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2 episodes with magic ilm
2 episodes with magic ilm
2 episodes with magic ilm
2 episodes with magic ilm
2 episodes with magic ilm
2 episodes with magic ilm
Adam Howard is the winner of four Primetime Emmy Awards for Outstanding Individual Achievement in Special Visual Effects and has been nominated a total of nine times for his VFX work on multiple Star Trek series. He originally trained in his home town of Melbourne Australia as a graphic designer, illustrator and animator, using very traditional artist tools. His passion for visual effects in film and television led him to be one of the first digital artists on the planet creating groundbreaking digital effects and animation for ABC-TV Melbourne and AAV Studios. He moved to Los Angeles in 1990 getting his dream jobs of working as lead animator and compositor on Star Trek: The Next Generation and MacGyver, and a few years later working as a senior artist at George Lucas's Industrial Light & Magic (ILM).Adam has worked on over 145 feature films including Titanic, Birdman, Star Wars Episode III - Revenge of the Sith, Pirates of the Caribbean 2: Dead Man's Chest, Mission Impossible 3, Rush Hour 3, Jarhead, Cliffhanger, The Sandlot, The River Wild, Pee Wee's Big Holiday, War of the Worlds, Star Trek: First Contact, The Day After Tomorrow, Van Helsing, Coneheads, The Hurricane Heist, Tower Heist, The Twilight Saga: Breaking Dawn 1 & 2, X-Men Origins: Wolverine, The Island, Peter Pan, The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, and Bram Stokers Dracula.He also created visual effects and animation for TV series including Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise, Will & Grace, That 70's Show and the iconic opening title chalkboards for The Simpsons. He was senior VFX Supervisor for the Harry Potter and the Forbidden Journey ride experience at Universal Studios Orlando, Tokyo and Los Angeles. Adam is also a fine artist creating custom painted portraits which are available by commission on his website www.adam howard.art. In addition to his VFX and fine art work, Adam is also Manager to award winning actress and screenwriter Lorenne Clarke. Adam recently completed work as VFX Supervisor for M. Night Shyamalan's TV series SERVANT and season 4 of EVIL on CBS.Connect with Adam:➡️ Instagram: @adamhoward_officialwww.adamhoward.arthttps://www.adamhoward.art/visualeffectsAbout The Lot1 Podcast ✨The Lot1 Podcast is designed for anyone who is interested in or working in filmmaking. Whether you're just starting out or a seasoned veteran, we hope you gain the knowledge you need to improve your craft, achieve your filmmaking goals, or simply get an understanding and appreciation for the roles and duties of your peers and colleagues.Follow Us! ⤵️Instagram & TikTok: @thelot1podcasthttps://www.instagram.com/thelot1podcast/?hl=enhttps://www.tiktok.com/@thelot1podcast–Hosted byDeji Bankole (@deji_bankole)Christopher Henley (@henley_son)Produced byMina VazirianEdited byChristopher Henleyhttps://linktr.ee/thelot1podcast Hosted on Acast. See acast.com/privacy for more information.
Scott Ross (born November 20, 1951) is an American digital media executive with a career spanning three decades. In the 1980s he led George Lucas' companies and in 1993 he founded, along with James Cameron and Stan Winston, Digital Domain, Inc., one of the largest digital production studios in the motion picture and advertising industries.[citation needed]In the 1980s Ross was general manager of Lucasfilm's Industrial Light and Magic (ILM) and under his leadership, ILM won five Academy Awards for Best Visual Effects (Who Framed Roger Rabbit, Innerspace, Terminator 2: Judgment Day, The Abyss, Death Becomes Her). The company re-organized in 1991 and Ross was named senior vice president of the LucasArts Entertainment Company, which comprised Skywalker Sound, LucasArts Commercial Productions, LucasArts Attractions, EditDroid/SoundDroid and ILM.Under Ross' direction, from 1993 to 2006, Digital Domain garnered two Academy Awards and three nominations, receiving its first Oscar in 1997 for the ground-breaking visual effects in Titanic. That was followed by a second Oscar for What Dreams May Come. Digital Domain received additional nominations for True Lies, Apollo 13 and I, Robot and won three Scientific and Technical Academy Awards for its proprietary software.Digital Domain's Commercials Division has established itself as the premier visual effects studio in the advertising industry. With Fortune 500 clients such as Nike, American Express, Gatorade, Anheuser-Busch, Coca-Cola and Mercedes-Benz, the Commercials Division has garnered dozens of Clio Awards. In addition to the visual effects divisions, Mr. Ross launched Digital Domain Films, a feature film production division. The first feature film produced by Ross was the New Line Cinema release Secondhand Lions which achieved both critical and box office success. In 2006, as Digital Domain's CEO and Chairman, Ross sold Digital Domain to Wyndcrest Holdings led by film director, Michael Bay, and his partner John Textor.At present, Ross sits on multiple boards and is an advisor to companies and schools such as the Beijing Film Academy, Lenovo Computers, DeTao Masters Academy in Shanghai, Eyellusion (a holographic live concert touring production company) and is a co-founder of Trojan Horse Was A Unicorn. the world's leading digital artist conference which takes place in Malta. Ross also continues developing film screenplays that focus on the pressing issues of the day.A native of New York City, Ross began his career in media studies at Hofstra University, where he graduated with a BS in communication arts in 1974. He returned to Hofstra in June 1997 to receive an honorary doctorate degree from his alma mater. Ross is a member of the Academy of Motion Picture Arts and Sciences (OSCARS) and the Academy of Television Arts and Sciences (EMMYS). He has worked on over 100 of the world's largest special effects films and has lectured extensively about the creative process, content and technology in over 30 countries around the world.Read His New Book Here:https://www.amazon.com/UPSTART-DIGITAL-REVOLUTION-MANAGING-UNMANAGEABLE/dp/1836636911
In this conversation, Maryan discusses her journey into the film industry, detailing her entry point after film school, her experiences at Industrial Light & Magic (ILM), and the challenges she faced as a woman in a male-dominated field. She shares insights into the creative environment at ILM, the collaborative spirit among teams, and the innovative techniques used in films like Return of the Jedi. Maryan reflects on her post-ILM career, the changing dynamics in the industry, and the importance of perseverance and creativity in filmmaking. In this conversation, Maryan reflects on her experiences in the film industry, particularly focusing on the creative processes behind visual effects, the impact of influential figures like George Lucas, and the transition from effects work to live action and music videos. We discuss the challenges of working in different effects houses, the importance of collaboration, and the evolution of technology in filmmaking. The conversation also touches on personal career transitions, the balance between work and family life, and the shift towards education in the arts.All my links
In supporter Mike's last pick and appearance he went with a classic 90's British flick, Trainspotting. And this time he's swung the dial to little renowned sword and sorcery adventure, Dragonslayer! Dragonslayer (1981) was an ambitious collaboration between Paramount Pictures and Walt Disney Productions, marking a rare foray into darker, more mature fantasy for Disney. Directed by Matthew Robbins, the film was developed as a gritty and realistic take on medieval mythology, deviating from the lighter tone often associated with fantasy films of the time. The screenplay, written by Robbins and Hal Barwood, aimed to explore themes of faith, power, and heroism. Principal photography took place in the rugged landscapes of Wales and Scotland, chosen for their authentic medieval atmosphere, and the production faced significant challenges in capturing the epic scope of the story while dealing with unpredictable weather and remote locations. The standout feature of the film was its groundbreaking special effects, particularly the creation of the dragon, Vermithrax Pejorative. To bring the creature to life, the production team employed a combination of animatronics, puppetry, and the pioneering go-motion technique developed by Industrial Light & Magic (ILM). This approach allowed for smoother, more lifelike movements than traditional stop-motion animation. Phil Tippett, the lead visual effects artist, played a crucial role in crafting Vermithrax, which has since been hailed as one of the most convincing cinematic dragons ever created. Despite mixed reviews upon release, Dragonslayer gained a cult following and remains a landmark in special effects innovation, bridging the gap between the practical techniques of the past and the CGI-dominated future of filmmaking. Mike & Dave have a monthly Star Wars pod with fellow VHS support Maff, plus Mike, Dave & Chris have collaborated on numerous podcast in the past, to find all of Mike's links, go here: https://linktr.ee/GenuineChitChat As Mike noted in his recording, he has discussed Dragonslayer in-depth with his wife Megan, fellow VHS supporter Spider-Dan and Ria Carrogan of the Femme On Collective, in their series "Disney Discussions", found on the feeds of Genuine Chit-Chat, Spider-Dan & The Secret Bores and Femme On. The episode was released on Spider-Dan's pod in September 2022! Listen wherever you're listening to the VHS Strikes Back, or find all DD episodes (with video) in this YouTube playlist: https://www.youtube.com/playlist?list=PLcO1Ib_BGD8ajqsEDJPAYC0DSuIUqa26e If you enjoy the show we have a Patreon, so become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: Young sorcerer's apprentice Galen embarks on a perilous quest to slay Vermithrax Pejorative, a fearsome dragon terrorizing a kingdom that appeases it with human sacrifices. Armed with his late master's enchanted amulet and his growing confidence, Galen ventures into danger, facing the dragon's fiery wrath and uncovering political intrigue that reveals the kingdom's rulers have sinister motives of their own. Combining themes of heroism, faith, and sacrifice, the film delivers a gritty, visually striking fantasy tale that stands out for its groundbreaking special effects and its unflinching portrayal of medieval darkness. thevhsstrikesback@gmail.com https://linktr.ee/vhsstrikesback --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support
