Flares are observed on a wide variety of stellar types, ranging from closely orbiting binary systems consisting of an evolved member (RS CVn's) and young, nearby super-active M dwarfs (dMe's). The timescales and energies of flares span many orders of magnitude and typically far exceed the scales of even the largest solar flares observed. In particular, the active M dwarfs produce an energetic signature in the near-UV and optical continuum, which is often referred to as the white-light continuum. White-light emission has been studied in Johnson UBVR filters during a few large-amplitude flares, and the best emission mechanism that fits the broadband color distribution is a T~104 K blackbody (Hawley & Fisher 1992). Time-resolved blue spectra have revealed a consistent picture, with little or no Balmer jump and a smoothly rising continuum toward the near-UV (Hawley & Pettersen 1991). However, the most recent self-consistent radiative-hydrodynamic (RHD) models, which use a solar-type flare heating function from accelerated, nonthermal electrons, do not reproduce this emission spectrum. Instead, these models predict that the white-light is dominated by Balmer continuum emission from Hydrogen recombination in the chromosphere (Allred et al. 2006). Moreover, Allred et al. (2006) showed that the Johnson colors of the model prediction exhibit a broadband distribution similar to a blackbody with T~9000 K.

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Since Mank is a period piece reflecting the 1930s, we had to recreate the MGM lot and create a lot of little things. There is a scene — a dinner in the main character’s home mansion — for which we created the fire in the fireplace and smoke from the chimney.


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O also tapped MYND Workshop, a New York-based 3D laser scanning company, to scan and reconstruct the Chicago locations that Ghost used as a digital backlot. The crew from MYND traveled to Chicago and captured over 8,000 photographs and 50-plus lidar scans.

Indulge in all the above inspirations, spend time with my family. Try to get out to see old or ancient buildings, sites or places or beautiful landscapes and eat lovely food.


As for the remainder of artists, the engineers used a work-from-home program they had launched during Zootopia a few years back to allow for flexible work hours. At the time, the PC-over-IP solution supported approximately 200 artists, but when the pandemic struck, this was scaled up to support the rest of the staff.

It would be great if everyone was in the office one or two days a week to connect directly with the team and share ideas. I personally like to be face-to-face with the team because I think certain communication is lost when it’s just done in Zoom meetings. But remote work opens a world of possibilities to attract and work with experienced talent no matter where they are located.


On the technical side, remote workflows are limited by the internet bandwidth of the client. However, when time is an issue or when our clients prefer it, we will continue to offer remote services. Nothing beats having our clients experience the food, culture and comfortable, collaborative environments that our River North and downtown Boulder offices offer.

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Communication, culture and career development have probably been the most difficult challenges from the remote work standpoint. While I do make it a point to maintain a virtual “drop-in” policy with our team, it is difficult to replace the happenstance interactions and collaborations that occur over a shared lunch or encounter in the kitchen.


DigitalFilm Tree has remained fully operational, 100% staffed and open to serve remote needs while still available to receive physical media. That said, 85% of our staff did immediately pivot to working from home because we have the network security and infrastructure in place to secure unaired media in the home/on consumer Wi-Fi.

We introduced PixelStrings Cloud in 2021 due to the growing demand for cloud-based media conversion. This allowed us to be well-positioned for the shift that occurred due to the pandemic. We were prepared with vetted solutions that we continue to develop as our customers’ needs grow. PixelStrings On-Prem was released last year.


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It should come with various adapters to space it properly for typical eyepieces. I was only able to get it spaced right for 2 of my eyepieces and it is not the one that I want to use it with (56mm plossl for an F/4/5 16" -too large of an exit pupil and my 9mm Nagler -not necessary). My shorter focal length 38mm would not reach focus no matter what I tried. There should be some adapters included in the kit. So as of right now my coma corrector is just sitting on the shelf.

It was challenging because the film is black and white, so we had to adjust how we work. Not having color does represent challenges when trying to isolate objects. This is why we usually use greenscreen, but for this film we did not have that luxury — everything was rotoscoped.


When the pandemic hit, it was finally time to leave hard drives behind. Since then, we’ve completely restructured how media arrives in our ecosystem, how it’s shuttled between relevant parties, and where it ultimately ends up. To pivot our entire workflow to digital.

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We see editors using VDI, proxy editing, sync and cloud technologies and even sneaker-netting media drives around. In most cases, our customers must adapt to several different technologies to adjust their workflow and create the level of efficiencies they need to get the job done.


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This office will be part of FuseFX’s continued global expansion strategy. After opening its initial New York office in 2021, the New York team has increasingly expanded, and the new office will allow that growth to flourish in an upgraded space.

I believe that remote workflows are here to stay, at least in some capacity. But I think it will resemble a more hybrid model that offers flexibility to work from wherever while still providing the opportunity for face-to-face collaboration when necessary and possible.


While security might not be top of mind when developing a strategy, it’s vital to get ahead of threats with a comprehensive content security strategy. Failure to do so might lead to revenue or reputational loss due to leaks of sensitive data.

Union’s main job was turning the South African set builds into Guantánamo’s base. The production built two sections of the base. The first was on the coast just outside of Cape Town for exterior and contextual shots. The other, larger set was in a car park, where they had more control over the environment. That was where the majority of principal photography took place.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

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When they came back, there were some who didn't know what to do with their outer space experience. Some turned to drugs and alcohol. Others channeled the change that occurred within them in very positive, life-affirming projects.


Yes, immediately after the COVID-19 restrictions began, we started to rely heavily on remote collaborations. Thankfully, we had the virtual resources ready for a seamless transition. Because remote operations have become such a mainstay, I don’t foresee this paradigm shifting anytime soon.

Our belief is that the hybrid remote/on-prem approach that has been adopted will continue to grow. PixelStrings provides the best of both worlds with an on-premises option that fully mirrors the functionality and interface of PixelStrings Cloud for private, on-premises deployments. Clients can select which option best suits their workflow and their budget.


On the downside, most of the staff missed the personal connections and the ability to have quick dialogs about work. And while Remote Desktop clients solved the ability to work remotely, “it’s still not as good as sitting in front of a workstation,” Sterns adds — a situation that is still improving.

Workflow complexity and ensuring that valuable IP remains secure. On top of the complexity of data moving between working groups using tools both on-prem and in the cloud, remote workflows introduce a whole new layer of workflow management complexity and a larger threat landscape that may span devices outside of traditional firewalls.


