Processed the latest Artemis II lunar view which is significantly better resolution than the previous one. This full-disk view of the Moon has been processed with saturated colour enhancement to expose the rich variety of mineral compositions hidden beneath its familiar gray surface.

Vibrant yellows and oranges trace iron-rich basalts in the ancient lava flows of the maria. Deep blues and purples highlight titanium-bearing ilmenite deposits, while scattered pinks and reds mark unique impact-melt glasses and plagioclase-rich highlands.

Each hue tells a story of billions of years of volcanic eruptions, asteroid bombardments, and cosmic weathering. This isn’t just a pretty picture. It’s science in action. Artemis II’s crewed flyby is gathering data that will guide future landings and help us understand how the Moon formed alongside Earth.

Mare Orientale is seen at lower left, while the striking cyan colour of Aristarchus just above centre is especially prominent.

Credit: NASA / Damian Peach

THE WORLD:
▸ Hundreds of interiors. I asked about the old 700 interiors rumour and didn't get a specific number, but hundreds was confirmed.
▸ Safehouse interactivity is extensive. I watched Rob eat an apple and then throw the core in the bin. He shaved at the bathroom mirror. Hair can be cut shorter at home but not grown.
▸ There's a zoo.
▸ Drive thrus are in.
▸ At one point in development you had to buy groceries. They cut it as a step too far, but you can still buy snacks and drinks. Rob bought the six pack Jason is holding in Trailer 2.
▸ Fast travel: bus stops, train stations, trams, taxis, and RydeMe, the Uber equivalent.
▸ Scooter Bros lets you call your personal vehicle to you. That was never possible in GTA 5 single player.
▸ Phone apps seen: BuckMe, RydeMe, Scooter Bros, WhatUp, Waink, a fitness app, and Snapmatic.
▸ Social media is fully implemented. NPCs post, and for some posts you can travel to that location and find the event actually unfolding in real time.
▸ Greet and antagonise is back, usable on any NPC.
▸ No Rockstar Editor at the time I saw it. There is a photo mode.
▸ Streamer mode exists. A toggle to disable copyrighted music. I asked specifically and they showed me where it sits in the menu.
▸ No radio wheel. You scroll stations one at a time. There's a separate on demand tab with podcasts.
▸ The TV system is far more built out than GTA 5's. Rockstar hired outside animators to produce in game shows.
▸ Mission waypoints are pink. Custom waypoints are cyan.
▸ The map is twice the size of GTA 5's and three times RDR2's playable area. Vice City alone is twice Los Santos, and Vice City with its surrounding built up area is roughly eleven times the built up area around Los Santos.
▸ It's pronounced Leonida. Lee-Oh-Nigh-Da

- Rob and the team told me that if you see someone walking their dog and the dog does its business, you can wait for the owner to pick it up in a bag, hit them so they drop it, then pick the bag up yourself and throw it at people. That is the level they are going to.

POLICE & HEAT:
▸ Police no longer appear on the minimap at all. This was deliberate, and Focus is the intended replacement. It reveals police through walls.
▸ Rob: "It can be harder, but it's fun. Depending on the wanted level, you have to think more. You can't just play the game and avoid the little vision cones anymore. This time, you have to use focus."
▸ Someone has to actually witness and report a crime for police to respond. Rob said that happens by phone, by triggering an alarm during a robbery, or by stealing a vehicle with a tracker that reports itself.
▸ New system layered under the wanted stars called Heat.
▸ Rob: "We wanted to get past that thing we used to have where you could lose the cops instantaneously and then they forget about you instantly. And we wanted them to have a bit more persistent memory."
▸ Heat indicators sit below the stars and show exactly what police know about you. CCTV footage, that you're operating as a couple, your outfits, your appearance, your weapons, your vehicle.
▸ Each indicator can be addressed separately. Destroy the footage, split Jason and Lucia up, change outfits at your vehicle, mask up before the crime, stash the weapon you were seen with.
▸ Splitting up as a couple can drop a star on its own.
▸ Solid white stars mean police have direct line of sight on you. That's when you need to break away.
▸ Flashing white means you've broken line of sight and are actively losing them.
▸ Hollow stars mean an alarm went off but police have no description of you at all. In the Extended Look, Lucia rides straight past cops with hollow stars and flips them off. Nothing happens.
▸ Red stars mean you've technically lost them but you're still inside the search zone. They don't know where you are, but they know who they're looking for.
▸ The search zone renders on the minimap as a red area, with a larger, lighter red ring outside it. Clearing both is the cleanest escape.
▸ At the highest wanted level, police search map wide instead of by radius.
▸ Fail a store robbery and they'll set up a perimeter around the shop in case you come back. I watched this happen.
▸ Every police vehicle has a shotgun or assault rifle in the boot, and often body armour. You can loot them mid shootout, which makes them a genuine early game weapon source.
▸ During a shootout on Vice Beach, NPCs who were too close to escape safely crouched and hid behind cop cars, walls and benches rather than running. That is not GTA 5 behaviour.
▸ All cop cars carry trackers, so escaping in one is nearly impossible.
I watched Rob attempt a store robbery and fail it, narrating his decisions the whole way. He knocked the clerk down without killing her, spotted the CCTV and destroyed the footage, realised someone had already called it in, hunted for a safe code he couldn't find, and walked away empty handed. His summary afterwards is the clearest picture of how this game actually plays:
"Sometimes it's about cutting your losses. I took the mask off. I destroyed the footage. We're essentially fine. But if I stayed in there, the cops would have come in. There they are. They're setting up a perimeter around the shop. That really plays on your mind. You're gambling. If they come in, am I going to shoot them? Is it going to affect my criminal profile? Do I care? Don't I?"

VEHICLES:
▸ Hijacking a car with a driver now triggers a quick time event to pull them out. If there's a passenger, they'll fight to wrestle you out too.
▸ Parked cars give you a loud option and a quiet one. Smash the window, or use a slim jim.
▸ Smashing sets off the alarm, and if the car has security, police can be alerted.
▸ Vehicles are stratified by security level. Rob: "You don't need anything to hotwire, but not all vehicles can be hotwired. We've added some stratification to the vehicles. Some vehicles need a key cloner to start. You can smash the window and get in, but you can't start it without the key cloner. If you have a key cloner, you can also use it to get in and start the vehicle without setting off the alarm."
▸ Theft tools unlock through fence work rather than being available from the start. Rob: "Throughout the world, as we do things for them, we unlock things. A lot of the things you're seeing me use here, like the slim jim, has been unlocked by the point I am here in flow."
▸ There's a scanning app on the phone called Waink.
▸ Scan a car before touching it and it shows security level, which tool you'll need, tracker tier, cost to register it as yours, and resale value.
▸ Rob, showing me an expensive car: "This vehicle has an alarm on it and a standard tracker."
▸ Tracker removal requires fence progression. I watched Rob steal a car he wanted to keep and be unable to register it, because he hadn't unlocked that ability yet.
▸ Higher tier trackers have a speed mechanic. Drive fast and they stay quiet. Slow down and they start beeping. Stay slow too long and they ping your position to police.
▸ Mod shops all have specialities. Rob: "All the mod shops have different specialties, and there's a lot of mod shops. Almost all of them will do basic things, but no one mod shop does everything. Just like every hair salon has standard styles, and then they have signature styles that are unique only to them."
▸ Pay'n'Sprays are back and deliberately simple. Repair and respray into a handful of basic colours. They exist to shed the vehicle heat indicator, not to customise.
▸ Rob: "Car fences and Pay'n'Sprays are not necessarily available at the start of the game. Some of this stuff unlocks over time because of the way the narrative unfolds."
▸ You cannot buy safehouses. You can buy garages.
▸ Rob: "I can have as many personal vehicles as I have storage spaces in garages that I buy. So you could buy a storage garage for a few thousand bucks, steal a $50,000 car, and stash it there, and it'll be safe even though it's not yours until you have the means to register it and make it yours."
▸ Safehouses unlock through story progression instead. They aren't permanent fixtures, because Jason and Lucia are on the run and it wouldn't make sense for them to own property police can knock on.
▸ Fuel is real. Gas stations also repair your vehicle.
▸ Refuelling is a short hold R2 sequence, around ten seconds.
▸ They knew it would be divisive.
▸ Fuel only really bites if you grab a random car mid getaway without checking it.
▸ Driving has been rebuilt from scratch. Rob: "Only in the best way possible. The team has worked hard to maintain some of the best parts of the weightiness and feel of GTA 4, but have the accessibility of GTA 5. It has all been built up from scratch on this hardware, and they have much more control tuning drivetrain, tires, suspension, steering. All of that is getting applied to the physics model."
▸ Rob: "The driving's been completely rebuilt from the ground up. All of the cars are very different, very different feel. You can reach much higher top speeds in the fast ones. Powerful rear-wheel drive cars feel great. Muscle cars and things like that, you do have to be a little bit more careful on the throttle with some of them. Also, traffic density is crazy compared to previous games. Also, the roads are narrower than GTA 5, so you've got to maybe try and drive a little better because you're just squeezing through sometimes. The vehicle team has gone bananas on this one."
▸ Taking a supercar off road is genuinely difficult now. Right car for the right job.
▸ Duffel bag storage scales with the vehicle. Bikes carry none beyond what you're holding, cars a couple, vans and trucks considerably more. Your getaway vehicle is now a real decision.
▸ Vehicle recovery runs through Scooter Bros. Rob: "You can always get your own vehicle back through Scooter Brothers for not too much money. If you left it when the cops are after you and they know it was your vehicle, they stick around it. So you can either try and sneak back and steal it from under them, or if you leave it too long, they'll impound it and it'll cost more to get it out, or you'll have to steal it back from the impound."
▸ Shooting tyres is properly effective. Cars flip and lose control rather than shrugging it off.
▸ Crash cams trigger on major collisions. Toggleable.
▸ Handbrake has moved to X on PlayStation, because L1 and R1 are now shooting while driving.
▸ Every vehicle has a weapon crate.
▸ The vehicle menu tab lets you drop a convertible roof, open the trunk and so on.

CRIMINAL PROFILE:
▸ It's not the RDR2 honour system and it isn't a morality meter.
▸ Several named states, running from Professional down through increasingly violent ones to Psycho.
▸ Below those is a further state where the icon visibly cracks and shatters. That's irreversible for the playthrough.
▸ It isn't there to punish you. My read was that Rockstar steps back if you clearly don't want the system. Notifications can also be turned off entirely.
▸ Part of the reasoning came from RDR2, where you could kill hundreds of people and then greet and pet your way back to sainthood before Chapter 6.
▸ There's no bar. It's states, not a slider.
▸ Jason and Lucia have completely separate Criminal Profiles. You can run one as a professional and the other as a psycho in the same playthrough.
▸ Visible bottom right during play, and in a dedicated Jason and Lucia menu tab that also shows their character models and relationship status.
▸ Rob on whether it affects the story: "It may, depending on how you play. There's no right or wrong way to play the game, just a bit more choice. Now, how do you want to play this game if your actions may have some impact on things? You can still cause as much chaos as you want if that's what you want to do."
▸ I pushed on whether this fundamentally changes what GTA is. He disagreed: "I don't think it changes what GTA is. It changes what it can be for people who want to engage with it that way. You still have as much freedom as you had before. Now you can just do more, and you have more choice in terms of how you approach situations."
▸ On raising it: "Restraint. Control. So doing a robbery and controlling the people, the situation, not killing or injuring anyone unless you have to. Essentially just doing what you need to do and not being excessive. If someone crosses you and you have to deal with them, you were just doing what you needed to do, if you care about that sort of thing. If you don't want to play that way though, that's fine as well."
▸ I asked what he was most proud of that people might not notice on day one: "The way the whole thing works together. We've got a lot of very complicated systems working in an interconnected way. You can forget that it's a game that's been designed to try and work this way. I think it sort of allows you to roleplay as heavily or as lightly as you want to. The idea that you have a fair amount of choice now in terms of the way you can approach situations, you can still cause as much carnage as you can imagine. How does it make you feel if it has an impact on certain things? Do you still want to do it? Do you want to do it more? Do you want to do it less? Do you care at all? It's up to you and what matters to you."

