"How do you make people go faster?" is the blunt version of the pitch, Colella says. The targets are the obvious ones, including rendering and the production tasks that eat a creative's day without adding much to the finished work.

But she pushes back on the idea that saved time by the new AU tools seen at AU26 just becomes more content, more ‘stuff’. "The way you work might change, but for the better, so you can be more creative, because AI is not doing the creative," she says.

I asked her directly: is this really about giving one animator two workloads, or about giving that animator room to try things they'd never have had time for otherwise? "Yeah," she says, identifying pre-production as the clearest example. Artists can build more assets and run more iterations before things get expensive, catching problems early instead of finding them once a lot of money is already spent.

It's a better frame than the usual one, honestly, because she's not focused on how many minutes a tool shaves off a task; she's considering what happens to that hour once it's freed up. Does the studio just extract another hour of work, or does the animator finally get to chase the weird idea they'd normally have cut for time?

Nobody wants to admit they're using it

There's a wrinkle here, and it's not technical, as Colella tells me plenty of customers using Autodesk's AI tools would rather not say so out loud. "If they are using the AI tools, they won't. They don't want to tell us," she says.

Part of the reason, she thinks, is the noise around AI generally. "Every show, every podcast you're listening to" tells creatives their jobs and their art are at risk, says Colella, and she's plainly tired of it, hoping that at some point "people will stop fearmongering everybody and start using the tools for what they can do." That's the real state of AI in creative work right now: the tools might genuinely help, but admitting you used one can feel like admitting something about your skills or your job security – so people quietly use them and say nothing.

Autodesk's answer, according to Colella, is to fold the AI into workflows people already use rather than asking them to relearn everything. MotionMaker is still Maya, ensuring the AI sits inside a familiar tool instead of replacing it. "We're going to combine these two worlds," she says. It's not "traditional tools vs AI tools." It's the same artist deciding when to reach for which one.

Colella also thinks Autodesk owes people clarity about what's actually AI and what isn't. "We have to, at this point, be very transparent about what is an AI feature and what is not an AI feature," she says, reflecting on why artists need to know how a tool is built before they'll trust it.

And that suspicion runs the other way too, as Colella says audiences are getting sharper at spotting AI-made content –she points to TikTok now flagging clips that contain any AI-generated material – and admits she can sometimes tell something's off before anyone tells her it was AI-generated, just as we all can, instinctively.

The limitations of AI

Colella is careful not to oversell what the technology can currently do, and she has a concrete example on hand. She points to Obsession and Backrooms – two low-budget horror films that bypassed traditional studio financing entirely – and notes that neither one was made with Autodesk's tools or AI. Backrooms, for instance, was built in Blender. Both films still had to be finished using professional-grade tools, and that's what Colella picks up on: a film may be made in Blender, but it still needs traditional editing, comping and colour grading software to finish the movie, and the same is true of AI.

"AI can only get you so far today," she says. "It's not going to get you the whole way." That's where she thinks Autodesk is positioned differently from the wave of AI startups chasing the same space, as it can actually carry a project the rest of the way with existing tools.

That distinction feeds directly into why Autodesk's AI push is centred on 3D rather than 2D, where most of the generative AI hype has concentrated. Her reasoning is blunt: 2D has been comparatively easy for AI to disrupt, but 3D has resisted it. "3D was never easy, and now with AI, it's not easy to just replace it," she says. Flow Studio could have gone the 2D route – it's the more crowded, more hyped lane – but Autodesk deliberately didn't. "We're a 3D company, so for us it felt very logical," she says, framing the tools as assistance for a discipline that still can't be automated wholesale.

Is Autodesk safe from the AI bubble?

Colella also draws a sharper line than most executives when asked whether an AI bubble is coming. Her answer is essentially: not for us. "There's a lot of fundraising. There's not a lot of selling," she says of the wider AI landscape, and plenty of companies are raising money on the promise of AI, with few actually shipping products people pay for in production. She contrasts that with Flow Studio, which she's quick to point out is "shipping and selling," not a demo or a roadmap promise.

Her read is that the AI market isn't repeating the dot-com pattern of speculative buying at any price; she says investors are more cautious, which means the reckoning may take longer to arrive but will still come for companies with hype and no revenue.

But AI is here, and staying, and the bubble has yet to burst, so I reflect on the core promise we're always told AI promises to deliver – more time. But what really happens if everyone gets that hour or two back because AI is taking on the drudgery?

Colella thinks the bigger effect might not be efficiency gains inside existing studios at all. She points to the current contraction in film and TV: tighter budgets, fewer greenlights, a pullback from the streaming boom's output that accelerated once major studios started scrutinising what they were actually getting for their money.

She bets that cheaper production opens the door for projects a traditional studio would never fund. "I think there's going to actually be more creators than there is today," she says, foreseeing a boom in more people making films and shows that traditionally studios would never look at. Potentially more content flowing back into an industry that's currently gun-shy about spending. Right now, she says, the industry is stuck in a kind of holding pattern, everyone waiting to see how the economics shake out before committing.

That's a different story than the usual AI pitch of doing the same work with fewer people and studios cutting jobs.

Maybe that's the real test for AI in creative tools going forward: not how much faster it makes someone, but where the saved time actually goes. Squeeze everyone for double the output, and you've won efficiency but lost the point and likely lost creativity. Give artists room to experiment instead, and the technology looks like something else entirely.

For more on Autodesk Media & Entertainment tools, visit the Autodesk Media & Entertainment blog.

These wonderfully retro headphones actually come in five different colour options, but the bright orange cups on a transparent headband are my favourite for a Star-Lord-like look. This is also the option that we tested for our FiiO EH11 review back in April. They look like a classic wired headphone but boast modern Bluetooth connectivity and even an app with adjustable parametric EQ, which is amazing for this price (to compare, see our guide to the best wireless headphones).

Today's best Bluetooth headphones deal

Budget retro headphone perfection

These headphones made our reviewer smile when he saw them, and the smile just got wider when he tested the sound profile. In a sea of similar budget wireless headphones with retro foam cups, these standout both in terms of style and sound quality.

Regarding the former, as well as the fun colours, there are those cool wooden rotary controls on the cups, which give them a unique vintage look. As for the sound, the stock profile is warm, with the bass turned up to compensate for on-ear low frequency leakage. The treble has enough detail and the midrange is tastefully forward, delivering textured vocals. It's better than many much more more expensive mainstream headphones that we've reviewed .

If that profile doesn't happen to be to your liking, you can use the integrated Parametric EQ via the FiiO Control mobile app to customise the sound as you like it. This is something almost unheard of for a $30 headphone (even the Apple AirPods Max 2 doesn't have it, and they cost $549!)

While it's easy to be blinded into creating the best logos or swankiest graphics, the new BFI London Film Festival identity demonstrates the value of design with purpose. Tranquil yet dynamic, it shines in its simplicity, effortlessly marrying heritage with contemporary style.

Created by Pentagram partner Maria Willer and her team, the new brand identity centres around the familiar methods of filmmaking and film screening. Custom-cut letters form the 'LLF' shorthand logo, while light projections against a black background emulate the cinema screen, creating a dynamic identity that emanates vibrant energy.

The letters and lighting were then filmed and photographed to create a sense of motion, using handheld camera movements, hanging the letters to encourage organic movement, and enlisting the help of a rotating table. This motion footage was then digitally edited to enhance the typography, giving each letter a sense of presence and control.

At its core, the new BFI London Film Festival identity oozes refinement, opting for unfussy visuals that shape-shift and speak to tell its story. Instead of grand reinvention, the timeless design is a testament to the power of considered, human-curated craft that earns your attention, rather than stealing it.

For more design inspiration, check out how OFFF 2026's visual identity was secretly harvested from the bodies of actual people or take a look at the AI movie that hijacked Cannes.

When the cultural landscape of 1960s America erupted into an explosion of colour, harmony, and counterculture energy, it was Max who gave the movement its defining visual language. His iconic, psychedelic palettes were streaked with cosmic suns, flying sage figures, and utopian landscapes, and they reshaped modern visual culture, translating complex spiritual ideals into an accessible, universal canvas. This is something Max knew, and celebrated.

"The way the Beatles captured the music mood of the late sixties and early seventies, I captured the visual," he said in an interview with Noupe magazine.

With his death, we lose a profoundly important artist. Here, we look at his life in his own words.

The origins and cosmic beginnings

"My life's journey has been an odyssey through time and space... create my story, not only of who I was but also of who I was to become – an artist living in New York City, where I have been fortunate to reach a global audience with my art and philosophy." – Michael Murphy Gallery

"If I didn't choose art, I would have become an astronomer." – A-Z Quotes

On spiritual awakening and creative flow

"The Swami and yoga taught me a whole new way to draw. It empowered me to feel the cosmic consciousness within, and to allow that to flow out of me into my art." – Michael Murphy Gallery

"When I tap into my inner cosmos — that nucleus of creativity within me — it becomes a source of ever-expanding possibilities, enabling me to go from one magical adventure to another." – Park West Gallery

"I never know what I'm going to put on the canvas. The canvas paints itself. I'm just the middleman." – A-Z Quotes

The pop culture phenomenon and liicensing peak

"I just somehow captured the mood. The way the Beatles captured the music mood of the late sixties and early seventies, I captured the visual." – Noupe

"We were all together generating the feeling of love, peace, harmony and togetherness. It was not a competitive thing; it was unity… in unity is strength." – Noupe

"Don't worry about mistakes. Making things out of mistakes, that's creativity." – Geekmom

Reflections on life, freedom, and legacy

"Freedom is what I value most in life, and I'm happy to say that my lifelong goal of keeping myself in a space of creative and spiritual freedom has been met, even though at times it has been difficult." – Park West Gallery

"I'm just wowed by the universe. I'm just glad to do something I love to do. I love colour, I love painting, I love shapes, I love composition, I love the people around me. I'm adoring it all. My legacy is in the hands of other people." – Atlanta Journal Constitution

Though the eras he captured are long gone, Peter Max’s work remains important. He saw the universe as an expanse of colour and light, and has left behind a legacy that encapsulates the cosmic spirit of an era.

