stunning. What were the key challenges in creating this scene, especially with water simulation and the storm’s effects? Alex Wang // In the concluding episode of Season 2, Ellie is deep in Seattle, searching for Abby. The episode draws us closer to the Aquarium, where this area of Seattle is heavily flooded. Naturally, this brings challenges with CG water. In the scene where Ellie encounters Isaac and the W.L.F soldiers by the dock, we had a complex shoot involving multiple locations, including a water tank and a boat gimbal. There were also several full CG shots. For Isaac’s riverine boat, which was in a stormy ocean, I felt it was essential that the boat and the actors were given the appropriate motion. Weta FX assisted with tech-vis for all the boat gimbal work. We began with different ocean wave sizes caused by the storm, and once the filmmakers selected one, the boat’s motion in the tech-vis fed the special FX gimbal. When Ellie gets into the Jon boat, I didn’t want it on the same gimbal because I felt it would be too mechanical. Ellie’s weight needed to affect the boat as she got in, and that wouldn’t have happened with a mechanical gimbal. So, we opted to have her boat in a water tank for this scene. Special FX had wave makers that provided the boat with the appropriate movement. Instead of guessing what the ocean sim for the riverine boat should be, the tech- vis data enabled DNEG to get a head start on the water simulations in post-production. Craig wanted this sequence to appear convincingly dark, much like it looks out on the ocean at night. This allowed us to create dramatic visuals, using lightning strikes at moments to reveal depth. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? Alex Wang // The Last of Us tells the story of our characters’ journey. If you look at how season 2 begins in Jackson, it differs significantly from how we conclude the season in Seattle. We seldom return to the exact location in each episode, meaning every episode presents a unique challenge. The scope of work this season has been incredibly rewarding. We burned a Bloater, and we also introduced spores this season! Photograph by Liane Hentscher/HBO Looking back on the project, what aspects of the visual effects are you most proud of? Alex Wang // The Jackson Battle was incredibly complex, involving a grueling and lengthy shoot in quite challenging conditions, along with over 600 VFX shots in episode 2. It was truly inspiring to witness the determination of every department and vendor to give their all and create something remarkable. Fiona Campbell Westgate // I am immensely proud of the exceptional work accomplished by all of our vendors. During the VFX reviews, I found myself clapping with delight when the final shots were displayed; it was exciting to see remarkable results of the artists’ efforts come to light.  How long have you worked on this show? Alex Wang // I’ve been on this season for nearly two years. Fiona Campbell Westgate // A little over one year; I joined the show in April 2024. What’s the VFX shots count? Alex Wang // We had just over 2,500 shots this Season. Fiona Campbell Westgate // In Season 2, there were a total of 2656 visual effects shots. What is your next project? Fiona Campbell Westgate // Stay tuned… A big thanks for your time. WANT TO KNOW MORE?Blackbird: Dedicated page about The Last of Us – Season 2 website.DNEG: Dedicated page about The Last of Us – Season 2 on DNEG website.Important Looking Pirates: Dedicated page about The Last of Us – Season 2 website.RISE: Dedicated page about The Last of Us – Season 2 website.Weta FX: Dedicated page about The Last of Us – Season 2 website. © Vincent Frei – The Art of VFX – 2025

“Was your interior designer Ayn Bland?” Barely ten minutes into Mountainhead, the first feature film from Succession creator Jesse Armstrong, the viewer is confronted with one of the film’s central tenets: beige is bad.Articulated by Jeff (Ramy Youssef), the movie does a lot to engage this train of thought. Its central characters—tech bro founders Randall (Steve Carrell), Hugo (Jason Schwartzman), and Venis (Cory Michael Smith)—are pitted against not just each other, but the world writ large as it begins to crumble around them, mostly thanks to their own machinations.But when did our current beige malaise set in? Much of the recent divisiveness might be attributed to the Kardashians, whose homes are synonymous with muted putty tones: “less is more” taken to its only logical conclusion—least is best. The aesthetic has occasionally gone viral, with the TikTok account Sad Beige even garnering notoriety for documenting the lifelessness of children’s retail offerings in the voice of German documentary filmmaker Werner Herzog.Warner Bros.The cast of Mountainhead, the new HBO Original film from Succession creator Jesse Armstrong.Social media is as much a progenitor of the trend as it is the platform to document it and repackage it for frictionless consumption. Beige is safe, easy, legible—if your entire house has been unpacked from Amazon boxes, why fight the natural inclination to just live in one? The Mountainhead home might be the lair of a fictional tech boss, but the aesthetics remain the same up and down the corporate ladder.The color family has its own troubled history: “khaki,” which is derived from the Urdu term for “dusty,” originated in mid-19th-century colonial India, as the critic and author Andrea Codrington noted in an eerily prescient 2001 essay for Cabinet magazine that further elaborates on beige’s latent potential for evil. Mountainhead, then, sees the hue returning to its roots, becoming shorthand for what Armstrong sees as everything that’s wrong with the world: complacency, exhaustion, and boredom.MACALL POLAY. SMPSPAnother beige couch in the Mountainhead house. Armstrong’s camera treats the home, designed by local Utah firm Upwall Design, as a character in and of itself, with lingering shots of quietly humming servers, spiraling staircases and vacant driveways presenting solitude and menace as two sides of the same coin. Town & Country reported that production designer Stephen Carter liked the property for its The Shining-esque vibes. He wasn’t wrong. “There’s a solitary nature to that house, too,” star Steve Carrell told The Salt Lake Tribune. “You feel like you’re away from everything.”Another word for that feeling—articulated by scenes of the men laying about the home glued to their phones as scenes of worldwide terror stream in—would be dissociation. Think home is where the heart is? Mountainhead makes a compelling case that it's often just another a bad trip.Sean SantiagoDeputy EditorSean Santiago is ELLE Decor's Deputy Editor, covering news, trends and talents in interior design, hospitality and travel, culture, and luxury shopping. Since starting his career at an interior design firm in 2011, he has gone on to cover the industry for Vogue, Architectural Digest, Sight Unseen, PIN-UP and Domino. He is the author of The Lonny Home (Weldon Owens, 2018), has produced scripted social content for brands including West Elm and Streeteasy, and is sometimes recognized on the street for his Instagram Reels series, #DanceToDecor