In this conversation, TyRuben shares his journey into the world of visual effects and concept design, detailing the profound impact of films like '2001: A Space Odyssey' on his aspirations. He discusses the importance of self-permission in pursuing one's dreams, the skills he developed over the years, and his experiences at Industrial Light & Magic (ILM). He emphasizes the significance of collaboration, the fast-paced nature of concept design, and the evolution of CGI in filmmaking. He reflects on his work with industry legends like George Lucas and James Cameron, the transformative experience of working on 'Avatar', and his eventual transition into education and engagement with artificial intelligence.Key moments:Seeing '2001: A Space Odyssey' sparked my interest in visual effects.Self-permission is crucial for success in any field.Building a diverse skill set is essential for a career in VFX.Collaboration is key in the creative process.The fast-paced environment at ILM taught me to adapt quickly.Pitching ideas is a vital part of the creative process.Working with George Lucas was a dream come true.The experience on 'Avatar' solidified my role in the industry.Teaching is a natural progression in my career.All the links
As a pioneer in digital visual effects, Scott Ross was instrumental in the advancement of VFX in Hollywood. He led groundbreaking work at Industrial Light and Magic (ILM) and co-founded Digital Domain with James Cameron and Stan Winston. Scott looks back on his career, discusses systemic problems within the VFX industry, and possible ways to fix them. Scott began his career in sound recording for television and film in the San Francisco Bay Area for a video production company, becoming president of the San Francisco office. The success of Star Wars ignited a space race for studios, and ILM became the holy grail for VFX artists. “I get a phone call from a headhunter who says, 'Hey, Lucasfilm is looking for somebody to head up production operations at Industrial Light and Magic.' And my head exploded," says Scott. "If you're going to live in San Francisco, you want to work at Lucasfilm. That's how I got hired.” At the time, ILM was creating visual effects for Who Framed Roger Rabbit. His experience in the nascent digital video industry sped up the process, and by 1989, ILM developed a technique to work in a digital medium for making special effects. While Scott was at ILM, the company won five Academy Awards for Best Visual Effects. However, ILM's creative spirit began to wane under corporate pressure. "It turned into cubicles and whatnot," says Ross, favoring a "work hard, play hard" environment. This philosophy fueled his decision to leave and co-found Digital Domain in 1993. “When I started Digital Domain, we're going to play hard, work hard and party hard. And that's the culture that I wanted to create. I think generally we did a pretty good job of it.” Digital Domain became a leading VFX company, creating visual effects for films such as Cameron's Titanic. The VFX industry is notoriously troubled, with visual effects houses underbidding on projects to stay competitive and creating dismal working conditions for employees. “There are certain companies that the only way that they could stay alive is by taking advantage of their employees, not paying them overtime, not having health care,” says Scott. “That really comes as a result of the way the clients, studios and the directors deal with the visual effects companies.” He blames a producer mentality that prioritizes squeezing VFX houses rather than fostering a sustainable industry. “The visual effects industry workers need advocates for themselves. Currently, they have no one fighting for them. They need an international trade association that changes the business model.” Today, effects workers continue to voice their need to form a union. The rise of AI further complicates the picture, with some fearing job replacement. Find Scott Ross: https://www.linkedin.com/in/scottross/ Instagram: @scott_ross Sponsored by Hot Rod Cameras www.hotrodcameras.com Get Tickets to Cinebeer 2024! https://www.tickettailor.com/events/hotrodcameras/1263845? The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
George Lucas minden idők egyik legfontosabb filmes figurája, mint író-rendező-producer valódi "auteur", noha e szót hallva Han Solo menten a lézerpisztolyához kapna. Rendezői munkásságát gyakran keverték össze az általa írt és gyártott projektekkel, például az "Indiana Jones"-franchise-zal és a "Star Wars"-univerzum tagjaival. Megosztó figura, sokan inkább ötletembernek, háttérmunkásnak tartják, de tagadhatatlan, hogy rendezői teljesítménye figyelemre méltó. Hatfilmes filmográfiája mindegyik eleme érdekes a maga módján, de színvonaluk meglehetősen egyenetlen. Új filmkészítési módszereket talált olyan mozifilmek elkészítéséhez, amelyek örökre megváltoztatták Hollywoodot és vele együtt az egész moziipart. Lucas úttörő volt a digitális képrögzítési technikák és a számítógéppel generált hátterek használatával; ezek nélkülözhetetlenek egy modern kasszasiker elkészítéséhez. A CGI iránti megszállottságát azonban komoly viták kísérték: a „Csillagok háborúja” különkiadásait éppúgy kritizálták, mint az eredeti trilógián végrehajtott változtatásait, amik miatt a vizuális effektusok frissebbnek tűnnek, de többnyire zavaróak. Filmjein érződik élete lenyomata: az ötvenes évek kisvárosi életformája, apja írószerboltja, autóversenyek, a Kaliforniai Egyetemen megnézett olasz és francia művészfilmek. Diplomamunkája, az „Electronic Labyrinth: THX 1138 4EB” díjat nyert az Országos Diákfilmfesztiválon. Ez hívta fel rá a szintén kezdő Steven Spielberg figyelmét, aki utóbb Lucasszal dolgozott együtt az "Indiana Jones"-filmeken. Az 1970-es évek elején Lucas két játékfilmet rendezett: a francia újhullámos rendezők, Godard és Truffaut sci-fi-filmjei hatása alatt készült disztópiát, a „THX 1138”-at (1971), valamint az '50-es évek-nosztalgiáért, ekképp a „Grease”-ért és a Hungária együttesért egyaránt felelős „American Graffiti”-t (1973), hogy aztán elkészítse filmtörténeti eposzát, a "Star Wars"-trilógiát. Majd a '90-es évekig inkább íróként és producerként dolgozott, nem rendezett újabb filmet, amíg több mint 20 évvel később dolgozni nem kezdett a "Star Wars" előzménytrilógiáján. Saját filmjein kívül több filmkészítési ágat is megújított: a Pixar animációs óriás megalapításától az Industrial Light&Magic (ILM) vizuális effektcégen át a Skywalker Sound atmoszférateremtő hangszőnyegeiig sok elemen rajta hagyta a keze nyomát. George Lucas hatása a filmkészítés egészére a mai napig érződik, ezúttal a 80 éves mester életművéről beszélgettünk vendégünkkel, Tóta W. Árpáddal. A beszélgetés résztvevői: Balázsy István Csunderlik Péter Laska Pál Tóta W. Árpád A Régen minden jobb volt a Tilos Rádió hátrafelé nyilazó történelmi műsora: https://www.facebook.com/regen.minden.jobb.volt/
Eric Welcomes Super Star Wars fan Andrew from the Rare Cuts Media Society to talk all about George Lucas and Disney…but not necessarily Star Wars. George Lucas has been a force in filmmaking technology in the movies he made and the Companies he started, Like Industrial Light and Magic (ILM). But he also did a lot for the Disney Company and that was all before he sold his LucasFilm to Disney. In this episode, the conversation focuses more on Indiana Jones Disney Parks Attractions, Pixar Animation technology, Michael Jackson using the Force as Captain EO, and a strange little movie called Strange Magic! Oh, yeah….we do talk about Star Wars too. Andrew appeared once before on the first episode of Synergy Loves Company: Aerosmith and Disney! Listen here: https://synergylovescompany.com/episode/aerosmith-and-disney You can find more andrew on Rare Cuts Media Society: https://rarecutsmediasociety.com Thanks for listening to Synergy Loves Company: How Disney Connects to Everything. https://www.synergylovescompany.com Donate to the show: https://ko-fi.com/synergylovescompany Youtube: https://www.youtube.com/@synergylovescompany Twitter: https://twitter.com/EricHSynergy Facebook: https://www.facebook.com/synergylovescompany Instagram and Threads :https://www.instagram.com/synergylovescompany/Read transcript
