CG Garage

Kathryn Brillhart has always been ahead of her time. As a teen, she assisted her father in shooting documentaries; then she combined her sharp eye as a cinematographer with her passion for VFX to become a virtual production and volume capture expert. Projects she’s worked on include Las Vegas’ ginormous MSG Sphere, pioneering virtual production short “Ripple Effect,” and the movie Black Adam. Most recently, Kathryn has helped create the stunning, desolate world of the Fallout TV series.

Kathryn shares her unique perspective on the way digital technology has transformed the industry, from her early days shooting on celluloid to DV tapes, as well as the rapid evolution of virtual production technology and how it was fuelled by restrictions created by the pandemic. She also gives her thoughts on artificial intelligence and its potential to democratize the industry by making advanced tools accessible to indie filmmakers.

Liz Hitt has worked across VFX departments on some very cool movies — and she’s not stopping there. Beginning at the legendary Dream Quest Images on Deep Rising and Mighty Joe Young, Liz built a name for herself as a talented production coordinator and producer via movies including Hollow Man, Spider-Man, Stealth (with Chris), The Golden Compass, Wonder Woman, and Spider-Man: Homecoming.

In this podcast, Liz reflects on her career, the roles she’s taken and the crews she’s worked with, sharing how she manages people. She shares a rough guide to the “small-but-global” VFX industry, revealing how new technologies often present more challenges, and giving her thoughts on the effects of the pandemic on both the way we work and the films and series we make.

While most five-year-olds were playing with Legos and Barbies, Junaid Baig was taking his first steps with 3D Max. From this early start, Junaid developed an incredibly in-depth understanding of 3D, lighting, and rendering from working on VFX for movies, including Fantastic Beasts: The Crimes of Grindelwald, Avengers: Endgame, and Venom.

Today, Junaid is head of applied technology at DNEG, where he’s helping pioneer virtual production on films and series including Masters of the Air. Junaid combines his knowledge and passion for technology with deep respect for artists, and he reveals how virtual production — and Chaos’ Project Arena — are changing the way crew and cast can work together to create new worlds for audiences to enjoy.

Dan Ring is an expert in empowering VFX artists with cutting-edge research. He began his 20-year career by creating tech to analyze surgery videos (so that no one else would have to), then moved to Foundry to develop CopyCat, the Nuke machine-learning tool that applies corrections to sequences based on a small number of frames.

Now, Dan has joined Chaos to help implement machine learning in its visualization products. In this conversation with Chris, Dan covers just about every aspect of modern CG, including generative AI, Gaussian Splats and NeRFs, the surprising VFX roles that AI might not replace, and the steps Chaos is taking to ensure users have access to helpful but unintrusive tools that are ethically sound.

Phil Galler is a true virtual production guru. From the nuts and bolts of LED screens to the 3D software that provides the imagery to the business decisions and financial trends that help fund this new wave of VFX filmmaking, Phil understands it all.

In this podcast, Phil talks about his history in virtual production, beginning with the innovative projections used to make Oblivion’s sets come to life and continually evolving the tech via Tomorrowland, House of Cards, Solo: A Star Wars Story, The Mandalorian, and Bullet Train. Never one to sit still, Phil is leveraging his knowledge of real-time solutions and content to help define the next generation of storytellers. Phil’s holistic understanding of digital entertainment makes this podcast a must-listen.

Chris MacLean’s incredible career in VFX has transported him from documentaries on Cretaceous dinosaurs to the far-flung future for Foundation, Apple TV+’s bold adaptation of Isaac Asimov’s genre-defining sci-fi novels. Along the way, Chris has created and supervised VFX for movies and TV series, including Crimson Peak, Godless, American Gods, Resident Evil, and many more.

Having worked his way up from artist to second-unit director, Chris has a unique perspective on filmmaking and how the crew comes together. Chris also talks about making Foundation, including how they found the series’ extraterrestrial locations here on Earth, avoided blue screens, and even digitally simulated the vintage lenses used on the physical shoot. Chris also shares his informed perspectives on new technology, including Gaussian Splatting, in-camera VFX, and AI.

Hugo Guerra is the dictionary definition of multitasking. Having taken his eye for compositing into directing short films and commercials, and supervising VFX, Hugo fills his spare time with producing content for his successful YouTube channel and recording the VFX Notes podcast with Ian Failes. If that’s not enough, he’s also produced a cookbook with his wife.

Hugo talks about his early career in Portugal and how he took his love for movies into short films, and then compositing and directing. He also tells you why you need to go on-set, talks about the benefits of teaching, gives his thoughts on AI and “invisible” CGI, and reveals the inner workings of YouTube.

As Chris is tied up with a really cool Chaos project, we’re revisiting some of the older episodes of the CG Garage podcast. And we’re starting big with true luminaries of Hollywood revealing how they got their projects off the ground.

First up is Doug Trumbull, the 2001: A Space Odyssey VFX genius who went on to direct Silent Running and continually innovated Hollywood motion picture technology. Recorded shortly before his death in 2022, Doug talks about getting Brainstorm made and gives a prescient perspective on home theater.

We follow with a seminal live show that celebrated the podcast’s 100th episode with a pair of VFX experts turned blockbuster directors: Joe Kosinski and Tim Miller. Recorded at Gnomon School, Joe talks about how he leveled up Tron: Legacy and brought Oblivion’s stunning visuals to life, while Tim talks Deadpool and reveals some of the interesting choices that led to the beloved but very R-rated superhero movie.

With V-Ray 6 for Maya and Houdini, update 2, Chaos adds an important feature to its powerful renderer: MaterialX support. With this addition, artists and studios can seamlessly use materials across different DCCs and get identical results, removing many of the pain points of increasingly complicated modern 3D pipelines.

In this podcast, V-Ray for Maya Product Manager Alex Yolov and V-Ray for Houdini Product Manager Gosho Genchev reveal how they’ve worked with studios to implement MaterialX in the latest software updates. They also tackle some frequently asked questions about MaterialX, such as how it works and whether it can be used with existing projects, and they reveal some of the additional features that have recently been added to V-Ray.

Over his 30-year career, Julian Levi has produced VFX for Hollywood movies, beginning with Braveheart, moving into O Brother, Where Art Thou?, The Day After Tomorrow (with Chris), Speed Racer, X-Men: First Class, Prometheus, and many more. Most recently, he helped director Gareth Edwards bring the world of The Creator to life, earning four VES awards and a VFX Oscar nomination in the process.

