Podcasts about cg supervisor

Ian Smith, CG Supervisor at SideFX walks us through Project Pegasus (learning tech demo showcasing Houdini workflows with Unreal Engine 5). Explore non-destructive, procedural content generation in gamedev and how different tools can be used to create detailed open-world environments. Ian talks about software strengths and emphasizes how indie developers can leverage Houdini for fast and dynamic world-building that doesn't require lots of manpower.Check out Project Pegasus and improve your Houdini skills: https://www.sidefx.com/pegasus/ Read the article on 80.lv: https://80.lv/articles/ian-smith-on-becoming-an-artist-houdini-s-new-project-pegasus/ Ian's socials:https://www.artstation.com/iansmithartist https://www.youtube.com/@iansmithartist/videos https://twitter.com/iansmithartist Follow 80 LEVEL on social media:https://www.facebook.com/LevelEighty  https://www.instagram.com/eighty_level/https://twitter.com/80LevelWe are looking for more artists!Join 80 LEVEL Talent for free: https://80lv.pro/join-80lvTalent Get your work noticed by some of the biggest and best developers, publishers, and studios in video games today.This video is sponsored by Xsolla, a global video game commerce company with a robust and powerful set of tools and services designed specifically for the video game industry: http://xsolla.pro/8023

Eric Wachtman is a CG / VFX Supervisor and Art Director at LAIKA where he's been working for nearly 20 years. Prior to that, he served as the Director of CG / Visual Effects and Art Director at the Cartoon Network. LAIKA was founded in 2005 in Oregon and is guided by the vision of its President & CEO Travis Knight. Located just outside Portland, Oregon, LAIKA was awarded a Scientific and Technology Oscar® for its innovation in 3D printing in 2016.  Its five films – MISSING LINK (2019); KUBO AND THE TWO STRINGS (2016); THE BOXTROLLS (2014); PARANORMAN (2012), and CORALINE (2009) – were all nominated for Oscars® and PGA Awards as Outstanding Animated Film.  MISSING LINK was the first LAIKA film to win the Golden Globe® for Best Animated Feature and was awarded two Visual Effects Society (VES) awards for Outstanding Visual Effects in an Animated Feature and Outstanding Animated Character, and received seven Annie Award nominations. KUBO received a second Oscar® nomination for Outstanding Visual Effects and won the BAFTA Award, as well as three Annie Awards, the National Board of Review's Best Animated Feature citation, and 19 regional and critics' group awards. THE BOXTROLLS earned Critics' Choice and Golden Globe Award nominations and 13 Annie Award nominations, more than any other film that year. PARANORMAN garnered BAFTA, Critics' Choice, and GLAAD Media Award nominations, won two Annie Awards, and was cited as the year's best animated film by 14 critics' groups. CORALINE earned Golden Globe, BAFTA, and Critics' Choice nominations and was named one of the year's 10 Best Films by the American Film Institute (AFI).  In this Podcast, Allan McKay interviews the CG / VFX Supervisor at LAIKA Eric Wachtman about his experience working on award-winning titles of CAROLINE and PARANORMAN, his leadership in founding the Portland Chapter of VES, how curiosity and passion drives one's VFX career, the secret to winning reels and so much more! For more show notes, visit www.allanmckay.com/438.  

Alex Wang is a VFX Supervisor. He started his career in visual effects at The Orphanage on THE DAY AFTER TOMORROW, right after graduating from Ringling College of Art and Design in 2003. He then joined Image Movers Digital to work on THE CHRISTMAS CAROL and MARS NEEDS MOMS. In 2010, Alex joined Digital Domain for TRON LEGACY, and then he worked on TRANSFORMERS: DARK OF THE MOON, JACK THE GIANT SLAYER and FURIOUS 7. He also served as a CG Supervisor on FAST AND FURIOUS 7 and then VFX Supervisor on DEADPOOL. In this Podcast, Allan McKay interviews VFX Supervisor Alex Wang about creating the post-apocalyptic practical and visual effects of the Emmy-nominated HBO show THE LAST OF US, the skills of a VFX Supervisor, staying relevant by keeping up with technology, how AI is changing VFX pipelines and so much more! For more show notes, visit www.allanmckay.com/437.

Todd Sheridan Perry is an On-Set Supervisor on the show with a diverse background in video games, film and television. He's worked on titles like Lord of the Rings: The Two Towers to Final Destination 5, The Immortals, Total Recall, Resident Evil 5 and Avengers: Age of Ultron. Todd has also worked as a CG Supervisor on Marvel's Doctor Strange which was nominated for a Best Visual Effects Oscar. Scott Kirvan is a VFX and Virtual Production Supervisor, Tech Enthusiast and multidisciplinary creative. He is also the Co-Author of globally recognized Brazil Rendering System, a high performance production quality GI ray trace renderer. As a Virtual Production and Visual Effects Supervisor, Scott has over 20 years of leadership experience, including client-side supervisory roles and in-studio digital production work. He has a diverse background in filmmaking, VFX, business leadership, and engineering, making him a valuable asset to any production team. In this Podcast, VFX Supervisors Todd Sheridan Perry and Scott Kirvan do a deep dive into the making of the Amazon comedy series I'M A VIRGO by Boots Riley, the practical effects and some of the technology used in the show, its challenges and how they resolved them. For more show notes, visit www.allanmckay.com/425.  

Doug Drexler is a visual effects artist, designer, sculptor, illustrator, and a makeup artist who has collaborated with such talents as Al Pacino, Dustin Hoffman, James Caan, Meryl Streep, and Warren Beatty. He began his career in the entertainment industry working for makeup artist Dick Smith on such films as The Hunger and Starman. He has also contributed to Three Men and a Little Lady, The Cotton Club, FX, Manhunter and Dick Tracy.Dick Tracy earned Drexler an Oscar, as well as The British Academy Award and the Saturn Award for his special makeup effects on characters such as Big Boy Caprice (played by Pacino) and Mumbles (played by Hoffman). Two Emmy nominations in the same field followed for three years working on Star Trek: The Next Generation, where he performed such tasks as aging Captain Picard for "The Inner Light". In 1992 Drexler moved over to Star Trek: Deep Space Nine as designer, digital artist and effects artist. He continued in that capacity on the subsequent Star Trek films as well as Star Trek: Voyager. In April 2001 Drexler worked as senior Illustrator and CGI designer on the fifth Star Trek series, Enterprise. Following Enterprise, he was hired by Visual Effects Supervisor Gary Hutzel as CG Supervisor on Battlestar Galactica, "Caprica", "Blood and Chrome", and "Defiance". Doug won two Emmy Awards and a Visual Effects Society Award for Galactica.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5351305/advertisement

