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How Mayht, a small startup, is taking on the world of speaker goliaths – TechCrunch

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There are many ways of spinning up a startup, but it takes a particularly brave set of founders to take on a deeply entrenched industry with a small number of incumbents who have the market all sown up. You’d have to be a special flavor of bold to take on internet search for example — where the name of the leading company is literally synonymous with searching for something on the internet. The world of speakers is similar; the technology has barely moved in the past hundred years, and only a handful of manufacturers create almost every single speaker element that plays the sweet dulcet tones of Shania Twain into the ether around you.

Plenty of startups think they can put a dent in this world, and every year, I see dozens of pitches for companies that are “making speakers better” in various ways. And every year, it falls flat. Yes, innovations are happening, but core speaker technology rarely moves in a way that could be described as truly innovative. At CES this year, I got to talking with the team of Mayht, which might just be the exception to that general rule.

The company has created speakers that are pointing in opposite directions of each other, with motors that move the speaker elements apart at the same time — creating a similar motion to you clapping your hands. That means that the speakers are perfectly balanced. The company claims the impact is more bang for the buck, and that the more-compact speakers can be more energy efficient in use, and smaller to ship and store. The speaker tech is interesting, but what really piqued my interest was how a small rag-tag bunch of innovators from the Netherlands is planning to shake things up.

Mayht is a technology company. Early on in its journey, it realized that in the world of speaker tech, there’s not much point in going head-to-head against the behemoths in the space. Armed with a handful of patents and some cool reference speakers (i.e. prototypes they can show off to potential partners), the company is hoping to build what is essentially an outsourced R&D arm. They are the skunkworks that creates new and interesting tech, before licencing it to the well-known speaker brands out there. I decided to take a closer look at the little Dutch startup, and how it is taking on one of the most well-entrenched industries in consumer electronics.

In this interview, I talk with the Mayht team and its investors to figure out what the special sauce is when you’re a scrappy David in a world of Goliaths.

“We’ve been working on this speaker technology since 2016. In the first couple of years we were just creating prototypes, but now we got a lot of stuff that is really close to mass production — or in mass production. We’re not a manufacturer of drivers, we just defend the technology and we license it,” explains Mattias Scheek, CEO at Mayht. “We can finally show our technology in different kinds of applications — from soundbars to small subwoofers to small voice-assistant speakers. We believe the latter, in particular, will really disrupt the market. If say, an Echo Dot can have the same sound as the Sonos One, or a soundbar. Or if a speaker without a subwoofer can have the same sound as something that does have one. It makes a big change in the market. We are finally able to show those things to the public.”

The company claims it has invented a new generation of speaker drivers. Whereas a typical speaker driver has a membrane, it can make limited movement, because the whole motor structure is behind the membrane. Mayht’s innovation is to put the motor structures at the sides of the membrane. That means more movement, and more displacement. You see a similar thing in automobile engines: A “bigger” engine can work in one of two ways — either you make each cylinder bigger, which means that more gas and air mixture can explode and create power. Or you make the stroke longer. Mayht is applying the same idea to speakers here. Speakers need to be smaller in a lot of different applications — the company suggests smart home speakers like the Google Mini and Alexa’s speakers, but also in vehicle tech, where space is at a premium. The company also claims that its speaker tech reduces rattle:

Mayht’s speaker technology puts the motors on the side of the membranes. The theory is that this makes the speakers balanced, and able to displace a lot more air than a comparable-sized speaker with a traditional design. Image Credits: Mayht

The company doesn’t have many kind words for the current generations of smart speakers — while adding voice controllability, mesh Wi-Fi, great design, power management and great user experience were all meaningful innovations, the speaker tech itself is pretty underwhelming.

“It’s exactly the same story for all the manufacturers — Bang & Olufsen, Bose, Sony. Every company uses the same technology and the same drivers because they essentially come from the same factories. There are three or four major manufacturers and all those different speaker brands take their drivers from those manufacturers. It’s not strange that there is no innovation in that field,” laments Scheek. “Because the manufacturers themselves don’t really develop drivers, they are not pushed to make higher-quality tech. They may move the needle by 1 or 2% but not to change the complete architecture of the driver. Doing so would mean changing their whole manufacturing setup, which is just a huge risk for those companies.”