George Lucas is a visionary filmmaker and entrepreneur best known for creating the Star Wars and Indiana Jones franchises. Born on May 14, 1944, in Modesto, California, Lucas developed a passion for cars and racing in his early life. However, a near-fatal car accident shifted his focus to cinematography and photography. He attended Modesto Junior College and later transferred to the University of Southern California's School of Cinematic Arts. Lucas's career took off with the release of his film "American Graffiti" in 1973, but it was his next project, "Star Wars," that would change the landscape of filmmaking.Summary:George Lucas, the visionary filmmaker and entrepreneur, has had a monumental impact on film and culture. Born in Modesto, California, Lucas initially aspired to be a racing driver but shifted his focus to cinematography after a near-fatal car accident. He attended film school at the University of Southern California and became deeply interested in nontraditional filmmaking. Lucas's career took off with the release of "American Graffiti" in 1973, but it was his creation of "Star Wars" in 1977 that revolutionized the industry. The film's unprecedented success led to the creation of a global phenomenon and a franchise that has endured for decades. Lucas's innovative merchandising rights and ownership of sequels paved the way for new revenue streams and marketing possibilities. His impact on filmmaking extends beyond his directorial work, as he founded Lucasfilm, Industrial Light & Magic (ILM), and Skywalker Sound, which revolutionized special effects and audio effects in the industry. Lucas's philanthropic efforts and commitment to education have also left a lasting impact, with donations to education causes and the creation of the George Lucas Education Foundation and the Lucas Museum of Narrative Art.Key Takeaways:George Lucas revolutionized special effects and sound design in cinema through his companies Lucasfilm, Industrial Light & Magic (ILM), and Skywalker Sound.His creation of "Star Wars" and "Indiana Jones" became cultural cornerstones, influencing generations and contributing significantly to popular culture.Lucas pioneered the modern film merchandising and franchise model, reshaping the business side of filmmaking and creating new revenue streams.His philanthropic efforts, particularly in arts and education, have had a lasting impact on innovative education methods and creative fields.While Lucas's impact on film and culture is monumental, there are also aspects that have been subject to criticism and debate, such as over-commercialization and creative control issues.Support the showDo you want to be a guest on multiple podcasts as a service go to:www.podcastintroduction.comFind more details about the podcast and my coaching business on:www.absolutebusinessmindset.comDo you want to be a podcaster? Sign up onwww.abmpodcastcourse.co.ukFind me onLinkedIn - https://www.linkedin.com/in/mark-hayw...Facebook - https://www.facebook.com/markjhayward
Scott Ross (born November 20, 1951) is an American digital media executive with a career spanning three decades. In the 1980s he led George Lucas' companies and in 1993 he founded, along with James Cameron and Stan Winston, Digital Domain, Inc., In the 1980s Ross was general manager of Lucasfilm's Industrial Light and Magic (ILM) and under his leadership, ILM won five Academy Awards for Best Visual Effects (Who Framed Roger Rabbit, Innerspace, Terminator 2: Judgment Day, The Abyss, Death Becomes Her). The company re-organized in 1991 and Ross was named senior vice president of the LucasArts Entertainment Company, which comprised Skywalker Sound, LucasArts Commercial Productions, LucasArts Attractions, EditDroid/SoundDroid and ILM. Under Ross' direction, from 1993 to 2006, Digital Domain garnered two Academy Awards and three nominations, receiving its first Oscar in 1997 for the ground-breaking visual effects in Titanic. That was followed by a second Oscar for What Dreams May Come. Digital Domain received additional nominations for True Lies, Apollo 13 and I, Robot and won three Scientific and Technical Academy Awards for its proprietary software. Today, Dr. Ross sits on several boards, consults with international companies and lectures on Virtual Reality, Augmented Reality and was one of the early adopters of Mixed Reality technologies. Dr. Ross was an early advisor to Magic Leap (an AR hardware and software startup that eventually raised over $2B), is a board member to Eyellusion (one of the world's leading hologram company which brings back deceased rock stars) and was a founding partner, along with Brett Leonard, the director of LAWNMOWER MAN in VR production company, Virtuosity. Dr. Ross has presented keynote speeches addressing new technologies such as AR/VR to SIGGRAPH in Shenzhen, BOAO in Hong Kong as well as to the Beijing Film Academy. --- Support this podcast: https://podcasters.spotify.com/pod/show/amuse/support
Today we welcome another special guest to Rule of Two, Bill Kimberlin. Bill Kimberlin is a legendary Industrial Light and Magic (ILM) visual effects editor who was the visual effects editor for "Return of the Jedi" in 1983 and other blockbuster non-Star Wars films like "Star Trek III: The Search for Spock" in 1984, all of the "Back to the Future Films", "Cocoon", "The Mask", "Schindler's List", "Who Framed Roger Rabbit", "Jumanji", "Gangs of New York", "Saving Private Ryan", "Sleepy Hollow" and "The Abyss" among others and was a close collaborator with George Lucas who founded ILM. Learn more about your ad choices. Visit megaphone.fm/adchoices
Walt Disney Studios is the core of where The Walt Disney Company started nearly 100 years ago. Today the Studios brings quality movies, episodic storytelling, music, and stage plays to consumers throughout the world. This week both our guests hail from our Disney Studios Content team, Nicole Roberts, Senior Manager of Global Marketing, and Ian Milham, Virtual Production Supervisor at Industrial Light & Magic (ILM). Our guests take us behind the scenes of their roles, sharing all the moving parts that go into creating global marketing campaigns, the virtual production process used on The Mandalorian, and how technology is creating new and exciting roles within Studios.
NEWS - Ezra Miller apologizes and is ""getting help"" - ROGUE ONE returns to IMAX - BATGIRL canceled OGTW - Becker: THE SANDMAN (completed), LIGHT & MAGIC (ILM documentary), PREY, STAR WARS – THE HIGH REPUBLIC: RISING STORM (completed) and started …FALLEN STAR - Diaz: DRAGONLANCE: DRAGONS OF DECEIT by Margaret Weiss and Tracy Hickman MAIN TOPIC: The team is back after a short, summer break. Day job obligations and vacation out of the way, Joe and Michael hit the ground running with their takes on PREY and SHE-HULK: ATTORNEY AT LAW. Where do you rank PREY in the Predator franchise? Did the first episode of SHE-HULK stick the hero pose landing? Let us know below! Welcome to the Kybercast! #Flash #RogueOne #Batgirl #TheSandman #Sandman #Light&Magic #StarWarsTheHighRepublic #RisingStorm #FallenStar #DragonLance #DragonsOfDeceit #Prey #SheHulk #SheHulkAttorneyAtLaw
Today's show is a discussion and review of the landmark 1982 computer animated science fiction action adventure film TRON, which celebrated its 40th anniversary on July 9th.It's tough to imagine a time when computer generated imagery or CGI wasn't a main staple in the entertainment industry. Back in the 1950s, mechanical computers were used to create patterns onto animation cells. The first film to use these cells was Alfred Hitchcock's Vertigo (1958). Over the next 23 years, CGI made small leaps, with a short film in 1972, being blended with live action in 1973, appearing as 3D animation in 1976, and then Industrial Light and Magic blew everyone away, using CGI in the trench run at the end of Star Wars (1977). Up until Star Wars, CGI was basically an ad on feature that was cool to use, but could have been easily replaced. George Lucas's Industrial Light and Magic (ILM) showed everyone that CGI could be used on a larger scale. And then came 1982s TRON. Tron was the first full feature film to not only employ CGI, but utilize it as the backbone of the film. Without CGI, Tron doesn't work. Because of CGI limitations at the time, it was up to Disney, Lisberger, and a host of other artists, animators, dreamers, and innovators to break new ground, invent new methods, and bring TRON to the big screen.No one knew the impact that Tron would have on the entertainment industry, but 40 years later, we can look back and acknowledge the genius of this movie through its creators, its impact, and its legacy. In this show, we do more than a movie review by delving into the lives of the cast and crew, fan theories, trivia, scene breakdowns, and anything related to film and TV. Needless to say, our shows are a little longer than your average movie review show, but we can assure you that our shows are jam packed with entertaining and interesting discussions. If that sounds like your sort of bag, hang out with Kenny and Del as they review TRON.Resource and Interesting Links:The Making of Tron - https://www.youtube.com/watch?v=wSiEklGobmYTheatrical Version Opening - https://youtu.be/-D_ccGj7jgMDeleted Love Scene - https://youtu.be/nED_W7NA2VsAnimal Olympics (1980) - https://www.youtube.com/watch?v=vHFlVC5pEmIFirst CGI used in film - https://youtu.be/GQwp6M2q1NEFirst CGI Short film - https://youtu.be/wdedV81UQ5kFirst CGI blend with Live Action in film - https://youtu.be/nILKFlpOZi0First CGI animation in film - https://youtu.be/QfRAfsK5cvUThanks for listening, and feel free to hit us up on any of our social media platforms! https://linktr.ee/BiAPodcastTheme song "Loli'ana" written and performed by award-winning musician Kamuela Kahoano. Listen to more of Kamuela's music on iTunes and https://kamuelamusic.com/. Also, "Loli'ana" performed live at The Ko'olau Banquet Hall can be seen here https://youtu.be/YDJ1NNJgEiA Thanks for listening! Don't forget our next bi-weekly Pod, and keep an eye out for our specials, series, request line, and news episodes! And please subscribe and review!
