Podcasts about industrial light magic

In the first episode of the second season of Light & Magic, George Lucas and Industrial Light & Magic take viewers behind the scenes of creating the special effects for The Phantom Menace.   In this fully armed and operational episode of Podcast Stardust, we discuss: Our overall thoughts and reactions to the first episode of the second season of Light & Magic, How everyone at Industrial LIght & Magic wanted to work on a Star Wars movie, A surprising movie and character that was instrumental to the development of other digital characters like Jar Jar Binks, How people such as Rob Coleman, John Knoll, and Doug Chiang contributed to ILM and The Phantom Menace, The team effort that went into creating Jar Jar Binks, The storyboards for The Phantom Menace, and The software behind the podrace. Thanks for joining us for another episode! Subscribe to Podcast Stardust for all your Star Wars news, reviews, and discussion wherever you get your podcasts. And please leave us a five star review on Apple Podcasts.   Find Jay and her cosplay adventures on J.Snips Cosplay on Instagram.   Join us for real time discussion on the RetroZap Discord Server here: RetroZap Discord. Follow us on social media: Twitter | Facebook | Instagram | Pinterest | YouTube. T-shirts, hoodies, stickers, masks, and posters are available on TeePublic. Find all episodes on RetroZap.com.

Jedi master of visual effects Rob Bredow, known for his work at Industrial Light & Magic and Lucasfilm, takes us on a cinematic journey through the evolution of visual effects, with behind-the-scenes stories from the making of fan favorites like “Jurassic Park,” “Star Wars,” “Indiana Jones” and more. He shares how artist-driven innovation continues to blend old and new technology, offering hope that AI won't replace creatives but instead will empower artists to create new, mind-blowing wonders for the big screen.

Jedi master of visual effects Rob Bredow, known for his work at Industrial Light & Magic and Lucasfilm, takes us on a cinematic journey through the evolution of visual effects, with behind-the-scenes stories from the making of fan favorites like “Jurassic Park,” “Star Wars,” “Indiana Jones” and more. He shares how artist-driven innovation continues to blend old and new technology, offering hope that AI won't replace creatives but instead will empower artists to create new, mind-blowing wonders for the big screen.

Lucasfilm's surprise reveal of Star Wars: Tales of the Underworld headlines this week's Star Wars news.   In this fully armed and operational episode of Podcast Stardust, we discuss: The reveal of Tales of the Underworld and what the trailer and key art suggests about thi anthology series to us, The announcement by Industrial Light & Magic and Lucasfilm of the mixed reality playset Star Wars: Beyond Victory, The end of Star Wars Hunters,  The fact that there was no Revenge of the Sith panel announced for Star Wars Celebration Japan, and Well wishes for Drew Struzan. Thanks for joining us for another episode! Subscribe to Podcast Stardust for all your Star Wars news, reviews, and discussion wherever you get your podcasts. And please leave us a five star review on Apple Podcasts.   Find Jay and her cosplay adventures on J.Snips Cosplay on Instagram.   Join us for real time discussion on the RetroZap Discord Server here: RetroZap Discord. Follow us on social media: Twitter | Facebook | Instagram | Pinterest | YouTube. T-shirts, hoodies, stickers, masks, and posters are available on TeePublic. Find all episodes on RetroZap.com.

In this week's podcast, Steve recants his trip to Skywalker Ranch and Industrial Light & Magic, John sacrifices himself on the altar of Venom: The Last Dance, Bob says goodbye to Power Girl, and Aaron gets some Self Help as the crew prepares for Halloween, the upcoming election, and more!Books: The Power Fantasy #3, Self Help #4-5, StandStill #2-3, Dracula: The Impaler, DC v. Vampires: World War V #1-3, Green Lantern Dark #1, Detective Comics #1090, Harley Quinn #44, The Strange Case of Harleen and Harley OGN, Power Girl #14, Dazzler #2, Scarlet Witch #5, Zatanna: bring Down the House #5The Comic Book Podcast is brought to you by Talking Comics (www.talkingcomicbooks.com). The podcast is hosted by Steve Seigh, Bob Reyer, Joey Braccino, Aaron Amos, Chris Ceary, and John Burkle, who weekly dissect everything comics-related, from breaking news to new releases. Our Instagram handle is @TalkingComicsPodcast, and you can email us at podcast@talkingcomicbooks.com.

This episode originally aired on November 15, 2022 under the title “Industrial Light & Magic is Autistic”“If you're able to find a job where your monotropic state is not just valued but rewarded, you will be an incredibly successful Autistic person.”“Monotropic focus is the outcome of having a hyper-connected Autistic brain. When we love something, we love it to such a degree that we get into this zone. Csikszentmihalyi talked about the state of Flow.”“In order to create something that has never been created, he needed to have people who had skills that have never been used before, who had never been appreciated, who were not limited by this neurotypical view.”“Due to our monotropism we are data seekers. We are not happy unless we are gathering every single scrap of data we can, and learning everything we can about it.”“I think that they speak the same language, that they knew that they were of the same culture and that made them not just form a bond, but the bond that they formed was incredible and has lasted over 50 years.”Have you been a part of an accidentally-Autistic group where you flourished? Tell us about it in the comments! Fan Favorite Game, design #9 (get yours here)Play the game! Fan Favorites Game rulesGeorge Lucas is Autistic (Episode 74)Episode 30: Doctor Who is AutisticEpisode 10: Star Trek is AutisticReady for a paradigm shift that empowers Autistics? Help spread the news!Check us out on InstagramFind us on Apple podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPMatt's social media: Autistic Connections Facebook GroupLearn more about Angela at AngelaLauria.com and Difference PressAngela's social media: Twitter and TikTokTACP's Autism-affirming TeePublic merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

It's July, so that means it's time for the AIPT Movies podcast's “Julygantic” series! Where we cover monster movies! In the season 3 finale, Alex, Tim, and Matt discuss Steven Spielberg's dino-adventure classic, Jurassic Park!Dino DNA! Velociraptors! A charismatic T-Rex! Impressive leg muscles! Fantastic park design that makes you want to disregard any danger and buy yourself a ticket! A reluctant father figure terrifying small children for fun! Shaky jello! A disappearing neckerchief! Surprising use of a shaving cream can! One of John Williams' greatest scores! A wonderful cast that includes Sam Neill, Laura Dern, Richard Attenborough, BD Wong, Wayne Knight, Samuel L. Jackson, and Jeff Goldblum originating an iconic internet meme! Incredible animatronics from Stan Winston, and pioneering VFX from Industrial Light & Magic! One of the greatest blockbusters of all time, full of thrills and moments of horror, that harkens back to one of Steven Spielberg's first films and the original blockbuster, Jaws! Is The Fabelmans a spiritual prequel to Jurassic Park, showing the seductive nature of connection through spectacle, a lesson which John Hammond learns the hard way?!In addition, Alex shares his spoiler-free thoughts on Longlegs!You can find AIPT Movies on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The AIPT Movies podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris, Tim Gardiner, and Matt Paul, the show gives you a peek behind the scenes from three filmmakers with oddly nonexistent filmographies. You can find Alex on Instagram and Twitter @ActionHarris. Matt is a terrific artist that you can find on Instagram @no_wheres_ville. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the AIPT Movies crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter @AIPTmoviesPod.Theme song is “We Got it Goin On” by Cobra Man.

Matt Lowry, LPP, gives his co-host, Dr. Angela Lauria, a special infodump about one of his idols: George Lucas.* Lucas's early life, including his relationship with his Vader (“father”).* The vital role that PDA played in Lucas's first film company. Plus, the many Autistic traits that helped Lucas to think outside of the box and change the way that movies are made.* Movie casting and socializing with the actors - Autistic style! * George Lucas's personal journey from scrappy Rebel to lord of Empire.“George Lucas is a socially awkward man who does not like eye contact or small talk, loves talking about: cars, things that move fast, technology, film editing. He loves mythology. He loves sociology. He loves how myth can make the world a better place. He's got a lot of social justice sensibilities. Yeah, I really think that there is a lot of evidence that says that he firmly belongs enshrined in the Autistica Hall of Fame.”“He had a lot of new outside-of-the-box ideas. He did not follow traditional patterns. He was very, very much a learner.”“Carrie Fisher said he had two directions: ‘Faster and more intense!'”“But he said, ‘F**k the systems. F**k all the systems. I am out of the systems. I'm going to do the things the way that I want to do them.' Because PDA.”“She is and will always be an icon. She is one with The Force. May she rebel in peace.”“He changed the way that movies were made.”Are you a George Lucas fan? Or, are you a passionate filmmaker? Tell us about it in the comments!George Lucas' father issues unfold on filmLucas Museum of Narrative ArtBook: Empire Building: The Remarkable Real Life Story of Star Wars by Gary JenkinsVideo (45 min): Icons Unearthed: Star Wars Empire of Dreams Video (64 min): From Star Wars to Jedi: The Making of a Saga Joseph Campbell and the Power of MythEpisode 04: Industrial Light & Magic is AutisticEpisode 37: Motion Pictures are AutisticEpisode 63: Elsa is AutisticEpisode 64: Taylor Swift is AutisticReady for a paradigm shift that empowers Autistics? Help spread the news!Check us out on InstagramFind us on Apple podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPMatt's social media: Autistic Connections Facebook GroupLearn more about Angela at AngelaLauria.com and Difference PressAngela's social media: Twitter and TikTokTACP's Autism-affirming TeePublic merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

Ian Failes from befores & afters chats to Industrial Light & Magic visual effects supervisor Richard Bluff about 'Ahsoka.'

SEASON 2 - EPISODE 88 - JOHN KNOLL - VFX SUPERVISOR On this episode of the Team Deakins Podcast, VFX supervisor John Knoll (THE BATMAN, ROGUE ONE, PIRATES OF THE CARIBBEAN) joins us to talk about his career and his craft. Despite growing up among an academic family of engineers, scientists, and medical professionals, John fell in love with the fantastic imagery of cinema and television, and he saw miniature work as his way into filmmaking. From cold-calling Industrial Light & Magic at 15 to later working for them, John reflects on his life as one who turns hobbies into professions, and we learn how John fuses technology with art in his work. John reveals, with great clarity, how slit-scans are actually composed and shares how he used the effect to generate the illusion of the Starship Enterprise entering and exiting warp speed. We later discuss the leadership responsibilities of being a supervisor, including giving negative feedback in such a way that elevates a collaborator's work. Towards the end, we also discuss the enduring appeal of miniatures for audiences and filmmakers alike. In addition to his work in VFX, John (alongside his brother Thomas) invented Photoshop, the popular photo-editing software used around the world. - This episode is sponsored by Godox

