In-app bidding has automated most waterfall optimization, yet developers still manage multiple hybrid waterfalls, each with dozens of manual instances. Naturally, this can be timely and overwhelming to maintain, keeping you from optimizing to perfection and focusing on other opportunities to boost revenue.Rather than analyzing each individual network and checking if instances are available at each price point, breaking down your waterfall into different CPM ranges allows you to visualize the waterfall and easily identify the gaps.Here are some tips on how to use CPM buckets to better optimize your waterfall’s performance.What are CPM buckets?CPM buckets show you exactly how much revenue and how many impressions you’re getting from each CPM price range, giving you a more granular idea of how different networks are competing in the waterfall. CPM buckets are a feature of real time pivot reports, available on ironSource LevelPlay.Identifying and closing the gapsTypically in a waterfall, you can only see each ad network’s average CPM. But this keeps you from seeing ad network distribution across all price points and understanding exactly where ad networks are bidding. Bottom line - you don’t know where in the waterfall you should add a new instance.By separating CPM into buckets, (for example, seeing all the ad networks generating a CPM of $10-$20) you understand exactly which networks are driving impressions and revenue and which CPMs aren’t being filledNow how do you do it? As a LevelPlay client, simply use ironSource’s real time pivot reports - choose the CPM bucket filter option and sort by “average bid price.” From here, you’ll see how your revenue spreads out among CPM ranges and you’ll start to notice gaps in your bar graph. Every gap in revenue - where revenue is much lower than the neighboring CPM group - indicates an opportunity to optimize your monetization strategy. The buckets can range from small increments like $1 to larger increments like $10, so it’s important to compare CPM buckets of the same incremental value.Pro tip: To best set up your waterfall, create one tab with the general waterfall (filter app, OS, Ad unit, geo/geos from a specific group) and make sure to look at Revenue and eCPM in the “measures” dropdown. In the “show” section, choose CPM buckets and sort by average bid price. From here, you can mark down any gaps.But where do these gaps come from? Gaps in revenue are often due to friction in the waterfall, like not enough instances, instances that aren’t working, or a waterfall setup mistake. But gaps can also be adjusted and fixed.Once you’ve found a gap, you can look at the CPM buckets around it to better understand the context. Let’s say you see a strong instance generating significant revenue in the CPM bucket right below it, in the $70-80 group. This instance from this specific ad network has a lot of potential, so it’s worth trying to push it to a higher CPM bucket.In fact, when you look at higher CPM buckets, you don’t see this ad network anywhere else in the waterfall - what a missed opportunity! Try adding another instance of this network higher up in the waterfall. If you’re profiting well with a $70-80 CPM, imagine how much more revenue you could bring at a $150 CPM.Pro tip: Focusing on higher areas in the waterfall makes a larger financial impact, leading to bigger increases in ARPDAU.Let’s say you decide to add 5 instances of that network to higher CPM buckets. You can use LevelPlay’s quick A/B test to understand if this adjustment boosts your revenue - not just for this gap, but for any and all that you find. Simply compare your existing waterfall against the new waterfall with these 5 higher instances - then implement the one that drives the highest instances.Božo Janković, Head of Ad Monetization at GameBiz Consulting, uses CPM buckets "to understand at which CPMs the bidding networks are filling. From there, I can pinpoint exactly where in the waterfall to add more traditional instances - which creates more competition, especially for the bidding networks, and creates an opportunity for revenue growth."Finding new insightsYou can dig even deeper into your data by filtering by ad source. Before CPM buckets, you were limited to seeing an average eCPM for each bidding network. Maybe you knew that one ad source had an average CPM of $50, but the distribution of impression across the waterfall was a black box. Now, we know exactly which CPMs the bidders are filling. “I find ironSource CPM buckets feature very insightful and and use it daily. It’s an easy way to identify opportunities to optimize the waterfall and earn even more revenue." -Božo Janković, Head of Ad Monetization at GameBiz ConsultingUnderstanding your CPM distribution empowers you to not only identify your revenue sources, but also to promote revenue growth. Armed with the knowledge of which buckets some of their stronger bidding networking are performing in, some publishers actively add instances from traditional networks above those ranges. This creates better competition and also helps drive up the bids from the biddersThere’s no need for deep analysis - once you see the gaps, you can quickly understand who’s performing in the lower and higher buckets, and see exactly what’s missing. This way, you won’t miss out on any lost revenue.Learn more about CPM buckets, available exclusively to ironSource LevelPlay here.

ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

A swirling sea of pink, where fluffy tufts float majestically upward, while elsewhere violet plumes rain down from above. This is the Sun as seen in groundbreaking new images — and they're unlike anything you've ever laid eyes on.As detailed in a new study published in the journal Nature Astronomy, scientists have leveraged new coronal adaptive optics tech to bypass the blurriness caused by the turbulence of the Earth's atmosphere, a time-old obstacle that's frustrated astronomers' attempts to see features on our home star at a resolution better than 620 miles. Now, they've gotten it down to just under 40 miles — a light year sized leap.The result is some of the clearest images to date of the fine structures that make up the Sun's formidable corona, the outermost layer of its atmosphere known for its unbelievable temperatures and violent, unpredictable outbursts.The authors are optimistic that their blur-bypassing techniques will be a game-changer."These are by far the most detailed observations of this kind, showing features not previously observed, and it's not quite clear what they are," coauthor Vasyl Yurchyshyn, a research professor at the New Jersey Institute of Technology's Center for Terrestrial Research (CSTR), said in a statement about the work."It is super exciting to build an instrument that shows us the Sun like never before," echoed lead author Dirk Schmidt, an adaptive optics scientist at the US National Solar Observatory.Stretching for millions of miles into space, the corona is the staging ground for the Sun's violent outbursts, which range from solar storms, to solar flares, to coronal mass ejections. One reason scientists are interested in these phenomena is because they continue to batter our own planet's atmosphere, playing a significant role in the Earth's climate and wreaking havoc on our electronics. Then, at a reach totally beyond our very limited human purview, is the corona's mighty solar wind, which sweeps across the entire solar system, shielding it from cosmic rays.But astronomers are still trying to understand how these solar phenomena occur. One abiding mystery is why the corona can reach temperatures in the millions of degrees Fahrenheit, when the Sun's surface it sits thousands of miles above is no more than a relatively cool 10,000 degrees. The conundrum even has a name: the coronal heating problem.The level of detailed captured in the latest images, taken with an adaptive optics system installed on the Goode Solar Telescope at the CSTR, could be transformative in probing these mysteries.One type of feature the unprecedented resolution revealed were solar prominences, which are large, flashy structures that protrude from the sun's surface, found in twisty shapes like arches or loops. A spectacular video shows a solar prominence swirling like a tortured water spout as it's whipped around by the sun's magnetic field.Most awe-inspiring of all are the examples of what's known as coronal rain. Appearing like waterfalls suspended in midair, the phenomenon is caused as plasma cools and condenses into huge globs before crashing down to the sun's surface. These were imaged at a scale smaller than 100 kilometers, or about 62 miles. In solar terms, that's pinpoint accuracy."With coronal adaptive optics now in operation, this marks the beginning of a new era in solar physics, promising many more discoveries in the years and decades to come," said coauthor  Philip R. Goode at the CSTR in a statement.More on our solar system: Scientists Detect Mysterious Object in Deep Solar SystemShare This Article

WANTED, the International Contemporary Furniture Fair’s (ICFF) show-within-a-show, has grown almost exponentially since its first iteration as WantedDesign circa 2011, evolving so much so that the platform – with its iconic yellow walls nestled into the Javits Center – has become one of America’s go-to platforms to find emerging talent, tap into an intimate creative network, and discover trends ahead of the commercial industry. The 2025 showcase provided a wealth of inspiring design, we had to share a roundup all its own… Mockinbird Studio Epic in proportion, masterfully constructed, and officially record-making. The Farsala-based Mockinbird Studio showcased their most ambitious project to date: a monumental space divider. It is the largest – and arguably most beguiling – piece of contemporary marquetry artwork in existence, entirely designed and handcrafted in their Greece studio using traditional techniques. The object blends functionality with a narrative-driven, highly-aesthetic composition for the perfect piece of collectible design. Cuff Studio Cuff Studio presented their first solo exhibition, entitled “Within,” and unveiled select pieces from their Spring 2025 furniture collection of the same name. The C Back Lounge Chair – a trade exclusive – distills some of their favorite design gestures into an elegant, barely-their structural frame then paired with a sculptural waterfall seat and back cushion. Of note are the protruding curves that seemingly reach out for a handshake and the textural, pink upholstery seen here, which echoes triangular forms used across their broader portfolio. Mary Ratcliffe Studio + Anony Presenting together for their fourth ICFF, Mary Ratcliffe Studio (MRS) and Anony collaborated on a booth filled with sleek and sculptural, architecturally-inspired design objects. Their work is elementally complementary, which lent themselves to a more honest, fulsome showcase. MRS’s monumental furniture pieces are inspired by the physicality of material play, while Anony’s lighting takes inspiration from architectural gestures. Ready To Hang Mirrored surfaces are hard to