#audio visual system design

[vivencyglobal]

AV Solutions – Vivency Technology LLC

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[avtechnologysworld]

Best Practices for Integrating Lighting, Audio, and Visuals in Auditoriums

In the world of modern auditoriums, the integration of lighting, audio, and visuals has become an essential aspect of delivering captivating and immersive experiences. Whether hosting a corporate event, a live performance, or a multimedia presentation, the seamless blending of these three elements can elevate the overall impact and leave a lasting impression on attendees.

A well-executed auditorium audio visual lighting design has the power to transport audiences into a world of sensory delight, where every sight, sound, and visual cue works in harmony to create a cohesive and engaging experience. From the dramatic interplay of light and shadow on stage to the crystal-clear audio that resonates through the auditorium, and the vibrant visuals that captivate the eye, each component plays a crucial role in shaping the overall ambiance and atmosphere.

Integrating lighting, audio, and visuals is not merely a technical feat; it is an art form that requires a deep understanding of human perception, psychology, and the intricate interplay between various sensory stimuli. When executed with precision and creativity, this integration can evoke powerful emotions, convey complex narratives, and leave audiences in awe, regardless of the event's nature.

In this comprehensive guide, we'll explore the best practices for integrating lighting, audio, and visuals in auditoriums, delving into the intricate details that separate a mediocre experience from a truly exceptional one. From the fundamentals of system design and integration to advanced techniques for creating dynamic and immersive environments, we'll uncover the secrets to captivating audiences and leaving a lasting impact.

1. System Design and Integration: The Foundation for Seamless Harmony

The integration of lighting, audio, and visuals in an auditorium begins with a well-designed and cohesive system architecture. This foundation ensures that all components work together seamlessly, enabling effortless control, synchronization, and flexibility.

Unified Control System

At the heart of an integrated auditorium AV system lies a robust and intuitive control system. This centralized platform serves as the command center, allowing operators to manage and orchestrate various aspects of the lighting, audio, and visual components from a single interface.Advanced control systems offer features such as programmable presets, macros, and customizable user interfaces, enabling seamless transitions between different event scenarios and ensuring a consistent and reliable experience.

System Integration Software

To facilitate seamless integration and operation of the various subsystems, specialized AV system integration software is often employed. These software platforms provide a centralized interface for configuring, controlling, and monitoring the lighting, audio, and video components, ensuring a cohesive and reliable system.Through system integration, complex cues, scene changes, and dynamic effects can be executed with precision and consistency, enabling a truly unified and immersive experience.

Network Infrastructure and AV over IP

A robust and scalable network infrastructure is essential for the seamless operation of an integrated auditorium AV system. Technologies like AV over IP (Audio/Video over Internet Protocol) revolutionize the way audio, video, and control data are distributed, offering increased flexibility, scalability, and cost-effectiveness.By leveraging existing network infrastructure and centralized signal processing, AV over IP solutions streamline system integration and facilitate future upgrades and expansions.

2. Lighting Integration: Setting the Stage for Visual Brilliance

Lighting is a powerful tool in the auditorium environment, capable of evoking emotions, highlighting key elements, and creating dynamic visual experiences. Integrating lighting with audio and visuals requires careful consideration of various factors, including control, synchronization, and creative application.

Lighting Control and Synchronization

Integrating lighting control systems with the overall auditorium AV setup is crucial for enabling seamless synchronization with audio and video cues. Advanced lighting control platforms offer features such as timecode integration, DMX (Digital Multiplex) control, and real-time tracking, allowing for precise timing and synchronization of lighting effects with other elements.This level of control enables the creation of intricate lighting sequences that complement and enhance the overall performance or presentation, elevating the visual impact and creating a truly immersive experience.

Stage Lighting and Effects

For auditoriums hosting live performances, concerts, or theatrical productions, stage lighting and effects play a pivotal role in creating dynamic and visually stunning environments. Advanced lighting fixtures, such as LED moving lights, intelligent lighting, and traditional stage lighting instruments, offer a wide range of capabilities for creating captivating effects.By integrating these lighting elements with audio and video components, designers can craft intricate lighting cues that respond to music, choreograph with video content, or highlight specific performers or elements on stage, creating a truly cohesive and engaging spectacle.

Architectural and Ambient Lighting

Beyond stage lighting, architectural and ambient lighting also play a crucial role in shaping the overall ambiance and atmosphere within the auditorium. These lighting elements can be seamlessly integrated with the audio and video systems, enabling dynamic lighting scenes that complement and enhance the overall experience.For example, architectural lighting can be synchronized with audio cues to create pulsating or rhythmic effects, while ambient lighting can be adjusted to set the mood or highlight specific areas during a presentation or performance.

3. Audio Integration: Delivering Captivating Soundscapes

Audio is a powerful sensory element that can evoke emotions, convey narratives, and immerse audiences in the auditorium experience. Integrating audio with lighting and visuals requires careful consideration of acoustic properties, signal processing, and creative application.

Room Acoustics and Sound Reinforcement

The acoustic properties of an auditorium play a crucial role in shaping the overall audio experience. Effective acoustic treatment, including the use of sound-absorbing and diffusing materials, is essential for ensuring clear and intelligible sound reproduction, minimizing unwanted distortions, and creating an immersive auditory environment.Sound reinforcement systems, comprising microphones, mixers, signal processors, amplifiers, and loudspeakers, must be carefully designed and integrated to provide optimal audio coverage and clarity throughout the auditorium.

Digital Signal Processing (DSP) and Audio Enhancement

Digital signal processing (DSP) systems offer powerful tools for shaping and enhancing the audio signal within the auditorium. Features like equalization, filtering, room correction, and acoustic enhancement algorithms can compensate for room acoustics, fine-tune sound quality, and create highly customized and immersive listening environments.By integrating DSP systems with lighting and video components, audio engineers can synchronize audio effects and enhancements with visual cues, creating a truly unified and engaging experience.

Creative Audio Applications

Beyond traditional sound reinforcement, creative audio applications can further elevate the auditorium experience when integrated with lighting and visuals. Techniques such as surround sound, spatial audio, and immersive audio environments can transport audiences into captivating soundscapes that complement and enhance the visual elements.For example, surround sound systems can be synchronized with lighting and video cues to create a fully enveloping auditory experience, while spatial audio techniques can simulate realistic sound positioning and movement, adding depth and realism to the overall presentation.

4. Visual Integration: Captivating the Eye and Imagination

Visuals are a powerful medium for storytelling, conveying information, and captivating audiences. Integrating visuals with lighting and audio requires careful consideration of display technologies, content creation, and creative application.

Display Technologies and Projection Mapping

In the auditorium environment, various display technologies are employed to deliver visuals, including projection systems, LED video walls, and large-format displays. Selecting the appropriate display technology based on factors such as resolution, brightness, contrast ratio, and viewing angles is crucial for ensuring optimal visual quality and impact.Projection mapping, a technique that involves projecting visuals onto non-traditional surfaces, such as stage sets or architectural elements, can further enhance the visual experience by creating immersive and dynamic environments that blend seamlessly with lighting and audio elements.

Content Creation and Management

Effective visual integration requires the creation and management of high-quality content tailored to the auditorium environment. This may involve the development of multimedia presentations, video content, motion graphics, or real-time visual effects.Advanced content management systems and media servers can streamline the integration of visual content with lighting and audio cues, enabling seamless playback, transitions, and synchronization across various display technologies.