Hosts, Dr. Angela Lauria and Matt Lowry, LPP, discusses how Wikipedia depends heavily on autistic editors and volunteers. However Wikimedia is ran by allistics who have a pattern of exploiting the autistic labor force they depend on without proper compensation or appreciation.Wikipedia's systematic approach to organizing information fits right in with Autistic culture! We love sharing facts around special interests and often have skills in categorizing and referencing data.Autistic data hunger and justice sensitivity often combine to help autistic editors to be inclusive of different cultural perspectives and knowledge. However, tensions arise around what constitutes neutrality and "facts" when editing hot-button topics. For example, what constitutes a “neutral” entry about the Confederate flag?“A lot of arguments among neurotypicals happen because they they want to know who is right but a lot of arguments between autistics happen because they want to know what is right.” —MattUnfortunately, the inner workings of Wikipedia show a pattern of ableism from both the neurotypical employees and the “A-Spectrumers” at the company who perform neuronormativity and express internalized ableism through their bullying of autistics and use of functioning labels.A former autistic Wikimedia employee, "Jane," faced harassment, discrimination and bullying after disclosing her autism diagnosis. She filed an EEOC complaint but dropped it due to burnout.Jane shared how Wikimedia's neurotypical management frequently demeans and mocks autistic editors and labor behind the scenes, even as they exploit and fundraise off that free labor.The podcast urges supporting local Wikipedia chapter groups which are often run by autistics instead of donating to Wikimedia's central fundraising, and encourages privileged autistics to become high-edit count editors to change the culture from within.“Don't give money to the Wikimedia Foundation. Do use your privilege—if you have power and extra bandwidth—and…get your editor count up so you get a vote to change things from the inside. Don't do that if it's going to be detrimental to your mental health—take care of that first.” —Angela The episode explores the complex interplay of Wikipedia providing an autism-friendly platform for special interests while also perpetuating ableism in its management and fundraising practices around this uncompensated autistic workforce.How has ableism affected you in the work place? Tell us in the comments and use #AutisticCultureCatch to share your answer on your social media and connect with other listeners!Show notes and resources:Wikipedia's definition of ableismHow to become a Wikipedia editor Wikipedia:WikiProject AutismThread: Autism Spectrum Wrongly Described In WikipediaThread: Wikipedia likes us!Wikipedia:High-functioning autism and Asperger's editorsWikipedians with autismArticle: Wikipedia accused of bullying former autistic employee with claims of a toxic work cultureVillage pump (miscellaneous)Article: Alex St John's Ideas About Game Development Are TerrifyingOther episodes to check out if you liked this one:Episode 04: Industrial Light & Magic is AutisticEpisode 35: Sex is Autistic (Alfred Kinsey episode)Episode 38: Productivity is AutisticReady for a paradigm shift that empowers Autistics? Help spread the news!Check us out on InstagramFind us on Apple podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPMatt's social media: Autistic Connections Facebook GroupLearn more about Angela at AngelaLauria.com and Difference PressAngela's social media: Twitter and TikTokTACP's Autism-affirming TeePublic merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

Visual effects supervisor Pablo Helman (KILLERS OF THE FLOWER MOON, THE IRISHMAN, JARHEAD) joins us on this episode of the Team Deakins Podcast. Born in Argentina, Pablo spent his youth playing music professionally and touring South America with his band before graduating from UCLA and working for several effects houses before ultimately ending up at Industrial Light & Magic where, for the past 27 years, Pablo has hung his hat. Throughout the episode, Pablo shares how he approaches implementing VFX into a film and how he works with directors and the various heads of departments during production to ensure the effects serve the story being told. Pablo also reveals how the de-aging technology used in THE IRISHMAN was developed, how it actually works, and why its development was led with the intent to preserve an actor's performance. Later, Pablo shares several stories from working on KILLERS OF THE FLOWER MOON, from scanning and reproducing a miniature oil derrick to wrangling digital cows. Towards the end, we consider how VFX is just another tool to use to create the reality of a film and discuss why you ultimately can't escape from what you shoot. - This episode is sponsored by the Dallas Film Commission & Aputure Instagram: @dallasfilmcommission & @aputure.lighting

Para los que no son cinéfilos y se acercan al cine sólo para entretenerse es posible que ni les suene el nombre de este director. Pero si os cito películas como “Alien 3”, “El club de la lucha” o “Millenium”, o series como “House of Cards” o “Mindhunter” ya os podéis hacer una idea. Voy a recorrer las diversas obras del director con sus correspondientes críticas y halagos, como debe ser. David Fincher: el maestro del thriller psicológico David Fincher es uno de los directores más reconocidos y aclamados de Hollywood, con una trayectoria que abarca más de tres décadas y que incluye películas como Seven, El club de la lucha, Zodiac, La red social, Perdida o Mank. Su estilo se caracteriza por una estética cuidada, una narrativa compleja y una temática oscura y macabra, que explora las facetas más perturbadoras de la mente humana. Fincher nació en Denver, Colorado, el 28 de agosto de 1962, hijo de un escritor y una enfermera. Desde niño se sintió atraído por el cine, inspirado por la película Butch Cassidy y el Sundance Kid. A los 18 años entró a trabajar en la compañía de efectos especiales de George Lucas, Industrial Light & Magic, donde participó en películas como El retorno del Jedi o Indiana Jones and the Temple of Doom. Más tarde, fundó su propia empresa, Propaganda Films, dedicada a la producción de videoclips y anuncios publicitarios para artistas como Madonna, Aerosmith, Michael Jackson o Rolling Stones. Su debut como director de cine fue en 1992 con Alien 3, una secuela de la saga de ciencia ficción y terror creada por Ridley Scott. Sin embargo, la película fue un fracaso de crítica y público, y Fincher tuvo problemas con el estudio por el control creativo del proyecto. Su siguiente película, Seven (1995), fue un éxito rotundo que lo consagró como un maestro del thriller psicológico. La película narra la investigación de dos detectives, interpretados por Brad Pitt y Morgan Freeman, que persiguen a un asesino en serie que basa sus crímenes en los siete pecados capitales. La película se distingue por su atmósfera opresiva, su fotografía sombría y su impactante final. Fincher continuó explorando los rincones más oscuros de la psique humana con películas como The Game (1997), El club de la lucha (1999), Zodiac (2007), Perdida (2014) o The Girl with the Dragon Tattoo (2011), adaptación de la novela homónima del escritor sueco Stieg Larsson. En estas películas, Fincher aborda temas como la paranoia, la violencia, la identidad, la manipulación, la venganza o la obsesión, con un guion inteligente, una dirección precisa y unas interpretaciones memorables de actores como Edward Norton, Jake Gyllenhaal, Ben Affleck o Rooney Mara. Fincher también ha demostrado su versatilidad con películas como El curioso caso de Benjamin Button (2008), una fábula fantástica sobre un hombre que nace viejo y rejuvenece con el tiempo, basada en un relato de F. Scott Fitzgerald; La red social (2010), un drama biográfico sobre la creación de Facebook y sus consecuencias legales y personales, con un guion de Aaron Sorkin; o Mank (2020), un homenaje al cine clásico que recrea la vida y obra de Herman J. Mankiewicz, el guionista de Ciudadano Kane. Estas películas le valieron tres nominaciones al Óscar a mejor director, además de otros premios como el Globo de Oro, el BAFTA o el Emmy. Fincher también ha incursionado en el mundo de la televisión, siendo el productor ejecutivo y director de algunos episodios de series como House of Cards o Mindhunter, ambas de Netflix. En estas series, Fincher aplica su sello personal a la política y al crimen, respectivamente, con una estética cuidada, una narrativa compleja y una temática oscura y macabra. David Fincher es, sin duda, uno de los directores más influyentes y respetados de su generación, con una obra que ha dejado huella en la historia del cine y que ha cautivado a millones de espectadores en todo el mundo. Su visión única y su maestría técnica lo convierten en un referente del thriller psicológico y del cine contemporáneo. Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/este-podcast-te-cambiara-la-vida-zz-podcast-05x17/ Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://luisbermejo.com Facebook: https://www.facebook.com/ZZPodcast/ X (twitters): https://x.com/LuisBermejo y https://x.com/zz_podcast Instagrams: https://www.instagram.com/luisbermejo/ y https://www.instagram.com/zz_podcast/ Canal Telegram: https://t.me/ZZ_Podcast Canal WhatsApp: https://whatsapp.com/channel/0029Va89ttE6buMPHIIure1H Grupo Signal: https://signal.group/#CjQKIHTVyCK430A0dRu_O55cdjRQzmE1qIk36tCdsHHXgYveEhCuPeJhP3PoAqEpKurq_mAc Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviThttps://chat.whatsapp.com/BNHYlv0p0XX7K4YOrOLei0

Ian Failes from befores & afters chats to Industrial Light & Magic visual effects supervisor Jonathan Privett about Netflix's Life on Our Planet, including the challenge of live-action plate shoots and building many creatures.

In today's episode, we present PART TWO of my chat with Mark Viniello, special effects extrordinarie and Pteranodon performer in Jurassic Park 3. Mark joins us to chat about performing in the Pteranodon suit, if anything from The Lost World carried over into Jurassic Park 3 and so much more!Next week, we have a review on Jurassic Park In Concert, the live orchestral showing of Jurassic Park from yours truly! I'm so excited for that performance of the entire move in concert and can't wait to tell you all about it. FOLLOW MARK VINIELLOhttps://www.instagram.com/vin1fx/https://twitter.com/vin1fxhttps://www.imdb.com/name/nm0898980/FOLLOW USWebsite: https://www.jurassicparkpodcast.com/YouTube: https://www.youtube.com/@JurassicParkPodcastInstagram: https://www.instagram.com/jurassicparkpodcast/Threads: https://www.threads.net/@jurassicparkpodcastFacebook: https://www.facebook.com/jurassicparkpodcastTwitter: https://twitter.com/jurassicparkpodApple Podcasts: https://apple.co/2VAITXfSpotify:  https://spoti.fi/2Gfl41TDon't forget to give our voicemail line a call at 732-825-7763!Catch us on YouTube with Wednesday night LIVE STREAMS, Toy Hunts, Toy Unboxing and Reviews, Theme Park trips, Jurassic Discussion, Analysis and so much more.

By popular request, a minisode (mini-episode)! TACP's Actually Autistic podcast hosts, Matt Lowry, LPP, and Dr. Angela Lauria, provide updates relating to Dungeons & Dragons, Doctor Who, Star Wars, and Sherlock Holmes. Angela and Matt discuss Autistic actor Peter Cushing, who connects all four interests popular among people on the autism spectrum (and provides additional insights about Autistic productivity). Cushing starred in two 1960s Doctor Who films, played Grand Moff Tarkin in Star Wars, portrayed Sherlock Holmes, and was an avid player of the H.G. Wells game "War," which inspired Dungeons & Dragons.The hosts share how Cushing handcrafted over 2,000 miniature soldiers and models for playing "War." Which speaks to Autistic Culture's love of collecting, and skills with modeling, strategy games, and imaginative play.Matt and Angela discuss how poor mental health led to a “SPIN drop”: when Autistic people lose connection with a SPIN or special interest (a part of who we are), and experience intense grief similar to experiencing a death.Angela: And so when you lose a SPIN, it is like losing a part of yourself.Matt: Yeah, these things make us who we are. These things help us with our identity.Cushing's story speaks to Autistic individuals and exemplifies Autistic Culture through his creative hobbies, special interests, and impressive collections.Do you want more minisodes? What do you want to hear Matt or Angela give a quick infodump on?* Facebook post with pictures of Peter Cushings models* The Peter Cushing Doctor Who Movie Appreciation Group* The Peter Cushing Association Facebook group * Want to learn about more Autistic activities? Episode 39: Dungeons & Dragons is Autistic * Why do Autistics work in bursts? Check out Episode 38: Productivity is Autistic* One of the Autistic community's favorite Autistic characters: Episode 30: Doctor Who is Autistic* What does an Autism-friendly workplace look like? Episode 04: Industrial Light & Magic is AutisticReady for a paradigm shift that empowers Autistics? Help spread the news!* TACP's Instagram* Follow us on Apple podcasts and Spotify* Matt Lowry, LPP* Autistic Connections Facebook Group* AngelaLauria.com and Difference Press* Angela's Twitter and TikTok* Our merch shop! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

Who's the Bossk? - Episode 170: The 7th Voyage of Sinbad with David Murto Date: September 25th, 2023 (recorded September 17th) Listen Topics "Mike and David Movie Club" continues as recurring guest David Murto returns to "Who's the Bossk?" to discuss the 1958 film The 7th Voyage of Sinbad, featuring stop-motion creature effects by Ray Harryhausen. This was the movie cited most as inspiring and influencing the visual-effects wizards at Lucasfilm's Industrial Light & Magic in the Disney+ documentary series Light & Magic. Subscribe iTunes Google Spotify

