Entertainment
Shutterstock Teams With NVIDIA to Build AI Foundation Models for Generative 3D Artist Tools
Shutterstock announced its partnering with NVIDIA to train custom 3D models
Last Updated on September 18, 2024 by Daily News Staff
Customized Shutterstock content trained with NVIDIA Picasso generative AI cloud service to use text prompts to rapidly generate 3D content for industrial digital twins, entertainment and gaming
NEW YORK /PRNewswire/ — Shutterstock, Inc. (NYSE: SSTK), a leading global creative platform for transformative brands and media companies, announced it is partnering with NVIDIA to train custom 3D models to create generative 3D assets from simple text prompts. Through a first of its kind collaboration, 3D models will be trained with Shutterstock assets using NVIDIA Picasso generative AI cloud services to convert text into high-fidelity 3D content, reducing creation time from hours to minutes.
When the models are introduced in the coming months on Shutterstock.com, the new NVIDIA-powered generative AI capabilities will be the latest addition to Creative Flow, an extensive toolkit designed to power the most seamless creative experience possible. The text-to-3D features will also be offered on Turbosquid.com and is planned to be introduced on the NVIDIA Omniverse™ platform for building and operating 3D industrial metaverse applications.
“Our generative 3D partnership with NVIDIA will power the next generation of 3D contributor tools, greatly reducing the time it takes to create beautifully textured and structured 3D models,” said Shutterstock CEO Paul Hennessy. “This first of its kind partnership furthers our strategy of leveraging Shutterstock’s massive pool of metadata to bring new products, tools, and content to market. By combining our 3D content with NVIDIA’s foundation models, and utilizing our respective marketing and distribution platforms, we can capitalize on an extraordinarily large market opportunity.”
With today’s professional software tools, building a high quality, detailed 3D model from scratch is often a challenging and time-consuming task for creators. In the case of a content being created for use as a digital twin, where absolute precision is required, the complexity of the job can take days or even longer depending on the specifics of the model. By creating custom models with the NVIDIA Picasso generative AI cloud service, Shutterstock will help 3D artists create object shapes, assist with object unwrapping, generate textures and materials and, for non-3D users, will even produce complete 3D models ready for use in a wide variety of applications and platforms.
“The transformative capabilities of generative AI make it possible for software makers and enterprises to build tools that use simple text prompts to create 3D assets for digital twins, simulation and design, saving artists enormous amounts of time and effort,” said NVIDIA Vice President of Developer Programs Greg Estes. “Training a custom Shutterstock model with the NVIDIA Picasso generative AI cloud services will give developers a tool that can automate much of the tedious work for artists, freeing them to spend more time exploring new concepts and refining their ideas.”
As part of its responsible AI focus and in correlation with sales of the customized 3D models on Shutterstock’s platform, Shutterstock will compensate artists through its Contributor Fund for the role their IP plays in training the generative technology.
ABOUT NVIDIA
Since its founding in 1993, NVIDIA (NASDAQ: NVDA) has been a pioneer in accelerated computing. The company’s invention of the GPU in 1999 sparked the growth of the PC gaming market, redefined computer graphics, ignited the era of modern AI and is fueling the creation of the metaverse. NVIDIA is now a full-stack computing company with data-center-scale offerings that are reshaping industry. More information at https://nvidianews.nvidia.com/.
ABOUT SHUTTERSTOCK
Shutterstock, Inc. (NYSE: SSTK), is a leading global creative platform for transformative brands and media companies. Directly and through its group subsidiaries, Shutterstock’s comprehensive collection includes high-quality licensed photographs, vectors, illustrations, 3D models, videos and music. Working with its growing community of more than 2 million contributors, Shutterstock adds hundreds of thousands of images each week, and currently has more than 600 million images and more than 45 million video clips available.
Headquartered in New York City, Shutterstock has offices around the world and customers in more than 150 countries. The Company also owns Splash News, an entertainment news agency for newsrooms and media companies worldwide; Pond5, one of the world’s largest video-first content marketplaces; TurboSquid, one of the world’s largest 3D content marketplaces; PicMonkey, an online graphic design and image editing platform; Offset, a high-end image collection; Shutterstock Studios, an end-to-end custom creative shop; PremiumBeat, a curated royalty-free music library; Shutterstock Editorial, a premier source of editorial images and videos for the world’s media; and Bigstock, a value-oriented stock media offering.