The Geek Buddies with John Rocha, Michael Vogel and Shannon McClung
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Richard Edlund is a four-time Academy Award visual effects winner for Star Wars: A New Hope, Star Wars: The Empire Strikes Back, Raiders of the Lost Ark, and Star Wars: Return of the Jedi. He is VFX Supervisor, Producer and Cinematographer. Richard was also nominated for Poltergeist, 2010, Ghostbusters, Poltergeist II: The Other Side, Die Hard and Alien 3. He's won three Academy Technical Awards, the British Academy Award for Poltergeist and Return of the Jedi. He earned an Emmy for creating the visual effects for the original television miniseries Battlestar Galactica and another nomination for Mike Nichols' Angels in America. The Academy of Motion Picture Arts and Sciences honored him with their John A. Bonner Medal of Commendation in recognition of his contributions to the Academy. And the ASC (American Society of Cinematographers) presented him with their esteemed Presidents Award in 2008. He has also received top accolades from the Visual Effects Society, Academy of Science Fiction, Fantasy & Horror Films, and numerous other organizations. In 1975, Richard was one of the first visual effects artists to join fellow VFX enthusiast, John Dykstra for a startup he called Industrial Light and Magic (ILM). This team of filmmakers began their work on a movie called Star Wars. When the new technology and Star Wars franchise clicked, Richard moved to Marin County to supervise visual effects for the next two episodes of Star Wars, as well as Indiana Jones and the Raiders of the Lost Ark and Poltergeist. In 1984, he took over the equipment amassed by Doug Trumbull's Entertainment Effects Group and retooled the 65mm visual effects company, renaming it Boss Film Studios. Boss Films became a star in the visual effects world, when company simultaneously produced the comedic visual effects for Ghostbusters, created a hybrid technology integrating NASA's digital images of Jupiter into a key sequence in 2010. Boss's pioneering VFX technology went on to create stunning imagery for over 40 features, including Die Hard, Ghost, Poltergeist 2, Alien3, Species, Multiplicity, Air Force One. Masters of the Universe, Cliffhanger, Batman Returns, The Last Action Hero, Waterworld, Heat, Starship Troopers and a slew of other high profile projects, including pioneering Bud Light Superbowl spots. The company achieved ten Academy Award nominations over a fourteen-year period. Richard is a twenty-two year Governor of the Academy of Motion Picture Arts and Sciences, founding member of the AMPAS visual effects branch and is chair of the Branch Executive Committee, also chairman of the Academy's Science and Technology Council. He also serves as a board member of the VES and on the Board of Directors of the American Society of Cinematographers. Richard is a frequent lecturer at industry organizations and universities across the world including USC and Chapman film schools. His 1977 Oscar for Star Wars is currently on display at the newly opened Academy Museum of Motion Pictures in Los Angeles. In this Episode, legendary Oscar-winning VFX Supervisor, Producer and Cinematographer Richard Edlund talks about his work on some of the most influential films and their groundbreaking VFX sequences: Raiders of the Lost Ark, Ghostbusters and Die Hard. For more show notes, visit www.allanmckay.com/335/.
Richard Edlund is a four-time Academy Award visual effects winner for Star Wars: A New Hope, Star Wars: The Empire Strikes Back, Raiders of the Lost Ark, and Star Wars: Return of the Jedi. He is VFX Supervisor, Producer and Cinematographer. Richard was also nominated for Poltergeist, 2010, Ghostbusters, Poltergeist II: The Other Side, Die Hard and Alien 3. He's won three Academy Technical Awards, the British Academy Award for Poltergeist and Return of the Jedi. He earned an Emmy for creating the visual effects for the original television miniseries Battlestar Galactica and another nomination for Mike Nichols' Angels in America. The Academy of Motion Picture Arts and Sciences honored him with their John A. Bonner Medal of Commendation in recognition of his contributions to the Academy. And the ASC (American Society of Cinematographers) presented him with their esteemed Presidents Award in 2008. He has also received top accolades from the Visual Effects Society, Academy of Science Fiction, Fantasy & Horror Films, and numerous other organizations. In 1975, Richard was one of the first visual effects artists to join fellow VFX enthusiast, John Dykstra for a startup he called Industrial Light and Magic (ILM). This team of filmmakers began their work on a movie called Star Wars. When the new technology and Star Wars franchise clicked, Richard moved to Marin County to supervise visual effects for the next two episodes of Star Wars, as well as Indiana Jones and the Raiders of the Lost Ark and Poltergeist. In 1984, he took over the equipment amassed by Doug Trumbull's Entertainment Effects Group and retooled the 65mm visual effects company, renaming it Boss Film Studios. Boss Films became a star in the visual effects world, when company simultaneously produced the comedic visual effects for Ghostbusters, created a hybrid technology integrating NASA's digital images of Jupiter into a key sequence in 2010. Boss's pioneering VFX technology went on to create stunning imagery for over 40 features, including Die Hard, Ghost, Poltergeist 2, Alien3, Species, Multiplicity, Air Force One. Masters of the Universe, Cliffhanger, Batman Returns, The Last Action Hero, Waterworld, Heat, Starship Troopers and a slew of other high profile projects, including pioneering Bud Light Superbowl spots. The company achieved ten Academy Award nominations over a fourteen-year period. Richard is a twenty-two year Governor of the Academy of Motion Picture Arts and Sciences, founding member of the AMPAS visual effects branch and is chair of the Branch Executive Committee, also chairman of the Academy's Science and Technology Council. He also serves as a board member of the VES and on the Board of Directors of the American Society of Cinematographers. Richard is a frequent lecturer at industry organizations and universities across the world including USC and Chapman film schools. His 1977 Oscar for Star Wars is currently on display at the newly opened Academy Museum of Motion Pictures in Los Angeles. In this Episode, legendary Oscar-winning VFX Supervisor, Producer and Cinematographer Richard Edlund talks about being one of the first artists to join ILM -- to work on the 1977 film Star Wars -- his work on Return of the Jedi and Ghostbusters, as well as gives some insight on being a pioneer in the visual effects industry. For more show notes, visit www.allanmckay.com/329/.
Me alegra tener hoy a Karla Vázquez en "El Podcast del 3D" invitada del Episodio Número 15
This week, we review the unfairly maligned, Ghostbusters 2. The film came out five years after the firtst, churned out by Columbia Pictures, who was in dire need of a hit after firing their CEO, David Putnam. The production was chaotic. While this film did not have the drastic re-writes of the first, it also had a shooting schedule of approximately one-third of the original's 13 month shoot. Ivan Reitman returned to direct. He and both of his children had cameos in the film. That's right, Jason Reitman, director of the upcoming Ghostbusters: Afterlife, was in this film! He is at the birthday party Ray and Winston are at (in a scene that was later homaged in TMNT). We talk about the elder Reitman blaming this movie's "failure" (still made over $200,000,000) on the Tim Burton, Michael Keaton, and Jack Nicholson brooding powerhouse: Batman. Dan Aykroyd and Harold Ramis returned to write the film. The original draft was very different, with the action taking place in Scotland, involving subterranean worlds and faerie rings. Special effects were completed by Industrial Light and Magic ("ILM"). Stephan Dane, designer of the Ecto-1, proton packs, and ghost trap, came back to this film and designed the giga-meter, slime scooper, and slime blower, but this time the poor boy was entirely uncredited. We talk about the new additions to the cast as well! Peter MacNicol played Janosz Poha, who has inarguably one of the most fun accents to impersonate ever (which he allegedly stole from Meryl Streep). We also go in depth into the history of the actor who played Vigo the Carpathian, “Wilhelm von Homburg,” born Norbert Grupe. He was the son of a WWII veteran, a boxer, a professional wrestler, and a total creep. How 'bout that soundtrack, eh? Bobby Brown, Elton John, and Danny Elfman, just to name a few! Speaking of music, this week's "Hidden Track" is Certain Doom, by Hrom: https://hromcan.bandcamp.com/ The song is off their album, Legends of the Powerheart: Part II. If you ever have feedback or recommendations on future episodes, please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh ; https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support
Do siedmej epizódy podcastu PODKEC som si opäť pozval Patrika Mareka, veľmi talentovaného 2D/3D grafika, momentálne čerstvého CG Supervisora v ILM, ktorý viac ako 13 rokov s malou prestávkou pracuje v spoločnosti Industrial Light and Magic (ILM), ktorú George Lucas založil v roku 1975 v San Franciscu.Patrik po strednej škole v Uherskom Hradišti dostal v Brne prvú prácu na legendárnej českej hre Mafia a Mafia 2 a niekoľko rokov neskôr sa dostal na základe svojích 3D prác do pobočky ILM v Singapore kde začal ako compositor a 3D modeller, neskôr odišiel do San Francisca a niekoľko rokov pracoval ako Layout supervisor a túto pozíciu zamenil pred pár týždňami za atraktívny post CG Supervisora v ILM Vancouver.V tejto druhej časti sme stále venovali ILM témam a snažili sa aj odpovedať na rôzne otázky ktoré napísali ľudia po prvej časti. Preberali sme filmových klientov a ich správanie a dopad na výrobu efektov. Taktiež dôvod krachovania štúdii a trochu sme začali rozoberať aj politickú korektnosť vo VFX.Načali sme aj tému showreelov a ako by sa malo / nemalo popisovať zábery a ako hlavne neklamať pri skladaní showreelu. Zaplemizovali sme si aj nad budúcnosťou filmov, kín a ako to ovplyvňuje VFX priemysel. Samozrejme pri Patrikovi sme sa nemohli vyhnúť ani téme áut, keďže je nadšený fanúšik športových áut a to ho aj priviedlo k 3D a k VFX. Dúfam že si podcast užijete aspoň tak ako sme si my naposledy užili spoločné nahrávanie vo Vancouveri. Moderátor: Vladimír ValovičHosť: Patrik Marek