No aniversário de 30 anos do lançamento de "Jurassic Park", analisamos uma das mais bem-sucedidas produções de Steven Spielberg, baseada no livro de Michael Crichton. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Confira abaixo a minutagem dos quadros do podcast: 00:00:00 - Introdução 00:06:17 - Grande Angular: saiba mais sobre o elenco e a equipe do filme 00:24:34 - Close-up: perfil de Stan Winston e Phil Tippett 00:34:53 - Ponto de Vista: análise sobre os principais aspectos do filme 01:22:05 - Zoom: comentários sobre cenas favoritas 01:57:30 - Fora de Quadro: comentários sobre as continuações No episódio #36, o podcast Em Foco analisa o filme "Jurassic Park" (1993, EUA), uma das mais bem-sucedidas produções de Steven Spielberg, baseada no livro de Michael Crichton e estrelada por Sam Neill, Laura Dern, Jeff Goldblum e Richard Attenborough. Lançado nos cinemas há exatos 30 anos, em junho de 1993, "Jurassic Park" é um filme de aventura, ficção científica e horror que se passa em uma ilha na América Central, onde um magnata constrói um exótico parque temático a partir de uma descoberta da engenharia genética que permite recriar o DNA dos dinossauros e clonar suas diferentes espécies. Ele convida uma equipe de cientistas para fazer um tour no local, na esperança de conseguir um aval para inaugurar a atração. Mas uma falha de segurança fatal durante uma tempestade coloca em risco o parque e as vidas de todos na ilha. Com trilha sonora inesquecível de John Williams e efeitos visuais inovadores da Industrial Light & Magic, "Jurassic Park" também traz no elenco Bob Peck, Martin Ferrero, BD Wong, Samuel L. Jackson, Wayne Knight, Joseph Mazzello e Ariana Richards. O longa venceu três estatuetas no Oscar: Melhor Som, Melhor Edição de Som e Melhores Efeitos Visuais. Nas bilheterias, a superprodução faturou mais de 1 bilhão de dólares e se tornou a mais lucrativa de todos os tempos (sendo superada em 1997 por "Titanic"). Além da análise do filme em si, o nosso podcast traz o perfil de Stan Winston e Phil Tippett, dois dos profissionais responsáveis pelos premiados efeitos especiais de "Jurassic Park". Nós também comentamos as continuações que a franquia ganhou ao longo das décadas. Participam do podcast sobre "Jurassic Park": Renato Silveira e Kel Gomes, editores do cinematório; Ana Lúcia Andrade, professora de Cinema da Escola de Belas Artes da UFMG; e Renné França, professor, crítico de cinema e diretor do filme “Terra e Luz”. No Em Foco, você ouve debates e análises de filmes, sejam eles clássicos, grandes sucessos de bilheteria e de crítica, produções que marcaram época ou que foram redescobertas com o passar dos anos, não importa o país de origem. Além disso, você revisita conosco a filmografia de cineastas que deixaram sua assinatura na história do cinema. Quer mandar um e-mail? Escreva para contato@cinematorio.com.br. A sua mensagem pode ser lida no podcast!