Julian talks about how The Creator marks a return to the guerilla-style sci-fi Gareth pioneered with his debut, Monsters, utilizing cheaper cameras and preferring real-world locales over sets. Julian reveals how Gareth’s background as a VFX artist also means that he understands where corners can be cut while delivering awe-inspiring shots, and he shares his thoughts on how the industry is changing. 

Archviz artists love Chaos Corona. This renderer has become a go-to for visualizing everything from compact kitchens to sky-scraping towers, giving users stunning results straight out of the box. But what’s on the horizon for this popular renderer?

In this podcast, Product Manager Tom Grimes discusses what makes Chaos Corona a popular choice for the architecture industry and how its philosophy differs from other renderers such as V-Ray. He also talks about the software’s future and plans to make it an integral part of the Chaos ecosphere, as well as how it’s getting real-time functionality via Chaos Vantage.

Tram Le-Jones has an eye for detail, a people-centric personality, and a passion for computer science — making her perfect for VFX production roles. After getting a job on The Matrix Revolutions via craigslist (no, really), she became a sought-after coordinator and then moved into producing VFX for movies including Spider-Man 3, Tower Heist, and Extremely Loud & Incredibly Close, as well as commercials, moving from west to east coast and back again along the way.

Having served on the front line of VFX, Tram has taken her expertise into project management software for media and entertainment, starting with Autodesk’s Shotgrid and moving to Backlight’s ftrack. Tram talks through her fascinating career, from lugging huge CRTs around Digital Domain’s office, to working with Spike Jonze on his short film “I’m Here,” to the challenges of integrating cutting-edge virtual production technology into traditional VFX pipelines.

VFX visualization might just be the closest you can get to being a film director without stepping behind the camera. This technology has become a key part of the VFX process, with previz storyboarding growing into pitchviz (to get movies greenlit), techviz (to figure out logistics), and postviz (to create temporary VFX). It’s an area Casey Pyke has become an expert in via his role at Halon Entertainment, which has helped visualize movies including The Batman, Pinnochio, Argylle, and John Wick: Chapter 4.

Casey breaks down how the technology required for visualization differs from that for VFX — speed is of the essence, but looking good is increasingly important. He also talks about how his background as an amateur filmmaker helped him understand what directors want and the satisfaction of recognising his work on the big screen. Casey concludes with his experiences using LED walls and AI tools in visualization pipelines.

Richard Crudo began his career in New York City, learning from some of the best in the business, including László Kovács and Gordon Willis, and helping shoot movies such as Ghostbusters 2, Raising Arizona, and Broadway Danny Rose. He then served as cinematographer on movies including American Pie, Out Cold, and Brooklyn Rules, as well as television series such as FX Network’s Justified, The CW’s Jane the Virgin, and CBS’s SWAT. 

In this podcast, Richard discusses the transition of motion pictures from film to digital, and the concurrent rise of new visual effects techniques. He also talks about being president of the American Society of Cinematographers, the popularity of dark shots in Netflix TV series, and the rise of artificial intelligence and the democratization of movie making.

It’s an enlightening and entertaining discussion, and it’s great to get another perspective on the filmmaking process.

Could Paolo Berto Durante really be Chris, but from another dimension? These outspoken CG enthusiasts have a lot in common: an extensive knowledge of 3D software and render engines stretching back decades, a history in VFX and teaching CG, and strong opinions on the current state of the industry.

Paolo talks about his roles in the research and development of 3D software, starting from Alias|wavefront, to mental images. to Jupiter Jazz, up to his current role at J Cube, their team has developed CG tools for artists such as Multiverse USD, Maneki, and the futuristic WeRender generative service. Paolo also reveals some interesting thoughts on AI and creativity, and discusses how he comes up with new creative and business ideas.

Robert Moggach has experienced the full arc of the VFX artist career, from being treated like a rockstar in the early days of CG to working on personal, small-scale indie projects today. Along the way, he’s racked up credits on movies including Harry Potter, I, Robot, and Stealth, created ads for the world’s biggest brands, bagged a VES award for the Halo ODST trailer, and helped make music videos for the likes of Moby, Muse, Garbage, and Tori Amos.

Rob and Chris discuss the dynamics of cloud versus local workflows, the nuances of small-scale creative projects such as the short film Go For Grandma, and the logistical challenges of collaboration across time zones. The conversation culminates in speculation about AI's potential to catalyze new creative forms in Hollywood and beyond.

In this podcast, Vikkal breaks down his career so far, from his beginnings in architecture and on MTV series Room Raiders, to founding Ataboy Studios and making use of the latest VFX and motion graphics technology to create eye-catching ads in a variety of formats. Vikkal and Chris also discuss their common ground in architecture and talk about how Apple could potentially revive VR and the metaverse with its Vision Pro VR headset.

Ben Hansford has his finger on the pulse of filmmaking — the prognosis is excellent. Beginning his career in VFX, Ben moved into directing short films and commercials for the likes of Old Spice, Starfield0, Call of Duty, Nike, and many more. He also teaches AI at the University of Southern California (USC), giving him unfettered access to the minds of a new generation of filmmakers.

Ben shares his thoughts on how converging pipelines and creative innovations like AI will create a new kind of filmmaking, in the same way that lightweight cameras enabled the French New Wave and, in turn, New Hollywood. He also talks about the legal and quality issues that surround AI technology, and he finishes with an upbeat vision for the future of filmmaking and telling stories.

Here’s the perfect start to 2024: Kat Dawes and NOWism’s particular blend of positivity for creative people. From busking in her native Brisbane to traveling through Africa, Kat has combined her love of performance art and spirituality to create NOWism, a playful philosophy that embraces the present moment and focuses on becoming the hero of your own story.

In this podcast, Kat tells Chris how artists struggling in a modern, ever-changing world can overcome anxieties related to AI and financial woes. She also talks about how to find joy in a world that seems to be fuelled by negativity and conflict, and reveals how storytelling can help us understand our predicaments. If you feel that you’re stuck in a creative rut, then Kat’s infectious enthusiasm might just help you turn 2024 into your year.

2024 gets off to an explosive start with this week’s guest: CG supervisor Jonas Ussing, who is on a quest to give visibility to the VFX artists and studios who create invisible effects. He’s doing this via his YouTube channel, The Movie Rabbit Hole, where his impeccably researched and presented arguments have racked up over a million views.