Cinematographer Ben Kutchins feels that in filmmaking, you have to be fully committed to believing the story you're telling, and your focus must be unwavering when shooting. There is no other story happening in the world other than the story you're telling. This single-mindedness has served Ben well when shooting the series Ozark for Netflix, which is shot with very controlled light sources and camera movements. Every scene in the show is planned out carefully to reveal more about the story or the character. He and director/producer Jason Bateman wanted it to always look dark and shadowy, and many of the shots in the show are done as “oners,” or one long take. It might take seven to ten takes to get the oner, depending on how intricate it is. Before Ozark, Ben started off exploring still photography as a teen, then landed an internship at Industrial Light and Magic (ILM), which led to a production assistant job at ILM. He had the opportunity to use the lab at Lucasfilm to experiment and process film to understand how it could look. But Ben knew his passion was film, so he enrolled at NYU Film School in order to learn more and work with other young filmmakers such as Rachel Morrison and Reed Morano. He shot about 60 short films in two years, then worked on several indie films before getting hired to shoot the Veronica Mars movie and then the Amazon series, Mozart in the Jungle. Shooting Mozart in the Jungle gave Ben the opportunity to work with and learn from very seasoned directors. He thinks working in television has been an amazing opportunity to collaborate with other DPs and that television has helped him develop a style and hone his craft. You can find Ozark season three streaming on Netflix. Find Ben Kutchins: http://www.benkutchins.com/ Instagram: @benkutchins Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep92/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com WIN a Sony A7SIII, Gitzo tripod and $100 Hot Rod Cameras gift card! Worth over $4,000, for one lucky winner! Follow us on Instagram @thecinepod and click on the link in bio to enter by September 29, 2020. Website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
On todays episode of Hollywood, How Did You Get Here? Tim talks with VFX legend Scott Ross. Scott has had an action packed career having lead Industrial Light and Magic (ILM) in the 1980's and then splitting off to form Digital Domain with James Cameron and Stan Winston in 1993. Under his direction Digital Domain earned 2 Academy Awards and 3 nominations for films like "Titanic", "What Dreams May Come", "I, Robot", "Apollo 13", & "True Lies." If you are interested in the behind the scenes world of VFX this is the podcast for you! Please make sure to subscribe on your favorite podcast platform and leave us a review! "Hollywood, How Did You Get Here?" Is brought to you by G-Technology, a leading storage solution brand for the entertainment industry. Use code HOLLYWOOD for 10% off G-Technology drives when you shop on Filmtools.com Special thanks to our lighting sponsor Ledgo Technologies for supporting our show! Make sure to check out Ledgo on Instagram (@ledgo_led) for more
Episode Description An episode where Ashley learns why people keep saying "hold on to your butts," and spends an ungodly amount of time researching how to correctly pronounce dinosaur names. Oh yeah, and she asks a key question: "...is Jeff Goldblum hot?" How well did Ashley guess what this movie was about? ...well, she REALLY did try to sing the theme song, bless her heart. Show NotesJurassic Park is a 1993 film directed by Steven Spielberg, based on the 1990 novel of the same name by Michael Crichton. The film is set on an island near Costa Rica where mysterious wealthy businessman, John Hammond (Richard Attenborough) and a team of genetic scientists have created a wildlife park for dinosaurs. How? Well, just ask Mr. DNA about it. It’s a big moment for Mr. Hammond. The park is finally close to opening, but a dinosaur handler is killed by a Velociraptor, and the park's investors demand that experts visit the park and certify its safety. The experts? Mathematician and chaos theorist Ian Malcolm (Jeff Goldblum), paleontologist Dr. Alan Grant (Sam Neill) and paleobotanist Dr. Ellie Sattler (Laura Dern). When industrial sabotage leads to a catastrophic shutdown of the park's power facilities and security precautions (thanks, Newman), these experts (and Hammond's grandchildren) need to find a way to escape. A film that broke new ground in the realm of special effects, the dinosaurs of Jurassic Park were created with groundbreaking computer-generated imagery by Industrial Light & Magic (ILM) (who had an assist from some stop-motion models) and with life-sized animatronic dinosaurs built by Stan Winston's team. The story of how it all came together was fascinating, so let Ashley tell you about it! After all, she’s a clever girl. SourcesFilms&Stuff CineFix The Academy Winston Studios - Raptor Suit Winston Studios - BrachiosaurusSocialsInstagram: @youdontknowpodTwitter: @youdontknowpodWebsite: https://youdontknowpod.buzzsprout.com Email: youdontknowthatthepodcast@gmail.com
ABOUT THE EPISODE In this all-new episode of SIGGRAPH Spotlight, SIGGRAPH 2020 Production Sessions Chair Derrick Nau (CG texture & look development artist, DreamWorks) discusses the science, technology, and technique behind age manipulation in VFX with a group of the industry’s best and brightest visual effects leaders on everything from well-known projects like Martin Scorsese’s “The Irishman” and manipulating Brad Pitt in “The Curious Case of Benjamin Button” to the subtle beauty work that goes into just about every project VFX artists touch. Tune in to hear insight from Darren Hendler (director, Digital Human Group, D2/Digital Domain), Trent Claus (visual effects supervisor, Lola VFX), Pablo Helman (visual effects supervisor and second unit director, Industrial Light & Magic (ILM)), and Chris Lawrence (visual effects supervisor, Framestore). || MUSIC Podcast theme, "SIGGRAPH," composed by Julius Dobos. || LINKS *Episode* https://s2020.siggraph.org/conference/program-events/production-sessions/ | https://www.digitaldomain.com/leadership/darren-hendler/ | https://twitter.com/trentclaus | https://www.ilm.com/people/pablo-helman/ | https://www.imdb.com/name/nm1165856/ | https://en.wikipedia.org/wiki/De-aging_in_film | https://www.vulture.com/2016/03/special-effects-c-v-r.html *Social Media* http://blog.siggraph.org/ | https://www.facebook.com/SIGGRAPHConferences | https://twitter.com/siggraph | https://www.youtube.com/user/ACMSIGGRAPH | https://www.instagram.com/acmsiggraph/ | https://www.linkedin.com/company/acm-siggraph/ *Conference Website* https://s2020.siggraph.org/
Do šiestej epizódy podcastu PODKEC som si pozval Patrika Mareka, veľmi talentovaného 2D/3D grafika ktorý viac ako 13 rokov, s malou prestávkou pracuje v spoločnosti Industrial Light and Magic (ILM), ktorú George Lucas založil v roku 1975 v San Franciscu.Patrik po strednej škole v Uherskom Hradišti dostal v Brne prvú prácu na legendárnej českej hre Mafia a Mafia 2 a niekoľko rokov neskôr sa dostal na základe svojích 3D prác do pobočky ILM v Singapore kde začal ako compositor a 3D modeller, neskôr odišiel do San Francisca a momentálne už niekoľko rokov pracuje ako Layout supervisor v ILM Vancouver.Rozprávali sme sa o jeho začiatkoch v 90tých rokoch, o štúdiu a celkovo o výučbe na školách, prešli sme jeho filmografiou, ako dostal ponuku do ILM a ako hodnotí život v Singapore vs. San Francisco a Vancouver. Pýtal som sa ho aj aký ma názor na real time enginy a populárny program Blender a spomenuli sme aj prácu na filme Irishman či Aladdin a dali odpoveď filmovo efektovým kritikom :) Taktiež sme vysvetlili čo je to vôbec Layout a prečo je tak dôležitý vo vfx.Moderátor: Vladimír ValovičHosť: Patrik Marek
ABOUT THE EPISODE In this episode of SIGGRAPH Spotlight, SIGGRAPH 2020 Real-Time Live! Chair Marc Olano sits down with four incredible creators who are pushing the boundaries of innovation in real-time graphics. Arisa Scott of Unity Technologies, Eric Haines of NVIDIA, Mike Hardison of Blizzard Entertainment, and Mohen Leo of Industrial Light & Magic (ILM) discuss the evolution of real-time technology as well as techniques in ray tracing, games, VFX, artificial intelligence (AI), and everything in-between. || MUSIC Podcast theme, "SIGGRAPH," composed by Julius Dobos. || LINKS *Episode* Links: https://unity.com/ray-tracing | https://www.reddit.com/r/minecraftRTX/ | https://www.nvidia.com/en-us/research/ai-playground/ | https://www.ilm.com/ | https://www.blizzard.com/en-us/ | https://s2020.siggraph.org/conference/program-events/real-time-live/ | https://www.youtube.com/watch?v=rPam5CHFQMQ *Social Media* blog.siggraph.org | www.facebook.com/SIGGRAPHConferences | www.twitter.com/siggraph | www.youtube.com/user/ACMSIGGRAPH | www.instagram.com/acmsiggraph | www.linkedin.com/company/acm-siggraph/ *Conference Website* https://s2020.siggraph.org
Delcio Gomes é formado em design gráfico pela PUC-Rio. Começou sua carreira em 2006, trabalhando como artista 3d em pequenos estúdios do Rio de Janeiro, e participou de projetos para clientes como Rede Globo, Coca-Cola e Loreal. Mudou-se para a California em 2010 e começou a trabalhar com efeitos visuais em filmes. Passou por empresas como a Pixomondo, Luma Pictures e Blur Studios. Em 2014, Delcio foi contratado como artista digital pela Industrial Light & Magic em San Francisco, e participou de produções cinematográficas como "Vingadores a Era de Ultron", "StarWars o Despertar da Força" e "Mandaloriano".
