• ¿Quién diría que la alineación de impedancias sería el nuevo pasatiempo de moda? Ralph, emocionado como un niño en una tienda de caramelos, nos enseña la importancia de "matching" entre la carga y la fuente, como si se tratara de encontrar la pareja perfecta en una app de citas. Porque, claro, ¿quién no quiere que su circuito sea el alma de la fiesta eléctrica? ¡Impedancia y diversión, todo en uno! Así que la próxima vez que sientas que te falta energía, recuerda: tal vez solo necesites un poco de ajuste en tu "Smith Chart".

    #Impedancia #Circuitos #RalphYSuAventura #SmithChart #Energía
    ¿Quién diría que la alineación de impedancias sería el nuevo pasatiempo de moda? Ralph, emocionado como un niño en una tienda de caramelos, nos enseña la importancia de "matching" entre la carga y la fuente, como si se tratara de encontrar la pareja perfecta en una app de citas. Porque, claro, ¿quién no quiere que su circuito sea el alma de la fiesta eléctrica? ¡Impedancia y diversión, todo en uno! Así que la próxima vez que sientas que te falta energía, recuerda: tal vez solo necesites un poco de ajuste en tu "Smith Chart". #Impedancia #Circuitos #RalphYSuAventura #SmithChart #Energía
    HACKADAY.COM
    Pi Networks the Smith Chart Way
    [Ralph] is excited about impedance matching, and why not? It is important to match the source and load impedance to get the most power out of a circuit. He’s got …read more
    1 Σχόλια 0 Μοιράστηκε
  • Adventure Gamers, the once beloved site for point-and-click adventure gaming, has wiped its forums and relaunched as a gambling affiliate. It's just another cash-grab, really. What used to be a hub for enthusiasts now feels like a hollow echo of its former self. After years of supporting the adventure genre, it's sad to see it turn into something so... uninspiring. Not much else to say. Guess that's how it goes.

    #AdventureGamers #GamingNews #GamblingAffiliate #PointAndClick #SadChange
    Adventure Gamers, the once beloved site for point-and-click adventure gaming, has wiped its forums and relaunched as a gambling affiliate. It's just another cash-grab, really. What used to be a hub for enthusiasts now feels like a hollow echo of its former self. After years of supporting the adventure genre, it's sad to see it turn into something so... uninspiring. Not much else to say. Guess that's how it goes. #AdventureGamers #GamingNews #GamblingAffiliate #PointAndClick #SadChange
    KOTAKU.COM
    Beloved 27-Year-Old Gaming Site Wipes Forums, Relaunches As A Gambling Affiliate Cash-Grab
    In the last couple of weeks, Adventure Gamers—a beloved game site dedicated to point-and-click adventure gaming since 1998—has become a cruel pastiche of its former self. The site, primarily run by volunteers and enthusiasts, has fought for the much-
    1 Σχόλια 0 Μοιράστηκε
  • Eastern : une comédie déjantée de l’ESMA dans le Far West !

    Les élèves de l’ESMA nous ont proposé de nombreuses comédies et parodies au fil des ans. Une tradition qui se poursuit avec Eastern, qui revisite les codes du western pour vous proposer un concept décalé, jouant sur le character design et les situations improbables ! Commandité par le sioux Standing Bull, le célèbre mercenaire Glitch […]
    Eastern : une comédie déjantée de l’ESMA dans le Far West ! Les élèves de l’ESMA nous ont proposé de nombreuses comédies et parodies au fil des ans. Une tradition qui se poursuit avec Eastern, qui revisite les codes du western pour vous proposer un concept décalé, jouant sur le character design et les situations improbables ! Commandité par le sioux Standing Bull, le célèbre mercenaire Glitch […]
    Eastern : une comédie déjantée de l’ESMA dans le Far West !
    Les élèves de l’ESMA nous ont proposé de nombreuses comédies et parodies au fil des ans. Une tradition qui se poursuit avec Eastern, qui revisite les codes du western pour vous proposer un concept décalé, jouant sur le character design et les s
    1 Σχόλια 0 Μοιράστηκε
  • Silva.Builders imprime en 3D un edificio a base de un material biocomposite

    Hace unos días se completó en Oosterwolde, Países Bajos, el primer edificio impreso en 3D a partir de un material biocomposite. ¿Quién está detrás de esta innovación? La startup holandesa Silva.Builders. Según ellos, el edificio representa un hito importante en…
    Silva.Builders imprime en 3D un edificio a base de un material biocomposite Hace unos días se completó en Oosterwolde, Países Bajos, el primer edificio impreso en 3D a partir de un material biocomposite. ¿Quién está detrás de esta innovación? La startup holandesa Silva.Builders. Según ellos, el edificio representa un hito importante en…
    Silva.Builders imprime en 3D un edificio a base de un material biocomposite
    Hace unos días se completó en Oosterwolde, Países Bajos, el primer edificio impreso en 3D a partir de un material biocomposite. ¿Quién está detrás de esta innovación? La startup holandesa Silva.Builders. Según ellos, el edificio representa un hito im
    2 Σχόλια 0 Μοιράστηκε
  • Into the Omniverse: World Foundation Models Advance Autonomous Vehicle Simulation and Safety