Head to our quote of the day series for other important words from famous creatives.

Are they clever billboard ads? Yes. Are they slightly terrifying in context? Also yes. A perfect example of how environment can make or break a campaign, the new Hunger Games ads blur the line between reality and fiction, drawing us into the terrifying world of Panem, which now seems eerily similar to our own.

Featuring a bright graphic of a soldier against a flowery background, the poster loosely emulates the style of soviet propaganda posters. With bold text reading "peace is preserved not promised", the design has an eerie and threatening authority to it that could easily be interpreted as real, were it not for the District badges dotting the corners and small text that reads "brought to you by the Capitol".

The mobile billboards fittingly appeared outside of the U.S. Capitol Building, Belgium's NATO Headquarters, Philadelphia's Independence Hall and Thailand's Democracy Monument. Perfectly placed to be provocative and eerily rooted in truth, the ads prove that fiction isn't always that distant from reality.

For more ad inspiration, take a look at this Bic advert that's pure print perfection or check out how this company sparked brand romance with 100 hand-crafted loe letter billboards.

To select my favourites, I've focused not just on looks but also how easy they are to set up, the quality of the display, how much storage they offer, and how much this is all going to cost you.

Be aware – these are back-lit digital photo frames, and so they will emit a light, especially noticeable when your room gets darker. If you don't want that light source, go read my list of the best e-ink art frames, which act more like paper, and come to life when a light source is directed at them.

My top pick of the digital photo frames right now is the Aura Carver (10.1"), thanks to its unlimited free cloud storage, vibrant screen and lack of subscription. I've also included a budget option, an e-ink model and a frame that also comes with speakers.

The best digital frame overall

The Aura Carver pairs a crisp, vibrant panel with free, unlimited cloud storage and zero subscription fees. Setup is painless, and Aura's gift mode lets you preload photos and a welcome message, which makes it a strong choice as a present for others.

Because it only displays in landscape, vertical shots get paired up side by side rather than shown full-screen, and how well that pairing works depends on whether you sort photos chronologically or let the app try to match them by subject. Video playback is a nice bonus but can look a little choppy on loading, so this is best thought of as a frame for photos first and video a distant second.

Those niggles aside, though, this remains one of the easiest frames to set up and just leave running, which is exactly what most people want from one.

The best budget digital frame

The Frameo 10.1" delivers solid colours, easy-to-use touch controls, and seamless photo and short-video sharing via the widely supported Frameo ecosystem, all for well under $80. That makes it the easiest frame on this list to recommend if price is the deciding factor.

The touchscreen is responsive enough that even less tech-confident relatives can swipe through a gallery without help, and because Frameo is used across several other budget frame brands too, families don't need everyone to own the same hardware to send photos over.

The 16GB of onboard storage, expandable via microSD, is enough for tens of thousands of photos, and short video clips add a bit of life to the slideshow without needing a subscription. One issue reported by some, though, is that auto-rotate doesn't always catch a photo's orientation correctly.

The best e-ink digital frame

The Reflection Frame uses e-ink to display photos as if they've been printed out. It reflects ambient room light just like physical paper or a canvas print, running for months on a single charge without a power cord hanging down the wall, which sets it apart from every other frame on this list.

Updating the image is done by tapping your phone to a corner of the frame over NFC and Bluetooth, so there's no Wi-Fi setup, no account, and nothing uploaded to a cloud server unless you choose to.

The trade-off for that calm, print-like look is that Spectra 6 e-ink can't match an LCD panel for vibrancy: colours lean more toward a fine-art print than a bright tablet screen, and swapping the image takes a few seconds rather than being instant. It's also a manual experience rather than a family-sharing hub, since there's no remote slideshow or always-on connection.

The best digital frame if money is no object

The Meural Canvas II is designed specifically for fine art. The patented TrueArt display technology diffuses light to mimic real paint textures and adjusts backlighting for a clean, anti-glare finish, and its optional $69.95-a-year membership grants access to a library of more than 30,000 artworks.

The wood-finished frame snaps on and off in seconds without tools, and because the whole unit can be mounted vertically or horizontally, it adapts to more walls than the fixed-orientation frames on this list.

The app makes everyday use of your own photos straightforward, with simple controls for cropping, scheduling and displaying individual images. Where it can still be a chore is loading a large batch of photos in one go, since there's no bulk "select all" option. It's also worth pointing out that the fixed 16:9 aspect ratio also doesn't suit the 3:2 or 4:3 ratios most cameras and phones actually shoot in, so expect some cropping or letterboxing.

The best art TV

The Hisense Canvas TV S7N offers a painterly art display experience that rivals Samsung's Frame TV while being much cheaper. The price includes an UltraSlim mount and a teak wood magnetic bezel. An anti-reflective matte finish helps to eliminate glare, and built-in motion and light sensors allow you to toggle Art Mode when you enter the room. All without asking for a subscription the way Samsung's Frame TV does.

As a TV itself it's not perfect: HDR content can suffer from shallow black levels and soft detail next to Samsung's rival. On the plus side, it's a capable, high refresh-rate set for gaming, and its price relative to Frame TV, plus the included frame and art library, make it excellent value overall.

The best audio-visual hybrid frame

The Samsung Music Frame features a high-fidelity wireless speaker system – six drivers in total, with support for Dolby Atmos – behind a photo or artwork. Streaming support is extensive, covering AirPlay 2, Google Cast, Spotify Connect and Tidal Connect alongside Bluetooth, and setup through Samsung's SmartThings app takes less than a minute once you have an account.

That said, the sound quality isn't perfect: reviewers found it gets loud and fills a room, but the more volume you push, the muddier and less detailed it becomes, lacking the dynamic contrast that similarly priced standalone speakers deliver. Also, while swapping the front artwork is easy enough, only images that fit an 8x8 inch square will display properly.

It's the second major feature announcement from Canva this month, following an update to its Visual Suite. This time the focus is squarely on professional users: designers, animators, photographers and data storytellers who have spent the past year watching Canva grow its toolset significantly via acquisitions.

Crucially – and I know this what everyone will be worrying about – Affinity and Cavalry's core apps will stay free. Upgrading to a paid plan will only offer you extras (the AI Studio in Affinity and team features) and not the tools professionals need to create with. Check out the full feature list here, or read on for the highlights.

• Explore Canva

What's new in Affinity

Firstly, there's the Blend Tool, which Affinity says was one of its community's most-requested features. Rather than hand-placing every step of a transitional effect, you can now sculpt it live, using bias and easing to control where it speeds up or bunches, with elements distributed evenly along a curve by true distance rather than stretched to fit. This is a really fiddly problem in vector work, so if it performs as described, it will be a real time-saver.

There's also a streamlined Mask Tool, native 3D model support, and INDD import for pulling legacy InDesign files in directly. This is excellent news, and makes it much easier for anyone migrating from Adobe.

For photographers, there is an improved RAW engine, batch imports, reusable colour looks, and an AI Scene Decomposition tool that attempts to split a flattened image back into editable layers. Users also get a dedicated Astrophotography Studio, plus scripting support that lets users automate repetitive tasks across vector, pixel and layout work in a single script – or, via a Claude AI connector, describe the automation in plain language instead of writing it.

What's new in Cavalry

Cavalry is Canva's motion design tool. The update adds more than 50 features and enhancements, including a new Metaballs shape, Lighting, Twist and Ripple filters, an enhanced Isolines shape and a reworked Graph Editor. AI additions include Remove Background, Generate Vector and Image to Layers tools.

Canva says selected elements of a Cavalry animation – text or colour, for instance – will soon be editable directly inside Canva itself, while the core scene stays locked. In theory, that means motion designers build the polished, on-brand asset once, then hand it off for others to tweak without the constant back-and-forth of adaptation requests.

Affinity files can now also be imported directly into Cavalry, and both apps add support for Canva Sheets, which tightens the pipeline between design, animation and data.

The bigger picture

Canva says that "professional craft matters more than ever" in an AI-saturated industry (see more on why it's taking the AI additions more slowly than other platforms). Canva is continuing to group together its acquisitions (Affinity, Cavalry, Flourish, Leonardo) into a single ecosystem, maybe in hopes that convenience and interoperability will keep professionals inside its orbit rather than reaching for standalone Adobe alternatives.

Canva says the rollout starts now, with more updates promised as each product matures.

Here he presents four examples of his work. If you're inspired, see our guides to the best drawing tablets and the best laptops for drawing and digital art.

The Black Rider

“An undead rider crosses a desolate landscape, carrying the weight of ancient curses. I focused on atmosphere and silhouette to create a sense of mystery and quiet menace.”

Morvane

“This piece began as a simple encounter between a rider and a creature. I was interested in creating a sense of unease and scale, allowing the atmosphere to carry the story.”

Nomad Ronin

“A samurai-like character alongside a mechanical being, exploring the contrast between traditional and technological forms. Organic and industrial shapes within a single design.”