resist, especially when their design makes you feel seen – figuratively speaking. Ready To Hang’s fashionable, ready-to-wear-inspired furnishings feel like fun accessories and an extension of personal style as they approach home decor through concepts found in styling for apparel. This year marked their ICFF debut with a highly curated showcase mixing classic pieces with a few concepts yet to come. UWU Studios Typically driven by a human-centered design ethos, multidisciplinary UWU Studios has expanded their scope to include the feline experience. Their UNU Cat Dreams product is equal parts pet play and collectible design, sure to please all parties. Even aesthetes without a furry friend can still appreciate its composition, blending surfaces, textures, colors, and forms for quite unique sculptural compositions. It’s an exemplary approach that elevates everyday objects to the venerable. Estudio PM Racking up multiple awards during the show – and rightfully so – Estudio PM demonstrated how fabric waste and unwanted textiles can be recontextualized within the realms of art and home furnishings. The duo behind the initiative created totems and garment-inspired side tables with the careful layering of reclaimed cloth. Noiro Studio Hand-blown glass lamps stood on various podiums in a curious display of artisanal lighting comprising colorful bases dotted with glass and stone orbs. Each globe’s curvature represented the fabric of spacetime, with precious objects are suspended within the glass shades – a steady reminder of our weight, and also insignificance, of our existence in the world. Noiro Studio plays with themes of heft and weightlessness, continuing to keep things relative. Ridezign Ridezign offers an ode to New York City. The Tesser Collection resembles skyscrapers in miniature blocks constructing cantilevered forms in multiple configurations and colors. These lamps leverage additive manufacturing making every piece made-to-order, reducing overstock, and ultimately eliminating the need for storage. The warm diffusion of the subsequent layers of material create lovely channels of light, adding to the spectacle of the city. Koba Furniture Koba Furniture is proud to create all elements for Series 02 within their Baltimore studio – except for the drawer pulls, shares designer Sam Acuff – a testament to the respect for craft that is clearly shown here. Jauntily stocky feet meet tiny tube legs, with a nicely balanced drawer set on top. Extra points for the elevated milk crate; it adds such a nice feel to the booth. 9 & 19 9 & 19 is back this year with organic shapes and cheeky details. Who doesn’t love an easter egg in design? From inlaid squiggles to handmade tiling, this collection offers a unique blend of customization and utility while remaining approachable and fun. Hannah Via Hannah Via brings some highly welcome fiber arts representation to WANTED, her tufted lamps bringing a sense of whimsy and possibility to the show. Sporting pops of scarlet, cobalt, and bronze, a light peach background acts as a pendant for a singular Edison bulb, which cases a cozy glow in an elegant connection to the warmth of the yarn it rests upon. Sawyer Made Lovingly crafted in Woodbury, Vermont, Sawyer Made is a second-generation family of woodworkers honoring the classic stance and build of a Windsor chair, but with a few modern updates. As the arm meets the back, the angle rotates 90 degrees offering a beautiful detail absent from most traditional Windsors. Like ballet, a combination of experienced craft and innate knowledge makes the hardest work look easy. Ora House Cobalt is back in a big way with Ora House, as evidenced by their removable upholstery panels that can be switched out to reflect any style or change in local decor. Playful, soft, and sturdy, the ottoman, bench, and hutch offer a fun way to sit, stay, and store. Daniel Gruetter Daniel Gruetter is a woodworker based in Toronto, Canada. Showing an elegant credenza created entirely out of the discarded offcuts from his practice, he upends what is considered valuable on a platform that inherently places value on everything. Employing wooden hinges takes the project to another level, letting a singular material do the talking through expert craftsmanship. Reces NYC With a nod to the cobalt we spotted around the show, Reces NYC wraps up our top picks for WANTED this year with a gestural upholstered piece. Elements extend in a satisfyingly solid manner to create an interesting and distinctly luxurious look users could get lost in. Check out out the rest of Design Milk’s NYCxDESIGN coverage here!

The Book Club gives their verdict on Larry Niven’s RingworldEugene Powers/Alamy It was quite an experience, moving from the technicolour magical realism of Michel Nieva’s wild dystopia, Dengue Boy, to Larry Niven’s slice of classic science fiction, Ringworld, first published in 1970 and very much redolent of the sci-fi writing of that era. Not a wholly bad experience, mind, but quite a jolting change of pace for the New Scientist Book Club. I was a teenager when I last read Ringworld, and a hugely uncritical sort of teenager at that, so I was keen to return to a novel I remembered fondly and see how it stood up to the test of time – and my somewhat more critical eye. The first thing to say is that many of the things I loved about Ringworld were very much still there. This is, for me, a novel that inspires awe – with the vastness of its imagination, the size of its megastructures, the distance it travels in space. I was reminded of that awe early on, when our protagonist Louis Wu (more on him later) recalls standing at the edge of Mount Lookitthat on a distant planet. “The Long Fall River, on that world, ends in the tallest waterfall in known space. Louis’s eyes had followed it down as far as they could penetrate the void mist. The featureless white of the void itself had grasped at his mind, and Louis Wu, half hypnotized, had sworn to live forever. How else could he see all there was to see?” Advertisement That hugeness, that desire for exploration and knowledge and discovery, is one of the main reasons why I love science fiction. What else is out there, and what can we find out about it? From that field of murderous sunflowers on the Ringworld – what a scene! – to Niven’s image of our crew in space, looking at the bottom of the Ringworld and the huge bulge of a deep ocean protruding towards them, Ringworld has this in spades, and I lapped it up. “A man can lose his soul among the white stars… They call it the far look. It is dangerous.” I also very much enjoyed how Niven makes us pick up the breadcrumbs of where we are in time and in technological developments; at one point, Freeman Dyson, he of the Dyson spheres that inspired the Ringworld, is described as “one of the ancient natural philosophers, pre-Belt, almost pre-atomic”. I find that sort of thing delightful, and I was also (largely) amused by Niven’s aliens, from the cowering terror of the Puppeteers to the brilliantly named Speaker-To-Animals (we, the aliens, are the animals). I pictured Speaker as a huge version of our large ginger cat, and rather liked him. As I wrote earlier, though, this is a piece of writing that feels very much of its time, in terms of the somewhat plodding prose and sexist overtones, even if it succeeds (for me) in the wonderful, star-spanning maths and physics of it all. Niven’s characters are pretty one-dimensional. Louis Wu is quite annoying. There could be so much more to Teela, our token woman. And once the crew are on the Ringworld, it all feels a bit “then they went here, then they went there”, rather than being tightly plotted. Join us in reading and discussing the best new science and science fiction books Sign up to newsletter There has been some intense discussion about this novel on our Facebook page, and many of you felt similarly. “While I enjoyed it very much, I kept getting pulled out of the interesting scientific aspects of the story as well as the rollicking adventure by the sexist, boys club aspects. It’s a little sad that Larry Niven’s view of the distant future didn’t involve any advancement in men’s views of women,” said Jennifer Marano. “It reminds me of early spy movies. Beautiful woman who hasn’t sense enough to not be enamored by less than interesting or intelligent male with pretty huge ego,” said Eliza Rose. Alan Perrett was even less impressed with Louis Wu’s behaviour: “I have to admit to finding Louis Wu absolutely creepy. He treats the woman that he professes to love with contempt. He laughs finding out that she’s the result of a eugenics experiment and then, when looking at her, sees her dismay and then keeps laughing. I hope when I’m 200 years old I’ve learned a little more empathy than that.” Gosia Furmanik grew up reading science fiction from Niven’s era because that was what was available – but “eventually, the sexism and lack of female/diverse protagonists put me off sci-fi for a good 15 years”. She only got back into sci-fi when she discovered “that nowadays it’s easy to find books of this genre written by non-white non-men that don’t have this pitfall”. “Ringworld brought me back, not in a good way,” Gosia writes. “While not as blatant as in some of its contemporaries, cringy sexism nevertheless seeps out of this book.” It’s definitely true that Teela’s character arc was the biggest issue for most of us with this book. “I loathed the ending of Teela’s story and the explanation of how her luck led her to come on the mission. It seems a woman can’t have a meaningful existence without a man!” wrote Samatha Lane. Samantha also makes a great point about how “the male human is the most perceptive creature in the universe” created by Niven. “This arrogance about the sheer cleverness of humans stems from traditional humanism which puts humans at the centre of everything – as rational, special, superior beings. Combine that with the recent conquest of space (man landed on the moon the year before) and it’s like a bonfire of the collective ego,” she writes. New Scientist book club Love reading? Come and join our friendly group of fellow book lovers. Every six weeks, we delve into an exciting new title, with members given free access to extracts from our books, articles from our authors and video interviews. Sign up Onto the positives, however: Niall Leighton “enjoyed the sheer scale of the novel” and thinks it hasn’t “dated as badly as much science fiction of this era”, while for Andy Feest, “the science was probably the most interesting thing” (he found the characters “unenjoyable” and the chauvinism “a bit jarring”). Some readers approved of Niven’s heavy hand with the maths – it “definitely added to my enjoyment”, wrote Linda Jones, while Darren Rumbold “especially liked” the Klemperer rosettes. It didn’t work for all of you, though: Phil Gurski “was excited to read this classic sci-fi novel and really, really wanted to enjoy it but the technobabble kept getting in the way. I found it hard to keep up.” Overall, I think the book club found it an interesting exercise to dig into this science fiction classic and hold it up to the light of today. I think we’ll do another classic soon enough, and I’m listening to suggestions from readers who have tipped books by Ursula K. Le Guin, N. K. Jemisin and Joanna Russ as possible palate cleansers. Next up, though, is something a little more modern: Kaliane Bradley’s bestselling time travel novel, The Ministry of Time. Yes, it has a woman as its protagonist, and yes, it passes the Bechdel test. You can read a piece by Kaliane here in which she explains why (and how) she wrote a novel about time travel, and you can check out this fun opener to the book here. Come and read along with us and tell us what you think on our Facebook page. 