Taking apart a Sonos One shows you that underneath all the fancy technology is… some pretty underwhelming-looking speaker elements. (Image Credits: Haje Kamps for a Bolt teardown)

“The speaker companies are not rewarded to really, truly innovate. From a cost perspective, they have to perform for the best quality with the lowest level of cost. And so there’s no incentive for speaker manufacturers to really think out of the box to bring out something really new and innovative,” explains Max van den Berg, Mayht’s chief commercial officer. “To put this into perspective, we’ve spoken to around 45 speaker companies globally since the start of this company. None of them have seen anything like this before — this is truly disruptive innovation.”

The company raised a total of €4 million in its most recent round, led by Forward One; I caught up with the partner who spearheaded the investment, to figure out why it felt confident to put its money behind a company that from the outside seems like it is facing an uphill battle.

“I think the team makes Mayht special. The two founding brothers have been working with speakers since they were seven years old really impressed me,” said Frederik Gerner, partner at Forward One, a South Africa-based venture capital firm that is investing in hardware startups. “Their story on how they want to disrupt the speaker industry just makes so much sense! It’s a massive and still-growing market that has been operating for decades on the same technology, and it’s ready for disruption. Hardware is a real means to create a step-change in many industries, and we see the need for high-tech hardware innovation as more achievable and more important than ever.”

Building out a factory to out-manufacture the existing speaker element manufacturers would be a fools’ errand — one that the company is cleverly side-stepping by taking a licencing approach instead, building a very lean, engineering-focused team, and raising relatively small amounts of money. Mayht currently has 20 employees, 70% or so of whom are on the engineering side. The company also made the shrewd move of stacking its advisory board with strategically powerful folks who can add a tremendous amount of leverage, and may just be the key to building this type of company going forward.

“We have some very experienced people in our advisory board who are really active in the team. There are two people who formerly worked at Philips in the licensing department. One of them actually led the licensing department and made that side of Philips a huge business. He’s really helping us with the licensing structure, but also with how you handle [patent] litigation. He’s also an incredible deal-maker,” explains Scheek.

A Mayht speaker prototype next to a (much larger) Sonos speaker. The company claims the two speakers have the same sound volume and quality. Image Credits: Mayht

The company highlights the importance of building a company that fits well with the type of startup you are building. For example, Mayht also added Piet Coelewij, who was the managing director and VP of Global Operations for Sonos for five years, to its advisory board. It also highlights the company’s chief commercial officer, Max van den Berg, who was the marketing manager for personal audio for Sony in the mid 1990s, and continued in senior executive positions within Sony for several decades after that. “Having the right people in the room really helps open doors,” Scheek mentions in what might be the understatement of the year.

The company created a brand that it’s hoping to use to co-brand with other companies; a shrewd move that solves a significant branding problem. Most people don’t know who made the speaker elements inside their speakers — and why would they care. But there are predicates in other industries; unless you’re a very special kind of nerd, most people don’t care who made the processors inside their computers — not until Intel decided to pick up the fight and create the “Intel inside” campaign when AMD started nipping at its heels. Mayht is taking a sheet from the same playbook, and trademarked the Heartmotion brand. It hopes that it can convince its licensees to co-brand their speakers. “Sonos powered by Heartmotion” — that sort of thing.

“Yeah, so our technology brand for licensing would be Heartmotion. We called it that because the speaker looks like a pumping heart,” says Scheek. “Our goal is to have that on every product, and that our partners that use our technology will use it as part of the marketing on the box of the product.”

By minimizing the size and weight of the speaker tech, the company has a couple of clever talking points at its disposal. For car and RV makers, it means that they can cram more sound into smaller spaces — such as door panels and dashboards — without compromising on sound output. Those are obvious, but I was particularly impressed by how Mayht is tapping into a number of marketing messages that work particularly well in the current climate, where (finally!) people are starting to show some interest in greener tech. Packaging smaller speakers that have big performance and low energy consumption has a number of perhaps unexpected impacts. One example is the company’s prototype speaker that is clad in Powerfoyle light-harvesting tech, which means it’s possible to create a Bluetooth speaker that just keeps on going. Energy consumption aside, smaller form factors mean less weight and less shipping volume, which has a ton of second-hand environmental benefits.

Mayht’s Heartmotion prototype speaker lineup. Image Credits: Mayht

Between Mayht’s licencing-first business model backed by a patent portfolio strategy, a great founder story, an advisory board staffed with a who’s-who of licensing and audio experts, and the willingness to move slow enough to get things right the first time around, the company is slowly positioning itself for an interesting 2022. The team hopes it is well resourced as it’s gearing up for a year of execution after many years of research and setting the stage.

