https://theodemiris.com theodemiris Thu, 06 Nov 2025 17:10:18 +0000 https://theodemiris.com en https://theodemiris.com/The-Immortal-Man Wed, 30 Jul 2025 10:47:50 +0000 theodemiris https://theodemiris.com/The-Immortal-Man <img width="6558" height="4372" width_o="6558" height_o="4372" data-src="https://freight.cargo.site/t/original/i/59aea503fdffa26d3d0be39bdeb7dd4932e8850740ccc33e9884b173f79dd6dd/MV5BYjJkMTc1MTMtOTQ3NS00NGNkLWE3NjItN2E0NGRhZjJjMzcwXkEyXkFqcGc._V1_.jpg" data-mid="240342254" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/59aea503fdffa26d3d0be39bdeb7dd4932e8850740ccc33e9884b173f79dd6dd/MV5BYjJkMTc1MTMtOTQ3NS00NGNkLWE3NjItN2E0NGRhZjJjMzcwXkEyXkFqcGc._V1_.jpg" /> Peaky Blinders - The Immortal Man (2026) Directed by Tom Harper VFX by One of Us, Magic Lab, The House of Good Vibes https://theodemiris.com/The-Omega-Point Thu, 06 Nov 2025 17:10:18 +0000 theodemiris https://theodemiris.com/The-Omega-Point The Omega Point is a graphic novel currently in development. It began as an exploration of the medium, an attempt to understand its limitations and freedoms in relation to the cinematic language. Over time, it evolved into a proof of concept for a larger story I first began imagining years ago. The result is a twenty-page prologue that establishes the world and sets the stakes for a much larger narrative to come. At its core, The Omega Point is a detective story, a film noir set in a society standing at the edge of a massive technological shift. It follows John Denton, a private investigator torn between his human essence and the artificial augmentations that make him the first of his kind. What begins as the investigation of an AI scientist’s apparent suicide becomes a meditation on consciousness, identity, and love. The story draws on the myth of Theseus, with John navigating the labyrinth of his own mind and the world around him. As technology rises to take the place of faith, The Omega Point questions whether progress brings salvation or surrender, and what it truly means to be human in an age of machines. Below are a few sample pages. For access to the complete prologue, please get in touch. <img width="2008" height="3071" width_o="2008" height_o="3071" data-src="https://freight.cargo.site/t/original/i/3090c04733b0237e60d2c3717d5ab95042ab1217af73bff0b4c40fa6dd934899/Front_Cover.jpg" data-mid="240342947" border="0" src="https://freight.cargo.site/w/1000/i/3090c04733b0237e60d2c3717d5ab95042ab1217af73bff0b4c40fa6dd934899/Front_Cover.jpg" /> <img width="2677" height="4094" width_o="2677" height_o="4094" data-src="https://freight.cargo.site/t/original/i/c2d0615c0b87d1f48f9c9d55e76ef86a93b15a3e3ab1df43d3a7a291d58499c8/P2.jpg" data-mid="240362457" border="0" src="https://freight.cargo.site/w/1000/i/c2d0615c0b87d1f48f9c9d55e76ef86a93b15a3e3ab1df43d3a7a291d58499c8/P2.jpg" /> <img width="2677" height="4094" width_o="2677" height_o="4094" data-src="https://freight.cargo.site/t/original/i/fb9c053439128dffd2333617d5ce1b5a9f19d1a920f60c8222e94996f75929ba/P4.jpg" data-mid="240343350" border="0" src="https://freight.cargo.site/w/1000/i/fb9c053439128dffd2333617d5ce1b5a9f19d1a920f60c8222e94996f75929ba/P4.jpg" /> <img width="2677" height="4094" width_o="2677" height_o="4094" data-src="https://freight.cargo.site/t/original/i/434e116078c54f5afe140542d48f974b1068108a33f4031fa70de5bc5e752fc8/P5.jpg" data-mid="240343351" border="0" src="https://freight.cargo.site/w/1000/i/434e116078c54f5afe140542d48f974b1068108a33f4031fa70de5bc5e752fc8/P5.jpg" /> <img width="2677" height="4094" width_o="2677" height_o="4094" data-src="https://freight.cargo.site/t/original/i/cd41b5973afea3a6ab66662eb03c99e441931a08d48b0ed439305834c3b3e067/P6.jpg" data-mid="240343352" border="0" src="https://freight.cargo.site/w/1000/i/cd41b5973afea3a6ab66662eb03c99e441931a08d48b0ed439305834c3b3e067/P6.jpg" /> <img width="2677" height="4094" width_o="2677" height_o="4094" data-src="https://freight.cargo.site/t/original/i/f5e0c2745df175b8c7d4ebd5db6344cf387bcce1d46875ed8cc1264fa5c8fd73/P7.jpg" data-mid="240343353" border="0" src="https://freight.cargo.site/w/1000/i/f5e0c2745df175b8c7d4ebd5db6344cf387bcce1d46875ed8cc1264fa5c8fd73/P7.jpg" /> https://theodemiris.com/Blitz