Jonas and Chris talk about how studios are making it seem like films such as Oppenheimer, Top Gun: Maverick, and Mission: Impossible 7 favored practical effects, undermining VFX studios’ hard work and even making it hard for artists to get hired. They also talk about the politics of VFX, from Jurassic Park’s celebrated dinosaurs to Andy Serkis’ controversial take on his performance as Gollum. Jonas also reveals how to get the public on board with CG again.

Faruk Heplevent has spent his career perfecting the art of car photography. His experience in traditional photography transferred smoothly into CGI, and he set up his company, The Scope, to create breathtaking renders for the world’s biggest car companies. Now, he’s released Scope City, a groundbreaking tool that empowers car manufacturers and CG artists to create and customize the perfect urban backdrops for digital vehicles.

Faruk discusses his career and how the industry has changed from the days of shooting on film. He also talks about how gaming technology has influenced Scope City and its potential to go beyond the world of automobiles. This podcast is the perfect listen for when you’re trying to get that hubcap reflection just right.

SideFX President and CEO Kim Davidson has been a luminary of the computer graphics industry since the 1980s. In this podcast, Kim delves into his history, recounting his early days with the PRISMS procedural graphics application and the subsequent development of Houdini, SideFX’s popular and Oscar-winning 3D animation software, which has delivered astounding visuals for everything from Jingle All the Way to Indiana Jones and the Dial of Destiny.

Kim also shares his own journey in the industry, highlighting how his passions for art and science converged in the burgeoning world of CG. He reflects on the evolution of software and the industry over the past three decades, revealing how SideFX’s agile development and open approach to software standards, such as USD, have benefitted VFX artists and studios. 

Meet the legend behind some of the movie industry’s most iconic creatures: Joe Letteri. From Jurassic Park’s dinosaurs to Gollum in The Lord of the Rings, Avatar’s Na’vi, and the Planet of the Apes’ simian stars, Joe has constantly pushed VFX boundaries and technology to deliver utterly believable CG characters. 

In this info-packed Q&A, Joe talks about everything from how he created his very first VFX shot for Star Trek VI: The Undiscovered Country to the cutting-edge technology that helped him bag an Oscar for Avatar: The Way of Water, and the new AI, rendering, and depth-compositing tools that could get him another statuette. Joe also discusses where he finds inspiration and reveals his passion for fractal computer graphics and astrophotography.

The universal language of cinema has proved a constant in Pixar director Peter Sohn’s life, and with Elemental, he used it to tell a story close to his heart. Born in New York City to Korean parents, Peter’s mother fell in love with the visual storytelling of Disney movies. He then carved out a career in animation, starting with The Iron Giant and moving to Pixar for moves including Finding Nemo and Up, and making his directorial debut with The Good Dinosaur.

In this podcast, recorded at the View Conference, Peter discusses how his life experiences contributed to Elemental and helped inform creative decisions. He delves into the technical aspects of the movie, revealing how machine learning helped solve some of the surprising complexities of fire and water characters. It’s a moving episode, and one that affirms cinema as a powerful tool to express and share human emotions.

Spider-Man: Into the Spider-Verse left some big spider-boots to fill — but director Joaquim Dos Santos was clearly the man to fill them. With Spider-Man: Across the Spider-Verse, the director expanded the Spider-Verse in new and unexpected directions while, crucially, staying true to the first film’s tender and nuanced approach to character and story.

Joaquim reveals how his early obsessions with VHS and comic books led to his first break in storyboarding with Starship Troopers: Roughnecks, through to helming a golden era of US animation, including Avatar: The Last Airbender, The Legend of Korra, and Voltron: Legendary Defender. He discusses where he finds inspiration as a filmmaker, talks about the differences between working in TV and film animation, and gives his thoughts on entertaining a new generation.

As Illumination Studios' duck tale Migration prepares to take flight on the big screen, Chris had a conversation with its director, Benjamin Renner, at the VIEW Conference in Italy. Benjamin turned his passion for drawing into a career in animation via Macromedia Director and rose to prominence as co-director of the Academy Award-nominated animated movie Ernest & Celestine.

In this podcast, Benjamin offers a candid and insightful look into the process of crafting a 3D animated film in Hollywood, contrasting it with his experiences in 2D animation in France. He opens up about times when he’s felt nervous, and he reveals some surprising misconceptions about Hollywood movies. Benjamin is warm and honest, and his experiences will ring true with any creative spirit.

Michał Misiński’s name may be familiar to regular listeners — this CG artist turned director helped previous podcast guest Ash Thorp create his Ghost in the Shell homage “Project 2501.” Michał is also a partner at Polish visual effects VFX studio Juice, directing videos for Porsche, Honda, Skoda, Dolby, and more.

Recently, Michał brought his talent and passion together for a music video that ties in with sci-fi RPG Cyberpunk 2077’s Phantom Liberty expansion. Michał tells Chris about the process of shooting the music video, revealing how the team seamlessly blended CG and live-action, and made a physical actress look just like an in-game character. Michał also discusses the effects of big changes in the VFX and gaming industries.

Over the past 30 years, Kyle Balda has risen from humble animator to co-director of beloved kids’ movies Minions: The Rise of Gru and Despicable Me 3. Beginning in animation for films including Mars Attacks, The Mask, and Toy Story 2, Kyle met director Pierre Coffin in Europe and helped create the animated series Pat & Stan, which would build the foundations for the Minions’ lovable antics.

In this illuminating podcast, Kyle shares the essential lessons he learned as an animator and his path to the director’s chair. He reveals the organic process of creating a Minions movie, from the initial concept with the writer to the collaborative addition of ideas as more people get involved. Kyle also gives a positive perspective on AI and its role in CG movies, and he shares his thoughts on how animation has evolved from a genre to a medium.

Ryan Woodward began his career in traditional animation for movies, including cult classics The Iron Giant and Space Jam, before becoming a storyboard artist on Spider-Man 2, Iron Man 2, and Avengers Assemble, and creating the stirring short, “Thought of You.” Today, he’s pursuing many avenues for his creative powers.

In this podcast, recorded at THU in Japan, he talks about how he’s found happiness after some perilous life moments. He also dives deep into story, and how his understanding of metaphysics and neuroscience led to a breakthrough that can avoid formulaic Hollywood tales. Anyone with a creative streak will recognize Ryan’s career path, and his advice on how to navigate it is invaluable.