“This is the year of getting our products into consumers’ hands, and I am excited to see that happen. We’ve been working on it while staying under the radar for quite some time. It’s been really strange — the industry knows that this is amazing, but the consumer hasn’t experienced it yet. For us, this is the year of the big reveal. In addition to working with our partners to get this to the consumer, we are going to do something ourselves…” Sheek trails off, itching to tell me the details, but remembering the recorder is running. “We’re going to announce it quite soon — in Q2 of this year. I can’t tell you much, but we are working on a reference product that the consumer can buy directly from us. We want consumers to experience this, so we are making a limited edition speaker for people to try.”

The company told me it isn’t really planning to make much money on its own product; this is really a mass-produced sample to help build brand awareness.

“We are building a product with the [3-inch] T3 driver ourselves because the whole industry is really starting to move once you prove yourself. We made a lot of prototypes over the past years,” explains van den Berg. The problem is that it takes a bit of time to design a new product, and the big speaker brands take their time in doing so. To really hit the ground running, the company is taking a risk and taking matters into its own hands. “We feel [third-party designed speakers] are a bit of a longer process; they need time to make decisions. Most likely, their products will be on the market by the end of 2022 or in early 2023. In the meantime, we think it’s very important that we announce this technology to the consumers. We don’t want to be a competitor of anybody out there, but we think what we are doing is cool, and we are excited to release a limited edition product; a beautiful Bluetooth speaker powered by Heartmotion.”

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Holiday Gift Guide For Eco-Minded Travelers

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Traveling offers a greater understanding of the world but can also damage it. Here are some gift ideas for those who prefer to tread lightly. Almost all are from small businesses.

1. Water filtration bottle. Drink filtered water on the go instead of buying plastic water bottles with Hydros 20 oz Water Filter Bottle $20 or if the local water quality is iffy, protect against bacteria, parasites, dirt, and sand with a Lifestraw bottle $40.

2. Shampoo/conditioner bars. Eschew plastic shampoo bottles and airline liquid restrictions with shampoo and conditioner bars from Green Ablutions $12, Ethique $15, HiBar $13.95 or good juju $19.95. All brands have discounts on your first purchase.

3. Solar powered phone charger/lantern. This flat solar-powered phone charger from Luminaid is also a folded-up lantern that pops up into a cube shape for night time. A red light mode ensures your star-gazing won’t be interrupted if you are using it for camping. $60

4. Laundry saver. Do less laundry on the road with Magic BrushOff, designed as a reusable spot lifter/sponge to get rid of deodorant, makeup marks, lint, salt marks, and more from clothing and cloth surfaces. $14.50.

5. Makeup remover. Use this specially-designed washcloth from Make Up Eraser instead of packing and throwing away disposable makeup wipes. $20.

6. Personal lubricant (for vehicles). Gear Hugger’s plant-based lubricant can help keep bike parts, strollers or wheelchairs moving so the recipient can “buy less, fix more and play longer.” $13

7. Cozy hat made of sustainable recycled wool and cotton for your winter travels. Designed in Denmark. Comes in recycled packaging. From Trendhim $39

8. Silk Travel Eye Mask to help get some shut eye on the road. Silk can biodegrade, and uses less water, chemicals, and energy than many other fibers. From Saatva. $60

9. Reusable lunch and snack bags Eschew plastic bags and foil wrap on your day trips with colorful reusable, washable, dishwasher-safe zip up bags $13.50 from Green City Living.

10. Natural Bug Repellant. Murphy’s Naturals DEET-free, plant-based Mosquito Repellent Balm $9.99 or Bite Relief Soothing Balm Stick $5.99 can be thrown in a purse or backpack.

11. See home in a new way – Give the gift of experience with a food, coffee, or street art tour guided by local experts from the Tours By Locals website.

12. Recipient’s Choice: Reduce returns and waste by giving the recipient their choice of travel item from Snappy Gifts website. Items include a solar phone charger and sustainability sourced toiletry organizer.

Note to readers: I received product samples for evaluation but I will pass them along if possible (not the used shampoo bars) and I do not/will not receive any payment from the companies listed.

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Why graphic novels are lucrative IP for Web3: From MEFaverse to metaverse

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Marvel’s multi-billion dollar IP enterprise is eating up the film and streaming market — but the metaverse is offering new opportunities and creating a whole new market.