It's an ILMxLAB weekend at Star Wars 7x7! I'm bringing you a pair of 1-question interviews, starting with Ronman Ng, CG Supervisor for Tales From the Galaxy's Edge Enhanced Edition. Punch it! ~*~*~*~*~*~ Be sure to subscribe/follow the show on your favorite podcast app! If you have an extra minute, a rating or review on Apple or Spotify would be super helpful, too. :-) Like YouTube? Subscribe here: https://youtube.com/sw7x7?sub_confirmation=1 Wanna leave me a tip? Thank you in advance! https://venmo.com/sw7x7 Join the SW7x7 community: https://Patreon.com/sw7x7  ~*~*~*~*~*~ Follow the Show: Twitter: https://twitter.com/sw7x7podcast TikTok: https://tiktok.com/@sw7x7 Instagram: https://instagram.com/sw7x7 Facebook: https://facebook.com/sw7x7 Star Wars 7x7. It's destiny unleashed! #sw7x7

It's all about virtual production in this episode with one of the industry experts, President of Roninfilms Virtual Production Joan Webb.Roninfilm Virtual Production pioneered in Unreal Engine as early adopters with 2 Epic Games/Unreal Engine MegaGrants, becoming evangelists, leading speaking engagements at NAB, AFM, CineGear, VES, Wacom, ASUS, Poppy Jasper Film Festival, and over 35 articles world-wide in American Cinematographer, Variety, Sci-Fi, NAB Show Daily, and other trades written on our accomplishments, discoveries and endeavors as the preeminent leaders in Virtual Production.As experts, in a field of limited experienced contenders/participants, our unmatched, deep experience, discoveries and knowledge in this new frontier provided Roninfilm Virtual Production the ability to recognize and identify the requirements necessary to create standards and offered guidance to Rapid Industry Solutions (RIS), SMPTE's new Virtual Production Standards advisory & working group focusing on On Set Virtual Production, by interjecting the necessity/inclusion of ASC for an accurate integration and representation for Virtual Production to create standards for this new workflow.Roninfilm Virtual Production's talent fulfilled Director, Writer, Creative Director, Virtual Production Supervisor, Virtual Production Producer, CG Supervisor, and Unreal Asset Creation for the first Super Bowl spots to air using this new workflow, as well our team has completed: Feature, Commercials, Shorts, Corp, Experimental in Virtual Production and 7 BTS how-to mini docs on Virtual Production.

The mission of Monsters Aliens Robots Zombies (MARZ) is to deliver feature-film quality visual effects on television timelines by harnessing GPU clusters, game engine technology, AI and senior industry talent. Leveraging these pillars allows us to consistently execute with both speed and quality for our premium television projects. Lon Molnar is the Co-President of MARZ. With more than 20 years of experience, Lon has contributed a vast amount of visual effects to film and television as an Artist, VFX Supervisor, and former CEO of the award winning VFX company Intelligent Creatures. Inspired by the magic of TOY STORY, Lon attended the Vancouver Film School with the single goal of opening up his own VFX studio. As he built his resume, he became dissatisfied with working on VFX for tv, and set his sights on feature films. He became a VFX generalist, working in animation, lighting, compositing and modelling, while using a vast array of software.  After serving as the CG Supervisor on the groundbreaking films CHICAGO and THE CELL, he fulfilled his earlier dream and opened up Intelligent Creatures in 2002. Working with talented creators like Mark Forster, Darren Aronofsky, Alejandro González Iñárritu, David Tattersall, Oliver Stone and others, Lon quickly built the Toronto-based VFX house into an award-winning studio. Intelligent Creatures lent its creativity to dozens of projects such as MR AND MRS SMITH, THE WITCH, and BABEL. They built robust pipelines to tackle critically-acclaimed projects, such as the WATCHMEN's famous Rorschach mask of moving inkblots. Some of their later work, such as the award-winning series ORPHAN BLACK and the Emmy-nominated CURIOSITY: BATTLEFIELD CELL pushed the boundaries of visual effects on TV. Fifteen years after the formation of Intelligent Creatures, Lon recognized that unlike when he had started in the industry, TV was no longer the "lesser" medium for VFX. When he spoke to Jonathan Bronfman, the two found themselves sharing symbiotic ideas. They saw a gap that others didn't. What if, they asked, we can build a company that focuses on serving only one market, and defines the standard of excellence in that market? That was the beginning of MARZ. In this Podcast, Allan McKay interviews Co-President of MARZ Lon Molnar about the company's history and leveraging its technology innovations; the invisible visual effects and the development of the de-aging technology; positive outcomes of the COVID-19 pandemic in the field of VFX an so much more! For more show notes, visit www.allanmckay.com/391.

The Art of the $6000 Feature Film with Joshua CaldwellI had the pleasure of meeting Joshua Caldwell, a brother in "indie filmmaking" arms. He directed a $6000 feature film called LAYOVER, which World Premiered at the 2014 Seattle International Film Festival where it was nominated for the New American Cinema Award.The story of how he made the film was education, rebellious and funny. Many things he said mirrored my experience making This is Meg. Josh really has a great philosophy about making films and content. Check out the trailer below to see what a $6000 feature film in today's world looks like.If you are going to make a feature film in the near future you need to listen to this podcast. It will change how you think about making indie films. Below, I also included a talk the Josh Caldwell did at the Seattle International Film Festival that is AWESOME! After you listen to the podcast watch the video below.Right click here to download the MP3Download on iTunes DirectJoshua Caldwell - The $6000 LAYOVER: Rethinking Indie FilmDirector Joshua Caldwell discusses making his debut feature film, LAYOVER, for only $6000 and how filmmakers need to rethink their role in the ever shifting paradigm of independent filmmaking.Here's a bit more about Joshua Caldwell:Joshua Caldwell is an accomplished director, writer, producer, and MTV Movie Award winner. He has worked with a number of high-profile producers, including CSI: creator Anthony E. Zuiker, for whom he produced CYBERGEDDON, the online global motion picture event for Yahoo!, and directed all of the film's ancillary content for its immersive website.His award-winning short film DIG, starring Mark Margolis of BREAKING BAD, was featured in numerous film festivals, and his latest short RESIGNATION screened at Comic-Con.Slamdance Workshop Discussed on the ShowJoin Blackmagic Design, Slamdance Grand Jury Award winner Andrew McPhillips, and filmmaker and host of Indie Film Hustle Alex Ferrari on Saturday, January 21 from 2:30pm to 4:30pm at the Filmmaker Lounge in the Treasure Mountain Inn for an in-depth workshop on the tools and techniques essential to the independent filmmaker.Andrew McPhillips will discuss lessons learned from shooting his upcoming film “The Doll,” including how to seamlessly switch from production to post. Andrew used an URSA Mini 4.6K to shoot the film, DaVinci Resolve for editing and grading, and Fusion for the VFX. Along with serving as CG Supervisor at SPINVFX, Andrew's work includes his animated short film “Blood Will Tell” which previously premiered at the Toronto International Film Festival and took home top awards at Slamdance.Alex Ferrari will discuss how filmmakers can make the most of DaVinci Resolve as a professional editing solution. Alex recently shot, edited and graded his new film “This Is Meg” using Blackmagic Design. He will dive into the ins-and-outs of what filmmakers need to know when editing with Resolve and how it can best fit into their workflows.A brief Q&A will follow the presentations along with raffles for prizes, including a Micro Cinema Camera, DaVinci Resolve Studio and Fusion Studio!Join Blackmagic Design afterward from 5:00pm to 7:00pm for a happy hour in the Filmmaker Lounge during which attendees can ask questions, demo gear and learn more about Blackmagic Design products for independent filmmakers.LINKS AND RESOURCES MENTIONED IN THIS EPISODEOfficial WebsiteJoshua Caldwell - 

On Monday's episode, we engaged Prashant Nair, CG Supervisor based in Mumbai, in our 13 question grilling, otherwise known at the Framestore Podcast Dailies! On today's episode we continue the conversation where our guest co-host, Max Decroix, Senior Lookdev and Surfacing Artist, based in Melbourne, takes over the pod with a much more technical conversation about Prashant's role and a lot more!

