Podcasts about Framestore

Mark Rosenblatt on Giant, his Olivier award-winning play starring John Lithgow as Roald Dahl.As Universal Studios announce plans for a major new theme park in Bedfordshire, what does this mean for the UK entertainment industry? Samira is joined by entertainment journalist Ella Baskerville and Gareth Smy from Framestore to discuss its signficance and the kinds of rides it's likely to contain. German director Natja Brunckhorst on her comedy film Two to One, about an East German heist set in the days leading up to German Reunification, starring Sandra Huller. Presenter: Samira Ahmed Producer: Oliver Jones

For this episode of the PepTalks Podcast, we are joined by Group CEO of Framestore and Company 3, David kassler… David is an expert in taking on challenging roles and producing great results out of complex and dynamic situations. In this podcast, he recounts his journey as CEO of EMI Music, which was subject to very public industry disruption and challenging debt obligations and Williams Lea Tag, which required a strategic repositioning and transformation process resulting in two successful trade sales.

  In this episode, Allan McKay sits down with Andy Boyd, a seasoned VFX Supervisor, and co-owner of Jamm VFX. Andy shares his extensive journey in the visual effects industry, from his early days breaking into major studios like Framestore and Method Studios to founding his own successful VFX company. The conversation delves into the challenges and triumphs of managing a VFX team, navigating cultural differences between the UK and US VFX industries, and overcoming technical hurdles in high-profile projects like "Brothers" and "Werewolf by Night." Andy also discusses the future of VFX, including the impact of AI and remote work, and offers invaluable insights for aspiring VFX artists and entrepreneurs looking to make their mark in the industry.   Topics Covered Andy Boyd's early career in South Africa and transition into VFX Working at Framestore and Method Studios Founding Jamm Visual Effects and managing a boutique studio Behind the scenes of Werewolf by Night and creating Man-Thing Crafting photoreal creatures, including Samuel the orangutan in Brothers Transitioning to tools like V-Ray for superior fur rendering The evolving role of AI in VFX and storytelling Striking a balance between creative freedom and technical challenges   Key Quotes "VFX is the perfect blend of creativity and problem-solving—each challenge pushes you to innovate in unexpected ways." The most exciting projects are the ones where you begin with no clear solution—those moments ignite innovation." You can feel the energy of a passionate team in the final product—great work reflects great collaboration."   Resources Jamm Visual Effects Website Werewolf by Night on Disney+ 5 Key Takeaways 1. Evolving Through Challenges Andy's career exemplifies the importance of adapting to new roles and technologies, whether transitioning from retouching to 3D or embracing V-Ray to achieve lifelike fur. 2. The Power of Boutique Studios Jamm thrives on the advantages of a smaller team, delivering high-quality work with a collaborative and personalized approach that stands out in a crowded industry. 3. Crafting Creatures with Heart From Werewolf by Night to Brothers, Andy highlights the joy and challenge of bringing creatures to life, focusing on subtlety and realism to tell compelling stories. 4. The Importance of Studio Culture Jamm's success stems from its commitment to people-first management, ensuring employees are supported and projects are properly resourced. 5. AI and the Future of VFX Andy reflects on how AI tools are opening new creative possibilities, streamlining workflows while keeping artistry at the forefront.

The Framestore Podcast is back to close out 2024 with the first of two highlights episodes, just in time for the holidays!

Questions, suggestions, or feedback? Send us a message!Our guest this week is William Sargent. He co-founded Framestore in 1986 and led its rise from an award winning commercials production house to world renowned film and digital studio. During three decades the company has worked on all the Harry Potter films (and the JK Rowling 'Fantastic Beasts') , Alfonso Cuarón's Gravity, James Gunn's Guardians of the Galaxy, Paul King's Paddington, Dr Strange, Christopher Robin, Blade Runner 2049 and Marvel's Avengers Series.William and his team have won all the major creative awards including 3 Oscars, British Academy, Primetime Emmys, D&AD, Royal Television Society and most recently over 100 global awards for the newest format Virtual Reality.Equally at home in Hollywood and government, he was Permanent Secretary, Regulatory Reform, at the Cabinet Office, and Board Director of HM Treasury. He is currently a governor at Europe's largest arts complex Southbank Center, the U.K. governments innovation agency, Trinity College Dublin's Provost Council and the London Mayor's Business Council. William is a fellow of the Royal Society for the Arts, member of BAFTA and the Academy. He received a CBE in 2004 and was knighted by the Queen in 2008.We talk about:Rear ProjectionStop motion animationAlfonso Cuaron's GravityHow music videos started the UK film industryGeorge Lucas' vision of multi-platform story tellingHow car manufacturing robots help in filmmakingTennis balls and florescent tapeHow to create dinosaursThe next decade of filmmakingLet's roll.Web: www.whereshallwemeet.xyzTwitter: @whrshallwemeetInstagram: @whrshallwemeet

For this very special episode of BBC Radio 1's Screen Time, Ali got to visit Framestore, the legendary visual effects house where - amongst other things - the preposterously charming Paddington is brought to life. So that bathtub down the stairs scene? The barbershop chicanery? The hair-raising train sequence from the end of Paddington 2? These guys. Speaking to producer Rosie Alison, VFX animation director Pablo Grillo and our new director Dougal Wilson (stepping into the shoes of Paul King, the man behind the first two Paddington films), Ali found out more about how everyone's favourite marmalade-loving bear ends up on our screens, makes us cry and leaves us really hankering for a particular kind of sandwich.

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with this weeks second instalment of our 'Imaginary Friends' Special! Join VFX Supervisor Chris Lawrence and Animation Supervisor Arslan Elver, along with this week's guest co-host, VFX Training Manager Sergio Gonzalez, as we take a deep dive into John Krasinski's latest project, which he both wrote and directed. In today's second part episode, we hear about what the workload was like working on Imaginary Friends, with the team creating the entire movie in just 10 weeks, adding 42 characters across 700 shots, all while supporting the director and handling the editing process. Plus, Sergio reveals the scene in the film that moved him to tears, and Arslan explains that in animation, every eye movement is intentional - nothing happens by accident! We delve deeper into a show where Framestore handled all the visual effects, showcasing what can be accomplished when our full range of creative services is brought together for a feature film - from the Art Department and FPS Team to the VFX crew! Before wrapping up the episode, Chris likens the editing process to "composing a symphony," and we ask Chris and Arslan whether they had imaginary friends as children. Our wonderful 'IF Special' wraps up this year's series of podcast conversations. The Framestore Podcast will be back in the New Year, but first, we'll be releasing a couple of year-end 2024 highlight episodes in November and December. Stay tuned, and thank you for tuning in throughout 2024!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. This time, we're excited to present a two-part special on Imaginary Friends, with VFX Supervisor Chris Lawrence and Animation Supervisor Arslan Elver! Joining us as our guest co-host this week is VFX Training Manager Sergio Gonzalez, who helps us as we dive deep into John Krasinski's latest project, which he wrote and directed. Chris Lawrence's 20-year career has taken him from the depths of outer space to the quiet English countryside, earning him an Oscar win and three further Academy Award nominations along the way. He received an Oscar and a BAFTA for his work on Gravity, as well as Oscar nominations for his work as VFX Supervisor on The Martian, Christopher Robin and The Midnight Sky. Beyond his exemplary supervisory career, Chris also helped establish Framestore's successful Montreal Studio. He served as the studio's Head, recruiting and managing the teams who worked on titles such as RoboCop and Edge of Tomorrow. Arslan Elver, a self-taught animator, specialises in realistic creature movement and creating nuanced characters. He joined Framestore in 2006, working on Underdog, The Golden Compass, and Primeval. His film credits include Where the Wild Things Are, Clash of the Titans, Harry Potter and the Deathly Hallows: Part 1, Byzantium, Maleficent, and Guardians of the Galaxy. After a stint at ILM, where he worked on Avengers: Age of Ultron, Ant-Man, and Star Wars: The Force Awakens, Arslan returned to Framestore as Animation Supervisor for Guardians of the Galaxy Vol. 2. A rare 'behind the scenes' look what it was like working on, and supervising Imaginary Friends. In part one, we explore what led both Chris and Arslan to work on IF, their collaboration with writer and director John Krasinski, and the process of bringing the project to life. They also share behind-the-scenes stories from the set, discussing how each character was distinct and the unique animation challenges posed by developing 42 different characters, each with its own backstory. We discuss Chris and Arslan's favourite shots and sequences from IF, highlighting the collaboration with the global Framestore team to bring the project to life, and how "story first" was at the heart of the production process. Chris and Arslan also reflect on their personal journeys into VFX and animation, sharing what inspired them and their experiences working on both live-action and animated films. Enjoy!