Tom and Friends are joined this week by Hector Cruz, a huge collector of Industrial Light and Magic (ILM) members' autographs, and they discuss what it takes to track some of them down, and hopefully get them to sign. If you would like to learn more about star wars autographs or just autographs in general, or would like to start collecting yourself, don’t hesitate to join our facebook group. Facebook: www.facebook.com/groups/starwarsautographuniverse/ iTunes: https://itunes.apple.com/us/podcast/star-wars-autograph-universe-graphcast/id1341049375?mt=2 SoundCloud: @star-wars-autograph-universe-graphcast
Welcome to the Day 3 of the five-day podcast series Jay Rosen and I are producing in honor of the latest Star Wars movie The Rise of Skywalker Each day over this week, Jay and I will review a Star Wars movie and discuss it from the compliance perspective. Today, we consider Episode VI, Return of the Jedi and effective training. In this final movie from the original three, the good guys win in the end after overcoming incredible odds. Many fans and critics panned it for including the incredibly cute and furry Ewoks on the moon named Endor as a part of the storyline. Many thought one very tall Wookie was enough cuteness for the series. This movie’s big reveal was that Luke and Princess Leia were twins and that she was now free to unabashedly pursue bad boy Han Solo. While Episode VI was the lowest grossing film of the original three, coming in at only $572MM worldwide, it was still a great ride and visually stunning. George Lucas’ in-house organ, Industrial Light & Magic (ILM), certainly earned their title for their special effects in the movie. The Sarlacc battle sequence was great, the speeder bike chase on the Endor moon was way cool and the space battle between Rebel and Imperial pilots was a great ride. I have adapted an approach from Joel Smith on his Inhouse Owl website to help determine compliance training effectiveness. 1.What you want to measure. Before you ever train an employee, you should have a goal in mind. What actions do you want employees to take? What risks do you want them to avoid? In compliance, you want them to avoid non-ethical and non-compliant actions that would lead to compliance violations. The goal is to train employees to follow your Code of Conduct and your compliance program policies and procedures so you avoid liability related to actions. 2. What is employee engagement? The next step is to get a sense of whether employees feel that the training you provided is relevant and targeted to their job. If it’s not targeted, employees will likely not be committed to changing risky behavior. You can get data on employee engagement through a quick post-training survey, which will help you isolate and qualify the training benefit. 3. Did employees actually learn anything? A critical part of any employee training is the assessment. If you want to understand the “benefit” of training employees, you must know whether they actually learned anything during training. You can collect this data in a number of ways, but for compliance training, the best way is to measure pre-and post-training understanding over time. Basically, each time you train an employee, measure comprehension both before and after training. 4. Are employees applying your training? You need to conduct a survey to determine employee application and their implementation of the training topics. To do so, you must conduct employee surveys to understand whether they ceased engaging in certain risky behaviors or better yet understand how to conduct themselves in certain risky situations. These surveys can provide a good sense of whether the training has been effective. Join us tomorrow where we consider The Force Awakens and disruptive innovation in compliance. Learn more about your ad choices. Visit megaphone.fm/adchoices
There was massive, colossal third party hack this week. Zoom and a considerable security problem tied into a problem they're having in France right now. If you use Zoom on a Mac, listen up. Congress that requires the federal government to remove some of these security cameras. I will tell you why it's almost impossible to remove these things. Apple this week made some changes to the Mac books. They discontinued the MacBook itself. I am planning a Security Summer for my listeners. I will have some free courses. I will also introduce you to some of the software that I use for my clients and how you can use it too. Also, I have some limited opportunities for businesses who have had enough with their security issues to work with me and my team and put their security problems to rest once and for all. So watch out for announcements on those. For more tech tips, news, and updates visit - CraigPeterson.com --- Transcript: Below is a rush transcript of this segment; it might contain errors. Airing date: 07/13/2019 A massive, colossal third party hack this week. Zoom security problem. Congress that requires removal of Chinese made security cameras. Apple changes their Mac books. ---- Hey, everybody, welcome. Craig Peterson here, hope you're having a great day. There is a ton to cover today. I'm going to kind of talk a fair amount about something I think is essential. Everybody we've got had a massive, colossal hack this week. But you weren't hacked. But your business wasn't hacked. But there was a third party breach. And this is going to affect many companies in a significant way. So we're going to tell you how to avoid having that happen to you in the future. Exactly what's going on there. Today, we also going to talk about Zoom and a considerable security problem tied into a problem they're having in France right now. If you use Zoom on a Mac, listen up. There is a huge battle going on right now behind the scenes. That's what happened in France to not zoom, but they did the Bank of China. Man, we talked about them before. There was a bill passed in Congress that requires the federal government to remove some of these security cameras. I will tell you why it's almost impossible to remove these things. If you have security cameras, man, oh, man, we have seen those be a huge problem. It's called a launch point for attacks. It's just crazy. So we'll talk a little bit about that. Apple this week made some changes to the Mac books. They discontinued the MacBook itself. So they now have some very cool MacBook Air models and some MacBook Pro models. A lot of people ask me, and this is probably the biggest question I get from people when it's talking about Apple. Especially for those who have not used this platform before. Is it worth it? Well, I think it is, is frankly, they cost a little bit more, upfront. But when you add up the prices, the cost, they're cheaper, they're a lot cheaper, I typically expect a MacBook Pro to last me eight years, maybe 10 we've had in the last 10 or 11 years before, but an eight-year life versus your average laptop, which is two or three years over on the windows side. So I do think it's worth it. Plus, the machines tend to work a lot better, they're smoother, they are less likely to be attacked, and they have a more secure operating system. Although I have to hand it to Microsoft's new CEO, he is pulling up the socks over there, Microsoft on many, many fronts. While I am not an investor, I can say it's finally a company I would consider investing in as they've done some fantastic things. Apple has made some changes with these Macbooks that they announced this week. And that's an excellent thing. But the 12 inch MacBook is gone. Now. Remember, when they introduced the MacBook years ago, those little plastic ones, which I liked, I had one used one that was quite cute. I think you might like them. There has been a lot in the news over the last few weeks about Amazon listening in. And obviously, you don't want anybody listening to conversations. And you probably already know my opinion on this. But here's the bottom line for those that haven't heard it before. Yes, the Amazon devices, the Google devices, etc. Yes, they can listen, and they have to. But I know with Amazon with their echoes, they've got the hardware setup in such a way that if they're turning on the microphone to send data to record, that little light bar has to come on, they haven't checked it lately, I probably should. But the hardware was designed so that if it's captured audio that light bars on so other than listening for its name, you know, the wakeup word that you would use, it's not capturing anything, it's not sending it up to the cloud. And we've seen court cases a murder cases where they subpoenaed the records, and they wanted to listen in on the conversation that happened just before the murder. And of course, it was not recording it. So there was no conversation that they could playback. And there's nothing they could use in the court case. Now, if you're very, very paranoid, and I know a lot of people that are, and I am on the Paranoid side by myself, you probably don't want to have one of these things. Now I do have them because I want to understand how it works. I found them to be convenient. I use it, frankly, kind of sparingly. But that's what's happening with the Amazon Echo devices, these personal assistants. Now, Google has hit the news just this week, revealing that Google was sharing recordings of people's commands with third parties. Now, in this case, the third parties were developers, software developers, and frankly, you've got to expect them to have access to your, you know, recordings, right? You hopefully aren't thinking that if you ask Alexa or Amazon, Google Home, whatever it is, if you ask them a question, hopefully, you do not think that it's never recorded and never kept because they are. And Amazon keeps the recordings of your voice forever. And unless you go in and manually delete them, and there's some you can't delete, etc. So don't ask stupid questions that you might regret later on. So Google's getting the heat now because some of these Google Home device recordings ended up in the hands of third-party contractors subcontractors to Google now is that much different than having them in the hands of Google employees? Hard to say, I guess you could certainly argue that, once it's out of Google's hands, they don't have access to or control over the data. And because of that, a could be a bad thing, right. And I get that I do get that because hopefully, Google has perfect security. And for everything we've seen, they probably do have some excellent security. But who knows about the subcontractors. Now, that's the bottom line there. So it was disclosed that I think it was like 1000 or so I'm sure the numbers will change over time. But some of these recordings are in the hands of contractors. And so I think the media is frankly, blowing it up here. I'm not going to blow this one up. Because, again, I think if you're asking the electronic assistant to do something for you, you do not have a reasonable expectation of privacy. You know, there's some expectation of privacy. But how often are these devices hacked and everything right? It's just, and it's a constant thing. So you know, don't expect your data to be kept safe. Next up, we talked about deep fakes before. And I saw this, and I was so disappointed. Did you see Star Wars Rogue One, this isn't 2016 Rogue One, A Star Wars story, I thought the story was rather good. It didn't have a whole ton of tie ins. You know, there's like, there's not a fork that I can see that they're planning on running with off of Rogue One. Maybe they are, frankly, you know, early rebellion type things. But