• Nier: Automata creators deny characters "were problematic overseas" and blame mistranslated subtitle for censorship rumours

    Nier: Automata creators deny characters "were problematic overseas" and blame mistranslated subtitle for censorship rumours
    Nier miss.

    Image credit: Square Enix

    News

    by Vikki Blake
    Contributor

    Published on June 14, 2025

    Nier: Automata producer Yosuke Saito and director Yoko Taro have denied that any of their character designs were restricted for Western audiences.
    As spotted by Automaton, the developers were compelled to comment after a mistranslated Japanese-to-English subtitle intimated Nier: Automata had been subjected to censorship from Square Enix to meet global standards.

    GODDESS OF VICTORY: NIKKE | Producers' Creative Dialogue Special Livestream.Watch on YouTube
    In the interview above, Sony executive Yoshida Shuhei asked the developers about their design process.
    "Our concept is always to do something that's 'not like anything else'. What I mean is, if Nier: Replicant had a boy as the main character, Nier: Automata would have a girl protagonist. If Western sci-fi is filled with Marine-like soldiers, we might go in the opposite direction and use Gothic Lolita outfits, for example," Taro said. "We tend to take the contrarian route."
    "There are, of course, certain things that are ethically or morally inappropriate – even if they're just aspects of a character," Saito added, according to the subtitles. "We try to draw a line by establishing rules about what’s acceptable and what’s not.
    "While certain things might be acceptable in Japan, they could become problematic in certain overseas regions, and even characters could become problematic as well. These are the kind of situationwe usually try to avoid creating. As a result, there are actually countries where we couldn't officially release Nier: Automata."
    This immediately caused consternation with fans but as Automaton points out, this "could be a little tricky to translate, even for an advanced Japanese speaker".
    When asked directly about the claim, Taro denied it, saying on X/Twitter: "I've never heard of such a thing happening". Saito simply said he thought the things he'd mentioned had been mistranslated, and would clarify this in a future livestream.
    In the same interview, former PlayStation exec Shuhei Yoshida called Nier: Automata the "game that changed everything", as it was responsible for reviving the Japanese games industry on its release. In a recent interview, Yoshida discussed how during the PS3 era, sales of Japanese games had declined, and increasingly studios there were chasing "overseas tastes".
    That changed with NieR: Automata in 2017, released for the PS4. "I think Yoko Taro created it without paying any mind at all to making it sell overseas, but it was a tremendous success," Yoshida said.
    #nier #automata #creators #deny #characters
    Nier: Automata creators deny characters "were problematic overseas" and blame mistranslated subtitle for censorship rumours
    Nier: Automata creators deny characters "were problematic overseas" and blame mistranslated subtitle for censorship rumours Nier miss. Image credit: Square Enix News by Vikki Blake Contributor Published on June 14, 2025 Nier: Automata producer Yosuke Saito and director Yoko Taro have denied that any of their character designs were restricted for Western audiences. As spotted by Automaton, the developers were compelled to comment after a mistranslated Japanese-to-English subtitle intimated Nier: Automata had been subjected to censorship from Square Enix to meet global standards. GODDESS OF VICTORY: NIKKE | Producers' Creative Dialogue Special Livestream.Watch on YouTube In the interview above, Sony executive Yoshida Shuhei asked the developers about their design process. "Our concept is always to do something that's 'not like anything else'. What I mean is, if Nier: Replicant had a boy as the main character, Nier: Automata would have a girl protagonist. If Western sci-fi is filled with Marine-like soldiers, we might go in the opposite direction and use Gothic Lolita outfits, for example," Taro said. "We tend to take the contrarian route." "There are, of course, certain things that are ethically or morally inappropriate – even if they're just aspects of a character," Saito added, according to the subtitles. "We try to draw a line by establishing rules about what’s acceptable and what’s not. "While certain things might be acceptable in Japan, they could become problematic in certain overseas regions, and even characters could become problematic as well. These are the kind of situationwe usually try to avoid creating. As a result, there are actually countries where we couldn't officially release Nier: Automata." This immediately caused consternation with fans but as Automaton points out, this "could be a little tricky to translate, even for an advanced Japanese speaker". When asked directly about the claim, Taro denied it, saying on X/Twitter: "I've never heard of such a thing happening". Saito simply said he thought the things he'd mentioned had been mistranslated, and would clarify this in a future livestream. In the same interview, former PlayStation exec Shuhei Yoshida called Nier: Automata the "game that changed everything", as it was responsible for reviving the Japanese games industry on its release. In a recent interview, Yoshida discussed how during the PS3 era, sales of Japanese games had declined, and increasingly studios there were chasing "overseas tastes". That changed with NieR: Automata in 2017, released for the PS4. "I think Yoko Taro created it without paying any mind at all to making it sell overseas, but it was a tremendous success," Yoshida said. #nier #automata #creators #deny #characters
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    Nier: Automata creators deny characters "were problematic overseas" and blame mistranslated subtitle for censorship rumours
    Nier: Automata creators deny characters "were problematic overseas" and blame mistranslated subtitle for censorship rumours Nier miss. Image credit: Square Enix News by Vikki Blake Contributor Published on June 14, 2025 Nier: Automata producer Yosuke Saito and director Yoko Taro have denied that any of their character designs were restricted for Western audiences. As spotted by Automaton, the developers were compelled to comment after a mistranslated Japanese-to-English subtitle intimated Nier: Automata had been subjected to censorship from Square Enix to meet global standards. GODDESS OF VICTORY: NIKKE | Producers' Creative Dialogue Special Livestream.Watch on YouTube In the interview above (skip to 28:12 for the segment concerned), Sony executive Yoshida Shuhei asked the developers about their design process. "Our concept is always to do something that's 'not like anything else'. What I mean is, if Nier: Replicant had a boy as the main character, Nier: Automata would have a girl protagonist. If Western sci-fi is filled with Marine-like soldiers, we might go in the opposite direction and use Gothic Lolita outfits, for example," Taro said. "We tend to take the contrarian route." "There are, of course, certain things that are ethically or morally inappropriate – even if they're just aspects of a character," Saito added, according to the subtitles. "We try to draw a line by establishing rules about what’s acceptable and what’s not. "While certain things might be acceptable in Japan, they could become problematic in certain overseas regions, and even characters could become problematic as well. These are the kind of situation[s] we usually try to avoid creating. As a result, there are actually countries where we couldn't officially release Nier: Automata." This immediately caused consternation with fans but as Automaton points out, this "could be a little tricky to translate, even for an advanced Japanese speaker". When asked directly about the claim, Taro denied it, saying on X/Twitter: "I've never heard of such a thing happening". Saito simply said he thought the things he'd mentioned had been mistranslated, and would clarify this in a future livestream. In the same interview, former PlayStation exec Shuhei Yoshida called Nier: Automata the "game that changed everything", as it was responsible for reviving the Japanese games industry on its release. In a recent interview, Yoshida discussed how during the PS3 era, sales of Japanese games had declined, and increasingly studios there were chasing "overseas tastes". That changed with NieR: Automata in 2017, released for the PS4. "I think Yoko Taro created it without paying any mind at all to making it sell overseas, but it was a tremendous success," Yoshida said.
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  • FROM SET TO PIXELS: CINEMATIC ARTISTS COME TOGETHER TO CREATE POETRY

    By TREVOR HOGG

    Denis Villeneuvefinds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track.If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation.Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.”