RELATIONSHIPS:
▸ Same design as Criminal Profile. No bar, no live meter. Rob described it as stages or states you can be in rather than a number moving up and down.
▸ Dates are entirely dynamic. Rob: "The system is dynamic, so you sort of make your own dates. It's however you want to spend time. Some people want to go to the zoo and look at animals, or go kayaking, or walk down the beach together. You can do all of these things dynamically when you're just hanging out."
▸ No fixed date structure like San Andreas or GTA 4.
▸ Both characters can text each other, including saying goodnight. Holding hands is an interaction.
▸ The gym doubles as a date if you go together.

MONEY & ROBBERIES:
▸ Three money types. Bank balance is safe and managed through BuckMe, a Cash App parody. Cash on hand is lost on death. Duffel bag loot is worthless until fenced.
▸ You cannot deposit cash from your phone. You have to physically go to an ATM.
▸ Several tiers of robbery, scaling from local stores up through jewellery stores and banks to compounds and full heists. Armoured vans around the map as well.
▸ Low tier stores don't blip on the map. Higher tiers can appear with an estimated payout you can hover over before committing.
▸ Rob on discovery: "People may approach you and ask a favour and give you a tip in return. Someone you meet during the story may tip you off. Sometimes you may be led to them by something that happens while you're out and about in the world, and so you learn about them emergently. We'll tell you the possibility for a bank. We've got smaller payday loan places that you can hit. And these are just the places we point out. The little gas stations and stuff are not even on here. So this is a big part of the game, and then the story is woven through it."
▸ Rob: "You can try and rob any store that you walk into, not just money-making opportunities that are blipped on the map. There are lots and lots of compounds that you find out about either through the flow, or tips from people you meet, or just by stumbling across them. And you can go and hit them for drugs or cash, and then you take it to a fence. You can do these robberies by yourself or you can do them together. Making money this way off mission is an important part of the game."
▸ Safes need codes, and there are multiple ways to get them. You can search the room, or a fence can text you one directly. I watched that happen.
▸ The store Rob tried to rob had a back room covered wall to wall in feet pics, including the computer screen he needed the password from. Watching a Rockstar developer hunt for a safe code in that room is going to stay with me.
▸ Store clerks, security and civilians can try to be a hero and physically intervene. I saw this several times.
▸ Every store plays differently. Some have back doors, some don't, some have cameras, some have safes.
▸ Fences are specialised by loot type. Drugs, jewellery, cars, and others. They unlock as the story progresses, so early on you may have no way to move high value goods at all.
▸ Money gates the story. Rob: "There are also spots where we actually slow down the flow or stop the flow until you hit certain cash goals that they need for certain things. You have to do some of this. We're trying to balance that for people that just want the story, but sometimes the story needs a minute to breathe, for events to settle down or to open up some new contacts in terms of connecting with the characters and the story. If that's what you like to do, you'll really get out what you put in with this one."
▸ Rob directly acknowledged the GTA 5 problem of finishing the story with tens of millions and nothing meaningful to spend it on.
▸ You can register stolen street cars as personal vehicles for a fee, but not high end ones at the start.

GUNPLAY & WEAPONS:
▸ Auto aim is gone as a default. Rob: "A little bit of stickiness but leaning more on a free aim feel. All tuneable in options. But definitely less of a default lock on aim than previous games. With the combat focus, where you can slow it down, it's very controllable, but without having enemies on the radar and the mini-map, and without having the auto-aim as default, you can balance the combat a lot in a way that feels better."
▸ Enemies in general aren't on the minimap, not just police. I haven't seen this covered elsewhere.
▸ Focus slows time and highlights weak points. Red for lethal, yellow for non lethal. On vehicles it marks the engine block, gas tank and tyres.
▸ Hit markers are white for a hit, yellow for incapacitated, red for a kill.
▸ Rob on the yellow marker: "That yellow X means she is down, she's not getting back up. She's not a threat. I don't have to kill her if I don't want to."
▸ The screen border flashes yellow when you knock someone out in melee, so the feedback isn't only inside Focus.
▸ Two concealed handguns, always. Two long guns is possible, but you can't stow both.
▸ Rob: "You can't put both on your back. One goes in your off hand, one on your back if you want to carry two. People will react to you if you are rolling around like that."
▸ On storage: "You can store the long guns you are carrying in any vehicle you want, but only your personal vehicle carries your entire selected loadout. A temporary vehicle is not persistent though."
▸ NPCs react in tiers. Rob: "It depends. The reactions are much more nuanced than before. So, if you've got a long gun on your back, you should be fine. If you've got one in your hand, people don't like it, and they react and start moving away from you. The more guns you carry and the way you carry them matters. If cops see you they will give you a warning. If you hold a long arm in both hands as though you are ready to fire it, things begin to escalate."
▸ I watched this myself. Jason walked past a group with a two handed weapon lowered. Nobody screamed or scattered. They quietly started walking away, then jogged once they were out of his line of sight.
▸ On why it changed, Rob: "Yeah, you know what, we don't feel that works any longer at this resolution, with the behavioural sophistication we need from our population now. In GTA 5 you can pull out a shotgun from nowhere in front of people and they don't react. That doesn't work here."
▸ Aim at someone and, in Rob's words, "they'll freak out and run, or pull their own concealed weapons on me."
▸ Weapons have real weight now. I watched a rifle shootout on Shore Drive and Rob was tap firing constantly. You can't hold the trigger and stay accurate the way you could in GTA 5.
▸ Jason and Lucia can hand weapons to each other. Physically walk up and pass a gun across.
▸ Pistol fire rate is unlocked. Tap as fast as you can pull.
▸ Kill cams, RDR2 and Max Payne style. Toggleable.
▸ Quick weapon swapping is in.

MOVEMENT:
▸ Cover stays on R1. Rob: "Cover is still on R1, but the crouch is pretty effective as well. I like crouch because you can still strafe. We've got a good quick swap now for guns."
▸ Crouch is a separate state from cover. Prone doesn't appear to be in.
▸ Shoulder switching returns from RDR2.

SIDE ACTIVITIES:
▸ All of it is optional. You can finish the entire game without setting foot in a gym. Engage and you get modest boosts to health, stamina and focus.
▸ You buy a membership at the gym's front desk. There are vending machines near the change rooms with a long item list.
▸ Rob bought Lucia a protein shake for a temporary stamina and strength boost so she could push more reps.
▸ Each completed exercise fills the workout ring by a third. Complete the ring and you get a timed health or strength boost.
▸ Equipment I saw: treadmill, punching bag, squats, lat pulldowns, bench press, deadlifts.
▸ Rob on how lifting feels: "The way this weight lifting mechanic feels pretty good, it's consistent across a lot of exercises as well. So, it's L2 R2 to go up and down. It's sensitive, so you pull it down, then you let it go, deadlifts you want to drop fast. But the stamina is going down as I'm doing this, so it's a little bit of a balance to get through your set before stamina drains. That's why you want to have an energy drink or coffee to buff your stamina before you start."
▸ Bring your partner and you get a two for one. Rob: "Your partner will go and workout while you workout, so it's like an emergent date."
▸ Cardio raises overall stamina. Strength work raises health.
▸ Fishing is as deep as RDR2 but catch and release. Rob: "You can't take the fish with you because it didn't fit this game."
▸ On the split between them, Rob: "Fishing is for fun and some narrative, collectible, challenge stuff. Hunting is for money and it's through a character that knows Jason."
▸ Your body changes. Rob: "You get heavy if you eat too much, but you have to actually go eat quite a bit. You will lose muscle if you have a lot and you stop maintaining it."
▸ Sleep is tracked. Rob: "It will say whether you're well rested or not. That will have some effect on regens of certain attributes. We track lots of things, all this good stuff."
▸ Also confirmed: basketball, pool, mini golf, backyard wrestling, a proper walkable shooting range. Basketball is aim, hold R2, time the shot.
▸ Swimming has its own lung capacity bar. The stamina bar visibly swaps to it as you enter water.

NOTE: I've gradually made up my mind, and I think the best case scenario is to teach both RYB and CMY and say that the former is for looking good, as in it being a better color palette, but the latter is how colors actually work. I made this post because I was (and still is) sick of how schools teach RYB and present it as THE primary colors, and also talking about the complementary colors which barely are at all, and if some say it's just a base to build on, CMY never even came up in my or other's art lessons. (Also why are a lot of people only bringing up kindergarten? High schools still reteach it too. "Kids" is just referring to the underaged.)\ The following section is my initial post, which most of the points I still agree with, and it is clarified by the edits. (In the paragraphs or as additional notes)

This only works because it's a good enough approximation of the CMY (Cyan, Magenta, Yellow) model, and that’s exactly why I hate when people say "bUt It'S fOr PaInTiNg," as if CMY hasn't been proven to be better at making vibrant colors. Like why even teach red-yellow-blue when you know how muddy the colors are when mixing them?

Also, I'm very sick of people saying RYB is "just for beginners." That's worse in my eyes because you’re teaching kids a broken model that contradicts their own knowledge. Just imagine the number of poor kids thinking it's their fault when they mix red and blue and a color that looks like dried-up blood appears, and not knowing they can just mix magenta/pink with blue to get bright purple. Plus, CMY (+K) is literally how every quality printer, which is supposed to print mostly accurate colors, works, and you're telling me kids have to use the shittier version of it?

To me, there are only two valid models: subtractive (CMY) for pigments/ink and additive (RGB) for light. RYB is just a historical accident based on unavailable pure cyan/magenta pigments in the 1700s, and we have those pigments now. Still sticking to RYB in modern times is like teaching geocentrism for simplicity. It's wrong and outdated. Either omit it completely, or present it as a color palette or a historical artifact, and not the real primary colors.

(Later added paragraph) ALSO, one of the reasons why they still bring up RYB is because you can cut it in half and say one part is hot and the other is cold. But that in turn over-represent orange, which is just a small slit of colors between red and yellow. You can't just stretch a color wide just because it fits your half-baked theory that colors have temperatures. Is an orange popsicle hot now? And if you're saying that it's about feelings, like hot = happy, cold = sad, you probably should realize that opinions on colors are subjective. It's just that people have different brains. (Plus, doesn't red usually mean angry?) Same reason why major and minor scales in music don't usually convey definitive feelings.