Murai Sadayuki is the writer behind some of the most astonishing and groundbreaking anime films of all time, including the Hitchcockian Perfect Blue, Otomo’s Akira follow-up Steamboy, and the reality-blurring Millennium Actress. But he’s not done yet: he continues to write for TV series, including Knights of Sidonia, Godzilla, and Sabikui Bisco.

Conducted at THU via a translator, this podcast sees Chris discover the world of Japanese animated movie-making and storytelling. Murai explains the importance of Godzilla, Ultraman, Akira, and WWII in Japanese culture. He also discusses the back-and-forth between Western and Japanese movie-making, and gives us his thoughts on what it means to be a creative person today.

What can today’s artists and storytellers learn from an ancient Japanese method? In this podcast, Chris is joined by Google brand expert Cláudia Cristovão, who practices Kintsugi, the art of taking old ceramics and repairing them with gold-infused sap that grows stronger with time.

Building on her presentation at the THU festival in Kaga, Japan, Cláudia explains how Kintsugi’s restorative, meditative process can apply to art and even people themselves. Claudia brings a refreshing perspective on creativity to the podcast, and she also reveals how upcoming artists can build their own brands.

Amy Aniobi is a whirlwind of inspiration, smart advice, and creative energy. As a young girl, she was inspired by Frasier and Boy Meets World to become a writer. After graduating from Stanford University, she entered the industry and worked her way up to becoming head writer, executive producer, and director of HBO’s Insecure. In addition, she co-hosts The Antidote podcast and has movie projects coming up with Fox and Universal.

Recorded at THU in Japan, Amy talks about getting ahead in the industry and how she honed her creative skills and found her voice. She also shares how she’s helping fellow Black writers make a name for themselves, gives her thoughts on AI as a writing tool, and reveals why Barbie and Oppenheimer are bringing authorship back to the big screen.

Kevin Reste is a font of knowledge for companies looking to improve their creative initiatives and campaigns. Beginning his career with mocap for the Rock Band video games, Kevin’s natural people skills and technical confidence have helped him secure work for companies including NBC Sports, Sony Music Entertainment, and WWE, as well as giant financial and pharmaceutical corporations.

Chris catches up with fellow THU attendee Kevin, talks about his career so far, and offers some tips on getting ahead in the creative industry and staying on top of technological trends. Kevin also gives some invaluable insights into how AI is affecting the industry for newcomers, established artists, and big tech companies.

Jonathan Rothbart’s illustrious career in VFX includes credits on everything from Men In Black to Superman Returns and The Predator. He was a founding member of John Knoll’s Rebel Mac Unit at ILM, he established The Orphanage, where he delivered the HUD shots for Iron Man, and then became a sought-after VFX supervisor for movies including Deadpool and John Wick: Chapter 4. 

In this in-depth podcast, Jonathan tells Chris some of the amazing stories from his big-screen adventures, including how adding a small addition to a Star Wars Episode I starfighter got him in big trouble, how he got through one of Hellboy’s trickiest shots, and how After Earth’s production took him on helicopter rides and mountainous hikes. 

Ted Lasso became a surprise hit for Apple TV+, blending comedy and drama in just the right way — and it contained a surprising amount of invisible VFX, from set extensions to turning local soccer pitches into international stadiums, complete with cheering crowds.

In this podcast, Chris meets James MacLachlan, the VFX supervisor behind the show. James talks about how his love for bringing stories to life has powered his career and whisked him from New Zealand to London. He gives some inspirational career advice and goes into enthusiastic detail on how the team crafted the detailed world of Ted Lasso.

Andrew MacDonald’s adventurous career packs as many twists and turns as a Hollywood movie. Coming from humble origins in the north of England, Andrew moved to London’s Soho district to begin his career in optical effects, before getting into VFX and being lured to Hollywood to work for big VFX companies, including Digital Domain and Method.

In this rollercoaster of a podcast, Andrew talks about the ups and downs of his life and the ebbs and flows of the VFX industry. He shares stories of working with directors including Tony Kaye, Terry Gilliam, and David Lynch, speaks about how taking risks — including sneaking into a Welsh party — led to career success, and ultimately reveals how he’s found contentment and happiness.

Apple TV+ miniseries Five Days at Memorial shines a light on a disturbing true story of a New Orleans hospital flooded during Hurricane Katrina. In this podcast, the show’s VFX supervisors — returning guest Eric Durst and newbie Matt Whelan — reveal how they recreated New Orleans circa 2005 and added invisible effects that would earn the show an Emmy nomination.

Eric and Matt talk about how they worked with the show’s practical team to build versatile sets that would seamlessly integrate with CG, and discuss how Google Earth helped them rebuild and reflood New Orleans. They also give an on-set perspective on how AI is changing the industry.

What if the 1969 moon landing catastrophically failed? That’s the question artist Halsey Burgund poses with his “Moon Disaster” project, which makes use of AI technology to envision then-president Richard Nixon delivering an alternative speech to be used in the case of emergency.

In doing so, Halsey draws attention to the fact that such a speech existed and was never broadcast, as well as the ways in which modern technology can fool viewers. Halsey sheds light on the video and audio technology used for this alternative take on history, talks about how he combines tech and art for his audio installations and reveals what he’s got coming up.

Recorded at a high-tech facility in Chaos’ plush new offices in Sofia, Bulgaria, this week’s episode checks in with Vladimir “Vlado” Koylazov, Chaos’ co-founder. Chris discovers more about Vlado’s new role as head of innovation, and how the company is embracing recent technological developments to make it easy and efficient for customers to stage and render scenes.

Vlado also shares his thoughts on how artificial intelligence is changing the way software works, as well as how it’s helping his team code. You’ll learn about interesting uses for NeRFs and camera tracking, the benefits of having a personal assistant, and some of the exciting new things coming up from Chaos.

Much has changed since Chaos launched Project Lavina in 2020. Remote working has become the norm, real-time workflows have become increasingly prevalent, and GPU power has accelerated. In response, Lavina has evolved into Chaos Vantage, a real-time ray-traced rendering engine tailored to the needs of today’s VFX and arch viz artists.

Simeon Balabanov, Chaos Vantage’s product manager, talks through what makes the engine different from other real-time rendering solutions and dives into current rendering techniques at the same time. Simeon also reveals what’s new in Chaos Vantage 2, including the surprising use cases that have shaped its features, and he offers a sneak peek into what’s coming up for this groundbreaking software.