Hunters

“This piece is a character design exploring the visual language of fantasy hunters. I used colour contrasts to strengthen readability and create a clear visual hierarchy.

You can see more of Hassan's work on his ArtStation profile.

Inspired to work on your own digital art? See below for deals on drawing tablets that we've reviewed.

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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There have been suggestions that the launch of Apple's first foldable phone next month could make the iPhone 18 Pro launch a bit of a damp squib. Analysts speak of "soft demand" and "lukewarm" preorders. Only higher-spec configurations of the Pro Max likely to see significant wait times: the base 18 Pro is expected to ship on time on its release date tomorrow (19 September) in most colours and configurations.

But for anyone looking for the best iPhone for photography, I think the choice is clear: the iPhone 18 Pro is the way to go.

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iPhone 18 Pro: why it's the choice for photography

iPhone 18 Pro and Pro Max preorders are open now for an 18 September release date, while iPhone Duo preorders don't open until a month later on 16 October for a 23 October release date. That's an interesting decision on Apple's part.

The company might have been concerned that releasing the Duo at the same time would have meant upstaging the relatively iterative Pro update since all the headlines would be about the foldable. However, the risk it faces with the staggered release is that people might delay ordering a Pro because they want to wait to see what the Duo really looks and feels like first.

For me, the Duo's main advantage is going to be multitasking and Apple Pencil support – although it's only Apple Pencil USB-C and Apple says it's coming later, not on launch. When it does arrive, it will give this Duo an additional edge over the Samsung Galaxy Z Fold, which hasn't supported Samsung's S-Pen on its latest iterations.

But for one group of creatives, the choice should already be pretty clear. The iPhone 18 Pro will be the best iPhone for photography thanks to its groundbreaking new variable aperture. The 48MP Fusion main camera introduces a first-of-its-kind six-blade mechanical variable aperture system with steps ranging from ƒ/1.48 to ƒ/4.0.

This offers the optical control over depth of field and light more comparable to that of a traditional camera. You can physically widen the aperture to ƒ/1.48 for clean low-light shots and natural-looking bokeh, or narrow it down to ƒ/4.0 to ensure more depth of field for group shots or landscapes.

For comparison, the iPhone Duo has a 48MP Fusion 26mm f/1.6 main camera and an Ultra Wide f/2.2 , but there's no physical aperture and no telephoto. The foldable might have some structural advantages for certain situations: the self-supporting hinge could allow you to stand the phone at various angles without needing a tripod, which could also help with long exposure. Dual-Display Shooting can also be handy for selfies, but if you're interested in lens versatility and image quality alone, the 18 Pro has the edge.

Not for you? See the best current foldable phone deals and dumb phone deals.

But all hope is not lost – there's a hero here to fix it. Bob the Builder has returned in all his classic stop-motion glory, starring in E.ON's latest ad promoting its green skills initiative. Am I falling for nostalgia bait? Perhaps. But I don't mind; my childhood is restored.

The charming campaign promotes E.ON Next, the company's net zero training academy that's helping to build a greener future, and who better to showcase it than the OG handyman himself, Bob the Builder. It's been over a decade since he appeared on our screens, and in that time he's picked up yoga, discovered birdwatching, and even taken a trip to Australia – but times have changed since the ol' days of simple brick and mortar building. Bob's gone green.

“Bob the Builder has always inspired people to solve problems and build things that matter. Today, those same qualities are needed to help deliver the UK's transition to clean power," explains Helen Bradbury, Chief People Officer at E.ON UK. “By embracing green skills and fronting this campaign, he’s a shining example of how we can make new energy work for everyone."

With original voice actor Neil Morrissey reprising his role for the first time since 2011, it's safe to say nostalgia hit me like a truck. The ad's friendly and familiar character design, warm colour palette and chirpy music immediately took me straight back to my childhood, and while 3D animation might be the simpler and more cost-effective choice nowadays, there's a distinct charm to stop-motion that can't be replicated. Growing up on Aardman and Laika movies, it's the care, detail and human imperfection of stop motion that gives it its signature warmth and wholesomeness.

For more stop-motion news, check out the new poster for Laika's Wildwood or take a look at these 8 practical lessons for making stop-motion animation.

In fact, it's so impressive that some are questioning whether it's too polished.

Wildwood is an adaptation of the 2011 children's fantasy novel written by Colin Meloy of The Decemberists and illustrated by Carson Ellis. The first book in The Wildwood Chronicles trilogy follows two seventh-graders, Prue and Curtis, as they enter the magical Impassable Wilderness in Portland, Oregon, to rescue their baby brother.

True to Laika's signature animation style, the film combines traditional stop‑motion with CGI enhancements (check out how Laika animates water). That creates a smooth, polished aesthetic while Laika's process of animating on ones creates very fluid motion.

On social media and YouTube, this has some people asking, if it doesn't look like stop motion, why use stop motion at all?

It's true that a lot of viewers might not realise that they're watching stopmotion. And it's true that many fans of stop motion will tell you that what they like is its imperfection: the visibly handcrafted nature that makes it feel warmer and more human.

But while Wildwood might not have the obvious rough edges that the medium's known for, I think it's wrong to say that the studio could have achieved Wildwood's look digitally, and I have to disagree with people who says it looks like Pixar-style CG 3D animation.

Wildwood has a sense of tactility with tangible physics and organic textures that digital renders can't replicate in the same way. In stopmotion, the puppets are heavy, fabrics have natural folds, and objects interact mechanically. The physical force of gravity is real. In pure CGI, every bounce of a curl, shift in clothing, and footprint must be artificially simulated.

There's also the lighting. A digital camera can only mimic real light. Laika uses physical camera lenses to shoot a miniature world lit by actual studio lamps gives The way light scatters across real materials, like the 9,000 tiny hand-placed feathers on General Eagle puppet or the way light filters through translucent materials give a different feeling to the depth of a scene.

And then there's the subtlety of the micro-vibrations in physical objects moved frame-by-frame. These lend an organic, living pulse to the film that digital math can't capture naturally. The CGI doesn't replace stopmotion in this sense; it expands its scale.

What do you think? Would you know that Wildwood was stopmotion if you didn't know it was made by Laika?

Wildwood will be released on 23 October. If you're inspired, see our guides to the best laptops for animation and the best animation software.

"Canva AI 2.0 is a complete re-architecturing" of Canva AI. We think it's the best AI creation experience you can get," Canva co-founder Cameron Adams told us at a press event at the brand's new London headquarters this week.

But as Canva began rolling the features out in April, it faced a unique problem – and one that Adams thinks other brands can learn from. The demand for Canva AI quickly exceeded its expectations. "Too many people wanted to use the product. There were soon 75M people using it, presenting huge cost and server load increases". So Canva paused the roll-out. With some re-engineering, it managed to reduce the cost-per-task by almost 90%, ending up with models that were 5x faster and 30x cheaper.

Adams says this exactly how business need to think in order to succeed in a rapidly shifting AI landscape. It's not just about raw power, but how to keep costs down.

"There's a lot of focus right now on the big models, such as Claude and ChaGPT," Adams says. "But the best tech isn't always the winner. Betting only on a model is a very fragile approach. We’re going to be constantly in a cycle of models overtaking each other." This is why Canva now has over 120 researchers working on AI models internally and using open source.

Because customers, Adams argues, ultimately don't care specifically which model(s) you're using. They just care how it affects them. "We want to make something accessible, reliable and connected to the way people want to work. We’re playing the long game, translating new tech into everyday human capability," he says. "We don’t settle for short term vision."

The problem however is that those early games are only accessible via Steam, while the pixel art style might not be as palatable to audiences compared to the more modern 3D entries (it should be noted that Japanese developer Nihon Falcom is a smaller-sized company than the likes of Square Enix and so hadn't made the transition to full 3D back in the noughties).

The good news is that the games have received sumptuous modern remakes, and I regarded Trails in the Sky 1st Chapter as the best remake released in 2025. I'm still currently playing through Trails in the Sky 2nd Chapter, which launches today, but after having a chance to also get hands-on with a couple other upcoming JRPG remakes, including Final Fantasy VII Revelation and Persona 4 Revival, it's only really made it clear to me how much Falcom gets right when it comes to modernising a classic.

From sprites and stills to 3D anime

The uninitiated might glance at the multi-chapter release of Trails in the Sky and make comparisons with the Final Fantasy VII Remake trilogy. That's not the case here, as the Trails games have always been made up of arcs consisting of multiple games. Falcom might not have the same budget and graphical grunt as the other Japanese studios that made the leap to 3D earlier on, but what has made the Trails series special is its focus on narrative, so even the early games were dense with character dialogue and lore, and even minor NPCs would have names and backstories.

In short, there's already so much existing material that means Trails in the Sky doesn't need to have its story expanded, while 2nd Chapter sticks to the original structure where you're essentially revisiting locations from the predecessor in the Kingdom of Liberl, albeit travelling by airship. The story has stayed faithful to how it was originally but given a modern presentation.

Like other JRPGs, there's an anime aesthetic to the character designs, but while the original games was limited to conveying this through chibi sprites and character portraits accompanying dialogue boxes, the technical advances means the same scenes get to play out like a full-on anime, complete with moments with exaggerated comical facial expressions.

Indeed, there's such an emphasis on character close-ups that the game mostly does away with the need for character portraits, a convention that Persona 4 Revival strangely still clings to despite having upgraded its 3D character models to be just as detailed and expressive.