Our guest this week is Andrew Pelekis, CEO of Claynosaurz. Claynosaurz is more than an NFT project, it's a 3D production studio full of artists from Sony, Disney, Dreamworks, Ubisoft, Netflix, Warner Bros, Marvel, Industrial Light & Magic focusing on developing quality entertainment IP in Web3.Andrew sits down with Brian Friel to discuss the entire Claynosaurz ecosystem, building entertainment IP in Web3, the importance of quality in NFT projects, and the future of Claynosaurz which includes collectibles, toys, and content. Show Notes:0:50 - Background / starting in Web3 and a little bit about your background                        3:30 - How did Claynosaurz start?5:47 - Web3 vs.Web2 entertainment                        12:03 - Why Solana?14:10 - Engaging with the community18:34 - Learning how to build strong IP native to the internet20:03 - Who will be spearheading the future NFTs?  22:44 - Future projects for Claynosaurz25:04 - A builder he admires in the Solana ecosystem Full Transcript:Brian Friel (00:05):Hey everyone and welcome to The Zeitgeist, the show where we highlight the founders, developers, and designers who are pushing the Web3 space forward. I'm Brian Friel, developer relations at Phantom, and I'm super excited to introduce our guest, Andrew Pelekis, the CEO at Claynosaurz. Claynosaurz is a 3D production studio, building original IP in Web3. Andrew, welcome to the show. Andrew Pelekis (00:27):Hey, Brian. Thanks for having me. Brian Friel (00:29):Really excited to talk to you today. I'm a huge fan of what you guys have built. I know that there's a lot of listeners that are obsessed with the dinosaur NFTs you guys have created, and they are a clear winner of the cutest NFTs on Solana right now. We have a lot to jump into, but before we get into everything related to Claynosaurz, I'd love to know a little bit about you. Tell us where you got started in Web3 and a little bit about your background. Andrew Pelekis (00:50):Sure. So my background is probably a little bit more different than anyone else on our team, which is all geared towards creative and creating the cute characters that you're so familiar with. I come from a background in front office investments, so that's hedge funds and private equity style investment. I've done that for a little over 10 years. Most recently, two partners and I raised $250 million under a private equity umbrella fund and invested that over four years twice, so did a little under $500 million of business. We left that job, or I left that job in 2021 to pursue my own endeavors. Part of that and part of what I was doing earlier that is Web3 geared was working on attaching inventory and collateralized assets using NFTs or tokenizing those types of assets. And I had been working on that loosely in Eastern Europe, but we did a lot of work and a lot of background work on Web3 and all the different aspects of smart contracts, blockchain, and applying those things to real assets. (01:55):And in that pursuit, recognized there's a ton of opportunity here, a ton of great use cases. And along that path, I was advising Claynosaurz from afar for about a year before they got to mint. And realized that once they minted, they needed some help on the stuff that I'm an expert in. And I thought there was a lot of opportunity in that, especially when you consider how early on we are in the life cycle, thinking on about what I was doing in my previous job, that is to say attaching real assets via tokens. I think we're going to get there, but there's a great opportunity in the low-hanging fruit that exists in digital assets where the use case is much more applicable for the time being, and therefore a ton of use cases in the entertainment sector in particular. So jumped onto Claynosaurz late 2022, literally hours after the mint I was talking to those guys, and then the very next week, jumping in headfirst. Brian Friel (02:50):Oh, that's awesome. It's a unique perspective too. I think you're the first NFT CEO I should say, who comes from a professional investment, more institutional side background. I actually, myself used to work at a [inaudible 00:03:02] before I joined Phantom, and I know that that world doesn't always mesh super well with the NFT world. So you bring a pretty unique perspective to how this whole industry is shaping. But going a little bit back in time, you said you joined the team November, 2022, right around the mint. How did the Clayno team originally start? What was the vision that they got set out to do and who did they build this team with? You guys have some incredible assets. I imagine that you guys have quite a wealth of experience to have put all that stuff together. Andrew Pelekis (03:31):Yeah, there's actually somewhere around a dozen founders because of the amount of work it takes to develop this 3D quality asset that we're developing. So it starts though with Nick and Dan, who are our two founders who began developing the IP with, I wouldn't say no objective in mind, but they didn't necessarily solve for distribution, right? This is a creative team who had a ton of great ideas and just said, "Hey, let's start developing them. Let's just start building IP. And people do that, they develop IP and they maybe curate and sell it to a big studio. And this is in a world in which there's no opportunity in NFTs or Web3, right? So that's a traditional path and it's quite long and laborious and a lot of late nights working with no real idea of how you're succeeding or if you're succeeding at all. And along that path, a few months later, NFTs started to blow up. (04:22):So this is early 2022, late 2021, the news starts picking up on NFTs. I mean, I think everyone listening will be familiar with that news cycle, and they picked up on that. Some close friends of theirs who were well acquainted with business development and marketing and Web3, basically approached them and said, "Hey, this is a great project. Why don't you test that product you're building in Web3? Why don't you curate this to be an NFT collection? And you can still build the IP beyond that once you've done that, but at least you can test early on in the life cycle. You can monetize the product before you normally would be able to and get all this active feedback." (05:00):And so in early 2022, I believe February, they brought on this business development team, expanded the creative team to get to this objective, which was a mint, and built from there. And eventually minted in November 2022. Brian Friel (05:15):That's awesome. I think a lot of people might not be familiar with that grind. The traditional, you're a creative team, you're coming from the works of Sony, Disney, Dreamworks, you want to set out on your own adventure and how do you actually take the creative ideas you have and get distribution, like you say, turn that into reality? Can you talk a little bit more about the approach that you guys are doing, building entertainment IP in Web3 and just how that differs from those traditional approaches, what those cycles are like and some of your guys' strategy in Web3 in particular? Andrew Pelekis (05:46):Yeah, for sure. So I think the main thing is sort of what I just touched on, which is that typically you would have to build a product to a minimum point at which you could sell it to someone. And in that environment, that minimum point with a team of, by example, our team of 12 to 14 people, if you include contractors, it's a little bit bigger, but it's a small team compared to a studio that might have hundreds or thousands of people, it takes a while to get there. And then if you've got success, if you've built something that's worthwhile to these studios, then they'll participate, right? They'll say, "Okay, well..." But that deal does not look very good because you haven't proven the product beyond this one meeting, and getting that meeting might be tough in the first place. So you sort of get taken to the bank, if you will. (06:30):In the environment that Web3 offers, you can test the product early on in the lifecycle. So by example, we had, like I said, a dozen or so people working on our product for about a year to get to this MVP that was in November 2022, and you're testing the product, right? Because that mint tells you, are people interested? What's the feedback like? Are we able to sell this product? So you have all this great testing environment. And then of course, as you know, crypto Twitter is very active in telling you what you are doing right and what you are doing wrong, and you get this great feedback loop. And so you get all of these things that are going on that typically would never arise at all in a traditional environment. And the only time at which it would arise would be long after you've given up the ability to creatively control your own product. You'd have given it up to a studio at some point and struck a deal and been put to the side. Brian Friel (07:26):Yeah, it almost seems like a total win-win because it's like you're getting these faster product development cycles. Like you said, you're getting in the hands of the users, you're figuring out really fast if this is worth investing in long term or not, but you're also getting more control of your own destiny. You don't have to grind for years and then take whatever deal comes your way. You're cutting out some of these middle men just going directly to these consumers. It's pretty cool. (07:47):So let's change a little bit and talk about the ecosystem that you guys have built out today. So like I said at the start, everyone remembers, I think, the mint that happened in November 2022. It was a time that I think working at Phantom, you would see a ton of these profile picture collection NFTs, where it's these static images, looking the same. And then all of a sudden, it was like a breath of fresh air seeing these fully animated, smiling dinosaurs, wacky craziness. I think you guys definitely stood out. Talk a little bit about everything that exists in the Claynosaurz ecosystem today. Andrew Pelekis (08:20):So there's a lot that exists today, but I would say that everything is complimentary. These are not supplementary things. So the first and most important thing is our Genesis collection. So that is the Claynosaurz collection, that is the characters we're describing. There's six species inside of that collection, and I think everyone understands those. Beyond that, we've also got a few items that exist. And so these are things that we did as a guerilla marketing effect at a number of Web3 events over the last six, seven months. Actually, the first one took place before our mint, which was the Sardinhas, which we dropped in Breakpoint Lisbon in early November 2022. And those turned into Pterodactyls now. And so those holders who were sort of pro-Clayno before we minted, they got rewarded with this very unique species that is only a set of 222. Actually, we've got that mechanism now, that kind of is a good way to explain some of the other items, which is the Claymaker and the clay, which we airdropped to all the holders I believe December and January. (09:21):And the Claymaker and the clay are again parts of our world that we would use to develop the product further. So the Claynosaur is the character, the Claymaker is something of a transmuter. So just like a kid playing with clay, you've got different toys that you can use to mold your clay. So the Claymaker is this all-encompassing molder, if you will. And then the clay is the stuff you mold. It's the resource which we use to mold things. To get from the Sardinha to the Pterodactyl. We have on our website, you burn the Sardinha with the Claymaker and the clay to create an egg. And then again, you take the egg and you burn that into the Pterodactyl. And so that explains the Claymaker and the clay, and those items will be used in perpetuity in our world. (10:05):Clay is going to be a resource that continues to be used, and the Claymaker will be something that is required to transmute these different objects or to mold these different items in our game. And then you've got other similar drops that we did. In Paris, we did the croissant, NFT Paris. In LA, we did the taco. And most recently, in New York we've done the pizza slice. And all of these things are going to be items or companions that accompany your character. So the croissant will be an item that you can put on top of your Claynosaur. The taco will similarly be an item with a similar utility. And the pizza slice is going to be a companion that will sort of follow your Claynosaur around. So all of these things are different ways to make your Claynosaur ever more unique for the user, to make it more of your own. And so they're complimentary, right? They're not supplementary. (10:58):Lastly, and I know I'm going through a lot of things here, we've got the most recent collection, which is the Call of Saga collection. Brian Friel (11:05):That's right. Andrew Pelekis (11:05):That's being minted on the new Solana Mobile Phone, and that's a really cool initiative. That will be a collection of Claynos. It's not part of the Genesis collection. Think of it as an expansion pack. New collection, two new species. And that's going to be exclusive to the Solana Mobile Phone. Obviously, once you mint it on the phone, you can then trade it and everyone can participate. Brian Friel (11:28):Yeah, I'm excited for that. I personally just got my Saga, I think two days ago, right before we're recording this in May 2023. So I got my Genesis sticker, now I'm in line for the mint. I can't wait for that. I'll be a lot of fun. Andrew Pelekis (11:40):Very cool. Brian Friel (11:40):That might be a good segue too, to talk a little bit about Solana more broadly. You kicked all this off November 2022. At that time, it was probably not the most mainstream bet to bet on Solana as an NFT ecosystem, but I think you and I both know that Solana has a lot of upside that I think a lot of people maybe aren't aware of. What in particular drew you guys to Solana? Andrew Pelekis (12:03):I think it's two things. The two main things are that you have to have a good transaction time, like reliable transaction time, so that when you click a button, something happens right away. I think there's research that shows that even more than one second, the user can kind of feel this lag. And the second one is a reliable transaction cost, so that there isn't an immense amount of cost to the user, so that they can freely click on things as they participate in our world. (12:29):And all of that goes layer backwards, which is that we're building IP. Part of building IP is building an experience that people enjoy. And for us it was very important that if we're going to expand in this web three direction. And if you're bullish on Web3 in general, you've got to be on a chain or on this platform that offers this resource in such a way that allows the entertainment not to feel laborious, right? It's got to feel seamless. (12:57):And so that decision was made actually before my time, which I absolutely support and I think is the correct decision, to be on Solana because you need to have that seamless entertainment experience. And I think that's where it comes from. That's the most important thing for us. And keeping in mind that we're trying to build an IP that is built on Web3, continues to build on this Web3 channel, but permeates into all of these other traditional distribution channels. And if you fast-forward 3, 4, 5 years from now, you'll probably find that the chains that succeed are the ones that are able to bring the most frictionless experience to the users, right? Brian Friel (13:31):Absolutely. And I think a lot of that also kind of dovetails to what you were mentioning earlier about these in-person events. You guys are giving these activations to your community live and they can use these complimentary NFTs, the croissants, the tacos that you mentioned, interact with them. It probably builds deeper relationships with these collectibles that they have. Can you talk a little bit about that strategy? I think you guys are doing a lot of unique things both on the in-person event side, but also on your guys' social media presence. Like you said, crypto Twitter, it's very active. I think you guys have a pretty amazing social media presence there. Does this all tie in together into a broader strategy? And if so, what are you guys working towards when engaging with a community like that? Andrew Pelekis (14:11):Yeah, this does definitely tie into a broader strategy. To talk about that strategy very quickly. Our view is that in 2023, and probably for the last five to 10 years, entertainment has shifted so drastically onto so many different formats and so many different places, where I'm sitting in front of a few screens right now, I've got my phone, I used to have two or three phones actually, and I'm sure people still have that today, and then you've got your TV and people watch all kinds of different things. And then on these computer screens, you've also got all kinds of platforms on which you can participate in. (14:44):So our view is an entertainment experience in 2023 and going forward has to have a very holistic approach, such that the user is able to see you in all these different places. And Twitter is one of those places, especially if you're in Web3, I think Twitter is definitely the right place to start. And so our approach to Twitter was, well, instead of just being this microphone to announce the big things that the traditional studio PR team would do, we can make this an engaging form of entertainment that speaks to our brand, that speaks to Web3, and is able to also engage the community on an ongoing basis. (15:23):And so we have a team that works on Twitter, headed by one of our founders, and he does most of the Twitter posting over the last year, year and a half, but it's a dedicated job for us. We take it very seriously. Similarly, we spoke about all these different items and things like that that go inside of this gamified experience. That's a whole other tangent that we think is a great place to distribute, where we think that there's a whole opportunity in building that out. And then across the content strategy, you've got, again, a lot of distribution channels in that there's micro short form if you will. We call those the two to five-second little vignettes you see on TikTok or YouTube Shorts or Instagram Reels. There's a big market in that. (16:03):Then you've got short-form, call it trailer-length video, which is one to two minutes, and you could tell a story in that time, but it's not a whole story. And I think a lot of that stuff often lives on YouTube and there's other platforms that are similar to that. And then you've got what's more traditional, you've got 20 plus minute shows or a movie at length, and there's a whole slug of opportunities in there as well. So our content strategy is to permeate across all these different avenues, such that a user can enjoy and sort of familiarize themselves with Claynosaurz regardless of where they are. (16:38):And now the last bridge to cross, which is interesting because you would think it's the most obvious one, is the one you touched on with the booster packs and all these activations in-person at these different events. And our view is that there is going to be, and I think we're working on it and trying to push the boundaries on this as much as we can with the resources that we have, especially those that are on Solana, is to bridge the gap between the physical and the digital. So the packs that we were doing in LA and York were sort of an homage to those Yu-Gi-Oh or Pokemon packs where you rip it open, you don't know what you're going to get, and there's this real sense of excitement in that. So we wanted to bring that feeling to these events in-person, and we also wanted to use that as a onboarding for people who aren't familiar with Claynosaurz yet. (17:22):So now, you've got this feeling of excitement and now you have a simple interaction with your phone, where you tap the card on your phone and you have these NFTs. And so what we were trying to do is physically onboard people, bridge this physical digital gap, and we're going to continue pushing in that direction on the physical side as well. So that's one of many legs to this larger content strategy. Brian Friel (17:43):I think you're painting this really awesome picture of the future. Because I keep going back to this tweet in my mind where Annatoli tweeted where he said, "Claynosaurz is building the next Disney." And in my head, I think of the early days of Disney, like Mickey Mouse on his steamboat, and how it was just this total game of distribution. You had movies going out, the whole country would watch the same movie, and everyone saw the same experience. And this world you're painting here is almost turning everything on its head. It's like now you guys can go out, strike your own destiny without having to set up these massive distribution lines. And it permeates everything. It's Twitter, it's YouTube, it's in-person events as well, these activations. It's an exciting world and it seems like it could go a lot of different directions from here. (18:23):If you had to speak to other NFT projects right now, with everything that you guys have learned so far, what kind of learnings would you share about building strong IP that's native to the internet? Andrew Pelekis (18:35):Quality has to come first. I think that's the most important thing. And what's important about that is that we're at a point where Web3, and NFT products in particular, get a lot of slack. Regular media, traditional media, whether that be the newspaper or just on other platforms, they're not taking us seriously. And I think a lot of that has to do with quality. Because you can say things like you're going to be the next Disney, but if you put up a picture of one NFT and then a Disney product and the two are obviously different, you're really making a tough argument because this is a product that goes to consumers. We're all consumers, so everybody can understand this. There's nobody that doesn't understand this. The quality speaks for itself. (19:17):So the most important thing I think at this stage, now that we're past the early days of NFTs, I'd say, where you're just sort of testing how this will work, and perhaps you're not going to invest time or money in developing and curating IP at this level, I think we're past that. And I think it's important now that focus on quality is of the utmost importance, right? Because you've got to get there and be able to compare Web3 entertainment products to traditional or Web2 entertainment products, because otherwise you're never going to onboard anybody. Brian Friel (19:50):Do you see a world where these traditional players, like a Disney, make their own NFT collection in the short term? Or do you think it will be mostly spearheaded by projects like Claynosaurz that are really pushing the envelope? How much do you see that those [inaudible 00:20:02] going in the next couple of years? Andrew Pelekis (20:03):I think Disney probably has a lot on his plate. I think a lot of studios are probably stuck in traditional models, but let's not be silly either. These are massive institutions that have been here for, in some cases, dozens and dozens of years. They've got the brand power and they've got the resources to make a good push into Web3 when and if they wanted to. And I think what they're lacking perhaps is an understanding of the community that exists in Web3 and how to interact and market in Web3. And so you sort of touched on it earlier, where you mentioned Disney back in the early days, everyone went and watched Disney because they had solved for distribution. (20:45):And that was a world in which distribution was super expensive. You could not distribute anything yourself as an artist, whether that was music or a movie or whatever the case may be. And so a big company like Disney is able to distribute and the consumer eats it because there's no competition. And I would say even up until maybe 15 years ago, streaming was not at the level it's at today, and distribution had just been solved in the last 10 to 15 years. Where 15 years ago, we weren't going through all these different streaming channels trying to find things, and there wasn't all these different opportunities for the consumer to look at things. (21:24):So I think that a lot of these big studios are stuck where they're like, "Well, our oligopolistic framework in which we control distribution no longer exists." And now they're sort of lost in this world where everyone can distribute. You and I are doing a podcast right now, this was not possible 30 years ago. And they don't know how to market in that environment, but they do have the resources to do this quickly if they wanted to. But it's that understanding of marketing and that holistic experience that I think they haven't solved for yet. Brian Friel (21:53):Yeah, I agree. It's crazy to think back too, like you said, the streaming is a great example. You're watching your favorite TV show this week. You take it for granted that you can just peruse Netflix or Hulu or Amazon Prime Video and all this stuff, but it was not that long ago where you didn't have any of those options. And like you said, you just consume whatever was given to you. You didn't have that choice. It's pretty cool to see that playing out in Web3 now too, or you can kind of sense that it's coming. And I'm hopeful that we'll have that same sort of aha moment in the future where we look back and say, "I can't believe that this was the way things were." (22:24):We talked a lot about crypto Twitter in this episode. I think crypto Twitter would kill me if I didn't ask this question, so I have to ask it. But now that we've covered everything that Claynosaurz is up to, looking ahead, is there anything you can share with the fans in particular? Anything that maybe you guys haven't discussed publicly or things that your fans can be looking forward to from the Claynosaurz ecosystem? Andrew Pelekis (22:44):Yeah, absolutely. So we're working on all these different tangents, and so all of those things are active. I would say one of the things we're doing first and foremost is developing our website. We need this to be a repository of all the things I've just described to you. So for those who are already active in the Claynosaurz community, there won't be anything new there necessarily. However, there will be this repository of information to onboard people and to bring people into the ecosystem. That's probably the least interesting of the things I'm going to say. (23:10):So going beyond that, we're working on entertainment experience, which will also live on the website. This will be a gamified experience, where people can engage with their Claynosaurz, discover part of the Claynotopia land, figure out the lore as we develop into these different regions. And also, begin to accrue drops and different things in the game that they'll be able to itemize and make those Claynosaurz more unique. That's going to be, I think, a really fun addition to our Web3 track. (23:39):I think on the other tracks, it's very important to note that we're starting to permeate into TikTok and into Instagram and into YouTube Shorts. That's low-hanging fruit for us, so we're going to get movement on that very soon, so look out for that. And I think probably the most exciting thing, at least for me the most exciting thing, is we're working on a few things in the merchandise realm. And if I go back to the very foundation of this company, the guys who developed this IP, their instinct from day one was, "These are going to be toys. These need to be toys." That's how they developed the IP, and that's what we've been working on for literally since day one, for over a year now, a year and a half. (24:18):So we are now in talks with a number of different partners to help us develop collectibles, so think high-value collectibles that we will also integrate with a digital NFT angle. We are also working on toys, generally speaking, and then a whole merchandise store as well. So there's a whole bunch of physical additions coming to the Claynosaurz world. Brian Friel (24:42):That's awesome. Keeping with the theme of pushing the boundaries both on the digital and in the in-person and the physical. I love it. Well, Andrew, this has been an awesome discussion, really exciting to talk to you and to hear your vision for how internet native IP is going to play out and everything that Claynosaurz is up to. One closing question that we ask all our guests, and I'd love to hear this from you, is who is a builder that you admire in the Solana ecosystem? Andrew Pelekis (25:04):When I first got on, and this is going to sound perhaps odd, but I really admired what the guys are doing at Backpack. I think that they're solving for a lot of friction that currently exists between Web3 and everyone else. I think if that product develops in a way that they envision, it'll be a really big step forward for the entire Web3 community. So I admire them very much. And then I also have to give a big shout-out to Aurory because these guys are... They're Montreal native like we are. They're developing what I think to be a very high quality game on the Solana ecosystem, and I believe that it's a really good showcase of what's possible on Solana that may not necessarily be possible on other L1 chains. Brian Friel (25:51):I love it. Two great answers. I agree. Great builders in the space, and I think you're not the first to shout out some of those people as well, so you're in good company there. (25:59):Well, Andrew, this has been really awesome. Thanks so much for your time, for sharing your vision of Claynosaurz. Where can people go to learn more about Claynosaurz? Andrew Pelekis (26:06):I would say right now you can go to @Claynosaurz on Twitter, you can go from there into our Discord where a lot of the particular information is, and we've got great mods who will help you out. And lastly, I would continue to go look at www.claynosaurz.com, where we will soon have a great website up and running, with all the information at your fingertips. Brian Friel (26:28):Love it. Andrew Pelekis, the CEO of Claynosaurz. Thanks so much for your time. Andrew Pelekis (26:32):Thank you, Brian. Thanks for having me.    