We are back this week, with our first guest representing Framestore Mumbai. Each week we invite both a guest from our global Framestore community and a co-host with a keen interest in our guests craft, work or career path… and we let the magic happen! This week it is our pleasure to speak with Prashant Nair, CG Supervisor based in Mumbai. Joining us as this week's guest co-host is Max Decroix, Senior Lookdev and Surfacing Artist, based in Melbourne, Australia. There's some gold in this episode and a rare peek behind the curtain of the role of a CG Sup. Enjoy!

5 Rules to Make Money Selling Indie FilmsI feel that one of the reasons I was put on this earth was to help filmmakers and artist make money selling their films and art. There's no reason why filmmakers shouldn't be able to make a steady income from their films. You can here my inspiration rant on this topic here: Why Filmmakers are Always So Damn Broke & What They Can Do to Change It. So I came up with these 5 rules on how to make money selling indie films. I outline what I discuss in the podcast below. If you are going to listen to an episode of the IFH Podcast then this one and #88 (Why Filmmakers are Always So Damn Broke) are two episode you should listen too. Check out the outline below and then listen to the episode. I also go into other areas and core concepts that are not in the list below.1. Understand the initial cost of creating the factory that will build your productBuying gearBuilding a teamPost Production infrastructureDeliverables2. Understand the cost of creating your product vs the return Keep the budget low enough where you feel you can make a healthy return on investmentJoe Swanberg (watch his SXSW talk here)3. Understand your customer and how to engage with them Provide Value to your customerSocial MediaEmail ListWhere does your customer hang out, go there and engage with them4. Understand how you will be getting your product to the customerDistribution OptionsCost of distribution5. Understand revenue streamsDVD/Blu-RayTVODSVODWorkshopsMerchNow get to listening and make your film!Right click here to download the MP3Download on iTunes DirectSlamdance Workshop Discussed on the ShowJoin Blackmagic Design, Slamdance Grand Jury Award winner Andrew McPhillips, and filmmaker and host of Indie Film Hustle Alex Ferrari on Saturday, January 21 from 2:30pm to 4:30pm at the Filmmaker Lounge in the Treasure Mountain Inn for an in-depth workshop on the tools and techniques essential to the independent filmmaker.Andrew McPhillips will discuss lessons learned from shooting his upcoming film “The Doll,” including how to seamlessly switch from production to post. Andrew used an URSA Mini 4.6K to shoot the film, DaVinci Resolve for editing and grading, and Fusion for the VFX. Along with serving as CG Supervisor at SPINVFX, Andrew's work includes his animated short film “Blood Will Tell” which previously premiered at the Toronto International Film Festival and took home top awards at Slamdance.Alex Ferrari will discuss how filmmakers can make the most of DaVinci Resolve as a professional editing solution. Alex recently shot, edited and graded his new film “This Is Meg” using Blackmagic Design. He will dive into the ins-and-outs of what filmmakers need to know when editing with Resolve and how it can best fit into their workflows.A brief Q&A will follow the presentations along with raffles for prizes, including a Micro Cinema Camera, DaVinci Resolve Studio and Fusion Studio!Join Blackmagic Design afterward from 5:00pm to 7:00pm for a happy hour in the Filmmaker Lounge during which attendees can ask questions, demo gear and learn more about Blackmagic Design products for independent filmmakers.LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Jason Galeon is an HPA nominated CG Supervisor at Wētā FX with more than 20 years of experience working on a huge range of major films. Jason began his career at Blue Sky Studios and went on to work at some of the biggest VFX studios, including Framestore London and MPC, working on films like The Dark Knight, Ice Age, and The Matrix sequels. He joined Wētā in 2009 on the first of James Cameron's Avatar series as a lighting artist and held key roles in many Wētā projects including The Avengers, Peter Jackson's The Hobbit trilogy, and Guardians of the Galaxy Vol. 2. His more recent projects include The Suicide Squad, Avatar: The Way of Water, and Shazam! Fury of the Gods. He's been a CG Supervisor for years, and more recently has become a VFX Supervisor. Ep 2 : - How to improve your folio and showreel for VFX Artist's - Advice for aspiring managers and supervisors - Working at a big studio versus a small studio - When to switch studios - Working at Framestore - How to improve and grow as a VFX Artist - Building relationships with supervisors and directors - Working with Christopher Nolan and James Cameron - Project Discussions: Terminator 3, The Dark Knight - Work/Life Balance

Jason Galeon is an HPA nominated CG Supervisor at Wētā FX with more than 20 years of experience working on a huge range of major films. Jason began his career at Blue Sky Studios and went on to work at some of the biggest VFX studios, including Framestore London and MPC, working on films like The Dark Knight, Ice Age, and The Matrix sequels. He joined Wētā in 2009 on the first of James Cameron's Avatar series as a lighting artist and held key roles in many Wētā projects including The Avengers, Peter Jackson's The Hobbit trilogy, and Guardians of the Galaxy Vol. 2. His more recent projects include The Suicide Squad, Avatar: The Way of Water, and Shazam! Fury of the Gods. He's been a CG Supervisor for years, and more recently has become a VFX Supervisor. Ep 1 : - How to improve your folio and showreel for VFX Artist's - Failures in your career and lessons you've learnt - What inspired your journey - Working in Film/VFX and specialising in CG Supervising - Working at BlueSky Studios - Working at WetaFX - Working on sequels compared to original films - Being a good Supervisor and Leader - VFX Pipeline - Working in creature development

As we look back on 2021, Rhys Salcombe, VFX Supervisor from DNEG, joins us to speak about his work as CG Supervisor on Dune: Part 1. We have a peek behind the scenes to find out about the sequences that DNEG worked on, which led to the film winning the Academy Award for Best Visual Effects. We speak about the use of sand screens rather than green screen and how it helped to have amazing plates to work with. We're proud to say that four Escapees worked on Dune, so it's great to hear how the team worked together and created such a successful film.