Creative Visual Applications

Beyond traditional video playback, creative visual applications can further elevate the auditorium experience when integrated with lighting and audio. Techniques such as real-time generative visuals, interactive visual installations, and augmented reality (AR) or virtual reality (VR) integrations can create captivating and immersive environments that blur the lines between physical and digital worlds.For example, real-time generative visuals can be synchronized with audio and lighting cues, creating dynamic and ever-changing visual landscapes that respond to the performance or presentation in real-time. Similarly, AR or VR integrations can transport audiences into virtual environments that seamlessly blend with the physical auditorium space, creating truly unique and engaging experiences.

5. Integration Techniques and Best Practices

To achieve a truly seamless and cohesive integration of lighting, audio, and visuals in an auditorium, several techniques and best practices must be followed.

Timecode Integration and Synchronization

One of the key techniques for ensuring precise synchronization between lighting, audio, and visuals is timecode integration. This involves using a common timecode source, such as SMPTE (Society of Motion Picture and Television Engineers) timecode, to synchronize various components and cues.By leveraging timecode integration, lighting, audio, and visual cues can be precisely timed and executed in perfect harmony, creating a truly cohesive and immersive experience.

Show Control and Automation

Show control and automation systems play a crucial role in streamlining the integration and operation of complex auditorium AV setups. These systems allow for the programming and execution of intricate cue sequences, scene changes, and dynamic effects, ensuring consistent and reliable performance across multiple shows or events.Advanced show control platforms offer features such as timeline-based programming, real-time tracking, and integration with various control protocols, enabling seamless coordination between lighting, audio, and visual elements.

Rehearsals and Testing

Proper rehearsals and testing are essential for ensuring the successful integration of lighting, audio, and visuals in an auditorium environment. This process allows for the identification and resolution of any potential issues, such as timing discrepancies, signal interference, or compatibility problems, before the actual event or performance.Conducting comprehensive system checks, dry runs, and technical rehearsals can help refine cue sequences, fine-tune system settings, and ensure a smooth and polished final presentation.

Documentation and Training

Comprehensive documentation and training are crucial for ensuring the long-term success and sustainability of an integrated auditorium AV system. Detailed system diagrams, equipment manuals, and operating procedures should be readily available to support ongoing maintenance, troubleshooting, and training efforts.Providing comprehensive training for operators, technicians, and facility staff can help them develop a deep understanding of the system's capabilities, operation, and maintenance requirements, ensuring a consistent and high-quality experience for attendees.

6. Creative Applications and Immersive Experiences

While technical integration is essential, the true power of an integrated auditorium AV system lies in its ability to create captivating and immersive experiences. By leveraging the synergy between lighting, audio, and visuals, designers and artists can push the boundaries of creativity and engage audiences on a deeper emotional and sensory level.

Multimedia Performances and Installations

Multimedia performances and installations are prime examples of the creative potential of integrated auditorium AV systems. These experiences blend various art forms, such as dance, music, and visual arts, into a cohesive and immersive spectacle.By synchronizing lighting, audio, and visual elements, artists can create dynamic and ever-changing environments that respond to the performers' movements, music, or audience interactions, creating a truly unique and engaging experience.

Experiential Storytelling

Integrated auditorium AV systems can also be leveraged for experiential storytelling, where narratives are conveyed through a multi-sensory approach. By carefully choreographing lighting, audio, and visual cues, storytellers can transport audiences into captivating worlds, evoking emotions, and creating lasting memories.This approach can be particularly powerful in educational or corporate settings, where complex concepts or product demonstrations can be brought to life through immersive and engaging experiences.

Interactive and Responsive Environments

With the integration of interactive technologies, such as motion tracking, gesture recognition, or biometric sensors, auditorium AV systems can create responsive and adaptive environments that react to audience participation or input.Lighting, audio, and visuals can be dynamically adjusted based on audience interactions, creating a truly personalized and engaging experience for each attendee.

Case Studies: Showcasing Integrated Auditorium AV Systems

To better illustrate the power of integrated auditorium AV systems and the best practices involved, let's explore two real-world case studies:

Case Study 1: Multimedia Concert Experience

A renowned music artist commissioned the design and implementation of an integrated auditorium AV system for their world tour. The goal was to create a captivating and immersive concert experience that seamlessly blended audio, visuals, and lighting.

Key Features:

Advanced audio system with line array speakers and immersive surround sound

High-resolution LED video walls and projection mapping capabilities

Intelligent lighting system with moving lights and dynamic lighting effects

Unified control system for synchronizing audio, video, and lighting cues

Real-time content generation and visual effects integration

Results: The integrated auditorium AV system delivered a truly mesmerizing concert experience, captivating audiences with stunning visuals, dynamic lighting effects, and immersive surround sound. The real-time content generation and visual effects integration allowed for a unique and ever-changing show, while the unified control system ensured precise synchronization between all elements, creating a cohesive and engaging spectacle.

Case Study 2: Corporate Multimedia Presentation

A multinational corporation commissioned the design and implementation of an integrated auditorium AV system for their annual shareholder meeting and product launch event. The goal was to create a professional and impactful multimedia presentation that would captivate and inform attendees.

Key Features:

High-resolution projection system with edge blending and warping capabilities

Advanced audio system with speech reinforcement and multimedia playback

Architectural lighting integration for setting the mood and highlighting key areas

Comprehensive control system for managing audio, video, and lighting cues

Integration with presentation software and real-time data visualization

Results: The integrated auditorium AV system delivered a visually stunning and engaging multimedia presentation, captivating attendees with high-impact visuals, clear audio, and dynamic lighting effects. The architectural lighting integration created the perfect ambiance, while the control system ensured seamless transitions between various presentation segments. The integration with real-time data visualization added an interactive and informative element, further enhancing the overall experience.These case studies highlight the power of integrated auditorium AV systems in creating captivating and immersive experiences, whether for live performances, multimedia presentations, or corporate events.

User Queries and Answers

What is the importance of a unified control system in integrating lighting, audio, and visuals in an auditorium?

A unified control system is crucial for seamlessly integrating lighting, audio, and visuals in an auditorium. It serves as the central command center, allowing operators to manage and orchestrate various components from a single interface. Advanced control systems offer features like programmable presets, macros, and customizable user interfaces, enabling seamless transitions and ensuring a consistent and reliable experience.

How can AV system integration software facilitate the integration of lighting, audio, and visuals?

AV system integration software plays a vital role in facilitating the integration of lighting, audio, and visuals in an auditorium. These software platforms provide a centralized interface for configuring, controlling, and monitoring the various components, ensuring a cohesive and reliable system. Through system integration, complex cues, scene changes, and dynamic effects can be executed with precision and consistency, enabling a truly unified and immersive experience.

What are the benefits of integrating lighting control with audio and video cues in an auditorium?

Integrating lighting control with audio and video cues in an auditorium enables the creation of intricate lighting sequences that complement and enhance the overall performance or presentation. Advanced lighting control platforms offer features like timecode integration, DMX control, and real-time tracking, allowing for precise timing and synchronization of lighting effects with other elements. This level of control elevates the visual impact and creates a truly immersive experience.

How can digital signal processing (DSP) systems contribute to the integration of audio with lighting and visuals?

Digital signal processing (DSP) systems offer powerful tools for shaping and enhancing the audio signal within the auditorium. By integrating DSP systems with lighting and video components, audio engineers can synchronize audio effects and enhancements with visual cues, creating a truly unified and engaging experience. DSP features like equalization, filtering, room correction, and acoustic enhancement algorithms can compensate for room acoustics and create highly customized and immersive listening environments.