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Joanna Robinson and Dave Gonzales, coauthors of the book MCU: The Reign of Marvel Studios, out in paperback this week.I really loved the book, it dives into what is the main flywheel of mainstream entertainment, for better or for worse, and dives into the fascinating history of the MCU. Whether you're a fan of Marvel movies or just someone living in a world dominated by them, the book is a really interesting look into contemporary filmmaking and the pressures and economics and just simply human scale of these massive operations.We spoke about Marvel's journey from underdog to cultural icon, how its moviemaking process has changed over time, and what it was like covering a narrative that was developing in real time.Robinson and Gonzales can both be found on the podcast Trial by Content, and the book can be found wherever books are sold.This interview has been condensed and edited. Dave and Joanna, thank you so much for coming on.GONZALES: Absolutely.ROBINSON: Thanks for having us.I really, really love this book. So happy to see it out in paperback. I guess I'll just kick it off with an easy one: What were each of your first experiences with Marvel? How'd you get into this?ROBINSON: As in the comic books or the films?Anything.ROBINSON: Anything at all. Gosh, I think X-Men: The Animated Series was my introduction, back in my infancy. It really got into the world they created, the various characters, their character sets, the trading cards, and then everything spirals out from there. That was my introduction.GONZALES: Mine was probably with the comics. I might have had some X-Men: The Animated Series in there, but I got much more into the comics around late 1993, early '94, when I happened to buy a Spider-Man issue that was part of “The Trial of Peter Parker.” Suddenly I had questions: Why was Peter Parker on trial? How many different Spider-Man books were there? Because I bought an issue of The Spectacular Spider-Man, but the next part of “The Trial of Peter Parker” was The Amazing Spider-Man.That led me to get a cubby at my local comic book shop in Louisville, Colorado, which was Time Warp Comics at the time. That was my way in, just being a comic book fan. I also jumped in on one of the longest and mostly considered worst Spider-Man arcs, but loved it. So imagine how good “good” Spider-Man was to me as a child, because I got weaned in on “bad” Spider-Man.Amazing. One reason I really dug the book is that it's about the MCU, but it's also about Marvel, the history of this entire company, and its very different evolution over time, from the '60s to the period of the '90s. What was it like trying to cover not just a film series, but a big franchise with a lot of moving parts as part of an even bigger company with even more moving parts?ROBINSON: A good question we asked ourselves was both where to start and where to end, and where to end was a constant, ongoing question mark. I'll let Dave address that. But in terms of where to start, there were certain things we felt we had to backdate, because there were players involved in the major “How did Marvel Studios come to be?” question and you had to know who they were, why they were important, how did we get here and what were the stakes? Being able to loosely explain who's Stan Lee, who's Perlmutter, who's Avi Arad, who are all these people, helped us tell that story without losing the audience entirely by throwing a bunch of new names at them. Dave, what about ending the book?GONZALES: Oh, ending the book. That was super fun. We started right as Avengers: Endgame was in theaters. I remember seeing Endgame and knowing that Joanna and I were going to work on this, so we started off thinking, what a fantastic hill that Marvel climbed, this interconnected universe with three phases. Everything surely was planned out from the beginning and could only go up from here. The book was originally “The Rise of Marvel Studios,” because we thought surely this was just up and up and up.Then the pandemic hit — which was very good for us, having to write the book and just sit down and figure out what it was. It also gave us and a lot of sources a pause to regain our footing. As Marvel started rolling out, we tried to peg an end date. I wanted it to be Blade to Blade when we started, but Mahershala Ali's project has still not come out, so that became an impossibility. Then WandaVision premiered and suddenly there was this whole other aspect to the story we were trying to tell. So we wanted to do that and just tried to report things as they went along.We were blessed and cursed by the year that we published the hardcover, October 2023. As we were turning in the final part of the book in January and February, a whole bunch of Marvel news started breaking. Ike Perlmutter left Disney; Victoria Alonso, who was a big mover and shaker in Marvel Studios, was let go, so we had to report that out; Jonathan Majors went on trial.It was only in a panic over all those things that I really ended up appreciating what we had done just by thinking of all these topics so thoroughly for several years. Even though we were tacking new endings on, it wasn't that hard to make it feel like it was a whole arc because we were kind of working there anyway. I wouldn't say I'd've enjoyed releasing the first version of this book in one of Marvel's worst financial years and most critical years ever, but I do think it provided an interesting little tie-off or a fascinating ellipses that allowed us to be relevant and, more importantly, in the year 2024, look like we knew exactly what we were talking about in Marvel's rebounds.That's a really good point. When I met you on tour, a key thing you were getting at was that the idea that Marvel has not had a slump before is naive, and also ahistorical. A fun thing about the book is that you go through all these different eras, and sure, there's an easier story and probably a more polished, corporate story that's ever upward, toward Excelsior, all that crap.But you really do cover the pits and troughs of this. There was Iron Man 2; there was Thor: The Dark World; there was that period of time between the assorted Spider-Mans. What was that perspective like, particularly as it was coming out and as you were able to talk about the issues in 2023?ROBINSON: It was important for us, just on a basic journalistic level, to try to tell as much of the story as possible. We're fans of Marvel, of the movies, but as long as I've known Dave, both of us have been people who don't like to feel like we're not being told the whole story. We don't want the PR version of something — we want to know all the messy details as well. And it's not to knock Marvel or have any kind of “gotcha” moment. It's to say, “Okay, they had these various pitfalls, these various problematic people that they were working with, X, Y and Z. Look what they accomplished anyway.” That's the story in broad strokes. It was important for us to be able to acknowledge the stumbles along the way.When we found ourselves in a 2023 space where everyone was saying Marvel is cooked, or Marvel used to know exactly what it was doing from the beginning and now they're just making it up — no, they were always making it up. They just did it so well, you didn't notice. That gave us a better perspective to be able to say, let's just slow down. We were looking ahead to 2024, saying they're only putting out one movie and two shows next year. If those hit, then you'll start to hear that Marvel's back, baby. Then Deadpool & Wolverine makes a gajillion dollars and Agatha All Along is a pretty solid hit for them.So I think that “Marvel is over” narrative that was so prevalent a year ago is now the question, “Is Marvel back?” Looking even further forward at the next couple of big projects coming, I think Captain America: Brave New World is going to be a tough one for them. I don't know if that's going to hit the way a lot of people want it to. I think Thunderbolts is going to be hit for them, and I think The Fantastic Four: First Steps is going to be hit for them. They're still getting their bearings, but to your point, it was a bit naive to say they've been nothing but successful and now they've run off a cliff. Dave, what do you think?GONZALES: It was just a less interesting narrative, ultimately. I actually found myself getting less adversarial the more we learned, especially being a fan when all this started around 2008. There was this idea that Joanna was talking about, which is even a fan perspective today, that if something doesn't work out it's because we've been denied something at some creative step. Like, you know what, screw those guys; we want to do Harrison Ford as Red Hulk instead, or something like that.But it's not that at all. There are a whole bunch of different drama and production and business problems, and all these things come together to make these gigantic machines of a movie work. It was really important for us to drill down on Marvel Studios and get into those ups and downs, because a lot of times you can try to compare Marvel Studios to something through contrast, through Warner Brothers trying to do it with DC back in the early 2010s. Everybody started trying to launch an interconnected universe from the first movie, but all you could really say is that Marvel's worked and these others didn't. The details of the alchemy are in the tiny stories and little conflicts. That's why I think they were so important to track, be they how movie stars look or how we use CGI to make movie stars look. Tracking that over at Marvel Studios was just as important as how many movies Tony Stark was going to be in.Can you speak more to how much of this was on the fly? One of my big takeaways from your book was just how much things aren't necessarily set in stone during the production of a movie, and how sometimes one person's smart idea, regardless of where it comes from, can drastically alter what a lot of folks think was written in stone in 2007.ROBINSON: That idea of “best idea wins” — without ego; best idea from whomsoever — was a prevailing concept at Marvel. Kevin Feige was also this really interesting figure that has no comparison at any other studio. He's head of the studio, a creative producer, a storyteller in his own right and someone who wanted to make movies as a kid and thought he would be a director. He wound up an executive, but he has that storytelling sense. When Marvel was putting out fewer films and TV shows — or no TV shows at all and just a few films a year — the process was, “Go shoot your movie. Bring me, Kevin Feige, back the pieces and I'll tell you what you're missing.” They had this built-in reshoot window where you could go and add scenes where he felt like you hadn't really nailed this character, or cut this action out to bump up the action over here a bit more. They had this rough-drafting process with the master editor being Kevin Feige himself. There's no system like that at any other studio.That works so well for them, and in doing so, they're able to cement over the cracks and make it all feel like one smooth story that they're telling, because that refining process is built into their filmmaking process. Once the mandate comes from Disney, from Iger on his way out the door, from Chapek in his seat for a while, that they need to compete with Netflix and all these other streaming services, that they need more and more content — then the pace becomes untenable for that revision process that made them so solid in the first place.You talk about Feige not having an analog. I was really shocked reading the book because there's not even anything recent. You have to go back to Cecil B. DeMille for someone who has that producer, authorial presence. He's really a fascinating figure, and it's a key takeaway from the book that I loved. It really highlights the people who make these movies, not just the corporation. It's actual human beings who do this kind of stuff, often with long continuities. Do you want to speak about some of that?GONZALES: Definitely. Actually, while you were talking, I was wondering if part of the chip on Zack Snyder's shoulder was because someone at some point told him he was going to be a Kevin Feige and he's been chasing that ever since.A lot of the Marvel continuity that's been going on is still going on, even after our new chapter. It's been interesting to see how it's developed. It could be that the best idea wins, but then they also have that old school, in-house process where the starting team is very often the same people and has been since phase one. You put together a bullpen of concept artists, so you're constantly using concept art. Not only is that smart from a design standpoint for making a movie, but then you can have those things scanned and it goes directly into making toys. So at the beginning, there's no fight about bringing on these design creatives super early on.Where we start to see the wear and tear is, as Joanna was saying, with this output increase. All of the pressure starts being put on post-production, which is the place where you can't make more time. The solution is to hire more people, and because of that, the job of keeping things consistent falls to Victoria Alonso.She does a pretty good job considering that she's working a 24-hour, seven-days-a-week work schedule because the industry is so messed up. It was never built to do stuff like this. In a lot of ways, the way the VFX industry is structured is still from the '90s turn of the century, when you would bid on a number of shots to do and get money for that number of shots. You'd have to work those shots until they get approved by the director. There isn't an extra budget, and there isn't an overtime, which was a fine way to do it when there were three or four VFX shots in every movie. But now that we're in the 200s or some such, there's a natural strain put on that, and it's impossible to budget on the VFX side. They have to underbid because there's a limited amount of work. If Marvel decides they don't like you, as much as a third of your entire year's work can just not come to your company.As Marvel ages into it, we get a lot of people who are able to make their careers there, from Kevin Feige to Mary Livanos, who's doing great things on Agatha and seems really close to being ascendant. We have Brad Winderbaum, who's been made head of streaming now to take some of that pressure off Kevin. You have all these great continuities. You're less likely to see continuities in visual effects artists, just because of how they're going recently. When Joanna and I were interviewing people like ILM for Hulk, occasionally we'd do a person that was in three or four movies. Now, like for Guardians of the Galaxy Vol. 3, there was a team of about 12 people at Framestore who make animals look good. They just come in for that movie to make animals look incredibly good. They did it the whole time, but they're not as legacy as other parts of the Marvel development studios — which I hope will change, because there are some people who are really good at making Hulks. And if you've made Hulks for 20 years, shouldn't those be the people that are making Hulks in Brave New World? We'll have to see.ROBINSON: I love that you mentioned Cecil B. DeMille. As we were putting this whole story together and realizing that they bring all these teams in-house, Dave and our coauthor Gavin and I, we are to varying degrees students of old Hollywood history, and we had this realization that it's just the old Hollywood studio system. You're putting actors under contract for nine movies, all this other stuff, and we felt so smart. Then I was talking to someone who worked at Marvel and they were like, “Oh yeah, Kevin says that all the time.” I was like, oh, I thought we really put something together. But at least we were right! We were consciously doing this.I think that industrial element of it is really interesting. A key thing that changed the way I see the film industry was realizing that every movie is basically a corporation that briefly