Was that pre-rendered or is that live in the engine?

No, that's 100% live in the engine.

That's 100% live in the engine. And a lot of what makes that possible is our new lighting system.

Yeah, the segments afterwards from Ali and the graphics guys was really what made a lot of this possible. It means it's not really affected the lighting per se. I've got new tools that we can drive the glow of an asset via a light, which is physically correct. So the best way to put that is if you've got a light that's 60 watts in power and you attach that to a very large light fitting, that glow is going to be very dim. If you attach that same bulb to the little LED on the front of your PC, it's going to glow really brightly. That's a lot of what made that stuff possible. We also then noticed some severe problems with the particle lighting at the time, because when you're creating environments and spaces like that you really want strong use of volumetric lighting. So that's something that was really, shall we say, pushed. I think the best way to put it was I ran around the studio flapping my arms in the air saying I can't make this happen without this working, and everybody got on board, which is kind of cool. And it means that the particles, Mike and his team and obviously Ali and his team, they all light correctly, and it means that you can create a very, shall we say, pooled lighting scenario. So one thing that the team wanted to achieve with the Idris in specific was that you're always looking through layers rather than looking at one room full of smoke or fog or vice versa, is that you've got pools of darkness against pools of lightness. And any artist will tell you, when you're going for composition from any angle, that's what you're looking for. You're looking for layers of depth, and the particles allow us to have layers of depth around corners, so you're rendering light that you can't see, which is always very powerful.