To an extent, the Trails in the Sky remakes simply update the originals so that they are comparable to the most recent entries in the series. This includes incorporating a hybrid battle system where you can freely switch between traditional turn-based battles or real-time hack-and-slash action, though you're often incentivised to opt for the former, where you also get the most over-the-top animations when triggering special abilities.

Nonetheless, the remakes stand out a little more by making its world even more anime with bright cel-shading that differs from the more realistic lighting used in the other 3D entries, which also really suits the vibe of playing as younger protagonists in a coming-of-age story.

Some limitations still inevitably show up, notably that the dense script means that there is only voice-acting for some of the lines, which can be often inconsistent to the point where only one character is voiced, or they may initially speak only to suddenly have the rest following as speech bubbles. Even then, the game's camera work is always changing to keep you engaged with the visuals so that you're not just scrolling through text.

A bloat-free modern remake

Of course, any JRPG can feel like a serious time commitment these days, worse when the likes of Final Fantasy VII Revelation and Persona 4 Revival plan to add more new content to justify its existence to fans who have played it before even if it means an even more bloated experience (does a 100-hour game really need more content?). Again,

I applaud these Trails remakes for not cramming extra side content and minigames for the sake of it, while 2nd Chapter's minigames are present simply because they also existed in the original version. Staying faithful here does however have a downside, as compared to its teen-rated predecessor, the latest release is rated mature for its inclusion of gambling minigames, and there's even a side quest that involves the teenage Estelle trying to break someone's winning streak in Poker.

Another element present in other modern Trails games but also applied to the remake effectively is the implementation of high speed mode for those who want to get through the game quicker by speeding up animations.

It probably helps that dialogue isn't fully voiced but it's important to note that even if animations are faster, any voiced dialogue still plays out at normal speed so you can still appreciate the voice acting as intended, compared to the Final Fantasy Remake series going full Netflix and letting you butcher the voice performances at up to double the playback speed. While high speed can also make some games comically unplayable, I also found that at 1.5x speed, it's still possible to breeze through real-time battles while still being able to read the window for dodging enemy attacks.

Ultimately, what makes Trails in the Sky a successful remake is that instead of embellishing, reimagining, or bloating the essence of what it was, it exists alongside the series' continuity, which is clearly something its creators had thought long and hard about whereas other modern remakes have gone through the awkward process of retconning characters or plotlines (also evident in series like Resident Evil and Yakuza).

Admittedly, 1st Chapter's launch was also mired by localisation that used different naming conventions and terminology inconsistent with the wider series, but a post-release 'legacy patch' nearly a year later has thankfully resolved these issues just in time for 2nd Chapter's release.

More ambitious JRPG remakes are still to come in 2027, though from my initial impressions, I'm finding Final Fantasy VII Revelation's everything-but-the-kitchen sink maximalism overwhelming to the point that it loses sight of what made the original game amazing in its own right, while Persona 4 Revival is stylish but also an unnecessary $70 remake when the original expanded port is available on every modern platform for a fraction of the price. Instead, the perfect JRPG remakes are already here with Trails in the Sky, which achieves what any modern remake should strive for.

Their modern graphical and gameplay overhaul doesn't just make it fresh while keeping the story faithful to what fans love the original for, but they also serve as the perfect entry to audiences playing for the first time, which will make a smooth transition for experiencing the rest of the series.

Trails in the Sky 2nd Chapter is out now on PC, PS5, Nintendo Switch, and Nintendo Switch 2. A free demo is also available on all platforms, with save data transferring to the full game.

• Buy the HiFiMan HE1000 Stealth for $949 / £839 at Amazon

The recent un-coloured tuning trend has been a great thing for affordable personal audio. Headphones like the closed-back Sennheiser HD 480 Pro Plus and IEMs such as the Crinear Reference have committed to a balanced, neutral-sounding profile, and all around the $400 mark. They sound exceptional in their clarity, and they are hands down some of the best audio releases I've heard in recent years.

Yet none of this has caught on in the world of high-end headphones. And the HiFiMan HE1000 Stealth – the 2023 iteration of a line that dates back to the $3,000, 2015 original – is no exception.

After all, the best-sounding wired high-end headphones are about specialisation – bold, sometimes risky tunings that don't need to be liked by everyone, just a few wealthy enthusiasts. Each pair of eye-wateringly expensive headphones is like a piece of modern art: the perfect mix of colour and form for some, a derisory mess that a child could replicate for others.

Now, the HiFiMan HE1000 may not be for everyone, but it is certainly for me.

In this review I dig into what exactly the HE1000 is trying to achieve with its specific tuning, and I'll do my best to help you decide whether this $949 high-end headphone is the End Game set for you.

Sound profile

Overall, there are a few things that jump out at me when I first put on the HE1000 Stealth (just HE1000 from now).

First, the expansive sense of space – these open-back headphones feel and sound really open. If you like an intimate, vocal-forward tuning, look elsewhere. And it's not just because of the scooped upper mids that present a sense of space – the ear cups are huge and let a lot of air through. Combined, the HE1000 gives me the most grandest sense of space of any headphone I've tried.

Second, the bass response is satisfyingly extended, measured and void of bloat. Then there's the fresh, bright-leaning presentation that brings a sense of detail. And finally, there's the correct-sounding timbre, despite its upper midrange colouration. For me, everything works together in harmony. Though I'd never call the HE1000 neutral, it offers a coloured sound that remains balanced.

The HE1000 makes an event of listening to music – it's as satisfying as it is impressive.

Bass: As with all HiFiMan planar magnetic driver headphones, the HE1000 delivers a refined bass response, which extends deep into the sub-bass region, though it drops off a cliff below 20Hz. It's linear without massive peaks, or tactically placed dips, so you get a textured, well-articulated bass that isn't over-done, isn't bloomy or overbearing, yet it's impressive for such an open-back set.

I don't want to overstate, as I've heard open-back headphones with more mid-bass slam and sub-bass rumble (like the Sony MDR-MV1), but for an exceptionally open-back headphone such as the HE1000, its bass extension and sense of body is really impressive.

Many reviewers have reported that it's the HE1000 Stealth's planar magnet design which provides extra tactile punch and lightning-fast speed... I don't know about that, and I'd much rather focus on my personal take on the tuning of a headphone than what the tech might be doing to the sound.

Bottom line: I get a textured, impactful bass from the HE1000, and there's precision there too. This is top quality stuff, and the bass is balanced with the rest of the frequency response really well.

If you're reading this review, the chances are that you're aware of HiFiMan's house sound, and the reason why many believe HiFiMan headphones provide the most expansive 'soundstage' of all headphones. Here's a quick recap, just in case...

HiFiMan open-back headphones feature a deliberate dip in the upper midrange frequencies (roughly 1.25–2.5kHz), which psychoacoustically pushes parts of vocals and lead instruments further back in the sound presentation. This tuning, which is very much present in the HE1000, can translate into an expansive, non-fatiguing, spatial presentation, giving listeners a sense of depth and width to their music, while also allowing more complex tracks to breathe with a sense of airy separation.

Now, full disclosure: This recession will strip many vocals and instruments of some of their natural intimacy, body, and presence, and that can be a solid turn-off for some. When this type of tuning is too extreme, the sound can feel slightly hollow. And though some of the body of vocals and lead instruments are definitely put on a diet with the HE1000, I never get a sense that I'm missing out; that HiFiMan went too far and took out something of the soul of the music. I just enjoy a different presentation of the sound.

This is because the overall balance of the frequency response remains cohesive. The genius of the HE1000 is that although it scoops out a chunk of the upper midrange (from 1.25kHz to 2.5kHz) to give that sense of space, the timbre of instruments and vocals is never compromised.

Of course, this is all relative, and when comparing the HE1000 to a much more neutral headphone, such as the HEDD D1, the latter's timbre is more correct. Yet the smidge of accuracy you lose in the HE1000 is easily made up for by its inviting, exciting and embracing presentation.

Ultimately, this spaciousness effect is exactly that – an effect. But it's expertly done, and a great deal of fun.

The only thing that bugs me about the midrange is that because of this fun dip, the following peak – around 3.4kHz – does provide a level of spice that some may find too much. It's fine for me, but if this is a known trouble spot for you – and let's be honest, the ear gain region is a trouble spot for many – then it's definitely worth keeping this in mind.

Some people may find the HE1000's treble off-putting (as treble so often is). For me, it isn't a problem... until it is.

After listening to my whole library un-critically, then my 'headphones' playlist critically, it wasn't until I got to two tracks that I felt the HE1000's treble reached my limits of spice.

The static squeaks and squelches of K-Lone's slk started to grate towards the end of the track, and the immediate high hat bursts of Michael Jackson's Billie Jean verged on too much... still, two out of 631 tracks isn't bad!

Casting a spotlight on it, there are hot spots around 6.5–7.3kHz, then there's a dip around 7.6kHz followed by a noticeable peak around 9kHz. Of course, you may hear the HE1000 differently to me – especially the treble frequencies – so that's more of a guide than a prescription. But the point to take away from this is that there definitely are peaks in the HE1000's treble. For me, they largely serve to sculpt sharp dimensions to the music, giving it texture and clarity.

Price, value & gear

Evaluating the value of a pair of excellent-yet-expensive headphones has to be nuanced, and I'm doing this from the perspective of someone to whom the HE1000's price tag is a considerable investment. So, can a pair of headphones that cost $950 ever offer good value? I think they can.