exists. Every movie is an entire apparatus, with a CEO operation and departments and all that. Then it folds and you move on to the next one.With Marvel, though, the circus never closes; it's just onto the next city. It was really interesting to see its place in the industry. Like Dave was saying, the limiting reactant for some of this is just the number of animators on the earth who are capable of making this kind of stuff. It's so cool to get a look inside this apparatus through the book.ROBINSON: Thank you.GONZALES: What an apparatus. It's really interesting to me, even now, as we are pending the return of the Russo brothers, who are just able to find this and also find the emotion in it.In Endgame, the Tony Stark “I am Iron Man” moment was the last insert. They had to go to dinner with Robert Downey Jr. and Joel Silver and have Silver be like, “You'd be dumb not to do it, Robert,” because Downey didn't want to go back there. He's a weird dude, but for him, it felt like in order to get to what he needed to do, he had to take off a scab that had formed and get back into the character. Whereas the Russo brothers are like, we built a workout system and we have our smoothies and every day is trying to make the machine work. Somehow, through the alchemy of those two things, the machine works, and occasionally we get these story moments that feel like they were created individually for that movie.That, I think, is the mystery that the book is trying to unravel. At the beginning, it's untapped storytelling potential. Everyone's like, if you don't have the X-Men, if you don't have Spider-Man, what do you have? There's so much in just proving that you have good stories. Now that you're the biggest game in town, that idea of, “Are you going to make me feel anything?” is so much different than what the initial promise was, that they're going to bring Thanos to the screen and you're going to understand who he is and what he wants. That was the big lift. Now there's a whole simultaneous saving of the industry, and bestowing status on different actors. There's just so much more mixed up in it now. It's amazing we got where we did.The book is also a really interesting look at the transition from being a super underdog. As you describe in the earliest chapters of the book, Marvel was bankrupt, and all the executives were folks who fell out of the toy industry or Revlon. The folks who were in charge came to it in the manner of somebody accidentally having to join a carnival, and then eventually it becomes the hegemonic juggernaut of everything, in many ways the thing that people stand against. In the book, watching the perception around it change and then internally having to adapt to that change in perception was a really cool tension.ROBINSON: My favorite indicator of that underdog status versus top-of-the-world status versus wherever we are now is the making of the first Iron Man movie. Marvel Entertainment in New York — who was, to your point, chiefly concerned with merchandising and toys — had the attitude, “Okay, go make your cute little movie. If it doesn't cost us any money, you can go do your little cinematic experiment in Hollywood and we don't really care that much. Just make sure you don't spend any of our money. Other than that, go have fun.”And they make Iron Man, and Iron Man is a massive, smash hit, and all of a sudden the people in New York are like, we're forming something called the Creative Committee. We would like a lot of intake. We want to be part of this. This is the big shiny thing, and everyone wants to weigh in on it. So it's really interesting to track this going from a weird little project they were doing out in Los Angeles to The Thing for Marvel. You can track it by who needs to have an opinion about what and when they start to care.GONZALES: One of my favorite moments — it's after the book chapter “Marvel vs. the Creative Committee” — is when Kevin Feige gets on stage himself to unveil the entirety of phase three, which includes Captain America: Civil War and Avengers: Infinity War and everything. That is such a telling moment for me. He had just won his battles with these behind the scenes. He's fully in full control. Black Panther is coming. Joss Whedon is in the edits for Avengers: Age of Ultron, in the audience, but they already know he's not coming back.There was a version of a chapter in the book that was just me going through that and being like, here's why each one of these announcements is like Kevin Feige spiking a football in the face of someone that told him he couldn't do it. That's still the purest creative energy I've seen. “We could finally do it!” burst out of Marvel. I think they've been more reserved since, even with some big announcements, but I like to go back and look at that just to see the pivot point when Marvel was the underdog. It was like, we want Black Panther, we want Captain Marvel, but the studio won't let us do it. Then Kevin Feige gets up and goes, “Here are the next 10 years of your life.” It's just such a joyous moment.ROBINSON: We love that moment. We talked to people behind the scenes who were working at Marvel at the time about it, and there's a reason that whole presentation wasn't at a Comic-Con. It wasn't at D23. It was its own thing at the El Capitan Theater in Los Angeles, and internally, they jokingly called it Kevin-Con. It was this whole thing, and part of it was that they weren't ready to announce certain things at Comic-Con.But part of it was this moment for Feige who fought various personalities across the various companies to get control of the narrative. And I agree, Endgame is of course in all of history going to be looked at as the pinnacle of achievement at Marvel. But I actually think it might be Kevin-Con at the El Capitan Theater, when Chadwick Boseman comes out and Robert Downey Jr. and Chris Evans are there to anoint him as the future of the franchise. That, of course, comes with its own terrible poignancy. We were really lucky to talk to Chadwick Boseman for the book before he passed away. These were things that happened while we were writing the book. History was constantly happening as we were trying to frame this entire narrative.If there's a protagonist in the book, it feels like it's Kevin, even in the earliest days when he was advising on the Fox products. Having read the book and then seen Deadpool & Wolverine — which, as you mentioned, went on to become a phenomenal financial success — it was really cool to come away with a little more admiration for the role that Kevin had in some of the Fox properties. Seeing that manifest in the MCU was just really nice.ROBINSON: I love that he got to have his Wolverine story, given that it all starts with him in a trailer with Hugh Jackman saying it needs to be bigger, it needs to be bigger, it needs to be bigger. I love that.GONZALES: I don't even know if it's still called that, but Joanna used to call that the “Feige fix-it.” Instead of developing these things by always going forward and introducing younger Avengers, he's actually much more interested in reaching back. There were good things there. Or, I guess the generous way to think about it is rewarding the fans that were around before it was the Marvel Cinematic Universe. Like, “You didn't waste your time with X-Men: The Last Stand. I know it might have felt like that occasionally, but here's this. Or Andrew Garfield. Yeah, maybe we treated him badly, but don't worry. You didn't waste your time with that because boom, here it is paying off in the Marvel Cinematic Universe.”Initially there was some hesitancy about Marvel homework. Do I need to have seen these things to do these things? But ultimately, if we're just talking dollars and cents, the nostalgia play has made them a billion dollars so many times that it doesn't surprise me that Deadpool & Wolverine is a huge hit just by being a swan song for the Fox movies.ROBINSON: I was personally incredibly gratified to finally get Channing Tatum as Gambit. That was a very important moment for me.My favorite version of the Feige fix-it was putting the storyline from Thor: The Dark World into Endgame and making Thor: The Dark World, the most universally mocked and reviled MCU film, an integral part of their biggest triumph. All of a sudden that's wrapped into the larger tapestry in a way so you can't just toss it in the garbage and say, oh, don't bother watching Thor: The Dark World — now you have to watch it to understand everything you're seeing in Endgame, which is certainly not a movie you're ever going to skip.It's a magic trick that really works and almost shouldn't work as well as it does. But even how they were able to get the Infinity Stones, almost taking elements of the first couple films that were dropped or introduced somewhat randomly and then doing that. It's a trick that they keep on pulling.GONZALES: Kevin Feige will say this, but we're coming up on 80 years of comic book history, and if there's one thing that comic books do more than any other medium, it's just use the same story. How could you have another angle on this story? They have so much A/B testing on what we like about this character, or what we'll buy about a certain character, it's interesting to see Marvel adapt that along with what sort of story you like on the Hollywood side of it.But yeah, we're going to see Captain America: Brave New World and finally see that Celestial that came out of the ocean in Eternals. Every Marvel property contributes something, we're told. Except the Inhumans; that never happens.The book is MCU: The Reign of Marvel Studios, and it's a fascinating look at the intersection of the humanity behind these movies and the technology of these movies. And if there's one figure that reminds me of that in particular, obviously, one of the most central people in the Marvel universe is Green Steve. Let's talk a little about him before we wrap this one up.ROBINSON: He's my favorite! Green Steve, a Chippendales dancer that was painted green in order to make sure they understood how the green light on skin would be captured accurately for the Hulk. Green Steve was one of my favorite anecdotes we got, and it was out of the book for a while before we worked it back in. Dave, what do you want to say about Green Steve?GONZALES: I love Green Steve. I love that this bodybuilder from Long Island can technically say he played the Hulk in a sort of way. In theory, because it's a whole CGI character, he might have played the Hulk close to how much Mark Ruffalo played the Hulk in that first movie. I love that story.Pretty early on, we brought in Gavin Edwards, our third author, to help us do a book, since Joanna and I had never done a book before. We were starting to put together the notes and I was like, can we please have a mid-credits scene? Can we just have a chapter in the middle of the notes?ROBINSON: That was Dave.GONZALES: I held onto that for as long as possible. I remember in one of the final meetings after we turned in the draft, we pitched it up to the editor and they were like, “That's really fun,” and I thought, oh thank god. That was a really early idea, and Green Steve fits that perfectly; it's a super interesting story that doesn't really belong anywhere else, but will stick in your mind as, Marvel literally tried everything to make the best Hulk. So I'm very happy that it's the mid-credits chapter — and remains the mid-credits chapter! Even when we added another chapter in, we were like, where does this go? Not before Green Steve.ROBINSON: He's got the final word for sure.Amazing. The book's out of paperback now. Where can folks find it? Where can they find you? And what's next?ROBINSON: “All good and evil news agents.” That's what the Empire Magazine folks say. All good and evil bookstores or any online book purveyor is where you can find our book. Dave does a tremendous podcast called Fighting in the War Room, which I love to listen to, so you should listen to that. And together we do a podcast called Trial by Content that y'all should listen to.GONZALES: Joanna's on a fantastic podcast called the House of R with Mallory Rubin over on The Ringer, where she covers lots of cool pop culture things. If you want to go to a bookstore and don't know exactly which one to go to, you could head to theMCUbook.com. That will forward you to our publisher's website, which has links to your Barnes and Nobles, your Amazons, your Bookshops.org, and will help you track down the book near you. And look for us in a couple more years with something similar.Thanks for coming on.ROBINSON: Thanks, Walt.GONZALES: Thank you.Edited by Susie Stark.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news.  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with this weeks second instalment of our 'Heads of CG' Special!  We're back with Heads of CG for Integrated Advertising (IA) at our London and Los Angeles studios: Johannes Sambs and Jessica Groom Shelton. Across both of this weeks instalments we ask Johannes and Jess to tackle the 'Framestore Podcast Dailies' questions together, providing a rare insight into their creative leadership roles. In today's episode, we tackle common myths about working in VFX, including how Jess often has to correct friends and family who mistakenly assume she's a graphic designer! Johannes clears up the misconception that Heads of CG have "certain powers," and together they explore how visual effects are everywhere—both visible and invisible. We explore the roots of Imposter Syndrome, highlighting how it's something everyone experiences to some extent. Jess and Johannes connect over their love for The LEGO Movie, a project Jess worked on during her time at Animal Logic. We also mention influential mentors and offer some valuable career advice. Enjoy!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. We're back with another special two-part episode, featuring the Heads of CG for Integrated Advertising (IA) at our London and Los Angeles studios: Johannes Sambs and Jessica Groom Shelton. Across both of this weeks instalments we ask Johannes and Jess to tackle the 'Framestore Podcast Dailies' questions together, providing a rare insight into their creative leadership roles. Bringing nearly two decades of experience from top visual effects studios. As the current  Head of CG, LA at Framestore, Jessica Groom Shelton has previously led creative teams at The Mill and honed her craft in surfacing and grooming at Animal Logic and MPC. With a portfolio that spans blockbuster films and groundbreaking commercials, Jessica is a driving force in the VFX Industry.  Having spent near-innumerable days in the VFX industry, Johannes has been instrumental in creating breathtaking visual effects for some of the world's top brands and projects, only made possible by working alongside some of the world's top VFX artists at Framestore. As a CG expert never fully specialising in a single discipline, he still brings an artistic finesse to every frame. Starting as a freelancer, he now leads the mighty London IA CG team at Framestore. We catch up with Jess and Johannes where we hear about their leadership approaches, both in terms of Jess's recent appointment at LA's new Head of CG, and Johanness's journey as current London CG Head. We discuss the relationships that have made them great leaders, and how the number one priority is the protection of our artists and not losing that connection, which is fostered by working on projects and working with them closely.  We explore the transitions and challenges of shifting from hands-on artistic roles to senior creative positions, where the focus shifts more toward managing people and HR logistics while still staying involved in projects where making informed decisions on creative work is key. Additionally, they share insights about top secret Christmas commercials they're working on (without revealing too much, of course) and reflect on what they consider to be their big breaks in the VFX industry! This week is a must listen for anyone interested in creative leadership and managing artists at Framestore.