Ian Failes from befores & afters chats to Industrial Light & Magic visual effects supervisor Scott Pritchard about 'Andor'.

Autistic hosts, Dr. Angela Lauria and Matt Lowry LPP, delve into the incredible world of Doctor Who and its significant impact on the Autistic community. The Doctor's unique way of perceiving and interacting with the universe, and their tendency to form deep connections with their companions resonates with people on the autism spectrum. The show's ability to tackle complex moral and ethical dilemmas also speaks to autistic people's passion for justice and understanding.“We have to do what is right regardless of what the rules are because that's the thing—if the rules do what is right then we have no problem with it because it's fair and just. If the rules go against what is right, we have to get creative and do what is absolutely morally right. And that's—that is—the way of our people.” —MattLong-time Doctor Who fans, Peter Capaldi and David Tennant, eventually got to play the Doctor, fully realizing their childhood dreams and bringing an autistic sense of kindness and morality to the role. The show allows for examining details and obscure trivia, which appeals to autistic data hunger. It also features time travel, aliens, and complex world-building.“We do love a little arcane trivia. I think that's part of what makes the Doctor Who world partly part of our Autistic culture is there is more arcane trivia than you can shake a stick at.” —AngelaThe Doctor's regeneration allows for different portrayals, making it easier for autistic individuals to see themselves in different iterations of the show's protagonist. Doctor Who's emphasis on embracing diversity and celebrating differences has fostered a safe space for autistic fans to connect, share, and grow.Join Angela and Matt on this week's virtual culture trip as they celebrate the extraordinary connection between Doctor Who and Autistic Culture, examining the profound impact this iconic show has had on countless lives and why it holds a special place in the hearts of many in the Autistic community.Which Doctor best represents Autistic Culture to you? Tell us in the comments, and use #AutisticCultureCatch to share your answer on your social media and connect with other listeners!* Biopic about Doctor Who * Peter Capaldi's drawing of Tom Baker* The Doctor's Speech in the Zygon Inversion* Silence in the Library | Doctor Whohttps://www.doctorwho.tv › stories › silence-in-the-library* Doctor Who: 10 Things You Never Knew About Peter Capaldi* The Transformation Of David Tennant From Childhood To Doctor Who* Peter Capaldi: I Turned Down Doctor Who | DVD Launch Q&A | Doctor Who* Things Only Superfans Know About Doctor Who* Doctor Who Secretly Introduced The 45th (& Final) Doctor* 'I watched him on TV as the hero': David Tennant's adopted son Ty, 17, relives moment he met his dad aged 5 and why he would love to be the third Doctor in the familyEpisode 10: Star Trek is AutisticEpisode 04: Industrial Light & Magic is Autistic (the company that made Star Wars)Ready for a paradigm shift that empowers Autistics? Help spread the news!* Check us out on Instagram* Find us on Apple podcasts and Spotify* Learn more about Matt at Matt Lowry, LPP* Matt's social media: Autistic Connections Facebook Group* Learn more about Angela at AngelaLauria.com and Difference Press* Angela's social media: Twitter and TikTok* TACP's Autism-affirming TeePublic merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

Today on GeekFest Rants, Carlos reviews the Disney+ documentary Light & Magic.  This could very well be the best doc about Lucasfilm's ground breaking special effect company Industrial Light & Magic. Here we learn from the founders and craftsmen of ILM such as George Lucas, Dennis Muren, Phil Tippett, Ken Ralston, Joe Johnston, Richard Edlund, John Dykstra, Lorne Peterson, and many many more.  For all hard core Star Wars fans, consider this a Master Class on the history of ILM.

Welcome to Dev Game Club, where this week we elaborate our series on Rogue by looking at one that continues its legacy, that is, Rogue Legacy 2. It's right there in the name! Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: A few hours (well, about a dozen for Brett) Issues covered: Rogue-likes and Rogue-lites, comparing it a bit with Spelunky, the journal in Spelunky, games like it Tim has played, getting something out of runs, unlocking character types, bespoke levels vs tiled spaces and level generation, kitchen sink design, the clarity of the legacy, the punishment of starting over from scratch, not feeling like I got any further, quality of life improvements, the many ways you can make choices, terrific music, seeing your life flash before your eyes, humorous traits, saying yes to everything, sequel polish, the verb mix, grinding here vs JRPGs, improving skills, wrapping Rogue elements, multiple currencies, maintaining the Rogue with taking the gold, psychology of gold, removing a pillar and losing some enjoyment, knowing someone who beat Rogue, beating Darth Vader, an emergent property of Rogue, making a game you could play yourself, the cleverness and wondering how deep it can go, the punishment of Dark Souls and the progression layer, preferring an endpoint, long-term commitment, other Rogues to check out, a discussion of kit-bashing, kit-bashing and the art department, model kits and the origin of the term, kit-bashing in film, learning to parry. Games, people, and influences mentioned or discussed: Spelunky, Clue (obliquely), Colin Northway (obliquely), Dead Cells, Castlevania, Darius Kazemi, Oliver Uv, Cellar Door, PlayStation Vita, Dark Souls, Hades, Humphrey Bogart, Treasure of the Sierra Madre, Darren Johnson, TIE Fighter, Derek Yu, Boss Fight Books, Sebastian Deken, Final Fantasy VI, Civilization, Paul Pierce, Haden Blackman, Diablo, njallain, Roguelike Celebration, International Roguelike Convention, Brogue, Caves of Qud, Gamma World, Cogmind, Michael Brough, 868-HACK, mysterydip, Maas Neotek Prototype, Ian Milham, Dead Space, Bethesda Game Studios, Fallout (series), Skyrim, Republic Commando, Star Wars, Industrial Light & Magic, Close Encounters of the Third Kind, Bloodborne, Kirk Hamilton, Aaron Evers, Mark Garcia. Next time: TBA! Links: Darius Kazemi on Generating Spelunky Caves of Qud and Wave Function Collapse Brogue's Mechanisms Michael Brough on Roguelikes Twitch: brettdouville or timlongojr, instagram:timlongojr, Twitter: @timlongojr and @devgameclub Discord: https://t.co/YVZOe7ZygI DevGameClub@gmail.com

In this episode of The Autistic Culture Podcast:Hosts, Matt Lowry, LPP and Dr. Angela Lauria delve, into the world of Parks and Recreation, discussing how the show presents Autistic culture. Drawing on their own experiences as Autistic adults, Matt and Angela discuss how they feel seen and represented by characters like Leslie Knope, Ron Swanson, Ben Wyatt, & Chris Traeger.“And that's the thing, because when we talk about the positive traits of being Autistic, these two embody all of them. This dedication, this passion, this hyper-empathy for themselves and for their town and want to work better.” –Matt  Leslie is passionate, dedicated, intensely focused on her interests, socially awkward, and enjoys detailed organization—traits common to individuals on the autism spectrum. Ron Swanson has a strict moral code, is annoyed by chit chat, has specialized interests like woodworking, and dislikes chaos and drama. He represents the Autistic preference for routine, order, and lots of alone-time.The podcast hosts emphasize the importance of showing well-rounded, relatable Autistic characters instead of caricatures or stereotypes—Autistic people are fully fleshed out individuals with passions, empathy, and life goals. Accurate autistic representation helps humanize Autistic individuals and helps allistics relate to our culture. It gives Autistics a sense of belonging and community—positively impacting our mental health.“Yeah and so what she does for fun, she loves organizing, she loves making binders, she loves making plans, she has a sign maker on retention so that in the event that she needs a sign at a moment's notice she can have a sign in an hour. I get it.” –AngelaThe hosts estimate 20% of people are Autistic based on evolving understanding, though far fewer are officially diagnosed. They critique outdated, restrictive diagnostic criteria.In all, the hosts praise Parks and Rec for its nuanced, positive portrayals of Autistic traits in beloved characters. This representation validates Autistic culture and identity. They also share their thoughts on how including Autistic perspectives in the series helps Autistic people find themselves and the importance of inclusivity and acceptance within the entertainment industry. Whether you're a fan of Parks and Rec, or just want to learn more about Autistic culture, this podcast is a must-listen.Are you a Parks and Rec fan? Tell us which characters you relate to in the comments!Watch: Parks & Rec Streaming on PeacockPop Culture and Identity: Autism in "Parks and Recreation"Amazing Twitter Thread from Autistic Voices United Want more Autistic characters and Autistic celebrities? Check out these episodes next:Autistic woman ruffling politicians' feathers—Episode 15: Greta is AutisticRebellious Autistic woman (Emily Dickinson)— Episode 03: Poetry is AutisticAutistic-friendly workplace—Episode 04: Industrial Light & Magic is AutisticReady for a paradigm shift that empowers Autistics? Help spread the news!Check us out on InstagramFind us on Apple podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPMatt's social media: Autistic Connections Facebook GroupLearn more about Angela at AngelaLauria.com and Difference PressAngela's social media: Twitter and TikTokTACP's Autism-affirming TeePublic merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

In this episode of The Autistic Culture Podcast:Actually Autistic hosts Matt and Angela discusses Autistic culture in the workplace, using the early years of George Lucas' company Industrial Light & Magic (ILM) as an example of an ideal Autistic workspace.Lucas wanted his 1977 film Star Wars to include visual effects that had never been seen on film before. ILM attracted talented Autistic creators because the company valued skills over formal credentials and allowed employees to explore and experiment within their special interests to create new technology and materials. A flexible schedule and a lack of preconceived notions allowed them to indulge their monotropic focus and achieve greatness. “I think that in order to have an autistic-friendly workplace, you have to acknowledge the individual strengths and weaknesses of everybody involved and create an environment that allows everyone to thrive and recharge as needed.” —MattAutistic people often have intense special interests and benefit from working in environments that allow them to tap into hyperfocus states. Rigid 9-5 jobs may not be accommodating. Autistics tend to view money as a tool to acquire interests rather than for status. At ILM, making cool things was the priority.“One of the things I've been working on just in terms of having a workplace that I want to be friendly to neurodivergence, not just my own, is this idea that the most valuable thing we actually have is time.” –AngelaCommunication styles differ between Autistic and neurotypical people. Direct Autistic communication can be misinterpreted by allistics, and likewise, the allistic tendency to talk around an issue is confusing and frustrating for Autistics. The hosts share an example of the "double empathy problem" where an Autistic action was misconstrued by a neurotypical. Clear communication is key in making mixed-neurotype relations successful.This episode, #ActuallyAutistic podcast hosts, Matt and Angela, discusses how Autistic-friendly workplaces that leverage Autistic strengths like monotropic focus can enable Autistic people to thrive and make innovative contributions. Finding meaning and joy in one's work is central to Autistic culture.Do you love to create and world build? Tell us about it in the comments!Did an Autistic celebrity invent motion pictures? Listen to find out: Episode 37: Motion Pictures are AutisticLight & Magic on Apple TV+Phil Tippett's Mad GodReady for a paradigm shift that empowers Autistics? Help spread the news!Check us out on InstagramFind us on Apple podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPMatt's social media: Autistic Connections Facebook GroupLearn more about Angela at AngelaLauria.com and Difference PressAngela's social media: Twitter and TikTokFind the below design in our merch shop! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