    Editor’s note: This blog is a part of Into the Omniverse, a series focused on how developers, 3D practitioners and enterprises can transform their workflows using the latest advances in OpenUSD and NVIDIA Omniverse.
    Simulated driving environments enable engineers to safely and efficiently train, test and validate autonomous vehiclesacross countless real-world and edge-case scenarios without the risks and costs of physical testing.
    These simulated environments can be created through neural reconstruction of real-world data from AV fleets or generated with world foundation models— neural networks that understand physics and real-world properties. WFMs can be used to generate synthetic datasets for enhanced AV simulation.
    To help physical AI developers build such simulated environments, NVIDIA unveiled major advances in WFMs at the GTC Paris and CVPR conferences earlier this month. These new capabilities enhance NVIDIA Cosmos — a platform of generative WFMs, advanced tokenizers, guardrails and accelerated data processing tools.
    Key innovations like Cosmos Predict-2, the Cosmos Transfer-1 NVIDIA preview NIM microservice and Cosmos Reason are improving how AV developers generate synthetic data, build realistic simulated environments and validate safety systems at unprecedented scale.
    Universal Scene Description, a unified data framework and standard for physical AI applications, enables seamless integration and interoperability of simulation assets across the development pipeline. OpenUSD standardization plays a critical role in ensuring 3D pipelines are built to scale.
    NVIDIA Omniverse, a platform of application programming interfaces, software development kits and services for building OpenUSD-based physical AI applications, enables simulations from WFMs and neural reconstruction at world scale.
    Leading AV organizations — including Foretellix, Mcity, Oxa, Parallel Domain, Plus AI and Uber — are among the first to adopt Cosmos models.

    Foundations for Scalable, Realistic Simulation
    Cosmos Predict-2, NVIDIA’s latest WFM, generates high-quality synthetic data by predicting future world states from multimodal inputs like text, images and video. This capability is critical for creating temporally consistent, realistic scenarios that accelerate training and validation of AVs and robots.

    In addition, Cosmos Transfer, a control model that adds variations in weather, lighting and terrain to existing scenarios, will soon be available to 150,000 developers on CARLA, a leading open-source AV simulator. This greatly expands the broad AV developer community’s access to advanced AI-powered simulation tools.
    Developers can start integrating synthetic data into their own pipelines using the NVIDIA Physical AI Dataset. The latest release includes 40,000 clips generated using Cosmos.
    Building on these foundations, the Omniverse Blueprint for AV simulation provides a standardized, API-driven workflow for constructing rich digital twins, replaying real-world sensor data and generating new ground-truth data for closed-loop testing.
    The blueprint taps into OpenUSD’s layer-stacking and composition arcs, which enable developers to collaborate asynchronously and modify scenes nondestructively. This helps create modular, reusable scenario variants to efficiently generate different weather conditions, traffic patterns and edge cases.
    Driving the Future of AV Safety
    To bolster the operational safety of AV systems, NVIDIA earlier this year introduced NVIDIA Halos — a comprehensive safety platform that integrates the company’s full automotive hardware and software stack with AI research focused on AV safety.
    The new Cosmos models — Cosmos Predict- 2, Cosmos Transfer- 1 NIM and Cosmos Reason — deliver further safety enhancements to the Halos platform, enabling developers to create diverse, controllable and realistic scenarios for training and validating AV systems.
    These models, trained on massive multimodal datasets including driving data, amplify the breadth and depth of simulation, allowing for robust scenario coverage — including rare and safety-critical events — while supporting post-training customization for specialized AV tasks.

    At CVPR, NVIDIA was recognized as an Autonomous Grand Challenge winner, highlighting its leadership in advancing end-to-end AV workflows. The challenge used OpenUSD’s robust metadata and interoperability to simulate sensor inputs and vehicle trajectories in semi-reactive environments, achieving state-of-the-art results in safety and compliance.
    Learn more about how developers are leveraging tools like CARLA, Cosmos, and Omniverse to advance AV simulation in this livestream replay:

    Hear NVIDIA Director of Autonomous Vehicle Research Marco Pavone on the NVIDIA AI Podcast share how digital twins and high-fidelity simulation are improving vehicle testing, accelerating development and reducing real-world risks.
    Get Plugged Into the World of OpenUSD
    Learn more about what’s next for AV simulation with OpenUSD by watching the replay of NVIDIA founder and CEO Jensen Huang’s GTC Paris keynote.
    Looking for more live opportunities to learn more about OpenUSD? Don’t miss sessions and labs happening at SIGGRAPH 2025, August 10–14.
    Discover why developers and 3D practitioners are using OpenUSD and learn how to optimize 3D workflows with the self-paced “Learn OpenUSD” curriculum for 3D developers and practitioners, available for free through the NVIDIA Deep Learning Institute.
    Explore the Alliance for OpenUSD forum and the AOUSD website.
    Stay up to date by subscribing to NVIDIA Omniverse news, joining the community and following NVIDIA Omniverse on Instagram, LinkedIn, Medium and X.
    #into #omniverse #world #foundation #models
    Into the Omniverse: World Foundation Models Advance Autonomous Vehicle Simulation and Safety
    Editor’s note: This blog is a part of Into the Omniverse, a series focused on how developers, 3D practitioners and enterprises can transform their workflows using the latest advances in OpenUSD and NVIDIA Omniverse. Simulated driving environments enable engineers to safely and efficiently train, test and validate autonomous vehiclesacross countless real-world and edge-case scenarios without the risks and costs of physical testing. These simulated environments can be created through neural reconstruction of real-world data from AV fleets or generated with world foundation models— neural networks that understand physics and real-world properties. WFMs can be used to generate synthetic datasets for enhanced AV simulation. To help physical AI developers build such simulated environments, NVIDIA unveiled major advances in WFMs at the GTC Paris and CVPR conferences earlier this month. These new capabilities enhance NVIDIA Cosmos — a platform of generative WFMs, advanced tokenizers, guardrails and accelerated data processing tools. Key innovations like Cosmos Predict-2, the Cosmos Transfer-1 NVIDIA preview NIM microservice and Cosmos Reason are improving how AV developers generate synthetic data, build realistic simulated environments and validate safety systems at unprecedented scale. Universal Scene Description, a unified data framework and standard for physical AI applications, enables seamless integration and interoperability of simulation assets across the development pipeline. OpenUSD standardization plays a critical role in ensuring 3D pipelines are built to scale. NVIDIA Omniverse, a platform of application programming interfaces, software development kits and services for building OpenUSD-based physical AI applications, enables simulations from WFMs and neural reconstruction at world scale. Leading AV organizations — including Foretellix, Mcity, Oxa, Parallel Domain, Plus AI and Uber — are among the first to adopt Cosmos models. Foundations for Scalable, Realistic Simulation Cosmos Predict-2, NVIDIA’s latest WFM, generates high-quality synthetic data by predicting future world states from multimodal inputs like text, images and video. This capability is critical for creating temporally consistent, realistic scenarios that accelerate training and validation of AVs and robots. In addition, Cosmos Transfer, a control model that adds variations in weather, lighting and terrain to existing scenarios, will soon be available to 150,000 developers on CARLA, a leading open-source AV simulator. This greatly expands the broad AV developer community’s access to advanced AI-powered simulation tools. Developers can start integrating synthetic data into their own pipelines using the NVIDIA Physical AI Dataset. The latest release includes 40,000 clips generated using Cosmos. Building on these foundations, the Omniverse Blueprint for AV simulation provides a standardized, API-driven workflow for constructing rich digital twins, replaying real-world sensor data and generating new ground-truth data for closed-loop testing. The blueprint taps into OpenUSD’s layer-stacking and composition arcs, which enable developers to collaborate asynchronously and modify scenes nondestructively. This helps create modular, reusable scenario variants to efficiently generate different weather conditions, traffic patterns and edge cases. Driving the Future of AV Safety To bolster the operational safety of AV systems, NVIDIA earlier this year introduced NVIDIA Halos — a comprehensive safety platform that integrates the company’s full automotive hardware and software stack with AI research focused on AV safety. The new Cosmos models — Cosmos Predict- 2, Cosmos Transfer- 1 NIM and Cosmos Reason — deliver further safety enhancements to the Halos platform, enabling developers to create diverse, controllable and realistic scenarios for training and validating AV systems. These models, trained on massive multimodal datasets including driving data, amplify the breadth and depth of simulation, allowing for robust scenario coverage — including rare and safety-critical events — while supporting post-training customization for specialized AV tasks. At CVPR, NVIDIA was recognized as an Autonomous Grand Challenge winner, highlighting its leadership in advancing end-to-end AV workflows. The challenge used OpenUSD’s robust metadata and interoperability to simulate sensor inputs and vehicle trajectories in semi-reactive environments, achieving state-of-the-art results in safety and compliance. Learn more about how developers are leveraging tools like CARLA, Cosmos, and Omniverse to advance AV simulation in this livestream replay: Hear NVIDIA Director of Autonomous Vehicle Research Marco Pavone on the NVIDIA AI Podcast share how digital twins and high-fidelity simulation are improving vehicle testing, accelerating development and reducing real-world risks. Get Plugged Into the World of OpenUSD Learn more about what’s next for AV simulation with OpenUSD by watching the replay of NVIDIA founder and CEO Jensen Huang’s GTC Paris keynote. Looking for more live opportunities to learn more about OpenUSD? Don’t miss sessions and labs happening at SIGGRAPH 2025, August 10–14. Discover why developers and 3D practitioners are using OpenUSD and learn how to optimize 3D workflows with the self-paced “Learn OpenUSD” curriculum for 3D developers and practitioners, available for free through the NVIDIA Deep Learning Institute. Explore the Alliance for OpenUSD forum and the AOUSD website. Stay up to date by subscribing to NVIDIA Omniverse news, joining the community and following NVIDIA Omniverse on Instagram, LinkedIn, Medium and X. #into #omniverse #world #foundation #models
    BLOGS.NVIDIA.COM
    Into the Omniverse: World Foundation Models Advance Autonomous Vehicle Simulation and Safety
    Editor’s note: This blog is a part of Into the Omniverse, a series focused on how developers, 3D practitioners and enterprises can transform their workflows using the latest advances in OpenUSD and NVIDIA Omniverse. Simulated driving environments enable engineers to safely and efficiently train, test and validate autonomous vehicles (AVs) across countless real-world and edge-case scenarios without the risks and costs of physical testing. These simulated environments can be created through neural reconstruction of real-world data from AV fleets or generated with world foundation models (WFMs) — neural networks that understand physics and real-world properties. WFMs can be used to generate synthetic datasets for enhanced AV simulation. To help physical AI developers build such simulated environments, NVIDIA unveiled major advances in WFMs at the GTC Paris and CVPR conferences earlier this month. These new capabilities enhance NVIDIA Cosmos — a platform of generative WFMs, advanced tokenizers, guardrails and accelerated data processing tools. Key innovations like Cosmos Predict-2, the Cosmos Transfer-1 NVIDIA preview NIM microservice and Cosmos Reason are improving how AV developers generate synthetic data, build realistic simulated environments and validate safety systems at unprecedented scale. Universal Scene Description (OpenUSD), a unified data framework and standard for physical AI applications, enables seamless integration and interoperability of simulation assets across the development pipeline. OpenUSD standardization plays a critical role in ensuring 3D pipelines are built to scale. NVIDIA Omniverse, a platform of application programming interfaces, software development kits and services for building OpenUSD-based physical AI applications, enables simulations from WFMs and neural reconstruction at world scale. Leading AV organizations — including Foretellix, Mcity, Oxa, Parallel Domain, Plus AI and Uber — are among the first to adopt Cosmos models. Foundations for Scalable, Realistic Simulation Cosmos Predict-2, NVIDIA’s latest WFM, generates high-quality synthetic data by predicting future world states from multimodal inputs like text, images and video. This capability is critical for creating temporally consistent, realistic scenarios that accelerate training and validation of AVs and robots. In addition, Cosmos Transfer, a control model that adds variations in weather, lighting and terrain to existing scenarios, will soon be available to 150,000 developers on CARLA, a leading open-source AV simulator. This greatly expands the broad AV developer community’s access to advanced AI-powered simulation tools. Developers can start integrating synthetic data into their own pipelines using the NVIDIA Physical AI Dataset. The latest release includes 40,000 clips generated using Cosmos. Building on these foundations, the Omniverse Blueprint for AV simulation provides a standardized, API-driven workflow for constructing rich digital twins, replaying real-world sensor data and generating new ground-truth data for closed-loop testing. The blueprint taps into OpenUSD’s layer-stacking and composition arcs, which enable developers to collaborate asynchronously and modify scenes nondestructively. This helps create modular, reusable scenario variants to efficiently generate different weather conditions, traffic patterns and edge cases. Driving the Future of AV Safety To bolster the operational safety of AV systems, NVIDIA earlier this year introduced NVIDIA Halos — a comprehensive safety platform that integrates the company’s full automotive hardware and software stack with AI research focused on AV safety. The new Cosmos models — Cosmos Predict- 2, Cosmos Transfer- 1 NIM and Cosmos Reason — deliver further safety enhancements to the Halos platform, enabling developers to create diverse, controllable and realistic scenarios for training and validating AV systems. These models, trained on massive multimodal datasets including driving data, amplify the breadth and depth of simulation, allowing for robust scenario coverage — including rare and safety-critical events — while supporting post-training customization for specialized AV tasks. At CVPR, NVIDIA was recognized as an Autonomous Grand Challenge winner, highlighting its leadership in advancing end-to-end AV workflows. The challenge used OpenUSD’s robust metadata and interoperability to simulate sensor inputs and vehicle trajectories in semi-reactive environments, achieving state-of-the-art results in safety and compliance. Learn more about how developers are leveraging tools like CARLA, Cosmos, and Omniverse to advance AV simulation in this livestream replay: Hear NVIDIA Director of Autonomous Vehicle Research Marco Pavone on the NVIDIA AI Podcast share how digital twins and high-fidelity simulation are improving vehicle testing, accelerating development and reducing real-world risks. Get Plugged Into the World of OpenUSD Learn more about what’s next for AV simulation with OpenUSD by watching the replay of NVIDIA founder and CEO Jensen Huang’s GTC Paris keynote. Looking for more live opportunities to learn more about OpenUSD? Don’t miss sessions and labs happening at SIGGRAPH 2025, August 10–14. Discover why developers and 3D practitioners are using OpenUSD and learn how to optimize 3D workflows with the self-paced “Learn OpenUSD” curriculum for 3D developers and practitioners, available for free through the NVIDIA Deep Learning Institute. Explore the Alliance for OpenUSD forum and the AOUSD website. Stay up to date by subscribing to NVIDIA Omniverse news, joining the community and following NVIDIA Omniverse on Instagram, LinkedIn, Medium and X.
    0 Σχόλια 0 Μοιράστηκε
  • Monster Hunter Wilds’ second free title update brings fierce new monsters and more June 30