Fri, 20 Dec 2024 09:49:48 +0000 theodemiris https://theodemiris.com/Blitz <img width="1200" height="630" width_o="1200" height_o="630" data-src="https://freight.cargo.site/t/original/i/12694c42e4485472def1e3cc4e0bd8be50eb3515ff0567f0da30cface5dccf24/Apple_TV_Blitz_key_art_graphic_header_4_1_show_home.jpg.og.jpg" data-mid="223618632" border="0" src="https://freight.cargo.site/w/1000/i/12694c42e4485472def1e3cc4e0bd8be50eb3515ff0567f0da30cface5dccf24/Apple_TV_Blitz_key_art_graphic_header_4_1_show_home.jpg.og.jpg" />Blitz (2023)&nbsp; Directed by&nbsp;Steve McQueen VFX by Cinesite, Raynault vfx, ILM and Host vfx https://theodemiris.com/We-Are-Who-We-Are Tue, 18 Aug 2020 20:48:55 +0000 theodemiris https://theodemiris.com/We-Are-Who-We-Are Working on all episodes of this beautiful auteur series our incredible team at One of Us delivered around 400 visual effects shots, most of which dealt with the environment of the base and the surrounding Veneto marshland. Extending the limited set of buildings on location required the use of CG architecture, roads, street furniture, trees and plants. Guadagnino was very sensitive to urban planning, and only signed off our extension when the street plans had what he termed “architectural movement” - the sense of a lived space. VFX Breakdown reel Seasonal adjustments to trees, skies and weather were also required. This is the kind of visual effects work which, if done well, is invisible, and at the same time integral to the storytelling. We see the juxtaposition of the regimented artificiality of the American military base enclosed by the wild beauty of the Italian countryside; and this echoes the contrast between the order of military life and the turmoil of teenage emotions. Luca Guadagnino's “We Are Who We Are” is a coming-of-age story of American teenagers on a U.S. military base in Italy, dealing with friendship, love and identity against a backdrop of the war in Afghanistan and the 2016 election. It is an HBO/Sky Atlantic copro, comprising eight hour-long episodes. The VFX work was supervised by myself and Jacobo Landi. Guillaume Menard was our 2D supervisor and Mark Webb, Giovanni Di Giulio and Sheila Da Silveira our incredible production team! https://theodemiris.com/Pale-blue-dot Fri, 21 Apr 2023 12:43:18 +0000 theodemiris https://theodemiris.com/Pale-blue-dot Pale Blue Dot, 2023Digital video loop, 0:35minSound by Nikos TseliosTitled "Pale Blue Dot," this digital video artwork is an artistic meditation that serves as an ode to Carl Sagan's timeless reflection on our home planet's delicate place within the cosmic arena. Rendered in a minimalistic style, the piece captures the dance of gravitational forces that orchestrate the movements of our solar system. The monochrome palette brings out the hypnotic patterns of orbit and flow, weaving the intricate and endless ballet of celestial bodies dancing around the sun. Attempting to encapsulate our existence's solitude against the vastness of space, the artwork invites viewers to contemplate their role within the cosmos. It mirrors Sagan’s profound message—a call to action for planetary stewardship and an invitation to marvel at the cosmic dance where we are but transient participants “Our planet is a lonely speck in the great enveloping cosmic dark. In our obscurity, in all this vastness, there is no hint that help will come from elsewhere to save us from ourselves” The journey depicted through the planets is designed to evoke the historic journey of Voyager 1, which, before leaving our solar system, captured the iconic "Pale Blue Dot" photograph. This seminal moment not only inspired Sagan to write his profound speech but also serves as a powerful reminder of our quest to understand our place in the universe https://theodemiris.com/Pinocchio Tue, 14 Jan 2020 17:09:30 +0000 theodemiris https://theodemiris.com/Pinocchio In 2019 I had the pleasure and the privilege to accompany Matteo Garrone on his quest to bring Carlo Collodi's Pinocchio back to its roots. Half realism and half