For more information, please visit www.shutterstock.com and follow Shutterstock on Twitter and on Facebook.
NVIDIA FORWARD-LOOKING STATEMENTS
Certain statements in this press release including, but not limited to, statements as to: the benefits, impact, performance, availability and features of NVIDIA’s partnership with Shutterstock to use images and text prompts to rapidly generate 3D content for industrial digital twins, entertainment, and gaming; and the benefits, impact, performance, features and availability of NVIDIA’s products, and technologies, including NVIDIA Picasso generative AI cloud services, NVIDIA Omniverse, and NVIDIA foundation models are forward-looking statements that are subject to risks and uncertainties that could cause results to be materially different than expectations. Important factors that could cause actual results to differ materially include: global economic conditions; NVIDIA’s reliance on third parties to manufacture, assemble, package and test NVIDIA’s products; the impact of technological development and competition; development of new products and technologies or enhancements to NVIDIA’s existing product and technologies; market acceptance of NVIDIA’s products or NVIDIA’s partners’ products; design, manufacturing or software defects; changes in consumer preferences or demands; changes in industry standards and interfaces; unexpected loss of performance of NVIDIA’s products or technologies when integrated into systems; as well as other factors detailed from time to time in the most recent reports NVIDIA files with the Securities and Exchange Commission, or SEC, including, but not limited to, its annual report on Form 10-K and quarterly reports on Form 10-Q. Copies of reports filed with the SEC are posted on the company’s website and are available from NVIDIA without charge. These forward-looking statements are not guarantees of future performance and speak only as of the date hereof, and, except as required by law, NVIDIA disclaims any obligation to update these forward-looking statements to reflect future events or circumstances.
SHUTTERSTOCK FORWARD-LOOKING STATEMENTS
This press release contains forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995, particularly in the discussion under the caption “2023 Guidance.” All statements other than statements of historical fact are forward-looking. Examples of forward-looking statements include, but are not limited to, statements regarding guidance, industry prospects, future business, future results of operations or financial condition, new or planned features, products or services, management strategies and our competitive position. You can identify forward-looking statements by words such as “may,” “will,” “would,” “should,” “could,” “expect,” “aim,” “anticipate,” “believe,” “estimate,” “intend,” “plan,” “predict,” “project,” “seek,” “potential,” “opportunities” and other similar expressions and the negatives of such expressions. However, not all forward-looking statements contain these words. Forward-looking statements are subject to known and unknown risks, uncertainties and other factors that could cause our actual results to differ materially from those expressed or implied by the forward-looking statements contained herein. Such risks and uncertainties include, among others, those discussed under the caption “Risk Factors” in our most recent Annual Report on Form 10-K, as well as in other documents that the Company may file from time to time with the Securities and Exchange Commission. As a result of such risks, uncertainties and factors, Shutterstock’s actual results may differ materially from any future results, performance or achievements discussed in or implied by the forward-looking statements contained herein. The forward-looking statements contained in this press release are made only as of this date and Shutterstock assumes no obligation to update the information included in this press release or revise any forward-looking statements, whether as a result of new information, future developments or otherwise, except as required by law.
© 2023 NVIDIA Corporation. All rights reserved. NVIDIA, the NVIDIA logo, and NVIDIA Omniverse are trademarks and/or registered trademarks of NVIDIA Corporation in the U.S. and other countries. Other company and product names may be trademarks of the respective companies with which they are associated. Features, pricing, availability, and specifications are subject to change without notice.
SOURCE Shutterstock, Inc.
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Entertainment
Funny, Tender, Goofy: Why Catherine O’Hara Stole Every Scene From SCTV to Schitt’s Creek
Catherine O’Hara, a beloved actor and comedian, passed away at 71. Her career spanned over 50 years, showcasing her unique comedic timing in various roles, including Delia Deetz in Beetlejuice and Moira Rose in Schitt’s Creek. O’Hara’s influence and creativity left a lasting legacy in comedy, inspiring many.
Ben McCann, Adelaide University
Funny, tender, goofy – Catherine O’Hara lit up the screen every time she showed up
Catherine O’Hara, the beloved actor and comedian who has died aged 71, occupied that rare position in contemporary screen culture: a comic actor, a cult figure and a mainstream star.