Marvel is valued at nearly $6 billion for films alone, $40 billion for streaming and about $3 billion for consumer products, according to a 2021 Forbes analysis. While the media giant dominates the lion’s share of graphic novel IP in entertainment within film and streaming, the metaverse offers new opportunities for graphic novel IP. The ‘metaverse in entertainment’ market share is expected to increase to $28.92 billion by 2026. 

The entertainment market is essentially expanding with the creation of the metaverse, therefore presenting opportunities to replicate the lucrative success that Marvel has enjoyed. But what made Marvel so popular, and why is the multiverse primed for the metaverse? 

Since the inception of the metaverse as a concept, some of the earliest explorations have included the creation — and adaptation of — graphic novels for this new virtual environment. From Method Man’s comic book MEFaverse, to the adaptation of Dan LuVisi’s iconic Last Man Standing: Killbook of a Bounty Hunter, to Killtopia catering to Japan’s ‘Otaku’ community of manga and animé fans.

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But why is graphic novel IP so attractive to directors writing for a digital medium with interactive audiences? And what opportunities are potentially being left on the table? To understand the attraction of graphic novel IP, we only need to look at the formula of success that Marvel and DC have built. 

An ever-expanding world

Marvel’s IP is not one story, but a universe that continues to expand. Recent editions to Marvel’s onscreen world include She-Hulk: Attorney at Law, Ms. Marvel and the upcoming Secret Invasion. The stories that come to life in film and TV are often based on specific heroes within that universe — or, more aptly, the multiverse.

In film, appearance-altering costumes, special FX make-up and visual FX (VFX) enable directors to cast different actors to play the same character in the franchise. The most popular and talented actors, with the strongest following in the target demographic for the box office, can have their turn playing the hero. In fact, actors no longer need to sign long-haul multi-movie contracts with Marvel.

The metaverse offers even more creative diversity. Graphic novel characters can be customizable according to the themes of different concept artists, and the same character can travel through a manga world into one that’s photorealistic. Perhaps a good interpretation is Dr. Strange’s journey through the multiverses, as we see him enter a variety of differently stylized worlds until he eventually finds himself surreally realized as a colorful gelatinous shape. 

One of the key differentiators between a virtual world and a game within the metaverse — or what will be the metaverse — is this interoperability, the way in which an avatar could be used in different virtual worlds. The way avatars are translated stylistically in those different worlds is a key focus for metaverse builders. And it’s something Marvel has been doing well for some time. People love the graphic novel style of Marvel films and how they not only pay homage to the original art form but also amplify the movie experience with state-of-the-art VFX. 

For example, LMS: Killbook of a Bounty Hunter is being translated for the metaverse after amassing a core fanbase. LMS is simultaneously a scrapbook-style graphic novel, a character bible for the anti-hero Gabriel and an introduction to the colorful yet deadly world of ‘New Amerika’. Initially released as a series of artworks, LMS soon gathered a solid fanbase that demanded more of Dan LuVisi’s world. The rights to LMS were bought by Section 9, which approached metaverse-as-a-service company Sequin AR with the idea of creating an LMS metaverse. With a rich world and a pre-existing community, Sequin believed LMS was the perfect property for a metaverse environment. 

The attractiveness of graphic novel IP

Sequin AR’s CEO Rob DeFranco explains why the graphic novel IP was so attractive: “The world that Dan created is vivid, imaginative, and full of pop-culture references with a sharp satirical tone that makes it a model property for the metaverse. There is a big community already in place for LMS. For example, a Comic-Con special edition toy of Gabriel, created by the popular brand Funko, sold out on the first day of the convention. Since the book first launched 10 years ago, there has been a cultural shift in how we interact with the properties we love.” 

Graphic novels rely on captivating imagery, along with compelling stories. The community building the metaverse is a blend of creatives, technologists and storytellers, similar to the teams that produce the Marvel universe. For example, the team behind Method Man’s MEFaverse includes Method Man himself, and renowned graphics artist Jonathan Winbush of Winbush Immersive, with Xsens motion tracking technology helping them translate real-life movement into the digital world. It’s no coincidence that Winbush built his own brand as a creator from his time working at Marvel. 