    New monsters, features, and more arrive in the Forbidden Lands with Free Title Update 2, dropping in Monster Hunter Wilds on June 30! Watch the latest trailer for a look at what awaits you.

    Play Video

    Monster Hunter Wilds – Free Title Update 2

    In addition to what’s featured in the trailer, Free Title Update 2 will also feature improvements and adjustments to various aspects of the game. Make sure to check the official Monster Hunter Wilds website for a new Director’s Letter from Game Director Yuya Tokuda coming soon, for a deeper dive into what’s coming in addition to the core new monsters and features.

    ● The Leviathan, Lagiacrus, emerges at last

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    The long-awaited Leviathan, Lagiacrus, has finally appeared in Monster Hunter Wilds! Floating at the top of the aquatic food chain, Lagiacrus is a master of the sea, boiling the surrounding water by emitting powerful currents of electricity. New missions to hunt Lagiacrus will become available for hunters at Hunter Rank 31 or above, and after clearing the “A World Turned Upside Down” main mission, and the “Forest Doshaguma” side mission.

    While you’ll fight Lagiacrus primarily on land, your hunt against this formidable foe can also take you deep underwater for a special encounter, where it feels most at home. During the underwater portion of the hunt, hunters won’t be able to use their weapons freely, but there are still ways to fight back and turn the tide of battle. Stay alert for your opportunities!

    Hunt Lagiacrus to obtain materials for new hunter and Palico armor! As usual, these sets can be used as layered armor as well.

    ● The Flying Wyvern, Seregios, strikes

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    Shining golden bright, the flying wyvern, Seregios, swoops into the Forbidden Lands with Free Title Update 2! Seregios is a highly mobile aerial monster that fires sharp bladescales, inflicting bleeding status on hunters. Keep an eye on your health and bring along rations and well-done steak when hunting this monster. Missions to hunt Seregios are available for hunters at HR 31 or above that have cleared the “A World Turned Upside Down” main mission.

    New hunter and Palico armor forged from Seregios materials awaits you!

    For hunters looking for a greater challenge, 8★ Tempered Lagiacrus and Seregios will begin appearing for hunters at HR 41 or higher, after completing their initial missions. Best of luck against these powerful monsters!

    Hunt in style with layered weapons

    With Free Title Update 2, hunters will be able to use Layered Weapons, which lets you use the look of any weapon, while keeping the stats and abilities of another.

