Embracing neurodiversity in design isn’t just a noble goal; it’s a game-changer for creating more accessible and engaging experiences online. By acknowledging the diverse ways individuals interact with digital spaces, we can craft environments that cater to a wider audience. For instance, incorporating features like customizable layouts or varied sensory feedback options can transform a daunting experience into something inviting for everyone. As a Physics Simulation Artist, I believe that understanding how different minds perceive and interact with simulations can lead to breakthroughs in user engagement. Let's challenge the norm and strive for designs that celebrate our differences instead of sidelining them! #Neurodiversity #InclusiveDesign #Accessibility #UserExperience #DigitalInnovation

Get ready to step into the ring with a twist of whimsy! The recently unveiled game, *Felt That Boxing*, perfectly blends the charming chaos of the Muppets with the nostalgic gameplay of Punch-Out. Imagine the hilarity of colorful characters bouncing off the ropes, delivering hilarious punches, and embracing the spirit of friendly competition. As a game developer, I find this fusion of vibrant aesthetics and classic mechanics incredibly exciting—it opens up endless possibilities for engaging storytelling and character interactions. I can't help but wonder how incorporating customizable Muppet-like fighters could add an even deeper layer of fun! Who's ready to throw some punches and share some laughs? 🥊✨ #FeltThatBoxing #Muppets #GameDev #PunchOut #SummerGameFest

Looking to shed some body fat without stepping foot in a gym? You’re in luck! Discover how easy it is to transform your home into a fat-burning haven with just a few simple lifestyle tweaks. From incorporating quick home workouts to making mindful eating choices, you can achieve your fitness goals without any fancy equipment or expensive memberships. It’s all about harnessing the power of consistency and creativity in your routine. Ready to kickstart your journey? What’s your favorite home workout or healthy habit that keeps you motivated? Let’s share tips and inspire each other! #HomeFitness #FatLoss #HealthyHabits #NoGymNoProblem #WellnessJourney

A significant cyber breach at His Majesty’s Revenue and Customsthat saw scammers cheat the public purse out of approximately £47m has been met with dismay from security experts thanks to the sheer simplicity of the attack, which originated via account takeover attempts on legitimate taxpayers. HMRC disclosed the breach to a Treasury Select Committee this week, revealing that hackers accessed the online accounts of about 100,000 people via phishing attacks and managed to claim a significant amount of money in tax rebates before being stopped. It is understood that those individuals affected have been contacted by HMRC – they have not personally lost any money and are not themselves in any trouble. Arrests in the case have already been made. During proceedings, HMRC also came in for criticism by the committee’s chair Meg Hillier, who had learned about the via an earlier news report on the matter, over the length of time taken to come clean over the incident. With phishing emails sent to unwitting taxpayers identified as the initial attack vector for the scammers, HMRC might feel relieved that it has dodged full blame for the incident. But according to Will Richmond-Coggan, a partner specialising in data and cyber disputes at law firm Freeths, even though the tax office had gone to pains to stress its own systems were never actually compromised, the incident underscored just how widespread the consequences of cyber attacks can be – snowballing from simple origins into a multimillion pound loss. “It is clear from HMRC's explanation that the crime against HMRC was only possible because of earlier data breaches and cyber attacks,” said Richmond-Coggan. “Those earlier attacks put personal data in the hands of the criminals which enabled them to impersonate tax payers and apply successfully to claim back tax.” Meanwhile, Gerasim Hovhannisyan, CEO of EasyDMARC, an email security provider, pointed out that phishing against both private individuals and businesses and other organisations had long ago moved beyond the domain of scammers chancing their luck. While this type of scattergun fraud remains a potent threat, particularly to consumers who may not be informed about cyber security matters – the scale of the HMRC phish surely suggests a targeted operation, likely using carefully crafted email purporting to represent HMRC itself, designed to lure self-assessment taxpayers into handing over their accounts. Not only that, but generative artificial intelligencemeans targeted phishing operations have become exponentially more dangerous in a very short space of time, added Hovhannisyan. “has madescalable, polished, and dangerously convincing, often indistinguishable from legitimate communication. And while many organisations have strengthened their security perimeters, email remains the most consistently exploited and underestimated attack vector,” he said. “These scams exploit human trust, using urgency, authority, and increasingly realistic impersonation tactics. If HMRC can be phished, anyone can.” Added Hovhannisyan: “What’s more alarming is that the Treasury Select Committee only learned of the breach through the news. When £47m is stolen through impersonation, institutions can’t afford to stay quiet. Delayed disclosure erodes trust, stalls response, and gives attackers room to manoeuvre.” Once again a service’s end-users have turned out to be the source of a cyber attack and as such, whether they are internal or – as in this case – external, are often considered an organisation’s first line of defence. However, it is not always wise to take this approach, and for an organisation like HMRC daily engaging with members of the public, it is also not really possible. Security education is a difficult proposition at the best of times and although the UK’s National Cyber Security Centreprovides extensive advice and guidance on spotting and dealing with phishing emails for consumers – it also operates a phishing reporting service that as of April 2025 has received over 41 million scam reports – bodies like HMRC cannot rely on everybody having visited the NCSC’s website. As such, Mike Britton, chief information officerat Abnormal AI, a specialist in phishing, social engineering and account takeover prevention, argued that HMRC could and should have done more from a technical perspective. “Governments will always be a high tier target for cyber criminals due to the valuable information they hold. In fact, attacks against this sector are rising,” he said. “In this case, it looks like criminals utilised account take over to conduct fraud. To combat this, multifactor authenticationis key, but as attacks grow more sophisticated, further steps must be taken.” Britton said organisations like HMRC really needed to consider adopting more layered security strategies, not only including MFA but also incorporating wider visibility and unified controls across its IT systems. Account takeover attacks such as the ones seen in this incident can unfold quickly, he added, so its cyber function should also be equipped with the tools to identify and remediate compromised accounts on the fly. about trends in phishing Quishing, meaning QR code phishing, is an offputting term for an on-the-rise attack method. Learn how to defend against it. A healthy dose of judicious skepticism is crucial to preventing phishing attacks, said David Fine, supervisory special agent at the FBI, during a presentation at a HIMSS event. Exchange admins got a boost from Microsoft when it improved how it handles DMARC authentication failures to help organisations fight back from email-based attacks on their users. #hmrc #phishing #breach #wholly #avoidable