Tuning gets bold, singular, daring and divisive in the high end of audio. That means many people are not going to like the sound of the HE1000. For other listeners, I can see the HE1000 being their perfect end game headphone, being far more appealing than a neutral-leaning pair of headphones like the HEDD D1, or a slightly darker, warmer set like the HiFiMan Edition XV.

The HE1000 offers an audio experience that no other headphone does. Because I'm not overly sensitive to its specific colourations, and because I really enjoy the spatial effect it offers, I think it represents good value.

It's also worth noting that the HE1000 headphones come with a pretty standard 2-year manufacturer warranty, alongside a 30-day return policy for a refund when purchased from official channels. However, if there is something faulty with your HE1000, you'll have to pay for the postage when sending them back to be repaired (which HiFiMan will cover). It's a small yet annoying detail that many audiophiles have bemoaned over the years.

DAC/Amp requirements

The majority of people who buy the HiFiMan HE1000 Stealth will already have a dedicated headphone DAC/Amp set up. However, if you don't, fear not! The HE1000 is incredibly easy to drive, and you won't need to spend an additional arm and a leg to get the best out of them.

Thanks to its high 93 dB/mW efficiency, driving the HE1000 Stealth is a breeze. Any clean, solid-state DAC and amplifier providing roughly 200 mW to 500 mW into 32 ohms will achieve 115 dB dynamic peaks without distortion or clipping. That's lots of volume, zero noise.

Most boutique, multi-thousand-dollar pieces of gear are only 'better' than affordable modern desktop units in their value as pieces of art. If you love the look of them, and the features that they offer, that's great! Acoustically, they're indistinguishable.

Although I played the HE1000 through my $650 Luxsin X8, you just don't need to spend that money to get the most out of these headphones. You'll get all the power you need from a $220 FiiO K7 DAC/Amp, or a $199 Topping DX3 Pro+. Now, that will still bring the overall cost to North of $1,000, so it's worth considering. But again, I'd be surprised if anyone buying the HE1000 is building their personal audio setup from scratch.

Build & comfort

I can imagine that the look of the HE1000 isn't for everyone, but I think generally the build quality stands up to its kilobuck price tag. The comfort of the HE1000 is certainly top notch.

I love the retro, 70s-tinged, wooden trimmed vibe it's got going on, though I'm the first to admit that for $950, we really should be getting real wood trims! Instead we get a wood-printed vinyl veneer.

It would be enough to take half a star off, if I didn't find this weirdly charming.

What stands up to any scrutiny is the real suede headband which further sells the retro vibe and ramps up the comfort. Add to that subtle, light and comfy earpads, and very large earcups that will never irritate you by rubbing against your ears (no-one's ears are that big), and brushed aluminium, and you've got an incredibly comfortable set that feels solid in your hands.

I've read that the HE1000's massive ear cups can create seal issues on smaller heads, though I experienced no such issue. What I will say is that the supplied cable felt a bit stiff and prone to tangling, so I ended up using my trusty Custom Cans' ultra-low capacitance balanced litz cable.

Should you buy it?

I don't think we need to over-complicate things here. The HE1000's $949 price does a good job of answering the question 'should you buy it?', after all.

I would buy a pair of HE1000 because I find the experience I have with them to be amongst the most enjoyable I've experienced in audio to date. The specialist tuning is spacious and welcoming, seemingly sculpting music with added dimensions.

Also, in the fantasy world where I can afford the HE1000, I could probably also get the more neutral HEDD D1 headphones, so I'd have the best of both worlds. Out of the two, I think the $799 D1 is a better choice for the majority of people. But there will be a few of you out there that will find the HE1000 as special as I do.

But let me be clear – this is absolutely a pair of headphones that you need to get on your head and try out before buying, because there's a fair chance that the spacious effect and bright higher end is not your cup of tea, or you might just hear them differently to me – such is the nature of personal audio.

I'm excited about the current trend towards neutral that's occurring in budget and mid-range headphones, and I love how many of those new headphones sound. And at the same time, I equally love it when some old-school high-end cans, like the HE1000, utterly ignore the trends, and plough on with their bold, daring tuning.

In a world of billboard ads and social media campaigns, Savage X Fenty's playful approach is a refreshingly tactile take on advertising that proves simple concepts can have a big impact. Nearly impossible to ignore and perfectly placed to snatch passersby's attention, the cheeky campaign is a prime example of experiential design at its best.

Looming above Seventh Avenue and Fashion Avenue, Savage X Fenty's bold campaign turns the streets of New York City into a living, breathing ad experience. The oversized lingerie set casts a shadow on the Garment District, creating a dual display when the sun hits just right (bonus points for aligning it so the crosswalk hits right in the middle).

Just in case you were wondering who's behind the mysterious floating undergarments, the lingerie set is bordered by the Savage X Fenty logo, while the clothing itself bears the Savage wordmark in a slick serif font. It's a simple concept with expert execution, proving that breaking the mould of conventional advertising can be a strong move that gets people talking.

For more advertising inspiration, check out how the subvertising has held up a mirror to some of the biggest brands or take a look at this ad platform that sparked brand romance with 100 love letter billboards.

The American football team finally retired the 'Redskins' logo and name in 2020 due to its racist connotations. So why did it drop a fresh collection of merchandise with the old branding just ahead of the new NFL season? According to the team, it effectively has a legal obligation to continue to promote racist stereotypes.

The Washington Commanders' retro redskins merchandise sold out in just 48 hours, which is perhaps a sign of how much some fans are still attached to the old brand. The Association on American Indian Affairs criticised the drop and raised concerns that the limited-edition release could have been a trial to test public reaction ahead of a possible backslide towards using a racial slur in its branding.

The club claims that's not the case. It also claims the use of the controversial logo wasn't for nostalgia's sake. It argues that it has to continue to occasionally sell products with the questionable branding so that others can't. Otherwise, it could be argued that the team has abandoned its trademarks, like a social media company recently tried to claim regarding the Twitter name.

Some aren't convinced by the team's argument. The controversial merchandise drop was hardly discreet: it included an Art Monk T-shirt with a huge image of the Redskins logo. Trademark law doesn't say anything about having to efforts to maximise merchandise sales to avoid claims of abandonment.

Outside of sport, some brands have found much more discreet solutions. Quaker Oats continues to use a small placement of its Aunt Jemima logo on Pearl Milling Co packaging to avoid leaving it up for grabs.

Either way, the legal scholars Chris Buccafusco and Jon J. Lee suggest that the incident shows there's an argument for the law to be changed. Writing for MS Now, they say legislation could be changed to prevent claims of abandonment in cases where the public still associates a former trademark with the original owner, or that Congress could create a registry for retired trademarks that have historical significance connected to commercial success or major political or social issues.

"With such a law, the United States Patent and Trademark Office would be empowered to stop others from selling merchandise bearing the trademarks, ensuring that the trademarks would be removed from the marketplace for good," they argue. "It also allows companies that want to sever ties with their racist pasts to do so with less concern that others will be able to swoop in to take their place."

Then we can go back to debating the merits of the Washington Commanders' folded 'W' alternate logo.

We rate this the best budget 3D printer in our comparative guide to the best 3D printers overall. We think it's a good choice for beginners since it makes it so simple to get started pretty out of the box with very minimal setup needed.

An ideal budget 3D printer for beginners

We highly rate Elegoo's first foray into Core XY FDM printing. Unlike many FDM 3D printers out there, the Elegoo Centauri Carbon leaves very little work to do in assembly. There are no gantries to bolt together. All that is needed is to remove the accessories and shipping foam from inside, remove three screws and plug in the screen. You can be up and running in just a few minutes.

The enclosed system is styled similarly to Elegoo's Mars resin printers, with similar graphics and a dark grey metal housing. It's solidly built and caters well to filaments that require different setups with a lift-off glass top panel, and a two-sided build plate, both of which are clearly marked so you know what to use and when.

There's a built-in camera, so you can film timelapses of your print jobs and monitor in real time, and a self-clean function. And despite making things as easy as possible, there's plenty of opportunity to dive deep once you're ready to start getting more hands on.

We think it's suited to anybody who needs speed, reliability and accuracy and can work within the 256 x 256 x 256mm build volume.

If you prefer to use liquid resin materials when 3D printing, check out my review of the Elegoo Saturn 4 Ultra, which is another super beginner-friendly machine from Elegoo.

It feels right because, back then, gaming PR was in its prime: the drinks flowed, the games were good, everyone seemed to know everyone, and the whole thing had a loose, scruffy excitement that has largely disappeared from the industry. Now we get presentations, demo stations and carefully managed hands-on windows, so being able to sit down with a beer and actually play the Evercade Nexus felt like a bit of a throwback.

It was a pretty good way to meet the Evercade Nexus for the first time, particularly after reading Alan Wen's Gamescom Nexus hands-on report. I've been an avid fan of the Evercade EXP-R (it's on my best retro game console guide), and I really like it. I like the size, the slightly chunky handheld feel, and that Evercade has resisted the temptation to make its machines look like yet another generic retro emulator. So when I first saw the Nexus, my immediate reaction, compared to the EXP-R, was that it was big.

Having actually held it, though, I'm less bothered by the size than first impressions suggest. It is bigger than the EXP-R, obviously, but it's also surprisingly light, and the shape works nicely. The rear grips give you somewhere to put your hands and, after a few minutes, I stopped thinking about the size. The Nexus isn't better or worse than the EXP-R in that respect; it's just going after something different.