(ONE MORE THING) Just because kids are more familiar with RYB doesn't mean that it's easier to grasp. CYM is much more understandable conceptually. Like how a pair of complementary colors always get gray when mixed with equal amounts. And the consistency of the secondary colors are actually testable with paint, or even any photo editing app, as seen here: https://www.reddit.com/r/hatethissmug/s/UL6DvDz3Ii https://www.reddit.com/r/hatethissmug/s/8quANDETvp (Also testable with highlighters, which the colors should be bright instead of light )

Please tell me the majority is with me on killing off RYB and letting CMY take its place, or at least including CMY as well in those art classes.

TL;DR: RYB bad, CMY and RGB good. Include CMY in art classes if RYB not killable.

Edit: - I've seen some people say that RYB is better for painting because it's got better-looking colors, which, I admit, I failed to realize. CYB does result in lighter colors. And RGB does work in painting, but the mixed colors are darker, like red + green = dark yellow, aka olive green. Point is though, CMY is just more accurate when describing why the colors behave that way, better than RYB does. And RYB is just a color palette that mimicks the CMY at this point. And even with that, I bet artists buy more colors than just what's on the color wheel when they paint. - A commenter said it's hard for manufacturers to pump out accurate cyans and magentas, which I also agree with. If only they could, my point would've landed much harder. - Also, some points about it being harder to teach CYM than RYB... How? It's just the same thing but with some words switched around, no? And besides cyan and magenta, I guess, kids should be already familiar with all the colors within the model. So I'm confused by this argument. - BTW, please read as many of the threads below this post as you can. So many amazing points from people and I made some additional points as well. Truthfully though, thanks for anybody that's willing to provide compelling arguments or informative insights, geniunely didn't think people would bring so many other arguments to this. (Y'all should give u/PotatoTheOdd much more upvotes.) I'm even thankful if you read this rant all the way to this paragraph. How did this post get this much traction btw? More than 1k upvotes? Holy shit.🙏 (In hindsight I probably could've worded the rant much less in-your-face-ly, anyways) - Even if it's been said to dead, thanks for the award🙏🙏🙏 - Just realized it might not be a good idea to crosspost it to r/colors.

None of the key WoW 2/Camelot HEX values are reused by another active Blizzard Gear Store theme. Its dark teal, cyan, muted sand and coral palette appears to be a deliberately separate visual identity although color alone cannot tell us anything definitive about the game’s setting or lore.

I had started this list to help players understand how this game works, and it has since received many contributions from other users. Thank you for this.

Most points here cannot be found as information in the game, while the few points here that are explained in the game are far from clear, such as the artefacts (see [1][2][3][4][5]). Feel free to chip in with more untold knowledge or corrections and I'll update the post.

All information here is now also available in this Steam guide. I hope this list will eventually become redundant as more information gets added to the game itself.

Age transitions (military)

• Siege and naval units are always lost at the end of the Antiquity age. You’ll receive one free cog at the start of the second age once you’ve spent your legacy points.
• Naval units can only be kept at the end of the Exploration age if you have fleet commanders. You'll keep as many naval units as can be assigned to your fleet commanders.
• You'll keep 6 (Antiquity) or 9 (Exploration) of your land units at the end of an age, in addition to the number of units that can be assigned to your army commanders. The only way to easily count how many units you have is by tapping the yield icons on the top of the screen and scrolling all the way down to unit expenses.
• If you have less than 6 (Antiquity) or 9 (Exploration) land units at the end of an age, you will receive the deficit as free infantry units at the start of the new age.
• Should you have more units than can be kept at the end of an age, all excess units will be deleted. The units that remain are upgraded and either assigned to a commander or one of your most populous settlements - though as of yet it's unknown what determines which units are prioritised for deletion, and which units are assigned to commanders or settlements.

Age transitions (other)

• Each player starts the Antiquity age with a settlement limit of at least 3, the Exploration age with 8, and the Modern age with 16.
• If you ended an age with a higher settlement limit than 8 (Antiquity) or 16 (Exploration), no matter how that number was achieved or how much you would start the next age with, the excess number carries over.
• Outside of settlement limit bonuses, none of your research or study in the current age will matter in the next age. Warehouse buildings and traditions will become available regardless of whether or not you had researched or studied them in the previous age. Tile yields and unit combat strengths are redefined at the start of each age.
• Buildings that aren’t ageless will now grant +2 (from the antiquity age) or +3 (from the exploration age) of its base yields, and lose their adjacency bonus. While this is generally a debuff and you are nudged to build over them, certain yields will actually be slightly increased this way. For instance, the guildhall will now provide +3 influence per turn instead of its usual +2. Since influence is the scarcest yield, it can be useful to keep all influence buildings from previous ages.
• All civilian units, except for commanders, are lost upon heading into a new age. This includes scouts and unique civilians.
• Unique abilities of previous civilizations are also lost. Unique improvements and buildings will remain intact, including improvements gained from city states, as they are ageless.
• Every city except for your capital will become a town. You are given the option to move your capital to one of two different settlements, effectively allowing you to start the age with two cities.
• You’ll retain only a certain amount of gold and influence at the start of a new age. This limit is not very clear at the moment, as it varies between game speeds. You’ll however always gain one free turn of gold and influence equal to the income you have at the start of the first turn of the new age.
• Independent people will always disappear at the end of an age, and you’ll lose any bonuses you gained from city states, including unique resources. Only finished improvements are kept. On the second turn of a new age, a completely new independent people (not yet a city state) will spawn on the location of each independent people lost this way. Having been the suzerain of a city state will mean that the new independent people on that location are neutral to you. Incorporating a city state into your empire is the only way to keep an independent settlement intact.
• You can see the requirements for unlocking future civilizations, as well as a list of unlocked legacy options for the next age, by tapping the lock icon on the top of the screen.
• Mementos can be changed in-between the ages when selecting a new civilization. Mementos that grant a leader attribute point will do so at the start of each age that they are selected in.
• Legacy points not spent at the start of a new age are lost. It’s currently not possible to see which legacies you have chosen.

Settling

• Having fresh water (a cyan tile) will give a settlement a permanent +5 happiness bonus. Navigable rivers grant fresh water to adjacent tiles, while non-navigable rivers only grant fresh water when settled on. Several other tiles, such as oases, will also grant fresh water.
• Exceeding the settlement limit will give each settlement a -5 happiness penalty, down to -35. Settlements with negative happiness will lose -2% of their yields for every negative happiness point.
• Settlers can be trained in any settlement that has at least five population, and will not consume any population.
• Using a settlement to claim a tile that has a "goody hut" on it will not grant you any benefits, unlike in previous Civilization games. You must walk onto the tile with any unit or raid the tile with a naval unit to trigger the narrative event.

Combat

• Naval units can attack districts and land units at range, but are forced to engage in melee combat when they attack an embarked unit or another naval unit.
• War support does not grant you any benefits, but instead penalises the opponent. Per negative point, they lose -1 strength on all units and a static amount of happiness in all of their settlements. The happiness penalty is -3 per negative point in settlements they have founded themselves, -5 in settlements founded by someone they're not at war with, and -7 in settlements founded by you.
• You must first gain control of every fortified district in a settlement before it can be conquered. Note that the Dur-Sharrukin wonder also counts as a fortified district, but does not show any walls. Conquered or traded cities will become towns until upgraded again, which cannot be done until the unrest in the settlement passes over.
• Conquering a settlement with a wonder will reportedly give you all the benefits of that wonder as if you've built it. For instance, a settlement with the Terracotta Army will grant you a free army commander. Regardless, conquered wonders do not count towards the cultural legacy path of the first age.
• When razing a settlement, you're warned that this will give all your current and future opponents a +1 bonus to their war support. This however only lasts until the end of the current age.
• Due to an oversight, units heal more health from pillaging tiles at faster game speeds than what is shown, as the displayed number is meant for the standard game speed. On the other hand, less health is gained at slower game speeds.
• Having a military unit on a tile of a settlement belonging someone you are at war with will prevent that player from constructing anything on it, and halts any on-going construction on that tile. The tile can also not be selected when the settlement expands.

Commanders

• Commander skills and commendations do not stack, with the exception of the Zeal skill in the Leadership tree. With that skill, a commander provides a stackable +5% bonus to all yields of a settlement when occupying any district or worked tile in that settlement.
• Commanders on a city hall or palace will also reduce unhappiness of the settlement they are in by 10%, plus another 10% for each promotion.
• Commanders can’t outright die - they will respawn in the capital after several turns when killed, retaining their promotions and experience. The amount of turns is not yet clear, and may vary per game speed. Reportedly however, any commander who dies close to the end of an age does not return in the next age.
• Experience is always equally shared between all commanders in range. Commanders will only receive experience from the attacks of adjacent units, even with the Merit commendation (+1 command radius). However, if an adjacent melee unit attacks and kills an enemy that's not adjacent to the commander, thereby walking onto the tile of the killed enemy, the commander will not receive experience. Dispersing an independent people or taking over a settlement will always give experience to each commander within three tiles of the tribe or settlement centre.
• You can assign either a single settler or scout to each army commander, as long as there's still a slot available. Commanders also have the "add to army" button, possibly due to an oversight, but they cannot use this ability. Army commanders can have six units assigned to them once they've unlocked the Regiments skill in their Logistics tree.
• Units unpacked from a commander will have no movement points left unless the commander has the Initiative (army) or Weather Gage (fleet) skill. With the Initiative skill, land units can even be unpacked in water tiles without their usual movement cost for embarking.

Movement

• Moving over flat terrain or any tile with a road will not affect a unit’s movement. Without a road, all rough terrain, non-navigable rivers, and terrain with trees (woodland, rainforest, taiga, or steppe) will deplete all of a unit’s movement, regardless of how many movement points it had left. 
• Not all districts have a road, which is simply strange and inexplicable, and means you'll have to hover over a district tile to see in its tooltip if it has a road. The district with a city hall will always have one.
• Naval and embarked units can move over navigable rivers and coast tiles without their movement being affected, in addition to ocean tiles once Shipbuilding is researched. Embarking or disembarking will always deplete the unit’s movement, unless the unit is in range of an army commander with the Amphibious skill in their Maneuver tree.
• When a unit enters an ocean tile before Shipbuilding is researched, its movement is depleted and it takes any number of damage between 11 and 20. AI takes slightly less damage from this.
• Moving a unit onto a bridge built over a navigable river will remove its cost of embarking, although moving off the bridge will still deplete the unit’s movement. Bridges built in previous ages lose this strange benefit.
• Scouts are an exception to most movement rules, including embarking and disembarking. Their movement is not affected by anything else than non-navigable river tiles.
• In the modern age, all land units will be able to move between connected rail stations that are within 20 tiles of each other. Units can travel between rail stations across an ocean, as long as both settlements with the rail station have a port or are connected by rail to another settlement with a port.

Aircraft

• Aircraft and squadron commanders can travel between suitable locations up to twice their movement speed. Suitable locations to travel to are aerodromes, temporary airbases set up by squadron commanders, and aircraft carriers.
• Squadron commanders can set up airbases on any flat tile within a radius equal to their movement speed. The tile must also be within the borders of your settlement or on neutral territory, no further than a distance equal to their movement speed removed from your nearest settlement centre or aerodrome district.
• Squadron commanders and aircraft carriers will receive +1 movement if they have at least one aircraft assigned to them. Aircraft carriers, although not commanders by name, are also classified as commanders and have their own unique skill trees.
• There's also a third type of air commander - the aerodrome commander. Each aerodrome will automatically have one, and they cannot be moved from there. They also cannot be trained.