Conclusion

Integrating lighting, audio, and visuals in auditoriums is a complex and multifaceted endeavor that requires a deep understanding of various technologies, creative techniques, and best practices. When executed with precision and artistry, this integration can create truly captivating and immersive experiences that leave a lasting impression on attendees.

At the foundation of a successful integrated auditorium AV system lies a well-designed and cohesive system architecture, featuring a unified control system, specialized AV system integration software, and a robust network infrastructure capable of supporting technologies like AV over IP. These foundational elements ensure seamless communication, synchronization, and control of various subsystems, enabling effortless management and orchestration of the entire auditorium environment.

Lighting integration plays a pivotal role in setting the stage for visual brilliance, with advanced lighting control systems, stage lighting fixtures, and architectural lighting elements working in harmony to create dynamic and visually stunning environments. By synchronizing lighting with audio and video cues, designers can craft intricate lighting sequences that complement and enhance the overall performance or presentation.

Audio integration is essential for delivering captivating soundscapes that immerse audiences in the auditory experience. Effective acoustic treatment, sound reinforcement systems, and digital signal processing techniques work together to ensure clear and intelligible sound reproduction, while creative audio applications like surround sound and spatial audio can transport attendees into captivating soundscapes.

Visual integration, through the use of display technologies, projection mapping, and advanced content management systems, captivates the eye and imagination, enabling the creation of visually stunning presentations, multimedia performances, and immersive environments that blend seamlessly with lighting and audio elements.To achieve a truly cohesive integration, techniques such as timecode synchronization, show control and automation, and comprehensive rehearsals and testing are essential. Proper documentation and training ensure the long-term success and sustainability of the integrated auditorium AV system, enabling consistent and high-quality experiences for attendees.

Ultimately, the true power of an integrated auditorium AV system lies in its ability to create captivating and immersive experiences that engage audiences on a deeper emotional and sensory level. By leveraging the synergy between lighting, audio, and visuals, designers and artists can push the boundaries of creativity, crafting multimedia performances, experiential storytelling, and interactive environments that blur the lines between physical and digital worlds.

As technology continues to evolve, the integration of lighting, audio, and visuals in auditoriums will undoubtedly reach new heights, offering unprecedented opportunities for creativity, engagement, and awe-inspiring experiences that leave a lasting impact on audiences worldwide.

[audio-visual-technology01]

The Role of Audio Visual Solutions in Business Communication

Today’s fast-paced corporate environment demands effective communication for success. One of the most transformative tools driving this is Audio Visual Solutions. Companies like Avcom offer innovative solutions that improve clarity and streamline collaboration across teams. Businesses increasingly rely on Audio Visual Solutions to deliver seamless presentations, conduct virtual meetings, and enable real-time interaction.

As remote work becomes more prevalent, Audio Visual Solutions from Avcom provide an efficient way to maintain team engagement and ensure smooth communication. These solutions, such as video conferencing and interactive displays, make meetings more productive. With Audio Visual Solutions, companies can enhance the quality of both internal and external communication, offering high-definition visuals and crystal-clear sound.

Client interactions are also improved with professional setups from Avcom, allowing businesses to present their ideas more clearly and leave a strong impression. By incorporating Audio Visual Solutions into their communication strategies, companies can better engage clients and stakeholders, driving success in today’s competitive market. Incorporating Audio Visual Solutions from Avcom ensures businesses stay ahead, enhancing collaboration and communication quality across all platforms.

For more insights, you can follow Deco-Arte on Facebook, Linkedin, and Instagram.

[soundinnovators]

Audio Visual Installation | Home Audio Systems Installation | Sound Innovators

Elevate your home entertainment with expert Audio Visual Installation & Home Audio Systems Installation. Sound Innovators creates customized solutions to transform your space into an entertainment haven.

[motion90affect]

"In The Night" - Trap Beat | Hip Hop Instrumental

[msdroppinit]

God #shorts Bless

Debbie Dropit • Anointed #debbiedropit THANK YOU JESUS #thankyoujesus Spice #spiceofficial #msdroppinit God Is Love #godisloveforever Merry Christmas 2023 #jesus  #reggaemusic #reasonfortheseason #riddim #audiovisual #videoedit #addimage

Debbie Dropit is a rising star in the Roots Reggae Community in Toronto as well as the city’s sound clash culture. She has gained popularity through her presence on Facebook and YouTube, where she shares videos showcasing her talent as a Digital Creator specialize in Audio Visuals, Copywriting and Graphic Design. . Some of her videos may be muted in certain countries due to music rights as she has dedicated her time restoring her 35 year old cassette collection of Rare Reggae Music and Digitalizing the audio for future perseverance to be shared with all who engage.  Debbie Dropit has received positive reactions and comments from her audience, indicating her rising star status all all Digital Platforms

[novelmonger]

I wasn't expecting it to take this long, but after a million distractions, I'm back to going through the LotR audio commentaries and taking note of any interesting tidbits I haven't heard before.

Please enjoy my notes on the RotK design team commentary with Richard Taylor, Tania Rodger, Grant Major, Alan Lee, John Howe, Dan Hennah, and Chris Hennah:

They had to make Deagol's ears out of waterproof gelatin rather than latex because he was going to fall in the water, and the normal latex ears would have come off. I guess they must have done the same any other time a Hobbit got submerged, but they didn't say that.

The fish that Gollum eats at the beginning is made from some kind of edible gelatin so he could actually bite into it. They also had another prop fish that wasn't edible that they gave Andy Serkis to keep at the end XD

The little stone hollow thing where Frodo and Sam are sleeping for their first scene in the movie was a set they built with a removable back wall so they could get a camera in to shoot it from the back as well as the front. Why did I never think of that before?

There were a couple of extra shots they needed of Orthanc in the background to finish up the movie, but they hadn't managed to get the footage from the miniatures (and I guess the miniatures were gone by that point? idk). So they took one of the model collectibles Weta had made and took some photos of it out in the parking lot XD

Whoooooaaaa! Okay, so Alan Lee talks about how, in legends, they say that you have to kill a wizard three times for him to stay dead. And Saruman dies "three times" - first he's stabbed, then he's impaled, then he's drowned. So Saruman is dead dead. Dare I say it? This is...I think this is a better death than the one in the book ._.

They even put carvings on the crossbeams underneath the seats of the chairs in Edoras! You are never ever going to see them, but that was their dedication to making everything feel authentic. That's what sets this apart from so many fantasy movies and shows made these days.

Red in the costumes is meant to suggest royalty. That's why Aragorn, Boromir, Theoden, and Theodred all have red in their costumes - as well as Bilbo and Frodo! You're meant to look at someone wearing red and unconsciously think, "there's something regal about them."

John Howe points out that you probably wouldn't ever reforge a sword like they do with Narsil, at least not in the sense of putting the pieces back together, because it wouldn't be as strong as it was originally. (You could melt it down and start over again, of course.) But, he reminds us, these are the Elves, and it's more of a symbolic thing anyway.

The great hall in Minas Tirith was inspired by Charlemagne's chapel (and Byzantine architecture was one of the main influences on the design of Gondor in general).

The statue of the king in Ithilien was made out of polystyrene, which you would think would be pretty light, but it was so huge it was actually very heavy. They had to transport it to the location in three pieces: the base, the body, and the head. And to lift one on top of each other, they had to rig a sort of pulley system over the limb of a tree, using a four-wheel drive truck to pull it. But they discovered that the first truck wasn't getting enough traction, so they hooked a second truck up to it, and ended up pulling the first truck up into the air along with the statue!