    A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects isRoger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.”

    Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey.Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow.One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it.Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters.Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, andcreate a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.”

    Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.”

    Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.”

    Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.”

    Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.”

    “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.”

    Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky.Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.”

    Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles.Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline.Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats.For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef.Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once.Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.”

    “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’”

    Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. ForEast of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.”

    Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well.Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh.

    Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise.Bluescreen and stunt doubles on Twisters.“The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.”
    —Dan Mindel, Cinematographer, Twisters

    Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”
    #set #pixels #cinematic #artists #come
    FROM SET TO PIXELS: CINEMATIC ARTISTS COME TOGETHER TO CREATE POETRY
    By TREVOR HOGG Denis Villeneuvefinds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track.If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation.Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects isRoger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey.Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow.One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it.Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters.Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, andcreate a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky.Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles.Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline.Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats.For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef.Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once.Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. ForEast of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well.Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise.Bluescreen and stunt doubles on Twisters.“The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.” #set #pixels #cinematic #artists #come
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    FROM SET TO PIXELS: CINEMATIC ARTISTS COME TOGETHER TO CREATE POETRY
    By TREVOR HOGG Denis Villeneuve (Dune: Part Two) finds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track. (Image courtesy of Warner Bros. Pictures) If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation. [VFX Supervisor] Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects is [Cinematographer] Roger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey. (Image courtesy of Paramount Pictures) Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow. (Image courtesy of Apple Studios) One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it. (Image courtesy of Paramount Pictures) Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters. (Image courtesy of Universal Pictures) Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, and [they] create a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky. (Image courtesy of Prime Video) Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles. (Image courtesy of Columbia Pictures) Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline. (Image courtesy of HBO) Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats. (Image courtesy of Universal Pictures) For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef. (Image courtesy of Netflix) Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once. (Image courtesy of A24) Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. For [the 2026 Netflix limited series] East of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well. [Director] Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise. (Image courtesy of HBO) Bluescreen and stunt doubles on Twisters. (Image courtesy of Universal Pictures) “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”
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  • An Assassinated Priest's Cold Case Is Solved After 700 Years, Likely as Vengeance