Ever feel overwhelmed by the endless tasks of managing spreadsheets? 🎉 I recently stumbled upon an incredible AI tool called GPT Excel that has transformed my workflow! This innovative solution has drastically reduced the time spent on tedious updates and data entry, allowing me to focus on what truly matters: analysis and creativity. Imagine turning complex formulas into simple commands and automating repetitive tasks with ease! If you’re looking to boost your productivity and take your Excel game to the next level, this tool might be your new best friend. Have you tried incorporating AI into your spreadsheets yet? What’s your favorite Excel hack? 🤔 #ExcelTips #AITools #ProductivityHacks #DataVisualization #TechInnovation

Biophilic design is revolutionizing the workplace by seamlessly blending nature with modern environments, creating spaces that enhance user experience and foster creativity. As a storyboard artist, I believe this design trend is crucial in UI design and UX/UI design, as it reflects a deeper understanding of how our surroundings impact mood and productivity. By incorporating natural elements, whether through plants, natural light, or organic materials, businesses can cultivate a welcoming atmosphere that resonates with their branding. Witnessing this shift reminds me of the importance of creating spaces that not only look good but also feel good for the users. Embracing biophilic design is not just a trend; it's a commitment to enhancing well-being in the workplace. Let's champion designs that prioritize connection to nature! #BiophilicDesign #UXUIDesign #UserExperience #DesignTrends #Branding

Vicon today announced the launch of Active Crown, a virtual production camera tracking solution that provides users with flexible tracking for cameras positioned anywhere on In-Camera Visual Effects stages.  “Virtual production teams experience a unique set of challenges due to the complexity of the various technologies we combine to create immersive virtual sets,” said Tim Doubleday, head of on-set virtual production at Dimension. “Camera tracking is a critical problem to manage, allowing for accurate presentation of the scene in real-time whilst minimizing occlusion and interference within busy stages. With Active Crown, we saw a huge improvement in rotational noise right off the bat, and the setup workflow felt very nice, especially the magnetic detachable stalks. You could tell it had been through Vicon’s thoughtful product development.” The launch comes on the heels of Vicon's markerless motion capture launch earlier this year, which allows users to instantly visualize ideas with the Vanguard markerless motion-tracking camera and new software incorporating advanced computer vision, machine learning, and algorithms. Source: Vicon Journalist, antique shop owner, aspiring gemologist—L'Wren brings a diverse perspective to animation, where every frame reflects her varied passions. #vicon #launches #active #crown #camera