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Three-dimensional information on Coronal Mass Ejections (CMEs) can be obtained from a wide range of in-situ measurements and remote-sensing techniques. Extreme ultraviolet (EUV) and white-light imaging sensed from several vantage points can be used to infer the 3-D geometry of the different parts that constitute a CME. High-resolution and high-cadence coronal imaging provides detailed information on the formation and release phase of a magnetic flux rope, the lateral expansion of the CME and the reconfiguration of the corona associated with the effects of pressure variations and reconnection. The evolution of the CME in the interplanetary medium and the connection of its various substructures with in-situ measurements can be obtained from multi-point heliospheric imaging.


I thought maybe one day I would, if I found a story I knew really well — and it gradually hit me that this was exactly that. Because I’ve been so connected to the show and material for three years, I’ve had three years of prep as a director. Then I did my first episode and realized I’ve been thinking like a director for years.

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The biggest difference was the lack of a physical staff presence in the studio. The processes and so forth didn’t really change, says Stern. The crew just had to approach things in a different way at times. But eventually, the group fell into a rhythm.


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Due to the scale of the characters, the ships in the sequence were aircraft carriers and big transport ships, which resulted in challenges when simming the boat wakes, splashes and sprays as they moved through the water and became overturned. We made improvements to our height field tech, which we use to calculate rolling waves. This made it faster and more realistic to calculate the surfaces of curling waves.

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Intercalating dyes, for example [Ru(phen)2(dppz)]2+ and ethidium bromide have been investigated for binding to aptamers, including in the application of ATP detection. In aqueous solutions, [Ru(phen)2(dppz)]2+ has no fluorescence. However, fluorescence is observable when [Ru(phen)2(dppz)]2+ intercalates with aptamers. The binding of ATP to its aptamer induces an alteration in conformation and hence alters the fluorescence intensity of the intercalated [Ru(phen)2(dppz)]2+ . Unfortunately, the magnitude of the fluorescence alteration is not significant enough to have a sensitive ATP aptasensor. To enhance fluorescence intensity, Wang et al. explored the use of metal-enhanced fluorescence (MEF) for ATP detection using PicoGreen as the intercalating dye. MEF serves to enhance the quantum yield of PicoGreen and provides photostability . Silver island films are used as MEF in this strategy. An aptamer is pre-hybridized with its complementary DNA strand and PicoGreen intercalates in the hybridized aptamer. Fluorescence is enhanced in proximity to the silver island films.


We know that remote workflows are here to stay, and we can say that through the experienced lens of over 15 years of providing remote workflow solutions. The paradigm (official source) has changed, and we have learned to work better and to work smarter. The world is now our global creative village.

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The latest generation of Western WVRmissiles employ Focal Plane Array seekers with target recognitioncapability and high resistance to infrared countermeasures. Depictedimagery from the seeker of a Raytheon AIM-9X missile, which uses anIndium Antimonide bandgap detector array. Russian industry is workingon such an FPA seeker, what is unclear is whether it will employbandgap detector or superior two colour QWIP technology. When it entersproduction it is likely to become a block upgrade and new productionitem for BVR missiles such as the R-27ET and R-77T.


Intergalactic tells the story of fearless young cop and galactic pilot Ash Harper (Savannah Steyn), who is wrongly convicted of a crime and exiled to a distant prison colony. On the way there, Ash’s fellow convicts seize control of their prison-transfer ship, the Hemlock, and she is forced to join them on the run toward a distant galaxy, with epic adventures along the way.

On the data center side, our customers are using Dell EMC VxRail and VMware Horizon for VDI, Dell EMC PowerEdge servers for compute, Dell EMC rack workstations and Dell EMC PowerScale and ECS for storage. On the end-user side, our customers are using a wide range of Dell Precision workstations and displays. Some of our customers are also using a range of Dell Wyse PCoIP-capable thin clients.


In no particular order that would be one of the first ads I did in London, which made me believe I could succeed in the UK Market — Cravendale’s Cats With Thumbs with Ulf Johanson. Also, the Vodafone’s Kiss with Frederic Planchon, Audi’s The Ring with Jonathan Glazer and John Lewis department store’s The Boy and Piano with Seb Edwards. Also, my work with Traktor and Daniel Kleinman.

WDAS is working on its next big release, Encanto, scheduled for theatrical release later this year. Most of the production is being done at home, as well, and that team stayed in close contact with the Raya team concerning their remote workflow experience, giving them a significant head start when they got into full production mode on the new feature.


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You can also use it to control your telescope remotely via the internet. Designed to be the ultimate platform for remote digital astronomy with your Meade telescope, the AutoStar Suite Version 4 contains tools for dome controls, weather sensors, and other functions required for this purpose. You can reach your telescope and dome through a single network connection. You can then communicate via an IP address, using the AutoStar Net Scope program to control the entire observatory over the Internet. This solves the biggest problem in setting up for remote access to your telescope - the problem of your distance from the scope itself. You can be in your living room to control the scope in your backyard, or just as easily, control a friend's system in another country!

I love the fact that everyone I talk to is not only creative and openly collaborative, but comfortable and enjoying being nearer their families; we aren’t wasting time commuting or missing planes. We have so much more time to work together productively and meaningfully in a less stressful way. We are working smarter, not harder. Although this can lead us to spend perhaps more time than we might otherwise — like on our computers — so we must all take appropriate breaks!


Yes, Zoic Studios reacted quickly and transitioned all three of our offices to a fully remote workflow virtually overnight in March of 2021 and have remained remote since. Our partially remote pipeline made this transition easier than most, but it was through the tireless efforts of our entire team that we were able to maintain operations seamlessly during this transition.

A negative aspect of this has been the side-lining of the physical effects industry, which proliferated prior to the advent of digital VFX. And also a reliance on the ability to achieve anything through digital manipulation without careful consideration of the actual desired look of a thing when shooting.


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On the ocean floor of the south-west Atlantic, there are twin depressions 23,000 feet deep, near Puerto Rico, which look remarkably like craters. There are similar craters of meteoric origin on the North American mainland at Arizona and Charleston, South Carolina, where an elliptical area extends out into the Atlantic. It has been estimated that the craters near the hypothetical site of Atlantis in the West Indies were created with an explosive force equivalent to the detonation of 30,000 million tons of nitroglycerine around 10 to 15,000 BC.


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For shots that required fine muscle and tissue details, we used Ziva’s FEM Solver. However, we could also mix the results from Ziva with our real-time Maya jiggle rig on a shot by shot basis.

For production management, we embraced secure L2TP VPN connections. This allows remote workers to work within the corporate network as if they’re physically at the workspace. Any access required to tools like NIM is achieved in a similar secure fashion.