After the Nintendo Switch, the Steam Deck might be the most impressive gaming handheld of the last decade. It brings Steam games—most of which were initially designed to run on Windows PCs—to a remarkably designed portable device. The only problem? Battery life can be rough on some games. If you're struggling to stay charged, here are some tips to help you out.When it comes to your Steam Deck's battery life, you're going to notice a lot of variability, even from one game to another. AAA games that rely on high-end GPUs will typically guzzle power. On laptops or desktops, that's usually not as much of a concern, but on the Steam Deck—when those games run at all—they can burn through the battery quickly.So, while we have plenty of tips to get the best battery life, it's important to keep in mind some games will simply burn through your power no matter what. Fortunately, SteamOS is already pretty power efficient (at least compared to other operating systems), and there are several handy tools to help.First, learn what, exactly, is draining your batteryThere are a few common culprits for battery drain in games, and it's helpful to understand them before diving into solutions. This is because what works for one game with minimal performance impact, could make another game unplayable. With that in mind, here are a few key things that drain your battery:Your hardware settings. The display on your Steam Deck is always a pretty big battery drain, and turning down the brightness can help. Wireless radios like wifi or Bluetooth are always sipping power, even if you're not using them, so you can sometimes turn these off if you don't need them.Your refresh rate and FPS. Your Steam Deck has to update the screen dozens of times every second, and for some games it might be way more than necessary. 60 to 90 frames per second might be necessary for a fast-paced game like Doom Eternal, but it's overkill for Stardew Valley.Your processor's TDP. Thermal Design Power (or TDP) is a complicated metric, but it serves as a shorthand for how much power your processor is using. On the Steam Deck, you can limit this directly, which is a blunt way of saving battery, but it can help sometimes.The most useful tool to help you diagnose your biggest battery drains is the Performance Overlay. Press the three-dot menu button while in a game and navigate to the Performance section and you'll see an option to enable this overlay. There are several levels of detail, ranging from a simple frame rate counter, to real-time power consumption and temperature readouts. The Performance tab is also where you'll find several useful features we'll discuss (under Advanced View), so it's good to make friends with this tab.Dive into your game's display settingsWhile the Steam Deck has a lot of useful features for managing battery life, you're still going to find some of your best options in your game's settings. Most games have presets to lower graphics settings with one quick toggle—like switching from Ultra to Medium—and some have even more advanced settings.This is particularly important to keep in mind if you play Steam games on multiple devices. Some games will try to sync settings between them, which can lead to your game rendering at a higher resolution or frame rate than the Steam Deck is even capable of displaying.In general, here are a few settings you should take a look at:Resolution: The Steam Deck has a 1280x800 resolution, so unless you're using an external monitor, there's no reason to set your game to a higher resolution. Most games won't let you go higher anyway, but it's worth it to double check. You can also go lower for some games, if you don't need as much detail.Frame rate: Many games offer the ability to cap how many frames the game generates, even if your display is capable of showing more. This can have a substantial impact on your battery life, especially for games that need to perform a lot of complex calculations (like graphics-heavy shooters) for every new frame.Graphical presets: If your game has a preset slider, try starting on the lowest preset and working your way up to see how the game performs. The Performance Overlay can be a huge help here, to see how much power your system is drawing on different presets. If your eye can't tell the difference, but your battery can, drop the settings.You can play around to find the right balance for you, and it will vary greatly by game. In some games, you might want more graphical detail, but fewer frames per second, while others would benefit from the exact opposite. Try a few options to see what works best.Adjust your refresh rate and FPS in tandem with the Frame Limit sliderAs mentioned above, the number of times your game updates the screen per second can be a huge factor in battery drain. This is affected by both the screen's refresh rate (how many times the display physically updates the pixel you see) and your game's frames per second (or FPS, the number of times the GPU generates a new frame per second). To complicate matters further, your refresh rate can have an effect on your input latency, meaning it's important to strike a delicate balance.To simplify this, the Steam Deck has a slider called Frame Limit that can impose a limit on how many frames your game displays and strike that balance for you. It automatically adjusts your refresh rate to be evenly divisible by the FPS limit, avoiding unnecessary (and asynchronous) refreshes, while still maintaining the highest refresh rate possible to reduce input lag.It's a workaround that's placed somewhat late in the pipeline, and it's sometimes better to adjust your game's settings directly, but it simplifies a complicated process. If you'd rather adjust your display's refresh rate directly, you can toggle Disable Frame Limit and adjust the refresh rate from 45Hz to 90Hz directly. Keep in mind, though, you might still need to adjust some game settings to avoid generating frames your display will just throw out.Put a cap on your Thermal Design Power (TDP), if you mustTweaking your game's graphics settings can adjust your power consumption with scalpel-like precision. By comparison, the TDP limit is a hammer. But even hammers have their uses. By design, the TDP slider on the Steam Deck will put a hard limit on how much power the CPU/GPU can draw from the battery. You can't get much more direct battery savings than that.The problem is that games typically, you know, need power. And even games with really fine-grain settings don't generally ask the user to decide how much electricity to draw. For some, especially graphics-heavy games, putting a hard limit on TDP can cause massive performance drops or even game crashes.Less demanding games, though, can benefit from playing with this setting. A useful rule of thumb is that if the game you're playing is already struggling to maintain a consistent frame rate, try something else before touching TDP. But for games like Stardew Valley, where you're never really concerned with frame rate, you can experiment with lowering the TDP limit to 10W or even 5W to see how well the game performs.Of course, setting a TDP limit only matters if it's below what your game was using in the first place. This is another area where the performance overlay comes in handy. You can get a sense of how much power your system is drawing during your games, and use that to gauge how low you want your TDP limit to be.Don't forget per-game battery setting profilesOn top of all these settings, you can also set game-specific profiles to change your battery settings automatically based on the title you're playing. I can't recommend this feature enough, especially if you tend to play games with very different power demands. Few things are more annoying than forgetting you set a low TDP limit for a simple game, then launching a more demanding game that strains against that limit.To use this, it's one simple toggle on the Performance tab. Enable "Use per-game profile" and the Steam Deck will automatically create a profile for every game you use. You can disable this toggle to switch back to the default, if you ever decide you prefer one consistent profile.Keep in mind the profiles only account for the Steam Deck's settings itself, not any game-specific settings. But it's still a handy tool. It can be overwhelming to keep track of all the different buttons and knobs you can fiddle with to get extra battery life, but the Steam Deck manages to balance a ton of customization options with the simplicity of straight-forward, user-friendly tools so you can game longer.