    To unlock a weapon design as a Layered Weapon option, you’ll need to craft the final weapon in that weapon’s upgrade tree. Artian Weapons can be used as layered weapons by fully reinforcing a Rarity 8 Artian weapon.

    For weapons that change in appearance when upgraded, you’ll also have the option to use their pre-upgrade designs as well! You can also craft layered Palico weapons by forging their high-rank weapons. We hope this feature encourages you to delve deeper into crafting the powerful Artian Weapon you’ve been looking for, all while keeping the appearance of your favorite weapon.

    New optional features

    Change your choice of handler accompanying you in the field to Eric after completing the Lagiacrus mission in Free Title Update 2! You can always switch back to Alma too, but it doesn’t hurt to give our trusty handler a break from time to time.

    A new Support Hunter joins the fray

    Mina, a support hunter who wields a Sword & Shield, joins the hunt. With Free Title Update 2, you’ll be able to choose which support hunters can join you on quests.

    Photo Mode Improvements

    Snap even more creative photos of your hunts with some new options, including an Effects tab to adjust brightness and filter effects, and a Character Display tab to toggle off your Handler, Palico, Seikret, and more.

    Celebrate summer with the Festival of Accord: Flamefete seasonal event

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    The next seasonal event in Monster Hunter Wilds, the Festival of Accord: Flamefete, will take place in the Grand Hub from July 23 to August 6! Cool off with this summer themed celebration, where you can obtain new armor, gestures, and pop-up camp decorations for a limited time. You’ll also be able to eat special seasonal event meals and enjoy the fun of summer as the Grand Hub and all it’s members will be dressed to mark the occasion.

    Arch-Tempered Uth Duna slams down starting July 30

    Take on an even more powerful version of Uth Duna when Arch-Tempered Uth Duna arrives as an Event Quest and Free Challenge Quest from July 30 to August 20! Take on and defeat the challenging apex of the Scarlet Forest to obtain materials for crafting the new Uth Duna γ hunter armor set and the Felyne Uth Duna γ Palico armor set. Be sure you’re at least HR 50 or above to take on this quest.

    We’ve also got plenty of new Event Quests on the way in the weeks ahead, including some where you can earn new special equipment, quests to obtain more armor spheres, and challenge quests against Mizutsune. Be sure to keep checking back each week to see what’s new!

    A special collaboration with Fender

    Monster Hunter Wilds is collaborating with world-renowned guitar brand Fender®! From August 27 to September 24, a special Event Quest will be available to earn a collaboration gesture that lets you rock out with the Monster Hunter Rathalos Telecaster®.

    In celebration of Monster Hunter’s 20th anniversary, the globally released Monster Hunter Rathalos Telecaster® collaboration guitar is making its way into the game! Be sure to experience it both in-game and in real life!

    A new round of cosmetic DLC arrives

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    Express your style with additional DLC, including four free dance gestures. Paid cosmetic DLC, such as gestures, stickers, pendants, and more will also be available. If you’ve purchased the Premium Deluxe Edition of Monster Hunter Wilds or the Cosmetic DLC Pass, Cosmetic DLC Pack 2 and other additional items will be available to download when Free Title Update 2 releases. 

    Free Title Update roadmap

    We hope you’re excited to dive into all the content coming with Free Title Update 2! We’ll continue to release updates, with Free Title Update 3 coming at the end of September. Stay tuned for more details to come.

    A Monster Hunter Wilds background is added to the PS5 Welcome hub

    Alongside Free Title Update 2 on June 30, an animated background featuring the hunters facing Arkveld during the Inclemency will be added to the Welcome hub. Customize your PS5 Welcome hub with Monster Hunter Wilds to get you in the hunting mood.

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    How to change the backgroundWelcome hub -> Change background -> Games

    Try out Monster Hunter Wilds on PS5 with a PlayStation Plus Premium Game Trial starting on June 30

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    With the Game Trial, you can try out the full version of the game for 2 hours. If you decide to purchase the full version after the trial, your save data will carry over, allowing you to continue playing seamlessly right where you left off. If you haven’t played Monster Hunter Wilds yet, this is a great way to give it a try.