The Magnetic North Pole shifts on a daily basis. Maps have been published about this for quite some time. Whole websites are devoted to it.

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The second group of non-amplified fluorescent ATP aptasensors leverage on the use of fluorophore-labeled aptamers. This fluorescence generation mechanisms can be classified into mono- and bichromophore approaches . The monochromophore approach refers to the covalent binding of a single fluorophore to an aptamer at a site where target binding induces a significant conformational change and this change results in a fluorescence intensity change. The bischromophore approach involves the attachment of two molecules, a fluorophore and a quencher, onto an aptamer. Fluorescence intensity changes when target binding to the aptamer alters the distance between the fluorophore and the quencher. This is also known as fluorescence resonance energy transfer (FRET), in which fluorescence quenching is observed when the fluorophore and quencher are in close proximity. The fluorophore and quencher could also be attached separately on an aptamer and its complementary strand. In the presence of the target, preferential binding of the target to the aptamer triggers the dehybridization between the two strands and hence FRET is terminated when the distance between the fluorophore and quencher widens.

Have artists been dialing into your servers or working locally? If so, what are some of the pain points of working this way?


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When COVID was hitting Europe, we were starting to send people home before it was mandated because we knew it was coming. We were fortunate that we never had any issues with people getting sick at the office.

Those working on Raya integrated and perfected a number of individual technical achievements from Disney-animated films over the past few years. Moreover, the movie contains several unique lands with their own designs, shape language, cultures and people. Water — a particular CG challenge — is an important element throughout, resulting in a wide range of atmospheric effects. In fact, the movie contains a plethora of effects, including the evil Druun character and those related to dragon magic.



To minimize mass death and suffering, the peoples of the World must be alerted, so that they can protect themselves and their families, because disasters will worsen as Planet X nears its gravitational loop-around rendezvous with our Sun. Merely telling the public, "It Might Happen," will not motivate people to prepare. Actually, they will stubbornly deny the eventuality of any terrifying peril which is defined to them as being improbable, because man wants to believe what he likes, and to reject what he dislikes.


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Each one, starting as soon as they could talk, around age 1, started describing where they come from and what they are here for, and what is going to happen. Imagine your 2 year old telling you the planet will turn over, that the volcanoes will erupt all over the place, that the "people will all fall down", and that everything will change very soon. They talk of ships coming to the earth to take people to a safe place.

I think our biggest evolution has been with our clients. We work in a very hands-on industry, and most clients prefer to be in the room with our team when working on projects. But they have seen that remote work sessions are possible and have been super-supportive along the way, trusting us to do more unsupervised sessions, which makes the live sessions more productive.


While some in the industry were starting to dabble in aspects of remote workflows prior to March 2021, COVID made this way of working a necessity. As they say, adversity breeds innovation, and that has been true during the past year as technology companies and post houses stepped up in a big way, making sure the work continued uninterrupted.

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Normally, we go through several iterations of the visual effects with guidance from the director. Director David Fincher knows exactly what he wants. Some visual effects are simpler — fixed and done. The great thing about us working with Fincher for 13 years (on projects such as House of Cards, Gone Girl, Girl With the Dragon Tattoo and Mindhunter) is we know his taste and what he expects, which helps a lot.


The amount and quality of information and learning opportunities online simply didn’t exist back in the day. The technology has moved on massively, and it’s been fascinating to witness the progress. Not only the everyday toolsets, but also the way we shoot, prepare the projects, manage teams and communicate with the clients. However, I do sometimes miss the days when clients and directors spent time with us in the suite and we could be part of the crafting process together.

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We were brought onto the project while it was still in preproduction. As Scanline hadn’t done a lot of big-creature work of this type previously, we did a few test shots from the ocean battle sequence as well as a shot of sad Kong in the rain to demonstrate our ability to deliver emotional character performances. Everyone was highly confident in our ability to handle the large-scale destruction and FX simulations required throughout the battle sequences, but how much character work we should take on was still an open question.


The heart will feel as though it has stopped beating in your breast. In that moment, may I remind you to BREATHE.

We use a combination of the enterprise cloud solution from Dropbox and on-site storage solutions, namely Synology. For the desktop, we’ve been relying on virtualized Microsoft Azure using Teradici. We achieve remote rendering with Fox Renderfarm. For communication, we’ve primarily been using Slack and a combination of Google Meet and Zoom for “face-to-face” meetings.


I know your lives are changing before your eyes. We all have very difficult decisions to make in the days to come. The most important thing we can do is to listen, to pray, to ask where we need to be and what we need to do, to be of the highest service, and to provide for those we love until this acceleration takes us all through the singularity.

Another challenge is the variance of internet providers and the level of performance an editor may have in his or her area. There is a time cost for dealing with large media files. If you have a slower internet connection at home, it could take days to properly sync data. So having a good internet connection is imperative.


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The shots in the Hong Kong city sequences are full CG shots. We used helicopter/drone footage along with photography as a reference when building out the city. All buildings were built with full interiors, and building materials (glass, concrete, floors, walls) were tagged so destruction sims could be run accurately. Furniture was also added in for FX where necessary. Creatures were scaled relative to the buildings, as they had to be a lot bigger to clear the height of the skyscrapers. FX worked with our animation and layout teams to ensure the layout was protected when it came time for FX destructions to be run. That is, buildings that were set for destruction were tagged by FX in the layout so that animation could take this into account when driving the creature movements.


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I’d say so. She kept connecting the global and political to the personal, and we have this whole backdrop, but we’re looking at it through the eyes of a mother, a wife, a husband, a friend. It’s always through a personal lens, and that lets us stay relevant and timely.

The biggest challenge is missing the in-person conversations and collective brainstorming. We have achieved it using remote tools, but there will always be something missing there. Being able to just walk over to an artist and have a conversation versus the chat and video call fatigue.


Not many are allowed to be "themselves" past 3 anymore, and most are subject to horrendous amounts of conditioning even before they can talk. But that is another subject - conscious parenting is a lost art, and the cultural conditioning today is not an easy thing to reckon with.

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Work so diligently to let go, to purify the consciousness that suffers the dualistic state at the mercy of the ego. To live in the "sea of tranquility" it is simply a matter of letting go. Nature teaches this, which is why immersion in the natural world is such a great healer.

Instead of forcing the mechanics of the scope to fit into a perfectly round optical tube assembly, the tube is shaped to conform to the internal mechanisms and drive system of the front focus and collimation assembly. This "form follows function" philosophy gives the LX400-ACF optical tube its unique look and style.