Evercade Nexus is designed with purpose

The Nexus feels like Evercade has finally decided what it wants its hardware to be: a proper handheld that can comfortably play 32- and 64-bit games. And because of that, two things hit me immediately: the screen and the sticks. The 5.89-inch display is big, crisp, and bright, and after spending time with the EXP-R, the new Nexus's extra screen real estate is obvious. The difference is even more noticeable when you start playing 32- and 64-bit games, because these are designed around TVs, not little handheld screens.

Then there are the two analogue sticks, sitting symmetrically on either side of the display. I really like this. I've found it takes me a little while to adjust whenever I go back and forth between controllers with different stick layouts, and I still sometimes find myself thinking about where the offset sticks are on a Nintendo Switch 2. The Nexus doesn't ask me to do that. Both sticks sit where my hands expect them, and after a few minutes it just feels natural.

I had the chance to chat to Blaze Entertainment’s Senior Product Designer, Haydn Thomas, over a beer, and apparently the position of those sticks was one of the things the design team went back and forth on during development, which I can believe. It’s one of those decisions that sounds trivial until you hold the finished console and realise how much it changes the feel of a handheld, because it feels right for the games Evercade will be playing now and in the future – full 3D shooters and platformers – demand dual analogue sticks.

The games on Nexus matter

That’s the takeaway: I didn't really understand why Nexus needed to be this big until I started playing the games. The games at launch – Banjo-Kazooie and Doom – aren't games that particularly care that you've got a nice little retro handheld; they need analogue movement, direct camera control, and enough screen space to actually see what's happening – though Haydn and I do laugh at how our eyes aren’t getting any younger, and a larger screen is handy.

Banjo-Kazooie in particular feels like a good test. It's a game where you want to look around, move the camera, make those little adjustments as you navigate a level or search for secret little hidden collectables, and having two proper sticks on a big screen makes perfect sense. Playing Banjo-Kazooie and Doom was the moment at which I understood what Blaze is aiming for with the Nexus – a retro 3D games handheld. The hardware is changing because retro games are changing.

Yes, you can play Doom on the smaller EXP-R handheld, but you could probably play Doom on a pregnancy test if someone really committed to the bit. But why would you?

The other thing that surprised me was how much personality the Nexus's physical design has. Look closely, and you start spotting these little Evercade touches that make it feel like a lovingly designed handheld. Hayden points out how the ‘A’ from the Evercade logo has been pulled out and worked into the texture on the rear grips, while the cooling vents have a repeated ‘A’ design, and the light-up NEXUS logo on the front signals various statuses as well as personalisation, which gives it a slightly PlayStation-ish feel, but with the sharpened flat shell edges that recall the first Evercade EXP handheld.

None of this will sell a console on its own, obviously, but I like it. I've played enough anonymous retro handhelds to know what happens when the hardware is only there to push emulation. You pick one up, marvel at how many games it can run, then five minutes later you've forgotten what it looked like. The Nexus doesn't feel like one of those; it feels like an Evercade.

Because Evercade has built a unique ecosystem around physical cartridges, licensed games and collecting, the hardware having a recognisable identity makes sense. You aren't just buying a little box that happens to run old games; you're buying into a particular way of doing retro.

I see that thinking in the games too, particularly with Banjo-Kazooie and its sequel Banjo-Tooie. Blaze's new Banjo cartridge is a pretty big statement of intent because the company has worked from Rare's original source code rather than simply dumping an old ROM onto a cartridge. The result includes new assets and enemy designs, plus things discovered in the original code, including material that apparently wasn't even known to the original developers. There's even a level editor.

The Evercade EXP-R can play the Evercade library, including the new 32- and 64-bit cartridges like the upcoming Banjo-Kazooie Double Pack and Doom Collection, so Nexus isn't some hard reset where everything before it becomes obsolete. But after playing these games on Nexus, I can see why I'd want one.

Designed with 3D games in mind

The bigger screen and dual analogue sticks make a difference when you're playing something designed around 3D movement. That's what I kept coming back to at the event – it wasn't really about having a better spec sheet; it was about sitting there with Banjo or Quake running and feeling that the controls and screen were finally giving these games the space they need.

And now I'm thinking about what comes next. Give me Ready 2 Rumble, the weird forgotten Dreamcast games and those PS1-era oddities. Hopefully more Rare and Microsoft collections – Perfect Dark and Jet Force Gemini, perhaps? If Evercade can also keep digging into games that slipped through licensing cracks and never made it onto modern consoles, then Nexus can find its place.

I went into that London pub expecting a nostalgic afternoon of old games, but instead I found myself wondering what I wanted to play next. Maybe that's nostalgia talking, or the event’s ‘vibe’, but just the fact that I’m already thinking about what I’d like to play next on Nexus means it’s made an emotional connection, and in retro gaming, that matters a lot.

Pre-orders are open for the Evercade Nexus, releasing this October for $199.99 / $169.99.

Currently on sale for $639 USD for a DIY kit, or $799 fully assembled, it’s the most affordable of all the Prusa Research machines. Josef Prusa’s business philosophy is that each of his machines can last a long useful life, with practically unlimited support and upgrades. The model shown here sports the five-colour MMU3 upgrade, which is a bit less beginner-friendly than the rest of the machine

What's in the box?

The MK4S DIY kit comes with all the tools you need to assemble them, plus a bag of Haribo Goldbears to fuel your journey. You also get a full size spool of Galaxy Black Prusament PLA, a USB Stick, and a printed guide book to 3D printing on the MK4S. The USB stick presliced models to test your printer.

Prusa is the only major manufacturer that still sells scratch-built DIY kits, claiming it’s the best way to truly learn how the machine works. While an experienced maker can slap the machine together in 8 hours or so, I suggest clearing the kitchen table for a full weekend. Thankfully, real human customer support is just a chat box away, 24-7, in seven languages.

The MK4S has a robust build, with a powder coated die-cast aluminum-alloy frame, plus more than a few PC Blend Carbon Fiber parts 3D printed in Prusa’s print farm. Though some parts are injection molded, the company firmly believes that printing their own printers is the best proof of Prusa quality.

Performance

The MK4S has fully automatic bed leveling, using a load cell sensor connected to the nozzle to physically tap the bed. Cooling is provided by a turbine suspended in front at a 45-degree angle. The updated fan has a “360” shroud to bathe the entire nozzle in cooling, enough to allow the MK4S to print up to a 75-degree overhang without supports.

Filament loading on the single color version is super simple. A manual spool rack is mounted to the top of the frame, which allows the MK4S to use both plastic or cardboard spools from any brand of filament. There are no pesky tubes to deal with, so you only have to grab the filament and push it a few centimeters into the top of the Nextruder. The machine will automatically grab it and pull it into the nozzle.

The MK4S is blazing fast for a bedslinger, with default speeds topping out at 250mm/s in order to keep the emphasis on precision. The extra speed comes from a custom high-flow CHT nozzle that increases the printer’s volumetric flow rate 44% to 50% faster than the previous MK4.

Software

Every 3D printer needs a slicer program to translate a digital model file into code your machine understands. This code is tailored to the make and model of your 3D printer, and also includes detailed instructions regarding temperature, speed and other values required by your chosen filament.

Open source PrusaSlicer has been the foundation for every other manufacturer's software for over ten years. The program is free to download and does not require the internet to operate once installed. If allowed online access, the slicer includes a link to Printables for finding free files to print and Prusa Connect for remote operation of your machine.

PrusaSlicer has Beginner, Normal and Expert Modes which are all overwhelmingly nerdy data dumps to new users. Beginners can start with EasySlice, a much simpler to use web based slicer installed on both Printables and Prusa’s mobile app. This fully functional slicer has a more graphic based interface and built-in tutorials to understand how slicing works. Sliced files can be downloaded to a USB stick or sent via the internet using Prusa Connect.

The Original Prusa MK4S typically retails $729/£579 for a DIY kit and $999/£729 for a fully assembled single color machine. A back to school sale is currently running in the US with prices as low as $639 for the kit and $799 fully assembled. The optional multicolor MMU3 is $359/£329 for a DIY kit and $389/£359 pre-assembled. These prices include duties, tariffs and taxes.

The MK4S is certainly not a budget machine, with competitors like Anycubic’s Kobra X costing a fraction of the price at $344/£259. However many budget focused 3D printers are difficult to repair and impossible to upgrade, making them feel disposable. We’ve seen other brands trot out new designs as little as six months later, making buyer’s remorse a real challenge. A Prusa is made not only to last, but to grow with you.

Price

The Original Prusa MK4S typically retails $729/£579 for a DIY kit and $999/£729 for a fully assembled single colour machine. A back to school sale is currently running in the US with prices as low as $639 for the kit and $799 fully assembled. The optional multicolour MMU3 is $359/£329 for a DIY kit and $389/£359 pre-assembled. These prices include duties, tariffs and taxes.

The MK4S is certainly not a budget machine, with competitors like Anycubic’s Kobra X costing a fraction of the price at $344/£259. However many budget focused 3D printers are difficult to repair and impossible to upgrade, making them feel disposable. We’ve seen other brands trot out new designs as little as six months later, making buyer’s remorse a real challenge. A Prusa is made not only to last, but to grow with you.

Should you buy the Prusa MK4S?

• Buy it if you value the right to repair and cloud free data security.
• Don’t buy it if your budget is tight or you can make do with a budget entry level printer.