David Vickery is a VFX Supervisor at ILM, well known for his work on films such as Sherlock Holmes, Harry Potter and the Deathly Hallows: Parts 1 and 2, Fast & Furious 6 and Jupiter Ascending. His work has been recognized with an Academy Award® nomination and the 2012 BAFTA Award for Special Visual Effects for Harry Potter and the Deathly Hallows Part 2 in addition to numerous Visual Effects Society Award nominations and wins. Vickery joined ILM having spent the past 13 years at London effects house Double Negative where he worked his way up from CG Artist to Lead 3D artist then CG Supervisor on such films as Harry Potter and the Order of the Phoenix, The Bourne Ultimatum, Cloverfield and The Dark Knight. Having strong ties to the visual effects community in London, Vickery formerly sat as Co-Chair on the UK board of the Visual Effects Society and is a member of BAFTA. After completing a Degree in Industrial Design at De-Montfort University, Vickery went on to receive an MA in Digital Moving Image from London Metropolitan University. In this Podcast, Allan McKay interviews ILM's VFX Supervisor David Vickery about his journey from a VFX Artist to supervising on set, dealing with rejection, working at ILM, working on projects like Jurassic World: Fallen Kingdom, Cloverfield, Die Another Day; communicating with creatives and the importance of mentoring younger artists. For more show notes, visit www.allanmckay.com/361.

This week on 8111, Euan Macdonald! Euan grew up near Edinburgh, Scotland the middle brother of three. His father was an architect and also loved cartooning. His mother taught yoga and wrangled the three boys. They had a ZX Spectrum computer in the house growing up and Euan played games and did some rudimentary programming. He worked to help his dad on projects mapping structured space and experimented with making videos from image sequences generated on the computer.In school he was excited to pursue animation and computer graphics. After school Euan went to work in London at a company called Digital Pictures. He also got am opportunity to attend SIGGRAPH 1990 in Dallas as a student volunteer. He continued building his skills and his reel which landed him a full-time job at Industrial Light and Magic as a Technical Director.At ILM Euan worked on numerous films including; In the Mouth of Madness, The Mask, Disclosure, The Lost World, Dragonheart, Episode 1, Harry Potter 3, and several others. Euan's skillset quickly landed him in the role of CG Supervisor. He had a fun experience on Dragonheart where he met fellow Scotsman, Sean Connery. When the film premiered in the UK Euan got to hang out with Connery and introduce his parents to the original 007. After more than a decade at ILM it was time for a change of pace and Euan headed to Vancouver to work at Electronic Arts. The transition to games was exciting and challenging. He continued to build new skills and expanding his roles with each move. Sometime later he returned to Marin to help set up the new studio at Image Movers Digital and worked for a time at The Orphanage. Today Euan works for himself on multiple exciting start ups. His ventures have included developing creative toys, mobile AR applications, games, VR, NFTs, and original content. Euan's drive, enthusiasm, and creativity have kept him always busy with new ideas, new projects, and new opportunities. It was so much fun chatting with Euan about this life and career. 

This week on 8111, Dan Goldman. Dan grew up in Colorado where his mom worked as a teacher and his dad, a physicist. He enjoyed drama as a young person and acted in plays in both jr. high and high school. When it came time to head off to college he chose Brown for a degree in Theatre. Fate intervened his freshman year when he was assigned an academic advisor who was a well known computer science professor from the School of Engineering. By the time his sophomore year rolled around, Dan had transferred to the computer science program at Stanford and decided to pursue drama on the side. In 1992, his sophomore year at Stanford, he landed an internship working in the Computer Graphics division at Industrial Light and Magic. That internship later turned into a full-time job where Dan worked for the next 12 years, eventually as a CG Supervisor. Dan's credits include; Meteor Man, The Flintstones, Mission Impossible, Men in Black, The Phantom Menace, Galaxy Quest, & Attack of the Clones, among others. Dan then decided to return to grad school for his PhD in computer science and enrolled at University of Washington. He worked part-time at ILM while also working on his dissertation. When school ended he went to work at Adobe Research for the next decade where he helped develop numerous projects including what would become “content-aware fill” in Photoshop. Today Dan works at Google on the team developing the exciting Project Starline. It was a blast to reconnect with Dan and hear his story. Talking with Dan you can't help but admire his boundless curiosity & enthusiasm for tackling complex problems. His drive and positive outlook are infectious. 

This week we're joined by Edd Dawson-Taylor, co-founder and instructor at CGPro (www.becomecgpro.com). He is an Unreal Authorized Instructor and CG Supervisor in movies, TV, commercials, and live events, having worked for ILM, Disney, and Digital Domain on Blockbusters like Jurassic World, The Lion King, and Jungle Book. Co-founder of successful world touring group The Sancho Plan, Edward loves to use cutting-edge technology to create engaging and inspiring experiences, as well as beautiful world-class imagery. He was formerly a Software Developer / Architect, leading teams of developers, and holds a Master's Degree in Computer Science. CGPro Website: www.becomecgpro.com Edd's Instructor Reel: vimeo.com/201366240 Edd's LinkedIn Profile: www.linkedin.com/in/edward-dawson-taylor Who is Puget Systems? Puget Systems is based in the Seattle suburb of Auburn, WA, and specializes in high-performance, custom-built computers. We believe that computers should be a pleasure to purchase and own. They should get your work done, and not be a hindrance. Our goal is to provide each client with the best possible computer for their needs and budget. Learn more about Puget Systems: www.pugetsystems.com Learn more about the best hardware for content creation: www.pugetsystems.com/solutions/content_creation/index.php --- Send in a voice message: https://anchor.fm/puget-systems/message

Be sure to subscribe for more - Creation Grounds Podcast Level up in your career & book more consistent work with an easy to use online tool that tracks audition & workshop metrics at Auditiontrackers.com ________ IG: https://www.instagram.com/becomecgpro/ Imdb Ed: Imdb Imdb Jackie: Imdb CG Pro: Community Website: Website Ed is an Unreal Authorized Instructor and CG Supervisor in movies, TV, commercials and live events, having worked for ILM, Disney and Digital Domain on Blockbusters like Jurassic World, The Lion King and Jungle Book. He is the co-founder of successful world touring group The Sancho Plan. Ed loves to use cutting edge technology to create engaging and inspiring experiences, as well as beautiful world class imagery. Jackie has been creating high-end imagery for movies, TV, commercials, music videos and live events for decades since film school. She's worked for the world's top studios such as ILM, Digital Domain, and MPC on many blockbusters including three of the top 10 grossing films of all time. Movies include: Harry Potter and The Deathly Hallows II, Tron, Iron Man 3 & Jurassic World just to name a few. They met while working on Harry Potter and are married and living their dreams while helping people from all ranges of experience (from beginner to seasoned studio executives) on the cutting edge VFX we see in entertainment today. In this episode we dive into the world of VFX, the future of entertainment and how some of this technology can disrupt different industries. How actors can use Mokap from the comfort of their homes and their own personal breakthroughs. ________ Some Questions I Ask: Fav animated character of all time? (2:08) Similarities and differences between animation and VFX. (3:10) On the intial interest in VFX. (5:30) On working on Jurassic World. (8:15) How a VFX artist might view the world differently than someone not in VFX? (9:30) What's a typical day like in the VFX world? (13:11) On the future of filmmaking and the current reveloution going on in VFX world (17:09) Jungle Book & Lion King (22:12) More on future of filmmaking and the cutting edge technology. (25:05) What they wished viewers appreciated more while watching final product.(26:14) Favorite part of working on Marvel film, Jurassic World etc? (27:45) How would someone get started in VFX if they wanted to? (33:06) How actors fit into the world of VFX (Mokap) (40:13) On their school and resources. (43:02) On personal breakthroughs and obstacles they've overcome in their journey (44:35) When you think of the word "creative" who comes to mind for you and why? (52:36) How can people connect with you? (58:16) ____________ You can follow Arron at: Website: ArronLloyd.com Instagram: https://www.instagram.com/arronlloyd/ Twitter: https://twitter.com/ArronLloyd Twitch: https://www.twitch.tv/arronsl316 Youtube: Arron Lloyd This is NYC merch -