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Although AFX Creative had been set up to handle remote workflows and collaboration prior to the pandemic, we made small and key changes to meet an increased demand in our talent and work. Additional provisions were also made to our connectivity and to the hardware required to support more endpoints.

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Electronic focus presets: The LX400-ACF allows the observer to preset up to nine individual focus positions to customize the focus for observers with differing eyesight characteristics (similar to the custom settings in luxury cars that change the mirror, seat, and steering wheel settings from one driver to another). The feature is also very useful when switching between various eyepiece and Barlow combinations, or when switching from a visual setup to a camera setup.


Also in residence was Mr. Costanzo, a Juilliard-trained trumpet player and jujitsu black belt, who worked as Ms. MacLaine's assistant, personal trainer and bodyguard. He and Mr. Kucinich became good friends, and Mr. Costanzo, now 55 years old, served as deputy campaign director and security chief for the congressman's unsuccessful 2004 presidential run.


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We do Foley at Footsteps, audio post at Sim Toronto and the DI at Company 3 Toronto. I love the DI process and playing with the look, but I don’t really mess with that too much. The DP works closely with the colorist, Bill Ferwerda, and I have notes, but I rely on their expertise and sign off on that.

VFX is Foundry Nuke and Adobe After Effects. All departments have their bevy of organizational tools, like ftrack and Shotgun, Trello and Slack. Signiant and Aspera are used for file transfers. The list is endless, never mind what’s proprietary.


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The positives greatly outweigh the pain points in our remote workflows. Not being limited to the physical world frees us up to work with a much larger network of talented professionals. We have freelancers in most major cities around the world. I’m based in LA, but my post producers are on both coasts, and our clients are all over the world.

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One of the biggest challenges we hear regarding remote workflows is the inconsistency of internet speeds. Download and upload speeds will continue to play a huge role in remote workflows — specifically, how quickly editors are able to sync and access huge files so they can do their jobs effectively and efficiently. As ISPs roll out faster internet options, I believe we will begin seeing a major boon in the marketplace for remote workers.


A core group of supervisors and leads was up and running from their homes within about a week of the lockdown, with everyone else on board shortly afterward. Most of the initial hurdles pertained to slow bandwidth, as the work-from-home supplemental kits were not meant for so many to be using them full-time. The kits comprise a keyboard and mouse, a very small device that connects to a monitor, plus an Ethernet cable that plugs into the modem, which connects to the individual’s office computer.

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Apart from solution processes and surface-immobilization, as demonstrated by Brennan's lab, sol-gel-derived materials are a promising matrix for the entrapment of ATP aptamers and the development of fluorescent ATP aptasensors with improved analytical performance as compared to surface-immobilized ATP aptamers [48,49]. Further investigation demonstrated that the analytical performance and stability of the aptasensors are primarily determined by the ability of the aptamers to remain fully hybridized to their signaling units upon entrapment .


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How early were you brought onto the film? And what benefit did that have (assuming it was early)?

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As MYND Workshop began turning over reconstructed assets, Ghost’s CG team, led by Tom Connors, began putting it all together in Autodesk 3ds Max. Ghost artists would then create a layout using the reconstructed, retopologized and photo-textured house and neighborhood assets from MYND and fill out the rest of the fences, vegetation (trees, grass, plants) and anything else that doesn’t lend itself to reconstruction. For this, Ghost used the latest from SpeedTree Cinema 8 in combination with various assets from Quixel’s Megascans library, along with a library of various cars to populate the street scene. The result, rendered using Chaos Group’s V-Ray, was a full-fledged recreation of South Homan Avenue exactly as it exists in Chicago.


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For compositing we used Foundry Nuke. For dynamics we used SideFX Houdini. These were our two main pieces of software. ExpeDat was used for sending and receiving data from all of our artists. This saved us a lot of time because we could all work directly from the ExpeDat server without having to move data to the cloud and back down again. As for hardware, we use all Linux workstations that we built.

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Syn is a music agency providing music and sound to the film, TV, gaming and advertising industries. We offer original music, sound design, sonic branding, catalogue music and more. We also offer ADR/VO recording from our studio in Tokyo, working with both local and international productions for translation, localization, production and post.


Union had worked with Kevin Macdonald before on How I Live Now, Black Sea and Oasis and had been talking to him about The Mauritanian on and off for about a year before starting on the project. We reached out to Union VFX producer Jan Guilfoyle and VFX supervisor Simon Hughes to find out more.

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Some of the perks are saving on the commute time and flexibility in the work hours. Some creatives work better at night, and some like to knock out the most challenging things first thing in the morning. This offers the opportunity to do that and work at your creative peak, with the support from the infrastructure we’ve built.


Amazon Nimble Studio, announced last week, is a new service that enables facilities to set up a content production studio in hours instead of weeks, while providing them near-limitless scale and access to rendering on demand. As a result, the service will enable a studio such as Artifex to rapidly on-board artists from anywhere in the world and produce content faster and more cost-effectively by accessing accelerated virtual workstations, high-speed storage and scalable rendering across AWS’s global infrastructure.

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Rumble also created landscape and sky backgrounds for several scenes set high-up in the fascist Raven Society HQ in the final two episodes. The on-set windows were fitted with frosted glass. Rumble’s challenge was inserting an expansive horizon — made up from drone footage and panoramic skies. The skies were tweaked between episodes to reflect the mood of the scene. They also replaced the wheels on Arthur Pennyworth’s wheelchair for some shiny, new CG ones.


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We’ve taken the hybrid local-and-cloud approach using Dropbox. All the artists have been working off the Dropbox folder that syncs to the cloud and the Synology at the studio.

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We are continuing to see demand for remote workflows that allow our customers to make faster and better decisions for grading, editorials, VFX and sound productions. The content creations are global due to all the streaming companies.

Our primary headquarters are in New York, and the East Coast team began remote work in March 2021. In early 2021, Hayden5 officially expanded to Los Angeles and now has a team of West Coast production and post staff. While the pandemic forced us to shift to remote workflows, we’re now fully embracing the flexibility that decentralized post provides.


On Episode 3, I had storyboarded a lot of it because of all the VFX, and I’d cut a lot of it in my head before we even got to post and the edit, and Wendy was so good at being able to see what I wanted to do from the coverage I gave her. That whole process truly opened me up to all the possibilities, and to see how you can develop a scene purely in the edit.