Prusa Research makes practical printers tailored for enthusiasts, educational settings, print farms and small businesses. It commands a higher price not because it’s a luxury brand, but because it’s a well-engineered European machine backed by 24/7 customer support and an outstanding open-source community. Beyond build quality, you’re also buying peace of mind. For creators and print farms handling proprietary designs, Prusa’s ability to function without a satellite hookup keeps your files exactly where you can see them.

It’s IP68 rated and MIL-STD-810H certified, which isn’t just noise from a marketing spec sheet; it can actually survive being submerged in 1.5 meters of water for half an hour, and the screen even works with gloves on or wet hands, which if you’re working on-location in the pouring rain or doing a job that means you’re often in wet, dusty conditions, then it’s going to matter a lot more than something aesthetically pleasing. However, if you’re a creative looking for something that’s more general-purpose, you should probably look elsewhere, such as the Lenovo Idea Tab.

Key specs

Size: 25.7 x 16.8 x 9.93cm

Screen size: 10.95-inch

Panel: IPS (2560 x 1600)

Brightness: 600nits

Battery: 10,200mAh

Camera: 13MP (back), 8MP (front)

GPU: Qualcomm® Snapdragon 7s Gen 3 Processor (2.50 GHz)

RAM: 8GB

Storage: 256GB

Connectivity: 802.11 a/b/g/n/ac/ax & Bluetooth® 5.4, some models 5G

Design and Screen

• 10.95-inch IPS LCD screen
• IPS68 rated and MIL-STD-810H certified
• Durable rubberised casing

As soon as you unbox the Lenovo ThinkTab X11, you know this is no ordinary tablet. It’s thick, it’s chunky, and the rubberised casing that surrounds the screen is surprisingly nice to hold. This doesn’t feel like a tablet that is going to break easily, which is good because that’s what it’s designed to be.

One of my favourite design features has to be the slot on the side of the case for the Tab Pen. It fits snugly, so you know it won't fall off or drop out, unlike the magnetic Apple system. The rubber case isn’t a permanent fixture; it just pops off, although you do have to apply some pressure so you can rest assured it won’t come off if you drop it.

And then once it’s off, you can access the battery panel to replace the battery if needed. It’s not the easiest getting that panel off, so it’s not something you’re going to want to do all the time, but having a system where you can switch out the battery is really handy, especially if you can’t risk the battery running out whilst you’re working in the field. Inside the battery area, you’ll also find the slot for the MicroSD and, if it’s a 5G-capable machine, the Nano SIM slot.

The 10.95-inch screen is a 2.5K IPS LCD panel with a 90Hz refresh rate. The screen is pretty bright at around 600nits, but colours and blacks aren’t quite as vibrant and deep as you’d see on an OLED screen. But if you’re using this as the workhorse it’s intended to be, you probably won’t notice that much.

The screen is also reinforced with Corning Gorilla Glass, so it feels strong and sturdy. I did find the screen lagged quite a bit, it was slow to respond, especially when it was wet. The dual USB-C ports are a smart touch too, letting you charge and plug in a peripheral at the same time without having to use a separate adapter or dock.

Design score: 4/5

Features and Performance

• Dual USB-C ports
• Removable battery
• A Snapdragon 7s Gen 3 processor

The Lenovo ThinkTab X11 is actually loaded with features. You get two USB-C ports, which I mentioned above, perfect for charging while using an external drive or keyboard, you also get a 3.5mm headphone jack, a microSD expansion slot which supports up to 2TB and a front facing NFC for quick tap and go logins or payments.

The battery is, for me, one of the key features. We’ve all been in the middle of a project when the battery suddenly dies. Well, there’s no need to worry about running out of power with this tablet because you can switch the battery out for a fully charged one or use the battery-less mode, which means you can plug it in to charge and use.

The performance is adequate on this tablet. Powered by Qualcomm Snapdragon 7s Gen 3 and with 8GB, it handled a range of productivity tasks like web browsing, office apps and basic photo editing well. The Tab Pen XE was responsive and was pretty good at writing handwritten notes and basic sketching, but anything with more detail is going to be a struggle.

It has two cameras; the rear 13MP camera has autofocus and a bright LED flash. It doesn’t really measure up to what you’d get from a modern smartphone these days, but it’s ok; it does the job and is ideal if you’re just snapping photos for reference. The placement of the camera is in a bit of an odd spot, as it’s easy to cover it over with your hand when holding the case. The front-facing camera is just 8MP, which is good enough for a quick video call. But it’s worth keeping in mind that this is more of a business tablet; it hasn’t been built with designers and photographers in mind and that shows.

Features score: 4/5

Price and availability

• Double-check you’re buying the right tablet as some of the names are very similar
• 5G models aren’t available in the US

The ThinkTab X11 was released back in April and has a retail price of £680/$580 for the 8GB RAM, 256GB storage and 5G model. This also comes with the rugged smart case and Lenovo Tab Pen XE bundled in. It is worth noting that in the US you only get the Wi-Fi version, but for the price above, that does come with the case and pen bundle.

The best place to buy it is from Lenovo directly, as they seem to be the cheapest, but the model is available to buy on Amazon, just at a higher cost. It is worth just double-checking that you’re buying the right tablet when it comes to buying Lenovo products,

Price score: 3.5/5

Who's it for?

• Field workers, at a push, creatives who spend a lot of time on location
• Anyone who needs a tablet that can withstand rough treatment

This isn’t a tablet that creatives are going to rush to buy. It’s built for people who need a screen that will survive being dropped, rained on or handled with gloves. It’s also perfect for anyone who would prioritise a long-lasting battery over a stunning OLED display. If your work takes you outdoors, on location, or somewhere a normal tablet wouldn’t hold up, then the ThinkTab X11 is worth a look. If you’re looking for something lightweight and easy to create on, then keep on looking.

Buy if…

• You need a tablet that can survive drops, water and dust
• Your role involves being out on location or working in the field.
• Battery life matters more than speed or fancy screens

Don’t buy if…

• You want a tablet for photo editing, illustration or other creative work
• You want a screen with excellent colour accuracy
• You want a sleek, lightweight tablet for casual use

Benchmarks - Geekbench 6 scores

• Single-core: 1159
• Multi-core: 3396

Usually when we cover these cases, it's the logo design itself that's the problem (like this recent case with Louis Vuitton). Here, even though the logos are nothing alike, it's surprising that the logo design isn't what's being contested. It feels unbelievable that anyone could try to claim ownership over a term as ubiquitous as "bnb."

The owners of Bnb-side, which was conceived to financially support the not-for-profit festival B-side, spoke to BBC Radio Solent and said they're holding firm. Rocca Holly-Nambi, director of B-side, and Cat Wightman, manager of the Bnb-side guesthouse, said: "We're just going to sit with our values and we are going to sit it out because we need to secure the future of B-side festival on the island, and the Bnb-side has been our way of doing this."

Talking to The Guardian, they made the point that Portland is overrun by Airbnb properties, and many small local guesthouses have been put out of business because of it. Targeting Bnb-side in this way really isn't a good look for Airbnb.

Big companies often go after small ones for trademark infringement, and some have more basis than others. Of course, two brands operating in the same space would normally strengthen the case for a copycat claim – but do you really think this instance is fair?

No, don't worry. It's nothing to do with the terrible viral Chinese animation Niu Lai. This bovine-themed production is a graduation short film created by students from the French cinema school ESMA, or École Supérieure des Métiers Artistiques (don't miss our pick of the best laptops for animation and the best animation software if you're inspired).

Cows follows Moo Moo, a cow who grows tired of her ordinary life on a traditional farm. When a high-tech, modern farm opens across the road, she escapes in search of a better life, only to discover that reality does not match her expectations. The story explores freedom, the illusion of greener pastures and the clash between dreams and reality.

Despite being computer-animated in 3D, Jonathan Lally, Elio Molinaro and Nicolás Acevedo Ferraté used a distinct claymation stop motion visual style reminiscent of the work of Aardman (is this something like what we'll see in Disney's Clay).

The Silver award went to the The Panic Inside by Matthias Strasser (Filmakademie Baden-Württemberg, Germany), while Bronze went to Gauze by Noran Fikri Alezabi, Xinyue Ma and Yulin Yue at Gobelins in France.

Gauze (below) tells the story of fourteen-year-old Zain, a Palestinian swimming champion facing war and man-made famine, who becomes the sole caregiver to his little brother. When aid drops into the sea, Zain is forced to swim, not for passion, but survival.

The Student Academy Awards competition received 2,972 entries from 894 colleges and universities this year. All of the winning animations will be eligible to compete for the Animated Short Film award at the 99th Oscars next year.

Here he presents four examples of his character designs with striking, dramatic compositions. For more inspiration, see our other features on digital artists.

Huang Zhong: The Veteran Warrior

“This piece features the aged but formidable Huang Zhong, with mellow tones reflecting his fortitude and legendary archery skill.”

Hzhang Fei: The Fierce Vanguard

“I made use of bold brushwork here to convey Zhang Fei’s fearless spirit, with ink splashes emphasizing his imposing battlefield presence.”

Guan Yu: The God of War

“Here, I depicted Guan Yu’s battlefield prowess, merging ink textures with dramatic light and powerful composition.”

Ma Chao: The Mighty Cavalier

“This captures Ma Chao’s wild cavalry prowess, with dynamic composition and ink shades highlighting his heroic charm.”

You can see more of Xianglong's work on his ArtStation profile.

Inspired to work on your own digital art? See below for deals on drawing tablets that we've reviewed.

This article originally appeared in ImagineFX. Subscribe to ImagineFX to never miss an issue. Print and digital subscriptions are available.