Jennifer Meyer always knew she wanted to work in fashion. It probably comes, she says, from the hours she spent in her grandmother’s Santa Monica, California, apartment, playing with art supplies, and the small kiln her grandmother kept on the kitchen counter. “She did a lot of enameling,” says Meyer, an LA-based jewelry designer. “She had all of these colors and plaques to put things on; wiring. I would design things with her for fun; I have this love of design from her.”  Still, as the daughter of an entertainment executive, Meyer didn’t really have a road map for a career in design. She completed her education on the East Coast, studying child and family psychology, and landed her first job in magazines, which she ultimately parlayed to PR jobs at Giorgio Armani and Ralph Lauren. “I wanted to start my own thing,” says Meyer. “I had this idea for jewelry, but I had no idea how to do it.”  In 2005, Meyer made some basic sketches—her first a riff on a leaf design—and began knocking on doors, armed with equal parts curiosity and tenacity. So began the launch of her line, Jennifer Meyer Jewelry. Now, 20 years later, Meyer describes herself as self-taught. She’s leveraged her love of the natural world and her instincts for a simple, unfussy aesthetic to guide a business that’s become as popular with Jennifer Aniston and Meghan Markle as millennials and suburban fortysomethings.  If the door said jeweler, I knocked on it. I knew nothing. It was trial and error. I had a bad sketch of a leaf on paper. I had no clue what I was doing—which, by the way, as I look back was the best way to learn. I made a few pieces, and that’s how I understood what I was doing.   There is a Star Wars quote, “Do or do not; there is no try.” I started in 2005. My boyfriend at the time, who became my husband, said, “What do you want to do?” I said, ”I don’t know.” He said, “That’s a lie; Everybody wants a thing and we’re embarrassed to say it. You think you’re too old, or too young. What do you want to do? Act? Write? Work for NASA? It can be anything.” He said, “You have to say it out loud.” I said, “I want to design jewelry. I don’t know how to do it.”   When I started, I was doing everything from designing to FedEx. I was alone, and I did it all. I have such an amazing group of people I work with now. Now it’s shorthand: We can have one quick conversation and say, “Hey do you remember the leaf with the baguette diamonds?”  I like when things feel organized. When I walk into a room and I know where everything is . . . organization is inspiring to me.  As a business owner, I’m available 24/7. I don’t care what time you text me, I don’t care what time you call or email me. If it’s 11 p.m. on a Saturday and you work with me and you said, “Jen, do you have five minutes?” I have five minutes. Unless I’m sound asleep, other than that I am available. I do, though, [I] still think it’s important to set boundaries to make you feel good, but I don’t have a boundary with my time.  I love a reminder. When someone says, “Just bumping this to the top of your emails. Or, hey, making sure you did this.” You cannot bug me. It is the greatest feeling in the world. Bother me until it’s finished.  I always get up by 7 a.m. I always make sure my kids are fed and out the door. They drive now, which is such a weird thing. I love to work out and I go to bed thinking about my coffee. I drink decaf. I used to have really bad panic attacks. They were debilitating. If I’m drinking caffeine first thing, that’s not good for anybody. I always have a book with me. Everything is written down. I have to write it down and I have to take a highlighter to it. That is it for me. That’s how I do things. When people have notes on their phones, it gives me hives.  Being creative is throwing it all out there, making mistakes and making it your own. How many times have you looked at something and thought, “I would never wear that, what is that? No.” And then, somehow six months later you’re around it enough and you see that woman whose aesthetic you love and you’re like, “I get it now.”  Hard work pays off. You have got to develop those relationships; you have to sit with people and get to know their wives and children and husbands. You have to get in there and spend the time and energy and the focus and you have to develop the same aesthetic, which is really challenging. Everyone has their own idea of how things should be made. It’s a lot of working together and explaining yourself and being clear. You talk about boundaries. Those that are the boundaries that are important. Clarity is kindness. I grew up going to art galleries with my dad. He loved going to galleries. I remember I was like 8 years old and he bought this art and it was on our wall. It was literally a green and blue triangle—nothing else. Half was blue and half was green. I remember saying to him, “What is that? I could have done that.” He looked at me and said, “But you didn’t.” It never left my head. That artist did it and thought of it and created it. It was easy for me to have a 10-minute opinion, but I didn’t do it. I was like, “He’s damn right.”

If you have experience with object-oriented programming languages, then you’ve likely heard of the SOLID principles, MVP, singleton, factory, and observer patterns. Our new e-book highlights best practices for using these principles and patterns to create scalable game code architecture in your Unity project.For every software design issue you encounter, a thousand developers have been there before. Though you can’t always ask them directly for advice, you can learn from their decisions through design patterns.By implementing common, game programming design patterns in your Unity project, you can efficiently build and maintain a clean, organized, and readable codebase, which in turn, creates a solid foundation for scaling your game, development team, and business.In our community, we often hear that it can be intimidating to learn how to incorporate design patterns and principles, such as SOLID and KISS, into daily development. That’s why our free e-book, Level up your code with game programming patterns, explains well-known design patterns and shares practical examples for using them in your Unity project.Written by internal and external Unity experts, the e-book is a resource that can help expand your developer’s toolbox and accelerate your project’s success. Read on for a preview of what the guide entails.Design patterns are general solutions to common problems found in software engineering. These aren’t finished solutions you can copy and paste into your code, but extra tools that can help you build larger, scalable applications when used correctly.By integrating patterns consistently into your project, you can improve code readability and make your codebase cleaner. Design patterns not only reduce refactoring and the time spent testing, they speed up onboarding and development processes.However, every design pattern comes with tradeoffs, whether that means additional structures to maintain or more setup at the beginning. You’ll need to do a cost-benefit assessment to determine if the advantage justifies the extra work required. Of course, this assessment will vary based on your project.KISS stands for “keep it simple, stupid.” The aim of this principle is to avoid unnecessary complexity in a system, as simplicity helps drive greater levels of user acceptance and interaction.Note that “simple” does not equate to “easy.” Making something simple means making it focused. While you can create the same functionality without the patterns (and often more quickly), something fast and easy doesn’t necessarily result in something simple.If you’re unsure whether a pattern applies to your particular issue, you might hold off until it feels like a more natural fit. Don’t use a pattern because it’s new or novel to you. Use it when you need it.It’s in this spirit that the e-book was created. Keep the guide handy as a source of inspiration for new ways of organizing your code – not as a strict set of rules for you to follow.Now, let’s turn to some of the key software design principles.SOLID is a mnemonic acronym for five core fundamentals of software design. You can think of them as five basic rules to keep in mind while coding, to ensure that object-oriented designs remain flexible and maintainable.The SOLID principles were first introduced by Robert C. Martin in the paper, Design Principles and Design Patterns. First published in 2000, the principles described are still applicable today, and to C# scripting in Unity:Single responsibility states that each module, class, or function is responsible for one thing and encapsulates only that part of the logic.Open-closed states that classes must be open for extension but closed for modification; that