in that movie, there was a terrible version of a young Carrie Fisher, Princess Leia. And that actress, there was an actress obviously, that they used her face. And they tried to make it look like Carrie Fisher, and they did a terrible job. But Today, even this was back in 2016. Today, you can do a better job than they the Lucas Films did. Right now with your reasonably high-end home computer. And the question again has come up in this age where we have deep fakes, where we've got Mark Zuckerberg faked online, we've got porn, which they have faked where they're putting some famous actresses face on someone else's body in a porn shoot. How can you tell what's real? And I have talked before about how this could be a huge problem. When it comes to politics. Think about the things that you could have a politician say because it's not the politician that saying that you look at some of the things President Trump says and you kind of roll your eyes. Why would you even say something like that? Right? And you know, this is separate from his policies. But if you have a deep thing that comes out that looks like the person that sounds like something they might say, how can you tell if it's real? And then let's move on to the next step. Remember, Ronald Reagan with the open mic, a lot different than President Obama's open mic where he said, you know, tell Vlad, I'll have more flexibility after the election, right, when he was cooperating with the Russians, and they were colluding together. So, you know, not the President Obama thing, but the open mic with President Reagan, where he was saying, Hey, listen, the bottom line, well, I'm trying to remember the exact quote, but the missiles on Moscow will start falling in five minutes or something like that, I can't remember what it was. And it freaked out the Russians. And some people attribute that to kind of the death nail for the great Soviet Empire. Big all of a sudden now, you know, they couldn't feed their people, they didn't have items on the shelves, it was a socialist system. And as usual, it was failing. And they now figured they had to escalate the arms race and do so much more, because of what President Reagan said. So now fast forward to now, maybe next year and election year, what will happen if they deep fake President Trump saying something that is going to get Iran all up in arms, right, as though there's not enough tension already? Or maybe Russia or China or you name it? How about just one of our good trading partners, Great Britain, or Canada or Mexico? What's going to happen, then? There's, I think, the biggest potential problem with deep fakes because what that means is we are potentially going to see wars started, maybe not between the US and other countries, but maybe between smaller countries, maybe between politicians, right? We already know politicians are out there saying things that are just outrages, taking stuff completely out of context. And even worse, fabricating stuff. So what happens when they can do this and make it look like their opponent set it? Huge, right, huge deal? Well, now the Actors Guild and the actors are starting to get a little bit concerned, because of the potential of these virtual acting stars. Look at what Disney has done lately with Dumbo and the Lion King, where they're pulling the real world in with CGI along with animation. And so much of it is just so seamless. It's amazing. Not that you can't tell that Dumbo isn't a real elephant. Or some of these other characters are actors aren't real, but that's going to change, and that's going to change very, very quickly. So it's going to get to the point where they could hire an actor or actress to act in something. And it's just an, a, b, or c actor. It could be almost anybody off of the street. Now they have to be able to do a little bit of acting; obviously, their facial expressions have to be good, and they have to match. But let's look at the voiceover industry that used to be in cartoons. We had Mel Blanc who was doing all of those things for Warner Brothers, but in cartoons and voiceovers for commercials. You had professional voiceover actors who did a great job. And then it changed a little bit, and Robin Williams was upset because one of the things he did not want to happen has happened he did the voice of the genie in a Latin your remember that I'm sure he did a great job. He improvised the line. Robin Williams had expressed at the time that he did not want the whole voiceover community to be hurt by this he didn't want it to switch to having brand name actors doing voiceovers, you know, doing the comedy sketches basically in the middle of movies. And of course, that's what ended up happening. That the community now has moved from just a straight-up professional voice actor to now, we have regular actors doing commercials and voiceovers, etc. Some of you know it's one thing if they're they're the face of a brand it's another if it's just a straight-up voiceover. So what's going to happen here with the next step, the next evolution in this which will be having voiceover type talent, having an instant? Is it going to be the reverse right? Instead of paying an actress like Carrie Fisher who's passed now button, you know A, B or an A actor to do a scene, they can now come up with a new creative face. That is just the most beautiful face ever most handsome face has the exact attributes they want. Maybe it's the evilness looking face, and, and create that character that they can use throughout a series like Avengers. Look at we've lost Tony Stark now, in from the Avengers series. And according to what I've been reading, they lost the actor. There are two or three actors that are gone now. Because they wanted too much money to do new movies. And I get it from the actor's standpoint. And you know, you don't want to be typecast, etc. You help build that brand. But when the brand is 100% copyrightable, where they created the face, they created the voice with the work of, let's say, a voice actor or someone else. And they now absolutely own it, then what's going to happen? Very interesting. I think that if you're a waitress, I mean, an actress in Los Angeles, in Hollywood, you might want to think twice about this. Now, we see right now a resurgence of need for actors, actresses, because we have everybody producing content, which is, by the way, going to drive up the cost, you thought streaming was going to save you money over the cable TV, not so much. Because what's going to happen here shortly is as CBS, NBC, and Netflix and Hulu, and Disney and even Comcast compete for the eyeballs, they're going to be creating more content. And that means they're going to be raising their prices. So instead of just subscribing to maybe Netflix and Hulu. Now you're going to have Netflix, Hulu, HBO, NBC CBS, ABC, Fox and each one of those is going to be 10 or 20 bucks a month. So the costs are going to go way, way up. So that's the next evolution in that. But ultimately, within ten years, this technology is going to be cheap. And I don't think we're going to need the actors anywhere near what we need Today. The salaries that they are demanding 10's of millions of dollars to do one movie and these days are going to end. You might even remember, Industrial Light and Magic ILM, and they came out of nowhere from the Star Wars universe. And now they're in every major motion picture. You're going to get studios, like an ILM, that develop a character with a backstory and stuff. The primary thing is a character with some flaws one we can love, one that we like listen to and watch. There will be a voice and video, you know, an entire visual presentation and the whole world will change. It's going to change in a big way. Okay, so next up of with let's get into the big news of this week. You're listening, of course to Craig Peterson, make sure you get the weekly updates I had I just got in a shout out again to Sue hopefully you're listening. Today I met with Sue this week, she had sent in a request we did a cyber health assessment, and we're doing some more stuff for her now. We're doing a deeper dive, and we found some stuff that is not only questionable but negative. So shout out to her. We also had a comment this week. And I want to thank James for this one. And this is where he said hey, thanks, Craig. If I hadn't been on your email list, I would not have known about this vulnerability, and he patched it because, of course, I gave instructions on it. So if you want to know more if you want to make sure that you can get the right patches at the right time make sure you visit my website Craig Peterson calm and are right there on the top of I think pretty much every page now. You are going to find a sign up to sign up for my email list. I believe me I don't scam you spam you anything else. Not like one of these marketers is sending you two pieces of email a day. I keep it minimal, absolutely minimal. So Craig Peterson calm. Okay, next up. So this last week, it came out that there was a breach of a US-based cloud solution provider. Now here's how this affects you and your business. This company, called PCM, is generating 2.2 billion dollars in revenue. They've got more than 2000 customers; each of them is a business. It is an article from Security Affairs. The sources say PCs discovered the intrusion in mid-May 2019. Those sources say the attacker stole administrative can credentials that PCM uses to manage client accounts within Office 365 a cloud-based filed an email sharing service run by Microsoft now that came originally from Krebs. Krebs on security is a great site, by-the-way, you should check it out. Krebs is speculating that the intruders could be the same that hack the Indian IT outsourcing giant Wipro this year. It is fascinating because again, this is further proof that outsourcing your IT outsourcing your cloud management does not make you safe. Very, very big deal. Now, I have to tie something else into this because I think that these two may be related. Microsoft Corp. Now, of course, this is the company that makes office 365. We use Office 365 for a lot of our clients. It depends on their size and specific requirements, and we also host email servers for some of our clients. We use Office 365, before other of our clients, and Microsoft themselves even says, Hey, listen, we're not guaranteeing you any security, we're not guaranteeing you any good filtering for your emails, we're not guaranteeing that your data will be safe if you put it on the Microsoft Cloud. We're not even guaranteeing that your data will be there next week. Because we don't back it up for you, you have to do all of this. So most businesses that I've talked to aren't aware of any of these things. There are huge deficiencies in the O365. But what's Microsoft going to do? Well, especially at the price points they sell it for, they there isn't a margin in it for them. To fix this, Microsoft uses companies like mine and many other companies, not like mine, to resell their office 365. And what Microsoft's thinking was or is, is that we have Mainstream, we have Craig company, authorized to sell, install, help their clients use Office 365 features, right, and so now people using Microsoft Teams, and they're using the Microsoft email and outlook and they've got word and you know, whole office suite and everything. And it's a wonderful thing. But I am as the provider, and I am now the master administrator for my clients. And as a Master administrator, I can create new users for them, and I can take them off, I can add specific licenses. If someone wants to