They created fourteen new weapons just to put in the background of the armory in the scene where the Witch-King is getting ready for battle @_@

John Howe said that his inspiration for Minas Morgul was...getting his wisdom teeth pulled??? He describes a metal clamp digging into the perfectly healthy enamel of his tooth to pull it out, and draws a parallel to the metal pieces the orcs fitted to the top of the pristine white parapets, staining and violating them. Um...thanks, I could've done without that visual, John.

I can't believe I never thought about this before, but there's a little wooden roof over the pile of wood for the beacon that Pippin lights. The reasoning behind that is you need some kind of cover to keep the wood more or less dry for when it needs to be lit in an emergency. The beacon will burn away the wooden roof, but it can be replaced easily enough, and it's worth it to be able to quickly light the beacon.

A lot of the saddles they used were ordered from the Indian military, because they had a good, old-fashioned sort of look to them. Then they would add onto the saddles with things that would make them look distinctly Rohirric, rather than Indian.

Alan Lee's daughter worked on some of the figures in the doors of Minas Tirith!

John Howe goes off on this whole tangent about how there's no religion or religious structures in Middle-Earth, and why that might be, but the whole time I was just sitting there going, "...have you never read The Silmarillion????"

Because they had to make over a hundred suits of Gondorian armor, other than the hero suits, they couldn't make each one exactly the right size for the man who would wear it, so the casting department had to only get actors within a certain range of size. They also built the suits of armor with sliding pieces, so they could be somewhat fitted to different sizes.

The horses started out as being part of the art department's responsibility, but as time went on, there were just so many horses they had to keep track of (and the various liveries they would have to be fitted out with) that they had to make a separate horse department to oversee it all.

Because so much of the movie was filmed on-location, in some very remote locations, they had to make a sort of caravan of mobile repair stations that they could take with them. They had all the tools and crew necessary on hand wherever they went so they could repair broken props or ripped costumes, reapply makeup for gore and injuries, take nicks out of the edge of weapons.... It was really like moving an army around!

For the dream where the Evenstar breaks, they made a version of it that was five times bigger than normal, out of a very brittle resin. Then they made an oversized section of the floor and dropped it from a great height so it would completely shatter in a dramatic way like that.

Anduril was John Howe's design. He based it on a sword belonging to a friend of his in Germany, which to him is the ideal sword, the most beautiful sword. He also talked a bit about how Men were taller and bigger in the First and Second Ages, so their swords would have been longer.

John Howe: "Why do people criticize Tolkien for not developing his characters sufficiently? I cannot fathom that kind of criticism. I think it's done by people who don't read between the lines."

Richard Taylor said they had a lot of fun gathering up all the skulls after each take in the Paths of the Dead to put back up at the top so they could be poured down again. Apparently Viggo liked to gather them up and try to throw them at the crew members! "Many hours of skullduggery was to be had," as Richard put it XD

Apparently, they'd made dozens of really finely detailed silicone heads to be lobbed over the wall of Minas Tirith, but then all but one of them were stolen! So they had to quickly put together some crude latex ones to use in the shoot instead (one of which the mayor of Wellington threw). They didn't talk about this, but I'm assuming the one good head that was left is the one that gets a close-up. You have to wonder who out there was sitting around with a bunch of highly realistic latex severed heads in his basement or something....

While most of the siege towers are miniatures or CG, they built the top third of one and put it on tracks so they could move it up against the wall. They built the set with breakable ramparts for when the little drawbridge thing crashes down.

They had the same trouble in Minas Tirith that they did in Helm's Deep, with the battering ram being too heavy for the stunties to lift. But they never actually explained how they got around that problem, if it was the same solution or not :/ All they said was that they had replaceable panels in the doors, in case they were damaged by the battering ram.

In order to make Shelob's webs, they had to heat up two polymers and mix them together to make the stringy, sticky material. In order to mix them, they had to be heated up to 220 degrees C, but if they got up to 228 degrees, they would burst into flame @_@ After they were heated and mixed, they would dribble the mixture on top of a vat of water, where it would cool in spiderweb-like shapes. Then they would lift it out on a frame, and they could carefully place it on the set. One time, the polymers did burst into flame, and they were running out of fire extinguishers to put it out! O.O Eventually, they did call the fire department, who said they'd done everything the fire department would have done. They got the fire put out, but it was a nerve-wracking moment, because the room where they were making the webs was connected to the studio, so it could have been disastrous D:

Bernard Shaw apparently got the idea to do that whole bit where he knocks his sword against the row of spears when he saw the collection of spears all lined up in a row in the art department.

The "oil" that Denethor pours over himself and Faramir is a mixture of glycerin and water. (I always wonder about these things, so I'm really glad they mentioned it.)

When they were filming the pyre scene, they had a silicone dummy for Faramir on the burning pyre. Apparently somebody on the crew brought "David Wenham" a cup of coffee over because they thought he'd fallen asleep on the side of the set, only to discover that it was a dummy! XD

The horse rig they made for close-up work of people on horseback got affectionately nicknamed "the Phony Pony." The first day they brought it on set, Peter Jackson got up on it and "rode" the horse, making the whole crew laugh XD

One of the ideas that Peter Jackson came up with for the mumakil in a brainstorming session (which Richard Taylor says he's still not sure if PJ was serious about or not) was that they could suck up several riders in its trunk and then fire them out like bullets. I'm...really glad they didn't go with that, whether PJ was serious or not <_<

Alan Lee says that the first time he saw the dead mumakil that Weta made for the set, the body was hollow, and some of the crew had set up a TV inside it and were watching a rugby game XD

The last miniature they built for LotR was the Minas Tirith docks where the Corsair ships come in. It kept getting put off until almost the end of the shoot, so they only had five days to put it together! @_@

All of the dead horses are fake, of course, so Weta had to make them all. They were made of lightweight material, so each day you'd see the set dressers just kind of casually carrying in a whole dead horse and then picking one up from the battlefield afterwards like it's no big deal. They had to do a lot of repairs to the dead horses, because the legs and ears kept falling off or getting bent the wrong way XD

The stone Watchers in Cirith Ungol have Maori influence in their design. I wish they'd talked about that in more detail, but it was just mentioned in passing.

They were concerned about the various copies of the One Ring being stolen, so they kept it in a lunchbox that was labeled "Screws."

The scene where Frodo and Sam join the orc convoy was filmed on location up on a mountain, so they had to deal with a whole bunch of extras in extensive prosthetics and armor, which would make them sweat while they were moving around, but then when the camera wasn't rolling, it would be a challenge to keep them warm. The way they did most of the orcs was that they wore a rubber mask and then a helmet, and they would need to take them off at regular intervals so the actors could get some air. So in between takes, after the director called, "Cut!" there would also be a cry of, "Heads off!" That meant the dressers would have to rush into the crowd and quickly take off the extras' helmets and masks XD

Because the crew was committed to not damaging any of the flora and fauna in the places where they were filming, even in the location that became the plains of Mordor that Frodo and Sam struggle across, there were little flowers and moss that they wanted to protect (and it was a national park). So they would lay down carpets on the ground for people to walk on, so they wouldn't damage the plant life. I'm sure that made for a strange sight, Frodo and Sam struggling in tattered clothing over rocks and boulders, surrounded by perfectly ordinary rugs XD

To do the decapitation of the Mouth of Sauron, they had a headless dummy sitting there, and Viggo would swipe his sword where the head should be. Then Weta Digital put in the head afterwards.