VFX Artist, CG Supervisor, Actor & Director Mahsa Ghorbankarami exhibits how her difficult past motivates her present work ethic, her cheeky life motto, and the tools required to push for your dreams.Support this podcast at — https://redcircle.com/women-on-screen-out-loud/donations

Imagine the world where the global space race never ended. For All Mankind is a thrilling “what if” take on history from Ronald D. Moore (Battlestar Galactica, Outlander) spotlights the high stakes lives of NASA astronauts and their families. Jay Redd is a VFX Supervisor on For All Mankind whose extensive resume also includes titles like Contact, Men in Black 3 and Monster House. Todd Sheridan Perry is an On-Set Supervisor on the show with a diverse background in video games, film and television. He's worked on titles like Lord of the Rings: The Two Towers to Final Destination 5, The Immortals, Total Recall, Resident Evil 5 and Avengers: Age of Ultron. Todd has also worked as a CG Supervisor on Marvel's Doctor Strange which was nominated for a Best Visual Effects Oscar. On this Podcast, Allan McKay interviews VFX Supervisor Jay Redd and the On-Set Supervisor Todd Sheridan Perry about their work on For All Mankind, making smart decisions on set, balancing between artistry and tech skills, VFX in film versus television and the future of virtual production.  For more show notes, visit www.allanmckay.com/317/.

[⭐EPISODE 18 ⭐- Nadège Bozzetti - Cg Supervisor - Hybride ]  C'est avec Nadège que j'ai eu le plaisir d'échanger cette semaine. On traverse l'atlantique direction le Québec pour la suivre durant ses études et sa vie professionnelle. On parle ensemble de ses différentes productions pour des séries, des pubs et des longs métrages mais aussi de management et d'équilibre de vie. Episode très chargé ! Au cours de cet épisode on discuté de

On this episode of the Geektown Behind The Scenes podcast, I am chatting with Fausto Tejeda from Visual Effects company Pixomondo Toronto, who are the people behind the VFX for 'Star Trek: Discovery'.Fausto specialises in sci-fi/action genres in both traditional VFX and Virtual Production formats, most notably the streaming series Star Trek: Discovery, a hybrid of both. Throughout the show's four seasons, Fausto helped bring to the screen various creatures (Gormagander/Space Whale, Tardigrade), environments (rocky terrains of large asteroids) and ships (USS Discovery). His spectacular work on the final battle sequence in Season Two, between Section 31, The Enterprise and Discovery ships, earned Fausto an Emmy nomination.Fausto worked in various supervisory capacities on Discovery, including CG Supervisor, On-set Supervisor, and VFX Supervisor. In 2021, Fausto helped guide the show towards a new filmmaking era when Discovery transitioned to shooting on PXO's LED Volume stage in Season Four, where Fausto served as one of the on-set Virtual Production Supervisors.For those of you that don't know what a "Volume" is, we do explain that more in detail in the interview. However, it was the groundbreaking technology that was first developed by the team behind 'The Mandalorian', to spectacular effect. The tech has begun sweeping through the VFX industry as a brand new way of creating virtual environments and worlds, not only speeding up production, but also giving the actors much more to work with than a standard green screen. Support this show http://supporter.acast.com/geektown. See acast.com/privacy for privacy and opt-out information.

 [⭐EPISODE 11 ⭐- Valentin Dornel "Valdo" - CG Supervisor - Menhir Fx] C'est Valentin alias Valdo qu'on retrouve cette semaine dans Gizmo. Aujourd'hui, CG supervisor à Menhir Fx, c'est son parcours et ces différentes expériences à travers l'industrie qui l'ont amenées à se poser les bonnes questions. Guidé par une folle envie de transmettre, c'est à travers la team Menhir Fx qu'il exprime ces valeurs en continuant de se questionner. On a discuté entre autre de 

Today's conversation with Nate Barnard is really interesting in many ways. Nate's journey followed an unusual path from production management to CG supervision, certainly not typical of someone in his position. He got his start at Mainframe and has worked on series and features from Sausage Party to Cinesite's The Addams Family.  Nate was also CG Supervisor on Cinzia Angelini's short film Mila, a project 10 years in the making that Cinesite picked up to help finish last year. Currently working on the Addams Family sequel, he took time out over a few weeks to chat about his career.If you enjoy this podcast, please take the time to share, rate and comment!And if you have any suggestions for show guests or topics, please get in touch.Episode Recorded: 3/4/2021  &  3/15/2021Host & Producer: Michael Wakelam (@mikewakelam)Executive Producer: Eric M. MillerMusic by: Rich Dickerson (www.richdickerson.com)Audio Engineering: Mike RochaThe Creators Society is a group of passionate, and respectable creators working in different areas of animation from development through distribution. We work to bring these members of the animation community together through education and networking.Learn more about the Creators Society, and how to become a member at thecreatorssociety.org.

 [⭐EPISODE 6 ⭐- Edouard Sisternas - CG Supervisor ] C'est Edouard que j'ai eu le plaisir de recevoir dans le podcast cette semaine. Ca a été l'occasion de parler à fond lighting avec lui à travers ses productions pro mais aussi perso. Au cours de cet épisode on discuté de

Asuka Tohda-Kinney was inspired by Titanic to pursue a career in visual effects — and she now works for Digital Domain, the studio that helped bring James Cameron's blockbuster to life. Her first role at the company was on I, Robot, as an intern to Chris himself, and she went on to work on pipelines and lighting for movies, including Stealth, Pirates of the Caribbean: At World's End and Ender's Game. Today, Asuka works in Digital Domain's dedicated digital humans department, where she's swapped heads for The Twilight Zone and TIME Magazine's Martin Luther King Jr. VR project, which even graced the magazine's cover. Asuka talks in detail about Japan's working culture, how DD helped her adjust to new languages, motherhood and lockdown — and how her coding prowess and creative skills help her solve problems.

In this episode of Curious Vedanth, I interview B R Rajeev, a CG Supervisor. We talk a lot about how cartoons and other animated characters are brought to life on screen. He has worked on blockbusters such as Tinkerbell and Planes and the Emmy award-winning episode of Game of Thrones. Follow my Facebook page to get updates on the upcoming episodes. https://www.facebook.com/curiousvedanth/To listen to earlier episodes visit vedanth.buzzsprout.com To listen at leisure on your phone and get notified about future episodes, subscribe by searching for 'Curious Vedanth' wherever you get podcasts such as Apple Podcast, Stitcher, Google Podcast, Spotify, etc.