Her work spanned more than 50 years, from improv sketch comedy to Hollywood features and off-beat TV classics.
She was celebrated for her unmatched comic timing and chameleon-like character work. Her roles were often absurdist and quirky, but they hid a razor-sharp humour.
Born and raised in Toronto in a close-knit Irish Catholic family, O’Hara was one of seven siblings. She once remarked humour was part of her everyday life; storytelling, impressions and lively conversation helped hone her comedic instincts.
After high school, she worked at Toronto’s Second City Theatre, a famed breeding ground for comedy talent, and sharpened her deadpan improvisational skills.
Big break
O’Hara’s break came with Second City Television (SCTV), a sketch comedy series that rivalled Saturday Night Live in creativity and influence. Alongside contemporaries Eugene Levy, John Candy, Rick Moranis and Martin Short, she defined her distinctly smart, absurdist comedic voice.
O’Hara was not merely a performer on SCTV; she was also a writer, winning an Emmy Award for her contributions. This dual role shaped her career-long sensitivity to rhythm, language and character construction.
Unlike sketch performers who rely on repetition or catchphrases, O’Hara’s humour emerged with a different comedic logic. Audiences laughed not because the character was “funny”, but because the character took herself so seriously.
Though briefly cast on Saturday Night Live in the early 1980s, O’Hara chose to stay with SCTV when it was renewed, a decision she later described as key in letting her creative career flourish where it belonged.
The transition to film
By the mid-1980s, O’Hara was establishing herself as a screen presence. She appeared in Martin Scorsese’s offbeat black comedy After Hours (1985), and showcased her comic range in Heartburn (1986).
In 1988, she landed what would become one of her most beloved film roles: Delia Deetz in Tim Burton’s left-field Beetlejuice (1988).
Delia – a pretentious, New York art-scene social climber – allowed O’Hara to combine physical comedy and imbecilic dialogue (“A little gasoline … blowtorch … no problem”).
Burton once noted
Catherine’s so good, maybe too good. She works on levels that people don’t even know. I think she scares people because she operates at such high levels.
She went on to play Kate McCallister, the beleaguered mother in the holiday blockbusters Home Alone (1990) and Home Alone 2: Lost in New York (1992). Audiences loved the fact that this rather thinly written role became the films’ beating heart.
Working with Christopher Guest
Another distinctive phase of O’Hara’s career was her work with writer-director Christopher Guest on a series of largely improvised mockumentaries that have become cult classics.
Three standouts were Waiting for Guffman (1996), where she plays a desperate local performer in a small-town theatre troupe, and A Mighty Wind (2003), where she teamed up with old pal Levy as an ageing folk duo.
Her best turn came in Best in Show (2000), in which she and Levy played a couple competing in a national dog show. Her character Cookie Fleck remains one of the finest examples of improvised comedy on film. https://www.youtube.com/embed/Ay1cJ1QMOms?wmode=transparent&start=0
Her relentless monologues about former lovers are objectively inappropriate, yet O’Hara delivers them with such earnest enthusiasm that they become strangely compelling.
Her gift for improvisation glittered in these films: these eccentric characters were often laugh-out-loud funny – but O’Hara never mocked them.
Late success
She returned to TV in Six Feet Under (2001–05) and guest appearances on The Larry Sanders Show (1992–98) and Curb Your Enthusiasm (1999–2024). More recently, she appeared in prestige shows such as The Last of Us (2023–) and The Studio (2025–).
But it was the role of Moira Rose, the eccentric, ex-soap opera star in the Canadian sitcom Schitt’s Creek (2015–20), created by Eugene Levy and his son Dan, that would become O’Hara’s most significant late career move. And what a role it was!
Written for O’Hara’s unique talents, Moira was a larger-than-life character with a bizarre, unforgettable vocabulary, dramatic mood swings and a wardrobe that became nearly as famous as the character herself.
Feminist media scholars have noted the rarity of such complex roles for older women, particularly in comedy, making O’Hara’s performance culturally significant.
The show became a global streaming blockbuster during COVID lockdowns and O’Hara’s multi-award-winning performance became a social media phenomenon, spawning memes and viral clips.