The lava in Mount Doom was mostly a miniature (except for the set where Sean and Elijah did their part), made from methyl cellulose and other things to make it look like lava. They set it up on a table that they would tilt so it would flow down around the model boulders made from urethane.

Richard Taylor said that, at that time, no one had really done a very good CG bird, so he was especially pleased at how the eagles turned out.

There were about 400 people working in the art department total, and most of them had never worked in the film industry before! @_@

Ngila Dickson's philosophy for the Elves was that none of their "crowns" or headpieces would go upwards, but would fit close around their heads and then go down. That's one of those things I've subconsciously noticed all these years, but never really thought about before.

Apparently, a little bit of the graphite used on Aragorn's armor in the coronation scene kind of puffed out when he and Arwen go in for their kiss, and got on Arwen's dress D: And some well-meaning person tried to rub it off, but only succeeded in spreading it around further, thus ruining the dress. And most of the female characters only had one copy of each costume, because all except for Eowyn don't see battle and thus don't need different versions with varying amounts of wear and tear. They're just made to wear in one or two scenes of them looking pretty and walking through a room. But alas, that lovely green dress was ruined.

They didn't have much time with Sir Ian Holm, so they only had a week to get a mold of his face and make the old-age prosthetics for the Grey Havens. But then word came down that he didn't want to have prosthetics, so they were to just make him look old with makeup. They were really disappointed, but then on the day, Ian Holm saw the prosthetics sitting off in the corner and asked what it was. When they explained, he said it wasn't true, and insisted on them putting the prosthetics on instead.

One thing that was really impressed upon me during this whole commentary (over all three movies) was just how much love and joy all of the crew had for the project. Sometimes you watch a movie or read a book that really means a lot to you, that's changed your life, and you wonder if the people who made it fully grasp what a beautiful thing they've created. These people know. They were fully aware, from start to finish, that they were making something truly great and worthy of praise. And I think that's beautiful.

[laika290]

ever wonder why spotify/discord/teams desktop apps kind of suck?

i don't do a lot of long form posts but. I realized that so many people aren't aware that a lot of the enshittification of using computers in the past decade or so has a lot to do with embedded webapps becoming so frequently used instead of creating native programs. and boy do i have some thoughts about this.

for those who are not blessed/cursed with computers knowledge Basically most (graphical) programs used to be native programs (ever since we started widely using a graphical interface instead of just a text-based terminal). these are apps that feel like when you open up the settings on your computer, and one of the factors that make windows and mac programs look different (bc they use a different design language!) this was the standard for a long long time - your emails were served to you in a special email application like thunderbird or outlook, your documents were processed in something like microsoft word (again. On your own computer!). same goes for calendars, calculators, spreadsheets, and a whole bunch more - crucially, your computer didn't depend on the internet to do basic things, but being connected to the web was very much an appreciated luxury!

that leads us to the eventual rise of webapps that we are all so painfully familiar with today - gmail dot com/outlook, google docs, google/microsoft calendar, and so on. as html/css/js technology grew beyond just displaying text images and such, it became clear that it could be a lot more convenient to just run programs on some server somewhere, and serve the front end on a web interface for anyone to use. this is really very convenient!!!! it Also means a huge concentration of power (notice how suddenly google is one company providing you the SERVICE) - you're renting instead of owning. which means google is your landlord - the services you use every day are first and foremost means of hitting the year over year profit quota. its a pretty sweet deal to have a free email account in exchange for ads! email accounts used to be paid (simply because the provider had to store your emails somewhere. which takes up storage space which is physical hard drives), but now the standard as of hotmail/yahoo/gmail is to just provide a free service and shove ads in as much as you need to.

webapps can do a lot of things, but they didn't immediately replace software like skype or code editors or music players - software that requires more heavy system interaction or snappy audio/visual responses. in 2013, the electron framework came out - a way of packaging up a bundle of html/css/js into a neat little crossplatform application that could be downloaded and run like any other native application. there were significant upsides to this - web developers could suddenly use their webapp skills to build desktop applications that ran on any computer as long as it could support chrome*! the first applications to be built on electron were the late code editor atom (rest in peace), but soon a whole lot of companies took note! some notable contemporary applications that use electron, or a similar webapp-embedded-in-a-little-chrome as a base are:

microsoft teams

notion

vscode

discord

spotify

anyone! who has paid even a little bit of attention to their computer - especially when using older/budget computers - know just how much having chrome open can slow down your computer (firefox as well to a lesser extent. because its just built better <3)

whenever you have one of these programs open on your computer, it's running in a one-tab chrome browser. there is a whole extra chrome open just to run your discord. if you have discord, spotify, and notion open all at once, along with chrome itself, that's four chromes. needless to say, this uses a LOT of resources to deliver applications that are often much less polished and less integrated with the rest of the operating system. it also means that if you have no internet connection, sometimes the apps straight up do not work, since much of them rely heavily on being connected to their servers, where the heavy lifting is done.

taking this idea to the very furthest is the concept of chromebooks - dinky little laptops that were created to only run a web browser and webapps - simply a vessel to access the google dot com mothership. they have gotten better at running offline android/linux applications, but often the $200 chromebooks that are bought in bulk have almost no processing power of their own - why would you even need it? you have everything you could possibly need in the warm embrace of google!

all in all the average person in the modern age, using computers in the mainstream way, owns very little of their means of computing.

i started this post as a rant about the electron/webapp framework because i think that it sucks and it displaces proper programs. and now ive swiveled into getting pissed off at software services which is in honestly the core issue. and i think things can be better!!!!!!!!!!! but to think about better computing culture one has to imagine living outside of capitalism.

i'm not the one to try to explain permacomputing specifically because there's already wonderful literature ^ but if anything here interested you, read this!!!!!!!!!! there is a beautiful world where computers live for decades and do less but do it well. and you just own it. come frolic with me Okay ? :]

*when i say chrome i technically mean chromium. but functionally it's same thing

[public-relations-representative]

finally getting brave enough to use this blog. hopefully will keep using it i make 0 promises though

anyway. BEHOLD. my winston headcanon designs

more extensive thoughts/headcanons and doodles belowww

i know a lot of people dont agree but as far as im concerned, shes always been a skelecog. she was built specifically for COGS inc pretty much as is

besides the radio head. that happened later, but still before they made moves into toontown. yes hes been a part of the company that long

has actual radio functions built into them. the intent is for him to be able to tap into existing radio broadcasts as a literal live advertisement. insidious!

i dont have many thoughts on this design because this is borderline "canon" winston. besides the eyelashes. which they should give him canonically.

no i havent figured out what the dagger is logically. its just a part of her ok

i guess i could talk about personality headcanons but i wont. yet. i need some content for other posts if i want to keep this blog alive

winston is in the dungeon for a LOOOONG time. im talking over 5 years baby. id make her more visually fucked up but i dont want to make details mcgee more complex to draw

if i was powerful id make more of her visually broken and those joint problems external in some way. thats for someone else to do though

several of her other not visible functions are long broken; plenty of her internal systems have long gone non-functional, including her radar, propellor, and ability to access some of her internal databanks (ie: memory)

her balance, visual and audio processors (sight/hearing) and control of her limbs fail occasionally too. her voicebox is broken (we know this) but it hasnt entirely failed.

system errors are effectively like an abscence seizure. BSOD for robots, basically

if im being realistic the whole glitching through walls shouldnt exist with how seriously im taking him. but it does anyway because i like fun

WHEELCHAIR WINSTON

this idea has lived rent free in my head for years its about time i got round to this

anyway while shes in the dungeon they do just effectively get fired on paper after a while; so when they show their face back up for real, he does just get fired officially for reals

he ends up finding refuge with old friends; william and alton. im not getting into my awesome dynamics with them here but they were close before the dungeon happened

he gets semi-patched up by will, whos learned some level of self maintenance thanks to his horrible leaky suit. will isn't familiar with skelecog maintenance though, so he could only fix some of his simpler problems

besides the external patch-ups, shes managed to get some simpler system fixes from him, enough to at least help with the frequent system errors and the glitching problems. theyre both still present, but not as severe.

everything else is still a problem though. in fact, some of them have gotten worse, particularly with his arms and legs. theyre prone to fail on a moments notice, and she tends not to go far without some sort of mobility device after a while.