means structuring your classes to create new behavior without modifying the original code.Liskov substitution states that derived classes must be substitutable for their base class when using inheritance.Interface segregation states that no client should be forced to depend on methods it does not use. Clients should only implement what they need.Dependency inversion states that high-level modules should not import anything directly from low-level modules. Both should depend on abstractions.In the e-book, we provide illustrated examples of each principle with clear explanations for using them in Unity. In some cases, adhering to SOLID can result in additional work up front. You may need to refactor some of your functionality into abstractions or interfaces, but there is often a payoff in long-term savings.The principles have dominated software design for nearly two decades at the enterprise level because they’re so well-suited to large applications that scale. If you’re unsure about how to use them, refer back to the KISS principle. Keep it simple, and don’t try to force the principles into your scripts just for the sake of doing so. Let them organically work themselves into place through necessity.If you’re interested in learning more, check out the SOLID presentation from Unite Austin 2017 by Dan Sagmiller of Productive Edge.What’s the difference between a design principle and a design pattern? One way to answer that question is to consider SOLID as a framework for, or a foundational approach to, writing object-oriented code. While design patterns are solutions or tools you can implement to avoid everyday software problems, remember that they’re not off-the-shelf recipes – or for that matter, algorithms with specific steps for achieving specific results.A design pattern can be thought of as a blueprint. It’s a general plan that leaves the actual construction up to you. For instance, two programs can follow the same pattern but involve very different code.When developers encounter the same problem in the wild, many of them will inevitably come up with similar solutions. Once a solution is repeated enough times, someone might “discover” a pattern and formally give it a name.Many of today’s software design patterns stem from the seminal work, Design Patterns: Elements of Reusable Object-Oriented Software by Erich Gamma, Richard Helm, Ralph Johnson, and John Vlissides. This book unpacks 23 such patterns identified in a variety of day-to-day applications.The original authors are often referred to as the “Gang of Four” (GoF),and you’ll also hear the original patterns dubbed the GoF patterns. While the examples cited are mostly in C++ (and Smalltalk), you can apply their ideas to any object-oriented language, such as C#.Since the Gang of Four originally published Design Patterns in 1994, developers have since established dozens more object-oriented patterns in a variety of fields, including game development.While you can work as a game programmer without studying design patterns, learning them will help you become a better developer. After all, design patterns are labeled as such because they’re common solutions to well-known problems.Software engineers rediscover them all the time in the normal course of development. You may have already implemented some of these patterns unwittingly.Train yourself to look for them. Doing this can help you:Learn object-oriented programming: Design patterns aren’t secrets buried in an esoteric StackOverflow post. They are common ways to overcome everyday hurdles in development. They can inform you of how many other developers have approached the same issue – remember, even if you’re not using patterns, someone else is.Talk to other developers: Patterns can serve as a shorthand when trying to communicate as a team. Mention the “command pattern” or “object pool” and experienced Unity developers will know what you’re trying to implement.Explore new frameworks:When you import a built-in package or something from the Asset Store, inevitably you’ll stumble onto one or more patterns discussed here. Recognizing design patterns will help you understand how a new framework operates, as well as the thought process involved in its creation.As indicated earlier, not all design patterns apply to every game application. Don’t go looking for them with Maslow’s hammer; otherwise, you might only find nails.Like any other tool, a design pattern’s usefulness depends on context. Each one provides a benefit in certain situations and also comes with its share of drawbacks. Every decision in software development comes with compromises.Are you generating a lot of GameObjects on the fly? Does it impact your performance? Can restructuring your code fix that? Be aware of these design patterns, and when the time is right, pull them from your gamedev bag of tricks to solve the problem at hand.In addition to the Gang of Four’s Design Patterns, Game Programming Patterns by Robert Nystrom is another standout resource, currently available for free as a web-based edition. The author details a variety of software patterns in a no-nonsense manner.In our new e-book, you can dive into the sections that explain common design patterns, such as factory, object pool, singleton, command, state, and observer patterns, plus the Model View Presenter (MVP), among others. Each section explains the pattern along with its pros and cons, and provides an example of how to implement it in Unity so you can optimize its usage in your project.Unity already implements several established gamedev patterns, saving you the trouble of writing them yourself. These include:Game loop: At the core of all games is an infinite loop that must function independently of clock speed, since the hardware that powers a game application can vary greatly. To account for computers of different speeds, game developers often need to use a fixed timestep (with a set frames-per-second) and a variable timestep where the engine measures how much time has passed since the previous frame. Unity takes care of this, so you don’t have to implement it yourself. You only need to manage gameplay using MonoBehaviour methods like Update, LateUpdate, and FixedUpdate. Update: In your game application, you’ll often update each object’s behavior one frame at a time. While you can manually recreate this in Unity, the MonoBehaviour class does this automatically. Use the appropriate Update, LateUpdate, or FixedUpdate methods to modify your GameObjects and components to one tick of the game clock.Prototype: Often you need to copy objects without affecting the original. This creational pattern solves the problem of duplicating and cloning an object to make other objects similar to itself. This way you avoid defining a separate class to spawn every type of object in your game. Unity’s Prefab system implements a form of prototyping for GameObjects. This allows you to duplicate a template object complete with its components. Override specific properties to create Prefab Variants or nest Prefabs inside other Prefabs to create hierarchies. Use a special Prefab editing mode to edit Prefabs in isolation or in context. Component:Most people working in Unity know this pattern. Instead of creating large classes with multiple responsibilities, build smaller components that each do one thing. If you use composition to pick and choose components, you can combine them for complex behavior. Add Rigidbody and Collider components for physics, or a MeshFilter and MeshRenderer for 3D geometry. Each GameObject is only as rich and unique as its collection of components.Both the e-book and a sample project on the use of design patterns are available now to download for free. Review the examples and decide which design pattern best suits your project. As you gain experience with them, you’ll recognize how and when they can enhance your development process. As always, we encourage you to visit the forum thread and let us know what you think of the e-book and sample.