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Which is why Autodesk’s big AI pitch at AU26, held this year in Las Vegas, has caught my attention. The company is talking about “closing the gap between what we can imagine and what we can build”, which is corporate language, certainly, but there’s something behind it that I find more interesting than the usual AI promise of making things faster, cheaper and with fewer people.

Raji Arasu, Chief Technology Officer and EVP at Autodesk, put the idea more bluntly during the keynote: “Our mission [is] to unlock capacity for you.”

More than any individual AI feature, this is what I think Autodesk is actually selling at AU26. The company is essentially arguing that AI should increase what people can accomplish with the resources they already have, whether that’s a designer trying to get through a mountain of repetitive work, an engineer juggling increasingly complicated product data or an animator trying to get a character to do what they imagined in their head without spending half the day fighting keyframes.

Can AI take away the drudgery?

After years of speaking with animators and game artists, that last one is the easiest for me to wrap my head around. Anyone who has spent time animating, or in any creative job, knows there’s the fun stuff and then there’s the stuff you have to do because, well, that’s how animation works. If AI can take some of the second category away while leaving artists in charge of the first, I’m interested. If it starts making the creative decisions for artists and animators, I’m much less interested.

That distinction runs through much of what Autodesk is showing at AU26, across architecture, engineering, manufacturing, and media and entertainment, and points to a general direction of travel for digital and 3D arts. Take the new standalone, agent-first version of Autodesk Assistant. Instead of making you figure out which Autodesk application contains the tool you need, the idea is that you start with the outcome you want, and Assistant uses your project context to determine which Autodesk capabilities are relevant.

I like that direction, partly because I’ve spent enough time with creative software myself, even just as a hobbyist and journalist and not a pro, to know that finding the right command, tool, or workflow can sometimes be half the battle. More importantly, though, Autodesk is trying to make the AI understand the work you’re doing rather than simply understand a prompt and do it for you.

Arasu described that ambition as “understanding not just what’s happening on your project, but why and what to do next.”

It's a small distinction, but it shapes how you use and approach AI; here at Autodesk, a creative project isn’t a blank box waiting for you to type something into it. It has models, drawings, materials, revisions, decisions, mistakes, constraints and a fairly sizeable pile of accumulated context. Autodesk wants its AI to work with that stuff, which is why the company keeps coming back to the slightly grand term “project intelligence”.

In less corporate language, I think the idea is that the software should actually know what you’re doing, help you do it, but not take over. Arasu put it another way when she described how, once AI understands a project’s context, “it becomes grounded in your workflow, your company, and your project ecosystem”.

The broader AI take-up

When you get into Autodesk’s creative tools, that subtle shift from replacer to helper piques my interest. Flow Studio is probably the AU26 announcement and demo I’m most curious about, coming tomorrow. The idea is that creators can create and assemble characters and AI-generated worlds, then bring them into an editable 3D environment to direct and refine what they’ve made.

We’ve already seen a lot of AI demos where someone types a sentence and gets a character, a landscape, a shot or an entire little film spat back at them, and yes, it’s impressive, but I’m starting to think the generation is actually the least interesting part of using AI creatively.

Give an animator a character in a blank space and tell them they can now decide how that asset moves, how they’re framed, what happens to them, what needs changing and what needs throwing away, and animators will be back in territory that feels much more like making something and a lot less like prompt jockeying to a final scene. It’s the difference between generation and direction, and I suspect a lot of the genuinely interesting creative work around AI will happen in direction.

I've already covered why MotionMaker in Maya fits into this approach to how AI can and should be implemented. Autodesk uses machine learning to reduce manual keyframing in character animation while keeping the artist in control of the final performance.

Again, I don’t particularly care that a machine can produce movement; I care more about whether it can save artists and animators from the parts of the process that keep them from spending time on the performance itself. If AI can get a rough motion in place quickly and then an artist can spend time pushing the pose, timing, weight and personality around until it feels right, that’s a compelling use of AI.

The machine has done some work, but it hasn’t really made the creative decision for you. And that, I think, is where Autodesk’s wider AI strategy starts to make more sense, even if you have to wade through a lot of Autodesk terminology to get there. Across the company’s different industry clouds, the pitch is broadly the same: give people more useful information, remove repetitive work and let them spend more time making decisions that actually matter.

Arasu summed up Autodesk’s intended outcome at the end of her section of the keynote: “less searching, less stitching, less AI complexity, more creating, more solving, and more innovating.”

And while it feels like a healthier AI place to be than simply saying “look how much content we can generate now”, it also leaves the bigger question hanging: if AI increases the amount of work one person can do, what happens to the number of people a company decides it needs?

The impact of AI won't go away

Autodesk can talk about unlocking capacity, helping businesses win more work, and making projects more predictable, but that doesn’t magically remove AI's economic reality. A tool that lets one animator do the work that previously took two people could be fantastic for the animator who gets to spend more time on the creative side of the job, but less fantastic for the second animator who no longer gets the job.

I don’t think Autodesk has an answer to that, even though CEO Andrew Anagnost has been honest about the impact on jobs, and I don’t think any software company can simply declare the problem solved. What I do think is useful is that the company is at least making a case for AI as an extra layer around human expertise in all creative sectors, rather than presenting the human as the inconvenient bit of the workflow.

That’s why the Flow Studio developments and what Autodesk shows around MotionMaker interest me more than another shiny generative demo. I want to see what happens when AI gets good at the tedious parts and leaves the messy, subjective, frustrating, very human business of deciding what something should actually be like to the person making it.

Maybe that’s where the real test for creative AI will be, not whether it can make something impressive from nothing – we already know it can – but whether it can give an artist enough extra time, control and freedom to make something better than they could have made before. That’s a much harder thing to demonstrate in a keynote, and it’s also the bit I’ll be watching most closely at AU26.

Visit AU26 for more news and announcements as they happen.

Speaking at Autodesk University 2026, Autodesk CEO Andrew Anagnost commented on the latest AI doom debate and split the argument into two camps. “There’s a cynical interpretation to this, and then there’s a non-cynical interpretation. I kind of prefer the cynical interpretation,” he says.

He explains: “The idea that any of these companies are going to self-regulate themselves at this point is ridiculous. I think some of this is a little bit of political theatre, you know, designed to pump themselves up, ‘look at how great our tech is’ – it’s so good, it’s so dangerous, there’s a 10% chance that we’ll kill everybody.”

He isn't arguing that the technology is harmless; quite the opposite, as he states, “There really is a real need to start putting guardrails on this technology. It’s a potentially dangerous technology that can be used in dangerous ways.”

The here and now consequences of AI

For Autodesk, the AI conversation is also becoming much more practical. The company is putting AI into Maya to automate parts of animation and make existing artists more productive, while Flow Studio is taking a broader look at how much of the production process can be connected and automated. MotionMaker, for example, can generate character movement from relatively simple inputs, while Autodesk has been expanding Flow Studio towards AI-assisted characters, assets and production workflows.

And there is a consequence to all of that which Anagnost is quite happy to say out loud. “There’s nothing we can do about the fact that these tools are getting more efficient, and because they’re getting more efficient, there are fewer FX artists per film,” he says.

That is a much more immediate problem for people working in VFX than whether AI will go full Skynet and wipe out humanity in ten years. If the software gets better at the work, studios don't necessarily need as many people to make the same film. From Anagnost’s point of view, the hope is that studios use that efficiency to make more things rather than simply making the same number of things with fewer people.

“The question is, are they going to be making more films with high-quality content? It’s unclear where that goes. It’s a very dynamic space,” he says. “Ideally, what would be happening here is that you’d be making more high-quality content. The artists that are available out there just have fewer hours per piece of content and more content.”

That thinking runs through Autodesk’s approach to animation. Maya remains the high-fidelity tool for professional artists, with AI and automation being added to reduce some of the more repetitive work. MotionMaker is one example, and Anagnost says Autodesk will keep adding technologies that take on more grunt work while artists remain in control.

Then there is Flow Studio, which Anagnost describes as a "second track", aimed at smaller teams that want to put together an entire production using a collection of increasingly automated tools. “We’re looking at a small team mashing up a bunch of stuff and bringing something together, script to screen in a highly automated way,” he adds.

Anagnost sees the eventual destination in film as a kind of script-to-screen system in which artists can assemble and direct much more of a production themselves. “The script-to-screen, the highly art manuscript-to-screen, I think we’re going to move to that world, and Netflix will have to eventually accept that,” he explains. “Because the artist feels like they’re in control; they can run a small team now through this, right? And they can pull technologies to use.”

There are obvious implications for the size of creative teams. If a small group can do work that previously required a much larger production, some jobs disappear from individual projects, even if overall content increases. Whether that extra content actually arrives is still an open question. The film and VFX industry is already dealing with changing budgets, streaming economics and a difficult production market, so there is no guarantee that money saved through AI will come back as more work for artists.

Anagnost acknowledges that the industry still hasn't figured out what comes next. “I think we might settle into a place where we’re actually creating more content, lower price, but high-quality content,” he said. “I don’t think we’ve gotten to the knock-on business. Business is still realigning.”

For artists, then, the immediate AI question probably isn't whether a machine will end civilisation. It’s whether the next film needs 500 people to make it, or 300, or 50, and what those people end up doing when the software starts handling more of the production.

The extinction argument is still there, and Anagnost thinks AI needs real guardrails. But Autodesk is also planning for a future where AI simply makes the production process dramatically more efficient, and that future has consequences for artists long before anyone has to worry about the machines taking over the planet.