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with this weeks second instalment of our Launchpad Insights Special!  After a late-summer break, we're back with a special two-part episode reflecting on this year's 'Launchpad Insights', Framestore's immersive work experience. Participants are divided into teams to tackle a simulated client brief and deliver a pitch by week's end, supported by workshops, masterclasses, panels, studio access, and sneak peeks at live projects for a hands-on, creative hackathon experience. In today's episode, the second of two-parts, we are joined by Ana Asaeva and Abi Binge who were part of our May group, and Matt Nicolas who joined the programme as part of our February cohort. At various stages of study and work, this conversation offers another valuable insights into the significance of entry-level programmes like Launchpad and their influence on the future of the industry. We explore Abi, Ana, and Matt's experiences on this years Launchpad Insights programme, including the influence on their creative work, the Framestore people they connected with, and the networking skills they built. We also get their unique take on the Framestore Dailies questions, including key learnings, lessons learnt and of course, their favourite food! Interested in joining next year's Launchpad Insights programme? Apply here: framestore.recruitee.com/o/unpaid-wor…ence?lang=en

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. After a late-summer break, we're back with a special two-part episode reflecting on this year's 'Launchpad Insights', Framestore's immersive work experience. Participants are divided into teams to tackle a simulated client brief and deliver a pitch by week's end, supported by workshops, masterclasses, panels, studio access, and sneak peeks at live projects for a hands-on, creative hackathon experience. In today's episode, the first of two-parts, we're joined by Catherine Ako from our February cohort, and Vita Franchina from the May group. When Cat joined the programme, she was nearing the end of her school years and faced significant decisions about higher education and pursuing a career in the creative industries. Vita, on the other hand, had just graduated when she joined us in May and was at a pivotal point in deciding how to focus her talents and career direction. We catch up with Vita and Cat since they joined this years Launchpad Insights programme in our London studio this year. With Cat about to embark on a Games Art Degree at Hertfordshire University and Vita currently studying and working in Japan, this conversation offers valuable insights into the significance of entry-level programmes like Launchpad and their influence on the future of the industry. We explore both Vita and Cat's experiences with Launchpad Insights this year, including the software and soft skills they developed, as well as the Framestore creatives they connected with, who remain valuable sources of advice and support. We also get both Cat and Vita's take on the Framestore Dailies questions, including key learnings, lessons learnt and of course, their favourite food!  The Framestore Podcast returns this Thursday with the second instalment of our conversation with our Launchpad Insights alumni, with Anastasia Asaeva and Abi Binge from our May cohort, and Matt Nicolas from Februarys group. Stay tuned! Interested in joining next year's Launchpad Insights programme? Apply here: https://framestore.recruitee.com/o/unpaid-work-experience?lang=en