fantasy, Garrone’s is a world in which animals portrayed with little more than make-up (a fox, a cat) live alongside fully digital creatures (a donkey, dogfish, woodpeckers) and prosthetic-digital hybrids (tuna, snail, cricket). I had the honour to be by his side, first through a lengthy pre-production and a three month shoot in Tuscany, Puglia and Rome, and then to supervise all the VFX work we did at One of Us as the film's main vendor. Within those 5 months of post-production we delivered 210 shots of what amounts to 25 minutes of screen time and thanks to Matteo’s trust, were allowed an incredible level of creative input and ownership over the project. Pinocchio - VFX Breakdown reelMatteo's reimagining of Pinocchio, right from the start, had a very distinct flavour. It was all about staying true to the original story of Collodi and tap into the soul of those very early illustrations from Pinocchio's first publication. The biggest challenge was discovering how our work needed to feel in order to be true to Matteo's vision and hit the emotional beats required to tell the story while, technically, seamlessly transition from Mark Coulier's beautiful prosthetic work into the digital world in order to bring some of the characters to life. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/c57ae62663058cba480fdd10fa0226560ad61cc447f726d79eac741c98d852e4/Pinocchio_Breakdown_v003.mp4.00_00_07_20.Still002.jpg" data-mid="143843996" border="0" src="https://freight.cargo.site/w/1000/i/c57ae62663058cba480fdd10fa0226560ad61cc447f726d79eac741c98d852e4/Pinocchio_Breakdown_v003.mp4.00_00_07_20.Still002.jpg" />The nose sequence: The nose sequence had two parts, three if you count the arrival of the birds! It was maybe one of the longest sequences we had and it was pivotal to the story so it had to be perfect. First came the growing. For that, we had a perfectly scanned model of Pinocchio's head from the set along with two witness cameras always pointing at the action. This provided us with accurate head and body tracks to then fully replace the nose with a CG built. As the nose would grow it would also pass through 5 different steps of textures blending from one to the other. This made it look as if the actual wood was growing rather than stretching. When the nose was long enough to start interacting with the environment we started using a specifically designed helmet with a practical and adjustable stick where the nose would be to give us real interaction with the surroundings but also to get the little actors to react to it! This allowed for a very fun shoot and Matteo really embraced the fluidity and the beautiful accidents of it. Our asset then replaced not only the entire nose but the back of the head (where the helmet was) the sides and ears as well as parts of the neck. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/aed5a61b0aa008b1dc0079762a5eceb9437bce88e26d1c57fcaa4208309018c1/Pinocchio_Breakdown_v003.mp4.00_00_20_20.Still003.jpg" data-mid="143843997" border="0" src="https://freight.cargo.site/w/1000/i/aed5a61b0aa008b1dc0079762a5eceb9437bce88e26d1c57fcaa4208309018c1/Pinocchio_Breakdown_v003.mp4.00_00_20_20.Still003.jpg" /> For the birds, we decided with Matteo early on during post that the great spotted woodpecker would be a great fit for the sequence. Its cuteness could only be matched by the charm of our two young actors! As the birds were at the epicentre of the sequence they had to be perfect so, Beck Selmes - the CG lead for this sequence - spent a lot of time developing the look and had to take our assets back and forth between rig and animation to allow for all the complexity that was required of them. The nose was then procedurally destroyed by using the animation caches! <img width="3840" height="2160" width_o="3840" height_o="2160" data-src="https://freight.cargo.site/t/original/i/d1c1df0f1cd17edd0a392c90f5dfe8627fddc0eeda32f139e776724f83ac792b/094_dtc_0190_still_v01-1.jpeg" data-mid="143844000" border="0" src="https://freight.cargo.site/w/1000/i/d1c1df0f1cd17edd0a392c90f5dfe8627fddc0eeda32f139e776724f83ac792b/094_dtc_0190_still_v01-1.jpeg" /> The