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Adapting the iconic, block-based design aesthetic of Mojang’s beloved Minecraft videogame into the hit feature film comedy adventure, The Minecraft Movie, posed an enormous number of hurdles for director Jared Hess and Oscar-winning Production VFX Supervisor Dan Lemmon. Tasked with helping translate the iconic pixelated world into something cinematically engaging, while remaining true to its visual DNA, was Wētā FX, who delivered 450 VFX shots on the film. And two of their key leads on the film were VFX Supervisor Sheldon Stopsack and Animation Supervisor Kevin Estey.  But the shot count merely scratches the surface of the extensive work the studio performed. Wētā led the design and creation of The Overworld, 64 unique terrains spanning deserts, lush forests, oceans, and mountain ranges, all combined into one continuous environment, assets that were also shared with Digital Domain for their work on the 3rd act battle. Wētā also handled extensive work on the lava-filled hellscape of The Nether that involved Unreal Engine for early representations used in previs, scene scouting, and onset during principal photography, before refining the environment during post-production. They also dressed The Nether with lava, fire, and torches, along with atmospherics and particulate like smoke, ash, and embers. But wait… there’s more! The studio’s Art Department, working closely with Hess, co-created the look and feel of all digital characters in the film. For Malgosha’s henchmen, the Piglins, Wētā designed and created 12 different variants, all with individual characteristics and personalities. They also designed sheep, bees, pandas, zombies, skeletons, and lovable wolf Dennis. Many of these characters were provided to other vendors for their work on the film. Needless to say, the studio truly became a “Master Builder” on the show. The film is based on the hugely popular game Minecraft, first released by Sweden’s Mojang Studios in 2011 and purchased by Microsoft for $2.5 billion in 2014, which immerses players in a low-res, pixelated “sandbox” simulation where they can use blocks to build entire worlds.  Here's the final trailer: In a far-ranging interview, Stopsack and Estey shared with AWN a peek into their creative process, from early design exploration to creation of an intricate practical cloak for Malgosha and the use of Unreal Engine for previs, postvis, and real-time onset visualization. Dan Sarto: The film is filled with distinct settings and characters sporting various “block” styled features. Can you share some of the work you did on the environments, character design, and character animation? Sheldon Stopsack: There's, there's so much to talk about and truth to be told, if you were to touch on everything, we would probably need to spend the whole day together.  Kevin Estey: Sheldon and I realized that when we talk about the film, either amongst ourselves or with someone else, we could just keep going, there are so many stories to tell. DS: Well, start with The Overworld and The Nether. How did the design process begin? What did you have to work with? SS: Visual effects is a tricky business, you know. It's always difficult. Always challenging. However, Minecraft stood out to us as not your usual quote unquote standard visual effects project, even though as you know, there is no standard visual effects project because they're all somehow different. They all come with their own creative ideas, inspirations, and challenges. But Minecraft, right from the get-go, was different, simply by the fact that when you first consider the idea of making such a live-action movie, you instantly ask yourself, “How do we make this work? How do we combine these two inherently very, very different but unique worlds?” That was everyone’s number one question. How do we land this? Where do we land this? And I don't think that any of us really had an answer, including our clients, Dan Lemmon [Production VFX Supervisor] and Jared Hess [the film’s director]. Everyone was really open for this journey. That's compelling for us, to get out of our comfort zone. It makes you nervous because there are no real obvious answers. KE: Early on, we seemed to thrive off these kinds of scary creative challenges. There were lots of question marks. We had many moments when we were trying to figure out character designs. We had a template from the game, but it was an incredibly vague, low-resolution template. And there were so many ways that we could go. But that design discovery throughout the project was really satisfying.  DS: Game adaptations are never simple. There usually isn’t much in the way of story. But with Minecraft, from a visual standpoint, how did you translate low res, block-styled characters into something entertaining that could sustain a 100-minute feature film? SS: Everything was a question mark. Using the lava that you see in The Nether as one example, we had beautiful concept art for all our environments, The Overworld and The Nether, but those concepts only really took you this far. They didn’t represent the block shapes or give you a clear answer of like how realistic some of those materials, shapes and structures would be. How organic would we go? All of this needed to be explored. For the lava, we had stylized concept pieces, with block shaped viscosity as it flowed down. But we spent months with our effects team, and Dan and Jared, just riffing on ideas. We came full circle, with the lava ending up being more realistic, a naturally viscous liquid based on real physics. And the same goes with the waterfall that you see in the Overworld.  The question is, how far do we take things into the true Minecraft representation of things? How much do we scale back a little bit and ground ourselves in reality, with effects we’re quite comfortable producing as a company? There's always a tradeoff to find that balance of how best to combine what’s been filmed, the practical sets and live-action performances, with effects. Where’s the sweet spot? What's the level of abstraction? What's honest to the game? As much as some call Minecraft a simple game, it isn't simple, right? It's incredibly complex. It's got a set of rules and logic to the world building process within the game that we had to learn, adapt, and honor in many ways. When our misfits first arrive and we have these big vistas and establishing shots, when you really look at it, you, you recognize a lot of the things that we tried to adapt from the game. There are different biomes, like the Badlands, which is very sand stoney; there's the Woodlands, which is a lush environment with cherry blossom trees; you’ve got the snow biome with big mountains in the background. Our intent was to honor the game. KE: I took a big cue from a lot of the early designs, and particularly the approach that Jared liked for the characters and to the design in general, which was maintaining the stylized, blocky aesthetic, but covering them in realistic flesh, fur, things that were going to make them appear as real as possible despite the absolutely unreal designs of their bodies. And so essentially, it was squared skeleton… squarish bones with flesh and realistic fur laid over top. We tried various things, all extremely stylized. The Creepers are a good example. We tried all kinds of ways for them to explode. Sheldon found a great reference for a cat coughing up a hairball. He was nice to censor the worst part of it, but those undulations in the chest and ribcage… Jared spoke of the Creepers being basically tragic characters that only wanted to be loved, to just be close to you. But sadly, whenever they did, they’d explode. So, we experimented with a lot of different motions of how they’d explode. DS: Talk about the process of determining how these characters would move. None seem to have remotely realistic proportions in their limbs, bodies, or head size. KE: There were a couple things that Jared always seemed to be chasing. One was just something that would make him laugh. Of course, it had to sit within the bounds of how a zombie might move, or a skeleton might move, as we were interpreting the game. But the main thing was just, was it fun and funny? I still remember one of the earliest gags they came up with in mocap sessions, even before I even joined the show, was how the zombies get up after they fall over. It was sort of like a tripod, where its face and feet were planted and its butt shoots up in the air. After a lot of experimentation, we came up with basic personality types for each character. There were 12 different types of Piglins. The zombies were essentially like you're coming home from the pub after a few too many pints and you're just trying to get in the door, but you can't find your keys. Loose, slightly inebriated movement. The best movement we found for the skeletons was essentially like an old man with rigid limbs and lack of ligaments that was chasing kids off his lawn. And so, we created this kind of bible of performance types that really helped guide performers on the mocap stage and animators later on. SS: A lot of our exploration didn’t stick. But Jared was the expert in all of this. He always came up with some quirky last-minute idea.  KE: My favorite from Jared came in the middle of one mocap shoot. He walked up to me and said he had this stupid idea. I said OK, go on. He said, what if Malgosha had these two little pigs next to her, like Catholic alter boys [the thurifers], swinging incense [a thurible]. Can we do that? I talked to our stage manager, and we quickly put together a temporary prop for the incense burners. And we got two performers who just stood there. What are they going to do? Jared said, “Nothing. Just stand there and swing. I think it would look funny.” So, that’s what we did.  We dubbed them the Priesty Boys. And they are there throughout the film. That was amazing about Jared. He was always like, let's just try it, see if it works. Otherwise ditch it. DS: Tell me about your work on Malgosha. And I also want to discuss your use of Unreal Engine and the previs and postvis work.  