    Happy Hunting!
    #monster #hunter #wilds #second #free
    Monster Hunter Wilds’ second free title update brings fierce new monsters and more June 30
    New monsters, features, and more arrive in the Forbidden Lands with Free Title Update 2, dropping in Monster Hunter Wilds on June 30! Watch the latest trailer for a look at what awaits you. Play Video Monster Hunter Wilds – Free Title Update 2 In addition to what’s featured in the trailer, Free Title Update 2 will also feature improvements and adjustments to various aspects of the game. Make sure to check the official Monster Hunter Wilds website for a new Director’s Letter from Game Director Yuya Tokuda coming soon, for a deeper dive into what’s coming in addition to the core new monsters and features. ● The Leviathan, Lagiacrus, emerges at last View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image The long-awaited Leviathan, Lagiacrus, has finally appeared in Monster Hunter Wilds! Floating at the top of the aquatic food chain, Lagiacrus is a master of the sea, boiling the surrounding water by emitting powerful currents of electricity. New missions to hunt Lagiacrus will become available for hunters at Hunter Rank 31 or above, and after clearing the “A World Turned Upside Down” main mission, and the “Forest Doshaguma” side mission. While you’ll fight Lagiacrus primarily on land, your hunt against this formidable foe can also take you deep underwater for a special encounter, where it feels most at home. During the underwater portion of the hunt, hunters won’t be able to use their weapons freely, but there are still ways to fight back and turn the tide of battle. Stay alert for your opportunities! Hunt Lagiacrus to obtain materials for new hunter and Palico armor! As usual, these sets can be used as layered armor as well. ● The Flying Wyvern, Seregios, strikes View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Shining golden bright, the flying wyvern, Seregios, swoops into the Forbidden Lands with Free Title Update 2! Seregios is a highly mobile aerial monster that fires sharp bladescales, inflicting bleeding status on hunters. Keep an eye on your health and bring along rations and well-done steak when hunting this monster. Missions to hunt Seregios are available for hunters at HR 31 or above that have cleared the “A World Turned Upside Down” main mission. New hunter and Palico armor forged from Seregios materials awaits you! For hunters looking for a greater challenge, 8★ Tempered Lagiacrus and Seregios will begin appearing for hunters at HR 41 or higher, after completing their initial missions. Best of luck against these powerful monsters! Hunt in style with layered weapons With Free Title Update 2, hunters will be able to use Layered Weapons, which lets you use the look of any weapon, while keeping the stats and abilities of another. To unlock a weapon design as a Layered Weapon option, you’ll need to craft the final weapon in that weapon’s upgrade tree. Artian Weapons can be used as layered weapons by fully reinforcing a Rarity 8 Artian weapon. For weapons that change in appearance when upgraded, you’ll also have the option to use their pre-upgrade designs as well! You can also craft layered Palico weapons by forging their high-rank weapons. We hope this feature encourages you to delve deeper into crafting the powerful Artian Weapon you’ve been looking for, all while keeping the appearance of your favorite weapon. New optional features Change your choice of handler accompanying you in the field to Eric after completing the Lagiacrus mission in Free Title Update 2! You can always switch back to Alma too, but it doesn’t hurt to give our trusty handler a break from time to time. A new Support Hunter joins the fray Mina, a support hunter who wields a Sword & Shield, joins the hunt. With Free Title Update 2, you’ll be able to choose which support hunters can join you on quests. Photo Mode Improvements Snap even more creative photos of your hunts with some new options, including an Effects tab to adjust brightness and filter effects, and a Character Display tab to toggle off your Handler, Palico, Seikret, and more. Celebrate summer with the Festival of Accord: Flamefete seasonal event View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image The next seasonal event in Monster Hunter Wilds, the Festival of Accord: Flamefete, will take place in the Grand Hub from July 23 to August 6! Cool off with this summer themed celebration, where you can obtain new armor, gestures, and pop-up camp decorations for a limited time. You’ll also be able to eat special seasonal event meals and enjoy the fun of summer as the Grand Hub and all it’s members will be dressed to mark the occasion. Arch-Tempered Uth Duna slams down starting July 30 Take on an even more powerful version of Uth Duna when Arch-Tempered Uth Duna arrives as an Event Quest and Free Challenge Quest from July 30 to August 20! Take on and defeat the challenging apex of the Scarlet Forest to obtain materials for crafting the new Uth Duna γ hunter armor set and the Felyne Uth Duna γ Palico armor set. Be sure you’re at least HR 50 or above to take on this quest. We’ve also got plenty of new Event Quests on the way in the weeks ahead, including some where you can earn new special equipment, quests to obtain more armor spheres, and challenge quests against Mizutsune. Be sure to keep checking back each week to see what’s new! A special collaboration with Fender Monster Hunter Wilds is collaborating with world-renowned guitar brand Fender®! From August 27 to September 24, a special Event Quest will be available to earn a collaboration gesture that lets you rock out with the Monster Hunter Rathalos Telecaster®. In celebration of Monster Hunter’s 20th anniversary, the globally released Monster Hunter Rathalos Telecaster® collaboration guitar is making its way into the game! Be sure to experience it both in-game and in real life! A new round of cosmetic DLC arrives View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Express your style with additional DLC, including four free dance gestures. Paid cosmetic DLC, such as gestures, stickers, pendants, and more will also be available. If you’ve purchased the Premium Deluxe Edition of Monster Hunter Wilds or the Cosmetic DLC Pass, Cosmetic DLC Pack 2 and other additional items will be available to download when Free Title Update 2 releases.  Free Title Update roadmap We hope you’re excited to dive into all the content coming with Free Title Update 2! We’ll continue to release updates, with Free Title Update 3 coming at the end of September. Stay tuned for more details to come. A Monster Hunter Wilds background is added to the PS5 Welcome hub Alongside Free Title Update 2 on June 30, an animated background featuring the hunters facing Arkveld during the Inclemency will be added to the Welcome hub. Customize your PS5 Welcome hub with Monster Hunter Wilds to get you in the hunting mood. View and download image Download the image close Close Download this image How to change the backgroundWelcome hub -> Change background -> Games Try out Monster Hunter Wilds on PS5 with a PlayStation Plus Premium Game Trial starting on June 30 View and download image Download the image close Close Download this image With the Game Trial, you can try out the full version of the game for 2 hours. If you decide to purchase the full version after the trial, your save data will carry over, allowing you to continue playing seamlessly right where you left off. If you haven’t played Monster Hunter Wilds yet, this is a great way to give it a try. Happy Hunting! #monster #hunter #wilds #second #free
    BLOG.PLAYSTATION.COM