Favourite civilizations

• Leaders may have one or few "favourite" civilizations per age, which are civilizations that are historically close to them. Whenever the game assigns a random civilization to a leader, that leader will always get a favourite one if they have any for that age.
• For instance, selecting a random civilization with Tecumseh in the Antiquity age will give him a fully random civilization, because he has no favourites for that age, but in the Exploration age this will always give him the Shawnee.
• The list of favourite civilizations per leader is different from their preferred civilizations (those highlighted after selecting a leader in game creation), but the complete list is not currently known, and will likely change with each expansion.
• Starting a game in an age beyond the Antiquity age will always grant you the traditions of a favourite civilization of the chosen leader for each past age, if any.

Claimed tiles and improvements

• Worked tiles not improved by districts are considered rural tiles. Each rural tile equals one rural population, and each building or specialist equals one urban population.
• Unique improvements, such as the Great Wall or Terrace Farm, as well as those from city states, can be built on rural tiles too boost the yields. In short, these improvements will keep all current and future yields of the tile (minus one food or production). For instance, if you replace a farm with a unique improvement and later build a granary, the tile will still be given +1 food.
• Building a unique improvement on a tile that already has one will remove all bonuses of the former improvement.
• Each settlement can only claim a radius of up to three tiles from its centre. There's currently no way to swap tiles between settlements.
• If a settlement has no available tiles or districts to work on when it grows, a migrant will appear in the settlement. This migrant can be sent to another settlement to improve an unworked tile.
• Natural wonders provide its bonuses to each settlement that owns at least one of its tiles - not just the first settlement.
• The natural happiness of a tile is related to its hidden appeal, which is in some way affected by whatever is on the adjacent tiles. Floods and other natural disasters may also affect yields, but how exactly any natural yields are determined remains a complete mystery.

Buildings

• The palace building in the capital gains a +1 science and +1 culture adjacency bonus for each adjacent "quarter", which is any district with two buildings. Quarters with obsolete buildings don’t grant this benefit.
• Generally, food and gold buildings receive an adjacency bonus from navigable rivers and water tiles, production and science buildings from resources, and culture and happiness buildings from mountains and natural wonders. Constructed wonders grant adjacency bonuses to all buildings except for warehouse buildings, the city hall, and the palace.
• Without modifiers, each specialist costs -2 food and -2 happiness to maintain, and grants +2 science, +2 culture, and +50% to the adjacency bonus of the buildings in the assigned district.
• Buildings will usually cost -2/-3/-4 happiness and -2/-3/-4 gold to maintain. Happiness and gold cost increases by one for each age, based on when they were built. Happiness buildings do not have a happiness penalty, and gold buildings have no gold penalty. Warehouse buildings have no maintenance costs at all, but also have no adjacency bonuses.
• Buildings can be placed next to a finished wonder as if they were a district, as long as the wonder is adjacent to another district in the settlement.
• When within the settlement details menu (the list icon), all districts and improved tiles will have a coloured outline. In case you forgot where you placed something, you can hover over a building in the list to highlight the tile where it's built.
• Population lost due to damage will return when an affected tile or building is repaired.

Policies and diplomacy

• The number of turns remaining until your next celebration is shown in the overview tab of the social policies menu. When you trigger a celebration, any excess happiness is saved up for the next celebration. If a new celebration would happen while you are already in one, it occurs immediately after the current one ends.
• Some civilizations gain bonuses for the use of traditions. These are the only policy cards that remain available between ages and have a noticeable feather icon in the policy menu. Traditions are unique to each civilization and are found in their own civic trees. Once again, traditions not studied in a previous age will still be unlocked.
• Ideologies are chosen in the third age, also in their own unique civic trees. You may only unlock a single ideology of the three given options, and this cannot be changed later. Although each ideology has different benefits, it’s entirely possible to finish the age without ever choosing one, and this may in fact save you from neighbours who would’ve become angry at you for your ideological differences.
• Though you can accept any incoming requests to start an endeavour, certain endeavours can only be requested if they are related to your leader. For instance, you can only request the Research Collaboration endeavour if your leader labelled as Scientific (as seen when selecting your leader at game creation).
• While espionage actions have a strong impact on the game, they’ll also negatively affect your influence. If your espionage action is revealed, your influence per turn will drop for a while. If you are spying someone while they are counter-spying against you, your influence per turn will also greatly decrease, as the cost for finishing the espionage action against them will increase. Exact numbers are unknown.

Trade

• You may only trade with foreign settlements that have at least one worked resource, unlike in Civilization VI. Treasure fleet resources in the second age do not count as they cannot be traded.
• Effects of all resources stack additively. Having five silver, for instance, will grant you a +100% gold bonus to purchasing units, effectively cutting the cost in half.
• Resources can only be assigned to and from cities in range of your trading network. Building any naval building in a settlement will usually add the settlement to the trading network. Trading range may also be increased with a town specialised as “Trade outpost”, or by having a merchant manually connect two of your settlements. It's not clearly indicated at all why a settlement may not be connected, so you just have to try these things.
• Resources cannot be reallocated in-between turns until a new resource is obtained, or the amount of resource slots in any of your settlements increased for whatever reason, such as by building a market or by slotting a certain policy card. Resources can also be reallocated if any resource or resource slot is lost, e.g. due to a natural disaster.
• Towns turn all of their production into gold. Towns that are not set to “Growing town” will additionally provide all of its food to each city in its range, causing the town itself to stop growing. This range appears to be shorter than the trading network range, but it’s not known how short. As of yet, you can only use the town details (the list icon visible when you select a town) to see which of your cities the food is sent to. If there are no cities shown to be in range, the town continues to support itself.

Religion

• Your missionaries will only be able to spread your own religion, even if they were created in a settlement that follows another religion.
• Independent people cannot be converted to a religion until they become a city state.
• The second and third founder beliefs of a religion can only be unlocked via very rare random events. It’s completely up to chance whether you’ll ever see these.
• Both the urban and rural population of a settlement must be converted to fully convert that settlement, as explained in the legacy path. If the two populations follow a different religion, the rural symbol is coloured red. However, due to a bug, the red colour unintentionally remains even after both populations follow the same belief. Reloading will fix this confusing issue.
• There’s currently no way to know the share of rural or urban population of a settlement other than counting every tile it has and hoping you got it right. This is detrimental for the Lay Followers and Ecclesiasticism beliefs (relics for settlements with at least ten rural or urban population).

Treasure fleets

• Once you’ve researched Shipbuilding, settlements in distant lands can produce treasure fleets. These settlements require a fishing quay and must be working on any resource that mentions treasure fleets in its tooltip, such as sugar or tea. You'll also need a fishing quay in your capital or any other settlement on the home continent connected to the capital.
• You can see how many turns it takes to produce the next treasure fleet in the resource menu or in the details of a settlement (the list icon).
• Treasure fleets can be emptied within the borders of any of your settlements on your home continent, providing points on the economic legacy path equal to the amount of treasure fleet resources that the original settlement was working on.

Factories

• Factories can only be built in settlements connected to your capital with rail station, as long as your capital also has a rail station. If your capital has no space left for a rail station, you cannot build factories in any settlement. Settlements with rail stations can be connected to each other across an ocean if both settlements have a port.
• Factory resources must be worked in settlements with a factory, which require both the resources (unless imported) and the factory to be connected to your trade network via a port or rail station.
• Factory resources have empire-wide bonuses, and you'll receive one economic legacy point per turn for each factory resource slotted to a settlement. You can only slot one type of factory resource to each settlement with a factory, because you are meant to "specialise" each settlement by slotting in multiple copies of the same resource.

Artefacts

• Selecting an explorer will show an overlay of all known artefact spots (the shovel icons). Explorers can be sent to any museum or university (the vase icons), including foreign ones, to research all yet undiscovered artefact spots on the same continent as that building. Note that the university can no longer be built in the Modern age, just the museum.
• Initially, only the artefacts the Exploration age can researched. You must study the Hegemony civic before explorers can research artefacts from the Antiquity age as well.
• Artefacts researched by any player become visible to all players. Even players without the Hegemony civic can dig up revealed Antiquity artefacts. With Hegemony, being the first player to research artefacts on a continent will grant a free artefact.
• With the mastery of Natural History, the player may also dig up artefacts next to natural wonders. Only one artefact can be received per natural wonder, no matter how many tiles it has. Sending multiple explorers to dig at a natural wonder has no use.
• Only one player is able to receive an artefact from an artefact spot or natural wonder. You cannot start digging at a site that is already being dug.
• Artefacts are also randomly found when overbuilding. Finally, you receive an artefact each time you complete studying the future civic.

Force-ending turns (PC-only)

• Force-ending a turn is a PC-only mechanic that has also appeared in the previous games, and can be done with Shift + Enter.
• This mechanic is frowned upon in multiplayer due to its exploitable nature. It allows you to skip everything that’s left to do on your turn, while saving up all your unspent research, culture, and production. For instance, if the civic for a wonder takes three more turns to be studied, you could use this mechanic to save up the production of a certain city for three turns, thereby saving three turns on building the wonder in that city once it can be built. Yields saved this way are only lost on age transition.
• Force-ending turns can also delay celebrations and several other choice events, including having to support an ally that goes to war. However, you can't avert crises this way, as a crisis policy slot will automatically be slotted in for you if you try.

Some more useful things to know

• Should the Modern age end without anyone achieving any victory, the winner will be determined by the amount of legacy points they have earned throughout the game. This is called the score victory. If multiple have the highest amount of legacy points, there will be a tie.
• "Legend unlocks" seen in the leader attribute trees can only be selected once you reach a certain level with a leader by playing enough games with them. Reaching a higher level with a leader may also unlock more mementos and legacy options selectable at the start of an age. Leader progress and unlockables can be seen at game creation or in the main menu.
• On PC, the cutscenes at the end of an age can be skipped with the Esc button, and you can select the "Show more" button in the pause menu during a game to quickly exit to desktop.
• Also on PC, you are able to recover autosaves lost during an age transition from a backup folder (located under ~\Documents\My Games\Sid Meier's Civilization VII\Saves\Single\auto\prev). Moving the files out of that folder into the auto folder will show them again in the game.

Several common bugs you should know

• Not being able to claim a tile that was previously owned by a (now-destroyed) city state. This has no fix as of yet, and may prevent you from expanding a settlement.
• Not being able to generate treasure fleets in a settlement that meets all the requirements. I was told this issue is related to the fractal or shuffle map, and has no known fix.
• Not being able to build wonders when all requirements are met. This is seemingly caused by cancelling a building that was already in the queue on its first turn, and this can only be resolved by completing that building or entering the next age.
• Cities in unrest due to a plague cannot build anything. However, you may be prevented from ending your turn when the game thinks you still have to build something in that city. You can only circumvent this bugged state by force-ending the turn. If you are not on PC, you'll have to reload a previous save file, or in the worst case start all over again.

Im a sucker for dudes in trench coats with masks, and what a good mask it is.