SS: For Malgosha as a character, our art department did a phenomenal job finding the character design at the concept phase. But it was a collective effort. So many contributors were involved in her making. And I'm not just talking about the digital artists here on our side. It was a joint venture of different people having different explorations and experiments. It started off with the concept work as a foundation, which we mocked up with 3D sketches before building a model. But with Malgosha, we also had the costume department on the production side building this elaborate cloak. Remember, that cloak kind of makes 80, 85% of her appearance. It's almost like a character in itself, the way we utilized it. And the costume department built this beautiful, elaborate, incredibly intricate, practical version of it that we intended to use on set for the performer to wear. It ended up being too impractical because it was too heavy. But it was beautiful. So, while we didn't really use it on set, it gave us something physically to kind of incorporate into our digital version. KE: Alan Henry is the motion performer who portrayed her on set and on the mocap stage. I've known him for close to 15 years. I started working with him on The Hobbit films. He was a stunt performer who eventually rolled into doing motion capture with us on The Hobbit. He’s an incredible actor and absolutely hilarious and can adapt to any sort of situation. He’s so improvisational. He came up with an approach to Malgosha very quickly. Added a limp so that she felt decrepit, leaning on the staff, adding her other arm as kind of like a gimp arm that she would point and gesture with.   Even though she’s a blocky character, her anatomy is very much a biped, with rounder limbs than the other Piglins. She's got hooves, is somewhat squarish, and her much more bulky mass in the middle was easier to manipulate and move around. Because she would have to battle with Steve in the end, she had to have a level of agility that even some of the Piglins didn't have. DS: Did Unreal Engine come into play with her?  SS: Unreal was used all the way through the project. Dan Lemmon and his team early on set up their own virtual art department to build representations of the Overworld and the Nether within the context of Unreal. We and Sony Imageworks tried to provide recreations of these environments that were then used within Unreal to previsualize what was happening on set during shooting of principal photography. And that's where our mocap and on-set teams were coming into play. Effects provided what we called the Nudge Cam. It was a system to do real-time tracking using a stereo pair of Basler computer vision cameras that were mounted onto the sides of the principal camera. We provided the live tracking that was then composited in real time with the Unreal Engine content that all the vendors had provided. It was a great way of utilizing Unreal to give the camera operators or DOP, even Jared, a good sense of what we would actually shoot. It gave everyone a little bit of context for the look and feel of what you could actually expect from these scenes.  Because we started this journey with Unreal having onset in mind, we internally decided, look, let's take this further. Let's take this into post-production as well. What would it take to utilize Unreal for shot creation? And it was really exclusively used on the Nether environment. I don’t want to say we used it for matte painting replacement. We used it more for say, let's build this extended environment in Unreal. Not only use it as a render engine with this reasonably fast turnaround but also use it for what it's good at: authoring things, quickly changing things, moving columns around, manipulating things, dressing them, lighting them, and rendering them. It became sort of a tool that we used in place of a traditional matte painting for the extended environments. KE: Another thing worth mentioning is we were able to utilize it on our mocap stage as well during the two-week shoot with Jared and crew. When we shoot on the mocap stage, we get a very simple sort of gray shaded diagnostic grid. You have your single-color characters that sometimes are textured, but they’re fairly simple without any context of environment. Our special projects team was able to port what we usually see in Giant, the software we use on the mocap stage, into Unreal, which gave us these beautifully lit environments with interactive fire and atmosphere. And Jared and the team could see their movie for the first time in a rough, but still very beautiful rough state. That was invaluable. DS: If you had to key on anything, what would say with the biggest challenges for your teams on the film? You're laughing. I can hear you thinking, “Do we have an hour?”  KE: Where do you begin?  SS: Exactly. It's so hard to really single one out. And I struggle with that question every time I've been asked that question. KE: I’ll start.  I've got a very simple practical answer and then a larger one, something that was new to us, kind of similar to what we were just talking about. The simple practical one is the Piglins square feet with no ankles. It was very tough to make them walk realistically. Think of the leg of a chair. How do you make that roll and bank and bend because there is no joint? There are a lot of Piglins walking on surfaces and it was a very difficult conundrum to solve. It took a lot of hard work from our motion edit team and our animation team to get those things walking realistically. You know, it’s doing that simple thing that you don't usually pay attention to. So that was one reasonably big challenge that is often literally buried in the shadows. The bigger one was something that was new to me. We often do a lot of our previs and postvis in-house and then finish the shots. And just because of circumstances and capacity, we did the postvis for the entire final battle, but we ended up sharing the sequence with Digital Domain, who did an amazing job completing some of the stuff on the Battlefield we did post on. For me personally, I've never experienced not finishing what I started. But it was also really rewarding to see how well the work we had put in was honored by DD when they took it over.   SS: I think the biggest challenge and the biggest achievement that I'm most proud of is really ending up with something that was well received by the wider audience. Of creating these two worlds, this sort of abstract adaptation of the Minecraft game and combining it with live-action. That was the achievement for me. That was the biggest challenge. We were all nervous from day one. And we continued to be nervous up until the day the movie came out. None of us really knew how it ultimately would be received. The fact that it came together and was so well received is a testament to everyone doing a fantastic job. And that's what I'm incredibly proud of. Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.

Image: Zion Grassl / Nintendo LifeI’m absolutely terrified of roller coasters. The lack of control you have, the speed, high heights, twists and turns - all this makes for something I’ve never been able to convince myself is worth the thrill. It was easy to get over my fear of flying in aeroplanes as there’s always something exciting and extraordinarily worthwhile waiting for me on the other side of the flight. Some things in life I would just never be able to do without flying far away in a plane. However, with roller coasters I couldn't say the same, until now. 'Mine Cart Madness' opened to the public at Universal Studios Japan in Osaka at the tail end of 2024, and is also now in the States at Universal Epic Universe in Orlando, Florida. I’ve visited the smaller version of Super Nintendo World located at Universal in Hollywood, CA, a few times, and managed to ride their Mario Kart ride, Bowser’s Challenge, as well. Lots of Kong, but still needs more Dixie The MK ride is essentially a light-gun game with a heavy Augmented Reality element which forces you to wear 'goggles' making it hard to appreciate the physical environment you're riding through. You can take the 'goggles' off, but you lose the entire point of the ride in doing so, and the animatronic set pieces and environmental elements aren't all that exciting on their own. The game can be confusing at first and, for being a ride themed around a video game that traditionally encourages you to race fast, it's quite slow, too. Images: Zion Grassl / Nintendo Life However, almost none of this can be said about the new Donkey Kong Country ride. I’m a much bigger DK fan than I am Mario, and even though this new Mine Cart ride is pitched as a more traditional roller coaster that sometimes even claims to go off the rails, my curiosity and love for the series had me clamouring to see what it had to offer. I’m thrilled to say it didn’t disappoint, even though it proved to be quite a bumpy ride at times. The queue for Mine Cart Madness takes you through a temple that reminded me most of Millstone Mayhem and Temple Tempest from the original Super Nintendo game. Most of the line is indoors or at least covered and was kept quite cool thanks to air conditioning, also featuring some themed water fountains if you need a drink. Here you’ll also find a few touchpoints for the Power Band that will net you digital collectibles if you’re using the Universal mobile app. The line is fairly simple with not much to see, aside from a surprising appearance from Cranky Kong and Squawks the parrot. Both are completely animatronic and fully voiced and bicker back and forth at each other. Not only do they help pass the time in line, they help lay down the story and what you can expect to see on the ride. Even though I had no one waiting in front of me, I stood here for quite a while and just listened to them chat, like a couple of good pals catching up after a long time apart. Images: Zion Grassl / Nintendo Life Once it came time for me to sit down in my mine cart, I could feel my heart sink into my stomach as I remembered seeing the ride from the ground floor of the park and it going much, much faster than all of the other Nintendo-themed rides created up to this point. I was honestly pretty scared, but my love for the Kongs apparently knows no bounds, and it helped that I had a few pals with me (thanks, Brian from IGN and Marcus from Game Informer for keeping me calm!). The ride itself only lasts a few minutes, so I’ll refrain from spoiling too much as I really think if you’re going to do this, you should go in knowing as little as possible. Things really do go off the rails in some surprising and shocking ways, though. So much so that at one specific point on the ride, I thought it truly was the end for us. If you’ve seen the blueprints or caught the video of Miyamoto taking a tour of the park in Japan, you’ll likely have heard about the ride's big hook. If you've played a mine cart level in DKC, you'll know that platforming is very much a thing even in the mine cart, and that’s replicated here. Mine Cart Madness, never goes upside down (thankfully), but it takes you up and down some steep slopes and twists and turns every now and again, mimicking the feeling of flying off the rails and landing safely back on them. The jumps themselves didn’t feel as pronounced as I was expecting, as it seems to work more as a trick of the eye than your cart being hurled in the air. Honestly, that’s probably a good thing. Also, if you want a more authentic and adventurous experience, sit