    Image of the Archbishop of Canterbury's letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council.NewsletterSign up for our email newsletter for the latest science newsEspionage, sex, public humiliation, murder — these may sound like tropes straight out of Game of Thrones, but they’re actually all elements of a nearly 700-year-old cold case in England. After analyzing Medieval letters and records, a research team from the Cambridge University Institute of Criminology’s Medieval Murder Maps project may have found the killer of a priest. However, this priest may not have been so innocent. A new paper published in Criminal Law Forum takes a deeper look at this 14th-century cold case.Tracing a Medieval MurderThe Medieval Murder Maps project uses interactive maps of three English cities, London, Oxford, and York, during the Medieval period. Throughout the cities are the locations of various deaths and murders. Each location has a story associated with it, directly from written records and coroners' reports at the time. Some of these stories are full of intriguing twists and turns.The Cambridge research team analyzed over 100 murders from texts, translated from Latin, from that period, and used a coding method to separate the deaths into different categories, including time, motivation, weapon used, victim, and location. From this information, one of the deaths the team found most interesting was the murder of John Forde in 1337.A Medieval Lover to Murderer From the letters and texts the team analyzed, they pieced together the events that led up to Forde’s death. Forde was a priest living in London when he was murdered on a busy street. But what possible reason would someone have to want to murder a priest? The motive, according to the research team, was likely revenge. According to Manuel Eisner, one of the study’s authors, the murder may have been an act of revenge by noblewoman Ela Fitzpayne. According to the records, the Archbishop of Canterbury, Simon Mepham, had enacted penance on Fitzpayne after it was discovered that Forde had been her lover. A letter written by Archbishop Mepham accused Fitzpayne of adultery with Forde and possibly others. Her penance was to take a barefoot walk of shame across Salisbury Cathedral. Eisner also found a document that suggested Fitzpayne, her husband, and John Forde sent a gang to rob a church priory and took the livestock for ransom. It’s possible that during this time, Forde found himself in bed with Fitzpayne, before betraying her to the Archbishop Mepham. Commissioned Murder Possibly betrayed by her former lover and sentenced to walks of shame that were to take place once a year for seven years,  Fitzpayne would have none of it. On an early evening on a busy London street, near St. Paul’s Cathedral, three men attacked Forde. One slit his throat while the others stabbed him in the gut. Witnesses claim that the murderers were Fitzpayne’s brother and two of her former servants. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” said Eisner in a press release.Cold Case RevealedAccording to letters from Archbishop Mepham, Fitzpayne was led by the devil and a “spirit of pride.”“The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” said Eisner in a press release. “Not least as John Forde appears to have escaped punishment by the church.” When Archbishop Mepham died in 1333, Fitzpayne waited four years before enacting her revenge, and in 1337, Forde was killed. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:A graduate of UW-Whitewater, Monica Cull wrote for several organizations, including one that focused on bees and the natural world, before coming to Discover Magazine. Her current work also appears on her travel blog and Common State Magazine. Her love of science came from watching PBS shows as a kid with her mom and spending too much time binging Doctor Who.1 free article leftWant More? Get unlimited access for as low as /monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as !SubscribeAlready a subscriber?Register or Log In
    #assassinated #priest039s #cold #case #solved
    An Assassinated Priest's Cold Case Is Solved After 700 Years, Likely as Vengeance
    Image of the Archbishop of Canterbury's letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council.NewsletterSign up for our email newsletter for the latest science newsEspionage, sex, public humiliation, murder — these may sound like tropes straight out of Game of Thrones, but they’re actually all elements of a nearly 700-year-old cold case in England. After analyzing Medieval letters and records, a research team from the Cambridge University Institute of Criminology’s Medieval Murder Maps project may have found the killer of a priest. However, this priest may not have been so innocent. A new paper published in Criminal Law Forum takes a deeper look at this 14th-century cold case.Tracing a Medieval MurderThe Medieval Murder Maps project uses interactive maps of three English cities, London, Oxford, and York, during the Medieval period. Throughout the cities are the locations of various deaths and murders. Each location has a story associated with it, directly from written records and coroners' reports at the time. Some of these stories are full of intriguing twists and turns.The Cambridge research team analyzed over 100 murders from texts, translated from Latin, from that period, and used a coding method to separate the deaths into different categories, including time, motivation, weapon used, victim, and location. From this information, one of the deaths the team found most interesting was the murder of John Forde in 1337.A Medieval Lover to Murderer From the letters and texts the team analyzed, they pieced together the events that led up to Forde’s death. Forde was a priest living in London when he was murdered on a busy street. But what possible reason would someone have to want to murder a priest? The motive, according to the research team, was likely revenge. According to Manuel Eisner, one of the study’s authors, the murder may have been an act of revenge by noblewoman Ela Fitzpayne. According to the records, the Archbishop of Canterbury, Simon Mepham, had enacted penance on Fitzpayne after it was discovered that Forde had been her lover. A letter written by Archbishop Mepham accused Fitzpayne of adultery with Forde and possibly others. Her penance was to take a barefoot walk of shame across Salisbury Cathedral. Eisner also found a document that suggested Fitzpayne, her husband, and John Forde sent a gang to rob a church priory and took the livestock for ransom. It’s possible that during this time, Forde found himself in bed with Fitzpayne, before betraying her to the Archbishop Mepham. Commissioned Murder Possibly betrayed by her former lover and sentenced to walks of shame that were to take place once a year for seven years,  Fitzpayne would have none of it. On an early evening on a busy London street, near St. Paul’s Cathedral, three men attacked Forde. One slit his throat while the others stabbed him in the gut. Witnesses claim that the murderers were Fitzpayne’s brother and two of her former servants. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” said Eisner in a press release.Cold Case RevealedAccording to letters from Archbishop Mepham, Fitzpayne was led by the devil and a “spirit of pride.”“The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” said Eisner in a press release. “Not least as John Forde appears to have escaped punishment by the church.” When Archbishop Mepham died in 1333, Fitzpayne waited four years before enacting her revenge, and in 1337, Forde was killed. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:A graduate of UW-Whitewater, Monica Cull wrote for several organizations, including one that focused on bees and the natural world, before coming to Discover Magazine. Her current work also appears on her travel blog and Common State Magazine. Her love of science came from watching PBS shows as a kid with her mom and spending too much time binging Doctor Who.1 free article leftWant More? Get unlimited access for as low as /monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as !SubscribeAlready a subscriber?Register or Log In #assassinated #priest039s #cold #case #solved
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    An Assassinated Priest's Cold Case Is Solved After 700 Years, Likely as Vengeance
    Image of the Archbishop of Canterbury's letters to the Bishop of Winchester on the subject of Ela Fitzpayne, from the register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council. (Image Credit: Register of John de Stratford. Reproduced with permission of Hampshire Archives and Hampshire County Council.)NewsletterSign up for our email newsletter for the latest science newsEspionage, sex, public humiliation, murder — these may sound like tropes straight out of Game of Thrones, but they’re actually all elements of a nearly 700-year-old cold case in England. After analyzing Medieval letters and records, a research team from the Cambridge University Institute of Criminology’s Medieval Murder Maps project may have found the killer of a priest. However, this priest may not have been so innocent. A new paper published in Criminal Law Forum takes a deeper look at this 14th-century cold case.Tracing a Medieval MurderThe Medieval Murder Maps project uses interactive maps of three English cities, London, Oxford, and York, during the Medieval period. Throughout the cities are the locations of various deaths and murders. Each location has a story associated with it, directly from written records and coroners' reports at the time. Some of these stories are full of intriguing twists and turns.The Cambridge research team analyzed over 100 murders from texts, translated from Latin, from that period, and used a coding method to separate the deaths into different categories, including time (day, week, month), motivation, weapon used, victim, and location. From this information, one of the deaths the team found most interesting was the murder of John Forde in 1337.A Medieval Lover to Murderer From the letters and texts the team analyzed, they pieced together the events that led up to Forde’s death. Forde was a priest living in London when he was murdered on a busy street. But what possible reason would someone have to want to murder a priest? The motive, according to the research team, was likely revenge. According to Manuel Eisner, one of the study’s authors, the murder may have been an act of revenge by noblewoman Ela Fitzpayne. According to the records, the Archbishop of Canterbury, Simon Mepham, had enacted penance on Fitzpayne after it was discovered that Forde had been her lover. A letter written by Archbishop Mepham accused Fitzpayne of adultery with Forde and possibly others. Her penance was to take a barefoot walk of shame across Salisbury Cathedral. Eisner also found a document that suggested Fitzpayne, her husband, and John Forde sent a gang to rob a church priory and took the livestock for ransom. It’s possible that during this time, Forde found himself in bed with Fitzpayne, before betraying her to the Archbishop Mepham. Commissioned Murder Possibly betrayed by her former lover and sentenced to walks of shame that were to take place once a year for seven years,  Fitzpayne would have none of it. On an early evening on a busy London street, near St. Paul’s Cathedral, three men attacked Forde. One slit his throat while the others stabbed him in the gut. Witnesses claim that the murderers were Fitzpayne’s brother and two of her former servants. “We are looking at a murder commissioned by a leading figure of the English aristocracy. It is planned and cold-blooded, with a family member and close associates carrying it out, all of which suggests a revenge motive,” said Eisner in a press release.Cold Case RevealedAccording to letters from Archbishop Mepham, Fitzpayne was led by the devil and a “spirit of pride.”“The archbishop imposed heavy, shameful public penance on Ela, which she seems not to have complied with, but may have sparked a thirst for vengeance,” said Eisner in a press release. “Not least as John Forde appears to have escaped punishment by the church.” When Archbishop Mepham died in 1333, Fitzpayne waited four years before enacting her revenge, and in 1337, Forde was killed. Article SourcesOur writers at Discovermagazine.com use peer-reviewed studies and high-quality sources for our articles, and our editors review for scientific accuracy and editorial standards. Review the sources used below for this article:A graduate of UW-Whitewater, Monica Cull wrote for several organizations, including one that focused on bees and the natural world, before coming to Discover Magazine. Her current work also appears on her travel blog and Common State Magazine. Her love of science came from watching PBS shows as a kid with her mom and spending too much time binging Doctor Who.1 free article leftWant More? Get unlimited access for as low as $1.99/monthSubscribeAlready a subscriber?Register or Log In1 free articleSubscribeWant more?Keep reading for as low as $1.99!SubscribeAlready a subscriber?Register or Log In
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  • Everything We Think We Know About iOS 19 (or Is It iOS 26?)