Todd Sheridan Perry works in the film industry as a freelance VFX Supervisor / CG Supervisor as well as digital artist, screenwriter, editor and director. He is a classically trained artist, as well as both a traditional and digital animator. His diverse background in video games, film and television has led him to play key roles in projects ranging from Lord of the Rings: The Two Towers to Final Destination 5, The Immortals, Men In Black 3, Total Recall, Resident Evil 5 and Avengers: Age of Ultron. Todd has also worked as a CG Supervisor on Marvel's Doctor Strange – a project nominated for a Best Visual Effects Oscar. Todd has been animating since he was 8 years old, inspired by Star Wars, but his professional career began when he moved to Los Angeles in 1995. A couple years later, riding the wave as visual effects migrated from optical to digital, he started the visual effects house Max Ink Cafe with multi-award winning producer Jennifer Champagne. Todd has been awarded an Emmy for his work on the mini-series The Triangle, while working with award-winning supervisors Volker Engel and Marc Weigert. He was also nominated for a VES Award for The Kite Runner with CafeFX. While at CafeFX, he also acted as Lighting Supervisor on Frank Darabont's take on the Stephen King short story The Mist. Todd has contributed articles to Animation Magazine for the past 15 years. With over 500 article reviews on both software and hardware used in the visual effects industry, he's been able to keep abreast of the developing technologies that contribute to visual effects. Todd is working on numerous personal short films and animation projects through his visual effects company, TeaspoonVFX, and has been consulting on screenplays and development for multiple features. In this Podcast, VFX Supervisors Todd Sheridan Perry and Allan McKay discuss the industry-wide impact of Covid-19 and its consequences; and how working remotely has proven itself to be effective for both artists and studios, during the transition and going forward. For more information, visit www.allanmckay.com/247/.

The mission of Monsters Aliens Robots Zombies (MARZ) is to deliver feature-film quality visual effects on television timelines by harnessing GPU clusters, game engine technology, AI and senior industry talent. Leveraging these pillars allows us to consistently execute with both speed and quality for our premium television projects. Lon Molnar is the Co-President of MARZ. With more than 20 years of experience, Lon has contributed a vast amount of visual effects to film and television as an artist, VFX Supervisor, and former CEO of the award winning VFX company Intelligent Creatures. Inspired by the magic of Toy Story, Lon attended the Vancouver Film School with the single goal of opening up his own VFX studio. As he built his resume, he became dissatisfied with working on VFX for tv, and set his sights on feature films. He became a VFX generalist, working in animation, lighting, compositing and modelling, while using a vast array of software. After serving as the CG Supervisor on the groundbreaking films Chicago and The Cell, he fulfilled his earlier dream and opened up Intelligent Creatures in 2002. Working with talented creators like Mark Forster, Darren Aronofsky, Alejandro González Iñárritu, David Tattersall, Oliver Stone and others, Lon quickly built the Toronto-based VFX house into an award-winning studio. Intelligent Creatures lent its creativity to dozens of projects such as Mr and Mrs Smith, The Witch, and Babel. They built robust pipelines to tackle critically-acclaimed projects, such as the Watchmen's famous Rorschach mask of moving inkblots. Some of their later work, such as the award-winning series Orphan Black and the Emmy-nominated Curiosity: Battlefield Cell pushed the boundaries of visual effects on TV Fifteen years after the formation of Intelligent Creatures, Lon recognized that unlike when he had started in the industry, TV was no longer the "lesser" medium for VFX. When he spoke to Jonathan Bronfman, the two found themselves sharing symbiotic ideas. They saw a gap that others didn't. What if, they asked, we can build a company that focuses on serving only one market, and defines the standard of excellence in that market? That was the beginning of MARZ. the boundaries of visual effects on TV. In this Podcast, Allan McKay interviews Lon about the history of MARZ and the company's commitment to technology and talent, a philosophy that ensures high quality effects for television timelines. For more show notes, visit www.allanmckay.com/234/.

Before joining Mr. X, Trey Harrell was a 15-year ad industry veteran. Trey's forte for balancing the technical with the artistic has garnered numerous ADDY (American Advertising Federation) and New York Art Director's Club Awards for his work as both an Art Director and Creative Director for broadcast, web and print ads. Trey joined Mr. X in 2010 to work exclusively as the Lead Lighting TD on Tron: Legacy. Supervising the lighting department for many years, he's been instrumental in re-engineering Mr. X's lighting and rendering pipeline. Since joining the team at Mr. X, Trey has won two Canadian Screen Awards for Achievement in Visual Effects, including a 2013 CSA award for Resident Evil: Retribution, and a 2014 CSA Award for The Mortal Instruments: City of Bones. For his work as a CG Supervisor on Guillermo's Del Toro's television series, The Strain, Trey received a Visual Effects Society nomination in 2016. He also acted as the Digital Effects Supervisor on Paul W.S. Anderson's Resident Evil: The Final Chapter. He continued to exceed the client's expectations with his work on Guillermo del Toro's feature The Shape of Water.  Mr. X's VFX Supervisor Trey Harrell talks about the skills that a filmmaker must acquire, how having a versatile background guarantees longevity in the business -- and why you mustn't build your entire career on a single piece of software! For more show notes, visit www.allanmckay.com/229/.

1. Robert Allman - Framestore's CG Supervisor on Avengers: Endgame

Website: www.matthewlloyd3d.net/Twitter: www.twitter.com/MatthewLloyd01If you’re enjoying our meetups & podcast and want to support 3DMeetup Dublin, well now you can. You can buy us a coffee.You can donate 3$ at https://www.buymeacoffee.com/He0IC4udoWe would very much appreciate the support!Funcom Dublin Ltd.www.mobygames.com/company/funcom-dublin-ltdChampionship Motocross Featuring Ricky Carmichael (PSX)www.mobygames.com/game/championshi…ricky-carmichaelBallyfermot College of Further Educationwww.bcfe.ie/Pulse Collegewww.pulsecollege.com/Royal Television Society Awardwww.rts.org.uk/award/rts-student-tv-awards-2019Robots need no applywww.robotsneednotapply.wixsite.com/rnnaA Good Day to Die Hardwww.en.wikipedia.org/wiki/A_Good_Day_to_Die_HardCourse websites:Digital Tutors / Pluralsightwww.pluralsight.comGnomon — School of Visual Effects, Games & Animationwww.gnomon.edu/Udemy: Online Courseswww.udemy.com/LinkedIn Learning (Lynda.com)www.linkedin.com/learning/Don’t forget to check out the 3DMeetup Dublin website www.3dmeetupdublin.ie - follow us on social media and subscribe to our newsletter.Twitter: www.twitter.com/3dmeetupdublinFacebook: www.facebook.com/groups/Dublin3Dmeetup/Instagram: www.instagram.com/3dmeetupdublin/ See acast.com/privacy for privacy and opt-out information.