Tuna: The Snail, Cricket and Tuna were all characters requiring VFX augmentation. All three of them were talking performances so the camera would stay on them during long dialogue sequences and made for a lot of long shots. The most notable of them in terms of work was the character of the Tuna. Not only was it a big fish, but also had to interact with the surrounding water and performances. For this, the actor was in prosthetics on the face with the rest his body hidden away underwater! We then kept only the very front of his performance and attached a CGi body behind him. To do so seamlessly we had to track the head and attach the body while reverse-engineering his head movements and adjusting the animation to make them feel as if they were coming from the body rather than the other way around. It had, after all, to feel as if the body was floating and driving the movements of the head! <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/a7458f61edbcfa5acc291c405a00b6d8e07c833ffa53602fd04de64e94dcb40e/Pinocchio_Breakdown_v003.mp4.00_00_57_14.Still005.jpg" data-mid="143843998" border="0" src="https://freight.cargo.site/w/1000/i/a7458f61edbcfa5acc291c405a00b6d8e07c833ffa53602fd04de64e94dcb40e/Pinocchio_Breakdown_v003.mp4.00_00_57_14.Still005.jpg" /> The Whale: The whale is one of those parts of the Pinocchio story that is iconic and Matteo had such a great vision for it. It was big and ambitious and it was all down to the VFX to get it working. Overall, the work consisted of three different kinds of shots: First, we had the big exterior shots where Pinocchio is being chased and eaten by the whale. Those needed a full CG creature built and a lot of CG water. They were filmed in shallow waters on a beach near Rome which we then made to feel like the open waters of the Mediterranean sea. Then we had the interior shots inside the belly of the whale where Pinocchio is finally reconnected with Geppetto. Those were filmed on a practical set in Rome and our work consisted of extending it but also bringing it to life by moving all the walls as if the whale was alive and moving! Finally, we had the moment of the escape where Pinocchio and Geppeto are crawling out of its mouth! Those were filmed with a semi-practical mouthpiece in a swimming pool in one of Rome's main water parks! We then had to extend the set and bring it to life by animating it while also extending the surface of the swimming pool. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2388ef25233a47909a214db8d1ab4824fe77e8828111ffdfe3f3e0cd0e83c795/Pinocchio_Breakdown_v003.mp4.00_01_13_14.Still004.jpg" data-mid="143843999" border="0" src="https://freight.cargo.site/w/1000/i/2388ef25233a47909a214db8d1ab4824fe77e8828111ffdfe3f3e0cd0e83c795/Pinocchio_Breakdown_v003.mp4.00_01_13_14.Still004.jpg" />The Donkey underwater: We knew from the very beginning that this was going to be entirely a VFX shot. This moment was all about hitting the emotional beats of the story and we very quickly realised that this also meant that it had to be a very long shot. (1000 frames to be exact) The donkey had to lose its breath and then very slowly be enveloped in a shimmering school of fish. Once we blocked the Donkey animation we started working on the environment and the behaviour of the fish. The environment had to feel Mediterranean - Highly detailed but murky and poetic. The fish had to behave beautifully but also realistically. For that Matt Noris, one of our senior FX artists put together a crowd simulation that was flexible and easy to art direct. Once we had all the ingredients out from CG, Guillaume Menard, our comp supervisor put it together himself and introduced a lot of real-life elements in the environment. The Transformation sequence: <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/526b3771867372e92b1fc9a3c89e74bc3853fa7a57833a0af1ea6ca73d4528bf/theo-2035_o.jpg" data-mid="143843995" border="0" src="https://freight.cargo.site/w/1000/i/526b3771867372e92b1fc9a3c89e74bc3853fa7a57833a0af1ea6ca73d4528bf/theo-2035_o.jpg" /> <img