    iOS 19—or is it iOS 26, as rumors suggest?—is nearly here. Apple will almost assuredly announce the latest version of the iPhone's OS next week at WWDC 2025. As such, rumors about iOS 26's features have been coming in fast, and only more so as we approach the big event. Although none of these rumors can be confirmed at the moment, they still give us a good idea about what Apple might be considering behind the scenes.Is Apple changing iOS' name?Seems that way. While wethought the next version of iOS would be called iOS 19, Apple reportedly has other plans in place. According to Bloomberg's Mark Gurman, iOS 19 will be iOS 26, taking the name of the following year. Apple is reportedly doing this with all of its OS titles, including iPadOS 26, macOS 26, watchOS 26, and visionOS 26. A fresh look for iOS 26While iOS has changed considerably in recent years, the overall design language still follows the last big UI overhaul: 2013's iOS 7. It's been nearly 12 years since Apple has mixed things up, leaving users to design their own Lock Screens and app icons. According to Gurman, however, that might change with iOS 26, as well as iPadOS 26 and macOS 26. The details are scarce, but Gurman reports sources within Apple say the company wants to better align the design languages across its various products, without merging those OSes entirely, while also simplifying the way you interact with these devices. That means iOS 26 could adopt the design of visionOS, which uses circles instead of squares for app icons, translucent window elements, and the adoption of 3D—though that latter element may be difficult to translate on a 2D display.You can see those elements on display in this concept video from Jon Prosser. If the rumors are correct, we could be looking at "one of the most dramatic software overhauls in the company’s history."