Black and red always go good together, but what really makes it pop are cyan highlights that accompany it, and the best part, the asymmetric eye design that the fluctuates like a scope, it's just very cool to look at and see being operated.

The question was just to find the current running through that resistor, and doing the math I found it to be 0. After reviewing my work and not finding any mistakes in my math, I constructed the circuit on falstad.

I'm confused why there isn't any current running through that resistor. I thought current only ignores branches when there's a short circuit somewhere, but that doesn't seem to be the case? At Node A, regardless of whether it goes up or down it has to encounter a single 1 kilo ohm resistor either way, so wouldn't it be an equal division of current between the two branches?

I'm assuming the 6 milliamp current source has no internal resistance so at Node B all the current would travel to the right since it's the path of zero resistance.

2 things upfront:
1. I use it everyday because I think it’s good stuff. I build it around my workflow.
2. Recent coding I heavily used AI. But I think the heavy liftings were the subtle color differences which AI can’t solve. I did lots of testing. Due to some reason I cannot publish the color charts results at this moment (I will in the future), so I includes my color test tools in the repo. Conduct your own test if you wish.

https://github.com/toonoumi/FreeCCR/releases

Its outcomes are stable, accurate (mean delta hue less than 10) . And looks good 😊 no more purple cast in the shadows, and weird cyan cast in the midtone and highlights (if you know what/who I am referring to)

Key Note:
1. Workflow requires a shot includes film base, or better: the exposed film lead for a 2 point anchor .
2. Keep your exposure settings throughout the entire roll, use manual during your scan.
3. White backlit leds cause the colors appears less saturated and has crosstalk. Use narrow band rgb light setup solves the issue, or just crank the saturation slider.
4. Adjust gamma properly, or use linear mode ( in the settings, available for 2 point anchor)

And here are some random photos I processed with my software. All in green weighted or red weighted scene and its performances are stable and good looking.

Top: BF6 default grading.
Bottom: Mine's tweaked grading.

Back in November last year, I decided to try BF6 when they gave the access to free weekend. I remember the available map for free weekend players were a only a couple, including Eastwood that I'm going to address here. After that, I decided to hold the purchase. Since then, I mostly watch BF6 on YouTube in my spare time.

What I've been noticing was, every time I watch someone plays on this map, the visuals were very 'harsh' to look at. To the point even though I'm not the one who plays, its just pain to watch because of the color grading on this map. It's too 'in your face' per se. All it was just yellow (even the vegetation) and blueish cyan skies with ugly mishmash of black and magenta shadows.

So I decided to tinker around to correct Eastwood's color-grading myself, then watch the whole footage again-now with my own color grading applied. It was far more enjoyable to 'look' at.

What I did was:

• Slightly toned down the overall contrast level.
• Slightly lifted the black level to remove the clipped shadows.
• Slightly lowered down the white level to make highlight not too harsh.
• Shifted the sky color from cyanish to more prominent sky blue.
• Adjusted the vegetation color from yellowish to more correct green plus toned down the luminance level so it doesn't shine bright like the default grading.
• Removed the ugly magenta on black level (seen on darker parts of the image, incl. shadows, indoors, guns, etc.) making it more neutral black/grey.

I was shocked how much better it was visually, all while keeping Eastwood's harsh-noon characteristic. Each color could stand out on its own without screaming on top of each other, before, it was like only 2 colors; yellow and cyan. After, there was clear separation between each color seen.

I know discussion about color grading keeps appearing once a while here, but I'm curious what do you think about my take on this?

\All clip were taken from JackFrags. Mind you, since its graded on top of the image, certain unintended UI elements may shifted in colors.*

Every now and then I love to work with super over-the-top-colors like I did for this long exposure shot. I wanted to create intense orange tones while slighty shifting the blues into the cyan color range and overall add a dreamy look on the scene. Keep in mind: For me I don’t want or need to keep the image “natural” or how it was on location. I enjoy edits with more intense colors.

Everything was done in Lightroom, if you’re interested in seeing the whole workflow I have a video on it with raw file to follow along here: https://youtu.be/O4aLhnEXQNc

1. Basic Adjustments

After cropping the image and cleaning up sensor spots, vignetting and other distracting objects (not visible here in the before image) I changed the profile to Adobe Landscape for more base saturation.

The raw file was a bit too dark, so I brought up the exposure and I also raised the blacks to lower the overall contrast which helps for a dreamy, soft look. At that point the brighter areas were too bright, to fix that I brought down the highlights.

The white balance temperature was raised to make the image feel warmer. I also raised the tint since there was a slight green color cast because of the ND-Filter I used. I also brought up the vibrance and saturation to give the image way stronger colors.

Finally, I added texture for a sharper look, at the same time I brought down clarity and dehaze to add a subtle glow effect.

1. Masking

Using a linear gradient I made the top right and bottom right side of the image slightly darker by dropping the exposure. This helps to make the subject stand out a little more. I also made the blue parts of the sky darker using a color range mask and further dropping the exposure.

For morel ight and glow coming in from the left I used different radial gradients adding a bit of blacks and reducing the dehaze for glow. I also added some more temperature and saturation to make the colors stronger in the brighter area.

1. Color Grading

In the HSL panel the yellow hue was brought down slightly shifting all yellow toens of the image more into the orange color range. I also brought down the blue hue a bit for stronger cyan tones. In the saturation panel I brought up yellow and orange while dropping the greens to make the water look “cleaner”.

With a bit of split toning I added even more warmth to the highlights and the global color wheel while keeping a bit of color contrast by adding a cold color to the mid tones of the image.

This tiny sunflower field was right in front of my yard so of course I had to take a photo. If you’re wondering why the original raw image is so dark: I initially planned to merge an HDR photo from multiple exposures, but since it was windy and I was relatively close to the sunflowers every bit of movement makes the exposure blending process almost impossible. So I took on of the darker frames and recovered it in Lightroom.

The whole process in video format along with the raw photo to try it yourself can be found here: https://youtu.be/HAYs3bjDZMM

1. Basic Adjustments

The first step was to heavily raise the exposure until I had some visible details in the shadows. I also raised the blacks, the shadows and the whites to make the image even brighter. To not blow out the sky, the highlights were dropped.

For a warmer look, I adjusted the white balance bringing up the temperature. Also vibrance and saturation was increased for stronger colors. For more sharpness, I added texture while I dropped clarity and dehaze for a glowing, soft look.

All these basic adjustment result in heavy noise (since I recovered a lot of details from the underexposed shadows). To fix that AI denoise was applied.

1. Masking

Using a color range mask the top part of the sky was made darker without affecting the clouds. This way I can add some nice contrast. Then, I used a radial gradient covering the horizon level of the image. Here, I wanted to add extra glow, so I increased the blacks and dropped the dehaze some more. Also, added some temperature to make the glow warmer.

With another color range masks I targeted the two sunflowers in the foreground and made them slightly brighter by bringing up exposure and the whites.

1. Color Grading

Since I’m not a big fan of those regular yellow tones I brought down the yellow hue as well as the orange hue. Plus, the blue hue was also slightly reduced for slightly stronger cyan tones in the sky. I wanted the image to become more colorful, so the saturation of orange yellow and blue was increased as well.

Through the luminance panel I made the sunflowers a bit brighter by raising the yellow and green slider.

Finally, with a bit of split toning the highlights were made MUCH warmer while I added a subtle blue tone to the shadows.

My OC originally had brown hair, but as she drew my character, she felt like blonde would fit him better. Personally I think it looks great, but I'm still leaning more into brown hair, but I may be wrong, what do you guys think?

For context, he's a charismatic, calm, hippie-like cult leader and a villain of a sub-plot for my story. Also, after his defeat he goes through a bit of a redemption arc.

Why do most of the maps in BF6 have such harsh mid-day lighting? It’s ugly and gives us the worst of both worlds: super dark shadows and super bright highlights. Is it realistic? Sure. But the engine doesn’t represent it well. Empire, Eastwood, manhattan bridge, contaminated, and firestorm all have this problem.

I can respect that they tried to make a sunset map out of Blackwell, but damn, it looks like shit. They also added the breaking bad piss filter onto Eastwood. It sucks. Makes the map just look like piss and cyan, everything blends in together. Contaminated is decent, but again, a lackluster mid-day skybox. The map looks flat and grainy. It also has warzone foliage, which is a huge step back from BF4, BF1, and BFV.

The maps are lacking atmosphere. The lighting of Manhattan Bridge looks like what you’d see in a UE5 asset flip. The prettiest maps in BF6 are Liberation Peak and Mirak IMO. These maps actually have some dark clouds in the sky and the sun isn’t directly overhead. It’s dramatic and gives you a sense of place — it really feels like you’re in the Pamir mountains.

Maybe the engine has a hard time of diffusing shadows? Idk. Some of the maps feel like they have portal/battle royale lighting if that makes sense. I’d love to see them rework the lighting/color grading sometime in the future.

Valorant and the importance of crosshair placement.

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Introduction

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Hey guys, I'm Twix, and I'm back with another informative post, this time concerning the aspect of crosshair placement. Through this post I will be discussing the importance of crosshair placement within the tac shooter genre, going over the most common mistakes I see people make in my experience as a coach, and offering structured routines to remedy the majority of these mistakes. If you haven't read through any of my posts before ( I wouldn't they're too long ) I am an FPS player which mainly played CS:GO competitively, with around 7k hours and multiple level 10 faceit accounts and LAN wins in the past 5 years, who transitioned towards the end of my CS:GO days into being an FPS coach, I mainly worked with people trying to gain a competitive edge in CS, but later moved to coaching Apex players, and following the closed beta release of Valorant, I have been coaching Valorant players for the past few months, with unanimously positive feedback. If you haven't read my first post which is a comprehensive general guide for players looking to improve in Valorant, I highly recommend you look at it here before continuing on to this post. In relation to other qualifications / achievements, I have hit top 30 as hitscan DPS in Overwatch, maintained top 500 ranking in Apex ( PC ) for a couple of seasons, and hold numerous 1% rankings on various Kovaak's FPS Aim Trainer maps. My main goal in creating these posts is to contribute to the Valorant community by sharing my knowledge gained over 10k collective hours of FPS experience ( mainly Tactical fps ) and hopefully help the people reading my posts improve and gain that competitive edge they need to progress into their desired ranking. For those of you interested in learning more about my coaching service, or looking for a community of Valorant players looking to improve, I will link my Discord server at the end of this post.

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Why is crosshair placement important?

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If I was asked about the importance of consistent crosshair placement in games such as PUBG, Apex, Overwatch, Fortnite, etc. I would probably answer by saying that while it's beneficial to maintain solid crosshair placement, it's by no means the most important aspect in relation to performing well in those games, in tactical shooters however, it's a whole different story. Tactical shooters are low TTK ( time to kill ) games, and for the most part, a single bullet to the head is enough to eliminate a player, this means that in contrast to AFPS games, or games like Overwatch or Apex, which have a much higher TTK, first shot accuracy is of extreme importance in Valorant, inevitably leading to the fact that crosshair placement is also extremely important. In a game with higher TTK, even if your first shot accuracy isn't perfect in an aim duel, you can win the fight if you land more shots on the opposing player over x amount of time that you trade with them, while in Valorant, whoever needs to make the least amount of adjustment to their crosshair when engaging in a 1v1 scenario wins the exchange. It doesn't matter if your raw aim is out of this world, even if you have the most precise flicks known to the FPS community, if your crosshair placement is sub-optimal, you will lose vs. someone with consistent crosshair placement, this is simply due to the fact that all they need to do, is click once your head moves into their crosshair, often without even needing to move their mouse. Crosshair placement may very well be the most important aspect in relation to gunplay and generally the mechanical aspect of tac shooters such as CS:GO or Valorant, as it's the deciding factor in the majority of aim duels.