Alessandro Ongaro is a CG Supervisor at Double Negative. With almost 20 years of experience, he is presently considered to be among the CG Industry's top professionals.  Alessandro was born in Switzerland and holds a dual Italian and Swiss citizenship. While studying design at the School of Design in Milan, Italy, Alessandro first began using computers to create photo-realistic 3D renderings for the architecture industry. He began working in the feature films after moving back to Milan where he was recruited by Digitalia Graphics, the first Italian company to work with a film negative. It pioneered all the visual effects for the very first Italian sci fi movie, Nirvana.   After 5 years at Digitalia Graphics, Alessandro was offered a position by ESC Entertainment where he began to work on Constantine. Soon after finishing work on Constantine, he was recruited by DreamWorks Animation where he worked on such films as Madagascar, Over The Hedge, Flushed Away, Bee Movie, Shrek: Forever After, Turbo and Kung Fu Panda 3. Since joining Double Negative, Alessandro has worked on features Ant-Man and the Wasp, The Meg, Alpha and the upcoming Men in Black: International. Most recently, he's produced and directed the highly acclaimed web series Hollywood Hitmen, and an animated teaser The Nine Lives of Claw which he also wrote. In this Podcast, Alessandro talks about some of his favorite projects, the difference between VFX and animation, the importance of being a Generalist -- and the most crucial skill for visual effects artists. For more show notes, visit www.allanmckay.com/190/.  

Michael Greenholt is a CG Supervisor on an upcoming TV series for Disney Toons, and was a 2D animation supervisor on a soon-to-be-released series for Warner Bros. that you are going to hear a lot about very shortly. A Ringling grad, Mike was one of the few artists who was invited to be part of a Disney bootcamp and went straight to Disney from there. In this episode Mike talks about his artistic formation, his influences, and the importance of being humble in a creative working environment. This is the first part of my conversation with Mike. SHOW NOTES Michael Greenholt's website Instagram: mikegreenholt Ringling College of Art and Design FOLLOW SHAFFER CREATIVE WEBSITE: www.shaffercreative.studio INSTAGRAM: www.instagram.com/shaffercreative/ FACEBOOK: www.facebook.com/ShafferCreative6/ TWITTER: twitter.com/shaffercreativ

One Small Step tells the story of Luna, a Chinese American girl who dreams of becoming an astronaut. In part two of our interview with the masterminds behind TAIKO Studios we spoke with CG Supervisor and Rigger Joy Johnson and Head of Pipeline and Technical Animator Andrew Jennings! Join them … Continue reading

Brad Alexander is a co-founding partner at HALON Entertainment, a full-service visualization company that provides a state-of-the-art platform of cutting edge technology, to bring their clients' creative vision on screen. Brad has worked on such legendary features as War of the Worlds, Transformers, World War Z; as well as spent 4 years as a CG Supervisor on James Cameron's Avatar.  Prior to co-founding HALON, Brad studied at Full Sail in Florida; but before graduating, he was recruited by George Lucas work on previs for Star Wars, Episodes II and III, as well as the George Lucas Director's Cut of THX 1138 at JAK Films. Since then, Brad has collaborated with world-class filmmakers across the industry to help create some of cinema's most compelling stories. Brad has partnered with Ang Lee as the primary Previs Supervisor on the Academy Award winning feature Life of Pi. He has supervised Snow White and the Huntsman; previs and postviz supervised Star Trek Into Darkness with J.J. Abrams. When work started on Star Wars: The Force Awakens, Brad again teamed up with Abrams to supervise both the U.S. and U.K. teams. More recently, Brad has supervised on Luc Besson's Valerian and the City of a Thousand Planets. In this Episode, Brad talks about the importance of passion in one's career; as well as his experience of working and collaborating with directors like George Lucas, Steven Spielberg, James Cameron and Ang Lee.  For more show notes, visit www.allanmckay.com/145/.  

Both Segments: Dariush Derakhshani. Graphics Correspondent. Dariush Derakhshani is a Creative Director and CG Supervisor with Radium in Santa Monica and an award-winning CG animator and author of several Maya books, including the best-selling series Introducing Maya: 3D for Beginners and Maya: Secrets of the Pros. Dariush has been an animator and supervisor on commercials and feature films for the past 10 years at such places as Café FX, Cobalt FX, and Sight Effects. https://www.youtube.com/embed/8PjT0xBA31o Topics: I have an HP z38c that I’ve been testing. It’s a 4k across, super wide screen curved monitor for professional use.   http://www8.hp.com/us/en/campaigns/display-z38c/index.html   Absolutely gorgeous.   Also would love to talk over holiday shopping ideas.   This was an interesting article: https://www.sciencedaily.com/releases/2017/11/171127094944.htm  

5 Rules to Make Money Selling Indie FilmsI feel that one of the reasons I was put on this earth was to help filmmakers and artist make money selling their films and art. There's no reason why filmmakers shouldn't be able to make a steady income from their films. You can here my inspiration rant on this topic here: Why Filmmakers are Always So Damn Broke & What They Can Do to Change It. So I came up with these 5 rules on how to make money selling indie films. I outline what I discuss in the podcast below. If you are going to listen to an episode of the IFH Podcast then this one and #88 (Why Filmmakers are Always So Damn Broke) are two episode you should listen too. Check out the outline below and then listen to the episode. I also go into other areas and core concepts that are not in the list below.1. Understand the initial cost of creating the factory that will build your productBuying gearBuilding a teamPost Production infrastructureDeliverables2. Understand the cost of creating your product vs the return Keep the budget low enough where you feel you can make a healthy return on investmentJoe Swanberg (watch his SXSW talk here)3. Understand your customer and how to engage with them Provide Value to your customerSocial MediaEmail ListWhere does your customer hang out, go there and engage with them4. Understand how you will be getting your product to the customerDistribution OptionsCost of distribution5. Understand revenue streamsDVD/Blu-RayTVODSVODWorkshopsMerchNow get to listening and make your film!Right click here to download the MP3Download on iTunes DirectSlamdance Workshop Discussed on the ShowJoin Blackmagic Design, Slamdance Grand Jury Award winner Andrew McPhillips, and filmmaker and host of Indie Film Hustle Alex Ferrari on Saturday, January 21 from 2:30pm to 4:30pm at the Filmmaker Lounge in the Treasure Mountain Inn for an in-depth workshop on the tools and techniques essential to the independent filmmaker.Andrew McPhillips will discuss lessons learned from shooting his upcoming film “The Doll,” including how to seamlessly switch from production to post. Andrew used an URSA Mini 4.6K to shoot the film, DaVinci Resolve for editing and grading, and Fusion for the VFX. Along with serving as CG Supervisor at SPINVFX, Andrew’s work includes his animated short film “Blood Will Tell” which previously premiered at the Toronto International Film Festival and took home top awards at Slamdance.Alex Ferrari will discuss how filmmakers can make the most of DaVinci Resolve as a professional editing solution. Alex recently shot, edited and graded his new film “This Is Meg” using Blackmagic Design. He will dive into the ins-and-outs of what filmmakers need to know when editing with Resolve and how it can best fit into their workflows.A brief Q&A will follow the presentations along with raffles for prizes, including a Micro Cinema Camera, DaVinci Resolve Studio and Fusion Studio!Join Blackmagic Design afterward from 5:00pm to 7:00pm for a happy hour in the Filmmaker Lounge during which attendees can ask questions, demo gear and learn more about Blackmagic Design products for independent filmmakers.LINKS AND RESOURCES MENTIONED IN THIS EPISODE