Hanno Basse has been a guiding hand behind the scenes of the modern entertainment experience. At 20th Century Fox, he pushed HDR into the movie experience at home and in theaters, and he helped the entertainment industry adopt cloud computing via his role at Microsoft Azure. Today, Hanno is bringing his expertise to Digital Domain, where he serves as CTO.

In this podcast, Hanno reveals how advances in machine learning have taken DD’s famous digital humans from the Avengers’ Thanos to She-Hulk: Attorney at Law’s protagonist and added realism to the video game The Quarry. Hanno also discusses how real-time technology is improving the entire production process and gives his thoughts on the future of VFX.

Terrence Masson’s students are probably the luckiest on the planet. The computer arts lecturer draws on 30 years of experience in the industry, from working on innovative movies including True Lies and Interview with the Vampire, helping create South Park’s progenitor in CG, and retooling the original Star Wars trilogy for its 1997 reissue.

In this podcast, Terrence talks through some highlights of his career, including how he flew the Millennium Falcon and killed Boba Fett for Star Wars, and how he was called on to review UFO footage for Ancient Aliens. He also talks about his gaming and archviz experiences, and shares some interesting perspectives on AI in education.

Michelle Munson’s passion for internet technology took her from streaming video over LAN to founding data transfer company Aspera. Now, she’s launched Eluvio, a Web3-based content distribution system that makes it easier and cheaper for producers to share media while giving consumers fair access to a high-quality product with added extras.

Michelle discusses Eluvio’s partnership with Warner Bros, and its first content: Superman and Lord of the Rings: The Fellowship of The Ring. Michelle also busts some of the myths around NFTs and blockchain technology, and talks about how the Eluvio Content Fabric Protocol could be adopted by streaming platforms, indie producers, and live events in the future.

After being inspired by Star Wars to pursue a career in entertainment law, Joshua Lastine helped with clearances on everything from American Idol to The Man in the High Castle to Midway to the Hulkbuster armor in Avengers: Age of Ultron and weapons for TV series Echo 3. Today, Joshua runs Lastine Entertainment Law, which drafts bespoke agreements for everything from YouTube videos to big-budget movies, and he teaches law at Los Angeles Film School.

In this podcast, Joshua covers all the hot topics in the film and TV industry, including AI, the causes of the writers’ strike, digital celebrities, and the effects of streaming media. Joshua offers an informed perspective on where the industry is going, details the strengths and weaknesses of artificial intelligence, and explains how copyright law applies to everything from code to works of art.

Marc Simonetti’s dreamy visual style has made him a big name in sci-fi and fantasy art — but what does this mean in the age of AI? In this podcast, Marc tells Chris how it feels to have your name used as an AI art prompt some 400,000 times, and what it’s like to see your name attached to artwork that isn’t yours.

But it’s not all bad — Marc delves into the advantages of AI art and how it might put the concept back into concept art, and offers positive advice for budding artists who are about to embark on art courses. He also talks about his fascinating career, which has seen him rub shoulders with George RR Martin, and he discusses his work on movies including Valerian and the City of a Thousand Planets and the upcoming Ghostbusters: Afterlife sequel.

Hailing from Detroit, Linden Vennard began his career in visualizing vehicles (of course!). Having established pipelines that turned raw CAD data into sumptuous CG images, Linden became a core part of Speedshape, the VFX studio that specialized in creating visuals for automotive companies. After Speedshape closed, Linden traveled to Asia and Africa before returning to the US to become a freelance CG generalist.

Linden talks about his early inspirations to pursue a career in VFX, how he got started in automotive visualization, and how he worked with budding Hollywood director Joseph Kosinski to bring his “Blackbird” commercial to life. Linden also talks about his explorations in Midjourney AI imagery, where he’s created over 10,000 images.

Here's a masterclass on rising to the top of VFX supervision. Inspired by classic 80s movies, Sean Faden began his career in practical effects for Starship Troopers and The Fifth Element, helped sink Titanic, and became VFX supervisor on movies including A Nightmare on Elm Street and A Good Day to Die Hard. Then he switched to studio-side VFX supervision for Power Rangers and Mulan, the latter of which earned him a VFX Academy Award nomination.

Sean reflects on his career and regales Chris with stories about the early days of visual effects. He also highlights the importance of traveling and immersing yourself in new cultures, goes into detail on how Moon Knight turned Budapest into Cairo, and talks a little about his upcoming projects, The Last Voyage of Demeter and Family Leave.

If recruiters are the unsung heroes of the VFX industry, Stan Szymanski is Superman. This huge film fan began in graphic design and post-production but quickly worked up the ladder into recruitment, via movies including Virtuosity, Independence Day, Starship Troopers, and Hollow Man.

Today, Stan’s company, Stanleyvision, has become a go-to source for the perfect talent for companies including Crafty Apes, MPC, The Mill, and Method, as well as PlayStation, MSG Sphere Studios, and TurboSquid. Stan reveals what it takes to be a recruiter in the VFX world, from maintaining up-to-date expertise on new technology to understanding how people will fit in at certain companies. If you’re job hunting or headhunting, it’s worth staying with the podcast to the end, where Stan gives crucial advice on how to market yourself in the VFX industry.

Jeff Barnes’ career has taken him from two Amigas and a VHS deck to the world’s most cutting-edge digital display screens. After discovering a love for post-production, Jeff co-founded CafeFX in the early-90s and created VFX for over 90 movies including Flubber, Armageddon, Panic Room, Pan’s Labyrinth, Sin City, The Mist, and Alice in Wonderland. Jeff then oversaw DD’s 3D pipeline and consulted in the industry before moving to the innovative lightfield company Lytro, where he produced the world’s first 2k light field short.

In this podcast, Jeff reminisces about the early days of CafeFX, revealing how the company demonstrated its abilities via a Rocketeer laserdisc, reveals the pros and cons of being based in Santa Maria, and talks about meeting directors including John Hughes, Robert Rodriguez, and Guillermo del Toro. Jeff also discusses his current work at the Light Field Lab, in which he shares one of the company’s goals to make immersive Star Trek Holodeck-style experiences a reality.

If digital humans are evolving, Isaac Bratzel is the scientist altering their DNA. Beginning his career as a character artist (because it represented the biggest challenge), Isaac helped create Amelia, a conversational AI with a digital human face, and then went on to establish virtual social media phenomenon Lil Miquela.