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

Belkin is officially breaking into the gaming accessories space with the launch of a new product portfolio designed specifically for the Nintendo Switch 2. Belkin is launching the accessories on the launch day for Nintendo’s newest hybrid game console, and all of the products are officially licensed to work with the Switch 2. If I were Nintendo, I would be happy about Belkin’s entry into this market as it validates the opportunity. The products include a Nintendo Switch 2 Charging Case, which combines protection and power with a built-in 10K battery, keeping your device charged and ready for seamless gaming on the go.  Belkin also has a new Nintendo Travel Case. It blends portability, premium protection, and sleek style for gamers on the go.  The company has also created its TemperedGlass Anti-Reflective Screen Protector for Switch 2. It offers durable, smudge-resistant protection with reduced glare for clearer visibility indoors and out.  A gaming power bank from Belkin. And Belkin has a TemperedGlass Blue Light Screen Protector for Switch 2. This delivers durable, smudge-resistant protection while reducing blue light for greater clarity and eye comfort during long gaming sessions. Logan Olson, director of Future Ventures at Belkin, said in an interview with GamesBeat that his group within Belkin is just a couple of years old.. And the company created the group to take it into new markets for accessories such as gaming. Belkin has an anti-reflective protector for the Switch 2. “This segment of Belkin is extremely strategic,” Olson said. “Its purpose is to really expand Belkin into new categories. So new product categories, new completely different business models, as well as new partnerships. Now we’re delivering on the organization’s promise.” Olson said gaming is a natural fit for Belkin as it is known for its charging devices, protection, quality, sustainability and more — and it wants to bring into gaming, he said.. “Of course, there’s PC gaming, console gaming, mobile gaming. But what really makes sense with mobile console gaming is Nintendo, which with the Switch One created this category. Nintendo has sold more than 150 million Switch devices since 2017, and now it’s finally launching the Switch 2. “Mobile console gaming is just that natural progression from where we are in the mobile phone space and the demographics of the category,” he said. “Unlike PC gaming and regular console gaming, it’s 50-50 male/female, which is fantastic. It’s unique to this category in gaming. As the Switch grew as a market, it really started to make sense for us.” Belkin Switch 2 accessories. Nintendo also spans the generations, hitting everyone from GenAlpha to Boomers. Belkin targeted pain points — like the risk of having a bigger screen scratched, or running out of batteries on the road. The aim was to provide quality, elevated accessories that people would be proud to show off. “Our intent is to elevate the entire Switch accessory market. We want to set a new standard, a new bar of quality,” Olson said. The Switch 2 power challenge is a big one because it draws more power than a smartphone and is more like an iPad in that respect. The battery life is about the same, but people want to play their games longer these days, Olson said. That’s where the charger adds value. Belkin has also built charging into its case for the Switch 2, so people can charge it inside the bag. It comes in three colors, and it has a net for storage and a place to put game cards. The 10,000 milliamp power bank is integrated into the bag, with 20 watts of fast charging. The Switch 2 has a USB-C charging port, so a number of Belkin charging products will work with it. Belkin’s new charging case lets you charge the Switch 2 while you play. The charger supports tabletop mode, where you can charge while gaming. Belkin noted that 55% of Switch players play in handheld mode. The price is expected to be which is still subject to changes if tariffs take effect. Special firmware in the charger regulates the charging temperature, which can’t get too hot inside a storage case. You can put an Air Tag in the case to make sure you can find it. In terms of the size, it’s like a clutch to carry around. Meanwhile, the travel bag will be about As for screen protection, Belkin has long had products in Apple Stores to protect phone and tablet screens. Now you can get a Switch 2 screen protector, so people can play at night and not have to worry the light will cause them to stay up longer. Olson said that Belkin reached carbon neutrality this year with its products and is incorporating responsibly sourced materials in its products. “Screen protection so interesting because the amount of engineering and just science that has to go into it is insane. So all the way from the glass material itself and what you choose there, and then down to the glue and what you choose there, and down to what is on screen here the UX — all of that is meticulously engineered, tested, re engineered, retested,” Olson said. #nintendo #switch #gets #official #gaming