Dans ce 16e épisode de Pop-Code, on revient sur "Jurassic Park". Ce film parle de la recréation des dinosaures par un milliardaire, mais également évoque la recréation numérique des dinosaures via les effets spéciaux par Spielberg! C'est donc un épisode "méta" sur l'impact du numérique dans l'industrie créative du cinéma! Pour en discuter, on reçoit Stefan This, ancien étudiant de l'HEAJ et animateur CGI pour plusieurs entreprises (Framestore, ILM pour en citer 2) pour parler du rôle des technologies numériques le cinéma, de l'évolution du métier d'animateur et des nombreux défis (IA, invisibilisation du travail et conditions parfois difficiles). Suivez-nous et donnez-nous votre avis sur Twitter (https://twitter.com/bvdose) ou Linkedin (https://www.linkedin.com/in/anthony-simonofski-26793385/) !     Pour en savoir plus: Série de vidéos sur l'invisibilisation des effets numériques: https://www.youtube.com/watch?v=7ttG90raCNo&tLivre sur l'histoire des effets spéciaux: Pascal Pinteau (2015), "Effets spéciaux : Deux siècles d'histoires", Bragelonne ed. Making-of de Jurassic Park: https://www.youtube.com/watch?v=2h7PgPETJKU&list=PLjREJSobUVyBbs07CdKiy5vF30W8FQjxJ&index=6Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. This week we return to the Art Department for a conversation with Framestore Concept Artist, Jules Darriulat. Jules is a highly respected artist in his field, known not only for creating stunning concepts for Framestore projects but also as the co-founder of Concept 101. In part two, Montreal based Modeller, Pierre-Edouard Merien takes over the pod where he delves deeper into Jules' role, inspirations, challenges and more! We find out about what inspires Jules to continually improve his craft, his definition of creativity and a sneak peek into his process when starting on a new concept.  Jules shares his early inspirations, movies and artists that shaped him as a creative, his views on generative AI, and lots of advice on how to train your creativity and improve your artistic fundamentals. Resources mentioned across both Part 1 (out last Monday) and Part 2: Artists: Darek Zabrocki - Kingdom of the Planet of the Apes: www.artstation.com/artwork/vDnB1D Jeremy Love - Kingdom of the Planet of the Apes: www.artstation.com/artwork/rJxQNa Julien Gauthier - The Rings of Power: www.artstation.com/artwork/YBYDz6 Teaching resources: Learn Squared: www.learnsquared.com/ Alex Senechal - Visual Basics course: acms.gumroad.com/l/visualdesign?layout=profile Scott Robertson Youtube: www.youtube.com/@scottrobertsondesign James Gurney Youtube: www.youtube.com/@JamesGurney Concept101: Website: www.concept101.co.uk/ Instagram: www.instagram.com/concept_101_event/ Youtube: www.youtube.com/channel/UCpxuj0umDSlw0rIGaqfSveQ Jules' portfolio: Artstation: www.artstation.com/julesdarriulat Instagram: www.instagram.com/julesdarriulat/ GOELAND project: www.artstation.com/artwork/AlzO8W

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. This week, we return to the Art Department for a conversation with Framestore Concept Artist, Jules Darriulat. Jules is a highly respected artist in his field, known not only for creating stunning concepts for Framestore projects but also as the co-founder of Concept 101. In today's first part, we dive into the Framestore Podcast Dailies, discussing life as a concept artist, the origins of Concept 101, routes into the industry, and many lessons learned along the way. On Thursday, we hand the mic to this week's guest co-host, Montreal-based Modeller and Launchpad alum Pierre-Edouard Merien, who will explore the craft of concept art in greater depth with Jules. We explore how Jules began his journey as a Concept Artist, the creation of Concept 101, and offer advice on courses, software, mentorship, and other methods for mastering the craft of concept art. What was once a single hidden path has now expanded into twenty! We also discuss Jules' favourite types of art to create, the differences between working in concept art teams for movies and TV shows versus the games industry, and the significance of grasping artistic fundamentals. Resources mentioned across both Part 1 and Part 2 (out on Thursday): Artists: Darek Zabrocki - Kingdom of the Planet of the Apes: https://www.artstation.com/artwork/vDnB1D Jeremy Love - Kingdom of the Planet of the Apes: https://www.artstation.com/artwork/rJxQNa Julien Gauthier - The Rings of Power: https://www.artstation.com/artwork/YBYDz6 Teaching resources: Learn Squared: https://www.learnsquared.com/ Alex Senechal - Visual Basics course: https://acms.gumroad.com/l/visualdesign?layout=profile Scott Robertson Youtube: https://www.youtube.com/@scottrobertsondesign James Gurney Youtube: https://www.youtube.com/@JamesGurney Concept101: Website: https://www.concept101.co.uk/ Instagram: https://www.instagram.com/concept_101_event/ Youtube: https://www.youtube.com/channel/UCpxuj0umDSlw0rIGaqfSveQ Jules' portfolio: Artstation: https://www.artstation.com/julesdarriulat Instagram: https://www.instagram.com/julesdarriulat/ GOELAND project: https://www.artstation.com/artwork/AlzO8W

As DC Studios prepares to kick off Chapter One: Gods and Monsters, fans are eagerly awaiting the new lineup of films and shows, starting with Creature Commandos in December. But alongside the excitement, there are concerns about how VFX artists are treated in the industry. James Gunn, co-CEO of DC Studios, recently addressed these concerns by promising better working conditions for these crucial artists. In a recent post on Threads, Gunn assured fans that DC Studios is committed to giving VFX artists the time and respect they need to do their best work. "If you do some research you'll see my films have always taken a different approach and I've always given my VFX artist-collaborators time to do their jobs properly, and the respect they deserve," Gunn explained. He also praised the teams at Weta, Framestore, and ILM for their talent and dedication. The first film in DC Studios' new slate is Superman, directed by Gunn, which finished production last month. With a release date set for July 11, 2025, Gunn explained that they wrapped early to give VFX artists plenty of time to work without the usual last-minute rush. "This is why we wrapped on Superman a year before release and why they've been hard at work on many shots for months before that," Gunn said. He added that other projects, like Supergirl, are being handled with the same level of care. CGI has come a long way in superhero movies. Early films like Superman (1978) and Batman Forever (1995) used basic CGI, which was impressive at the time but limited by the technology. By the 2000s, movies like Spider-Man (2002) and X-Men (2000) started pushing the boundaries with more realistic effects, but this often came at the cost of long hours and intense pressure on VFX teams. Today, CGI in superhero movies is incredibly advanced, with characters and scenes that look almost real. However, the demand for high-quality effects often means VFX artists face tight schedules and heavy workloads, which has led to increasing calls for better treatment in the industry. James Gunn's recent statements suggest that DC Studios is taking steps to address these issues and avoid the problems that have plagued other studios. A Smarter Approach to VFX WorkThe Evolution of CGI in Superhero Movies

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. For this week's two-part episode, we revisit the world of Framestore Launchpad Summer Internships as we're joined by members of this year's cohort from all participating studios: London, Melbourne, Montreal, New York, and Chicago! In part two, we meet Nia Coffer, CG Intern in Chicago; Nicolas Bonilla, Design Intern in New York; and Edric Leclercq, Marketing intern, who had just completed his internship in Montreal at the time of recording. We focus on our guests experiences of the internship programme, comparing expectations to reality, and provide a glimpse into a typical day as a Framestore intern. We hear about their supportive mentors, studio culture, and how the duration of the US programme differs to Montreal's. We discuss the value of having the space to learn, the importance of trust, and the behind-the-scenes experience of working on live projects. Our guests also share insights on developing soft skills through client interactions, connecting with global teams, and receiving regular feedback. If you're thinking about applying next year, at the end of this episode we are joined by Global Director, Recruitment & Outreach, Amy Smith, for more details on how you can get involved. So stay tuned!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another brand-new instalment. For this week's two-part episode, we revisit the world of Framestore Launchpad Summer Internships. Rather than featuring a lineup of Launchpad alumni, we're joined by members of this year's cohort from all participating studios: London, Melbourne, Montreal, New York, and Chicago! Kicking the week off we are joined by Framestore Interns based in London and Melbourne! On part one we meet with Mario Cano, Software Developer Intern and Bhawat Chaitantipongse, Compositing Intern who are both over halfway through the London programme, and Tania Pham, who had just completed her internship as part of Melbourne's first-ever Launchpad at the time of recording. We focus on our guests experiences of the internship programme, comparing expectations to reality, and provide a glimpse into a typical day as a Framestore intern. We hear about their supportive mentors, studio culture, and the learning process of getting to grips with the Framestore pipeline. Maria and Bhawat discuss their experience sharing accommodation and living with the entire London cohort, while Tania reflects on being part of the inaugural internship programme at our Melbourne Studio. They also discuss adjusting to meetings, gaining trust to work on live shows quickly, and finding time for their personal projects. The Framestore Podcast returns this Thursday with the second instalment of our conversation with this years Launchpad Interns, as we hear from members of our cohort in Chicago, New York and Montreal. Stay tuned!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week with another fantastic two-part episode! On Monday's episode, we caught up with New York based Will Frazier, Associate Creative Director, to learn about his career journey and how he became integral to our work on the Geico Gecko. Guest co-host Leslie Clark, Junior Asset Technical Director, leads Part Two for an in-depth discussion about his career, inspirations, collaborations and lots more! We learn more about Will's work on the Geico Gecko, including the creative process behind developing the character. He also shares his personal favourite spots and how his friends still send him lizard memes, calling him the 'Gecko Guy.' We also get an insight into life on a shoot and his on-set responsibilities. We also discuss what inspired Will to pursue a career in animation and explore some of his early childhood influences. We discuss his favourite movies, changes in the industry, and Will's views on the importance of school outreach programmes in promoting diversity within the industry. Stay tuned!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another excellent new episode. On today's episode we warmup our guest up by inviting them to take on the Framestore Podcast ‘Dailies', our 13 question ‘grilling' followed by Thursday's second part where our co-host leads a deeper dive into why we invited them on the pod in the first place. In our latest instalment, we sit down with New York based Will Frazier, Associate Creative Director, to learn about his career journey and how he became integral to our work on the 'Geico Gecko,' the tiny lizard with a unique love for insurance! This is essential listening for anyone pursuing a career in a creative role and seeking to maximise their opportunities. Beyond his acclaimed work on Geico, Will has an extensive portfolio spanning various commercial projects, films, and episodic shows. His credits include Smurfs, Inside Llewyn Davis, The Secret Life of Walter Mitty, Captain America: The First Avenger, Thor: Ragnarok, Wandavision, and Fantastic Beasts and Where to Find Them: The VR Experience, among others. This week, we are joined by our special guest, Leslie Clark, Junior Asset Technical Director, also based in our New York studio. We learn about Will's initial internship path (when internships were only four weeks long), how he swiftly began working on the Geico Gecko, and his ongoing responsibility for maintaining the lizard's consistent look and feel across projects and spots. We discuss Will's early role as Lead Animator, highlighting his proactive efforts in securing his current position and earning the title of Associate Creative Director. We emphasise the significance of maintaining honesty and transparency, working with your heroes, exceeding job expectations, and being a pleasure to work with. The Framestore Podcast returns this Thursday with the second instalment of our conversation with Will Frazier, as Leslie takes over as cohost and leads the interview. Stay tuned!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week with another thought provoking two-part episode! On Monday's episode we caught up with VFX Producer Natalie Miller and Animation Supervisor Nathan McConnel who both recently stepped into acting head roles in Production and Animation, respectively, in our Mumbai studio Having already been through a 'Mumbai flavoured' version of our 13 question grilling, otherwise known at the Framestore Podcast Dailies, on Part Two we pass the mic to this week's guest co-host Jignesh Solanki, VFX Training Manager based in the studio. We hear more stories about Nathan and Natalie's recent adventures in Mumbai! They share a variety of memorable moments outside of the studio, including unique cinema experiences, taking photos with babies, and introducing family members to India. We also discuss the growth of our Mumbai studio and its steady rise within the Framestore ecosystem. We also discover Mumbai's 24 hours grocery deliveries, the sense of safety experienced in a city that never sleeps, and lots of local food and restaurant recommendations that will make your mouth water! We wrap up with significant personal and professional development learnings that resulted from their time spent at the studio. Namaste.