    In addition to a new look, iOS may be getting a little less buggy. Gurman says that stability is a big priority for Apple this year, which is music to my ears.Live translation for AirPodsGurman also says that Apple is working on a live translation feature for certain AirPods models. If you're having a conversation with someone who is speaking a language you don't know, your AirPods will translate and dictate those words in your target language automatically. When you speak, your words will be translated and dictated by your iPhone, via the Translate app. This feature isn't groundbreaking—Google's Pixel Buds have offered it for years. But it'd be a great addition to iOS 26, and to AirPods users. Accessibility featuresApple doesn't reveal much about its upcoming updates before officially announcing them, but accessibility features are an exception. Last month, the company unveiled a list of accessibility features coming to devices "later this year." While they don't name iOS 26 and other "26" updates, it's pretty obvious those are the updates we'll see them in. There's a new Accessibility Reader feature that makes text easier to read across iOS; Magnifier is coming to Mac; you'll see "Accessibility nutrition" labels on the App Store, to denote how accessible an app is; Apple Watch is getting Live Captions, and Vehicle Motion Cues are coming to the Mac. 'Desktop' modeRumor has it that Apple is working on a "Stage Manager-like" desktop mode for USB-C iPhones with iOS 26. The feature would let you plug your iPhone into an external monitor, so you can extend your iPhone's screen to the larger display.This might not be a true "desktop mode" experience, like Samsung DeX, in that you might not be able to use your iPhone as a portable computer this way. But it could make it easier to share your iPhone's display when you want to connect to a larger screen. You only need to sign into public wifi networks onceIf you use multiple devices on public wifi networks, it's a pain to connect each one manually. That might be changing with Apple's upcoming updates: Gurman says that once updated, you'll only need to log into the wifi with one Apple deviceand the rest will automatically connect.Battery upgradesHere's a great use for AI: optimizing battery life. Rumor has it iOS 26 will analyze your usage habits and determine the right times to lower performance in the name of preserving battery life. Extending the amount of time between charges is something we can all get behind. In addition, the company may add a charging indicator to the lock screen, so you know how long your battery has left to charge. This small feature has been sorely missing on iPhones for years. Apple offers it on MacBooks, but only in Activity Monitor. I hope its brings it back to the menu bar in a future update. Your iPhone willrun iOS 26With any luck, your current iPhone should be compatible with iOS 26, assuming you're currently running the latest software. Citing a source within Apple, French website iPhoneSoft.fr reports that any phone that runs iOS 18 should be compatible with iOS 26 as well. However, the iPad 7 will supposedly not be so lucky, as the website says it will not be included in the iPadOS 26 update.However, a MacRumors source says that Apple plans to drop the iPhone XR, XS, and XS Max this year. We'll have to wait and see what Apple announces on Monday to find out which phones will still be supported.A new gaming appAccording to Gurman, Apple is working on a dedicated gaming app for iOS, iPadOS, macOS, and tvOS, meant to replace the existing Game Center. The app will both let you launch titles, as well as check leader boards, chat with friends, and see your achievements. If true, it'll be interesting timing, considering the announcement will come four days after the launch of the Nintendo Switch 2. I have my doubts that such an app could compete with a gaming titan like Nintendo, or that this will really expand beyond the traditional short and sweet mobile game experience, but who knows. Maybe Apple is about to become a serious gaming company.Shortcuts get Apple Intelligence integrationThe Shortcuts app lets you set up "shortcuts," which you can use to automate tasks across your Apple devices. Gurman says with iOS 26, Apple is integrating Apple Intelligence into the Shortcuts app, which might let you create shortcuts with natural language—or, in other words, describe the shortcuts you want and have the AI build them for you. Small updatesAccording to 9to5Mac, Apple has plans to add a new feature or two to a handful of apps. That includes:Messages: Automatic translation for incoming and outgoing messages, as well as polls.Music: Full-screen animated artwork on the lock screenNotes: Markdown support, a huge plus for pro-notes usersCarPlay: A redesigned UI to compliment iOS 26The merging of Siri and Apple IntelligenceAccording to Gurman, Apple plans to merge Siri with Apple Intelligence sometime during the iOS 26 patch cycle. Yes, the assistant is currently listed as being part of Apple Intelligence, but behind the scenes, it supposedly has a new LLM in the works that would unify its currently split architecture and allow it to more frequently handle complex requests. As of now, its AI features are much more limited, and most of Siri doesn't use this type of AI at all.Gurman says he expects the merger to be completed by spring of 2026 with the launch of iOS 26.4. His report states that, originally, Apple's plan was to launch a more conversational Siri in the same update, but that's been delayed and is not expected to be unveiled at WWDC 2025.Gurman also indicates that because Apple has not yet completed last year's Apple Intelligence feature rollout, any unannounced features shouldn't be expected for a while.
    #everything #think #know #about #ios
    Everything We Think We Know About iOS 19 (or Is It iOS 26?)
    iOS 19—or is it iOS 26, as rumors suggest?—is nearly here. Apple will almost assuredly announce the latest version of the iPhone's OS next week at WWDC 2025. As such, rumors about iOS 26's features have been coming in fast, and only more so as we approach the big event. Although none of these rumors can be confirmed at the moment, they still give us a good idea about what Apple might be considering behind the scenes.Is Apple changing iOS' name?Seems that way. While wethought the next version of iOS would be called iOS 19, Apple reportedly has other plans in place. According to Bloomberg's Mark Gurman, iOS 19 will be iOS 26, taking the name of the following year. Apple is reportedly doing this with all of its OS titles, including iPadOS 26, macOS 26, watchOS 26, and visionOS 26. A fresh look for iOS 26While iOS has changed considerably in recent years, the overall design language still follows the last big UI overhaul: 2013's iOS 7. It's been nearly 12 years since Apple has mixed things up, leaving users to design their own Lock Screens and app icons. According to Gurman, however, that might change with iOS 26, as well as iPadOS 26 and macOS 26. The details are scarce, but Gurman reports sources within Apple say the company wants to better align the design languages across its various products, without merging those OSes entirely, while also simplifying the way you interact with these devices. That means iOS 26 could adopt the design of visionOS, which uses circles instead of squares for app icons, translucent window elements, and the adoption of 3D—though that latter element may be difficult to translate on a 2D display.You can see those elements on display in this concept video from Jon Prosser. If the rumors are correct, we could be looking at "one of the most dramatic software overhauls in the company’s history." In addition to a new look, iOS may be getting a little less buggy. Gurman says that stability is a big priority for Apple this year, which is music to my ears.Live translation for AirPodsGurman also says that Apple is working on a live translation feature for certain AirPods models. If you're having a conversation with someone who is speaking a language you don't know, your AirPods will translate and dictate those words in your target language automatically. When you speak, your words will be translated and dictated by your iPhone, via the Translate app. This feature isn't groundbreaking—Google's Pixel Buds have offered it for years. But it'd be a great addition to iOS 26, and to AirPods users. Accessibility featuresApple doesn't reveal much about its upcoming updates before officially announcing them, but accessibility features are an exception. Last month, the company unveiled a list of accessibility features coming to devices "later this year." While they don't name iOS 26 and other "26" updates, it's pretty obvious those are the updates we'll see them in. There's a new Accessibility Reader feature that makes text easier to read across iOS; Magnifier is coming to Mac; you'll see "Accessibility nutrition" labels on the App Store, to denote how accessible an app is; Apple Watch is getting Live Captions, and Vehicle Motion Cues are coming to the Mac. 'Desktop' modeRumor has it that Apple is working on a "Stage Manager-like" desktop mode for USB-C iPhones with iOS 26. The feature would let you plug your iPhone into an external monitor, so you can extend your iPhone's screen to the larger display.This might not be a true "desktop mode" experience, like Samsung DeX, in that you might not be able to use your iPhone as a portable computer this way. But it could make it easier to share your iPhone's display when you want to connect to a larger screen. You only need to sign into public wifi networks onceIf you use multiple devices on public wifi networks, it's a pain to connect each one manually. That might be changing with Apple's upcoming updates: Gurman says that once updated, you'll only need to log into the wifi with one Apple deviceand the rest will automatically connect.Battery upgradesHere's a great use for AI: optimizing battery life. Rumor has it iOS 26 will analyze your usage habits and determine the right times to lower performance in the name of preserving battery life. Extending the amount of time between charges is something we can all get behind. In addition, the company may add a charging indicator to the lock screen, so you know how long your battery has left to charge. This small feature has been sorely missing on iPhones for years. Apple offers it on MacBooks, but only in Activity Monitor. I hope its brings it back to the menu bar in a future update. Your iPhone willrun iOS 26With any luck, your current iPhone should be compatible with iOS 26, assuming you're currently running the latest software. Citing a source within Apple, French website iPhoneSoft.fr reports that any phone that runs iOS 18 should be compatible with iOS 26 as well. However, the iPad 7 will supposedly not be so lucky, as the website says it will not be included in the iPadOS 26 update.However, a MacRumors source says that Apple plans to drop the iPhone XR, XS, and XS Max this year. We'll have to wait and see what Apple announces on Monday to find out which phones will still be supported.A new gaming appAccording to Gurman, Apple is working on a dedicated gaming app for iOS, iPadOS, macOS, and tvOS, meant to replace the existing Game Center. The app will both let you launch titles, as well as check leader boards, chat with friends, and see your achievements. If true, it'll be interesting timing, considering the announcement will come four days after the launch of the Nintendo Switch 2. I have my doubts that such an app could compete with a gaming titan like Nintendo, or that this will really expand beyond the traditional short and sweet mobile game experience, but who knows. Maybe Apple is about to become a serious gaming company.Shortcuts get Apple Intelligence integrationThe Shortcuts app lets you set up "shortcuts," which you can use to automate tasks across your Apple devices. Gurman says with iOS 26, Apple is integrating Apple Intelligence into the Shortcuts app, which might let you create shortcuts with natural language—or, in other words, describe the shortcuts you want and have the AI build them for you. Small updatesAccording to 9to5Mac, Apple has plans to add a new feature or two to a handful of apps. That includes:Messages: Automatic translation for incoming and outgoing messages, as well as polls.Music: Full-screen animated artwork on the lock screenNotes: Markdown support, a huge plus for pro-notes usersCarPlay: A redesigned UI to compliment iOS 26The merging of Siri and Apple IntelligenceAccording to Gurman, Apple plans to merge Siri with Apple Intelligence sometime during the iOS 26 patch cycle. Yes, the assistant is currently listed as being part of Apple Intelligence, but behind the scenes, it supposedly has a new LLM in the works that would unify its currently split architecture and allow it to more frequently handle complex requests. As of now, its AI features are much more limited, and most of Siri doesn't use this type of AI at all.Gurman says he expects the merger to be completed by spring of 2026 with the launch of iOS 26.4. His report states that, originally, Apple's plan was to launch a more conversational Siri in the same update, but that's been delayed and is not expected to be unveiled at WWDC 2025.Gurman also indicates that because Apple has not yet completed last year's Apple Intelligence feature rollout, any unannounced features shouldn't be expected for a while. #everything #think #know #about #ios
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    Everything We Think We Know About iOS 19 (or Is It iOS 26?)
    iOS 19—or is it iOS 26, as rumors suggest?—is nearly here. Apple will almost assuredly announce the latest version of the iPhone's OS next week at WWDC 2025. As such, rumors about iOS 26's features have been coming in fast, and only more so as we approach the big event. Although none of these rumors can be confirmed at the moment, they still give us a good idea about what Apple might be considering behind the scenes.Is Apple changing iOS' name?Seems that way. While we (logically) thought the next version of iOS would be called iOS 19, Apple reportedly has other plans in place. According to Bloomberg's Mark Gurman, iOS 19 will be iOS 26, taking the name of the following year. Apple is reportedly doing this with all of its OS titles, including iPadOS 26, macOS 26, watchOS 26, and visionOS 26. A fresh look for iOS 26While iOS has changed considerably in recent years, the overall design language still follows the last big UI overhaul: 2013's iOS 7. It's been nearly 12 years since Apple has mixed things up, leaving users to design their own Lock Screens and app icons. According to Gurman, however, that might change with iOS 26, as well as iPadOS 26 and macOS 26. The details are scarce, but Gurman reports sources within Apple say the company wants to better align the design languages across its various products, without merging those OSes entirely, while also simplifying the way you interact with these devices. That means iOS 26 could adopt the design of visionOS, which uses circles instead of squares for app icons, translucent window elements, and the adoption of 3D—though that latter element may be difficult to translate on a 2D display.You can see those elements on display in this concept video from Jon Prosser. If the rumors are correct, we could be looking at "one of the most dramatic software overhauls in the company’s history." In addition to a new look, iOS may be getting a little less buggy. Gurman says that stability is a big priority for Apple this year, which is music to my ears.Live translation for AirPodsGurman also says that Apple is working on a live translation feature for certain AirPods models. If you're having a conversation with someone who is speaking a language you don't know, your AirPods will translate and dictate those words in your target language automatically. When you speak, your words will be translated and dictated by your iPhone, via the Translate app. This feature isn't groundbreaking—Google's Pixel Buds have offered it for years. But it'd be a great addition to iOS 26, and to AirPods users. Accessibility featuresApple doesn't reveal much about its upcoming updates before officially announcing them, but accessibility features are an exception. Last month, the company unveiled a list of accessibility features coming to devices "later this year." While they don't name iOS 26 and other "26" updates, it's pretty obvious those are the updates we'll see them in. There's a new Accessibility Reader feature that makes text easier to read across iOS; Magnifier is coming to Mac; you'll see "Accessibility nutrition" labels on the App Store, to denote how accessible an app is; Apple Watch is getting Live Captions, and Vehicle Motion Cues are coming to the Mac. 'Desktop' modeRumor has it that Apple is working on a "Stage Manager-like" desktop mode for USB-C iPhones with iOS 26. The feature would let you plug your iPhone into an external monitor, so you can extend your iPhone's screen to the larger display.This might not be a true "desktop mode" experience, like Samsung DeX, in that you might not be able to use your iPhone as a portable computer this way. But it could make it easier to share your iPhone's display when you want to connect to a larger screen. You only need to sign into public wifi networks onceIf you use multiple devices on public wifi networks, it's a pain to connect each one manually. That might be changing with Apple's upcoming updates: Gurman says that once updated, you'll only need to log into the wifi with one Apple device (your iPhone, iPad, or Mac) and the rest will automatically connect.Battery upgradesHere's a great use for AI: optimizing battery life. Rumor has it iOS 26 will analyze your usage habits and determine the right times to lower performance in the name of preserving battery life. Extending the amount of time between charges is something we can all get behind. In addition, the company may add a charging indicator to the lock screen, so you know how long your battery has left to charge. This small feature has been sorely missing on iPhones for years. Apple offers it on MacBooks, but only in Activity Monitor. I hope its brings it back to the menu bar in a future update. Your iPhone will (probably) run iOS 26With any luck, your current iPhone should be compatible with iOS 26, assuming you're currently running the latest software. Citing a source within Apple, French website iPhoneSoft.fr reports that any phone that runs iOS 18 should be compatible with iOS 26 as well. However, the iPad 7 will supposedly not be so lucky, as the website says it will not be included in the iPadOS 26 update.However, a MacRumors source says that Apple plans to drop the iPhone XR, XS, and XS Max this year. We'll have to wait and see what Apple announces on Monday to find out which phones will still be supported.A new gaming appAccording to Gurman, Apple is working on a dedicated gaming app for iOS, iPadOS, macOS, and tvOS, meant to replace the existing Game Center. The app will both let you launch titles, as well as check leader boards, chat with friends, and see your achievements. If true, it'll be interesting timing, considering the announcement will come four days after the launch of the Nintendo Switch 2. I have my doubts that such an app could compete with a gaming titan like Nintendo, or that this will really expand beyond the traditional short and sweet mobile game experience, but who knows. Maybe Apple is about to become a serious gaming company. (I doubt it.)Shortcuts get Apple Intelligence integrationThe Shortcuts app lets you set up "shortcuts," which you can use to automate tasks across your Apple devices. Gurman says with iOS 26, Apple is integrating Apple Intelligence into the Shortcuts app, which might let you create shortcuts with natural language—or, in other words, describe the shortcuts you want and have the AI build them for you. Small updatesAccording to 9to5Mac, Apple has plans to add a new feature or two to a handful of apps. That includes:Messages: Automatic translation for incoming and outgoing messages, as well as polls.Music: Full-screen animated artwork on the lock screenNotes: Markdown support, a huge plus for pro-notes usersCarPlay: A redesigned UI to compliment iOS 26The merging of Siri and Apple IntelligenceAccording to Gurman, Apple plans to merge Siri with Apple Intelligence sometime during the iOS 26 patch cycle. Yes, the assistant is currently listed as being part of Apple Intelligence, but behind the scenes, it supposedly has a new LLM in the works that would unify its currently split architecture and allow it to more frequently handle complex requests. As of now, its AI features are much more limited, and most of Siri doesn't use this type of AI at all.Gurman says he expects the merger to be completed by spring of 2026 with the launch of iOS 26.4. His report states that, originally, Apple's plan was to launch a more conversational Siri in the same update, but that's been delayed and is not expected to be unveiled at WWDC 2025.Gurman also indicates that because Apple has not yet completed last year's Apple Intelligence feature rollout, any unannounced features shouldn't be expected for a while.
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  • How much does your road weigh?