in one of the front seats if you can. Image: Zion Grassl / Nintendo Life You’ll also meet a few of your favourite DKC buddies, and this alone kept me coming back to Mine Cart Madness for multiple rides. These animatronic set pieces make this ride a lot more fun than the Mario Kart ride to revisit, as it's so exciting to see these chimpanzees in action. There are more than just chimps to see, though, so if you're only familiar with the more recent Country games, there will be more surprises in store. For me, the ride was made even better at night as yellow and blue neon lights add a comforting glow to the experience. You’ll rush through a few indoor sections which make it feel like a dark ride at times too. There’s so much to look at that not once did I feel like I saw everything; if you swing your head around at different points, you may catch a nice glimpse of the park, a dainty splash of a rushing waterfall, or even a few adventurous Pikmin that broken away from the pack. This may just be a kink to be worked out, but every now and then I felt the ride could get quite bumpy. After exiting my mine cart, I heard other riders talk about how unexpectedly bumpy it was for them, too. I can’t imagine barreling down a mine shaft in a rusty rock wagon would be the most comfortable thing in real life, so maybe it’s just all a part of the experience. Something worth noting, though, no doubt. Images: Zion Grassl / Nintendo Life What might be a downside for some is the fact that there’s no game element to this ride whatsoever. For me though, this was a huge win. Seeing the detail and quality in these animatronics, even just for a few short moments, is something I'll remember for a long, long time. It sounds silly, but this made me feel closer to the world of Donkey Kong Country than ever before - the Mario Kart ride didn’t leave this big of an impression. It's a huge step up in overall production and an experience I hope every diehard DKC fan can have in their life. As a member of the press, I was pretty much obliged to try it, but I think I finally understand the thrill people are chasing when they willingly choose to ride a roller coaster. If Nintendo and Universal decide to make their next ride even more intense, I hope I’ll be ready for it. Even if it had a name like 'Funky’s Crash Course.' Travel costs for this trip and early access to the park were provided by Universal. Let's use the Lens of Truth Share:0 1 Zion's been crafting videos and photos with our team for over half a decade now. While you'll usually find Zion playing RPGs, platformers, and adventure games, anything with a good story is sure to be right up his alley. For an on brand example: MOTHER 3 may not be recognized much by the Western side of Nintendo, but he still found a way to play it anyways and hopes it makes it way to the West officially so others can enjoy it more easily. Hold on there, you need to login to post a comment... Related Articles Shigeru Miyamoto Explains Why Donkey Kong Has Been Redesigned You want expressive? You got it Talking Point: The Switch 2 Pre-Order Situation Sucks, But Can Nintendo Do Anything About It? 503sier said than done Random: Miyamoto Can't Talk About Switch 2, Talks About Switch 2 Anyway I do what I want, bruv! Nintendo Partners With Samsung To Produce Main Chips For Switch 2 Samsung has also "pushed" for an OLED refresh, it's claimed

Windows may get all the attention, but when you want to get real work done, you turn to the applications that run on it. And if you use spreadsheets, that generally means Excel. Excel is, of course, part of Microsoft’s Office suite of productivity tools. Microsoft sells Office under two models: Individuals and businesses can pay for the software license up front and own it forever (what the company calls the “perpetual” version of the suite), or they can purchase a Microsoft 365 subscription, which means they have access to the software for only as long as they keep paying the subscription fee. When you purchase a perpetual version of the suite — say, Office 2021 or Office 2024 — its applications will never get new features, whereas Microsoft 365 apps are continually updated with new features. For more details, see our in-depth comparison of the two Office models. This cheat sheet gets you up to speed on the features that have been introduced or changed in Microsoft 365’s Excel for Windows desktop client over the past few years. (If you’re looking for Excel tips for the perpetual-license Office suite, see our Office 2021 and 2024 cheat sheet.) We’ll periodically update this story as new features roll out. In this article Use the Ribbon Search to get tasks done quickly Explore Excel’s advanced chart types Collaborate in real time Take advantage of linked data Make your own custom views of a worksheet Create dynamic arrays and charts Use AutoSave to provide a safety net as you work Review or restore earlier versions of a spreadsheet Try out Microsoft 365 Copilot in Excel — but don’t expect too much Other new features to check out Use keyboard shortcuts Use the Ribbon The Ribbon interface, which puts commonly used commands in a tabbed toolbar running across the top of the application window, is alive and well in the current version of Excel. Microsoft has tweaked the Ribbon’s looks numerous times over the years, but it still works the same way it always has: just click one of the Ribbon’s tabs to see related commands on the toolbar. For example, click Insert to find buttons for inserting tables, PivotTables, charts, and more. Through the years, Excel’s Ribbon has gotten a variety of cosmetic changes, but it still works largely the way it always has. Preston Gralla / Foundry Just as in previous versions of Excel, if you want the Ribbon commands to go away, press Ctrl-F1 or click the name of the tab you’re currently on. (The tabs above the Ribbon — File, Home, Insert, and so on — stay visible.) To make the commands reappear, press Ctrl-F1 again or click any tab name. You’ve got other options for displaying the Ribbon as well. To get to them, click the Ribbon display options icon (a down arrow) on the bottom of the Ribbon at the far right, just below the Share button. A drop-down menu appears with these four options: Full-screen mode: This makes Excel take up your entire screen and hides the Ribbon. To get out of full-screen mode, click the three-dot icon at the upper right of the screen. Show tabs only: This shows the tabs but hides the commands underneath them. It’s the same as pressing Ctrl-F1. To display the commands underneath the tabs when they’re hidden, press Ctrl-F1, click a tab, or click the Ribbon display options down arrow and select Always show Ribbon. Always show Ribbon: This displays the entire Ribbon, both the tabs and commands underneath them. Show/Hide Quick Access toolbar: This displays or hides the Quick Access toolbar, which gives you fast access to Excel commands you want to have available no matter which tab you’re on. When you enable the toolbar, it starts off empty. To populate it, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, choose which features to put on it. If you don’t see a command you want, click More Commands. Find the command you want on the left and click Add. You can have the toolbar appear either at the top of the screen, just to the right of the AutoSave button, or just underneath the Ribbon. To move it from one place to another, click a small down arrow that appears at the right of the toolbar and from the drop-down menu that appears, select either Show below the Ribbon or Show above the Ribbon.  Microsoft has for many years teased a simplified version of the Ribbon that hides most of the commands to reduce clutter. That simplified Ribbon is available in the Excel web app, but there’s currently no sign that it will appear in the Excel desktop app. There’s a useful feature in what Microsoft calls the backstage area that appears when you click the File tab on the Ribbon. If you click Open or Save a Copy from the menu on the left, you can see the cloud-based services you’ve connected to your Office account, such as SharePoint and OneDrive. Each location displays its associated email address underneath it. This is quite helpful if you use a cloud service with more than one account, such as if you have one OneDrive account for personal use and another one for business. You’ll be able to see at a glance which is which. Click the Add a service dropdown to add another cloud storage account. Preston Gralla / Foundry Search to get tasks done quickly Excel has never been the most user-friendly of applications, and it has so many powerful features it can be tough to keep track of them all. That’s where the handy Search feature comes in. To use it, click in the Search box — it’s above the Ribbon in the green title area. (Keyboard fans can instead press Alt-Q.) Then type in a task you want to do. If you want to summarize your spreadsheet data using a PivotTable, for example, type in something like summarize with pivot table. You’ll get a menu showing potential matches for the task. In this instance, the top result is a direct link to the form for summarizing with a PivotTable — select it and you’ll start your task right away, without having to go to the Ribbon’s Insert tab first. The search box makes it easy to perform just about any task in Excel. Preston Gralla / Foundry If you’d like more information about your task, the final items that appear in the menu let you select from related Help topics. Even if you consider yourself a spreadsheet jockey, it’s worth your while to try out the enhanced search function. It’s a big time-saver, and far more efficient than hunting through the Ribbon to find a command. Also useful is that it remembers the features you’ve previously clicked on in the box, so when you click in it, you first see a list of previous tasks you’ve searched for. That makes sure that tasks that you frequently perform are always within easy reach. And it puts tasks you rarely do within easy reach as well. Users of enterprise and education editions of Microsoft 365 can also use the Search box to find people in their organization, SharePoint resources, and other personalized results from within Excel. (See the Microsoft Search support page for more details about all it can do.) Explore Excel’s advanced chart types Charts are great for visualizing and presenting spreadsheet data, and for gaining insights from it. To that end, Microsoft has introduced a number of advanced chart types over the past several years, including most notably a histogram (frequently used in statistics), a “waterfall” that’s effective at showing running financial totals, and a hierarchical treemap that helps you find patterns in data. Note that the new charts are available only if you’re working in an .xlsx document. If you use the older .xls format, you won’t find them. To see all the charts, put your cursor in a cell or group of cells that contains data, select Insert > Recommended Charts and click the All Charts tab. You’ll find the newer charts, mixed in with the older ones. Select any to create the chart. (For help using charts, see our guide to charts and sparklines in Excel.) Excel includes several advanced chart types, including waterfall. Preston Gralla / Foundry These are the new chart types: Treemap. This chart type creates a hierarchical view of your data, with top-level categories (or tree branches) shown as rectangles, and with subcategories (or sub-branches) shown as smaller rectangles grouped inside the larger ones. Thus, you can easily compare the sizes of top-level categories and subcategories in a single view. For instance, a bookstore can see at a glance that it brings in more revenue from 1st Readers, a subcategory of Children’s Books, than for the entire Non-fiction top-level category. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?quality=50&strip=all 830w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=300%2C191&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=768%2C489&quality=50&strip=all 768w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=264%2C168&quality=50&strip=all 264w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=132%2C84&quality=50&strip=all 132w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=753%2C480&quality=50&strip=all 753w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=565%2C360&quality=50&strip=all 565w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel2016_chart_treemap.jpg?resize=392%2C250&quality=50&strip=all 392w" width="830" height="529" sizes="(max-width: 830px) 100vw, 830px">A treemap chart lets you easily compare top-level categories and subcategories in a single view. Preston Gralla / Foundry Sunburst. This chart type also displays hierarchical data, but in a multi-level pie chart. Each level of the hierarchy is represented by a circle. The innermost circle contains the top-level categories, the next circle out shows subcategories, the circle after that subsubcategories and so on. Sunbursts are best for showing the relationships among categories and subcategories, while treemaps are better at showing the relative sizes of categories and subcategories. A sunburst chart shows hierarchical data such as book categories and subcategories as a multi-level pie chart. Preston Gralla / Foundry Waterfall. This chart type is well-suited for visualizing financial statements. It displays a running total of the positive and negative contributions toward a final net value. A waterfall chart shows a running total of positive and negative contributions, such as revenue and expenses, toward a final net value. Preston Gralla / Foundry Histogram. This kind of chart shows frequencies within a data set. It could, for example, show the number of books sold in specific price ranges in a bookstore. Histograms are good for showing frequencies, such as number of books sold at various price points. Preston Gralla / Foundry Pareto. This chart, also known as a sorted histogram, contains bars as well as a line graph. Values are represented in descending order by bars. The cumulative total percentage of each bar is represented by a rising line. In the bookstore example, each bar could show a reason for a book being returned (defective, priced incorrectly, and so on). The chart would show, at a glance, the primary reasons for returns, so a bookstore owner could focus on those issues. Note that the Pareto chart does not show up when you select Insert > Recommended Charts > All Charts. To use it, first select the data you want to chart, then select Insert > Insert Statistic Chart, and under Histogram, choose Pareto. In a Pareto chart, or sorted histogram, a rising line represents the cumulative total percentage of the items being measured. In this example, it’s easy to see that more than 80% of a bookstore’s returns are attributable to three problems. Preston Gralla / Foundry Box & Whisker. This chart, like a histogram, shows frequencies within a data set but provides for a deeper analysis than a histogram. For example, in a bookstore it could show the distribution of prices of different genres of books. In the example shown here, each “box” represents the first to third quartile of prices for books in that genre, while the “whiskers” (the lines extending up and down from the box) show the upper and lower range of prices. Outliers that are priced outside the whiskers are shown as dots, the median price for each genre is shown with a horizontal line across the box, and the mean price is shown with an x. Box & Whisker charts can show details about data ranges such as the first to third quartile in the “boxes,” median and mean inside the boxes, upper and lower range with the “whiskers,” and outliers with dots.Preston Gralla / Foundry Funnel. This chart type is useful when you want to display values at multiple stages in a process. A funnel chart can show the number of sales prospects at every stage of a sales process, for example, with prospects at the top for the first stage, qualified prospects underneath it for the second stage, and so on, until you get to the final stage, closed sales. Generally, the values in funnel charts decrease with each stage, so the bars in the chart look like a funnel. Funnel charts let you display values at multiple stages in a process. Preston Gralla / Foundry When creating the data for a funnel chart, use one column for the stages in the process you’re charting, and a second column for the values for each stage. Once you’ve done that, to create the chart, select the data, then select Insert > Recommended Charts > All Charts > Funnel. Map. Map charts do exactly what you think they should: They let you compare data across different geographical regions, such as countries, regions, states, counties, or postal codes. Excel will automatically recognize the regions and create a map that visualizes the data. You can compare data across different locations with a map chart. Preston Gralla / Foundry To create a map chart, select the data you want to chart, then select Insert > Maps, then select the map chart. Note that in some instances, Excel might have a problem creating the map — for example, if there are multiple locations with the same name as one that you’re mapping. If that occurs, you’ll have to add one or more columns with details about the locations. If, say, you’re charting towns in the United Kingdom, you would have to include columns for the county and country each town is located in. Collaborate in real time For those who frequently collaborate with others, a welcome feature in Excel for Microsoft 365 is real-time collaboration that lets people work on spreadsheets together from anywhere in the world with an internet connection. Microsoft calls this “co-authoring.” Note that in order to use co-authoring, the spreadsheet must be stored in OneDrive, OneDrive for Business, or SharePoint Online, and you must be logged into your Microsoft 365 account. Also, co-authoring works in Excel only if you have AutoSave turned on. To do it, choose the On option on the AutoSave slider at the top left of the screen. To share a spreadsheet so you can collaborate on it with others: first open it, then click the Share button on the upper-right of the Excel screen. The “Send link” window pops up. Here you can send an email with a link where others can access the spreadsheet. Use the “Send link” pane to share a document and the “Link settings” pane to fine-tune its access permissions. Preston Gralla / Foundry Enter the email address of the person with whom you want to share in the text box. Enter multiple addresses, separated by commas, if you want to share the workbook with multiple people. One feature I found particularly useful when adding email addresses: As you type, Excel looks through your corporate or personal address book and lists the names and addresses of contacts who match the text you’ve input. Click the address you want to add. This not only saves you a bit of time but helps make sure you don’t incorrectly type in addresses. Next, decide whether anyone with the link can access the file, or only those whose email addresses you enter. If you see the text “Anyone with the link can edit” near the top of the pane, you can change that by clicking it, then choosing Specific people on the screen that appears. Similarly, if “Specific people” appears above the email addresses, you can change that by clicking it, then choosing Anyone with the link can edit from the screen that appears. (If you use a business, enterprise, or education edition of Office, your IT department may have set up different sharing permissions on these two screens, such as an option to allow anyone within your organization to edit the document. You may also need to click a Link settings button — a gear icon — to access the “Link settings” pane.) On this second screen you can also set the document to read-only for everybody, or allow everybody to edit it. In the “Other settings” section, click the down arrow and choose either Can edit, which allows full editing, or Can view, which is read-only. If you want to give certain people editing privileges and others view-only privileges, you can send two separate invitations with different rights selected. On this screen you can also set an expiration date after which people won’t be able to access the file, and you can set a password so that only people who have the password can access it. When you’ve made your selections, click Apply. Back in the main “Send link” screen, you can send a message along with the link by typing it into the Message box. Then click Send. An email is sent to all the recipients with a link they can click to open the document. Your collaborators will get an email like this when you share a spreadsheet. Preston Gralla / Foundry (If you’d rather send recipients a copy of the file as an Excel file instead of a link, and thus not allow real-time collaboration, click Send a copy at the bottom of the “Send link” screen.) There’s another way to share a file stored in a personal OneDrive for collaboration: In the “Copy link” area at the bottom of the “Send link” pane, click Copy. When you do that, you can copy the link and send it to someone yourself via email. Note that you have the same options for setting access and editing permissions as you do if you have Excel send the link directly for you. Just click Anyone with the link can edit or Specific people below “Copy link,” and follow the instructions above. To begin collaborating: When your recipients receive the email and click to open the spreadsheet, they’ll open it in the web version of Excel in a browser, not in the desktop version of Excel. If you’ve granted them edit permissions, they can begin editing immediately in the browser or else click Editing > Open in Desktop App on the upper right of the screen to work in the Excel desktop client. Excel for the web is less powerful and polished than the desktop client, but it works well enough for real-time collaboration. As soon as any collaborators open the file, you’ll see a colored cursor that indicates their presence in the file. Each person collaborating gets a different color. Hover your cursor over a colored cell that indicates someone’s presence, and you’ll see their name. Once they begin editing