Today, Isaac is bringing his expertise in AI and digital humans together in AvatarOS, the company he founded to create digital humans with personalities. In this podcast, Isaac reveals how he overcame some of the technical challenges of creating digital humans that work across the platforms of tomorrow and reveals his ultimate goal for the company.

For the past 30 years, Digital Domain has been ahead of the CG curve, delivering everything from True Lies’ CG jet to The Last of Us’ desolate landscapes. But what does the future hold for this innovative VFX studio? This week, Lala Gavgavian, the president and COO of DD, explains how it's charting a course through the waters of new technology.

Lala talks about how Digital Domain has branched out beyond blockbuster VFX and is now taking on gaming projects and medical imaging. She also talks about how AI and machine learning have been changing things behind the scenes at Digital Domain and how the technology behind its Digi Doug and Digi Zoe projects is helping create the perfect digital double.

Could Macroverse change the way creative content is created and consumed? In this podcast, Chris is joined by Adam Martin, an assistant director who has worked on productions including Transformers, Dave, and Barry. After growing frustrated with the Hollywood system, Adam co-founded Macroverse to give writers and artists a platform to share their stories and visions.

Adam gives a full overview of Macroverse and what makes it work, explaining how its Tap Story system enriches comic stories and gives them a cinematic flair, and covering how this democratized web 3.0 platform gives everyone a chance to tell their story and adds a level of transparency to funding and payments.

We want some of Chris Browne’s energy. This multiskilled VFX supervisor, currently working at Sony Pictures Animation, has helped bring animated series to life, including The Fast and Furious Spy Racers, Kung Fu Panda, and Jurassic World: Camp Cretaceous. At the same time, he’s devoted his spare time to his own award-winning short films, beginning with “Gibb” at university, alien sci-fi “Beating the Abductors,” and now “Pleroma,” which examines themes of AI versus humanity. 

Chris breaks down what it was like to work on “Pleroma” during the pandemic, talks about shooting in a dangerous particle accelerator facility, and shares how he single-handedly created 200-plus visual effects shots and built robots for the short. He also reveals his big plans for the future of “Pleroma,” as well as discussing what’s coming up in the world of animation.

With John Wick: Chapter 4, the sleeper franchise reaches a violent crescendo, peppering the rogue assassin’s globe-trotting bone-crunching fights with jaw-dropping plot twists. This week, the film’s Production VFX Supervisor Janelle Croshaw Ralla, and Prep and On-Set VFX Supervisor Johnathan Rothbart join Chris for a spoiler-free discussion of the movie.

Janelle and Jonathan talk about working with director Chad Stahelski, who takes a meticulous, frame-by-frame approach to filmmaking and prefers to work in camera and on location over bluescreen or virtual production sets. They reveal the feats of stamina and endurance performed by star Keanu Reeves, share how to hit someone with a car or set them on fire without hurting him, and discuss the creative decisions behind the film’s incredible 1,500 invisible VFX shots.

Over the course of his career, Sean Looper has gone from humble beginnings as an architectural draftsman to chief technology officer at VFX studio Crafty Apes. Along the way, the pipelines he’s built have provided seamless effects for movies including Zathura: A Space Adventure, Guardians of the Galaxy, and Edge of Tomorrow.

In this podcast, Sean talks about his career and reveals a natural inclination toward the technical nuts and bolts that help a VFX pipeline run smoothly. He shares some of the important lessons he’s learned from being in the industry and gives his thoughts on how machine learning, cloud, and gaming technology will reshape the way movies are made.

This week, Chris takes a trip to Pandora to delve into the design of Avatar: The Way of Water, James Cameron’s latest jaw-dropping cinematic epic. His guide is Ben Procter, the super-talented production designer who specializes in creating vehicles and environments for Avatar antagonists the RDA — to the extent that he thinks of himself as the “bad guy” of the art department.

Ben goes into a fascinating deep-dive into the design and construction of the S-76 SeaDragon, the formidable whaling ship that becomes the setting for the film’s final act. Ben talks about how the design process works between the writers, other artists, VFX studios, and James Cameron himself. Ben also gives his thoughts on artificial intelligence and how it’s going to change a generation.

Inspired by scary movies to pursue a career in the film industry, Molly Pabian has worked her way up to head of studio at VFX company Crafty Apes. Along the way, she’s worked on over 100 movies and TV shows, including Avatar, Real Steel, Star Trek: Picard, The Last of Us, 1923, John Wick: Chapter 4, and Indiana Jones and the Dial of Destiny.

Molly talks about her roles and responsibilities as she’s risen up the ranks. She also discusses the differences between working at big and small companies on 2D and 3D shots, how the bidding and budgeting processes work, and the effects of the pandemic and AI on the VFX industry. If you’re about to start in VFX, this podcast is an essential primer on its inner workings.

Almost every major recent and upcoming film and TV series has had THE THIRD FLOOR involved in the visualization stage — and beyond. Recent productions include Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and The Mandalorian season 3.

This week, Co-founder and CEO of THE THIRD FLOOR, Chris Edwards, reflects on his 20-plus years of experience in the VFX industry. He also discusses how crucial visualization has become in the movie-making process and reveals how his colleagues Casey Schatz and Ryan Champney developed the Eyeline system, which enabled Avatar actors to convincingly interact with one another even if their performances were separated by time and space. This episode is an unprecedented insight into what goes on behind the scenes of movies — and you’ll even learn how THE THIRD FLOOR got its name.

Philipp Wolf has always had a passion for storytelling. He began his career in journalism, then helped shape stories for the reality TV show Big Brother before moving into visual effects production on movies and TV series, including Game of Thrones, Ghost in the Shell, and The Predator. Today, Philipp works at DNEG in Montreal, where his credits include Dune, Glass Onion: A Knives Out Mystery, Altered Carbon, and The Battle at Lake Changjin.

As well as discussing his incredible career, Philipp details his role in the RealTime Society and how he’s helping the industry tap into more diverse pools of talent. He also talks about the effects of the pandemic on the industry, and he offers some interesting thoughts on virtual production, AI, and what’s needed to take the metaverse to the next level.

The Martini Giant is back! It’s been almost five years since Chris and fellow VFX artists and frequent CG Garage guests Daniel Thron and Erick Schiele created the Martini Giant podcast to indulge in their love of all things cinematic and argue about Star Wars. This week, Dan and Erick return to their roots and talk about what they’ve been up to since they last visited the CG Garage.