There are so many standout moments – her drunken meltdown after losing her wigs, her audition for The Crows Have Eyes 3 and the show’s moving finale where she performs Danny Boy at Alexis’s graduation.
An enduring legacy
O’Hara had a remarkable ability to play flamboyant, self-absorbed characters who were often uproariously funny.
Many comedians and actors have cited O’Hara as an influence for her fearlessness, her ability to blend absurdity with emotional truth, and her steadfast commitment to character integrity. She influenced performers like Tina Fey, Maya Rudolph, Kate McKinnon and Phoebe Waller-Bridge.
O’Hara also refused to chase conventional stardom. Rather than choosing projects designed to flatten her eccentricities, O’Hara favoured collaborative environments that valued creativity over control.
For her, comedy was always an art of intelligence, empathy and generosity.
Ben McCann, Associate Professor of French Studies, Adelaide University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Entertainment
Catherine O’Hara and the Late-Night TV That Stayed With Me
A personal reflection on watching Catherine O’Hara on SCTV during late-night television and how those early performances shaped a lifelong love of character-driven comedy.
Catherine O’Hara and the Late-Night TV That Shaped a Generation of Comedy Fans
From a personal point of view, one of my earliest memories of Catherine O’Hara doesn’t come from a movie theater or a prime-time sitcom. It comes from the quiet glow of late-night television, long after most of the house had gone to sleep.
As a youngster, I remember staying up late enough to catch Second City Television (SCTV), which aired after Saturday Night Live and Don Kirshner’s Rock Concert. That meant it didn’t come on until around 1:30 a.m. Pacific Time, deep into Saturday night and early Sunday morning. Even at that young age, I knew I was watching something different. The humor felt sharper, stranger, and somehow smarter — and Catherine O’Hara stood out immediately.
Even before I understood why it was funny, I understood that it mattered.
Late-Night Television as a Classroom
Looking back now, it’s clear that late-night television quietly shaped my taste in comedy. SCTV didn’t feel like it was aiming for the widest possible audience. It felt like it trusted the viewer to catch up. Catherine O’Hara’s performances weren’t just about delivering punchlines — they were about inhabiting characters completely, no matter how absurd, subtle, or offbeat they were.
That kind of comedy asks you to pay attention. And for a kid watching far past his bedtime, it was oddly captivating. I didn’t have the vocabulary for “character work” or “commitment to the bit,” but I recognized authenticity when I saw it. O’Hara had it in abundance.
Seeing the Through-Line Years Later
As the years went on, Catherine O’Hara kept showing up in new places — and each time, something clicked. In Beetlejuice, there was that same fearless weirdness. In Home Alone, she brought warmth and panic and humanity to what could have easily been a one-note role. She grounded the chaos without ever dulling it.
Then came Schitt’s Creek. By the time Moira Rose entered our cultural vocabulary, it felt less like a reinvention and more like a full-circle moment. The bold choices, the musicality of her voice, the unapologetic commitment — it all traced back to those SCTV performances from decades earlier.
Moira Rose didn’t come out of nowhere — she came from years of late nights, sharp instincts, and fearless comedy.
Why Those Early Moments Matter
What I didn’t realize at the time was that those 1:30 a.m. viewings were teaching me how to appreciate comedy that lingered. Not everything had to land immediately. Not every joke needed a laugh track. Some performances simply stayed with you.
Catherine O’Hara’s work did exactly that. It stayed. Through different decades, formats, and genres, her performances carried a consistency of intelligence and heart. For many of us who grew up sneaking glances at late-night television, she became a familiar presence — someone who trusted the audience enough to go all in.
A Personal Goodbye
With news of her passing, those memories feel closer than ever. Not just of Catherine O’Hara the icon, but of Catherine O’Hara the performer who helped shape how many of us learned to watch comedy. She wasn’t just funny — she was formative.
Late-night television doesn’t always get credit for the role it plays in shaping taste, curiosity, and imagination. But for those of us who were there, watching quietly while the rest of the world slept, it mattered. And Catherine O’Hara was a big part of why.