If you've seen a blockbuster sci-fi adventure movie in the last 18 years, then you've probably seen J.D. HAAS' work! J.D. loves the art of STORYTELLING, the magic of FILMMAKING and the life-changing power of MENTORING others! Join us as we journey inside the mind of this Nickelodeon and Industrial Light & Magic animator. Also available on YouTube.  YOUTUBE: https://youtu.be/ZrC3E0e1DA8  JD'S YOUTUBE: https://www.youtube.com/channel/UCkOuZ5jhoA_b6knWz943g1Q WEBSITE: https://www.jeandenis.net/ #HardiePartyofFiveAndAHalf #PODCAST #JDHaas #Animation #Movies #Moviemaking #Storytelling #Mentoring #Teaching #CharacterDesign #Nicklelodeon #IndustrialLightAndMagic #ILM #StarWars #StarTrek #Avengers #BobaFett #TheMandalorian #Transformers #AQuietPlace #IronMan #IndianaJones #HarryPotter #Narnia #LoveBIG #LaughLOTS #ASmileForYourEars 

Willow is a 1988 American high fantasy adventure film directed by Ron Howard. The film was executive produced by George Lucas and written by Bob Dolman from a story by Lucas. The film stars Warwick Davis, Val Kilmer, Joanne Whalley, Jean Marsh, and Billy Barty. The majority of filming took place in Wales as well as a small section in New Zealand. Industrial Light & Magic created the visual effects sequences, which led to a revolutionary breakthrough with digital morphing technology. The film was released in 1988 to mixed reviews from critics with some praising the special effects and character designs while some criticized the direction and plot. It grossed $137.6 million worldwide against a $35 million budget. While not the blockbuster some expected, it turned a profit based on international box office returns and strong home video and television returns. Additionally, it received two Academy Award nominations. A television series based on the film is scheduled to be released on Disney+ in 2022. This was Teanca's pick, and the rest of us were skeptical at first but where did we end up? Listen now to find out! Here for the Reels is a part of the SnackStudios podcast network. Find us on Instagram and TikTok: @_snackstudios Also check out our other podcast, Here for the Rolls, a Dungeons and Dragons audio adventure featuring nearly 100 episodes.

This episode we are joined by Tom Peitzman, visual effects producer for “Mission: Impossible 3” and “Ghost Protocol.” We discuss Tom Cruise getting knocked into the car in “3” (and the Shanghai jump), try to get details on the abandoned snowmobile chase at the beginning of “Ghost Protocol,” and chat about two of our favorite previous guests on the show – Industrial Light & Magic geniuses John Knoll and Roger Guyett.

"Light & Magic" to sześcioodcinkowy dokument na Disney + o firmie Industrial Light & Magic, którą założył George Lucas. Ten serial pokazuje historię efektów specjalnych w filmach i ludzi, którzy tworzyli kino. Czy warto obejrzeć tę produkcję? Ten serial opowiada, jak od niesamowicie praktycznych efektów specjalnych pracownicy Industrial Light & Magic przechodzili powoli do zaawansowanych efektów komputerowych. Wiedziałem, że to bardzo ważna firma w historii kina, ale nie wiedziałem, że aż tak. - mówi Piotr Markiewicz w najnowszym odcinku podcastu "O serialach". Najprostsze rozwiązania są zdecydowanie najlepsze a ludzie z Industrial Light & Magic wymyślali je na masową skalę. - dodaje Bartosz Węglarczyk. Ten serial to coś, co z czystym sumieniem mogę polecić każdemu. Ci ludzie fenomenalnie opowiadają o tym, co robią. To świetnie opowiedziana historia kina. - podsumowuje Piotr Markiewicz.   Seriale i filmy, o których rozmawiamy:  (1:30) - "Andor" (Disney +) (4:30) - "The First Lady" (7:25) - "The Mandalorian" (Disney +) (9:45) - "The Book of Boba Fett" (Disney +) (14:40) - "Light & Magic" (Disney +) (22:35) - "Murderville" (NETFLIX) (26:45) - "Uncoupled" (NETFLIX) (30:35) - "Downton Abbey: Nowa Epoka" (36:40) - "The Gilded Age" (HBO MAX) (37:00) - "Obywatel X" (HBO MAX) (38:10) - "Człowiek z Wysokiego Zamku" (Amazon Prime Video)

Light & Magic is a 6-part series about the innovators and creatives who contributed to the legendary success of Industrial Light & Magic, a Lucasfilm company. From acclaimed director and screenwriter Lawrence Kasdan (The Empire Strikes Back, Raiders of the Lost Ark, The Force Awakens), the documentary features interviews with George Lucas, Kathleen Kennedy, Steven Spielberg, Joe Johnston, Dennis Muren, Phil Tippett, Jean Bolte, Chrissie England, Rose Duignan, and many more. Tricia Barr and Sarah Woloski discuss the highlights of the series before sharing our roundtable interviews with director Lawrence Kasdan, Phil Tippett, and Dennis Muren. Light & Magic is out now on Disney+. Light & Magic | Official Trailer | Disney+ BE SURE TO CHECK OUT OUR INTERVIEWS WITH HAYDEN CHRISTENSEN, EWAN MCGREGOR, MOSES INGRAM, AND DEBORAH CHOW!! OUR MARVEL STAR WARS ZOOM DISCUSSION WILL RETURN SATURDAY, AUGUST 20TH, 2022 AT 8PM ET/5PM PT TO DIVE INTO SHE-HULK; ATTORNEY AT LAW. Social Media Fangirls Going Rogue Twitter | Instagram Tricia Barr Twitter | Instagram Sarah Woloski Twitter | Instagram Sandra Choute Twitter | Instagram Facebook Public | Private You must answer the 3 questions to join the Private Facebook group!

Greetings, Leias & Jedimen!   It's a brand new and electric episode of Yaddle Chattle (A Star Wars Podcast)!   Join Darth David & Jedi Jared as they discuss the new Industrial Light & Magic docuseries on Disney Plus!   The guys also talk about Lawrence Kasdan and the possibility of a sequel to Solo!   Plus, Jared tells us where he is on The Clone Wars animated series and gives us an update of his new baby, Leia!   And we have a killer Star Wars Cage Match as we get Luke Skywalker Vs. Poe Dameron in an X-Wing dogfight!   And the guys play audio of the Yaddle Chattle shout-out on another HUGE show!   Enjoy this epic episode right now!   And visit EastSideDaveCountry.com for more!   BAM!

We attended a couple of incredible roundtable interviews for LIGHT & MAGIC, Lawrence Kasdan's 6-part documentary series about Industrial Light & Magic. We couldn't recommend the series more. We spoke to Lawrence Kasdan (!!!!), the director of LIGHT & MAGIC, writer of THE EMPIRE STRIKES BACK, RETURN OF THE JEDI, THE FORCE AWAKENS, SOLO: A STAR WARS STORY, RAIDERS OF THE LOST ARK, and so much more. Then, we talked to special effects masters Phil Tippett and Dennis Muren about the changing industry and their friendship. Finally, we spoke with Janet Lewin, the Senior Vice President and General Manager of ILM today about the Volume, the sequel trilogy and Rogue One, and more.    THANK YOU to Lucasfilm and Disney+ for this incredible opportunity and thanks to our fellow outlets for asking incredible questions, including Fangirls Going Rogue, Coffee with Kenobi, Jedi News, Skywalking Through Neverland, LaughingPlace, Ecron Fantastique, Frogi, CHIPPO, MoviePlayer, and more.    https://www.patreon.com/skytalkers http://skytalkers.com  http://www.twitter.com/skytalkerspod https://www.tiktok.com/@skytalkers  http://facebook.com/skytalkerspod  https://www.instagram.com/skytalkerspodcast  http://www.twitter.com/crerrity  http://www.twitter.com/caitlinplesher  hello@skytalkers.com 

Johnny Depp zegt; Bye Bye Hollywood, Hallo Frankrijk voor zijn nieuwe rol! Michael Shannon, die we normaal als acteur kennen, gaat voor het eerst een film regisseren. Viola Davis heeft zich 10 jaar jonger getraind voor de trailer van The Woman King. In de trailer van Amsterdam buitelen de Hollywoodsterren over elkaar heen, zo veel zitten er in deze film. Jamie Foxx vermoordt vanmpieren in de Blade meets John Wick-film; Day Shift. En Nils fanboyt over de trailer van de serie over Industrial Light & Magic.   Ben je Film Fans Podcast Fan? Je kunt ons al bedanken voor deze podcast voor maar 1 euro per maand via https://www.patreon.com/FilmFansPodcast   Vergeet je niet te abonneren op ons kanaal, laat een review achter in jouw podcast-app, volg ons op Facebook: www.facebook.com/filmfanspodcast en Instagram: www.instagram.com/filmfanspodcast. Voor meer reviews, filmnieuws en afleveringen ga je naar www.filmfanspodcast.nl. Voor vragen en opmerkingen of voor het antwoord van het item My Wife mag je ons altijd mailen via mail@filmfanspodcast.nl.

In our latest "What to Watch Now" segment, we're checking in on what Industrial Light & Magic has been posting on their YouTube account. It turns out that something big just dropped - the trailer for the "Light & Magic" documentary! Let's discuss... Punch it! Here's the link to the trailer: https://www.youtube.com/watch?v=DM_XwzOK_98 ***I'm listener supported! Join the community at http://Patreon.com/sw7x7 to get access to bonus episodes and other insider rewards.*** 

Entrepreneur Paul Tasner joins Tim to talk about his unique story of becoming a successful entrepreneur after the age of 66.  He's the founder of a growing company called PulpWorks, a company that's focused on sustainability, solving the problems of toxic plastic packaging. In this episode, Paul talks about the time he lost his job, which for most people would end their careers. But for him it marked a new beginning. https://traffic.libsyn.com/secure/shapingopinion/Paul_Tasner_Final_auphonic.mp3 For most people, when you're 64 years old, you're either already retired or you're in the final stages of planning for your retirement. For Paul Tasner, he faced the prospects of regrouping after the fallout of being fired from his job, and then he had a decision to make: ease into retirement, or start something new? He chose the latter after two years of consulting and research, so by the age of 66, Paul became the founder of a company called PulpWorks, which became quite popular as the societal push for sustainability grew and grew. We talk with Paul about his journey. Links PulpWorks (website) Paul Tasner TED Talk, TED Paul Tasner Became an Entrepreneur at 66, Career Pivot About this Episode's Guest Paul Tasner PulpWorks is the capstone in a 40-year career in supply chain management for Paul.  Earlier, he held leadership positions in procurement, manufacturing, and logistics in ventures ranging from start-up to Fortune 100.  Included among them are: The Clorox Company (consumer packaged goods), California Closet Company (home furnishings), Method Products (consumer packaged goods), Hepagen (vaccines), OM2 (supply chain consultancy), and the Reclipse Group (supply chain consultancy).  His clients have included:  Clif Bar, Dreyer's Grand Ice Cream, GlaxoSmithKline, Novartis Consumer Health, Borden Chemical, Dial Corporation, Unilever, and Industrial Light+Magic. In 2008, Paul founded and continues to lead the San Francisco Bay Area Green Supply Chain Forum – the first such assembly of supply chain executives anywhere.  He has authored many papers and presentations on supply chain sustainability and currently lectures on this timely topic in the MBA Programs at San Francisco State University and Golden Gate University as well as the Packaging Engineering Department at San Jose State University. He is an Industrial Engineering graduate of the New Jersey Institute of Technology and holds a Ph.D. in Mathematics from Boston University.  