    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer
    Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway. 
    Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity. 
    Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches

    Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’.
    This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine. 
    Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic
    Credit: Heritage Image Partnership Ltd / Alamy
    To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle. 
    Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle, the curves longand the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle.
    When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021
    Credit: Dhaka Tribune
    Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion, and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic.
    The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested USbillion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport.
    Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic
    Credit: Smiley N Pool / Houston Chronicle / Getty
    Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen. 
    The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world. 
    Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe
    Credit: Yakov Oskanov / Alamy
    Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer.
    This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles. Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade.
    ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’
    As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining. 
    Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics, the lorry and the container ship become vital. 
    The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics.
    In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile
    Credit: Project by SITE

    Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock

    2025-06-03
    Reuben J Brown

    Share
    #how #much #does #your #road
    How much does your road weigh?
    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle, the curves longand the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion, and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested USbillion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles. Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics, the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share #how #much #does #your #road
    WWW.ARCHITECTURAL-REVIEW.COM
    How much does your road weigh?
    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle (4 per cent), the curves long (1.5km in radius) and the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion (from 2×2 to 2×3 to 2×4 lanes), and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested US$2.8 billion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles (EVs). Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics (to the point that many service economies could not produce their own personal protective equipment in the midst of a pandemic), the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share
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  • Longchamp’s SoHo Flagship Returns as a Cultural and Design Landmark

    Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition.

    At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form.

    The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere.

    Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality.

    Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design.

    In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context.

    The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present.

    This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection.

