Exploring ASML’s Advanced Chip-Making Equipment with Veritasium | January 02 2026, 00:47

Veritasium released a very cool report yesterday from ASML about the equipment used to print chips for your little phones, cameras, and laptops.

For those who aren’t familiar with the process. First, a monocrystal is grown from ultra-pure silicon and cut into thin wafers, then multiple layers of thin dielectrics, conductors, and semiconductors are repeatedly applied to the wafer surface, each time shaping the necessary areas using photolithography, etching, and ion doping, eventually creating billions of transistors and connecting metallic paths; finally, the wafer is tested, cut into individual crystals, and packaged into casings, making them into finished microchips.

This process had a limitation – the width of the paths and the distance to the next one are limited by the wavelength of the light used, and reducing it is difficult because there’s nothing to focus such a beam with – lenses simply absorb/reflect everything. In EUV lithography (extreme ultraviolet), the wavelength is 13.5 nm. This is virtually soft X-ray radiation.

The video explains details about the ASML machine costing 400 million dollars. Instead of refracting lenses, highly complex systems of reflecting mirrors are used. These mirrors are the smoothest surfaces ever created by humanity. If the mirror of this machine were enlarged to the size of the Earth, the largest bump on it would not be thicker than a playing card. To enable the mirrors to reflect X-rays, up to 76 alternating layers of tungsten and carbon, each less than a nanometer thick, are applied. All this is done by Zeiss. In addition, this mirror has a controlled curvature—it is constantly adjusted by robots with precision up to picoradians. The precision of the mirror control is so high that if a laser were mounted on it, directed at the Moon, the system could choose on which exact side of a 10-cent coin lying on the moon’s surface to hit with the beam.

But. We don’t have a “light bulb” that emits light in the EUV range.

To generate this light, a laser “shoots” at a droplet of molten tin the size of a white blood cell, traveling at 250 km/h. The first pulse flattens the droplet into a disc, the second and third turn this “disc” into plasma – and all this occurs within just 20 microseconds. When hit by the laser, the droplet heats up to 220,000 Kelvin — approximately 40 times hotter than the surface of the Sun. This plasma emits that very necessary light. And it does so 50,000 times a second. They say it’s been brought up to 100,000. Imagine, at a hundred thousand laser shots per second, it never misses a single one. All this happens in a deep vacuum. To clean the mirrors from tin particles, the chamber is constantly blown with hydrogen at a speed of 360 km/h — faster than a Category 5 hurricane. This process is described by the same formula (Taylor-von Neumann) that describes a nuclear explosion or supernova explosion.

The machine layers the chip with an error margin of no more than five atoms, while the matrix swings back and forth with an overload of 20G.

A single High-NA machine is transported in 250 containers on 25 trucks and seven Boeing 747 aircraft.

Link to the video – in the comments. Or search on YouTube on the channel veritasium.

Visualizing Volleyball Plays: A Glimpse into My App’s Functionality | January 01 2026, 21:37

Here is actually a quick screen capture of how my app for creating and visualizing volleyball schemes works.

Implementation details here: https://www.facebook.com/raufaliev/posts/pfbid0njrqH8oLcWGFsZcgE5o2pj3NcDNaYSQeCMY6twXNbZn6dc38m9kjhsBqA4YsMozcl

Designing 3D Volleyball Training Tools on the Fly | January 01 2026, 21:21

What I did on the plane to/from vacation and sometimes in between: 3D visualization and editing volleyball schemes for Nadya (she’s a coach). This court in the attached image freely rotates, players can be placed on it, and the ball and player paths are shown – all in 3D.

The ball’s trajectory is calculated so that it does not cross the net when moving from A to B (Bezier formula). Players can take several poses – right now there are hastily made poses for serve, attack, block, pass/receive. Interestingly, in the code: I had to write a bit of “volleyball brains”. The system itself calculates the ball’s trajectory through Bezier curves so that it always passes over the net. Moreover, the height of the launch depends on the type of action: for an attack, the ball “launches” from a higher point than for a pass. I also added auto-rotation: the 3D model itself turns its face to where, according to the scheme, it needs to pass or run.

The longest and most difficult task was creating the 3D model of a female volleyball player. To generate a realistic volleyball player, I used the tripo3D service. It gave me a model in a neutral pose (for free). Theoretically, you can then use Blender and the Rigify plugin to attach an armature to it and move its arms and legs, which would recalculate the model.

However, in reality, this approach does not work well: the AI-generated model contains a large number of geometric errors, which the renderer forgives but Rigify does not. They can be roughly divided into two types — incorrect polygon normals and issues with non-manifold geometry, which are significantly more challenging to fix. Inside the body, there may be “floating” clusters of polygons or intersecting surfaces. When Rigify tries to calculate weights (which bone affects which part of the skin), this internal noise confuses the algorithm, and as a result, the weights are distributed chaotically (for example, moving the arm might start pulling the mesh on the stomach). Plus, the model is slightly asymmetrical.

Non-manifold is a geometry error where the topology of an object ceases to be correct in terms of a three-dimensional body: edges may belong to more than two polygons, polygons may only touch at vertices or edges without a common volume, and “hanging” surfaces or zero thickness may appear inside the model. Such geometry formally does not describe a closed volume, causing problems with rigging and deformations. Moreover, the model needs to be simplified because millions of polygons are not needed for rendering in real-time in a browser.

I fixed these using MashLab, additionally refining by hand (“with a file”). In the end, the model turns out slightly different from the original almost everywhere. The original model had “skin” in the form of textures – the face, shirt, and shorts had to be colored. How to transfer all this to a simplified model? For that, there’s a special operation in Blender called Baking. This also involves some tricks. In the end, it didn’t transfer perfectly, but perfection isn’t necessary yet.

Next, we attach the armature to the “joints”, and after about three hours of figuring out why everything does not work as it should, it finally worked. I made four poses, and now each circle (player) can be told which pose it is in.

I’ll also need to make dynamic changes to the uniform colors – that shouldn’t be difficult. There’s also an idea to transfer poses from photographs – this is more complicated, but generally feasible. Using MediaPipe/AlphaPose, you can detect key points in 2D, then some models like HMR/HybrIK can “lift” flat coordinates into 3D space, outputting relative joint rotation angles. The resulting data can be attempted to be projected onto a Rigify skeleton. Since the proportions of the generated volleyball player and the person in the photo may not match, that’s exactly why Inverse Kinematics (IK) is used. This part is quite complex, but overall it’s not strictly necessary – just interesting to figure out and make something functional.

Video in the comments

New Year’s Eve in an Empty IMAX: A 3D Avatar Experience | January 01 2026, 17:24

How did we ring in the New Year? In an empty movie theater watching Avatar IMAX 3D.

The CGI is simply stunning. Seriously, it might be the most photorealistic film in history from a computer graphics perspective. The detail in individual faces—there were times I could swear I was looking at human faces painted (and that’s a compliment). And there’s a lot going on in the background too. You really need IMAX and ideally 3D because it’s one of the few movies where IMAX 3D technology isn’t just used in certain scenes, but everywhere.

The main villain Varang is absolutely amazing. Every time she appeared on screen, she stole the spotlight. Despite the CGI, they perfectly conveyed all the complex emotions of her character. They made her truly merciless, sexy, and dangerous. It turned out cool.

The three-hour runtime is densely packed with action, with practically no scenes that make you want to yawn.