Which turns out to be a lot of stuff! Dan is back in the videogames industry, while Erick is using AI to help realize his childhood experiences with rock star Alice Cooper. Both discuss their experiences with AI and share thoughts on how it’s changing the industry, but also reveal how important it is to keep doing the things you love. As ever, this is a hugely entertaining discussion, and it’s great to hear Dan and Erick’s voices again.

James Blevins has been involved in pretty much every step of the filmmaking process, from driving vehicles to virtual production. Films he’s contributed to include Waterworld, Armageddon, Pleasantville, and, most impressive of all, Space Jam. He’s also worked at some of Hollywood’s biggest studios, including Disney, Netflix, Amazon, and LucasFilm for virtual production on The Mandalorian.

In this podcast, James delves into some funny stories from behind the scenes of movies, including Crimson Tide, Armageddon, and Pleasantville. He also gives an interesting perspective on the emergence of AI and talks about MESH, the virtual production consultancy company he set up. He also goes into detail about the Hollywood Professional Association and its Tech Retreat — which is where Chris recorded this podcast.

Andrew Schmied has established himself as an authority on all things related to computer graphics. He’s helped companies, including Samsung, Apple, and Microsoft, explore technology and drive innovation. He’s also a counselor and AI special interest group leader for the RealTime Society, which hosts a community and conference dedicated to the future of CG.

In this conversation with Chris, Andrew shares his expertise on artificial intelligence, which is dramatically changing the world of computer graphics and beyond. Andrew reveals how AI works and what we need to do to make it fairer for artists whose work it may be taking influence from. He also answers some of the more ethical questions surrounding AI, such as whether we can trust it and if it’s safe enough to drive our cars.

Becoming VFX supervisor on HBO’s The Last of Us has fulfilled a lifelong dream for movie and game fan Alex Wang. In this podcast, Alex tells Chris about his journey to this hugely prestigious position via his work on movies including The Day After Tomorrow, Sin City, Tron: Legacy, Deadpool, Fast & Furious 8, Jurassic World: Fallen Kingdom and Dominion, and Terminator: Dark Fate.

Alex also shares some of the key lessons he’s learned throughout his career, including whether it’s better to work on animation or VFX, how working in-house compares to being employed by a studio, and the benefits of technical versus artistic knowledge. Chris and Alex also discuss the growing prevalence of AI in the VFX industry.

Much has changed since Mike Seymour last guested on the CG Garage podcast almost six years ago. Not only has the VFX sage and digital humans expert become Dr. Mike, thanks to his doctorate from the University of Sydney, but the entire industry is facing a seismic shift thanks to neural networks and artificial intelligence.

Or is it? In this podcast, Chris and Mike consider the idea that the latest changes in VFX, art, and technology could just be the next step in a continuous evolutionary process. Mike also talks about his work on The Champion, a Netflix film that used neural rendering to seamlessly put English words in the mouths of Polish actors, which sparks a related conversation about the relationship between technology and acting.

Jonathan Egstad knows Nuke like few others. He started working with the compositing software at Digital Domain, where he developed a 3D subsystem and bagged an Academy Award, before moving to the pioneering animation studio Image Movers. Subsequently, he joined Dreamworks Animation (formerly PDI) to help integrate Nuke into its compositing pipeline.

In this podcast, Jonathan demonstrates the rare combination of artistic and technical talents that have made him one of the most respected names in the CG industry. He discusses his first jobs at DD on Apollo 13, how the company upgraded Nuke to handle Titanic’s epic shots, and he reminisces with Chris about faking ray tracing for I, Robot. He wraps up with details on his new role at Foundry and what’s in store for Nuke.

Meats Meier is a unique combination of artist and technical director. Not only does he create incredible biomechanical pieces with ZBrush, but he’s also advanced VFX via projects including Hellboy and The Day After Tomorrow. More recently, Meats has art-directed virtual production for Obi-Wan Kenobi and Netflix’s upcoming live-action adaptation of Avatar: The Last Airbender.

In this balanced conversation, recorded in person at Meats’ Yucca Valley residence, the artist discusses his background in computer graphics and then delves into some of the questions rapid advances in AI art pose: Is it ethical? Will it steal artists’ jobs? And what does it mean for the future?

Chris has interviewed many VFX supervisors and directors on the podcast, but it’s rare to meet someone who does both. Not only does Yuval Levy direct (and creative direct) commercials for the likes of BMW, Ford, and Microsoft, but he’s also VFX supervised a wide variety of Hollywood films, including The Adjustment Bureau, Smile, and Tower Heist.

Yuval and Chris dive deep into the world of car commercials, discussing the benefits of shooting in the real world versus using CG. You’ll learn what makes Nascar vehicles unusual, the secrets of Emily Blunt’s dancing in The Adjustment Bureau, plus what a U-Crane is (and was). Yuval finishes with a little insight on upcoming movies Beau is Afraid and The Nickel Boys, plus his thoughts on advances in AI.

Andrew Bardusk is a humble legend of the VFX industry. He started as a dustbuster on movies, then moved to compositing for Medium and Once Upon a Time and effects supervision on Arrow. Today, Andrew serves as visual effects supervisor on DC’s Legends of Tomorrow.

Andrew talks about how streaming services have revolutionized Zoic’s wheelhouse of episodic work and how demands for 4K HDR content have made small-screen effects more cinematic. Andrew also discusses working from home and going on-set, and he breaks down creating an octopus attack for Legends of Tomorrow.

Digital humans are back on the podcast! This week, Chris is joined by (real humans) Culley Bunker and Richard Kidd, a pair of VFX veterans who have given stars the beauty treatment and worked on dozens of movies. They’re part of the team that formed Prototype, a new company that specializes in creating digital humans, using machine learning to perfect them for cutting-edge projects.

Chris, Culley, and Richard discuss the latest in digital humans, including advancements in facial capture, avoiding the uncanny valley, and how digidoubles can be used for everything from entertainment (such as Abba’s Voyage show) to personal assistants. It’s still a hugely exciting and innovative field within VFX, and we can’t wait to see what Prototype comes up with.

2023 gets off to a flying start with this podcast guest: Evan Jacobs, who has become a critical part of Marvel Studios’ VFX pipeline. Before joining Marvel, Evan created miniature submarines for The Hunt for Red October, herded digital cockroaches in Silent Hill, extended sets for Olympus has Fallen, and converted Alice in Wonderland and Conan the Barbarian to 3D.