    “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”
    #longchamps #soho #flagship #returns #cultural
    Longchamp’s SoHo Flagship Returns as a Cultural and Design Landmark
    Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.” #longchamps #soho #flagship #returns #cultural
    DESIGN-MILK.COM
    Longchamp’s SoHo Flagship Returns as a Cultural and Design Landmark
    Longchamp has reintroduced its iconic SoHo flagship, unveiling a bold new chapter in its architectural and artistic journey. Nestled in the heart of downtown Manhattan, the La Maison Unique boutique has been transformed into a space that merges retail with an immersive cultural experience – offering more than shopping, but a deep dive into the brand’s design philosophy, legacy, and creative ambition. At the core of this reimagining is the rekindled collaboration between Longchamp and celebrated British designer Thomas Heatherwick. Nearly two decades after his original work on the space, Heatherwick returns to re-envision the site with a fresh narrative. The result is a compelling blend of artistry, innovation, and Parisian warmth, translated into architectural form. The redesign honors the bones of the original building while elevating its purpose. One of the most striking updates is the reinterpreted central staircase. Originally made of steel ribbons, it has been reborn in Longchamp’s signature green – a vibrant pathway of swooping planes that guides visitors up from the ground floor, like ascending a hill. The dramatic feature sets the tone for the boutique’s organic, flowing atmosphere. Above, the retail space has been crafted to feel less like a store and more like an upscale, lived-in loft. Round rugs in rich green tones spill from carpeted columns across warm wood floors, creating a dynamic interplay of texture and form. Vintage and bespoke furnishings – like a 1970s croissant sofa by Raphaël Raffel and sculptural works by David Nash – anchor the room with both history and originality. Longchamp’s ties to the art world are on full display throughout the store. The brand’s private collection, along with newly commissioned pieces, gives the space a gallery-like feel. Highlights include ceramics and sculptures from artists such as Dorothée Loriquet, Bobby Silverman, and Tanaka Tomomi. Their works echo Longchamp’s commitment to natural materials, tactile surfaces, and organic design. In a deliberate shift from traditional retail layout, the central area has been opened to encourage conversation. Instead of focusing solely on product display, the well-lit space invites guests to linger and connect, mirroring the rhythm of a Paris apartment transplanted to a New York context. The visual storytelling continues with intentional quirks: neon signage, hand-drawn graffiti by artist André, and archive objects that trace Longchamp’s early heritage as a maker of leather tobacco accessories and travel games. These nostalgic elements add to the space, providing a bridge between past and present. This revitalization is part of a larger movement within the brand to reshape the in-store experience. It reflects a shift in luxury retail – from transactional to experiential. By creating a space where design, storytelling, and sensory detail converge, Longchamp is championing a new kind of flagship – one rooted in memory and human connection. “Retail moves fast, but architecture should last. We wanted to create something bold and joyful, yet warm and timeless – an apartment-like space that invites people to stay,” Heatherwick Studio partner Neil Hubbard says. “From the swirling green rugs under green-carpeted columns to curved furniture that feels custom but lived-in, everything was designed to feel unified and human. Even the red brick walls downstairs, set to host rotating installations, help ground the space in SoHo’s industrial roots while creating room for surprise.”
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  • How NPR’s Tiny Desk became the biggest stage in music

    Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars. 

    What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster. 

    In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmatesand an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views. 

    In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views. 

    That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April. 

    “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.”

    Bobby CarterTiny Desk, Big Influence

    The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023. 

    The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers. 

    In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices. 

    “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.”

    Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk. 

    “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.”

    Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says. 

    Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.   

    Reimagining Old Favorites

    It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history. 

    “I love what has happened with hip hop,” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.” 

    Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artistsbreathe new life into their careers.”

    In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.  

    “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.”

    Building a Diverse Audience

    When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of colormuch younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says. 

    That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Monthand is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer. 

    Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says.

    The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.”

    Tiny Desk heard round the world

    With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporationto launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says. 

    Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.”

    That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition. The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner.