Should You Own Your Own Film Gear?Happy New Year IFH Tribe! We are now in 2017 and this will be ana amazing, creative and monumental year for us all. I wanted to start off the year with an "Ask Alex" episode. On this episode I answer the follow tribe member questions:Though I plan on hiring a DP for my movies, I'd like to invest in my very own camera equipment and lights. (Was thinking about investing in that BlackMagic Cinema you keep raving about.)However, I'm being advised NOT to buy my own camera and lights! I was told that unless I'm planning on being a DP myself, and unless I plan on keeping up with all the new models of cameras coming out (which can be expensive), that buying camera equipment makes no sense.What say you? Shouldn't an independent filmmaker seek to have his or her own filmmaking arsenal, just in case? Shouldn't directors at least try to go out, shoot, get a feel for the camera, etc., so that they are better directors, even if they'll never be DPs? What advice would you give someone working with non-acting actors who will be getting little to no pay?So If I go to submit my film to contests and festivals will I have problems with people in public in background shots? Would making the background more out of focus help? I have scenes in stores. Do I need to blur product labels?When is the perfect time in pre-production should you start casting?How important do you feel it is to shoot on film if your plan is to go to the big film festivals hoping to get a distribution deal?  Taking Dov Simens DVD class he stresses its important, but the content is in the age of miniDV, so technology has changed quiet a bit since those DVDs were produced.  Although I know the story is really more important than digital vs film, which do you feel the major film festivals are looking for today or does it matter any more?  I'm looking to shoot mostly film (~75%) and mix some shots and coverage that are shot digitally (~25%).Let's get to answering some questions.Right click here to download the MP3Download on iTunes DirectSlamdance Workshop Discussed on the ShowJoin Blackmagic Design, Slamdance Grand Jury Award winner Andrew McPhillips, and filmmaker and host of Indie Film Hustle Alex Ferrari on Saturday, January 21 from 2:30pm to 4:30pm at the Filmmaker Lounge in the Treasure Mountain Inn for an in-depth workshop on the tools and techniques essential to the independent filmmaker.Andrew McPhillips will discuss lessons learned from shooting his upcoming film “The Doll,” including how to seamlessly switch from production to post. Andrew used an URSA Mini 4.6K to shoot the film, DaVinci Resolve for editing and grading, and Fusion for the VFX. Along with serving as CG Supervisor at SPINVFX, Andrew’s work includes his animated short film “Blood Will Tell” which previously premiered at the Toronto International Film Festival and took home top awards at Slamdance.Alex Ferrari will discuss how filmmakers can make the most of DaVinci Resolve as a professional editing solution. Alex recently shot, edited and graded his new film “This Is Meg” using Blackmagic Design. He will dive into the ins-and-outs of what filmmakers need to know when editing with Resolve and how it can best fit into their workflows.A brief Q&A will follow the presentations along with raffles for prizes, including a Micro Cinema Camera, DaVinci Resolve Studio and Fusion Studio!Join Blackmagic Design afterward from 5:00pm to 7:00pm for a happy hour in th

The Art of the $6000 Feature Film with Joshua CaldwellI had the pleasure of meeting Joshua Caldwell, a brother in "indie filmmaking" arms. He directed a $6000 feature film called LAYOVER, which World Premiered at the 2014 Seattle International Film Festival where it was nominated for the New American Cinema Award.The story of how he made the film was education, rebellious and funny. Many things he said mirrored my experience making This is Meg. Josh really has a great philosophy about making films and content. Check out the trailer below to see what a $6000 feature film in today's world looks like.If you are going to make a feature film in the near future you need to listen to this podcast. It will change how you think about making indie films. Below, I also included a talk the Josh Caldwell did at the Seattle International Film Festival that is AWESOME! After you listen to the podcast watch the video below.Right click here to download the MP3Download on iTunes DirectJoshua Caldwell - The $6000 LAYOVER: Rethinking Indie FilmDirector Joshua Caldwell discusses making his debut feature film, LAYOVER, for only $6000 and how filmmakers need to rethink their role in the ever shifting paradigm of independent filmmaking.Here's a bit more about Joshua Caldwell:Joshua Caldwell is an accomplished director, writer, producer, and MTV Movie Award winner. He has worked with a number of high-profile producers, including CSI: creator Anthony E. Zuiker, for whom he produced CYBERGEDDON, the online global motion picture event for Yahoo!, and directed all of the film’s ancillary content for its immersive website.His award-winning short film DIG, starring Mark Margolis of BREAKING BAD, was featured in numerous film festivals, and his latest short RESIGNATION screened at Comic-Con.Slamdance Workshop Discussed on the ShowJoin Blackmagic Design, Slamdance Grand Jury Award winner Andrew McPhillips, and filmmaker and host of Indie Film Hustle Alex Ferrari on Saturday, January 21 from 2:30pm to 4:30pm at the Filmmaker Lounge in the Treasure Mountain Inn for an in-depth workshop on the tools and techniques essential to the independent filmmaker.Andrew McPhillips will discuss lessons learned from shooting his upcoming film “The Doll,” including how to seamlessly switch from production to post. Andrew used an URSA Mini 4.6K to shoot the film, DaVinci Resolve for editing and grading, and Fusion for the VFX. Along with serving as CG Supervisor at SPINVFX, Andrew’s work includes his animated short film “Blood Will Tell” which previously premiered at the Toronto International Film Festival and took home top awards at Slamdance.Alex Ferrari will discuss how filmmakers can make the most of DaVinci Resolve as a professional editing solution. Alex recently shot, edited and graded his new film “This Is Meg” using Blackmagic Design. He will dive into the ins-and-outs of what filmmakers need to know when editing with Resolve and how it can best fit into their workflows.A brief Q&A will follow the presentations along with raffles for prizes, including a Micro Cinema Camera, DaVinci Resolve Studio and Fusion Studio!Join Blackmagic Design afterward from 5:00pm to 7:00pm for a happy hour in the Filmmaker Lounge during which attendees can ask questions, demo gear and learn more about Blackmagic Design products for independent filmmakers.LINKS AND RESOURCES MENTIONED IN THIS EPISODEOfficial WebsiteJoshua Caldwell - 

Andre Cantarel is a LA based CG Supervisor originally from Germany, he's worked on films such as 2012, Whitehouse Down, Independence Day Resurgence and dozens of others. He has a ridiculous attention to detail in his work, and it shows on everything he touches. This episode discusses everything from Andre's work history, to behind the scenes on many of the projects he's worked on, his early career as well as personal projects and health. In general this episode has been a great insight into what's involved to pull off some of the biggest visual effect film projects. Check out the show notes at http://www.allanmckay.com/69/  

Petr Milerski is the Co-Founder and CG Supervisor at Unique & Limited – Fine Art Collectibles in Prague. Born and raised in the Czech Replublic, Petr started his career in computer graphics at 17 and after graduating from the University of Ostrava he began a career that combined his passion for automobiles with his skills using computers. He works with Cars Yeah past guest Jan Rambousek where they create advanced graphics of legendary racing and sports cars including period correct scenes producing limited edition prints. Their mission is to re-energize inspiring stories from the past by using modern technology to create premium large-scale prints, allowing present and future generations experience history like never before.