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another fantastic new episode. On today's episode I warmup our guests up by inviting them to take on the Framestore Podcast ‘Dailies', our 13 question ‘grilling' followed by Thursday's second part where our co-host leads a deeper dive into why we invited them on the pod in the first place. On this episode, we get to check-in with recent Mumbai secondees, VFX Producer Natalie Miller and Animation Supervisor Nathan McConnel. Nat and Nathan both recently stepped into acting head roles in production and animation, respectively, in our Mumbai studio and now that they've returned, we get a taste of what that was like through the lens of the Framestore Podcast. Nat, with over 11 years at Framestore, has worked on blockbuster hits like Imaginary Friends, Barbie, Wonka, His Dark Materials, and more. Nathan, an animation veteran of 20+ years, has led projects like Guardians 3 and Fantastic Beasts: The Secrets of Dumbledore. This week we are joined by a special co-host in the form of Jignesh Solanki, VFX Training Manager based in Framestore Mumbai! We hear about how Nathan and Nat soaked up Indian culture, the joys of dancing at work, the acceleration of their professional and personal development, and the palpable nostalgia of working in a busy Framestore studio! We discuss building a life in Mumbai, uncovering India's equivalent of 'Shoreditch', navigating the traffic, and the comforting familiarity of a Framestore studio with an Indian twist. We also explore the experience of working with and leading both the Production and Animation teams in Mumbai! This is an excellent episode. We hope you enjoy it!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week where we're taking a short Summer break with a series of REWIND special episodes, where we go back in time and revisit some of our favourite episodes of the pod. For our final instalment we are going back to Episode 29! Originally aired on Monday 18th September 2023, we met with Martin Macrae, Head of the Art Department at Framestore. Joining as co-host back then was Fern Hodgson, Production Manager, also in the Art Department. We discuss Martin's experience as a 'dinosaur skin designer' on the groundbreaking series 'Walking with Beasts' in 2000, and learnings throughout his career, including the importance of patience, cultivating an open-minded approach, and why you should never take things personally. We also cover themes of creativity, insights into the excellent work of the Framestore Art Department and Martin's other passion as an accomplished composer of film soundtracks. Let's turn back the clock one last time, and go back to September 2023 with Martin Macrae and Fern Hodgson. Enjoy!

My guest today is Simon Devereux, Director of Global Talent Development at Framestore and founder of Access VFX. Together we talk about how to break into the visual effects and animation industry by 1. Runner 2. Internships 3. Apprenticeships 4. Junior and how to stand out from the crowd. Enjoy the show! ⁠

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week where we're taking a short Summer break with a series of REWIND special episodes, where we go back in time and revisit some of our favourite episodes of the pod. For this instalment we are going back to Episode 22! Originally aired on Monday 12th June 2023, we met with Raphaelle Weisz, VFX Associate Producer, based in Montreal who agreed to take part in one of our production focused episodes. Joining as co-host back then was Chris Mylordos, a Production Assistant based in London, who has since been promoted to Production Coordinator. Congratulations Chris! Raphaelle and Chris discuss Rapha's experience training with the Mumbai team at the time, amazing mentors, how a compositing background lends credibility to a production role and a shared responsibility to 'delegate to elevate'. We particularly love this one as we get into the importance of mental self care, the power of a 'question mark' and using empowering words to reframe challenges. We also go deep on pop royalty and vegan food choices. Let's turn back the clock and go back to the Summer of 2023 with Raphaelle Weisz and Chris Mylordos. Enjoy!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week where we're taking a short Summer break with a series of REWIND special episodes, where we go back in time and revisit some of our favourite episodes of the pod. For this instalment we are going back to Episode 17! Originally aired on Monday 3rd April 2023, we met with Ellen Boss, London-based VFX Scheduler who agreed to take part in a series of Women's History Month special episodes. Joining as co-host back then was Katie Chang, Los Angeles-based Scheduling Assistant, who has since been promoted to Creative Resource Scheduler. Congratulations Katie! Ellen and Lisa get into the significance of Women's History Month, uncovering how the team works between Film and Advertising pipelines, and we revel in the wonderful experience of being surrounded by a multitude of brilliant mentors. Anyway, enough from me, let's turn back the clock and go back to April last year with Ellen Boss and Katie Chang. Enjoy!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week where we're taking a short Summer break with a series of REWIND special episodes, where we go back in time and revisit some of our favourite episodes of the pod. For this instalment we are going back to Episode 10, Part 2! Originally aired on Thursday 2nd February 2023, we met with Matt Hughes, Global Head of Modelling at Framestore who agreed to take part in our first Management & Leadership special alongside cohost, VFX leadership coach, Debbi Coleman. We chose to air 'Part 2' of this episode, featuring Debbi as co-host as she dives deep into Matt's expertise in management and leadership, making for an insightful conversation that's definitely worth a re-listen! Let's turn back the clock and go back to February last year with Matt Hughes and Debbie Coleman. Enjoy!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week where we're taking a short Summer break with a series of REWIND special episodes, where we go back in time and revisit some of our favourite episodes of the pod. For this instalment we are going back to Episode 14! Originally aired on Monday 20th February 2023, we met with Visual Effects Supervisor and Creative Director, Russell Dodgson, who had recently delivered the incredible third and final season of Philip Pullman's 'His Dark Materials'. Joining as co-host at the time was Sana Rehman, VFX Production Coordinator, who has since been promoted to VFX Line Producer! We discuss the 'people game' of being a VFX Supervisor, how the things that you do outside of your work often define what it is you love about your job, the importance of having 'imposter syndrome' and recognising that you may not always be the smartest person in the room. As well as reflecting on 5 years on His Dark Materials, we also reminisce on a love of DVD extras, breakdancing, Thai boxing, and a career peppered with incredible micro-mentors. This was famously the first mention of the idea of 'micro mentors', and has come up many times on the pod since! Anyway, let's turn back the clock and go back to February last year with Russell Dodgson and Sana Rehnman. Enjoy!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week where we're taking a short Summer break with a series of REWIND special episodes, where we go back in time and revisit some of our favourite episodes of the pod. This week we are going back to where it all started! Our journey began on Monday, November 21, 2022, with our very first episode where we met Sergio Gonzalez. At the time, Sergio was an Unreal and 3D Trainer; now, he serves as the VFX Training Manager on the Framestore Training Team. Joining as co-host at the time was Tom Perry, an animation graduate from Escape Studios, and Runner in London. Since recording this episode Tom gone on to join the Framestore Data Services Team as a Technician where he has been to date! This episode was a blast to record in person in the London Training Room, gathered around a single microphone. It has a bit of a raw feel, and it's also the episode where the Framestore Podcast Dailies Spotify Playlist was created, thanks to Sergio. So we hope you enjoy our trip down memory lane, and please keep in mind that 2022 was a different time, and since then, we have all enhanced our knowledge and skills. We hope you enjoy our Summer REWIND!…

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week with another thought provoking two-part episode! In our second part, this week's guest co-host, Montreal based Technology Coordinator Patricia Lauzon, takes over the pod and interviews Manon, where we explore his career, inspirations, collaborations and lots more! We hear more about working with Will.i.am on his new startup, Sound Drive, and explore Manon's role, which essentially involves creating "cool stuff" that intersects technology, consumer interests, and content. Additionally, we discuss how storytelling influences his work and Manon's love of traditional feature length films! We get some Manon Dave 'exclusives' on the pod, including a fantasy collaboration with Philip Seymour Hoffman, and a glimpse into his childhood 'imaginary friend'. We also hear about Manon's passion for youth empowerment and his important work inspiring the next generation of creatives. We hope you enjoy this inspiring conversation!