Galaxy Zoo has since shown itself, in a series of now more than 30 scientific papers, to be a fantastic database for the study of galaxy evolution. In this Invited Discourse I spoke a little about the historical background of our understanding of what galaxies are, of galaxy classification, about our modern view of galaxies in the era of large surveys. I finish with showcasing some of the contributions galaxy classifications from the Galaxy Zoo project are making to our understanding of galaxy evolution.


At the behest of our children, we have sold everything and moved to a safe location. Here, we can grow food year round, have fresh air, water, and nourishment as long as that is necessary. It is my hope that you have done the same.

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The pair, along with some senior staffers, headed into the office to set things up so the artists there could continue working on the series from home by remoting into their own workstations at the studio using a VNC freeware client. This would enable the VFX crew to access the tools they needed, including Autodesk’s Maya, Chaos’ V-ray, Andersson Technologies’ SythEyes, Foundry’s Nuke and open-source Meshroom photogrammetry software. The senior staff also set up an FTP server for clients that they managed remotely.


Published on behalf of International Astronomical Union

The corrector-modified design would itself be expensive to fabricate were it not for Meade's quarter-century of experience making Schmidt-Cassegrain correctors, which are in the same optical family as the corrector needed for the modified RC design. An additional benefit of the full aperture corrector in the modified RC design is slightly better correction for astigmatism than a traditional RC scope. In addition, the RCX, due to the front corrector plate, is essentially a closed tube design (however, due to the front cell focusing method discussed below, there is an small opening between the tube wall and the periphery of the corrector, which prevents the tube from being totally sealed). This essentially closed tube design reduces the amount of image-degrading dust, moisture and other contaminates that would otherwise fall on the optical surfaces of the primary and secondary mirrors as is the case with traditional open-tube RC designs.

Multimode (or multispectral) seekers have not been common to date inWestern or Russian missiles, mostly for reasons of cost and complexity- the best know examples being the RIM-116 Rolling Airframe Missile(RAM) and RIM-7R Sparrow, combining passive radiometer and semi-activeradar homing guidance with heatseeking guidance, respectively. LargerBVR missiles like the R-37 and AAM-L easily have the seeker volume toaccommodate a multimode seeker and we should not be surprised to seeeither weapon gain an additional infrared guidance capability, giventhe cost of these missiles and the very high value of their intendedtargets. What may not be profitable in smaller missiles becomesprofitable in a counter-ISR missile.


The shoot was pre-COVID, but the post was during 2021. Can you talk about those workflows?

Because of this wide coma-free field, small spot size, and relatively fast focal ratio, the Ritchey-Chrétien design is particularly well suited to astrophotography, rather than visual (https://yamamotonight-m.ru/hack/?patch=9584) observing. For imaging, the R-C is the optical (https://yamamotonight-m.ru/hack/?patch=6185) system of choice for most of the major professional observatory imaging telescopes built in the last half-century. For example, the Hubble Space Telescope, the twin 10-meter Keck telescopes in Hawaii, and the four 8/2 meter telescopes of the Very Large Telescope array in Chile are all Ritchey-Chrétiens. For serious amateur astronomers and astrophotographers without NASA's optical budget, an Astro-Tech R-C is likewise the imaging system of choice.


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How many shots did you provide in total? How would you describe the majority of them?

With full-time artists already working remotely before the pandemic and working seamlessly between the two offices, we were ready to go fully remote. But as most things go, it’s a bit different when you want to work remotely versus being forced to. That said, having the Dropbox server has been our lifeline in terms of the full office needing to work together without much interruption.


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I just try to relax and take my mind to a different place. Daydreaming I guess, it takes you nowhere but produces just the right mix of chemicals your brain needs.

This would produce a period of chaos, when compasses no longer point north, migrating animals head in the wrong direction and satellites are burned up by solar radiation. There have already been recent cases where migrating birds ended up in strange places, far from their regular destinations.


The next day, the group spotted what they thought to be military helicopters buzzing around the valley where they had made the sighting. And the high-pitched sound remained.

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We continue to work to make solutions easier to use at lower costs and to drive higher-quality new software like Spectra, our virtual encoder product that plugs into tools from Avid, Adobe, Resolve and other video editing applications. This is a new type of workflow for editing directly in the cloud or in on-prem edit bays.


We’ve reached a point in our safety threshold where if staff wants to work from home or the office, they can choose. As for clients, we’re still servicing all needs remotely. Only now have we begun discussing on-prem offerings, but only as a means to prepare.

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We discuss possible mechanisms underlying the observed features of stellar activity cycles, such as multiple periodicities in very active stars, non-cyclic activity observed in moderately active stars, and spatial distribution of stellar magnetic regions. We review selected attempts to model the dependence of stellar activity cycles on stellar properties, and their comparison with observations. We suggest that combined effects of dynamo action, flux emergence and surface flux transport have substantial effects on the long-term manifestations of stellar magnetism.


VFX supervisor Max Wright led the Rumble team on this project, working with the show’s overall VFX supervisor, Rob Delicata, on episodes 7, 9 and 10. Due to the fast turnaround, the main challenge for Rumble was getting all the shots out in a relatively short period of time. Shoot attendance and main turnover were just before Christmas 2021 with VFX starting the first week of January. Rumble VFX delivered its final shots in March 2021.

Only in this way will this terrible truth remain in existence. It is the only way to preserve the next civilization from total destruction. Because, without this knowledge, within twelve thousand years it will be thrown back into the Stone Age, just like ours will be very soon now.


One of the biggest challenges was the visually evocative opening sequence, which needed to have maximum impact. It required the creation of a full-CG, wide panorama of a dystopian-future London, which had emerged from floodwater and was surrounded by a giant dam and in the shadow of hundreds of giant buildings. The depth of the old London buildings was over 300 meters — twice the depth of the English Channel.

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Our work-from-home mandate went into effect in March 2021. What started out as an option quickly became enforced within days, as all employees were stationed at home. We continue to follow city and state protocols and limit our in-office interactions. Currently, we are assessing how we can benefit from the advantages of remote workflow when things get back to normal while seeking a healthy balance between the two.


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Then she had another vision where we were with the same people, but now leading them through a suburban neighborhood street, going into each house in order, scavenging for whatever people had left when they all fled. As our group combed the houses on the street, it was clear that the owners had all left quickly, and none of them were around as it was dead silence but for us. So maybe some kind of evacuation? Anyway there were lots of useful tools, medicines and food which we were finding and we felt very safe and protected, according to her.