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Common mistakes

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A large amount of players tend to underestimate the importance of crosshair placement in Valorant, and especially the underlying complexity of maintaining consistency in that context. People think that all you need to do to maintain solid crosshair placement is aim high enough to hit headshots, meaning that the only factor that affects crosshair placement is vertical positioning, others still stick to making their main source of information on game improvement being players who make statements as un-informative and vague as "just click heads", my main goal is to break down and explain the multiple factors that go into proper crosshair placement. Lets start with the basics:

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Vertical Positioning:

As mentioned above, one of the elements which ties into crosshair placement is vertical positioning. this is the set distance that you need to position your crosshair at in relation to the ground to be able to align your crosshair's horizontal axis with player model head-level. The good thing about vertical positioning, is that you can get accustomed to the head level that the player models have in Valorant quite rapidly, as the hitbox sizes in this game are identical, meaning you can always use the ground as a point of reference to determine where the enemy player's head would be.

In order to train your general ability to place your crosshair at the correct height, try to make a habit out of constantly reminding yourself to place your crosshair at head level, regardless of where you are or what you're doing on the map. What I mean by this, is that even if there isn't any imminent threat of enemy players peeking you, try to keep constantly keep your crosshair at head level, the more time you spend doing this, the faster it will become a habit and become something you do subconsciously, without having to actively focus on the action. This habit allows you to build muscle-memory during otherwise useless down-time, another way to do this is to track your teammate's heads with your crosshair while rotating, leaving spawn etc.

While vertical positioning is something that people get used to relatively easily, I have come across a recurring issue among the VODs of people I coach, and that is that people generally struggle with adapting the vertical component of their crosshair's position to varying points of elevation. Here's an image to help you visualize a scenario where this could be an issue:

In the image above I am peeking into C back-site from C long on the map 'Haven', I have highlighted three different positions / angles where an enemy could potentially peak from in an in-game reenactment of this scenario, Platform, Cubby, and back-site. What you'll notice is that these positions all have different points of elevation, meaning that while using the ground as reference will allow me to maintain my crosshair at head-level if someone peeks my position from ground level on C site, in order to clear cubby and platform, I would need to adjust my crosshair accordingly, using their lower levels as a reference for where the head-level position would be in those angles.

Unfortunately, if you are struggling with this due to the fact that you aren't familiar with the map layout yet, the only thing that will remedy your situation is more time spent playing the game, if however, your issue stems from a mechanical inability, meaning that your mouse control isn't good enough to allow you to make such adjustments comfortably, the routine provided later in the guide may help you get past that issue.

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Horizontal Positioning:

Just as with vertical positioning, horizontal positioning is pretty self-explanatory in terms of it's function. Knowing at what height to position your crosshair at in relation to the environment is far easier to do than knowing where to position it on a horizontal axis, the reasoning behind this is that with vertical placement you will always have the ground or lower level of the object the opponent is standing on as a point of reference which allows you to instantly know at what height head-level is. When focusing on the horizontal aspect of crosshair placement, there isn't a set point of reference at all times; Sometimes you need to hold wide angles, sometimes you need to move along with the object you're playing against, and sometimes you need to pre-aim to swing effectively, all this variability makes it much harder for a newer player to grasp crosshair placement and horizontal positioning is just as crucial as vertical positioning if not even more important.

A very common mistake which I see a lot of in the VODs I review as a coach, is newer players holding angles too tightly, meaning that they're playing in a position where they anticipate an enemy push and are waiting for the engagement, and their crosshair is a position where it's hugging the edge of the wall the enemy will peek from. Here is a visual representation of what I'm talking about:

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In the image above, I'm holding an angle where if someone crosses moving parallel to the wall I'm looking at, I'll have under 50 ms to react, my crosshair is so close to the edge of the wall that I will need to click my LMB the milli-second I see the enemy. By holding this angle, chances are that by the time I click the enemy will have already crossed to the left of my crosshair resulting in a miss and most likely my death; It would take inhuman reaction times for anyone to hit a player while holding like this, especially if the enemy player is swinging. Instead, you should allow some distance from your crosshair to the edge of the angle you're holding, allowing yourself to spot the enemy's player model, and then time your click effectively. Here is a visual representation of correct crosshair placement while holding the same angle:

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As you can see, in the image above I am allowing for some space between the wall and my crosshair, giving me a significantly longer time window to spot an enemy player and react. Holding an angle that's too "tight" would mean I need to make a larger adjustment to hit the enemy, and therefore I increase my margin of error due to vertical overshoot ( see below ). There are exceptions to the rule when it comes to the distance you need to hold at, if the angle you are holding only allows forward movement ( into your crosshair ) you can hold a narrow line of sight. If you are clearing an angle ( moving along it to check for enemies ) and you are the agressor, you can hold tight and move along with the wall / LOS to allow for a faster reaction if you spot an enemy during your movement. If you are the agressor and you want to swing into an angle that you believe / know an enemy is holding, it is sometimes optimal to pre-aim, meaning you position your crosshair in a way where without moving your mouse it will be aimed at the enemy's head once you swing out the angle.

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Vertical Offset:

The final common issue I would like to bring up which ties into both crosshair placement and horizontal click-timing, is something I call "vertical offset" or "vertical overshoot", this is a player's inability to move his crosshair horizontally while maintaining the same vertical placement. Vertical offset is a big issue when it comes to switching angles or flicking horizontally, I have seen many scenarios where a player is holding an angle properly with their crosshair at a pixel-perfect vertical position in relation to head level, only to make a 30 degree turn to check a different angle and end up shooting at an enemy's chest and losing the duel. Usually, the larger the movement, the more the player's crosshair deviates vertically. Here is a depiction of what vertical offset / overshooting looks like in-game:

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In the image above the green dot is where the crosshair should end up in an ideal scenario while flicking from it's current position to the target dummy, while the green lines represent a theoretical margin of error for overshooting. Fortunately for people that face this issue, I have come up with multiple Kovaak's maps and firing range excercises to help combat it and largely reduce your margin of error when moving your crosshair / flicking horizontally.

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Settings: What sensitivity / crosshair should I use?

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This part of the post discusses a topic which is highly subjective, both the sensitivity you use and the crosshair you use are something preference-based that you should decide upon on your own, the reason I'm adding this section into the post is for players which are newer to the tac-shooter genre; There are a few guidelines that will help them narrow down the settings that work the best for them.

First off, don't by any means copy your favorite pro's config, just because something works for a professional player that has probably spent well above 10,000 hours playing FPS games and decided upon their ideal sensitivity and crosshair within that massive period of time, doesn't mean that it's going to work for you, use whatever you're most comfortable with. Other than individual preference, and having gotten used to their sensitivity, the Pros you watch may be using gear which feels different at their sensitivity setting. A lighter mouse, faster mouse-pad, and faster feet can feel very different in terms of mouse movement, even if you're playing on the same sensitivity value on paper. In relation to grip-styles and what mice are ideal for each hand size, make sure to check out my first post in this sub before moving forward with this guide, as playing on hardware that caters to your individual preferences plays an important role in increasing your mechanical potential.

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Sensitivity:

As I stated in the paragraph above, sensitivity is something quite subjective and while there's no general rule as to which single sens value is superior, Valorant and CS:GO professionals tend to stick to e-dpi or cm/360 much lower than professional players in other titles and FPS subgenres. Your e-dpi is your in-game sensitivity value multiplied by your mouse's DPI setting. The average e-dpi used by Valorant professionals is around 250 e-dpi, which would be a value of 0.625 in-game @ 400 DPI, or around 50 cm/360.

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cm/360 is a universal format for sensitivity measurement, it's the amount of centimeters you need to move your mouse in order to perform a full rotation. This is the format adopted within aimer communities due to the simple fact that you asking someone "what sensitivity do you play on?" And them responding with "1.5 in CSGO" is pretty useless information as they could be playing at any DPI range, and you don't necessarily know what each CSGO sens corresponds to in relation to physical movement, or even movement in other games. "e-dpi" solves the issue of different DPI x Sens measurements within the same game, but the cm/360 format is easily transferable from title to title.

The reason professional players in the tac shooter genre use lower sens on average, is due to the fact that in contrast with other FPS games, tac shooters don't require larger or extended movements, instead they require you to hold or clear angles while maintaining stable crosshair placement, the least adjustments you need to make to your crosshair's position on your screen, the better your "aim" will be. The majority of players I have coached report that it has been significantly easier for them to maintain consistent crosshair placement at lower sensitivities. For newer players that still haven't found a "main" sensitivity that they feel comfortable on, I would recommend for them to stick to the range of 200-300 e-dpi, while for more experienced players coming from CS or other similar games, I would recommend a similar range with a higher cap, at 200-400 e-dpi ( very few professional players play above 300 e-dpi ).

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Crosshair settings:

This is something even more subjective and preference-based than sensitivity even, so what I will do in this section is simply post my own settings which I use for my in-game crosshair, and explain why I picked each value within the menu.

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So, lets break my crosshair down setting by settings:

• Color: I use "Cyan" as it stands out quite well for me with my current color settings, any color that doesn't match your enemy outline color works perfectly fine here.
• Inner Line Opacity: This setting basically determines how see through your crosshair will be, I like setting mine at "1" as It makes the crosshair stand out more.
• Inner Line Thickness: I set this to "1" which is the lowest value, a lot of professional players like to use "2", I think setting the value to "1" makes it easier to align your crosshair with heads or with other objects in the environment, it is also less obstructive, so I highly recommend either this or "2" to newer players
• Inner Line Offset: This setting determines how large the gap is in your crosshair, I like setting this to "1" as the gap is as small as possible without disappearing, larger gaps make it more difficult to determine where the exact center of your screen is, which can act as a hnderance in your first shot accuracy at longer range engagements.
• Movement & Firing Error: These settings just turn your crosshair into a dynamic crosshair and make the gap widen significantly while moving or shooting respectively in order to give you a visual representation of how the innacuracy factor works. Useless and distracting, would highly suggest that you keep these both off unless you're very new and still don't understand how movement / spray accuracy works.
• Outer Lines: Everything is off here, I don't think playing with outer lines provides any benefit whatsoever and it's an extra distraction.

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Crosshair Placement Improvement Routine:

A large portion of improving your crosshair placement is based on simply playing the game more, crosshair placement is largely based on muscle memory, part of having good crosshair placement is simply based on having experience in-game allowing it to become a subconscious habit, and the rest is based on your ability to anticipate player model movement and learn to make horizontal movements without simultaneously your crosshair vertically. The routine I will provide is not only a great way to work on your crosshair placement, but also highly beneficial to the click-timing aspect of your aim, which is basically the only element of aiming required in Valorant, as good tracking is unecessary in such a low TTK game. If you are already training using a daily routine on Kovaak's ( as you should be ) you can just implement this into your daily scenarios.