¡Bienvenidos al Episodio Número 35 de "El Podcast del 3D"!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another fantastic new episode. Every two weeks on Mondays, we welcome a special guest to the pod to answer questions about their inspirations, work at our studio, and career journey via the Framestore Podcast 'dailies' questions. Then, the following Thursday, we invite a guest 'co-host' from our global community to take over, engaging our guest in a deeper dive conversation for a valuable learning experience. Our special guest this week is Creative Technology Director Manon Dave! Manon is a product designer, inventor, musician, and creative technologist known for leveraging technology to create immersive experiences for the entertainment and education industries. He was behind two of TIME Magazine's Top 100 Inventions of 2022 and has appeared on the list five times. Over his decade-long career, Manon has received numerous awards for innovation and design, including CES, iF, and Red Dot awards. He has led product development for innovative UK startups like ROLI and Kano, with his products featured in Apple stores globally. As a creative director, Manon has worked with clients like Mercedes, HBO, and Christian Dior. In 2023, he became Artistic Director of TED Tech. In music, Manon has co-written songs with will.i.am, PJ Morton, and Idris Elba, and produced for UK rap artist Che Lingo. His music has been featured in NBA2K, FIFA, and Apple ad campaigns. He also advises leading musical artists and is a published songwriter and producer with Universal Music. Our co-host for this conversation is Technology Coordinator, Patricia Lauzon. Patricia joined Framestore Montreal on reception in November 2019, then quickly moved into a Runner role, and then the Systems Support team where she's been since September 2020. A graduate of the NAD, School of Digital Arts, Animation and Design, where she studied 2D and 3D Animation, Modelling, Texturing and Rigging, Patricia is the perfect co-host for this weeks podcast. We get into the fascinating career of Manon, a trailblazer whose journey spans from music production to product management. We discover what inspired Manon to navigate such varied roles and industries, and gain insights into the evolving intersection of art and innovation. With a rich background in both music and technology, Manon shares thoughts on the future of creativity in the age of AI and machine learning. Manon shares his latest work on the inspiring film '1 in 100 Million,' celebrating the Refugee Olympic Team for Paris 2024. We discuss his sources of inspiration, his amazing mentors and personal journey managing imposter syndrome. Despite his many roles, including shaping the future of technology and creativity at Framestore, Manon remains humble and grounded. Check out the inspiring '1 in 100 Million' at: https://www.youtube.com/watch?v=ztBUQAW89z4

Ian Failes from befores & afters chats to Framestore visual effects supervisor Josh Simmonds about the Adam Driver film, '65'. We get into the ‘role' of VFX in helping to craft a story.

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another fantastic new episode. In our second part, we continue to celebrate the stunning visual effects in TED Season 1 where Framestore's Melbourne studio reunited with Seth Macfarlane, a decade after TED 2, to create a prequel set in 1993 following the early exploits of sentient teddy bear Ted and his time with the Bennett family in Massachusetts. Joining us on this weeks pod are: VFX Supervisor, Glenn Melenhorst Head of Animation, Nick Tripodi VFX Producer, Pippa Sheen CG Supervisor, Sam Doolan Nick, Pippa, Sam and Glenn share their insights into the team dynamics working on the show, where the creative influences were coming from, how Production saved the day and the key elements that make the show work so well. Additionally, they acknowledge the evolution of the Ted 'playbook' and the science of 'bong simulation'. We get into the new learnings the team gained from working on Season 1, a rare look into the motion capture process when recreating the character of Ted, plus what dailies meetings were like with director, Seth Macfarlane. We also get into some of the amazing lighting work displayed in this season, and the often unappreciated, invisible art of visual effects. Enjoy!

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week with another excellent new two-part episode! In Episode 44, we're switching up our usual format to appreciate the remarkable visual effects achievement showcased in the hilarious TED Season 1. Framestore's Melbourne studio collaborated once again with Seth Macfarlane, a decade after their collaboration on TED 2, to deliver a 'longform' prequel set in 1993, delving into the early adventures of sentient teddy bear Ted and his time with the Bennett family in Massachusetts. Joining us on the pod, we have four very special guests ready to dive into our customised Framestore Dailies questions: VFX Supervisor Glenn Melenhorst Head of Animation Nick Tripodi VFX Producer Pippa Sheen CG Supervisor Sam Doolan We discuss the evolution of Ted's look and fur for this series in contrast to the movies, the significant hurdles encountered in bringing Ted to life again, particularly in light of technological advancements since TED 2, and the close partnership with Seth MacFarlane throughout the animation and VFX process.  We also get into the shows excellent character acting, which Seth MacFarlane considered some of the finest he'd witnessed, how the team maximised the comedic timing of MacFarlane's dialogue, and we explore the positive collaboration of the Melbourne team on another TED project! Find out more about our work on TED via our website at: TED Season 1: https://www.framestore.com/work/ted-season-1 TED 2: https://www.framestore.com/work/ted-2

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back this week with another thought provoking two-part episode! In our second part, this week's guest co-host, Michael Savva, Technology Project Manager from the Global Production Technology team, takes over the pod and interviews Manpreet, where we explore leadership approaches, a shared background in engineering and lots more! In the second part, we delve into project management strategies, fostering team growth and development, and trusting in systems and workflows. We also explore Manpreet's day-to-day experience of testing out new ideas, what fuels his enthusiasm for his role and how he stays updated and connected on his craft.  We get into why a well-rounded skillset, including people management, embracing diverse perspectives, and a solution-oriented mindset are essential qualities for effective leadership. Plus, Manpreet shares his advice for those aspiring to enter a technical role in visual effects.

With a filmography including The Dark Knight, Gravity, Avatar, Children of Men and more, Tim Webber is one of the most successful Visual Effects Supervisors of recent years. We talk to Tim about his time on those movies, working for famous effects studio Framestore, and winning an Oscar, no less.   Episode sponsors: BetterHelp: For a 10% discount off your first month with BetterHelp, click here Connect with ATRM: To support what we do, access our archive and listen to exclusive episodes, become an ATRM patron. Twitter: @ATRightMovies YouTube: Subscribe to our channel Instagram and Threads: @allthe_rightmovies  Facebook: Join our movie group TikTok: @alltherightmovies Website: alltherightmovies.com

On the evening of Thursday 21st September, XVFX, the ACCESS: VFX community for people of colour, held their ‘End the Summer with XVFX' event kindly hosted at Framestore's London studio, and sponsored by Foundry. In addition to hosting a wonderful networking opportunity and event, we also had a dynamic panel discussion on the night with 'near peer' industry guests from our members' studios, in creative, production and tech positions. Expertly chaired by ACCESS: VFX board members, Executive Producer Anne Akande and Creative Director Nene Parsotam, all MC'd by VFX Supervisor and Filmmaker, Mark Pinheiro Our brilliant panel provided insight from DNEG Line Producer, Alisha Huxtable, Framestore Labs Support Engineer, Derin Owodunni and Creative Storyteller, Hameed Adigun.

Concept Artist Jules Darriulat shares his journey from hustling for art jobs & experience to working on movies at Framestore. We also discuss the phenomenon of needing to prove yourself as an artist and what that entails. This ep covers many topics, such as Jules's journey co-founding the Concept 101 event, mentoring, and much more.  - FOLLOW JULES https://www.artstation.com/julesdarriulat https://www.instagram.com/julesdarriulat https://uk.linkedin.com/in/jules-darriulat https://www.concept101.co.uk/ - FOLLOW LEARN SQUARED  https://www.learnsquared.com https://www.instagram.com/learnsquared https://www.twitter.com/learnsquared https://www.linkedin.com/school/learnsquared  - YOUR HOST  https://www.artstation.com/dhanda https://www.instagram.com/dhandatron https://www.twitter.com/dhandatron

The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.This is the third episode with the phenomenal Myriam Catrin, The Dragon Lady, who for multiple decades have created textures and looks for some of cinema's most memorable assets in modern times. Myriam is absolutely one of the world's very best texture artists (my calculation, not hers)!Over the course 4 hours in 2021, we had an in-depth and very wide ranging conversation. If you have not listened to the first two, do yourself a favour and check them out as well. In this episode we talk a lot about what makes Myriam tick as an artist, and how she thinks about her work as a texture artist.Myriam is a fantastic artist, who's work and interests reach far beyond VFX. Do yourself a favour, please, and explore and support the amazing work Myriam also does:https://www.artstation.com/myriamcatrinSadly her amazing comic book, Passages, is currently sold out. But look out for new print runs here:https://shop.publicdomain.paris/product/passages-myriam-catrinMyriam has also recently contributed beautiful artwork to the Modern Calligraphy Bible:https://schifferbooks.com/products/modern-calligraphy-bibleAs well as the exciting project Nariko's Voyage, which is in development for TV:https://www.narikosvoyage.com/Footer:The Naked Texture Artist is produced by Marque Pierre Sondergaard.Support us on https://ko-fi.com/thenakedtextureartistContact us on thenakedtextureartist@gmail.comFollow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/Additional sound effects from https://www.zapsplat.comThe Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.I am excited to present this, the first episode with my good friend Manuel Huertas Marchena. I met Manuel a million years ago, when we worked on Deadpool together. He was already doing amazing hero work back then. More than that, he quickly became my favourite ex-colleague, with whom I discuss all of the big, small and everything in between things relating to our craft and our industry. This episode is taken from a recording we did 2 years ago.Find out more about Manuel here:https://www.linkedin.com/in/manuelhuertas/Footer:The Naked Texture Artist is produced by Marque Pierre Sondergaard.Support us on https://ko-fi.com/thenakedtextureartistContact us on thenakedtextureartist@gmail.comFollow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/Additional sound effects from https://www.zapsplat.comThe Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