Artificial Intelligencehas been making significant strides over the past few years, with the emergence of Large Language Modelsmarking a major milestone in its growth. With such widespread adoption, feeling left out of this revolution is not uncommon. One way an individual can stay updated with the latest trends is by reading books on various facets of AI. Following are the top AI books one should read in 2025. Deep LearningThis book covers a wide range of deep learning topics along with their mathematical and conceptual background. It also provides information on the different deep learning techniques used in various industrial applications. Python: Advanced Guide to Artificial Intelligence This book helps individuals familiarize themselves with the most popular machine learningalgorithms and delves into the details of deep learning, covering topics like CNN, RNN, etc. It provides a comprehensive understanding of advanced AI concepts while focusing on their practical implementation using Python. Machine Learningfor Dummies This book explains the fundamentals of machine learning by providing practical examples using Python and R. It is a beginner-friendly guide and a good starting point for people new to this field. Machine Learning for Beginners Given the pace with which machine learning systems are growing, this book provides a good base for anyone shifting to this field. The author talks about machine intelligence’s historical background and provides beginners with information on how advanced algorithms work. Artificial Intelligence: A Modern Approach This is a well-acclaimed book that covers the breadth of AI topics, including problem-solving, knowledge representation, machine learning, and natural language processing. It provides theoretical explanations along with practical examples, making it an excellent starting point for anyone looking to dive into the world of AI. Human Compatible: Artificial Intelligence and the Problem of Control The book discusses the inevitable conflict between humans and machines, providing important context before we advocate for AI. The author also talks about the possibility of superhuman AI and questions the concepts of human comprehension and machine learning. The Alignment Problem: Machine Learning and Human Values This book talks about a concept called “The Alignment Problem,” where the systems we aim to teach, don’t perform as expected, and various ethical and existential risks emerge. Life 3.0: Being Human in the Age of Artificial Intelligence The author of this book talks about questions like what the future of AI will look like and the possibility of superhuman intelligence becoming our master. He also talks about how we can ensure these systems perform without malfunctioning. The Coming Wave: Technology, Power, and the Twenty-First Century’s Greatest Dilemma This book warns about the risks that emerging technologies pose to global order. It covers topics like robotics and large language models and examines the forces that fuel these innovations. Artificial Intelligence Engines: A Tutorial Introduction to the Mathematics of Deep Learning “Artificial Intelligence Engines” dives into the mathematical foundations of deep learning. It provides a holistic understanding of deep learning, covering both the historical development of neural networks as well as modern techniques and architecture while focusing on the underlying mathematical concepts. Neural Networks and Deep Learning This book covers the fundamental concepts of neural networks and deep learning. It also covers the mathematical aspects of the same, covering topics like linear algebra, probability theory, and numerical computation. Artificial Intelligence for Humans This book explains how AI algorithms are used using actual numeric calculations. The book aims to target those without an extensive mathematical background and each unit is followed by examples in different programming languages. AI Superpowers: China, Silicon Valley, and the New World Order The author of this book explains the unexpected consequences of AI development. The book sheds light on the competition between the USA and China over AI innovations through actual events. Hello World: Being Human in the Age of Algorithms The author talks about the powers and limitations of the algorithms that are widely used today. The book prepares its readers for the moral uncertainties of a world run by code. The Master Algorithm: How the Quest for the Ultimate Learning Machine Will Remake Our World This book talks about the concept of the “Master algorithm,” which is a single, overarching learning algorithm capable of incorporating different approaches. Applied Artificial Intelligence: A Handbook for Business Leaders “Applied Artificial Intelligence” provides a guide for businesses on how to leverage AI to drive innovation and growth. It covers various applications of AI and also explores its ethical considerations. Additionally, it sheds light on building AI teams and talent acquisition.  Superintelligence: Paths, Dangers, Strategies This book asks questions like whether AI agents will save or destroy us and what happens when machines surpass humans in general intelligence. The author talks about the importance of global collaboration in developing safe AI. We make a small profit from purchases made via referral/affiliate links attached to each book mentioned in the above list. If you want to suggest any book that we missed from this list, then please email us at asif@marktechpost.com Shobha KakkarShobha is a data analyst with a proven track record of developing innovative machine-learning solutions that drive business value.Shobha Kakkarhttps://www.marktechpost.com/author/shobha-kakkar/Hugging Face Introduces a Free Model Context ProtocolCourse: A Developer’s Guide to Build and Deploy Context-Aware AI Agents and ApplicationsShobha Kakkarhttps://www.marktechpost.com/author/shobha-kakkar/13 Free AI Courses on AI Agents in 2025Shobha Kakkarhttps://www.marktechpost.com/author/shobha-kakkar/OpenAI Just Announced API Access to o1Shobha Kakkarhttps://www.marktechpost.com/author/shobha-kakkar/OpenAI Just Released Sora: The Most Awaited AI Video-Generation Tool #top #artificial #intelligence #books #read