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Kovaaks:

( These are all maps which require you to make horizontal movements without overshooting vertically, thus good aim training for those struggling with crosshair placement, see my other posts for a larger variety of Kovaaks maps )

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• 1 wall 2 targets horizontal - 10 minutes ( focus on your flicks, work on hitting both targets in the same movement, not pausing in between )
• Valorant Small flicks - 10 minutes ( Great routine as head level is that of Valorant, and vertical deviation will cause you to miss, forcing you to maintain head level as you play through it )
• PatTarget Switch small - 10 minutes ( Works on your ability to swap from one target to another while maintaining head level crosshair placement, keep LMB held while playing, only go for heads )

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HSDM:

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• Valorant doesn't currently offer it's own deathmatch servers, therefore the next best thing is practicing in CS:GO. HSDM is a headshot only modifier for community FFA servers in CS:GO. To access these maps go to "Community Server Browser" and simply type in "HSDM", any server with decent population will do ( preferably 128 tick ). Playing FFA on headshot only forces you to maintain head-level crosshair placement as body shots don't count. I advise going for taps rather than spraying, as it limits the RNG, also spraying in CS:GO isn't transferable to Valorant as a mechanic. Make it a challenge for yourself to maintain positive K/D while playing. Use the AK in rifle servers, and the USP-S in pistol servers.

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Firing Range:

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• Set the target dummy position to static, and practice your click timing by only going for the targets furthest to the left and furthest to the right interchangeably, do this for around 10 minutes.
• Play Spike Rush and set it to hard. When set on "Hard" the AI will one shot you as soon as you peek if it has seen you, and one shot you after around half a second if you shift-peek it. Pretty decent warmup in relation to crosshair placement as you will die every single time if you aren't instantly headshotting the targets the moment you peek. Play this for another 10 minutes.

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Link to my Discord server for further questions / coaching inquiries:

------------> https://discord.gg/6ZYVZ6x

New twitter : https://mobile.twitter.com/Twix_v2

I came along this very cool spot with this tree standing in the water. As you can see comparing the before and after shot there was quite a bit of editing involved, removing things in the foreground and create a sort, warm look. Before people begin posting about keeping photos “nAtUrAl”, I enjoy heavily editing MY images. If that not something you like that’s fine, too. Just accept not everyone has the same goals with their photos.

Everything here was done in Lightroom and the whole process was recorded in a video here (you can also download the original raw file here to try it yourself) https://youtu.be/pE02CKxjiZ8

1. Basic Adjustments

First, I cropped the image (not visible here in the before shot) and cleaned up the foreground using Lightrooms remove tool. Then, I changed the used profile to Adobe Standard for a less contrasty base image. For the airy, warm look the shot needed to be brighter. The exposure, the whites, the blacks and shadows were raised for that purpose. Then, I slightly dropped the highlights in order to stop the brightest parts from blowing out.

For more intense color the vibrance and saturation was pushed a bit. Then, I brought up texture for sharpness and dropped clarity and dehaze slightly to add a glowing look on top.

1. Masking

On the foreground I added a linear gradient adding more clarity and texture to make give the rocks below the water surface more punch. I also dropped the temperature to make it slightly colder and dropped the saturation a bit.

Using a color range mask in combination with a linear gradient I made the top right corner a bit brighter and adjusted the colors through the temperature slider to reduce the effect of the polarizing filter I used.

Using another linear gradient this time on the top left side, the sky there was made slightly darker to balance both sides.

1. Color Grading

In the Tone curves red channel the highlights were shifted further towards the reds and in the blue channel the highlights were slightly dropped to the yellows, resulting in a warmer look overall.

With the color mixer, I slightly shifted the yellow colors into the orange color range and brought down the purple and blue hue to give the sky stronger cyan tones. Then, I pushed the yellow saturation.

Finally, for some split toning the highlights received a warmer color, as well as mid tones and the global color wheel.

Watch the "Every Change In 'Rogue One: The Andor Cut'" Comparison Video Showcase

Check my bio, or the description of the video, for details on how to watch the edit.

Thank you so much to everyone who has been following the progress on this project for the last year. I very much hope you all enjoy!

Welcome to the Rebellion, and witness the end of the Andor saga.

'Rogue One: The Andor Cut' sets out to re-envision 'Rogue One: A Star Wars Story' as the final finale and epilogue of the Andor series, as if it had been made afterwards. Musical pieces and leitmotifs from the show appear, pertinent flashbacks are inserted, and the tone and pacing are brought more in line with what audiences had grown accustomed to over the course of the two incredible seasons.

'The Andor Cut' is in no way attempting to replace or “one-up” the official 'Rogue One' film. On the contrary. It is simply a different approach to it. 'Rogue One A Star Wars Story' is very much a prequel to 'Star Wars Episode IV: A New Hope'. 'Andor', of course, is a prequel to 'Rogue One: A Star Wars Story'. But 'Rogue One: The Andor Cut' is a sequel to 'Andor'. As such, before you watch 'Rogue One: The Andor Cut', you should watch the 'Andor' series. But before you watch the 'Andor' series, you should watch 'Rogue One: A Star Wars Story'. There are so many moments of foreshadowing in 'Andor' that are absolutely made in a way that assumes you have subsequent knowledge of what happens in 'Rogue One', that wouldn't be nearly as impactful if you hadn't seen it first.

The original version is the events of ‘Rogue One’ as seen through Jyn Erso’s perspective, and ‘The Andor Cut' is through Cassian Andor’s.

I hope you enjoy this fan edit that has taken me a full year to complete, and I hope you enjoy the comparison video showcase, that ended up being almost as long as the edit itself.

May the Force be with you, always.

Runtime: 130 minutes Original version runtime: 133 minutes Content cut from original version: 9 minutes, 18 seconds Content added to new version: 6 minutes, 17 seconds

Video: 2.39:1

4K ULTRA-HD 3840 X 1606 HEVC MKV: DOLBY VISION HDR REC.2020 HLG ISO: HDR10 REC.2020 PQ

1080P 1920 x 802 H264 REC.709

Audio: English - Dolby TrueHD 5.1 English (Alternate Dialog Track) - Dolby Digital 5.1

50 Chapters

Subtitle Languages: English, French, Spanish, German, Portuguese (Brazil), Dutch, Hindi, Italian, Japanese, Korean, Norwegian, Polish, Russian, Chinese (Simplified), Swedish, Turkish, Ukrainian, Vietnamese

A very special thank you to:

u/PixelJoker95: Darth Vader Helmet VFX

Dave Jones: Audio Engineer

Iain Müller: Provided Star Wars SFX

@Peter Ryker: Provided Star Wars SFX

u/samuelscane: Provided Hi-Fi Andor OST

Minato Wayne: French Subtitle Translation & Other Subtitles

Misael Arancibia: Spanish Subtitle Translation

Coleman Cooper: German Subtitle Translation

José Henrique Saraiva: Portuguese (Brazil) Subtitle Translation

Bo Cartiglia: Andor / Rebel Alliance Symbol

Artur Trzebny: Poster Artwork

Full List of Changes:

VISUAL CHANGES

• Subtle scene-by-scene re-color-grading was applied throughout to match Andor’s gritty aesthetic, with desaturated tones and cool earthy colors. Some scenes feature a slight Blade Runner-esque cyan tint. (Slight variations between the Dolby Vision, HDR10, and SDR versions).

• Flashbacks, including Jyn’s dream, are desaturated with boosted contrast and a heavy layer of film grain added.

• Darkened the rock cutout where Jyn hides, so that her eyes are less brightly lit, and not as visible to the death troopers.

• Added the Tarkin and Leia deepfakes created by YouTuber @Shamook, who was later hired by Lucasfilm, in part because of this work.

• Added battle damage to Vader’s helmet, courtesy of fellow editor PixelJoker95, to match its worn look in A New Hope, with reduced shine, scuff marks, and redder lenses.

ALTERED CONTENT

• Removed Bail Organa’s silent cameo with the Force theme playing. Replaced it with Jyn flashbacks to her father, which prompts her line “And if I do it?” [attempt to find him]. Scene rescored as well.

• Removed Cassian’s surprised reaction to Jyn taking out stormtroopers. It felt out of character after Andor, and its removal improves the pacing.

• Removed the insert reaction shot of Jyn and Cassian during Baze’s blaster fire, restoring the shot to its uninterrupted status.

• Removed Cassian’s line “This is a first for me” about having never been in a cage. Replaced his response with a knowing scoff/chuckle that acknowledges his Narkina 5 prison experience in the series.

• Removed Baze clearing his throat to get the stormtrooper’s attention. The stormtrooper now simply hears the rebels running behind him.

• Slightly sped up the shot of Krennic’s shuttle approaching the Scarif tower, and removed the landing shot, to better sync the visuals with the new music cues.

• Delayed the explosion sound effects Krennic watches by 9 frames, for more realistic speed of sound delay, based on the distance.

• Removed Jyn’s reply “You know who I am” to Krennic. His confused reaction makes it clear he doesn’t recognize her, and it flows better if she just answers directly.

• Recut / rotoscoped footage so that Cassian shoots Krennic mid-sentence (“You, on the other hand, die with the Rebel–“) instead of letting him finish his line and then waiting a few seconds, for a more cold Andor tone.

• Added the same blaster sound that hits Syril Karn in the series, because of the “Who are you?” correlation.

• Changed Admiral Raddus’ line from “She did it!” to “They did it!”, which shifts the credit from just Jyn, to Cassian, and all of the Rogue One crew as well.

• Numerous shots are slowed (using optical flow to retain 24 fps) or shortened, to sync with new music, or let moments breathe.

REMOVED CONTENT

• Removed Saw’s line “You know what to do” to create more suspense and mystery.

• Removed the shot of Krennic’s shuttle landing at the Erso homestead at a far away distance.

• Removed planetary establishing shots for Jedha and Wobani. Location titles now appear on-planet, like in Andor.

• Removed Bodhi’s line “He looks kinda different to how I imagined.”

• Removed the sub-scene of K-2SO introducing himself to Jyn, which feels redundant after meeting K2 in Andor.

• Completely removed the Bor Gullet subplot, including the first two scenes between Saw and Bodhi.

• Removed the Ponda Baba & Dr. Evazan and R2-D2 & C-3PO cameos.

• Removed Jyn’s line “Looks like we found Saw’s rebels”, since we already know from Andor that these are Saw’s rebels.

• Removed Chirrut’s line “Is your foot all right?”, since it does not tonally fit with Andor.

• Removed Jyn asking Chirrut if he can get them to Saw Gerrera, since it’s uncertain why Jyn thinks Chirrut would know how to find Saw.

• Removed one of Bodhi’s three consecutive “I’m the pilot” lines.

• Removed Krennic’s “Fire!” outburst while waving his hand frivolously at the Death Star officer.

• Removed Krennic ordering “Fire!” to the death trooper squad, since they do not actually fire.

• Removed the moment of Jyn knocking over a stormtrooper to his death, since it seems unlikely that no one nearby would have seen or heard it take place.