IN SUPER DENIAL ABOUT BEING FIRED. he takes up a bunch of hobbies to keep himself busy now they dont have a job and makes herself a scarf in bootleg sellbot colours so they can pretend. they have to go through an arc before getting over that sorry.

can you tell this is the thing ive put the most thought into

okayyyyy thanks everyone who actually read alla that biiiiieeeeee

[av-industry-blog]

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[vivencyglobal]

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[perkeleen-lavellan]

I feel like with any sincere discussion of Veilguard we should start off by establishing that there are multiple forms of 'fun' as it were, to be had from video games. The main purpose of a video game is, after all, to be fun. To entertain us.

So. With Veilguard I feel the problem is this; Veilguard succeeds at being fun. It succeeds at the kind of actionable fun. Veilguard is fun to actively play for most people. The combat is fun, the level design is fun, the main storyline is fun whenever we get to it. Veilguard offers fun that is quick and instant. I think it was no small feat that BioWare has finally managed to design levels and combat for a Dragon Age game that feels complete. Although I will go to my grave defending the tactical combat of DAO, it is a different more gripping kind of fun that Veilguard's mobility and systems can offer.

But there is another form a fun. The kind of fun you might be more used to associating with a good book. The fun of a story you can't wait to see the end of. The fun of fantasy world building, of seeing the marvel that is an author, or a collection of authors, who know what their vision is, and who are subtle enough to communicate that vision through fiction. The joy of seeing the result of experts building their craft. Environmental clues, implications in dialogue, tone in atmosohere. Seeing a good story unfold is fun, and with video games, which are an interactive audio visual medium how much moreso?

A book is just words, a show on tv is always linear and restricted to what the camera shows us. A video game has a whole three dimensional world that you can move inside of, witnessing the story and world building both passively and actively. A video game has dialogue and characters, who can both drive and narrate the plot for you. A video game can put you inside the world the story is happening in and immerse you in it.

And I feel that Veilguard fails to take advantage of the full breadth of the vast collection of storytelling tools a video game has. The fact that the companion quests and companion writing seems to have been left incomplete, pieces wilting on the cutting room floor when the companions are meant to be the emotional core of this story? The fact that all the factions are presented as unambiguous good guys which leaves them with no depth, their stories woefully superficial and unwilling to engage in any deeper ideas? The fact that vast amounts of world building and lore have been essentially discarded? That is all severely unfun.

So I think it's fair to say that Veilguard is fun and disappointing and not fun. The fun that I had while playing this game was always followed by a collection of things that were not fun. And the most annoying part is the parts about Veilguard which are fun are the parts that are fleeting. That I can find combat in a video game entertaining, extremely entertaining sometimes, is nothing when compared to the staying power of a gripping story with not just good set up and pay-off, but also an immaculate structure supporting that all the way throug.

When I am 80 years old I will not remember fondly the fact that Veilguard was the first Dragon Age game to finally have an actual dodge mechanic. There are always going to be games with fun combat mechanics, Veilguard isn't special for that. But I will remember Solas turning into a dragon sized wolf in a desperate bid to fight a dragon ten times his size, to help the hero he became a villain to. I will remember what it felt like to have a protagonist start off by treating Solas with suspicion, knowing there was no reason to trust Solas but choosing to give Solas a chance to prove himself trustworthy anyway, and Solas breaking that trust. And I'll remember what it felt like to have that protagonist then face Solas again, and make a choice to either be kind or to be just like Solas.

You will sometimes see gamers who say they don't really care about the writing in their games that much, but then their favourite games are things like The Witcher 3, God of War, The Last of Us. The reason they say that is because the writing is so integrally a part of the gameplay experience they don't even realise how much work it's doing. Fun gameplay doesn't matter if there is no reason to continue it.

Do you know what I remember about Dragon Age Veilguard? I remember dreading opening the game and seeing the list of companion quests in my journal that I had no interest in doing, because I had already realised how nothing a lot of them were. And I'm not talking about the gameplay of those quests, I think we've established I enjoyed smacking the bad guys and moving through the levels quite a bit. Oh no. I'm not even talking about the dialogue, not really. It was the stakes. Why were these characters doing these things, and why should I care? There was so little emotional conflict in those early to mid game companion quests.

Do you know how plot structure works when you really boil it down? Conflict is set up -> tension rises -> conflict comes to a head -> tension releases. This is why you need conflict and this is why you need characters to have flaws that they will not self psychoanalyze to a resolution within the first 5 minutes of the story. The realisation of those flaws is the plot! The character overcoming those flaws is the plot. You can't have a story without plot! What are we doing here????

That's how those quests felt. They felt like all the actually meaningful things the writers of these sub-plots had to say got crammed into their final quests. With a couple exceptions. And that's why doing most of the companion quests felt like a chore.

So, anyway, in summary. Remember that a video game contains within itself multiple forms of fun. As many forms of fun as there are ways of interacting with a game.

[nitrosodiumgameanglia]

Why Sound Design is so Important in Games

Sound design is a key point in games, though it is often neglected in college games where we do a lot of work without speakers on. Having some good audio in a game really helps elevate the experience beyond just being a solely visual medium, as much as audio changed silent movies. The games with the best sound design are often those with realistic sound systems, or ones that elicit the desired emotional response. Good sound design can make you terrified to turn a corner; it can make you cry in the game's saddest moments; it can turn a level from a selection of rendered polygons to a truly real-seeming experience. Obviously our game's sound design isn't that deep, but it doesn't add nothing to the game either.

The first game I am looking at is Thief: The Dark Project. This game came out in 1998, but I would say it still holds up today with a few patches to make it run on modern systems. The game has a unique stealth system that lets you hide in shadows, but the main thing we're looking at is the sound. Different surfaces are different levels of loudness when walked on - carpet is perfect for sneaking, but metal catwalks are loud and clank under your feet. This isn't just set dressing either, because enemies are more likely to hear you if you're clanking about on steel grating. Then there is the ambient sound, where you can hear nearby guards muttering or whistling (in a great bit of game design, this helps you keep track of them when they're out of sight), torches crackle, and strange ambient screeches echo down hallways. The ambient soundtracks in each level are interesting, and use a lot of electronic synthesiser noises, which gives them an 80s John Carpenter vibe. They help make the environments foreboding, but also help tell the story in a way that 90s graphics simply could not. For example, as you enter the deepest annals of an ultra-religious Hammerite compound, the ambient whirr of machinery gets replaced by solemn choir and hymns. Caves can have dripping water and the occasional crumbling rock, while more twisted forest environments have the endless chirring of insects and chuckling from unseen nymphs and satyrs. The actual sound technology is also really good for the time, because it supports sound cards, even though they aren't used too much anymore. With them enabled, you can listen against a door and gauge how big a room is based on the echo of the guard's voices inside. Even for today that is fairly advanced, and as far as I know, not present in many other games.