— STM Daily News
For more on her early career in comedy, see Forbes retrospective on Catherine O’Hara’s career history and influence. [oai_citation:3‡Forbes](https://www.forbes.com/sites/hannahabraham/2026/01/30/how-catherine-ohara-became-beloved-across-three-generations-from-sctv-to-home-alone-to-schitts-creek/?utm_source=chatgpt.com)
Learn about the cultural impact and awards for Schitt’s Creek Schitt’s Creek Wikipedia overview. [oai_citation:4‡Wikipedia](https://en.wikipedia.org/wiki/Schitt%27s_Creek?utm_source=chatgpt.com)
See a broad overview of her life and legacy from PBS NewsHour PBS retrospective. [oai_citation:5‡pbs.org](https://www.pbs.org/newshour/arts/catherine-ohara-emmy-winning-actor-and-comedian-of-schitts-creek-fame-dies-at-71?utm_source=chatgpt.com)
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CES 2026
Inside the Computing Power Behind Spatial Filmmaking: Hugh Hou Goes Hands-On at GIGABYTE Suite During CES 2026
Inside the Computing Power Behind Spatial Filmmaking: Hugh Hou Goes Hands-On at GIGABYTE Suite During CES 2026
Spatial filmmaking is having a moment—but at CES 2026, the more interesting story wasn’t a glossy trailer or a perfectly controlled demo. It was the workflow.
According to a recent GIGABYTE press release, VR filmmaker and educator Hugh Hou ran a live spatial computing demonstration inside the GIGABYTE suite, walking attendees through how immersive video is actually produced in real-world conditions—capture to post to playback—without leaning on pre-rendered “best case scenario” content. In other words: not theory, not a lab. A production pipeline, running live, on a show floor.
A full spatial pipeline—executed live
The demo gave attendees a front-row view of a complete spatial filmmaking pipeline:
- Capture
- Post-production
- Final playback across multiple devices
And the key detail here is that the workflow was executed live at CES—mirroring the same processes used in commercial XR projects. That matters because spatial video isn’t forgiving. Once you’re working in 360-degree environments (and pushing into 8K), you’re no longer just chasing “fast.” You’re chasing:
- System stability
- Performance consistency
- Thermal reliability
Those are the unsexy requirements that make or break actual production days.
Playback across Meta Quest, Apple Vision Pro, and Galaxy XR
The session culminated with attendees watching a two-minute spatial film trailer across:
- Meta Quest
- Apple Vision Pro
- Newly launched Galaxy XR headsets
- Plus a 3D tablet display offering an additional 180-degree viewing option
That multi-device playback is a quiet flex. Spatial content doesn’t live in one ecosystem anymore—creators are being pulled toward cross-platform deliverables, which adds even more pressure on the pipeline to stay clean and consistent.
Where AI fits (when it’s not the headline)
One of the better notes in the release: AI wasn’t positioned as a shiny feature. It was framed as what it’s becoming for a lot of editors—an embedded toolset that speeds up the grind without hijacking the creative process.
In the demo, AI-assisted processes supported tasks like:
- Enhancement
- Tracking
- Preview workflows
The footage moved through industry-standard software—Adobe Premiere Pro and DaVinci Resolve—with AI-based:
- Upscaling
- Noise reduction
- Detail refinement
And in immersive VR, those steps aren’t optional polish. Any artifact, softness, or weird noise pattern becomes painfully obvious when the viewer can look anywhere.
Why the hardware platform matters for spatial workloads
Underneath the demo was a custom-built GIGABYTE AI PC designed for sustained spatial video workloads. Per the release, the system included:
- AMD Ryzen 7 9800X3D processor
- Radeon AI PRO R9700 AI TOP GPU
- X870E AORUS MASTER X3D ICE motherboard
The point GIGABYTE is making is less “look at these parts” and more: spatial computing workloads demand a platform that can run hard continuously—real-time 8K playback and rendering—without throttling, crashing, or drifting into inconsistent performance.
That’s the difference between “cool demo” and “reliable production machine.”
The bigger takeaway: spatial filmmaking is moving from experiment to repeatable process
By running a demanding spatial filmmaking workflow live—and repeatedly—at CES 2026, GIGABYTE is positioning spatial production as something creators can depend on, not just test-drive.
And that’s the shift worth watching in 2026: spatial filmmaking isn’t just about headsets getting better. It’s about the behind-the-scenes pipeline becoming stable enough that creators can treat immersive production like a real, repeatable craft—because the tools finally hold up under pressure.
Source:PRNewswire – GIGABYTE press release
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