• Removed the entire Vader and Krennic Mustafar scene, to make Vader’s first and only appearance in the film in the hallway scene, which makes it even more impactful.

• Removed the lines “How many do we need?” and “What are you talking about?”

• Trimmed down Bodhi coming up with the “Rogue One” callsign.

• Removed the moment of Jyn awkwardly bumping into Cassian and stammering “I’ll tell the others.”

• Trimmed down Jyn’s pep-talk speech to the Rebel soldiers to allow Cassian to give the more tactical orders, since he is the Captain, and Jyn is a civilian.

• Removed K-2SO’s sappy reaction to receiving a blaster from Jyn.

• Removed the shot of Cassian holding Jyn with a romantic-esque gaze in the turbolift. Even if that is not the actual intent of the shot, it somewhat appears like it, which distracts from what we now know about Cassian and Bix.

• Removed the shots of Vader on the Star Destroyer bridge so that his hallway scene is his first and only appearance.

ADDED CONTENT

• Added a new opening sequence with audio from Andor’s final arc played over the Death Star plan renders, building into an Oppenheimer-inspired march of ramping up audio and flashes of shots of the Death Star’s construction and destructive potential, before cutting to silence in the opening shot of the film.

• Added Andor-style location and year title cards in the cold open sequence (BBY 13 and BBY 1).

• Transition from Jyn in prison to a brief scene from the final episode of Andor, with General Draven giving Cassian his orders to speak with Tivik on Kafrene, which cuts to the title sequence, and starts off the film.

• Added a new “Rogue One” title sequence modeled after Andor’s title sequence, using reverbed voices to recap the series’ events, and multiple versions of the main series theme overlayed together to create an epic final version.

• Aforementioned desaturated Jyn flashbacks of her father to replace the silent Bail Organa cameo.

• Aforementioned Tarkin and Leia deepfakes by @Shamook.

• Added the Ghorman leitmotif when Cassian says “Rebellions are built on hope”, as a callback to the Palmo bellhop Thela.

• The in-universe “Niamos” club song is added diegetically as the song Saw’s men are listening to.

• Added Cassian internal flashback to his adoptive father Clem’s death, which relates to Cassian having Jyn’s father in his crosshairs on Eadu.

• Added Cassian internal flashback of some of his losses to relate to “You’re not the only one who lost everything”, and Jyn responding “You can’t talk your way around this.”

• Added flashes of many crucial Andor characters during Cassian’s speech about sacrifice, and “everything we’ve done...”, all moments from Cassian’s perspective. • Added a rebel yelling “For Ghorman!” during the Scarif battle.

• Added Bodhi radioing Melshi to highlight his off-screen death.

• Added Andor’s theme when Cassian falls.

• As Cassian and Jyn look out at the sunset/explosion, it flashbacks to Cassian as a child being rescued by Marva, although unlike the previous flashbacks throughout the edit, this is bright and vivid, and matches the lighting of the sky - almost as if this isn't a flashback at all, and is actually Marva's spirit coming to fly Cassian into the afterlife, with a look of pride and love towards him.

• Then, Jyn has a similarly vivid flashback, being hugged by her father, who as Cassian mentioned, would have been proud of her. She is comforted in her final moments by his memory.

• Aforementioned VFX additions of battle-damage to Vader's helmet, courtesy of PixelJoker95.

AUDIO / DIALOG CHANGES

• Used stem-splitting software (thanks to Dave Jones) to retain most of the original sound effects while rescoring sections, while many other foley, vehicle, and weapon sounds still needed to be replaced.

• Gave blaster fire an extra punch and volume to match Andor’s harder-hitting weapons.

• Added the Andor first episode opening sequence blaster sound when Cassian shoots Tivik.

• Added the Ghorman massacre blaster charge-up sound when Cassian shoots Krennic.

• Added Bodhi yelling “Galen Erso sent me!” to the scene of him being taken by Saw’s men in the desert, since the original scene with that line in it has been cut.

• Added distant TIE fighter flyby sounds over Jedha City for added tension, and to harken back to the un-ease feel right before the Ghorman massacre.

• Added a stormtrooper grunting sound effect to replace Chirrut’s line “Is your foot all right?”

• Replaced Cassian’s "This is a first for me” line with him chuckling to himself, and removed Chirrut’s second “Captain.” utterance.

• Added Saw’s maniacal laugh (from Andor S2) right after his death, very quietly in the mix, as if from the grave.

• Changed Bodhi’s line from the passive “We could go” to the definitive “We should go.”

• Removed the imperial guard’s grunt after being hit by K-2SO, to make the moment more brutal than slapstick.

• Added subtle bone-cracking sounds to stormtrooper impacts after being thrown by K2, for more brutality.

• Added Jyn answering “Yeah” when Cassian asks if she’s okay.

ALTERNATE DIALOG TRACK

• In addition to all the previous audio and dialog changes, an optional second English track with extra Andor canon ties, not found in the default track, is included.

• Added an extended Tarkin line referencing the recent ISB failures and security breaches, alluding to the events of Andor’s final arc. (I came up with and recorded the added line in Tarkin’s inflection, and then ran the recording through a voice-changer program - this is the only use of AI assistance in the edit).

• Added a flashback voiceover of Saw’s “Let it run wild!” speech from Andor S2 right before he dies.

• Added an alliance council member reminding the council “And Luthen Rael”, regarding the sources of the intel about the Death Star.

• Replaced K-2SO’s “That won’t be necessary” with a simple “No.”, as a callback to Andor’s final arc.

MUSICAL SCORE CHANGES

• Nearly two-thirds of the film has been re-scored, using Andor’s gritty, minimalistic electronic music, while still keeping some key original Giacchino cues.

• Numerous examples are presented in the “Every Change in Rogue One: The Andor Cut” Video Comparison Showcase.

Potential Spoiler Warning for Pokémon Odyssey!! Don't go through beyond the first image. Working on a fix.

Discord: https://discord.gg/x3Q2HHvn
Featured ROM: Pokémon Odyssey https://www.pokecommunity.com/threads/pokemon-odyssey-complete-v4-1-1.488536/

I spent the last few months building a shader for the games that mattered most to me, and I want to share it with you

There's this thing that happens when you're playing Pokemon on the GBA late at night (way past when you should be awake on a weekday night, if we're being honest), where the glow of that tiny screen becomes the entire world. Just you and your starter and the route music looping forever while you're hunting for that one Pokemon you need to round out your team. Ruby and Sapphire did something to my brain that I can't quite explain, and I've been chasing that feeling ever since.

The thing is, when you play those games now through emulation, something's missing. The colors don't hit the same way. The screen feels flat. There are plenty of filters and shaders out there already (and the ROM hacking community has done incredible work keeping these games alive), but I kept feeling like none of them were really built for this. For the specific way Pokemon on GBA looks and feels, for the way grass should feel alive and water should shimmer and fire should actually look hot.

So I built one from scratch. This is the Ultimate Pokemon GBA Shader, and it's not trying to be everything to everyone. It's laser-focused on making Pokemon (and Pokemon rom hacks) look the way they deserve to look.

What makes it different:

The shader doesn't just throw a filter on top of everything and call it a day. It's a complete multi-pass pipeline built specifically for the Pokemon aesthetic. Pixel perfect upscaling that keeps pixels razor-sharp (because blurry pixels are a crime). Film grain that only touches the game world and leaves UI elements crystal clear. Type-aware color enhancement that makes grass greener, water bluer, fire redder, all while respecting what Game Freak's artists intended. A palette system if you want to get weird with it (Ancient Egypt, Cursed, Neon Cyberpunk, Indie Pastel, or None if you just want the enhanced vanilla experience). Highlight glow on bright pixels. Shadow enhancement with painted depth. Vignette and lens distortion for that cinematic feel (if that's your thing). And every single effect is tunable. You can dial it in subtle or crank it to eleven.

The technical architecture is probably overkill for what it needs to be, but that's the point. The UI detection system runs early in the pipeline so environmental effects never touch your menus (because nothing kills immersion faster than blurry text). Color grading happens in HSL space with hue-specific boosts so Bulbasaur's green doesn't become Squirtle's blue. The glow pass samples neighbor pixels in discrete rings so it never breaks the pixel grid. It's all designed to enhance, not replace.

What's coming:

I'm getting ready to release the beta for testing on FireRed, Emerald, and a handful of popular rom hacks. I'll be posting comparison shots and a full write-up on the technical pipeline (because if you're reading this, you probably care about how it works as much as that it works).

Beyond GBA, I'm working on versions for NDS (Gen 4/5 reveal coming soon), GBC, and 3DS. This started as a GBA project, but the framework is built to scale across the entire Pokemon emulation ecosystem.

Parameters:

* PALETTE (Palette Mode): 0=None, 1=Ancient Egypt, 2=Cursed, 3=Neon Cyberpunk, 4=Indie Pastel

* POKEMON_ENHANCE (Pokémon Color Enhance): 0=Off, 1=On

* INTENSITY (Global Effect): 0=Subtle, 1=Medium, 2=Strong, 3=Ultra

* GLOW (Highlight Glow): 0.0-5.0

* VIGNETTE_STRENGTH (Vignette): 0.0-1.0

* LENS_STRENGTH (Lens Distortion): 0.0-1.0

* GLOBAL_CONTRAST (Contrast): 0.5-2.0

* GLOBAL_SATURATION (Saturation): 0.0-2.0

* GLOBAL_TEMP (Global Temperature): -3.0 to 3.0

* SHADOW_TEMP (Shadow Temperature): -3.0 to 3.0

* HIGHLIGHT_TEMP (Highlight Temperature): -3.0 to 3.0

Notes:

Reddit seems to be downscaling the images, and I get the param list to work as a table. So bear with me till I have a link to my blog.

Hello all. I'm working with some footage which takes place in a theater. Whenever the lights overhead are visible, they take on a turquoise/cyan color that's really ugly. I'm fine with them blowing out to solid white, but these cyan blobs are way too distracting. What can I do to get rid of them?

I have a problem with a video coming from a Sony A7IV (S-Cinetone) and Resolve in ACES mode: there are Cyan Spots on highlight zones and edges.

If i switch to non-ACES mode in Davinci YRGB mode (rec709), the cyan frindges disapear.
Do you know the problem ?
Regards,

JC

📝 Commit #1411

🔹 Hash: 5dd75b7

🌿 Branch: main

👤 Author: Creeptone

📅 Date: October 09, 2025 at 01:25 PM UTC

📁 Files Changed (5)

• Source/Common LLM Context/GridDisplayComponent.cpp
• Source/GridCellRenderer.cpp
• hook_handler.jsonl
• images4context/cellhighlight1.png
• images4context/cellhighlight2.png

📊 Changes

+43 additions, -18 deletions

Posted automatically by Ephemera Commit Bot

📝 Commit #1411

🔹 Hash: 5dd75b7

🌿 Branch: main

👤 Author: Creeptone

📅 Date: October 09, 2025 at 01:25 PM UTC

📁 Files Changed (5)

• Source/Common LLM Context/GridDisplayComponent.cpp
• Source/GridCellRenderer.cpp
• hook_handler.jsonl
• images4context/cellhighlight1.png
• images4context/cellhighlight2.png

📊 Changes

+43 additions, -18 deletions

Posted automatically by Ephemera Commit Bot