the workbook, such as entering data or a formula into a cell, creating a chart, and so on, you see the changes they make in real time. Your cursor also shows up on their screen as a color, and they see the changes you make. You can easily see where collaborators are working in a shared worksheet. Preston Gralla / Foundry Collaboration includes the ability to make comments in a file, inside individual cells, without actually changing the contents of the cell. To do it, right-click a cell, select New Comment and type in your comment. Everyone collaborating can see that a cell has a comment in it — it’s indicated by a small colored notch appearing in the upper right of the cell. The color matches the person’s collaboration color. To see someone’s comment in a cell, hover your cursor over the cell or put your cursor in the cell and you’ll see the comment, the name of the person who made the comment, and a Reply box you can use to send a reply. You can also click the Comments button on the upper right of the screen to open the Comments pane, which lists every comment by every person. Click any comment to jump to the cell it’s in. You can also reply when you click a comment in the pane. You can make see comments that other people make, and make comments yourself. Preston Gralla / Foundry Take advantage of linked data Excel for Microsoft 365 has a feature that Microsoft calls “linked data types.” Essentially, they’re cells that are connected to an online source (Bing) that automatically updates their information — for example, a company’s current stock price. As I write this, there are nearly approximately 100 linked data types, including not just obvious data types such as stocks, geography, and currencies, but many others, including chemistry, cities, anatomy, food, yoga, and more. To use them, type the items you want to track into cells in a single column. For stocks, for example, you can type in a series of stock ticker symbols, company names, fund names, etc. After that, select the cells, then on the Ribbon’s Data tab, select Stocks in the Data Types section in the middle. (If you had typed in geographic names such as countries, states, or cities, you would instead select Geography.) Excel automatically converts the text in each cell into the matching data source — in our example, into the company name and stock ticker. Excel also adds a small icon to the left edge of each cell identifying it as a linked cell. Click any icon and a data card will pop up showing all sorts of information about the kind of information you’ve typed in.  For instance, a stock data card shows stock-related information such as current price, today’s high and low, and 52-week high and low, as well as general company information including industry and number of employees. A location card shows the location’s population, capital, GDP, and so on. You can build out a table using data from the data card. To do so, select the cells again, and an Insert Data button appears. Click the button, then select the information you want to appear, such as Price for the current stock price, or Population for the population of a geographic region. srcset="https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?quality=50&strip=all 620w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=300%2C293&quality=50&strip=all 300w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=172%2C168&quality=50&strip=all 172w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=86%2C84&quality=50&strip=all 86w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=491%2C480&quality=50&strip=all 491w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=368%2C360&quality=50&strip=all 368w, https://b2b-contenthub.com/wp-content/uploads/2025/05/excel-microsoft365-15-linked-data-2023.jpg?resize=256%2C250&quality=50&strip=all 256w" width="620" height="606" sizes="(max-width: 620px) 100vw, 620px">Linked data types let you insert information, such as a company’s high and low stock prices, that is continually updated. Preston Gralla / Foundry Excel will automatically add a column to the right populated with the latest information for each item you’re tracking, and will keep it updated. You can click the Insert Data button multiple times to keep adding columns to the right for different types of data from the item’s data card.  It’s helpful to add column headers so you know what each column is showing. Make your own custom views of a worksheet Sheet Views let you make a copy of a sheet and then apply filtered or sorted views of the data to the new sheet. It’s useful when you’re working with other people on a spreadsheet, and someone wants to create a customized view without altering the original sheet. You can all create multiple custom-filtered/sorted views for a sheet. Once you’ve saved a sheet view, anyone with access to the spreadsheet can see it. Note: To use this feature, your spreadsheet must be stored in OneDrive. Sheet views work best when your data is in table format. Select the data, then go to the Ribbon toolbar and click the Insert tab. Near the left end of the Insert toolbar, click the Table button and then OK. To create a new sheet view, click the Ribbon’s View tab, then click the New button in the Sheet View area at the far left. The row numbers and column letters at the left and top of your spreadsheet turn black to let you know you’re in a new sheet view. In the Sheet View area of the Ribbon, it says Temporary View, the default name given to a new sheet view before you’ve saved it. Here’s a sheet view with data sorted from highest to lowest costs. Preston Gralla / Foundry Now apply whatever sorting and filtering you like to the data. (If you need help, see the “How to sort and filter data” section of our Excel tables guide.) To save this view, click the Keep button in the Sheet View area of the Ribbon. When you do that, it is saved as “View1” by default. You can click View1 and type in a more meaningful name for the view. When you click Exit on this toolbar, you return to your spreadsheet, and the row numbers and columns on the left and top of the spreadsheet are no longer black. To switch from one sheet view to another, click the View tab. At the left of the Ribbon toolbar, click the down arrow next to the name of the current view (it will say Default if you’re viewing the spreadsheet without a sheet view applied) to open a dropdown list of the sheet views created for the spreadsheet. Click the name of a sheet view to switch to it. Whenever you’re looking at a sheet view, the row numbers and column letters framing your spreadsheet remain black to indicate that you’re in a sheet view, not the original spreadsheet. Create dynamic arrays and charts Dynamic arrays let you write formulas that return multiple values based on your data. When data on the spreadsheet is updated, the dynamic arrays automatically update and resize themselves. To create a dynamic array, first create a table as outlined in the previous tip. Make sure to include a column that lists categories. Also put in at least one column to its right that lists corresponding values. Put a header at the top of each column. So, for example, if you’re creating a spreadsheet for a business trip budget, Column A might list expenses, such as plane tickets, meals, hotel, etc., and Column B could list each item’s cost on the same row. Once you’ve set up the table, use a dynamic array function on it, such as FILTER, SORT, or UNIQUE to create a dynamic array next to the table. Here’s an example of a formula for using the FILTER function: =FILTER(A2:B9, B2:B9 < 2000) This tells Excel to show only the items that cost less than $2,000 in the array. The FILTER function created a data array showing only the items with costs below $2,000. Preston Gralla / Foundry Now, whenever the data in your source table changes, the dynamic array updates and resizes itself to accommodate the changes. That means the dynamic array is always up to date. So in our example, if you add new items with values under $2,000 to the table, the dynamic array will enlarge itself and include those new items. In the same way, you can use the SORT function to sort data and the UNIQUE function to remove duplicate data. (Read about more ways to use the FILTER, SORT, and UNIQUE functions from Microsoft support.) You create a dynamic chart from the dynamic array in the same way you do any other Excel chart. Select the cells from the dynamic array that you want to chart, then select the Insert tab and select the type of chart you want to add. When the source data changes in a way that affects the dynamic array that the chart is based on, both the dynamic array and the chart will be updated. Use AutoSave to provide a safety net as you work If you’re worried that you’ll lose your work on a worksheet because you don’t constantly save it, you’ll welcome the AutoSave feature. It automatically saves your files for you, so you won’t have to worry about system crashes, power outages, Excel crashes and similar problems. It only works only on documents stored in OneDrive, OneDrive for Business, or SharePoint Online. It won’t work with files saved in the older .xls format or files you save to your hard drive. AutoSave is a vast improvement over the previous AutoRecover feature built into Excel. AutoRecover doesn’t save your files in real time; instead, every several minutes it saves an AutoRecover file that you can try to recover after a crash. It doesn’t always work, though — for example, if you don’t properly open Excel after the crash, or if the crash doesn’t meet Microsoft’s definition of a crash. In addition, Microsoft notes, “AutoRecover is only effective for unplanned disruptions, such as a power outage or a crash. AutoRecover files are not designed to be saved when a logoff is scheduled or an orderly shutdown occurs.” And the files aren’t saved in real time, so you’ll likely lose several minutes of work even if all goes as planned. AutoSave is turned on by default in Excel for Microsoft 365 .xlsx workbooks stored in OneDrive, OneDrive for Business, or SharePoint Online. To turn it off (or back on again) for a workbook, use the AutoSave slider on the top left of the screen. If you want AutoSave to be off for all files by default, select File > Options > Save and uncheck the box marked AutoSave files stored in the Cloud by default on Excel. Using AutoSave may require some rethinking of your workflow. Many people are used to creating new worksheets based on existing ones by opening the existing file, making changes to it, and then using Save As to save the new version under a different name, leaving the original file intact. Be warned that doing this with AutoSave enabled will save your changes in the original file. Instead, Microsoft suggests opening the original file and immediately selecting File > Save a Copy (which replaces Save As when AutoSave is enabled) to create a new version. If AutoSave does save unwanted changes to a file, you can always use the Version History feature described below to roll back to an earlier version. Review or restore earlier versions of a spreadsheet There’s an extremely useful feature hiding in