Evan talks about creating visual effects on low budgets and how he found his niche role at Marvel. He discusses the advantages of working with HDR technology, what makes some films suitable for stereoscopic conversion, whether 3D is still important to global audiences, and taking notes from Sam Raimi on Doctor Strange in the Multiverse of Madness.

Taylor Moll has worked on a string of hit animated movies, including Happy Feet, Shrek Forever After, and Rise of the Guardians. Recently, she founded the feature animation department at London-based effects studio DNEG, whose projects include ​​Ron’s Gone Wrong, Entergalactic, and the Unreal animated short “Mr. Spam Gets A New Hat.”

In this podcast, recorded at THU, Taylor shares some of the important lessons she’s learned throughout her career, including how to respect people and deal with difficult situations. She talks about being a female VFX supervisor in the mid-00s and how her experiences in the workplace made her a better supervisor.

Visitors to this year’s Trojan Horse was a Unicorn digital arts festival in Troia Portugal were wowed by Aoi Yamaguchi’s opening performance, in which the artist created beautiful large-scale calligraphic figures in response to pieces of music.

Chris caught up with Aoi and discovered more about the ancient art of calligraphy, including its range of 2,000-plus characters, the importance of the tools she uses to create them, and its role in the digital world. This isn’t just about writing, though — Aoi talks about overcoming her fears, following her dreams, mastering an art form, and expressing herself. There are lessons for everyone here.

How do you make a modern theme park ride? Framestore’s Eugénie von Tunzelmann has the answers. As the Head of VFX for the studio’s rides department, Eugénie has contributed to some incredible rides, including the Jurassic World VelociCoaster at Universal Orlando's Islands of Adventure.

Eugénie talks about how her experience on movies including Interstellar and Batman Begins has fed into attractions, which sit somewhere between VFX, animatronics, engineering, and theater. She talks about some of her favorite rides, including Avatar Flight of Passage and Revenge of the Mummy, and offers her thoughts on the more interactive and personalized experiences we’ll have at the theme parks of tomorrow.

Opening or closing credits have become a key part of the cinematic or televisual experience. In just a few minutes, these mini masterpieces have to convey the essence of the film or TV show in terms of its vision, music, and characters, and they serve a legal requirement in listing its cast and crew.

Joining Chris this week is Karin Fong, who tells the story of how she became title designer for an array of productions including Spider-Man: No Way Home, Cowboy Bebop, Boardwalk Empire, and many more. She delves into how titles fit into the production of a film, how she makes artistic choices, and reveals how credits have become a powerful marketing tool in the age of the internet.

Crafty Apes’ Sean M. Ritchie and Chris Cook have seen changes in the VFX industry first-hand. The CG Supervisors both began their careers in architectural visualization before moving into VFX for movies and TV including The Walking Dead, Gravity, Once Upon a Time, Guardians of the Galaxy: Vol. 2, and Dune.

Now, Sean and Chris work at Crafty Apes, the prolific VFX studio that’s delivered effects for Spirited, The Orville, Star Trek: Discovery, and many more. Sean and Chris shed light on what separates Crafty Apes from other effects houses, the effects of the pandemic and streaming on the industry, and how they nurture young talent. They also discuss the pros and cons of new technology such as real-time engines and AI-driven art generators.

How has rendering evolved, and what does its future hold? In this podcast, Pixar’s Dylan Sisson answers these burning questions, covering everything from Toy Story’s and Renderman’s beginnings in the mid-80s to the way Disney is now using AI to generate visuals, and even hone scripts and analyze audience reactions.

Dylan also discusses his background in Macromedia Director and CD-Roms, how Moore’s Law and Blinn’s Law have both proven to be true, and Pixar’s championing of the USD format. It’s an interesting episode and one which poses another question: What role will human beings play in the creation of future art and entertainment?

Break out the Martini, the CG Garage Podcast is 400 episodes old! To celebrate its quatercentenary, Chris has attracted a very special guest star: director Scott Leberecht, whose new documentary, Jurassic Punk, explores the impact VFX pioneer Steve Williams had on the movie industry via films including The Abyss, Terminator 2, Jurassic Park, and Spawn.

In doing so, Scott sheds light on the turbulent history of VFX, including how studios present themselves and their work, the knock-on effect of Jurassic Park on movies, and how Williams’ creative genius and outspoken personality caused friction with the corporate world.

What’s impressive is that even after 400 episodes, Chris is still uncovering fascinating new stories and exciting perspectives on VFX — and there are sure to be plenty more.

Could Muse’s “You Make Me Feel Like It's Halloween” become the soundtrack for the spooky season? The legendary rock band’s song is packed with references to classic horror tales, and the music video brings the lyrics to life (or should that be death?) with a spooktacular trip into a deeply haunted house.

In this podcast the video’s director, Tom Teller discusses the creative process behind the promo, from collaborating with the band and coming up with ideas, to its final execution with V-Ray rendering. Tom also talks about founding his company, Frame 48, finding clients, AI and art, and his exciting upcoming projects with the Monterey Bay Aquarium Research Institute.

What does it take to produce an animated movie? In this podcast, Chris meets talented and ambitious producer Jinko Gotoh, who has been a driving force behind pioneering, Oscar-nominated films including Space Jam, Dinosaur, Finding Nemo, The Illusionist, Klaus, and The LEGO Movie 2.

Jinko discusses her journey into movie-making, from being inspired by Lady and The Tramp and Astroboy to learning computer programming, starting a production company, and then shifting into the film industry. She talks about how technology has changed, and how her immigrant background and coding knowledge have helped her prolific career.

Strap in for a tour de force podcast episode. Mikal Vega’s inspirational story begins in small-town Ohio, where he played Dungeons and Dragons and made movies with his grandma. After serving in the military, he received a break into movies via a role in Transformers: Dark of the Moon. From here, Mikal’s combat experience and creative skills landed him directorial roles on mocap for games, including Call of Duty: Black Ops Cold War, Call of Duty: Vanguard, and Diablo 4.

Mikal talks about how spiritual awakenings have helped him through tough times, his discovery that destruction and creativity can achieve the same end goal, and how he’s passing what he’s learned on to others via his Vital Warrior project. Listen for advice on how to get ahead in the creative field — as well as how to deal with whatever life throws at you.