width="5000" height="3084" width_o="5000" height_o="3084" data-src="https://freight.cargo.site/t/original/i/d8ff7235a07d303e9fedbbbf3f6aea8952b62079f244c19cd6f266b42dd777e2/Theo-4398_o.jpg" data-mid="143843992" border="0" src="https://freight.cargo.site/w/1000/i/d8ff7235a07d303e9fedbbbf3f6aea8952b62079f244c19cd6f266b42dd777e2/Theo-4398_o.jpg" /> <img width="5000" height="3332" width_o="5000" height_o="3332" data-src="https://freight.cargo.site/t/original/i/4a4427e8f33274f750db599d4e3c27b265026000d6ed7a23c8829f7dc1e50143/IMG_5395_o.jpg" data-mid="143843993" border="0" src="https://freight.cargo.site/w/1000/i/4a4427e8f33274f750db599d4e3c27b265026000d6ed7a23c8829f7dc1e50143/IMG_5395_o.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/bc339198ddb8f9a7fd3232954c03b61596d10ac22f8c30af81659aa6542d923c/3d3d7204-49db-436f-996d-7339f99d2641.jpg" data-mid="143843994" border="0" src="https://freight.cargo.site/w/1000/i/bc339198ddb8f9a7fd3232954c03b61596d10ac22f8c30af81659aa6542d923c/3d3d7204-49db-436f-996d-7339f99d2641.jpg" /> https://theodemiris.com/The-Mothership Tue, 14 Jun 2022 11:43:21 +0000 theodemiris https://theodemiris.com/The-Mothership <img width="1000" height="420" width_o="1000" height_o="420" data-src="https://freight.cargo.site/t/original/i/9403d1baca60e92a0162c75cc7d2a5a90339a6d9e3946cee90ccbabdf24d23f5/tms.jpg" data-mid="145389014" border="0" data-scale="72" src="https://freight.cargo.site/w/1000/i/9403d1baca60e92a0162c75cc7d2a5a90339a6d9e3946cee90ccbabdf24d23f5/tms.jpg" /> Written and Directed by Matt Charman Produced by MRC and Automatik for NetflixRelease date: TBA The sci-fi adventure follows Sara Morse (Halle Berry) one year after her husband's disappearance from their rural farm. When she discovers a strange, extraterrestrial object underneath their home, Sara and her kids embark on a race to find their husband, father, and most importantly – the truth There isn't much I can share about this project since it's yet to be released. (Netflix has it in their 2023 line-up)&nbsp; https://theodemiris.com/David-di-Donatello-Best-VFX Tue, 29 Sep 2020 12:12:17 +0000 theodemiris https://theodemiris.com/David-di-Donatello-Best-VFX For my involvement in Matteo Garrone's Pinocchio as the overall VFX supervisor, I was awarded the David di Donatello for best VFX.&nbsp; Pinocchio was nominated in a total of 15 categories and won 5 of them including Best Production Design, Prosthetics/Make-up and Costumes. This award, of course, belongs to the entire VFX team that was devoted to this project throughout a very creative&nbsp; pre-production, an erratic shoot and then a very intense post-production schedule. A very big thank you to VFX Producer Massimo Cipollina, character designer Pietro Scola di Mambro, the entire VFX team at One of Us and, of course, to the great Matteo Garrone for taking me along on this beautiful journey that was the making of this film. The film eventually ended up being nominated for 2 Oscars (Best Achievement in Costume Design and Best Achievement in Makeup and Hairstayling) A clear testament to the film’s beauty and strong visual language.&nbsp; <img width="3863" height="2658" width_o="3863" height_o="2658" data-src="https://freight.cargo.site/t/original/i/03458b89cc901ab62759f68f768d9a3f3dc5aea1cd7fa7ca77f08a28d2ac8254/IMG-0074.jpg" data-mid="143843991" border="0" src="https://freight.cargo.site/w/1000/i/03458b89cc901ab62759f68f768d9a3f3dc5aea1cd7fa7ca77f08a28d2ac8254/IMG-0074.jpg" /> Here is the full list of nominees for the David di Donatello Award (2020): Winners: Best Production Design (Migliore Scenografo) Dimitri Capuani Best Costume Design (Migliore Costumista) Massimo Cantini Parrini Best Make-Up (Migliore Truccatore)Dalia ColliMark Coulier (prostetic makeup) Best Hair Design/Styling (Migliore Acconciatore)Francesco Pegoretti Best Visual Effects (Migliori Effetti Speciali Visivi)Theo DemirisRodolfo Migliari Nominees: Best Film (Miglior Film)Matteo Garrone Best Director (Migliore Regista)Matteo Garrone Best Adapted Screenplay (Migliore Sceneggiatura Non Originale)Matteo GarroneMassimo Ceccherini Best Producer (Migliore Produttore)ArchimedeLe PacteRai Cinema Best Supporting Actress (Migliore Attrice non Protagonista)Alida Baldari Calabria Best Supporting Actor (Migliore Attore non Protagonista) Roberto Benigni Best Cinematography (Migliore Fotografia)Nicolai Brüel Best Music (Migliore Musicista)Dario Marianelli Best Editing (Migliore Montatore)Marco Spoletini Best Sound (Miglior Suono)Maricetta Lombardo (sound)Luca Novelli (boom operator)Daniela Bassani (sound editor)Stefano Grosso (foley artist)Gianni Pallotto (sound mixer) https://theodemiris.com/Threads Mon, 18 Dec 2023 09:27:13 +0000 theodemiris https://theodemiris.com/Threads ThreadsDigital video loop, 0:23min Sound by Nikos Tselios &nbsp; "Threads" is an abstract exploration of space and memory, a loopable video artwork that presents a familiar yet uncharted territory. The piece was crafted by transforming depth data from a Kinect camera into a visual language of stretched lines, reminiscent of both delicate threads and ubiquitous barcodes. Within this work, the familiar setting of my childhood home - filled with objects from around the world that my parents accumulated throughout the years - becomes a canvas for reflection. Objects now fill every available space, including the entirety of my childhood room. The rhythm pulsing through "Threads" echoes the tempo of my steps as I walk through the rooms holding the camera.&nbsp; The subtle pace is carefully amplified within the soundscape, resonating with the rhythmic echo of a heartbeat. In this piece, every detail is elongated to the point of abstraction, rendering the once-recognizable unidentifiable, much like individual threads lose their identity in the weave of a tapestry. https://theodemiris.com/Munich-The-Edge-of-War Mon, 30 May 2022 14:15:56 +0000 theodemiris https://theodemiris.com/Munich-The-Edge-of-War Munich: The Edge of War portrays a world gasping on the brink of the deadliest war in history. Directed by Christian Schwochow (The Crown) and based on the international bestseller by Robert Harris, Netflix’s historical thriller Munich – The Edge of War explores the tensions between Adolf Hitler as he prepares to invade Czechoslovakia, while Neville Chamberlain’s government desperately seeks a peaceful solution. Vfx breakdown reel The VFX work included a giant barrage balloon being trapped off the side of a building in pre-war London, several big-scale set extensions (10 Downing Street, Pre-war Potsdamer Platz and Königslatz) as long as populating the background with period trains, planes and automobiles - a total of 215 VFX shots. Historical accuracy and detail were crucial to the success of the visuals so in addition to a lot of research and a continuous collaboration with the Art department and Production designer Tim Pannen, all standing real locations were surveyed and scanned in order to then be extended, altered and enhanced. The film was also shot during the pandemic, with meant a significantly reduced access to extras to populate the shots. This led to an extensive green screen shoot for crowd elements and then a combination of split screens and crowd replications. Another interesting part of the work was the extensive LED shoot that took place for all interior shots of Hitler's carriage. A lot of different material was shot, stitched together and then projected around a real train waggon. Our team, in collaboration with virtual production supervisor Marko Massinger, was responsible for the planning and execution of the sequence that ended up saving the production around 50 VFX shots. Thanks to the all-reflective mahogany wood interior of the carriage it also produced a very esthetically pleasing result - one that would have taken a lot of time to reproduce if shot with a traditional green screen approach. <img width="2224" height="1548" width_o="2224" height_o="1548" data-src="https://freight.cargo.site/t/original/i/d9a502f6a306e88b1d088c6e5d28ea8a6e0a78abfc4efcaf83c3e35c88647a37/trainLayout_3mScreen_pos01_v002.1001.jpg" data-mid="148714573" border="0" src="https://freight.cargo.site/w/1000/i/d9a502f6a306e88b1d088c6e5d28ea8a6e0a78abfc4efcaf83c3e35c88647a37/trainLayout_3mScreen_pos01_v002.1001.jpg" />