Oxford Metrics (OMG) interim results overview for the half year ending 31 March 2022. 00:12 - Overview 00:52 - Sale of Yotta 02:15 - Strategy 03:30 - Financials 04:10 - Outlook Oxford Metrics develops software that enables the interface between the real world and its virtual twin. Our smart sensing software helps over 10,000 customers in more than 70 countries, including all of the world's top 10 games companies and all of the top 20 universities worldwide. Founded in 1984, we started our journey in healthcare, expanded into entertainment, winning an OSCAR® and an Emmy®, then moved into defence and engineering. We have a track record of creating value by incubating, growing and then augmenting through acquisition, unique technology businesses. The Group trades through its market-leading division: Vicon. Vicon is a world leader in motion measurement analysis to thousands of customers worldwide, including Guy's Hospital, Industrial Light & Magic, MIT and NASA. The Group is headquartered in Oxford with offices in California, Colorado, and Auckland. Since 2001, Oxford Metrics (LSE: OMG), has been a quoted company listed on AIM, a market operated by the London Stock Exchange. For more information about Oxford Metrics, visit www.oxfordmetrics.com

Since 1975, Industrial Light & Magic (ILM) has set the standard for visual effects, creating some of the most stunning images in the history of film. At the forefront of the digital revolution, ILM continues to break new ground in the field not only in visual effects but now virtual reality, augmented reality, immersive entertainment, and virtual production. Founded by George Lucas, ILM is the leading effects facility in the world, with studios located in San Francisco, Singapore, Vancouver, London, and Sydney. The company serves the motion picture, television, streaming, commercial production, and attraction industries. ILM has created visual effects for over 350 feature films. With so many technical and creative innovations, ILM has been a constant force propelling the evolution of visual effects. Beginning with a mastery of the traditional arts of blue-screen photography, matte painting and model and miniature construction, ILM advanced the art of optical compositing and pioneered the development of motion control photography, digital compositing, and numerous other advances in effects technology. Since the 1980s, ILM has led the way in the use of computer graphics and digital imaging in feature films, developing breakthrough techniques such as morphing, enveloping and film input scanning technology. Most recently ILM unveiled its StageCraft realtime virtual production platform and StageCraft LED Stages which allow storytellers the ultimate flexibility in how they plan, develop and capture their vision. Today, ILM features one the most comprehensive and advanced digital effects production pipelines in the entertainment industry, from the earliest creation of wholly computer-generated characters in The Abyss, Terminator 2: Judgment Day and Jurassic Park to the startling digital breakthroughs in films such as Twister, Star Wars: Episode I The Phantom Menace and The Perfect Storm. ILM's ability to merge photo-realistic digital images with live-action footage is renowned throughout the industry. Critical to ILM's success are its Visual Effects Supervisors, who combine technical expertise with creative vision. They are joined by a global team of some 1,200 employees that includes producers, art directors, computer graphics artists, software engineers, editors, and technicians. This effects team works within ILM's proven production management system, known for producing superlative results on time and on budget. Industrial Light & Magic is a Lucasfilm Ltd. company serving the digital needs of the entertainment industry for visual effects. ILM has been awarded 3 Emmy Awards, 15 Academy Awards for Best Visual Effects, and received 33 Academy Awards for Scientific and Technical Achievements that have had an indelible impact on the art of filmmaking. In this Podcast, Manager of Emerging Talent at ILM Kim Paris talks about her experience recruiting talent, the importance of cover letters, the power of humility, the myth of film not being a stable career; as well as gives advice on outreach emails, reels and job interviews.  For more show notes, visit www.allanmckay.com/353/.

Highlights of Oxford Metrics' full year results for the year ended 30 September 2021. This illustrates the technology, the 5 year growth strategy to achieve 2.5x revenue and to return adjusted Pre Tax Profit to 15%, and closes with the shorter term outlook. 00:11 - Period overview 01:11 - Five-year growth plan & the technology 02:36 - Sensing capabilites, analysis & embed technology 03:09 - Financial aims 03:45 - Outlook: Vicon, Yotta & the group Oxford Metrics develops software that enables the interface between the real world and its virtual twin. Our smart sensing software helps over 10,000 customers in more than 70 countries, including all of the world's top 10 games companies and all of the top 20 universities worldwide. Founded in 1984, we started our journey in healthcare, expanded into entertainment, winning an OSCAR® and an Emmy®, then moved into defence and engineering. We have a track record of creating value by incubating, growing and then augmenting through acquisition, unique technology businesses. The Group trades through two market-leading divisions: Vicon and Yotta. Vicon is a world leader in motion measurement analysis to thousands of customers worldwide, including Guy's Hospital, Industrial Light & Magic, MIT and NASA. Yotta's cloud-based infrastructure asset management software enables central and local government agencies and other infrastructure owners to digitally manage their assets. Yotta has a large number of high-profile clients including VicRoads in Australia , Auckland Motorway System in New Zealand, and, in the UK, National Highways and over 160 local authorities.   The Group is headquartered in Oxford with offices in Leamington Spa, Gloucester, California, Colorado, and Auckland. Since 2001, Oxford Metrics (LSE: OMG), has been a quoted company listed on AIM, a market operated by the London Stock Exchange.

ABBA is releasing its first new music in four decades, along with a concert performance that will see the Dancing Queen quartet going entirely digital.The forthcoming album Voyage, to be released November 5, is a follow-up to 1981′s The Visitors, which until now had been the swan song of the Swedish supergroup. And a virtual version of the band will begin a series of concerts in London on May 27."We took a break in the spring of 1982 and now we've decided it's time to end it," ABBA said in a statement Thursday. "They say it's foolhardy to wait more than 40 years between albums, so we've recorded a follow-up to The Visitors."The group has been creating the holographic live show, using motion capture and other techniques, with George Lucas' special-effects company, Industrial Light & Magic.They call it "the strangest and most spectacular concert you could ever dream of"."We're going to be able to sit back in an audience and watch our digital selves perform our songs," the group's statement said. "Weird and wonderful!" The planned show spurred the making of the album, which features the new songs I Still Have Faith In You and Don't Shut Me Down. It began with sessions in 2018 and was delayed by the coronavirus pandemic.The show will come 50 years after the founding of the group that consisted of two married couples for most of its existence, and whose name is an acronym of the first names of its members, Agnetha Fältskog, 71, Björn Ulvaeus, 76, Benny Andersson, 74, and Anni-Frid Lyngstad, 75.Their music has remained ubiquitous in the decades since their breakup, in part because of the stage musical Mamma Mia! and the two films that followed it.They were inducted into the Rock and Roll Hall of Fame in 2010.Last week the group launched a website with the title ABBA Voyage, teasing the new announcement. Tickets go on sale Tuesday.- AP

Lori Beck is a Senior Recruiter with Industrial Light & Magic. She has been with the Lucas companies since 1992, beginning her tenure at LucasArts then moving on to ILM five years later. In 2005, Lori transitioned from supporting artists to recruiting artists. She recruits for various roles across the company while focusing on animation, fx, lighting, modeling, texturing, and art roles. And of course check out more Creative Mind on our blog, Instagram, and YouTube pages. Got a question? Let us know!

James Clyne is a design supervisor and visual effects art director at Industrial Light & Magic, who has worked on the Sequel Trilogy and Solo: A Star Wars Story, as well as other incredible movies. Highlights of his incredible career include working with Steven Spielberg on Minority Report, collaborating with James Cameron on Avatar and Alita: Battle of Angel, and of course designing for JJ Abrams on his first two Star Trek films, and then the sequel trilogy. Whether it is the TIE Silencer, Lando’s Millenium Falcon, or the final battle of The Rise of Skywalker, we really delve into so much of his process and inspirations. If you can leave a 5-star review of the show right here on your favorite podcast app, or on Podchaser: podchaser.com/TalkingBay94 Unedited transcripts of previous episodes are now available over at talkingbay94.com. For more behind-the-scenes stuff, as well as a link to some of our other in-depth interviews, check out: Website: www.TalkingBay94.com Twitter: www.twitter.com/TalkingBay94 Instagram: www.instagram.com/TalkingBay94

Michael Janda is an executive level creative leader with more than 20 years of experience in both in-house creative departments and agencies working with some of the greatest brands in the world. In 2002, he founded the creative agency Riser, a nationally recognized agency creating high-profile work for clients including Disney, Google, ABC, Fox, Warner Bros., NBC, TV Guide and numerous other notable companies. The company's 3 year growth rate of 235% in 2013 resulted in a ranking on Inc. 5000 (#1657). Riser's work quality and successful business practices yielded some of the most coveted awards in the industry including Webbys, FWA, Awwwards, AIGA and Addys.   After selling Riser in 2015 and becoming its Chief Creative Officer, Michael orchestrated a rebrand of the agency as EKR. In collaboration with the other partners, he successfully migrated Riser's clients and acquired new notable clients including Google, National Geographic, ABC, Intel and Netflix. In addition to his robust experience managing creative and marketing teams, Michael is the author of the book Burn Your Portfolio: Stuff They Don't Teach You in Design School, but Should. Since its publication in 2013, Burn Your Portfolio has been one of the top selling books in the industry and has been published in English, Russian, Chinese Traditional and Chinese Simplified. Burn Your Portfolio's success has resulted in opportunities for Michael to be a keynote speaker at AIGA, Advertising Federation and University events across the nation, as well as at other events. Allan McKay is an Emmy-Award winning Visual Effects (VFX) Supervisor and Technical Director. He is responsible for many visual effects sequences including hit projects like Transformers, Blade, The Last Airbender, Star Trek, Superman, Flight, The Equalizer, and dozens of other films, as well as many of the top video games worldwide including Halo, Destiny, Call of Duty, Bioshock, Prototype, Half-Life, Team Fortress 2, and dozens of others.  Allan has over two decades of experience working in the visual effects industry for many leading studios such as Industrial Light & Magic, Pixomondo, Blur Studio, Atomic Fiction, Prime Focus, Ubisoft, Activision and dozens of others. In addition to his VFX work, Allan runs many online courses, as well as a mentorship with over 1,000 members. Throughout the past two decades he has appeared as a speaker at events in over 15 different cities including Paris, Sydney, Los Angeles, New York, Vancouver, Singapore, Helsinki, as well as master classes at SIGGRAPH. His hit podcast is rated in the top 50 podcasts in the careers section of iTunes where he interviews many award winning artists and directors in the creative industry, focusing on both creativity and drive, as well as boosting your career and success within the creative industry. In this Podcast Michael interviews Allan about his decades-long career in visual effects, the lessons of perseverance and failing up, the importance of communication skills, as well as some social network hacks to get the attention of VIP's.   For more show notes, visit www.allanmckay.com/300/.