The next game I am looking at is Hunt: Showdown. It is a 2018 horror shooter taking place at the end of the 19th century, where you play as a bounty hunter trying to kill various cryptids and monsters. The game uses the Cry Engine, so it already looks good on a visual front, but the audio is also phenomenal. Most of the quality comes from its directional sound system, which is so specific you can tell where players are through buildings, which is useful for lining up shots when you don't have a good visual read on their whereabouts. Every gun also has a unique sound and echo, which allows an educated player to guess what weapon has been fired, from what direction, and even from what distance. The way that the game calculates sound waves travelling is a very unique and realistic system; a gunshot ringing out over an open field will be louder and clearer than a gunshot fired in the middle of the thick backwoods. I assume this is a built-in feature for CryEngine V because I know of no other games with this level of realism when it comes to sound - I can only assume it calculates for windspeed and other factors and then runs the sound effect through various in-engine filters.

Finally, I will look at The Elder Scrolls V: Skyrim. One of the lesser-mentioned qualities of this game is its environmental sound design, which help the various holds of Skyrim seem like realistic places. The wind whistles about your ears, giving you a good sense of your player's altitude and the temperature around you. In the mornings and evenings, you can hear crickets chirring and birds chirping. The rushing of rivers sounds different depending on the course - swelling into a roar of white noise in the rapids, but dissipating to a trickle when the river becomes a lazy stream. Then there are more ethereal sounds, like the creaking of the aurora borealis on winter nights. Towns have their own soundscapes also, with the creaking wood of huts and the crackle of flaming torches. The ambient music by Jeremy Soule (the same guy behind the LOTR soundtrack) also adds a lot to the game's atmosphere, with majestic orchestras making even a simple walk through the valleys a much more emotive and captivating experience. However, you can play with the sound turned off and just listen to the layered soundscapes.

From my research, I can see that the main theme that makes a soundscape good is attention to detail. Not just having one sword hit sound, for example, but several, altered depending what material you strike, and echoing with a different resonance depending on where you are. I would say that with Wallpaper of the Mind, we have achieved this as best we can in four weeks, with the different footstep surfaces. The sounds I myself provided were more stock quality, but it doesn't matter, because how sound is used mechanically is just as important. I will make a blog post on this soon.

[soundinnovators]

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[typewritingyip]

The Arcturus Missions

Part Seven - Communication Break

Part Six

———

Radio waves were the first sign that the intergalactic community got that there was intelligent life on Earth, as they traveled infinitely through space, language and music lightly introduced to scientists of several societies. Special equipment was designed to refine the weakened waves and check the sounds that originally traveled over them. It was interesting to learn about a civilization so far away.

Radio waves were a common communication tool across several planets, whether for entertainment or military operations. It was considerably easy to maintain and made communications between groups on the same planet more convenient. Most societies kept track of a certain number of channels to prevent conflict, you’d be stupid to have espionage over radio.

In roughly the area of space that Cybertron sits, the radio waves from Earth were from around twenty or more years ago, and were going though the systems for re-mastering the original audio. Unfortunately those who chose to listen to other worlds radio waves, it was now playing the original hits of the 1980’s, just before the Quintessons attacked.

—

Hound was standing there, staring through a wall in the general direction of the communication while the others lost their shit behind him, “He can’t actually mean Jazz, not like pilot Jazz, right?” Sideswipe stands and starts pacing, looking over to Sunstreaker, “We heard him over the delayed messages, we knew he made it to this planet. But there is no way he’s still alive.” Sunstreaker leans his head back against the wall, “It’s been five years and we’re the first group Mecha has bothered to send to find him, five years. Stuck with a bunch of aliens who have similar tech to our own.” It hung in the air for a moment, “Could they be fighting the same things we are?” To be perfectly honest, none of them had thought of that before.

What if those things were fighting the same thing they were, on this weird planet that was covered in metal and rained acid, fighting the tentacle monsters of nightmares, “Even if they are, our mission is to stop them from attacking Earth. Was to find Jazz and stop them from attacking Earth.” Hound turns to the others, who were all in states of shock, “Our focus needs to be on the mission, if we can actually find Jazz then that’s step one done.” Sideswipe stands, moving over to Hound, “If we get Jazz, we might actually be able to finish this mission.” Breakdown nods slowly, finally letting the hum of his cannon die, “That is if we can get off this planet, with the Odyssey.” “If these things trust Jazz, then I’m sure he can talk them into helping us.” Sunstreaker pops his knuckles lightly which causes his suit to creak painfully, Sideswipe winces and swats at his brother, “Don’t do that.” “Then stop biting your lip.” And they started to bicker as Breakdown got up, moving over to Hound.

“What do you think of this, really?” Breakdown leans towards Hound, they’d stayed off comms since Prowl’s abrupt appearance and disappearance; “I don’t like it, if these things are spread out attacking multiple planets? How are we going to find where their coming from and not where their attacking.” Breakdown hummed and shook his head, his visual feeds starting to pick up the beings heading towards them, “The enemy of my enemy is my friend, right?” He sounded unsure of the saying but Hound nods with a smile, resting his hand on Breakdown’s shoulder, “You’re not wrong. But if these things are keeping Jazz hostage or worse, then they are the enemy.” Breakdown nods and keeps watching as the figures drew closer. Sunstreaker and Sideswipe standing, joining them near one of the walls.

—

The transmissions were near and clear, filled with typical battle chatter and sounds of explosions. Even if no one could make out exactly what they were saying, the same strange mechs as Jazz had activated the defense system of a solar farm off the coast of the sea of rust. It typically defended the area if the Quintessons landed in the sea or for the regular vermin that lived out there, it was over kill for the scraplets though.

It had been Blaster who’d picked up the signal and sent it to Prowl, knowing he was able to loosely translate the strange language. At which point Prowl had been in a meeting with Mirage, he’d gone from going over the recent reports to standing stock still, staring at nothing. For a click, Mirage let it slide, when Prowl continued to stare at nothing though, it was time to act. Standing and moving over to his commander, Mirage edges his way in front of him, “Commander, Cybertron to Porwl, sir.” He waved his servos in front of him, “Sir?” Prowl just about jumped out of his plating, “Mirage, I apologize, I was receiving a communication from Blaster.” Nodding slightly, Mirage steps back to give Prowl space. He watches in almost shock as Prowl drags his servos down his faceplates, the only time he looked like that was when it involved Jazz, “Sir, is it Jazz?” Mirage couldn’t help but ask, always finding their relationship so intriguing.

Prowl’s scowl was more typical, making Mirage smirk a bit, “No, it’s not Jazz, but it’s more of his kind.” That made the smirk fall and sent his spark to his peds, “More of them?” Jazz was a unique mech, needing more recharge but able to take more pain than any cybertronian. He was already becoming a mythic legend on the field, more of them could help keep the Quints off Cybertron. The gears were already turning in his processor. For Prowl though, who knew what Jazz really was, he was horrified. One of them, this Hound, had given a pilot number like Jazz did when trying to contact home. More pilots sent on a mission to their demise for the greater good of their planet, more who missed their families and home. Prowl could understand that, he’d have given just about anything to save Praxus, but he’d learned that giving your life for a cause didn’t mean much in the long run.