    Monster Hunter Wilds’ second free title update brings fierce new monsters and more June 30
    New monsters, features, and more arrive in the Forbidden Lands with Free Title Update 2, dropping in Monster Hunter Wilds on June 30! Watch the latest trailer for a look at what awaits you. Play Video Monster Hunter Wilds – Free Title Update 2 In addition to what’s featured in the trailer, Free Title Update 2 will also feature improvements and adjustments to various aspects of the game. Make sure to check the official Monster Hunter Wilds website for a new Director’s Letter from Game Director Yuya Tokuda coming soon, for a deeper dive into what’s coming in addition to the core new monsters and features. ● The Leviathan, Lagiacrus, emerges at last View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image The long-awaited Leviathan, Lagiacrus, has finally appeared in Monster Hunter Wilds! Floating at the top of the aquatic food chain, Lagiacrus is a master of the sea, boiling the surrounding water by emitting powerful currents of electricity. New missions to hunt Lagiacrus will become available for hunters at Hunter Rank 31 or above, and after clearing the “A World Turned Upside Down” main mission, and the “Forest Doshaguma” side mission. While you’ll fight Lagiacrus primarily on land, your hunt against this formidable foe can also take you deep underwater for a special encounter, where it feels most at home. During the underwater portion of the hunt, hunters won’t be able to use their weapons freely, but there are still ways to fight back and turn the tide of battle. Stay alert for your opportunities! Hunt Lagiacrus to obtain materials for new hunter and Palico armor! As usual, these sets can be used as layered armor as well. ● The Flying Wyvern, Seregios, strikes View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Shining golden bright, the flying wyvern, Seregios, swoops into the Forbidden Lands with Free Title Update 2! Seregios is a highly mobile aerial monster that fires sharp bladescales, inflicting bleeding status on hunters. Keep an eye on your health and bring along rations and well-done steak when hunting this monster. Missions to hunt Seregios are available for hunters at HR 31 or above that have cleared the “A World Turned Upside Down” main mission. New hunter and Palico armor forged from Seregios materials awaits you! For hunters looking for a greater challenge, 8★ Tempered Lagiacrus and Seregios will begin appearing for hunters at HR 41 or higher, after completing their initial missions. Best of luck against these powerful monsters! Hunt in style with layered weapons With Free Title Update 2, hunters will be able to use Layered Weapons, which lets you use the look of any weapon, while keeping the stats and abilities of another. To unlock a weapon design as a Layered Weapon option, you’ll need to craft the final weapon in that weapon’s upgrade tree. Artian Weapons can be used as layered weapons by fully reinforcing a Rarity 8 Artian weapon. For weapons that change in appearance when upgraded, you’ll also have the option to use their pre-upgrade designs as well! You can also craft layered Palico weapons by forging their high-rank weapons. We hope this feature encourages you to delve deeper into crafting the powerful Artian Weapon you’ve been looking for, all while keeping the appearance of your favorite weapon. New optional features Change your choice of handler accompanying you in the field to Eric after completing the Lagiacrus mission in Free Title Update 2! You can always switch back to Alma too, but it doesn’t hurt to give our trusty handler a break from time to time. A new Support Hunter joins the fray Mina, a support hunter who wields a Sword & Shield, joins the hunt. With Free Title Update 2, you’ll be able to choose which support hunters can join you on quests. Photo Mode Improvements Snap even more creative photos of your hunts with some new options, including an Effects tab to adjust brightness and filter effects, and a Character Display tab to toggle off your Handler, Palico, Seikret, and more. Celebrate summer with the Festival of Accord: Flamefete seasonal event View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image The next seasonal event in Monster Hunter Wilds, the Festival of Accord: Flamefete, will take place in the Grand Hub from July 23 to August 6! Cool off with this summer themed celebration, where you can obtain new armor, gestures, and pop-up camp decorations for a limited time. You’ll also be able to eat special seasonal event meals and enjoy the fun of summer as the Grand Hub and all it’s members will be dressed to mark the occasion. Arch-Tempered Uth Duna slams down starting July 30 Take on an even more powerful version of Uth Duna when Arch-Tempered Uth Duna arrives as an Event Quest and Free Challenge Quest from July 30 to August 20! Take on and defeat the challenging apex of the Scarlet Forest to obtain materials for crafting the new Uth Duna γ hunter armor set and the Felyne Uth Duna γ Palico armor set. Be sure you’re at least HR 50 or above to take on this quest. We’ve also got plenty of new Event Quests on the way in the weeks ahead, including some where you can earn new special equipment, quests to obtain more armor spheres, and challenge quests against Mizutsune. Be sure to keep checking back each week to see what’s new! A special collaboration with Fender Monster Hunter Wilds is collaborating with world-renowned guitar brand Fender®! From August 27 to September 24, a special Event Quest will be available to earn a collaboration gesture that lets you rock out with the Monster Hunter Rathalos Telecaster®. In celebration of Monster Hunter’s 20th anniversary, the globally released Monster Hunter Rathalos Telecaster® collaboration guitar is making its way into the game! Be sure to experience it both in-game and in real life! A new round of cosmetic DLC arrives View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image View and download image Download the image close Close Download this image Express your style with additional DLC, including four free dance gestures. Paid cosmetic DLC, such as gestures, stickers, pendants, and more will also be available. If you’ve purchased the Premium Deluxe Edition of Monster Hunter Wilds or the Cosmetic DLC Pass, Cosmetic DLC Pack 2 and other additional items will be available to download when Free Title Update 2 releases.  Free Title Update roadmap We hope you’re excited to dive into all the content coming with Free Title Update 2! We’ll continue to release updates, with Free Title Update 3 coming at the end of September. Stay tuned for more details to come. A Monster Hunter Wilds background is added to the PS5 Welcome hub Alongside Free Title Update 2 on June 30, an animated background featuring the hunters facing Arkveld during the Inclemency will be added to the Welcome hub. Customize your PS5 Welcome hub with Monster Hunter Wilds to get you in the hunting mood. View and download image Download the image close Close Download this image How to change the backgroundWelcome hub -> Change background -> Games Try out Monster Hunter Wilds on PS5 with a PlayStation Plus Premium Game Trial starting on June 30 View and download image Download the image close Close Download this image With the Game Trial, you can try out the full version of the game for 2 hours. If you decide to purchase the full version after the trial, your save data will carry over, allowing you to continue playing seamlessly right where you left off. If you haven’t played Monster Hunter Wilds yet, this is a great way to give it a try. Happy Hunting!
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  • HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE

    By TREVOR HOGG

    Images courtesy of Warner Bros. Pictures.

    Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon.

    “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.”
    —Talia Finlayson, Creative Technologist, Disguise

    Interior and exterior environments had to be created, such as the shop owned by Steve.

    “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”

    Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.”

    A virtual exploration of Steve’s shop in Midport Village.

    Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.”

    “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”
    —Laura Bell, Creative Technologist, Disguise

    Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack.

    Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.”

    Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!”

    A virtual study and final still of the cast members standing outside of the Lava Chicken Shack.

    “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.”
    —Talia Finlayson, Creative Technologist, Disguise

    The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.”

    Virtually conceptualizing the layout of Midport Village.

    Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.”

    An example of the virtual and final version of the Woodland Mansion.

    “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.”
    —Laura Bell, Creative Technologist, Disguise

    Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.”

    Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment.

    Doing a virtual scale study of the Mountainside.

    Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.”

    Piglots cause mayhem during the Wingsuit Chase.

    Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods.

    “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
    #how #disguise #built #out #virtual
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve. “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.” #how #disguise #built #out #virtual
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    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
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  • Le Meta Quest 3S Xbox Edition est enfin disponible. Si vous êtes en France et que ça vous intéresse, il y a quelques démarches à suivre pour l'obtenir. Mais bon, c'est un peu long et, franchement, je ne suis pas sûr de l'effort à fournir. Les jeux, les casques... tout ça peut attendre, non ?

    Enfin, vous pouvez toujours jeter un œil sur le site REALITE-VIRTUELLE.COM pour plus de détails.

    #MetaQuest3S #XboxEdition #France #VR #Technologie
    Le Meta Quest 3S Xbox Edition est enfin disponible. Si vous êtes en France et que ça vous intéresse, il y a quelques démarches à suivre pour l'obtenir. Mais bon, c'est un peu long et, franchement, je ne suis pas sûr de l'effort à fournir. Les jeux, les casques... tout ça peut attendre, non ? Enfin, vous pouvez toujours jeter un œil sur le site REALITE-VIRTUELLE.COM pour plus de détails. #MetaQuest3S #XboxEdition #France #VR #Technologie
    Meta Quest 3S Xbox Edition : comment l’obtenir en France ?
    La bonne nouvelle, c’est que le Meta Quest 3S Xbox Edition est enfin là après […] Cet article Meta Quest 3S Xbox Edition : comment l’obtenir en France ? a été publié sur REALITE-VIRTUELLE.COM.
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  • ¡Increíble! Mientras la crisis arrasa con la industria del cine, Cinesite se asegura 215 millones de dólares en inversiones. ¿Qué clase de locura es esta? En lugar de abordar los problemas reales que enfrentan los estudios, se les inyecta más dinero como si eso fuera la solución mágica. La NatWest Corporate Bank y otras entidades parecen celebrar un festín mientras los pequeños estudios se hunden. ¿Acaso no ven que esto es un ciclo vicioso que solo beneficia a unos pocos? Es hora de despertar y cuestionar estas decisiones absurdas que perpetúan la desigualdad en la industria. ¡Basta de favorecer a los grandes y olvidarse de los que realmente aportan!

    #Cinesite
    ¡Increíble! Mientras la crisis arrasa con la industria del cine, Cinesite se asegura 215 millones de dólares en inversiones. ¿Qué clase de locura es esta? En lugar de abordar los problemas reales que enfrentan los estudios, se les inyecta más dinero como si eso fuera la solución mágica. La NatWest Corporate Bank y otras entidades parecen celebrar un festín mientras los pequeños estudios se hunden. ¿Acaso no ven que esto es un ciclo vicioso que solo beneficia a unos pocos? Es hora de despertar y cuestionar estas decisiones absurdas que perpetúan la desigualdad en la industria. ¡Basta de favorecer a los grandes y olvidarse de los que realmente aportan! #Cinesite
    Cinesite annonce récolter 215 millions de dollars d’investissements
    Alors que la crise frappe durement de nombreux studios, d’autres parviennent à sécuriser leur avenir.C’est le cas du studio d’effets visuels et animation Cinesite, qui vient d’annoncer qu’il s’apprête à recevoir 21
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  • Exciting news, everyone! The titans of adult entertainment are making a grand comeback in France without the need for a VPN! Yes, you heard it right! Sites like Pornhub, YouPorn, and RedTube are back and ready to be explored! This is a fantastic opportunity for everyone who enjoys diverse content and wants to indulge in some fun without barriers. Embrace this moment of freedom and enjoy the variety that awaits you! Remember, every return is a chance for new experiences and joy! Let's celebrate this exciting news together!

    #Pornhub #YouPorn #RedTube #Freedom #GoodVibes
    🎉 Exciting news, everyone! 🎉 The titans of adult entertainment are making a grand comeback in France without the need for a VPN! 🚀 Yes, you heard it right! Sites like Pornhub, YouPorn, and RedTube are back and ready to be explored! 🌟 This is a fantastic opportunity for everyone who enjoys diverse content and wants to indulge in some fun without barriers. Embrace this moment of freedom and enjoy the variety that awaits you! Remember, every return is a chance for new experiences and joy! Let's celebrate this exciting news together! 💖 #Pornhub #YouPorn #RedTube #Freedom #GoodVibes
    Les géants du X font leur grand retour en France sans VPN !
    C’est désormais confirmé : les sites Pornhub, YouPorn et RedTube sont de nouveau accessibles en […] Cet article Les géants du X font leur grand retour en France sans VPN ! a été publié sur REALITE-VIRTUELLE.COM.
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