This article contains spoilers for Fear Street: Prom Queen Right before the first kill of Fear Street: Prom Queen, viewers get a montage of sounds and images appropriate to the movie’s 1988 setting. Accompanied by Billy Idol’s “White Wedding,” we see mean girl Tiffany Falconer (Fina Strazza) prepping for prom, cool girl Christy Renault (Ariana Greenblatt) buying drugs, and protagonist Lori Granger (India Fowler) trying on her dress. Included in this sequence is a shot of moviegoers watching Phantasm II, the cult classic from director Don Coscarelli. Onscreen, we see one of that ’80s film’s standout scenes, where flying silver balls launched by the evil Tall Man (Angus Scrimm) soar across a hallway before lodging into the head of a victim. By this point, such homages are an expected part of the Fear Street franchise, based on the YA novels by R.L. Stine. The first three movies, all directed by Leigh Janiak, feature multiple references to previous horror movies. But the Phantasm II nod in Prom Queen does more than provide further watch suggestions for Fear Street‘s intended audience, young teens new to the horror genre. It also points to the important fundamentals of horror filmmaking, which is something sometimes lost in the more frantic original trilogy. As in Coscarelli’s movie, Prom Queen uses a deliberate pace and clear spacial arrangement to make its kills legible, thereby heightening the experience beyond jump scares and references. It makes for a better horror experience. Two Types of Killing Palmer’s approach can be seen in the scene directly following the montage. The scene opens with a mid-range shot of Greenblatt’s cool girl standing next to the sports car driven by her drug dealers. The camera stays pretty tight on her as she finishes her transaction and walks off. When she crosses a bridge to the parking lot where she’ll meet her end though, the visual language changes. A wide shot captures Christy as she crosses a bridge, the soft orange light from the post above her providing a tranquil mood. That continues into the next shot where our victim walks happily through an empty parking lot. The tone shifts suddenly with a hard cut to a close up of Christy as she stops, and the camera moves around her as she looks around. A cut back to a wide shot shows that she is largely alone and trapped on three sides. Brick buildings and trucks surround her on all corners. So when a figure arrives in a foreground of one of the wide shots and an axe drops into frame, we understand Christy’s predicament. She’s utterly alone, save for this person who’s come to kill her. And the killer stands in front of her one means of escape. Christy doesn’t see the killer before the axe blade lands in her neck, but we viewers do. In fact, the camera stays with the killer up until the attack, cutting only briefly back to Christy’s perspective. Even as the killer chops at the pleading girl, the camera returns to a brief wide shot to show how her cries will go unanswered. Contrast this kill to the opening scene of the first entry, Fear Street: 1994, in which a slasher in a mask and hood stalks bookseller Heather (Maya Hawke). Director Janiak uses the aisles of the mall storefronts where the attack takes place to to build tension. We never really know where the killer is in relationship to Heather, even when closeups show the characters in full. Thus the attacks are all shocks, with the killer (and in one case, a counterattacking Heather) coming out of nowhere to surprise the viewer. There’s nothing inherently wrong with this style. Janiak is a good filmmaker, and her excellent debut picture Honeymoon demonstrates that she knows how to build dread and mood. But with Fear Street, Janiak chooses shocks over scares, with the killers constantly jumping out at the victims. Such energetic moviemaking gets a jolt from viewers but ultimately operates as shorthand, giving us the quick payoff of a scary scene without making us wait through the buildup. Prom Queen is all about the fundamentals of building a scary scene. In the bloody art room sequence, perhaps the most memorable moment, the camera lays out the geography of the space before we see the killer use a paper cutter to sever a jock’s arms. A tracking shot follows the jock Bobby (Dakota Taylor) and his girlfriend Linda (Ilan O’Driscoll) as they enter the room, keeping them in the center of the frame while also showing the points of exit and the objects in the room. Linda gets killed off-screen, moving out of frame and into the darkness. When she returns, holding the entrails spilling from a wound in her stomach, we see not only the room, but also start looking for the instruments that can do such damage. So when the killer stymies Bobby’s counterattack by slamming his arm on a table, we’re not seeing the paper cutter for the first time. But we do feel a sense of dread when we realize the proximity between Bobby’s hand and the cutter, a dread that gets consummated when he starts chopping away. Join our mailing list Get the best of Den of Geek delivered right to your inbox! It’s that sense of dread that makes horror so powerful. The actual kill can surprise us or disgust us, and Fear Street does that well (remember the improbable head in a bread slicer kill from 1994?). But the kill can also provide a sense of relief because it’s all so knowable. We no longer fear the potential for a character’s death because it has arrived. We may hate it and it may upset us, but it doesn’t scare us. A Legacy of Death With its more intentional pace and excellent spacial awareness, Prom Queen spends more time building dread. Drawing from masters like Coscarelli (who certainly loved a good jump scare from time to time) and pulling from the Italian giallo tradition that inspired the American slasher, director Matt Palmer grounds Prom Queen in a larger horror tradition. Palmer shows his young audience not just the cool movies they can check out after watching the latest Fear Street. He also shows them how to watch these movies; the fundamentals of horror filmmaking that provide the building blocks of the genre. Thanks to its well-constructed and well-paced kill scenes, Prom Queen goes beyond referencing the 1980s and looks at the history of horror and educates the next generation of horror fans. Fear Street: Prom Queen streams on Netlfix on May 23, 2025.

Bandai Namco’s bold new take on Pac-Man — the 2D action platformer known as Shadow Labyrinth — has a secret: Despite being a grim sci-fi, Metroid-inspired game that looks nothing like a traditional Pac-Man sequel, there’s actual real Pac-Man gameplay in here. A new trailer for Shadow Labyrinth reveals the Maze, a portion of the game that for shorthand purposes looks a hell of a lot like Pac-Man Championship Edition 3. The core gameplay of Shadow Labyrinth has players controlling a mysterious warrior named Swordsman No. 8, who is accompanied by a Pac-Man shaped guide named Puck, battling to become the apex predator of an alien planet. But at certain points in Shadow Labyrinth, you’ll play honest-to-goodness Pac-Man maze levels that draw inspiration from the Championship Edition line of pellet- and ghost-chomping games. Shadow Labyrinth’s take on Pac-Man gameplay adds to the Championship Edition formula, with jumping, boost pads, giant ghost boss battles, and a variety of maze types. In other words, if Shadow Labyrinth hasn’t quite done it for you thus far, it might be worth checking in on your feelings after watching the game’s new trailer. Bandai Namco revealed Shadow Labyrinth at last year’s Game Awards. But before that, the game publisher teased a darker, bloodier take on Pac-Man in the form of an animated short in Prime Video’s Secret Level anthology series. Shadow Labyrinth doesn’t appear to be quite as gory as Secret Level’s “Circle,” but it’s definitely a swerve for Pac-Man. Shadow Labyrinth will be released on July 18, for Nintendo Switch, Nintendo Switch 2, PlayStation 5, Windows PC, and Xbox Series X.

Bandai Namco’s bold new take on Pac-Man — the 2D action platformer known as Shadow Labyrinth — has a secret: Despite being a grim sci-fi, Metroid-inspired game that looks nothing like a traditional Pac-Man sequel, there’s actual real Pac-Man gameplay in here. A new trailer for Shadow Labyrinth reveals the Maze, a portion of the game that for shorthand purposes looks a hell of a lot like Pac-Man Championship Edition 3. The core gameplay of Shadow Labyrinth has players controlling a mysterious warrior named Swordsman No. 8, who is accompanied by a Pac-Man shaped guide named Puck, battling to become the apex predator of an alien planet. But at certain points in Shadow Labyrinth, you’ll play honest-to-goodness Pac-Man maze levels that draw inspiration from the Championship Edition line of pellet- and ghost-chomping games. Shadow Labyrinth’s take on Pac-Man gameplay adds to the Championship Edition formula, with jumping, boost pads, giant ghost boss battles, and a variety of maze types. In other words, if Shadow Labyrinth hasn’t quite done it for you thus far, it might be worth checking in on your feelings after watching the game’s new trailer. Bandai Namco revealed Shadow Labyrinth at last year’s Game Awards. But before that, the game publisher teased a darker, bloodier take on Pac-Man in the form of an animated short in Prime Video’s Secret Level anthology series. Shadow Labyrinth doesn’t appear to be quite as gory as Secret Level’s “Circle,” but it’s definitely a swerve for Pac-Man. Shadow Labyrinth will be released on July 18, for Nintendo Switch, Nintendo Switch 2, PlayStation 5, Windows PC, and Xbox Series X.