Remote workflows open the possibility to find and retain talent that used to have geographic limitations, both on the local and global scale. For example, remote workflows make it possible to live in an area with a lower cost of living without the need to commute daily to a centralized office that might be in a higher-cost area. On the global scale, it allows for access to a wider pool of talent and 24/7 creative workflows.


What are the trends are you seeing? Are remote workflows here to stay?

Computer designed and fabricated optics: To keep the cost of each Astro-Tech R-C so reasonable when compared to competitive R-C scopes, the computer-optimized Astro-Tech hyperboloid mirrors are automatically ground and finished to very high tolerances using custom-made computerized mirror grinding machines. This precision computer control guarantees an exact repeatability of figure from mirror to mirror that is difficult to achieve using more costly conventional hand figuring. After grinding and polishing, each mirror is individually tested multiple times during fabrication using Zygo interferometers to assure that it meets or exceeds its designed performance standards.


The AutoStar Suite Version 4 is included as standard equipment with each RCX400 telescope. It is a complete turnkey observatory control system, not an added cost extra. The package includes extensions that allow the scope to be remotely controlled through your computer from any web browser - PC, MAC, PDA, or even a cell phone - without software installation on the remote browser. This kind of convenience makes it ideal for teaching environments where lab workstations can operate the scope from any classroom without extensive software setup.

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Aside from what I’ve already covered, the best part is providing the flexibility for creatives to work however they find themselves being their most creative. Whether they are more creative at home or in an office, the result will ultimately be a higher-quality product in the end.


To emulate the coma-free performance of a true RC telescope, while keeping the cost within reason, the Meade Advanced Coma-Free (ACF) catadioptric optical system uses a full aperture aspheric corrector lens in conjunction with a simple spherical primary mirror. This creates a two-element primary mirror system that performs like an RC's single hyperbolic primary mirror from the optical point of view of the ACF system's secondary mirror. The hyperbolic secondary mirror itself is mounted directly on the rear of the corrector lens, rather than in the traditional RC's conventional spider vane assembly. This eliminates the image-degrading diffraction spikes of the secondary mirror support structure visible in commercial RC scope images. The result of the Meade Advanced Coma-Free optical design is RC-class coma-free wide-field performance, at about a fourth the cost of a true RC system.

Increased integration between platforms, perhaps. It’s a great thing that there are now so many platforms and tools to support, automate and encourage remote working, but sometimes juggling so many different platforms can be confusing and complicated. So increased integration between tools — and perhaps increased automation (where appropriate) — would make remote work easier in the future.


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Although the VFX artists were able to continue working on those first few episodes, production — and, subsequently, post production — on the series shut down as the lockdown orders continued from March 2021 onward. When production started up again, so, too, did Artifex’s staff, continuing with the remote workflow they had established months prior.

Although encouraging results have been obtained in imaging ATP in living cells, there are some critical questions that we need to answer before we can take full advantage of ATP aptamers. Unfortunately, we do not have highly specific aptamers for ATP. The coexistence of ADP and AMP with ATP inside cells poses a great threat to ATP imaging. There is an urgent need to thoroughly investigate the specificity of ATP aptamers and to search for truly ATP-specific aptamers since all ATP aptamers developed so far show a considerable degree of affinity to ADP and AMP. The results remain disputable until ATP-specific aptamers are developed. We also need to fully understand the effect of complex biological matrices on the performance of ATP aptamers in cells. In addition, it will be more interesting if both ATP and ADP can be imaged simultaneously so as to provide dynamic pictures of the transformations between ATP and ADP in living organisms.


London-based VFX studio Union was called on to create visual effects shots for the Kevin Macdonald-directed film The Mauritanian, which is based on the memoir “Guantánamo Diary” by Mohamedou Ould Slahi. The Mauritanian is the true story of Slahi’s fight for freedom after being detained and imprisoned without charge by the US government for years. The film stars Jodie Foster, Benedict Cumberbatch, Shailene Woodley and Tahar Rahim.

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There is certainly better integration and development of workflow and communication. Now that we have overcome the initial technical barriers, we are able to focus our time and efforts on continuing to elevate the work rather than battling slow internet service or unexpected security permissions. We’ve also started to regain some of the teaching opportunities for our artists that were initially lost to the remote workflow.


In addition to this, adding a VDI configuration to support larger file-based workflows enables remote workers to access any office editing systems that are connected to the on-premises shared storage. This allows editors to work seamlessly on projects while still collaborating with other colleagues who are syncing their changes via RAP.

One scene that was particularly challenging was the set extension for the MGM lot. We had to create the period signage on the lot, the buildings in the background from that time period and recreate the LA skyline from that era so it was accurate spanning several years in the late 1930s.


You were the lead vendor on this. Do you know how many other VFX studios were on the film?

Finally, security is another huge concern for those making the move to remote work; they want to ensure that their intellectual property is always protected. The good news is that, with RAP, you’re sending your media files securely over HTTPS from the on-premises storage to your personal drive.


In the early days of the pandemic and our fully remote workflow, employees struggled with the capacity available from their local internet providers. This meant that in the early months, a great deal of time was spent upgrading internet capacity at home offices.

Secondly, the very act of working and collaborating remotely has now become mainstream and part of the new world culture. This makes our job a lot easier, as everyone now has the appetite to try working smarter. We look forward to making that a reality for everyone.


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To top that, they knew how to calculate this beforehand. We would now be building survival arks if wars hadn’t caused the loss of this knowledge. But it turned out to be different.

Like other industries, we have found an increase in overall productivity. Our creative talent has enjoyed the freedom, flexibility and convenience of working from home.


Once the object is located, the hand control screen tells you its catalog number, type, magnitude, size, right ascension, and declination. If you have the coordinates of an object not in the computer's memory (a comet or asteroid, for example), enter those coordinates, press "go-to," and your MAX mount takes you there, as well. You can start to find faint deep space objects almost faster than you can read about it. If you want to scan the skies on your own, pushbuttons on the AutoStar II keypad lets you move the scope in any direction at any time, keeping track of where it is pointing at all times so that it can again move under computer control whenever you desire.

Back in the day I really wish I did. I come from a small place and the opportunities simply didn’t exist there. However, self-learning does provide some great advantages. It is more often than not based on real-world problems and solutions, grounded by the combined knowledge of many artists and their wisdom and technical or artistic creativity you encounter along the way. It really provokes very proactive thinking both technically and as a motivation.


Bandwidth to the last mile makes everything easier. Some clients already have fiber-based connectivity, so this isn’t an issue with them.

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When the pandemic hit, we moved quickly to establish remote options for all our services. We kept our people and clients safe.