the title bar in Excel for Microsoft 365: You can use Version History to go back to previous versions of a file, review them, compare them side-by-side with your existing version, and copy and paste from an older file to your existing one. You can also restore an entire old version. To do it, click the file name at the top of the screen in an open file. A drop-down menu appears. Click Version History, and the Version History pane appears on the right side of the screen with a list of the previous versions of the file, including the time and date they were saved. (Alternatively, you can select the File tab on the Ribbon, click Info from the menu on the left, and then click the Version History button.) Use Version History to see all previous versions of a spreadsheet, copy and paste from an older file to your existing one, or restore an entire old version. Preston Gralla / Foundry In the Version History pane, click Open version under any older version, and that version appears as a read-only version in a new window. Scroll through the version and copy any content you want, then paste it into the latest version of the file. To restore the old version, overwriting the current one, click the Restore button. Try out Microsoft 365 Copilot in Excel — but don’t expect too much For an additional subscription fee, business users of Excel can use Microsoft’s genAI add-in, Microsoft 365 Copilot. You can have Copilot suggest and create charts, create formulas, mine spreadsheets for data insights you might have missed, and more. If you have a Microsoft 365 Personal or Family subscription, many of those features are now bundled with your core subscription. To start using Copilot in Excel, open a spreadsheet and click the Copilot button at the right of the Ribbon’s Home tab. The Copilot panel will appear on the right, offering suggestions for actions it can perform, such as summarizing your data with a chart, adding formulas to the spreadsheet, or applying conditional formatting to the sheet. You can also chat with Copilot in the panel, asking questions about your data or how to perform an action yourself. Note that these suggestions are generic and won’t always make sense. For example, when you start with a blank worksheet and click the Copilot button, its suggestions include summarizing data using pivot tables or charts, even though there’s no data to chart or put into a table. Microsoft 365 Copilot can help you in multiple ways in Excel, including creating formulas and charts, mining spreadsheets for insights, and more. Preston Gralla / Foundry In my testing, I found that Copilot wasn’t particularly helpful. For example, when I asked it to summarize data using a PivotTable or chart, several times it responded, “Something went wrong. Please try again in a moment.” Then it said that I first needed to reformat parts of my spreadsheet by using the Transform() function, and gave confusing advice on how I could do it — it wouldn’t do the task itself. (Eventually, I gave up.) When I asked it to suggest conditional formatting for my spreadsheet, which would highlight important data, it told me which data I should highlight but didn’t explain why the data was important. It also didn’t do the highlighting for me or tell me how to do it. I gave it one more try and asked it to perform an advanced analysis, which it would use Python to do. It certainly did something, although it was unclear what it was. It overwrote my original spreadsheet and added a section that claimed to show annual growth rates for revenue streams. But the data seemed to be incorrect. Perhaps advanced spreadsheet jockeys might be able to make sense of what Copilot is up to whenever they ask it for help. But mere mortal businesspeople may find it of no help at all. In my testing, I found Copilot not at all helpful, although spreadsheet jockeys may be able to make some sense of what it does. Preston Gralla / Foundry What’s more, Microsoft’s focus on Copilot in M365 has reduced the usefulness of Excel in some ways. For example, there used to be a handy feature called Smart Lookup that let you conduct targeted web searches from inside Excel. But at the beginning of 2025, Microsoft removed Smart Lookup from Excel, saying that the feature has been deprecated. Now the only way to search the web from inside Excel is via Copilot, which lacks some features of Smart Lookup — notably the ability to highlight words or phrases in a document and trigger an automatic web search. And M365 Copilot isn’t available to business customers unless they pay the additional subscription fee. Other features to check out Spreadsheet pros will be pleased with several other features and tools that have been added to Excel for Microsoft 365 over the past few years, from a quick data analysis tool to an advanced 3D mapping platform. Get an instant data analysis If you’re looking to analyze data in a spreadsheet, the Quick Analysis tool will help. Highlight the cells you want to analyze, then move your cursor to the lower right-hand corner of what you’ve highlighted. A small icon of a spreadsheet with a lightning bolt on it appears. Click it and you’ll get a variety of tools for performing instant analysis of your data. For example, you can use the tool to highlight the cells with a value greater than a specific number, get the numerical average for the selected cells, or create a chart on the fly. The Quick Analysis feature gives you a variety of tools for analyzing your data instantly. Preston Gralla / Foundry Translate text You can translate text from right within Excel. Highlight the cell whose text you want translated, then select Review > Translate. A Translator pane opens on the right. Excel will detect the words’ language at the top of the pane; you then select the language you want it translated to below. If Excel can’t detect the language of the text you chose or detects it incorrectly, you can override it. Easily find worksheets that have been shared with you It’s easy to forget which worksheets others have shared with you. In Excel for Microsoft 365 there’s an easy way to find them: Select File > Open > Shared with Me to see a list of them all. Note that this only works with OneDrive (both Personal and Business) and SharePoint Online. You’ll also need to be signed into you Microsoft or work or school account. Predict the future with Forecast Sheet Using the Forecast Sheet function, you can generate forecasts built on historical data. If, for example, you have a worksheet showing past book sales by date, Forecast Sheet can predict future sales based on past ones. To use the feature, you must be working in a worksheet that has time-based historical data. Put your cursor in one of the data cells, go to the Data tab on the Ribbon and select Forecast Sheet from the Forecast group toward the right. On the screen that appears, you can select various options such as whether to create a line or bar chart and what date the forecast should end. Click the Create button, and a new worksheet will appear showing your historical and predicted data and the forecast chart. (Your original worksheet will be unchanged.) The Forecast Sheet feature can predict future results based on historical data. Preston Gralla / Foundry Manage data for analysis with Get & Transform This feature is not entirely new to Excel. Formerly known as Power Query, it was made available as a free add-in to Excel 2013 and worked only with the PowerPivot features in Excel Professional Plus. Microsoft’s Power BI business intelligence software offers similar functionality. Now called Get & Transform, it’s a business intelligence tool that lets you pull in, combine, and shape data from wide variety of local and cloud sources. These include Excel workbooks, CSV files, SQL Server and other databases, Azure, Active Directory, and many others. You can also use data from public sources including Wikipedia. Get & Transform helps you pull in and shape data from a wide variety of sources. Preston Gralla / Foundry You’ll find the Get & Transform tools together in a group on the Data tab in the Ribbon. For more about using these tools, see Microsoft’s “Getting Started with Get & Transform in Excel.” Make a 3D map Before Excel 2016, Power Map was a popular free 3D geospatial visualization add-in for Excel. Now it’s free, built into Excel for Microsoft 365, and has been renamed 3D Maps. With it, you can plot geographic and other information on a 3D globe or map. You’ll need to first have data suitable for mapping, and then prepare that data for 3D Maps. Those steps are beyond the scope of this article, but here’s advice from Microsoft about how to get and prepare data for 3D Maps. Once you have properly prepared data, open the spreadsheet and select Insert > 3D Map > Open 3D Maps. Then click Enable from the box that appears. That turns on the 3D Maps feature. For details on how to work with your data and customize your map, head to the Microsoft tutorial “Get started with 3D Maps.” If you don’t have data for mapping but just want to see firsthand what a 3D map is like, you can download sample data created by Microsoft. The screenshot shown here is from Microsoft’s Dallas Utilities Seasonal Electricity Consumption Simulation demo. When you’ve downloaded the workbook, open it up, select Insert > 3D Map > Open 3D Maps and click the map to launch it. With 3D Maps you can plot geospatial data in an interactive 3D map. Preston Gralla / Foundry Automate tasks If you have OneDrive for Business and use Excel with a commercial or educational Microsoft 365 license, you can automate tasks with the Automate tab. You’ll be able to create and edit scripts with the Code Editor, run automated tasks with a button click, and share the script with co-workers. See Microsoft’s “Office Scripts in Excel” documentation for details. Insert data from a picture into Excel There are times you may find data inside an image file that you’d like to get into Excel. Typically, you’ll have to input the data from it manually. There’s now a way to have Excel convert the information on the image into data for a worksheet. In the Get & Transform Data group on the Data tab, click the From Picture dropdown and select Picture From File to choose the image you want to grab data from, or Picture from Clipboard to take a screenshot of an image on your PC and then import the data. For more details, see Microsoft’s “Insert data from picture” support page.   Use keyboard shortcuts Here’s one last productivity tip: If you memorize a handful of keyboard shortcuts for common tasks in Excel, you can save a great deal of time over hunting for the right command to click on. See “Handy Excel keyboard shortcuts for Windows and Mac” for our favorites. This article was originally published in August 2019 and most recently updated in May 2025. More Excel tutorials: Excel basics: Get started with tables Excel basics: Get started with charts and sparklines How to use PivotTables and PivotCharts in Excel How to use slicers in Excel How to use Excel formulas and functions How (and why) to use conditional formatting in Excel How to use Excel macros to save time and automate your work