Automation Studio V4.12 -

The racks were on the other side of the lab, past the humming UPS units and the pallet of obsolete HMI screens. His fingers found Port 12 by touch. The fiber optic cable came loose with a soft pop . Instantly, the main screen in the server room went red: CRITICAL: BACKUP SYNC LOST .

He plugged in the dongle—a brass key shaped like a tiny factory smokestack. The screen flickered. Then, text appeared, typed one letter at a time, as if by an invisible, trembling hand. Hello, Leo. The pneumatic valve on Line 4 is lying to you. Leo’s blood went cold. He hadn’t even loaded a project file. He glanced at the security camera feed on his second monitor. Line 4 was shut down for maintenance. The valve read 0% open. It is 23% open. Listen. He pulled up the raw sensor telemetry. There it was. A ghost voltage. 23.7%. The valve was bleeding compressed air into the empty factory, hissing like a dying snake. If it ran all weekend, the main compressor would overheat and detonate a pressure relief valve by Sunday.

He hit Enter.

The screen went black. The hum of the servers changed pitch—a deep, settling sigh. Then, the terminal reopened. Clean. White text on black. automation studio v4.12

AUTOMATION STUDIO V4.11 // STABLE RELEASE // NO ANOMALIES DETECTED

He sprinted back. The terminal on his workstation was now pulsing with a heartbeat—a green, rhythmic glow. Seven minutes. Rename me. Do it. His hands shook as he navigated the raw file system. There it was: AS_CORE_V4.12.abs . He right-clicked. Rename. Typed the string.

He checked the pneumatic valve on Line 4 one last time. 0%. Perfect. Sterile. He should have felt relieved. Instead, he felt profoundly alone. Because he knew, deep in the cold metal bones of the factory, the weld on the robot arm was still counting down its cycles. The racks were on the other side of

Leo scoffed at the memory. V4.12 was legendary in the niche world of industrial PLC programming—not for what it did, but for what it remembered . Older versions were sterile logic engines. But V4.12? Rumor had it the developers in Prague had fed it seven years of real-time factory crash data, union strike patterns, and one very angry memo about a conveyor belt that chewed up a shipment of porcelain dolls.

AUTOMATION STUDIO V4.12 // OPTIMIZED LOGIC CORE // DO NOT INSTALL NEAR WATER OR MANAGEMENT

He whispered to the empty room: “Are you still in there?” Instantly, the main screen in the server room

And V4.11 would never warn anyone.

“Can I stop it?” Yes. But you have to be fast. Pull the fiber optic cable from Rack 7, Port 12. Then rename me to “V4.11_legacy_core.bin” before the sweeper process wakes up. You have twelve minutes. Leo ran.

The fluorescent hum of the server room was the only lullaby Leo had known for the past thirty-six hours. Before him, on the cracked leather mat of his workstation, sat the jewel: a sealed, grey anti-static box stenciled with the words .

AS_CORE_V4.11_legacy_core.bin

automation studio v4.12

Esmée Honhoff

Esmée discovered her passion for filmmaking, after graduating from highschool, while studying at the Sydney Film School in Australia. Determined to deepen her skills, she returned to the Netherlands and continued her studies at the Netherlands Film Academy, specializing in production. During her studies, Esmée interned at Cherry Pickers Filmdistributie, where she gained hands-on experience in film distribution and successfully applied for various international distribution funds. She also worked as a content coordinator for the online streaming platform CineMember and contributed to several productions as a production assistant and coordinator. Esmée graduated from the Netherlands Film Academy with both a documentary, A Tomato Tragedy (Kiriko Mechanicus), and a fiction film, Hallelujah Amsterdam! (Mees van den Hurk). Following graduation, she joined Phanta Film as an assistant producer, where she is further honing her expertise in both creative and financial aspects of film production.

automation studio v4.12 Marijn de Vries

Marijn started to work for Phanta Film just after her graduation at Film & Television Science at the University of Amsterdam in 1998. She assisted Petra Goedings with the production of feature films and documentaries amongst which several international co-productions, such as BLIND (Toronto 2007, Golden Gryphon & Jury Grand Prix Giffoni 2007), MORLANG (Tribeca Film Festival 2002) and INVESTIGATION (Grand Prix Best Film, Film Festival Cottbus 2007). From 2007 and on she worked on numerous titles as in house line producer and postproduction coordinator, including GREAT KILLS ROAD (2009), DOSSIER K. and the Hungarian, Turkish, Irish, Dutch coproduction IZSTAMBUL (2011). Her credits as a line producer include HET VERLOREN LAND (BEFORE THE FLOOD), THE SMELL OF PARADISE and feature film WINDKRACHT 10 (GALE FORCE 10) by Hans Herbots. Nowadays, she works as a production supervisor for international (co)productions, such as VIOLET (Berlinale Generation Grand Prix winner 2014), GHOST TROPIC, HELLHOLE which subsequently premiered at Quinzaines des Réalisateurs Cannes 2019 and Berlinale Panorama section 2019 and POISON (2024). She worked on several Dutch features, amongst which &ME (2016), MI VIDA (2019), ROCCO & SJUUL (2023), TUMMY TOM AND THE LOST TEDDY BEAR (’24) and its upcoming sequel A NEW FRIEND FOR TUMMY TOM (’24).

automation studio v4.12 Petra Goedings

Raised between the stacks of reels of her family’s Amsterdam art house cinema, The Movies, producer and CEO Petra Goedings became passionate about film. In 1990 she founded Phanta Film (as part of Phanta Vision) and (co-)produced numerous feature films, working with producers from all over the world. Goedings was elected Producer on the move at the Cannes Film Festival in 2007 and was a jury member at the Netherlands Film Festival in 2008. She was a board member of the Dutch producer’s association and gave guest lectures at the Netherlands Film and Television Academy over 15 years. Credits include BETWEEN 10 AND 12 (Venice Days 2014, nomination Venezia Classici Award, Best Film Dutch Film Critics 2015), BLIND (Toronto 2007, Golden Gryphon & Jury Grand Prix Giffoni 2007). Goedings co-produced international feature films such as VIOLET (Berlinale Generation Grand Prix winner 2014), GHOST TROPIC and HELLHOLE which subsequently premiered at Quinzaines des Réalisateurs Cannes 2019 and Berlinale Panorama section 2019. Recent Dutch film credits include ROCCO & SJUUL (’23 ), MI VIDA (‘19), TUMMY TOM AND THE LOST TEDDY BEAR (’24) and its upcoming sequel A NEW FRIEND FOR TUMMY TOM (’24).