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We briefly present recent progress using the ASH code to model in 3-D the solar convection, dynamo and its coupling to the deep radiative interior. We show how the presence of a self-consistent tachocline influences greatly the organization of the magnetic field and modifies the thermal structure of the convection zone leading to realistic profiles of the mean flows as deduced by helioseismology.

Principal photography took place at the Mafilm Studio complex in Fót outside of Budapest, Hungary. Before filming began, Harris worked to create LUTs based on film references from the DP and director.


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After a few minutes, the lights moved closer and it became apparent that they were actually three charcoal-gray, triangular craft, flying in a tight wedge. The girlfriend remembers each triangle having red and green lights running down the edges, with a laser-like red light at the tail. Mr. Costanzo recalls white lights, but no tail.

This is the place where the vision, the script and the concept become tangible and real. There are so many little tweaks, solutions and simple-yet-brilliant ideas that a VFX set supervisor can bring to shape the final image right there when the camera is capturing the action. This is when the canvas is created for your team, and as a VFX supervisor I feel I have the responsibility to provide them with the best I can get. The exchange of ideas and bonding with the creative leads of a project is invaluable too. Last, but not least, the people you meet, the knowledge you gain and the locations you visit are a fantastic bonus.


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Without a doubt, remote workflows are here to stay. We have seen customers change their environments to a more hybrid model by downsizing their facilities or even getting rid of them altogether in order to go fully remote.

With the emphasis on Microsoft Teams within our remote workflow, we can be more unified as a company. Having the ability to be connected through this platform allows us to be less reliant on email, where the communication can sometimes break down and information can get lost. While we always remained connected with our offices, a fully remote workflow has allowed us to spread work more easily across different offices and artists.


For this virtual roundtable, we reached out to a variety of users to talk about how they made the transition to remote. We also talked to manufacturers, which have either introduced or adjusted their technology to help post studios build robust production pipelines.

Technological advances have helped this process. This industry could not have survived if we were still in the world of dial-up internet or if the use of floppy disks was our only method of file exchange. Comparatively, today we can stream a live session from across the country/globe or transfer terabytes of data with just one click. The evolution of technology was heightened even more during the pandemic, and we expanded our communication horizon through platforms such as Google Meet, Zoom, BlueJeans, Slack, FaceTime and others.


Walt Disney Animation Studios (WDAS) has produced many animated films. In fact, the studio’s most recent, Raya and the Last Dragon, marks number 59. And yet, the movie has the distinction of being the first to have been made by the crew of more than 450 working at home because of COVID restrictions. In fact, practically all of the shot production took place from living rooms, kitchens, back yards and bedrooms. Quite a feat when you consider Raya has a runtime of just under two hours, and the work is spectacular.

Quality of life can skyrocket in these conditions. When it’s an option to work from home or the office, you can plan your life a bit more organically. Again, our building is a tool to serve a greater whole; it’s not an office in which we seat people for eight hours a day. We’ve got a mixed bag of folks — some prefer the office, some prefer the home and some prefer a hybrid. There’s also a lot to be said for productivity. Proximity doesn’t always equal fast answers. The dilly-dally here and there or the constant interruptions prevent focused work. The office days can eat up a lot of time for some folks. For others, the home is less productive, or they are protective of their time, so flexibility has really only increased output and efficiency and has clarified how we communicate with one another.


All of the sudden there was a quake and it seemed like the horizon was being folded from the South. It was over in a matter of a few seconds and I could feel the earth actually rotate about 1/4-1/3 from the equator. So if you were in the US, it went up to where the North Pole was and Russia went to the Indian Ocean( I'm not sure that that is what direction everything went, but kind of like that and not knowing for sure was part of the dream). I regretted not knowing enough about moon phases to figure it out. It got very cold within minutes and we lost communications and electricity, but didn't have local damage. I knew that there had been a pole shift and I was trying to figure out whether we had enough resources (heat, food) to last until we figured out exactly what was going to happen. It was getting bitterly cold so I assumed that our place had gone toward the location of the north pole.

One perk is that you get to sleep in longer, but the best thing that has come out of working remotely is that it has allowed us to hire and partner with more talent from around the world, which brings all sorts of fresh perspectives to the work. With the power of the internet, we are connected through space and time no matter the location or time zone.


Milk began development work on Intergalactic in July 2021 with the shoot and asset build toward the end of 2021. All shot production work was completed during the 2021 lockdowns and delivered in December 2021.

GPS/AutoStar computer operation: The operation of a Meade MAX mount is simplicity itself. Simply turn it on. If you are using a tripod-mounted scope in the field, you should have the polar axis aimed approximately at the north celestial pole before operating the scope. After installing, a permanently pier-mounted scope in an observatory will already be precisely aimed at the pole. A 16-channel Sony GPS (global positioning satellite) receiver on the top of the right ascension assembly uses a network of earth-orbiting government satellites to first quickly triangulate the scope's position on the earth with an accuracy measured in meters, then determines the time to fraction of a second accuracy.


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Other than the discussed techniques of fluorometry, colorimetry, and chemiluminescence, there are also other optical techniques used in ATP aptasensors like localized surface plasmon resonance (LSPR), surface-enhanced Raman spectroscopy (SERS), and resonance light scattering (RLS). Nonetheless, these optical techniques are not as popular as fluorometry and colorimetry. In the following section, the current status of applying the above-mentioned optical techniques will be reviewed.

Ataboy is a design-driven content creation studio that creates visual content for brands and agencies. Our team uses design, animation, live action and VR/AR to connect brands to their audiences.

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Through out the ancient history, Chinese astronomers had made tremendous achievements. Since the main purpose of the ancient Chinese astronomy was to study the correlation between man and the universe, all the Emperors made ancient Chinese astronomy the highly regarded science throughout the history. After a brief introduction of the achievement of ancient Chinese astronomy, I describe the beginnings of modern astronomy research in China in the 20th century. Benefiting from the fast development of Chinese economy, the research in astronomy in China has made remarkable progress in recent years. The number of astronomers has doubled in the past ten years, and the number of graduate students has grown over 1300. The current budget for astronomy research is ten times larger than that ten years ago. The research covers all fields in astronomy, from galaxies to the Sun. The recent progress in both the instruments, such as the Guo Shoujing's telescope, a Large Sky Area Multi-Object Fiber Spectroscopic Telescope (LAMOST), and the theoretical research will be briefly presented.


Why do you like being on set for shots. Can you talk about the benefits?