Interviews Andor – Season 2: Mohen Leo (Production VFX Supervisor), TJ Falls (Production VFX Producer) and Scott Pritchard (ILM VFX Supervisor) By Vincent Frei - 22/05/2025 In 2023, Mohen Leo (Production VFX Supervisor), TJ Falls (Production VFX Producer), and Scott Pritchard (ILM VFX Supervisor) offered an in-depth look at the visual effects of Andor’s first season. Now, the trio returns to share insights into their work on the second—and final—season of this critically acclaimed series. Tony Gilroy is known for his detailed approach to storytelling. Can you talk about how your collaboration with him evolved throughout the production of Andor? How does he influence the VFX decisions and the overall tone of the series? Mohen Leo (ML): Our history with Tony, from Rogue One through the first season of Andor, had built a strong foundation of mutual trust. For Season 2, he involved VFX from the earliest story discussions, sharing outlines and inviting our ideas for key sequences. His priority is always to keep the show feeling grounded, ensuring that visual effects serve the story’s core and never become extraneous spectacle that might distract from the narrative. TJ Falls (TJ): Tony is a master storyteller. As Mohen mentioned, we have a great history with Tony from Rogue One and through Season 1 of Andor. We had a great rapport with Tony, and he had implicit trust in us. We began prepping Season 2 while we were in post for Season 1. We were having ongoing conversations with Tony and Production Designer Luke Hull as we were completing work for S1 and planning out how we would progress into Season 2. We wanted to keep the show grounded and gritty while amping up the action and urgency. Tony had a lot of story to cover in 12 episodes. The time jumps between the story arcs were something we discussed early on, and the need to be able to not only justify the time jumps but also to provide the audience with a visual bridge to tell the stories that happened off-screen. Tony would look to us to guide and use our institutional knowledge of Star Wars to help keep him honest within the universe. He, similarly, challenged us to maintain our focus and ensure that the visual tone of the series serviced the story. Tony Gilroy and Genevieve O’Reilly on the set of Lucasfilm’s ANDOR Season 2, exclusively on Disney+. Photo by Des Willie. ©2024 Lucasfilm Ltd. & TM. All Rights Reserved. As you’ve returned for Season 2, have there been any significant changes or new challenges compared to the first season? How has the production evolved in terms of VFX and storytelling? (ML): The return of nearly all key creatives from Season 1, both internally and at our VFX vendors, was a massive advantage. This continuity built immediate trust and an efficient shorthand. It made everyone comfortable to be more ambitious, allowing us to significantly expand the scope and complexity of the visual effects for Season 2. (TJ): We had all new directors this season. The rest of the core creative and production teams stayed consistent from Season 1. We worked to keep the creative process as seamless from Season 1 as we could while working with the new directors and adapting to their process while incorporating their individual skills and ideas that they brought to the table. This season we were able to work on location much more than on Season 1. That provided us with a great opportunity to build out the connective tissue between real world constraints and the virtual world we were creating. In the case with Senate Plaza in Coruscant we also had to stay consistent with what has previously been established, so that was a fun challenge. How did you go about dividing the workload between the various VFX studios? (ML): I can give an answer, but probably better if TJ does. (TJ): We were very specific about how we divided the work on this series. We started, as we usually do, with a detailed breakdown of work for the 12 episodes. Mohen and I then discussed a logical split based on type of work, specific elements, and areas of commonality for particular environments. While cost is always a consideration, we focused our vendor casting around the creative strengths of the studios we were partnering with on the project. ILM is in the DNA of Star Wars, so we knew we’d want to be working with them on some of the most complex work. We chose ILM for the opening TIE Avenger hangar sequence and subsequent escape. We utilized ILM for work in every episode, including the CG KX/K2 work, but their main focus was on Coruscant, and they had substantial work in the ninth episode for the big Senate escape sequence. Hybride‘s chief focus was on Palmo Plaza and the Ghorman environments. They dealt with everything Ghorman on the ground from the street extensions and the truck crash, through the Ghorman massacre, sharing shots with ILM with the KX work. For Scanline VFX, we identified three primary areas of focus: the work on Mina Rau, Chandrila, and Yavin. The TIE Fighter sequence in Season 2 is a standout moment. Can you walk us through the VFX process for that particular sequence? What were some of the technical challenges you faced, and how did you work to make it as intense and realistic as possible? (TJ): This is a sequence I’m particularly proud of as VFX played a central role in the sequence coming together from start to finish. We were intimately involved from the initial conversations of the idea for the sequence. Mohen created digital storyboards and we pitched ideas for the sequence to Tony Gilroy. Once we had a sense of the creative brief, we started working with Luke Hull (Production Designer) and the art department on the physical hangar set and brought it into previz for virtual scouting. With Jen Kitching (our Previz Supervisor from The Third Floor) we had a virtual camera set up that allowed us to virtually use the camera and lenses we would have on our shoot. We blocked out shots with Ariel Kleiman (Director) and Christophe Nuyens (the DoP). This went back through previz and techviz so we could meticulously chart out our plan for the shoot. Keeping with our ethos of grounding everything in reality, we wanted to use as much of the practical set as possible. We needed to be sure our handoffs between physical and virtual were seamless – Luke Murphy, our SFX Supervisor, worked closely with us in planning elements and practical effects to be used on the day. Over the course of the shoot, we also had the challenge of the flashing red alarm that goes off once the TIE Avenger crashes into the ceiling. We established the look of the red alarm with Christophe and the lighting team, and then needed to work out the timing. For that, we collaborated with editor John Gilroy to ensure we knew precisely when each alarm beat would flash. Once we had all the pieces, we turned the sequence over to Scott Pritchard and ILM to execute the work. Scott Pritchard (SP): This sequence was split between our London and Vancouver studios, with London taking everything inside the hangar, and Vancouver handling the exterior shots after Cassian blasts through the hangar door. We started from a strong foundation thanks to two factors: the amazing hangar set and TIE Avenger prop; and having full sequence previs. The hangar set was built about 2/3 of its overall length (as much as could be built on the soundstage), which our environments team extended, adding the hangar doors at the end and also a view to the exterior environment. Extending the hangar was most of the work in the sequence up until the TIE starts moving, where we switched to our CG TIE. As with Season 1, we used a blend of physical SFX work for the pyro effects, augmenting with CG sparks. As TJ mentioned, the hangar’s red warning lighting was a challenge as it had to pulse in a regular tempo throughout the edit. Only the close-up shots of Cassian in the cockpit had practical red lighting, so complex lighting and comp work were required to achieve a consistent look throughout the sequence. ILM London’s compositing supervisor, Claudio Bassi, pitched the idea that as the TIE hit various sections of the ceiling, it would knock out the ceiling lights, progressively darkening the hangar. It was a great motif that helped heighten the tension as we get towards the moment where Cassian faces the range trooper. Once we cut to outside the hangar, ILM Vancouver took the reins. The exterior weather conditions were briefed to us as ‘polar night’ – it’s never entirely dark, instead there’s a consistent low-level ambient light. This was a challenge as we had to consider the overall tonal range of each shot and make sure there was enough contrast to guide the viewer’s eye to where it needed to be, not just on individual shots but looking at eye-trace as one shot cut to another. A key moment is when Cassian fires rockets into an ice arch, leading to its collapse. The ice could very easily look like rock, so we needed to see the light from the rocket’s explosions scattered inside the ice. It required detailed work in both lighting and comp to get to the right look. Again, as the ice arch starts to collapse and the two chase TIE Advanced ships get taken out, it needed careful balancing work to make sure viewers could read the situation and the action in each shot. The world-building in Andor is impressive, especially with iconic locations like Coruscant and Yavin. How did you approach creating these environments and ensuring they felt as authentic as possible to the Star Wars universe? (ML): Our approach to world-building in Andor relied on a close collaboration between the VFX team and Luke Hull, the production designer, along with his art department. This partnership was established in Season 1 and continued for Season 2. Having worked on many Star Wars projects over the decades, VFX was often able to provide inspiration and references for art department designs. For example, for locations like Yavin and Coruscant, VFX provided the art department with existing 3D assets: the Yavin temple model from Rogue One and the Coruscant city layout around the Senate from the Prequel films. The Coruscant model, in particular, involved some ‘digital archaeology.’ The data was stored on tapes from around 2001 and consisted of NURBS models in an older Softimage file format. To make them usable, we had to acquire old Softimage 2010 and XSI licenses, install them on a Windows 7 PC, and then convert the data to the FBX format that current software can read. Supplying these original layouts to the art department enabled them to create their new designs and integrate our real-world shooting locations while maintaining consistency with the worlds seen in previous Star Wars productions. Given that Andor is set approximately twenty years after the Prequels, we also had the opportunity to update and adjust layouts and designs to reflect that time difference and realize the specific creative vision Luke Hull and Tony Gilroy had for the show. StageCraft technology is a huge part of the production. How did you use it to bring these complex environments, like Coruscant and Yavin, to life? What are the main benefits and limitations of using StageCraft for these settings? (SP): Our use of StageCraft for Season 2 was similar to that on Season 1. We used it to create the exterior views through the windows of the Safehouse on Coruscant. As with our work for the Chandrillan Embassy in Season 1, we created four different times of day/weather conditions. One key difference was that the foreground buildings were much closer to the Safehouse, so we devised three projection points (one for each room of the Safehouse), which would ensure that the perspective of the exterior was correct for each room. On set we retained a large amount of flexibility with our content. We had our own video feed from the unit cameras, and we were able to selectively isolate and grade sections of the city based on their view through the camera. Working in context like this meant that we could make any final tweaks while each shot was being set up and rehearsed. While we were shooting a scene set at night, the lighting team rigged a series of lights running above the windows that, when triggered, would flash in sequence, casting a moving light along the floor and walls of the set, as if from a moving car above. I thought we could use the LED wall to do something similar from below, catching highlights on the metal pipework that ran across the ceiling. During a break in shooting, I hatched a plan with colour operator Melissa Goddard, brain bar supervisor Ben Brown, and we came up with a moving rectangular section on the LED wall which matched the practical lights for speed, intensity and colour temperature. We set up two buttons on our iPad to trigger the ‘light’ to move in either direction. We demoed the idea to the DP after lunch, who loved it, and so when it came to shoot, he could either call from a car above from the practical lights, or a car below from the LEDs. (ML): Just to clarify – the Coruscant Safehouse set was the only application of Stagecraft LED screens in Season 2. All other Coruscant scenes relied on urban location photography or stage sets with traditional blue screen extensions. The various Yavin locations were achieved primarily with large backlot sets at Longcross Studios. A huge set of the airfield, temple entrance and partial temple interior was extended by Scanline VFX, led by Sue Rowe, in post, creating the iconic temple exterior from A New Hope. VFX also added flying and parked spaceships, and augmented the surrounding forest to feel more tropical. Andor blends CG with actual real-world locations. Can you share how you balanced these two elements, especially when creating large-scale environments or specific landscapes that felt grounded in reality? (SP): A great example of this is the environment around the Senate. The plates for this were shot in the City of Arts & Sciences in Valencia. Blending the distinctive Calatrava architecture with well-known Star Wars buildings like the Senate was an amazing challenge, it wasn’t immediately clear how the two could sit alongside each other. Our Vancouver team, led by Tania Richard, did an incredible job taking motifs and details from the Valencia buildings and incorporating them into the Senate building on both large and small scales, but still contiguous with the overall Senate design. The production team was ingenious in how they used each of the Valencia buildings to represent many locations around the Senate and the surrounding areas. For example, the Science Museum was used for the walkway where Cassian shoots Kloris (Mon’s driver), the main entrance to the Senate, and the interior of the Senate Atrium (where Ghorman Senator Oran is arrested). It was a major challenge ensuring that all those locations were represented across the larger environment, so viewers understood the geography of the scene, but also blended with the design language of their immediate surroundings. Everything in the Senate Plaza had a purpose. When laying out the overall layout of the Plaza, we considered aspects such as how far Senators would realistically walk from their transports to the Senate entrance. When extending the Plaza beyond the extents of the City of Arts & Sciences, we used Calatrava architecture from elsewhere. The bridge just in front of the Senatorial Office Building is based on a Calatrava-designed bridge in my home city of Dublin. As we reach the furthest extents of the Senate Plaza, we begin blending in more traditional Coruscant architecture so as to soften the transition to the far background. Coruscant is such a pivotal location in Star Wars. How did you approach creating such a vast, densely populated urban environment? What were the key visual cues that made it feel alive and realistic? (ML): Our approach to Coruscant in Season 2 built upon what we established in the first season: primarily, shooting in real-world city locations whenever feasible. The stunning Calatrava architecture at Valencia’s City of Arts and Sciences, for instance, served as the foundation for the Senate exterior and other affluent districts. For the city’s grittier neighborhoods, we filmed in urban environments in London, like the Barbican and areas around Twickenham Stadium. Filming in these actual city locations provided a strong, realistic basis for the cinematography, lighting, and overall mood of each environment. This remained true even when VFX later modified large portions of the frame with Star Wars architecture. This methodology gave the director and DP confidence on set that their vision would carry through to the final shot. Our art department and VFX concept artists then created numerous paintovers based on plates and location photography, offering clear visual guides for transforming each real location into its Coruscant counterpart during post-production. For the broader cityscapes, we took direct inspiration from 3D street maps of cities such as Tokyo, New York, and Hong Kong. We would exaggerate the scale and replace existing buildings with our Coruscant designs while preserving the fundamental urban patterns. When it comes to creating environments like Yavin, which has a very natural, jungle-like aesthetic, how do you ensure the VFX stays true to the organic feel of the location while still maintaining the science-fiction elements of Star Wars? (ML): Nearly all of the Yavin jungle scenes were shot in a large wooded area that is part of Longcross Studios. The greens and art departments did an amazing job augmenting the natural forest with tropical plants and vines. The scenes featuring the two rebel factions in the clearing were captured almost entirely in-camera, with VFX primarily adding blaster fire, augmenting the crashed ship, and painting out equipment. Only the shots of the TIE Avenger landing and taking off, as well as the giant creature snatching the two rebels, featured significant CG elements. The key elements connecting these practical locations back to the Yavin established in A New Hope and Rogue One were the iconic temples. The establishing shots approaching the main temple in episode 7 utilized plate photography from South America, which had been shot for another Disney project but ultimately not used. Other aerial shots, such as the U-Wing flying above the jungle in episode 12, were fully computer-generated by ILM. K-2SO is a beloved character, and his return is highly anticipated. What can you tell us about the process of bringing him back to life with VFX in Season 2? What new challenges did this bring compared to his original appearance? (SP): We had already updated a regular KX droid for the scene on Niamos in Season 1, so much of the work to update the asset to the latest pipeline requirements had already been done. We now needed to switch over to the textures & shaders specific to K2, and