We often celebrate the 40 under 40 entrepreneurs in every community, but how often do you see anyone praising the 70 over 70 business leaders who are making things happen in the world of business. Paul Tasner's TED Talk on "How I Became an Entrepreneur at 66" is a must watch TED Talk (TED, not TEDx). Paul Tasner is the co-founder and CEO of PulpWorks, and his story about career and entrepreneurship is one that everyone should hear. Thom Singer ran across his TED Talk online and immediately knew he had to interview Paul on the "Making Waves at C-Level Podcast". About Paul Tasner and PulpWorks PulpWorks is the capstone in a 40-year career in supply chain management for Paul. Earlier, he held leadership positions in procurement, manufacturing, and logistics in ventures ranging from start-up to Fortune 100. Included among them are: The Clorox Company (consumer packaged goods), California Closet Company (home furnishings), Method Products (consumer packaged goods), Hepagen (vaccines), OM2 (supply chain consultancy), and the Reclipse Group (supply chain consultancy). His clients have included: Clif Bar, Dreyer’s Grand Ice Cream, GlaxoSmithKline, Novartis Consumer Health, Borden Chemical, Dial Corporation, Unilever, and Industrial Light+Magic.  In 2008, Paul founded and continues to lead the San Francisco Bay Area Green Supply Chain Forum – the first such assembly of supply chain executives anywhere. He has authored many papers and presentations on supply chain sustainability and currently lectures on this timely topic in the MBA Programs at San Francisco State University and Golden Gate University as well as the Packaging Engineering Department at San Jose State University. He is an Industrial Engineering graduate of the New Jersey Institute of Technology and holds a Ph.D. in Mathematics from Boston University.  https://thomsinger.com/podcast/paul-tasner Learn more about your ad choices. Visit megaphone.fm/adchoices

A native Californian, David Tanaka attended the University of California at Berkeley where in 1989 he earned his bachelor's degree in Fine Arts with an emphasis in Film Theory. Upon graduating, he worked for post-production facilities throughout the San Francisco Bay Area, quickly gaining experience through corporate advertising and industrial documentary assignments. In 1990, he joined Industrial Light & Magic, Lucas Digital Ltd., and served as a Senior Visual Effects Editor for fifteen years. His credits include Jurassic Park, Forrest Gump and Star Wars. In 2005, he accepted a Staff Post-Production Editor position for Pixar Animation Studios, handling trailer, international and marketing post-production pipeline matters on Cars, Ratatouille, WALL•E, Up, Toy Story 3, Cars 2 and Brave. In 2007, David was elected to the board of the Visual Effects Society's Northern California Section. In 2011 he was elected as Sectional Chairman and sincerely looks forward to the social and professional opportunities the Visual Effects Society provides for his fellow colleagues in the entertainment industry. Father of two (Mitchell, age 13, and Benjamin, age 10), he loves sharing the craft of film production, editing and visual effects with his family in the form of personal video projects and online challenges. Over the past few years, they have won international acclaim for internet competitions sponsored by Dreamworks Entertainment, Paramount Pictures and the Pepsi Corporation. All in the name of fun, David enjoys exposing his sons to not only the rewards, but also the hard work associated with his craft, while they together explore the ever-evolving frontier of multimedia. In addition to the Visual Effects Society, David is also an honorary member of Swords to Plowshares: A Veterans' Rights Organization for his psa producing contributions. In this Podcast, Allan interviews David about his career, his experience working for both ILM and Pixar; as well as the importance of building a personal brand and relationships as a VFX artist and / or freelancer. For more show notes, visit www.allanmckay.com/281/.

Capitulo Nº 24 The Mandalorian (Stagecraft) En este capitulo hablo de la tecnologia que uso Industrial Light & Magic para la creación de la serie de Televisión de Disney+ "The Mandalorian" 1.- Stagecraft 2.- The Mandalorian 3.- Unreal Engine 4.- Ray Tracing Si quieren saber mas de como es una producción de una serie o película, el diseño de arte, mecatronica y efectos especiales, tienes que escuchar: Alkemist Podcast el podcast donde conocerás los oficios artísticos del cine de la mano de sus profesionales "This is the way” --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/nelotecnologia/support

Hal Hickel is the Oscar winning Animation Supervisor at Industrial Light and Magic who, among many other things, has been leading #VFX work on #BabyYoda in #TheMandalorian. In this first part of a two part conversation we talk about a letter he wrote as a child to #Lucasfilm that drove him to achieve his dream of working at #ILM. We talk about his work on #ToyStory, his development of #BossNass and the climactic battle in #AttackOfTheClones. Around the Galaxy, the Star Wars Fan Talkshow drops new episodes every Tuesday with authors, personalities and super fans. Follow us on Twitter @ATGcast From the ILM website: Hal Hickel joined Industrial Light & Magic in 1996 as an animator for The Lost World: Jurassic Park. His special interest in animation lies in the challenge of integrating fantastic characters and creatures into live-action films. He was promoted to Lead Animator on his second film and was responsible for animating several characters in Star Wars: Episode I The Phantom Menace. In 2000, Hickel moved up to Animation Supervisor, teaming up with multi-Academy Award®-winning visual effects supervisor Dennis Muren on Steven Spielberg’s A.I. Artificial Intelligence. In 2007, his work on Pirates of the Caribbean: Dead Man’s Chest was recognized with both an Academy Award® for Outstanding Achievement in Visual Effects and the BAFTA for Best Achievement in Visual Effects. Hickel was the Animation Supervisor on Guillermo del Toro’s sci-fi epic, Pacific Rim, for which he received his fifth BAFTA nomination and a Visual Effects Society Nomination for Outstanding Visual Effects. Prior to that, he was the Animation Director on ILM’s first animated feature, Rango, which received the Academy Award® for Best Animated Feature. Originally from Portland, Oregon, Hickel studied Film Graphics at the California Institute of the Art before being hired by Will Vinton Studios as a clay animator and motion-control operator for commercials and television specials featuring the California Raisins, amongst other characters. Keep up with all the latest Star Wars news, reviews, and the Beyond the Blast Doors shows at www.BeyondTheBlastDoors.com Follow us on Facebook - https://www.facebook.com/BeyondTheBlastdoors Follow us on Twitter - https://twitter.com/BTBD_Podcast Follow us on Instagram - https://www.instagram.com/beyondtheblastdoors Do you like #BeyondTheBlastDoors and want more? Consider supporting the BTBD guys on Patreon! You can help guide how they create more content, and have it tailored to what you like. Check it out! #Patreon - https://www.patreon.com/BeyondTheBlastDoors --- Send in a voice message: https://anchor.fm/atgcast/message Support this podcast: https://anchor.fm/atgcast/support

Industrial Light & Magic digital artist and compositing supervisor Todd Vaziri has worked on every Star Wars movie since 2002, beginning with Attack of the Clones. Whether for the prequels (including the final duel on Mustafar), the sequels (figuring out the feel of a modern Star Wars movie), the spin-offs (helping to bring Tarkin and the Kessel Run to life), theme park rides (including Star Tours and Rise of the Resistance), or Stephen Colbert’s Green Screen Challenge, Mr. Vaziri’s passion for movie-making is evident in his every shot, and in his every answer on this episode, I’ve wanted him to be a guest on Talking Bay 94 for such a long time, and man, it was so worth the wait. Make sure you are following him on Twitter: @TVaziri … he is truly one of the best people to follow, period, on that app. This Friday, at 7:30 PM Central, we will be live again on Scener.com, breaking down Episode 4 of The Mandalorian Season 2. This will be every Friday night this season, with me and special guests pausing rewinding and analyzing every shot and, thanks to Scener’s technology, you’ll be able to watch seamlessly alongside us! Head to scener.com/talkingbay94 to set a reminder for this Friday and I’ll see you there! It is always so appreciated if you can leave a 5-star review of the show right here on your favorite podcast app, or on Podchaser: podchaser.com/TalkingBay94 Transcripts of previous episodes are starting to become available over at talkingbay94.com, which I hope will serve as a resource. For more behind-the-scenes stuff, as well as a link to some of our other in-depth interviews, check out: Website: www.TalkingBay94.com Twitter: www.twitter.com/TalkingBay94 Facebook: www.facebook.com/TalkingBay94 Instagram: www.instagram.com/TalkingBay94

Hello and welcome to episode 8 of The Closing Credits Podcast. Today, I interviewed Academy Award winning Industrial Light & Magic Animation Supervisor, Hal Hickel. In this episode, we spoke about his different work on various films, working on his first television show, The Mandalorian, when does one decide to use practicals vs VFX or a mix of both, animating digital humans, and if deep fakes are helpful to the industry.   Hal Hickel IMDb: https://www.imdb.com/name/nm0382579/?ref_=nv_sr_srsg_0   Disney Gallery: The Mandalorian: https://disneyplusoriginals.disney.com/show/disney-gallery-the-mandalorian   Hal Hickel Twitter: https://twitter.com/halhickel   Industrial Light & Magic: https://www.ilm.com/ To find out more information, please go to www.closingcreditspod.com or @closingcred on Twitter and Instagram. Please also let me know of any jobs in the film industry you'd like to know more about or who you'd like to be interviewed!   Theme song is by Christopher Findlaytor, the logo is by Steve Mehallo, and special thanks to everyone who sent in questions and who have been supporting the podcast. Thanks again for tuning in!

I had something else planned for this episode, but I got a little surprise in the mail and decided to go in a different direction. On Wednesday of last week, as I went to take Cooper on his ten o' clock walk, I noticed a big padded envelope on the front porch with the words “UNSOLICITED GIFT” written on the outside. Now, I can be a little strange about gifts, even the ones I know are coming, so when one just shows up anonymously I sometimes don't know how to react. Fortunately, Adrianne was working from home that day and was able to offer some sage advice that wasn't as obvious as it probably should have been as I stood there staring at the package. “Well,” she said, “the only way you're gonna know what it is is to open it.” Right. Inside, wrapped in newspaper, was the gift itself and an envelope that contained a card. I'll get to the what in a moment, but first I want to address the why, because without the why, the what isn't nearly as meaningful.Subscribe: iTunes | Pocket Casts | Overcast | RSSLINKSHere's a terrific article from The New York Times Magazine called The Day the Music Burned, which tells the story of the 2008 Universal fire that destroyed the original analog and multitrack recordings of nearly a half million songs, some dating back to the 1940s.I've just picked up Adam Savage's new book, Every Tool's a Hammer and one of the reasons I did is because I read an article on Wired that featured an excerpt from the book all about the power of making lists and how Adam's list making life changed when he started working at Industrial Light & Magic.In an article on Witness, Lewis Bush addresses “why there is such a poverty of theory about storytelling in photography compared to other fields, and why there is so little precision about the terms and techniques we use. Why, for example, are so few photographers able to differentiate between such fundamentally different things as story and narrative.” It's a fascinating read that definitely has me thinking about the type of work I'd like to produce moving forward.Music in this episode: The Wrong Way (Jahzzar) / CC BY-SA 4.0

Discover the book that is helping thousands of indie filmmakers finance their own movies... as we speak with Author/Filmmaker, Mark Freiburger on this episode of The Doorpost Podcast Project!   Bio: MARK FREIBURGER graduated from the UNCSA School of Filmmaking in 2005. He directed the indie films JIMMY and DOG DAYS OF SUMMER, as well as the Los Angeles premiere of 110 STORIES at the Geffen Playhouse, which starred Academy- Award nominee John Hawkes, Ed Asner, Katherine McPhee and many others.    In 2013 he won the Doritos Crash the Super Bowl contest with his commercial Fashionista Daddy, which was the #1 ranked :30 spot of the 2013 Super Bowl on the USA Today poll. In 2014, Fashionista Daddy was named the Greatest Super Bowl Commercial of All Time by network CBS in a countdown of the 10 Greatest Commercials in Super Bowl History.    Immediately following the 2013 Super Bowl, Freiburger shadowed director Michael Bay on TRANSFORMERS: AGE OF EXTINCTION in an exclusive mentorship. During Freiburger's mentorship on the film, he worked on the set with Bay in the United States and Hong Kong. He also worked with the Visual FX team from George Lucas' company Industrial Light & Magic, and shadowed various aspects of the VFX post- production in San Francisco.  Following TRANSFORMERS, he went on in 2014 to direct comedy spots for Nickelodeon, DreamWorksTV, AwesomenessTV and a pair of comedy sketches with actors Rebel Wilson and Ken Jeong.    He is currently writing an action thriller for producer Neal Moritz' production company, Original Film, the producers behind the FAST & FURIOUS, and 21/22 JUMP STREET franchises. Freiburger is also attached to direct the film, which will shoot in Rio de Janeiro, Brazil.  Freiburger is repped by Gotham Group and United Talent Agency.