“The trajectory of the NFT/Web3 space as a whole, in my opinion, only has one direction to go: up,” says Method Man. “I see no reason why it wouldn’t, as brands and individuals realize the unique opportunities and potential this space offers, as well as the utility it provides. That said, my hope is that it can continue to grow while remaining mindful of values such as inclusivity and positivity, which are both pillars of the MEFaverse community.”

The metaverse and the story of good vs. evil 

The metaverse has the potential to be many things, good or bad. Most metaverse evangelists also acknowledge how human influence tends to invade — and sometimes spoil — the utopian promise of future technology.

For example, Aragorn Meulendijks, Chief Metaverse Officer (CMO) from Your Open Metaverse, a distributed metaverse for streaming Web3 content, recently shared his candid thoughts on Elaine Pringle Schwitter’s HeadsTalk Podcast. According to Meulendijks, the mission for those building the metaverse needs to align with the reality of flawed human nature. This sentiment is omnipresent in Marvel; the premise of superhero films is that good and evil always exist in tandem, and even heroes are flawed. 

While there are inevitable flaws, the multiverse can also be employed altruistically. Representation and connection are frequent themes in graphic novels, often speaking to those who don’t feel part of mainstream pop culture. This links back to Winbush’s work on the MEFaverse.

“We wanted to create more ‘metamasks’ or PFPs with different traits to represent our community,” he explained. “Method Man’s motivation in creating the MEFaverse was to show his fans their powers, the unique traits that make them who they are but in the superhero realm. Method Man wanted everyone that was excited about the MEFaverse to have a mask that truly represents them. He wanted his community to be shown their unique powers in a superhero realm.”

The building blocks of film production are being used to build the metaverse

The technology that underpins movie production is driving metaverse creation. For example, motion capture is harnessing and translating movement to avatars, while Unreal Engine is being used to create the worlds themselves.

Charles Borland, founder of real-time studio Voltaku explained: “When I was an actor in a video game called Grand Theft Auto IV, I would spend a lot of time in a mocap suit, and I’d been on a lot of TV and film shoots and saw just how inefficient the Hollywood production process is. I remember thinking, holy cow, when this technology and the economics get to a certain point, all of this gaming technology and real-time technology is going to revolutionize filmmaking and how you make content.” 

Talking about the use of technology in Killtopia, Charles elaborated: “If we’re going to build this in a game engine, like Unreal Engine, then we [had]to do things like set up a camera inside of Unreal. We knew we were going to have an actress and we were going to try and do this in real-time, but one of the things we were looking at was real-time ray tracing, and to push the envelope on that. We couldn’t go into the studio and do full camera tracking, so we wanted to find something inertia-based. Using the Xsens suit, capturing the raw mocap data, enabled us to create the avatars”. 

From an investment standpoint, how Marvel’s magic formula for success translates to the metaverse is clear. But IP in the metaverse goes far beyond a franchise of characters. Fans build on these worlds themselves, becoming creators in their own right. And in order to create, they need to feel invested. And that’s where the technology underpinning interoperability is key.

Blockchain blockbusters

Killtopia’s Charles Borland explains: “To invest in interoperability, stakeholders and project owners need to know that the assets for whom they’re building aren’t going anywhere. Of course, that’s if by ‘decentralized,’ you mean you’re applying blockchain. What’s great about that is it’s immutable and it’s public. So I know if I build around a project, even if it tanks, my pipeline will stay. Because the things I’ve been referencing and looking at are going to stay online in this decentralized file hosting system, which is great.”

This is an example of how the technology used in metaverse creation is improving the entire production pipeline. Accelerating the content production workflow, and safeguarding the assets for future use, is a challenge even Marvel faces. 

Cultural shift between content creators and consumers

Borland highlights the cultural shift in how we interact with the properties we love. COVID-19 drove the rapid acceleration in digital experiences, helping us to forge genuine connections when real-life interaction wasn’t possible. The convergence of these behavioral changes and technology advancements is now paving the way for the future metaverse, with mixed reality live performances — which became more prevalent during the recent pandemic — offering a hint of what we might expect. 

Brett Ineson, founder of Animatrik Film Design, which has hosted mixed reality performances for Justin Bieber, Pentakill with Wave XR and even virtual circuses with Shocap Entertainment, says: “Nailing the look and feel of a world will be paramount to delivering the illusion of reality, and that’s where capture technology will come into play. Motion capture will be essential for creating lifelike animation for characters and creatures in these virtual worlds so that players feel like they are interacting with real beings.”