Raising a hand, Prowl silenced Mirage’s tirade, “Their out at the rust sea and likely are to attack anyone they come upon, since our weapons hit them first.” “Scrap.” Prowl nodded again before starting out of the room, Mirage hot on his peds, “I’ll need to contact Jazz along the way to alert him, their is a potential that he knew these other— mechs.” Biting his glossa, he nearly swore aloud at himself having to reframe from saying pilots. Mirage nods and falls in at Prowl’s side, “Do they know were coming?” Prowl delays for a second, “Not yet.” Nodding again, Mirage falls silent as Prowl contacts the strangers.

Out in the sunshine, they hurried into a transformation sequence, Prowl turning on his siren briefly to clear a bit of the traffic. Iacon was a sizable distance from the edge of the rust sea, the specific solar far that was current being attacked was on the edge of Polyhex, if they got on a high speed transport they could be there within clicks. Mirage stayed tight to Prowl’s bumper as they sped to the transport station, it wasn’t every day you got to meet other mechanicals; meeting Jazz has altered Prowl’s world so much and Mirage wanted a piece of that action.

They arrived at the station in record time and requested the fastest private transport, Prowl was still on comms so Mirage remained quiet, not wanting to be a distraction. Entering the transport, he took a seat away from Prowl and retrieved a datapad from his subspace, deciding to take the short amount of time they had on here to catch up on a report. Prowl glances up briefly before returning to stare towards nothing in particular, clearly deep in conversation with someone. His servo comes up to rub his jaw and Mirage has to hide a smile, he knew Prowl as speaking with Jazz. Jazz was the only mech who could make Prowl flustered, though it looked more exasperated than anything. Mirage sits back with his datapad, pausing only for a moment to read a message, swearing loudly, “The big yellow one took Beachcomber’s arm off.” Prowl looks up, “Fuck.” It was a moniker he’d picked up from Jazz but it often fit the situation.

—

Their sanctuary of the warehouse shook lightly as the approaching figures landed the transport, Hound adjust the grip on his gun lightly, fingers flexing, “Stay on your toes, we don’t know what they are.” It was a reminder that none of them needed. Hound was watching intently, eyes flicking between the displays on his visor, before pulling up an experimental piece of tech from Perceptor, turning the translator on in hopes it would eventually be able to discern their language. It was still a work in progress, the front liners back home all had them in hopes of learning the aliens language.

The twins were each shifting from foot to foot, both still splattered with the very pink fluid which had since dried to their plating. Breakdown kept turning down the command to reactivate his cannon, it clicking menacingly on his back and Hound stood straight with his gun held comfortably to his front. After several minutes, the rolling door in front of them opened and three mechs stood there, though one ran off once it was open.

Both had, odd, attachments to them. One painted reminiscently of older police vehicles and the other a very typical factory blue, but both had their odd features and neither was adorned with a facial shield. Each had a highly expressive and realistic facial unit, something that was often discussed back home to make the suits appear more friendly. Hound lightly raised his hand, lowering his gun, even though the one did not lower his cannon, he honestly couldn’t blame them. Clearing his throat slightly, Hound shifts his weight wanting to step forward but deciding against it, “Uh, hello there. We are Mecha pilots, from Earth.” The black and white mech raised his hand, clearing meaning to hold Hound off from talking further. Sideswipe leaned into his brother, “So, they don’t really know any English, do they?” “I doubt it.” Sunstreaker held his arms slightly up in a defensive position in case either chose to attack.

—

Standing there, Mirage knew they were talking in their strange language, he’d heard Jazz speak it several times but it was stressful to not know what they were talking about, “Any time Prowl, would love a translation.” All their heads whipped to him, visors glowing slightly brighter, “Their creatures must have been weird mecha to give them all visors.” He shifts back a bit, looking across them briefly though eyes landing on the green one, he started at the rifle hanging lightly from one hand, “A moment more Mirage, I am trying to get Jazz on the right signal.” “Jazz, is across the planet in Kaon with Megatron and the others dealing with the Quints there.” Prowl held his hand up again, annoyingly. Sometimes he wished his commander would just ask him to shut up, the green ones held tilted ever so slightly.

—

Static filled their comms, making them all wince and the twins tried to shield their ears, “Oh god, again?” Sideswipe was half bent over from the painful noise before the comm frequency clicked and fell silent, then the monotone voice spoke, “ID’s, now.” Hound sighed, it wasn’t the most friendly way of asking but he understood this man hardly spoke English before nodding slightly, “I’m Pilot 1124, Harold Jackson, call sign Hound.” The one he could only assume was Prowl nodded before turning his gaze to the next of the Arcturus crew, “I’m Pilot 2450, Sonny Salucci, callsign Sunstreaker.” “I’m Pilot 2451, Simon Salucci, ugly’s brother. Callsign Sideswipe.” Breakdown shifted uncomfortably before looking to Hound, who nodded, “I’m Pilot 1457, Oleksknder Kovalenko, callsign Breakdown.” There were several clicks and pops over the line, Hound winced and lightly rubbed one of his ears. The blue and white mech’s eyes widened, starting at the twins, Sideswipe shifted uneasily even as Prowl rested a hand on the other mechs shoulder.

A loud crash of sound filled their ears before the obvious sounds of fighting filled the comm line, “There is no way in hell that Hound would come on a dead end mission, it’s not possible.” Jazz’s voice filled their ears even as the clear sounds of his struggle joined the noise, “No way.” “That’s funny, because as you say, I am looking right at them.” Prowl’s voice joined Jazz’s, sounding much more relaxed than previously. Hound was staring at Prowl, taking a breath before finally speaking, “He would if he was looking for you.” There was a loud crash from the other side of the line, which Hound tried not to smile at, “Hey Hound.” “Hey Jazz.” He took a breath, relieved, stage one done.

“Holy shit, Jazz, hey!” Sideswipe turned away from the weird mechs and throw his hands up, likely smiling, “Fucking five years and all you can say is hey to Hound?” Both their laughter filled the comm line, it was more than a relief, it was more than they could hope for in the mission, “Where you at?” “Ah, you wont know where Kaon is, but we could use the help with the Quints.” Sideswipe stopped, tilting his head slightly and Hound cleared his throat again, “Quints?” There was another loud crash, “Ah, right. The aliens invading Earth have been attacking here too, for a hell of a lot longer. They’re the Quintessons, Quints for short.” Jazz paused, “They really need our help, the cybertronians aren’t quiet like us. Not people in mech suits, just mechs. What you see, is what they are.” He clearly sounded worried, “And they think we’re like them, only one who knows the truth for the moment is Prowler.” The mech across from them had his face plates turn a light shade of pink. Hound stared, in shock, for a while, “Well, we’ll need to move the Odyssey, then find Kaon I guess.” Prowl looked up at him, turning to the other one for a moment to say something in their strange language before motioning them out of the warehouse.

“Do we go with them?” Breakdown kept his voice down and off of comms, “Do we have any other choice?” Together, they followed Prowl out of their sanctuary.

———

A/N

Alright, did I work on this while my family was cooking Thanksgiving? Yes, was I supposed to be studying? Also yes, but they certainly did not need my help in the kitchen and I can study more now that it’s done.

I love seeing all your tags and comments, it’s been so great.

Tags!

@lunarlei68 @whirlywhirlygig @loop-hole-319 @pixillandjester @alek-the-witch @not-a-moose-in-disguise @goddessofwind8water @neurologicalglitch @dersereblogger @pixel-transformers @mrcrayonofdoom @wireplaces

And once again thank you to @keferon for this amazing AU.