give them the same updates. Unique to Series 2 was that there were a number of scenes involving both a practical and a digital K2 – when he gets crushed on Ghorman in episode 8, and then ‘rebooted’ on Yavin in episode 9. The practical props were a lot more beaten up than our hero asset, so we made bespoke variants to match the practical droid in each sequence. Additionally, for the reboot sequence on Yavin, we realised pretty quickly that the extreme movements meant that we were seeing into areas that previously had not required much detail – for instance, underneath his shoulder armour. We came up with a shoulder joint design that allowed for the required movement while also staying mechanically correct. When we next see him in Episode 10, a year has passed, and he is now the K-2SO as we know him from Rogue One. K-2SO has a unique design, particularly in his facial expressions and movement. How did you approach animating him for Season 2, and were there any specific changes or updates made to his character model or animation? (SP): Following Rogue One, Mohen made detailed records of the takeaways learned from creating K-2SO, and he kindly shared these notes with us early on in the show. They were incredibly helpful in tuning the fine details of the animation. Our animation team, led by Mathieu Vig, did a superb job of identifying the nuances of Alan’s performance and making sure they came across. There were plenty of pitfalls to avoid – for instance, the curve to his upper back meant that it was very easy for his neck to look hyperextended. We also had to be very careful with his eyes, as they’re sources of light, they could very easily look cartoonish if they moved around too much. Dialling in just the right amount of eye movement was crucial to a good performance. As the eyes also had several separate emissive and reflective components, they required delicate balancing in the comp on a per-shot basis. Luckily, we had great reference from Rogue One to be able to dial in the eyes to suit both the lighting of a shot but also its performance details. One Rogue One shot in particular, where he says ‘Your behavior, Jyn Erso, is continually unexpected’, was a particularly good reference for how we could balance the lights in his eyes to, in effect, enlarge his pupils, and give him a softer expression. K-2SO also represented my first opportunity to work with ILM’s new studio in Mumbai. Amongst other shots, they took on the ‘hallway fight’ sequence in Episode 12 where K2 dispatches Heert and his troopers, and they did a fantastic job from animation right through to final comp. K-2SO’s interactions with the live-action actors are key to his character. How did you work with the actors to ensure his presence felt as real and integrated as possible on screen, especially in terms of timing and reactions? (ML): Alan Tudyk truly defined K-2SO in Rogue One, so his return for Andor Season 2 was absolutely critical to us. He was on set for every one of K2’s shots, performing on stilts and in a performance capture suit. This approach was vital because it gave Alan complete ownership of the character’s physical performance and, crucially, allowed for spontaneous, genuine interactions with the other actors, particularly Diego Luna. Witnessing Alan and Diego reunite on camera was fantastic; that unique chemistry and humor we loved in Rogue One was instantly palpable. In post-production, our VFX animators then meticulously translated every nuance of Alan’s on-set performance to the digital K-2SO model. It’s a detailed process that still requires artistic expertise. For instance, K2’s facial structure is largely static, so direct translation of Alan’s facial expressions isn’t always possible. In these cases, our animators found creative solutions – translating a specific facial cue from Alan into a subtle head tilt or a particular eye movement for K2, always ensuring the final animation remained true to the intent and spirit of Alan’s original performance. Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint? (ML): The Plaza sequence in episode 8, which runs for about 23 minutes, stands out as particularly memorable – both for its challenges and its rewarding outcome. Just preparing for it was a daunting task. Its successful execution hinged on incredibly tight collaboration between numerous departments: stunts, creature effects, special effects, the camera department, our tireless greenscreens crew, and of course, VFX. The stunts team, under Marc Mailley, drove the choreography of all the action. Our On-Set VFX Supervisor, Marcus Dryden, was instrumental. He worked hand-in-glove with the director, DP, and assistant directors to ensure we meticulously captured all the necessary elements. This included everything from crowd replication plates and practical effects elements to the performances of stunt teams and creature actors, plus all the crucial on-set data. The shoot for this sequence alone took over three weeks. Hybride, under the leadership of Joseph Kasparian and Olivier Beaulieu, then completed the environments, added the blaster fire, and augmented the special effects in post-production, with ILM contributing the KX droids that wreak havoc in the plaza. (SP): I agree with Mohen here, for me the Ghorman Plaza episode is the most rewarding to have worked on. It required us to weave our work into that of so many other departments – stunts, sfx, costume – to name just a few. When we received the plates, to see the quality of the work that had gone into the photography alone was inspirational for me and the ILM crew. It’s gratifying to be part of a team where you know that everyone involved is on top of their game. And of course all that is underpinned by writing of that calibre from Tony Gilroy and his team – it just draws everything together. From a pure design viewpoint, I’m also very proud of the work that Tania Richard and her ILM Vancouver crew did for the Senate shots. As I mentioned before, it was a hugely challenging environment not just logistically, but also in bringing together two very distinctive architectural languages, and they made them work in tandem beautifully. Looking back on the project, what aspects of the visual effects are you most proud of? (TJ): I’m incredibly proud of this entire season. The seamless collaboration we had between Visual Effects and every other department made the work, while challenging, an absolute joy to execute. Almost all of the department heads returned from the first season, which provided a shorthand shortcut as we started the show with implicit trust and understanding of what we were looking to achieve. The work is beautiful, and the commitment of our crew and vendors has been unwavering. I’m most proud of the effort and care that each individual person contributed to the show and the fact that we went into the project with a common goal and were, as a team, able to showcase the vision that we, and Tony, had for the series. (ML): I’m really proud of the deep integration of the visual effects – not just visually, but fundamentally within the filmmaking process and storytelling. Tony invited VFX to be a key participant in shaping the story, from early story drafts through to the final color grade. Despite the scale and spectacle of many sequences, the VFX always feel purposeful, supporting the narrative and characters rather than distracting from them. This was significantly bolstered by the return of a large number of key creatives from Season 1, both within the production and at our VFX vendors. That shared experience and established understanding of Tony’s vision for Andor were invaluable in making the VFX an organic part of the show. (SP): I could not be prouder of the entire ILM team for everything they brought to their work on the show. Working across three sites, Andor was a truly global effort, and I particularly enjoyed how each site took complete ownership of their work. It was a privilege working with all of them and contributing to such an exceptional series. VFX progression frame Lucasfilm’s ANDOR Season 2, exclusively on Disney+. Photo courtesy of Lucasfilm. ©2025 Lucasfilm Ltd. & TM. All Rights Reserved. How long have you worked on this show? (TJ): This show has been an unbelievable journey. Season 2 alone was nearly 3 years. We wrapped Season 2 in January of 2025. We started prepping Season 2 in February 2022, while we were still in post for Season 1. I officially started working on Season 1 early in 2019 while it was still being developed. So that’s 6 years of time working on Andor. Mohen and I both also worked on Rogue One, so if you factor in the movie, which was shooting in 2015, that’s nearly ten years of work within this part of the Star Wars universe. (ML): I started on the project during early development in the summer of 2019 and finished in December of 2024. (SP): I started on Season 1 in September 2020 and finished up on Season 2 in December 2024. What’s the VFX shots count? (TJ): We had a grand total of 4,124 shots over the course of our 12 episodes. Outside of Industrial Light & Magic, which oversaw the show, we also partnered with Hybride, Scanline, Soho VFX, and Midas VFX. What is your next project? (TJ): You’ll have to wait and see! (SP): Unfortunately, I can’t say just yet either! A big thanks for your time. WANT TO KNOW MORE?ILM: Dedicated page about Andor – Season 2 on ILM website. © Vincent Frei – The Art of VFX – 2025