Technologists and storytellers are helping to unleash the potential of new IP into the metaverse. Right now, the reality is that the metaverse does not exist, but it represents the next step in immersive and engaging entertainment. The more engaged a community is, the more invested it is in the story. Powered motion tracking, performance capture, interoperable avatars, virtual worlds and hip hop artists-turned-super heroes, the metaverse is prime real estate for the next Marvel enterprise. 

Rob DeFranco is CEO of Sequin AR.

Brett Ineson is cofounder of Animatrik Film Studios.

Remco Sikkema is senior marketing communications manager at Movella and Xsens.

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Fortnite Chapter 4 debuts with Unreal Engine 5.1

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Fornite Battle Royale Chapter 4 arrived today and it makes use of Unreal Engine 5.1, Epic Games announced.

The debut shows how tightly Epic Games ties its overall strategy together. Fortnite is the prime revenue generator for the company, reaching tens of millions of players who buy in-game items. And Unreal Engine is the game developer tool that makes the advances in Chapter 4 available. To sell developers on the engine, Epic eats its own dog food by building Fortnite with Unreal to showcase what it can do.

Unreal Engine 5.1 provides new features that make the game look and run better. Unreal Engine 5 itself debuted earlier this year and it Unreal Engine 5 ushers in a generational leap in visual fidelity, bringing a new level of detail to game worlds like the Battle Royale Island.

Shadows and lighting are better in Fortnite with Unreal Engine 5.1.

Next-gen Unreal Engine 5 features such as Nanite, Lumen, Virtual Shadow Maps, and Temporal Super Resolution — all features that can make Fortnite Battle Royale shine on next-generation systems such as PlayStation 5, Xbox Series X|S, PC, and cloud gaming.

Epic Games said that over half of all announced next-gen games are being created with Unreal Engine. And it said developers can now take advantage of updates to the Lumen dynamic global illumination and reflections system. This is important stuff if you’re a game developer, or you’re expecting to build the metaverse.

Epic has made updates to the Nanite virtualized micropolygon geometry system, and virtual shadow maps that lay the groundwork for games and experiences running at 60 frames per second (fps) on next-gen consoles and capable PCs. These improvements will enable fast-paced competition and detailed simulations without latency, Epic said.

Additionally, Nanite has also added a programmable rasterizer to allow for material-driven animations and deformations via world position offset, as well as opacity masks. This development paves the way for artists to use Nanite to program specific objects’ behavior, for example Nanite-based foliage with leaves blowing in the wind.

Nanite provides highly-detailed architectural geometry. Specifically, buildings are rendered from millions of polygons in real time, and each brick, stone, wood plank, and wall trim is modeled. Natural landscapes are highly-detailed too. Individual trees have around 300,000 polygons, and each stone, flower, and blade of grass is modeled.

On top of that, Lumen reflections provide high-quality ray traced reflections on glossy materials and water.

Water and shadows look prettier in Fortnite Battle Royale Chapter 4.

Also, Lumen provides real-time global illumination at 60 frames per second (FPS). You’ll see beautiful interior spaces with bounce lighting, plus characters reacting to the lighting of their surroundings. (For example, red rugs may bounce red light onto your outfit.) Also, Outfits that have emissive (a.k.a. glowing) qualities will scatter light on nearby objects and surfaces.

Virtual Shadow Maps allow for highly detailed shadowing. Each brick, leaf, and modeled detail will cast a shadow, and character self-shadowing is extremely accurate. This means that things like hats and other small details on characters will also cast shadows.

Temporal Super Resolution is an upgrade over Temporal Anti-Aliasing in Fortnite, and allows for high-quality visuals at a high framerate.

With the introduction of these UE5 features in Fortnite Battle Royale, Fortnite’s Video settings have changed on PC. You can see them here.

To run Nanite, the minimum hardware requirements are Nvidia Maxwell-generation cards or newer or AMD GCN-generation cards or newer.

For Nanite, Lumen, Virtual Shadow Maps, and Temporal Super Resolution to be available in Fortnite on your PlayStation 5 or Xbox Series X|S, make sure the “120 FPS Mode” setting (in the “graphics” section of the Video settings) is set to off.

Unreal’s reach has grown well beyond games. Unreal Engine has now been used on over 425 film and TV productions, and is integrated into over 300 virtual production stages worldwide. Unreal Engine usage in animation has grown exponentially, from 15 productions between 2015 and 2019 to over 160 productions from 2020 to 2022.

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