Nevertheless, WFH produced some positive results, too, such as schedule flexibility, the absence of a commute, the ability to see family more often and being able to work outside or in different environments. It also expanded meetings to include more people who had been excluded before due to physical space limitations and allowed many to multitask during meetings. And, perhaps best of all, it enabled co-workers to get to know one another on a more personal level through the introduction of family members and pets during Zoom calls.


By the time we got involved to do the visual effects, the final cut of the movie is locked

In addition, Meade precisely collimates the optics at the factory and sets that position as the default setting in the AutoStar computer. So, if a newcomer to astronomy succeeds in accidentally decollimating the scope, rather than collimating it, he or she can always return to the correct factory default setting by simply pushing a button.

We’ve noticed there is a growing need for cloud-based transcoding and image processing. In the past, these processes were completed mostly on-premises. Many content owners are aggressively seeking the most efficient ways to get a lot of work done remotely, which is bringing a larger-than-expected variety of customers to our platform.


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I started my working life as a silk-screen printer, so probably some art or craft-based work. I also like to think I could have been a photographer of some description or a director in film or theatre. I did quite a bit of acting at university, having not really done any before that, and was in a lot of plays and student films. I really got into it but left it there when I left uni.

We all love those “water cooler moments” or going out for lunch during work. That’s something we can’t replace, but we know that by creating together as we work remotely, we strengthen our sense of connection and community. When we do eventually get to meet, and when we can travel again, we’ll immediately become firm friends, as we have already created a strong element of trust and collaboration.


A group of generic buildings was procedurally destroyed, and thousands of these were placed around the scene to form the base of the old city. The landmark buildings were surrounded with debris and covered in ivy. Lighting was finessed to reveal enough of the painstakingly crafted detail and to give it scale while also creating a sense of threat and mystery.

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I am speaking to those who are paying attention. Who live with their hearts open, who are looking for the clues to take them to the next level, always. Every day, to grow, to be better people, to love more, to live more.


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I was never happy with my deep space images until I ponied up the money and bought this bad boy. Works well with my Astro-Tech 8" Newt and my Nikon D5300. Flat images to the edges, no more eggy stars!

Although the pandemic brought unpredictable challenges, we have weathered the storm without serious setbacks. We remained productive and were able not only to avoid staff reductions but also increase staff over the past year.


The visual effects we created for Mank were all photorealistic in the sense that they were not meant to be created for an action or sci-fi film. The whole idea is that you’d never know visual effects were used. The set extensions included sky replacements and set enhancements. In some cases, we removed modern objects like a lamp.

Slahi is physically tortured during his imprisonment, and Union altered some of the prosthetic makeup to simplify the scarring and make it more true to Slahi’s experience. This process was complex due to the shadow cast by the cell-door grill, combined with his facial contortions and expressions.


We do all the post at Take 5 Productions in Toronto, which is also where we shoot, and we have a great team of post people. I worked very closely with post supervisor Corrie Gudgeon and post EP Sheila Hockin.

Jan Guilfoyle: We provided 115 shots, 14 assets and two environments. The effects were mainly invisible.


Kong goes through a wide range of emotional states throughout the film, from tender moments with Jia to epic moments of rage. We carried out facial and motion capture for Kong, particularly for those shots that had extreme closeups or an intense emotional state that needed to be portrayed.

I am very satisfied with the results it produces for the price point. Plus, its lighter and makes balancing easier.


We use standard remote desktop options including Amulet Hotkey, Splashtop and AnyDesk to drive our in-house Blackmagic DaVinci Resolve, Autodesk Flame and Avid Media Composer. ClearView Flex, T-VIPS and other HD video streaming tools let us work in 4K and HDR and facilitate the secure streaming of content directly to mobile devices.

Our entire solution toolbox was built from day one in 2005 for remote workflows. Source-Connect, for example, is an industry standard for remote recording. Source-Nexus was born from the need to connect remote applications together “within the box,” removing the need for external hardware to make internal connections with our DAW.


Zoic has made it a point to heavily encourage a healthy work-life balance. It can be easy to get consumed working long days when your workstation is at home, but that is detrimental for employees and can lead to burnout.

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Over the past year, we have introduced several options for working remotely. We have implemented technologies including Zoom, Slack and Streambox that facilitate long-distance collaboration. Our goal was to incorporate technologies that our clients were already using and were familiar with so that there wasn’t a big technology learning curve for them.


With on-site productions, we get to humanize the process and establish care, but that affinity tends to get removed from a remote workflow. Companionship is a profound connection that builds trust and improves productivity. Perhaps the combination of both remote and on-site productions can be the solution to making the remote workflow easier in the future.

We are a design-driven, multidisciplinary content creation studio specializing in VFX, 3D animation, motion design and color grading. Our capabilities include live interactive remote color-grading sessions, remote Autodesk Flame sessions, a full-service CG department and more.


Looking like an interlocking yin yang symbol, or perhaps the symbol for infinity, this crop circle has been understood to have significant meaning by all who view it. What do the scallops mean around the edge, and why the count of 25 for the tiny dots found there? Once again this signified the Figure 8 wobble that has been so well documented by Nancy during 2004-2005 and again confirmed in 2007 and 2008. Move ahead 25 months from June 20, 2008 and you arrive at late July, 2021. Make of this what you will!

Yes, and we were very fortunate to be able to adapt to the new normal rather quickly. With offices in LA, Chicago and Boulder, we were already set up for remote work and were already sharing resources across all offices. We needed to make some adjustments but feel we were one step ahead of the game going into it.

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Microsoft Teams has been a game-changer for Zoic Studios. It allows us to hold full-company gatherings that allow us to continue building our culture, such as lunch-and-learns or companywide town halls. The democratization of collaboration with the platform has brought the company together rather than siloed us into our separate offices. With the MS Stream for desktop, employees can also record meetings that they are not able to attend and follow up with feedback later. Teams also has proved extremely helpful for training and deploying new workflows companywide.


One big challenge is that remote workers often need to change the way they think and communicate. Moving to remote editing requires good communication and solid SOPs for a successful transition. This is especially true when working in a collaborative editing environment; you want to ensure that you’re not overriding or interrupting the work that someone else just did. It’s easy enough to check with a colleague when you’re working in the same physical office, but not so much when you’re working from separate locations. So it’s critical that your team understands and consistently adheres to a set of operating procedures.

Separation is the source of the duality on this plane. The duality gets stronger as the acceleration takes place. It is in the face of adversity, of trial, of challenge, that the truth within us takes form within our hearts and is manifest for all to see.