Christian Kaestner began his career as an art director at leading advertising agencies, crafting unique work for clients such as Sony and Adobe. After working with high-profile clients to create beautiful, memorable imagery he pivoted to VFX in the mid-2000s. He graduated from San Francisco's Academy of Art University with a Masters of Fine Arts in 3D Animation and Visual Effects and launched his VFX career with The Orphanage, before joining Framestore in 2007. Since then, he has worked on a wide variety of projects including The Dark Knight, Quantum of Solace, Where The Wild Things Are, Avatar and the Oscar-winning Gravity. Christian made the move to Montreal in 2013 and quickly established himself as a key member of the studio's senior team, supervising titles such as Paddington, Alien: Covenant, Mary Poppins Returns, Captain Marvel, The Aeronauts, and the BAFTA-winning His Dark Materials. His most recent project is 1899, a major episodic project for Netflix utilizing Europe's largest LED volume facility. Here he led a team spanning concept art, visualization, virtual production and VFX. Highlights of the Episode:0:00 Introduction0:18 Introduction of guest1:35 Getting into film3:34 Why commercials?4:42 How studying helps you jump into the industry6:51 Getting a break9:57 Good route for anyone wanting to get into the industry11:48 Improving mentoring in a remote work setting15:49 Becoming a visual effects supervisor17:23 A VFX supervisor's job18:55 What makes a good visual effects supervisor?22:31 How a visual effects supervisor differs from a virtual production supervisor34:17 What virtual production tools need to succeed40:37 Virtual production ideas that didn't work when done42:08 How water environments were approached in the volume45:38 How much change happens once work is turned over to the vendor?49:14 Challenges in virtual production that needs solving50:02 Working from home and productivity52:49 AI and how it will affect the visual effects industry56:35 How to compensate for the things we don't have to do anymore59:02 What's emerging that can be exciting1:03:57 Advice for someone who wants to break into the industry1:14:33 Outro Connecting with the Guest:Website: https://www.framestore.com/Linkedin: https://uk.linkedin.com/in/ckaestnerInstagram: https://www.instagram.com/ckvfx/Twitter: https://twitter.com/ckvfx?lang=en Connecting with CG Pro:Facebook: https://www.facebook.com/groups/becomecgproInstagram: https://www.instagram.com/becomecgpro/Website: https://www.becomecgpro.com/Twitter: https://twitter.com/edgevisualCG #virtualproduction #remoteworking #cgpro

Hollywood star Michael Douglas talks about his double-Oscar winning movie career, how he's still learning the craft of acting and about his new film, Ant-Man and The Wasp: Quantumania, which is in cinemas now. As the first anniversary of the Russian invasion of Ukraine approaches, we hear from two artists working in the country under conflict - Oksana Taranenko, director of the opera Kateryna in Odesa and Hobart Earle, Conductor of the Odessa Philharmonic. William Sargent, the founder of Framestore, the visual effects studio behind Top Gun: Maverick and Sean Clark, the CEO of Aardman, the creators of Wallace and Gromit, join Tom Sutcliffe to discuss their fears for the future of visual effects and animation in the UK. Presenter: Tom Sutcliffe Producer: Harry Parker Image: Michelle Pfeiffer and Michael Douglas in the film Ant-Man and The Wasp: Quantumania.

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.

We say it all the time: your backup requirements must be based on business/organizational needs. If you keep that mind, not only will your organization be better off, it'll be easier to get approval for the new backup system you want. This episode of our Backup to Basics series goes right to that core idea, and we get advice directly from one of our favorite guests: Jeff Rochlin. He is now the Head of Technical Operations at the LA Studio of Framestore, a visual effects company. In his 30+ year career he has designed and implemented dozens of systems (at least one of them with Mr. Backup). He shares with us his tips on how to design the system AND how to get it approved. If you'd like to see what Jeff and Curtis do for fun, check out their other podcast, https://podcasts.apple.com/us/podcast/the-things-that-entertain-us/id1619856804 (The Things That Entertain Us.)

In this episode Steve Beigun, Senior Tech Artist currently at Framestore joins Alex and Jacob to talk about Tech Art, Pop Tarts, and much more!

Samuel Gregory is the founder of Jupiter and the Giraffe, a website design consultancy.During his time Samuel has helped world-class tech companies like Netflix and Corning as well as Conde Nast build engaging and experiential websites working as both an engineer, leveraging his experience coding since the early 2000s as well as a technical program manager as well as a project manager.Using his experience and appreciation for creativity gathered during his time at Framestore, Samuel has also consulted with UI designers and user experience designers on many digital products.An awesome episode with Samuel where we talk about development and crappy vs. great websites, what makes a good developer and of course the Agile methodology. His books to make sense of it all Agile Lingo are a great help! Hear how he wrote a book with his partner a Python BOT!https://www.jupiterandthegiraffe.comhttps://thefullstackagency.xyzWith this experience, Samuel has seen many of the ups and downs that can happen on website projects from both the technical side and the business side. He uses this knowledge, along with his ability to communicate complex, technical ideas into more accessible language teaching what he believes is expected in modern website development. This streamlined approach helps to keep both clients and teammates working effectively together and with no friction.Much of Samuel's work has focused on creating YouTube content, books and courses in order to help the world build better websites for more people.

  The connection between Lean and Agile is widely misunderstood. In this podcast we will answer all your questions about these two different approaches. Join us as Samuel Gregory explains when an agile approach is needed and what's really behind the word.     SAMUEL GREGORY Samuel Gregory is the founder of Jupiter and the Giraffe, a website design consultancy as well as hosting the weekly That Tech Show Podcast. During his time Samuel has helped world-class tech companies like Netflix and Corning as well as Conde Nast build engaging and experiential websites, working as both an engineer, leveraging his experience coding since the early 2000s as well as a technical program manager and a project manager. Using his experience and appreciation for creativity gathered during his time at Framestore, Samuel has also consulted with UI designers and user experience designers on many digital products. With this experience, Samuel has seen many of the ups and downs that can happen on website projects from both the technical side and the business side. He uses this knowledge, along with his ability to communicate complex, technical ideas into more accessible language teaching what he believes is expected in modern website development. This streamlined approach helps to keep both clients and teammates working effectively together    CONNECT WITH SAMUEL LinkedIn: https://www.linkedin.com/in/samgregorydigital/ Website : https://www.thefullstackagency.xyz/ Book: https://www.thefullstackagency.xyz/books/lingo-agile-book Key Topics in this podcast: ● Samuel's career background ● How he came up with the name of his company ● What is Agile and its connection to Lean? ● Simplifying the term “Agile” ● Why some people dislike Agile ● The history of the connection of Agile and lean ● How Agile originated from Lean ● Interactivty of websites and Its benefits for companies ● What needs to change in education to help industry to focus on learning and not just delivering ● Samuel's advice for the young people who just started out their career KEY TAKEAWAYS ● Agile is an iterative approach to project management and software development that helps teams deliver value to their customers faster and with fewer headaches. ● An agile team delivers work in small, but consumable, increments. Requirements, plans, and results are evaluated continuously so teams have a natural mechanism for responding to change quickly. ● Scrum is a framework that helps teams work together. Much like a rugby team (where it gets its name) training for the big game, scrum encourages teams to learn through experiences, self-organize while working on a problem, and reflect on their wins and losses to continuously improve. ● Kanban is a popular framework used to implement agile and DevOps software development. It requires real-time communication of capacity and full transparency of work. ● Agile isn't required for for building websites but may be more appropriate for software product development.   Memorable Quotes From Samuel Gregory ‘'Whenever you encounter something, whenever you see something new, don't just observe it, and let it fly by. Go down that rabbit hole! I am encouraging you to follow your nose.”

JINKO GOTOH is an Animation Producer and Consultant whose credits include The Little Prince; the Academy Award nominated The Illusionist; the Academy Award winning Finding Nemo. Jinko also serves as Vice-President of Women in Animation dedicated to advancing women in the field of animation. NELL LLOYD-MALCOLM is the Founding CEO of Xydrobe, a new luxury NFT platform. Previously, Nell has worked as a VFX Producer and Coordinator at Framestore, Double Negative, ILM, Sony, Untold Studios; on titles like Aladdin, Mowgli, Bohemian Rhapsody, Ready Player One, Star Wars, as well as The Crown on Netflix. KAITLYN YANG is the CEO of Alpha Studios, the first Woman-owned visual effects company in the U.S. She is a VFX Artist turned Supervisor whose titles include The Shrink Next Door, The Good Doctor, Absentia, Modern Family, Robot Chicken, Gangster Squad, and many more. Kaitlyn is a list maker for Forbes 30 Under 30 in Hollywood & Entertainment — and a Founder of 1IN4, an intersectional coalition of disabled creatives currently working in Hollywood. In this Podcast, Women Leaders in VFX discuss the statistics of representation, talk about the impact of #MeToo and Time's Up movements, give advice and provide resources to women starting out in visual effects. For more show notes, visit www.allanmckay.com/344/.