    One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio”It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 
    #how #nprs #tiny #desk #became
    How NPR’s Tiny Desk became the biggest stage in music
    Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmatesand an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby CarterTiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop,” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artistsbreathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of colormuch younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Monthand is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporationto launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition. The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio”It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices.  #how #nprs #tiny #desk #became
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    How NPR’s Tiny Desk became the biggest stage in music
    Until last October, Argentinian musical duo Ca7riel & Paco Amoroso were more or less a regional act. Known for their experimental blend of Latin trap, pop, and rap, the pair had a fanbase, but still weren’t cracking more than 3,000 daily streams across services like Spotify, Apple Music, and YouTube. Within a week, they shot up 4,700%—hitting 222,000 daily streams—according to exclusive data firm Luminate, which powers the Billboard charts. Suddenly Ca7riel & Paco Amoroso were global pop stars.  What changed? On Oct. 4, the pair were featured in a Tiny Desk Concert, part of NPR’s 17-year-old video series featuring musicians performing stripped-down sets behind an office desk in the cramped Washington, D.C. headquarters of the public broadcaster.  In the concert video, the artists play five songs from their debut album Baño Maria, which came out last April. Paco’s raspy voice emerges from underneath a puffy blue trapper hat while Ca7riel sports an over-the-top pout and a vest made of stitched-together heart-shaped plush toys. The pair sing entirely in Spanish, backed by their Argentinian bandmates (sporting shirts screenprinted with their visas) and an American horn section. The duo’s performance quickly took off across the internet. Within five days, it had racked up more than 1.5 million views on YouTube, and hit 11 million in little more than a month. It also reverberated across social media: the NPR Music Instagram post garnering nearly 900,000 likes, and TikToks clips garnered hundreds of thousands of views.  In a year that featured Tiny Desk performances from buzzy stars like Chappell Roan and Sabrina Carpenter, as well as established acts like Chaka Khan and Nelly Furtado, Ca7riel & Paco Amoroso’s concert was the most-watched of 2024. It currently sits at 36 million views.  That virality translated to an influx of bookings for the duo, including a performance at Coachella in April, and upcoming slots at Glastonbury in June, FujiRock Japan in July, and Lollapalooza and Outside Lands in August. Ca7riel & Paco Amoroso’s global tour includes sold-out dates at Mexico’s 20,000-capacity Palacio de los Deportes and Chile’s 14,000-seat Movistar Areana—and was previewed by an appearance on The Tonight Show Starring Jimmy Fallon in April.  “Through Tiny Desk, we’ve noticed media approaching us, promoters being very interested in offering their spaces and festivals, and many media outlets opening doors to show us to the world,” says Jonathan Izquierdo, the band’s Spain-based tour manager who began working with the duo shortly after the Tiny Desk Concert debuted. “We’ve managed to sell out summer arena shows in record time and we’re constantly adding new concerts. Promoters are knocking on our doors to get the Tiny Desk effect.” Bobby Carter [Photo: Fenn Paider/courtesy NPR] Tiny Desk, Big Influence The Tiny Desk effect is something Bobby Carter, NPR Tiny Desk host and series producer, has seen firsthand. Carter has been at NPR for 25 years, including the past 11 on the Tiny Desk team. He took the reins when Bob Boilen, the longtime All Songs Considered host who launched Tiny Desk in 2008, retired in 2023.  The series—which now has more than 1,200 videos—began as an internet-first way for Boilen to showcase performances from musicians that were more intimate than what happens in bigger concert venues. The first installment, featuring folk artist Laura Gibson, went up on YouTube. Today, the concerts are posted on the NPR site with a writeup and credits, as well as YouTube, where NPR Music has 11 million followers. NPR Music also clips installments on Instagram, where it has 3 million followers.  In the early days, NPR staff reached out to touring bands to secure bookings. Acts coming through DC could often be cajoled into filming an installment before heading out to their venues for that night’s sound check. Now, musicians come to DC just for the chance to record in NPR’s offices.  “We don’t have to worry about tours anymore,” Carter says. “Labels and artists are willing to come in solely for a Tiny Desk performance. They understand the impact that a really good Tiny Desk concert can have on an artist’s career.” Early on, the stripped-down nature of the Tiny Desk—artists can’t use any audio processing or voice modulation—lent itself to rock, folk, and indie acts. But a 2014 concert with T-Pain, in which the famously autotune-heavy singer unveiled an impressive set of pipes, showed how artists from a broader array of genres could shine behind the Tiny Desk.  “Everyone knows at this point that they’re going to have to do something different in our space,” Carter says. “It’s a bigger ask for hip-hop acts and electronic acts, but most artists now understand how important it can be if they nail it.” Carter highlights rapper Doechii as an artist who overhauled her sound for her Tiny Desk concert in December. Doechii’s all-female backing band used trumpet, saxophone, guitar, and bass to transform songs from her mixtape Alligator Bites Never Heal for the live setting. “If you listen to the recorded version of her music, it’s nothing like what you saw in that Tiny Desk,” Carter says.  Clips of Doechii’s Tiny Desk virtuosity lit up social media, introducing the ‘swamp princess’ to new fans. The concert even inspired a viral parody, with writer-director-comedian Gus Heagary pretending to be an NPR staffer watching the performance.    Reimagining Old Favorites It isn’t just emerging acts that totally revamp their sound for a Tiny Desk opportunity. Established artists like Usher, Justin Timberlake, and Cypress Hill have followed T-Pain’s lead and used NPR’s offices to showcase reimagined versions of some of their most popular songs. When Juvenile recorded his installment in June 2023, he was backed by horns and saxophones, a violin and cello, and John Batiste on melodica. The New Orleans rapper played an acoustic version of “Back That Azz Up” twice at the audience’s request—the first encore in the series’ history.  “I love what has happened with hip hop [on Tiny Desk],” Carter says. He explains that artists now approach the concert with the mindset: ‘I have to really rethink what I’ve been doing for however long I’ve been doing it, and present it in a whole new way.”  Tiny Desk has also helped musicians like Juvenile, gospel artist Marvin Sapp, and percussionist Sheila E to reach new audiences while reminding listeners they’re still making music. “We’re helping artists to re-emerge,” Carter says, “tapping into legacy acts and evergreen artists [to help] breathe new life into their careers.” In many ways, Tiny Desk now occupies a niche once filled by MTV Unplugged—but for the generation that has replaced cable with YouTube and streaming.   “Maybe 10, 15, 20 years ago, all of our favorite artists had this watershed moment in terms of a live performance,” Carter says. “Back in the day it was MTV Unplugged. SNL is still doing their thing. But when you think about the generation now that lives on YouTube, some of these Tiny Desk performances are going to be the milestone that people point to when it comes to live performances.” Building a Diverse Audience When Carter talks about Tiny Desk concerts reaching a new generation of listeners, it’s not conjecture. He notes that the NPR Music YouTube channel’s 11 million subscribers are “as young and diverse as it gets. It’s almost half people of color [and] much younger than the audience that listens to NPR on air, which is an audience NPR has been trying to tap for a long time,” he says.  That diversity informs some of the special series that Tiny Desk produces. The Juvenile video was part of Carter’s second run of concerts recorded for Black Music Month, in June. Ca7riel & Paco Amoroso’s video was tied to El Tiny, a Latin-focused series that debuts during Latin Heritage Month (from mid September to mid October) and is programmed by Tiny Desk producer and Alt.Latino host AnaMaria Sayer.  Ca7riel & Paco Amoroso’s tour manager, Izquierdo, has worked with artists featured in the series before. He says Tiny Desk is crucial for Latin American artists trying to break through. “I’ve realized that for U.S. radio, Latin music benefits from Tiny Desk,” he says. The Tiny Desk audience’s broad demographics are also increasingly reflected in its broader programming. Bad Bunny’s April installment took his reggaeton-inspired songs from recent album Debi Tirar Mas Fotos to their acoustic roots, using an array of traditional Puerto Rican, Latin American, and Caribbean instruments, such as the cuatro puertorriqueño, tiple, güicharo, and bongos.  “[Our] audience informs a whole lot of what we do,” Carter says. I get so many pointers from YouTube comments like ‘Have you heard of this artist?’ We’re watching all that stuff because it helps us stay sharp.” Tiny Desk heard round the world With a strong global audience, Tiny Desk has been expanding into Asia. In 2023, NPR struck a licensing deal with South Korean Telecom LG U+ and production company Something Special to produce Tiny Desk Korea for television. Last year, NPR inked a deal with the Japan Broadcasting Corporation (NHK) to launch Tiny Desk Concerts Japan. “We’re really expanding in terms of global reach,” Carter says.  Here in the States, Carter and Sayer recently launched Tiny Desk Radio, a series that will revisit some of the series’ notable installments, sharing behind-the-scenes stories from their productions and playing the audio from the concerts “Our engineers put a lot of time and effort into making sure that we sound great,” Carter says. “I hear it a lot—people tell me they prefer an artist’s Tiny Desk over anything.” That’s something Ca7riel & Paco Amoroso clearly have on their mind as they navigate the Tiny Desk effect and a new level of recognition (their daily streams haven’t dipped below 50,000 a day since the beginning of the year). The duo released an EP in February, Papota, which features four new songs, plus the recorded versions of their pared-down Tiny Desk performances. They also released a short film that recreates their Tiny Desk performance—this time in a Buenos Aires diner. One of the themes of the EP is the pair wrestling with the implications of their viral success. On the song Impostor, Ca7riel asks “¿Y ahora que vamos hacer?/El tiny desk me jodio” (What do we do now? Tiny Desk fucked me up.) It’s an overstatement, but an acknowledgment that the path they’re now on ran directly through the NPR offices. 
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