use this particular Microsoft product, but other people don't need it. And they pay by the month and based on what the usages. I can reset the passwords, and I can check the security logs, right? I can do all of this stuff is basically a super administrator for their service, then this is great for Microsoft because now that if someone calls them up and tries to scam them saying, Yeah, I'm on the CEO of IBM, and I want access to my account, I lost my password, reset it for me What? Okay, what do you change it to, right? So someone calling Microsoft, it's going to be hard to validate who they are. But somebody's calling Mainstream. I know who the customers are, right? My people know, we know their voices because we were a small company. We're a family company, yet we have other people that are members of my family. But we're a small company that cares about and works with the clients. So a client calls me and says, Hi, I'm president of x, y, z Corp. We know if they are not right, we know what they do. Typically, we're not going to give away figures out their store to someone that is faking it. So from Microsoft standpoint, it's great because they don't get those calls, they don't have the liability that goes along with it that we have, which is why we provide a million dollars worth of insurance underwritten by Lloyds of London, I think that's an important thing for security for businesses. So if they do get hacked, or something happens, you know, there is coverage, and then we also have that kind of coverage. But anyhow, Microsoft doesn't want all that liability, and they would need a million-dollar, they probably need 100 million dollars. they probably self insure they have plenty of cash. It is a fascinating business model. Now, a lot of people out there a lot of businesses who were brake fixed shops have said oh, well, you know, we can make more money, recurring monthly revenue or a monthly recurring revenue by selling office 365. Because we'll earn $5 a month, per account, you know, five bucks a month. Are you kidding me? That's, it's hardly worth billing for $5 a month if you're a small company. The collections of follow up, you have to make a phone call because I didn't pay it. But you have the check processing fee from your bank all of this stuff. How's it? How's it worth it? It's not. So what you have to do is you have to bundle it as a service offering so they can call if they have problems and we take care of things. But these other companies, unlike Mainstream, who are out there not I'm not saying every company like this. But these different companies, what do they know about security? What do they know about the in-depth stuff? Right? I've been doing it now I hate to admit this, but for 45 years? Me personally, okay, then when you add in all of the time from all the people working with me, and we're well past the century mark. So there's a huge difference. But how do you know? So a lot of people, we just lost a client. Because of this, though, they'll go out. And they will say how much for we need 500 email boxes are 50 email boxes, how much do you want to charge how much you charge for that. And so we'll quote it, but we don't just quote as email box, because we know we're going to have to do support, we're going to have to back up those email boxes, we're probably going to want to run their email through our high-end filter, before we send it to Microsoft, because Microsoft's email filters are nowhere near as useful. We're going to want to do all of this stuff. And backup restore, we're going to have to account maintenance and everything. And so they say, oh, wow, well, this guy wants like a 10th of what you want, and you know, the answer is, yeah, they're not doing anything near what we're doing. And you're going to get stung. And in fact, this client did this once before, and another product and they got hurt, badly. Okay, so you've, you've got to watch that it is a huge deal that you do not want to get involved with, you know, it's just crazy. So now, this is how this all ties in this breach at PCM. They lost all the administrative credentials for their 2000 business clients. Now, Microsoft will require multifactor authentication for their cloud solution providers. And these are the guys that help companies manage their office 365 accounts to see what's going on here. It sounds like PCM, a $2.2 billion-dollar company was not keeping their clients record safe. That is huge. Now we use multifactor authentication for everything we possibly can we go further than that. And we use these little keys that are encryption keys that we have to put into the devices to even be able to log in. If you remove that key, that physical key, the system shuts off, all access is blocked. At Mainstream, we keep all of our client confidential stuff highly encrypted digital containers and only decrypt a record when we need it for the client. Microsoft requires that all its cloud solution providers, meet those same standards. Today's show can be found at Craig Peterson dot com. The sponsor of today's show is Craig Peterson's Security Summer Summit. Make sure you attend the summit. Make sure you sign up for the list — and this absolutely free summit. You can find out tons of stuff security summer, go to Craig Peterson dot com, sign up for my emails, and we will talk with you guys later in the week. Take care, everybody. Bye-bye. --- Related articles: Apple has a problem with Zoom and so should you New MacBooks Coming Did You Turn of Tracking? Guess What? Apps are Still Tracking You. Chinese Ministry of State Security Attacks Major Companies Internal Networks Hollywood on the Skids with Virtual Stars Worried About Privacy? Steve Wozniak says Delete Facebook Got Chinese Security Cameras? Just Try to Remove them. --- More stories and tech updates at: www.craigpeterson.com Don't miss an episode from Craig. Subscribe and give us a rating: www.craigpeterson.com/itunes Follow me on Twitter for the latest in tech at: www.twitter.com/craigpeterson For questions, call or text: 855-385-5553
Today we continue our celebration and exploration of the original trilogy of Star Wars movies with a look at Episode VI. Return of the Jedi. In this final movie from the original three, the good guys win in the end after overcoming incredible odds. Many fans and critics panned it for including the incredibly cute and furry Ewoks on the moon named Endor as a part of the storyline. Many thought one very tall Wookie was enough cuteness for the series. Yet the Ewoks did provide the setup to one of the movies best lines. The Ewoks thought one of Luke’s robots, C-3PO, was a god. Solo asked him to demonstrate some ‘god-like’ powers to which C- 3PO replied, “It is against my programming to impersonate a deity.” This movie’s big reveal was that Luke and Princess Leia were twins and that she was now free to unabashedly pursue bad boy Han Solo. While Episode VI was the lowest grossing film of the original three, coming in at only $572MM worldwide, it was still a great ride and visually stunning. George Lucas’ in-house organ, Industrial Light & Magic (ILM), certainly earned their title for their special effects in the movie. The Sarlacc battle sequence was great, the speeder bike chase on the Endor moon was way cool and the space battle between Rebel and Imperial pilots was a great ride. At the Academy Awards ceremony for movies of that year, Richard Edlund, Dennis Muren, Ken Ralston, and Phil Tippett, all from ILM, received the Special Achievement Award for Visual Effects Oscar award. I thought about this entry in the Star Wars oeuvre in the context of compliance training. One of the key changes from the Department of Justice articled in the 2017 Evaluation of Corporate Compliance Programs was the change in training. The DOJ wants both targeted and effective training. This means you must be able to demonstrate how your training has been received and utilized by your employee base. Learn more about your ad choices. Visit megaphone.fm/adchoices
Today we continue our celebration and exploration of the original trilogy of Star Wars movies with a look at Episode VI. Return of the Jedi. In this final movie from the original three, the good guys win in the end after overcoming incredible odds. Many fans and critics panned it for including the incredibly cute and furry Ewoks on the moon named Endor as a part of the storyline. Many thought one very tall Wookie was enough cuteness for the series. Yet the Ewoks did provide the setup to one of the movies best lines. The Ewoks thought one of Luke’s robots, C-3PO, was a god. Solo asked him to demonstrate some ‘god-like’ powers to which C- 3PO replied, “It is against my programming to impersonate a deity.” This movie’s big reveal was that Luke and Princess Leia were twins and that she was now free to unabashedly pursue bad boy Han Solo. While Episode VI was the lowest grossing film of the original three, coming in at only $572MM worldwide, it was still a great ride and visually stunning. George Lucas’ in-house organ, Industrial Light & Magic (ILM), certainly earned their title for their special effects in the movie. The Sarlacc battle sequence was great, the speeder bike chase on the Endor moon was way cool and the space battle between Rebel and Imperial pilots was a great ride. At the Academy Awards ceremony for movies of that year, Richard Edlund, Dennis Muren, Ken Ralston, and Phil Tippett, all from ILM, received the Special Achievement Award for Visual Effects Oscar award. I thought about this entry in the Star Wars oeuvre in the context of compliance training. One of the key changes from the Department of Justice articled in the 2017 Evaluation of Corporate Compliance Programs was the change in training. The DOJ wants both targeted and effective training. This means you must be able to demonstrate how your training has been received and utilized by your employee base. Learn more about your ad choices. Visit megaphone.fm/adchoices
H.B. Siegel is Prime Minister of Ideas at Amazon and also one of a very select group of people who have been at Amazon now for almost two decades. In that time, H.B. has been the Director of Media Technologies, the CTO of IMDB (an Amazon subsidiary), and helped launch the "search inside the book" feature for Kindle. H.B. graduated with degrees in computer science and electrical engineering with a focus in computer graphics. Prior to Amazon, H.B. worked in a series of animation related companies including Wavefront, Industrial Light and Magic (ILM) and Pixar. At Wavefront, H.B. helped developed Maya, a premier 3D animation platform used to create animations for games and films that is still widely used today. At ILM, H.B. worked on the special effects for now iconic film series such as "Star Wars" and "Men In Black". In today's conversation we'll talk about pranks and not living live on automatic, we'll discuss H.B's career and what he's learned, and we'll talk about investing in ideas versus people (and techniques for telling apart the good from the bad). Notes cocktail party introductions star wars and industrial light and magic pranks and not living life on automatic the department of ideas catalyst and the university of washington investing in ideas and people trends in film making and animation early work at wavefront and developing Maya experience from nearly two decades at amazon peccy removing inefficiencies werewolves unexpected productions and improv Links Companies Industrial Light and Magic IMDB Wavefront Pixar Amazon Film Series Star Wars Men in Black Books What Technology Wants The Phantom Toolbooth Calvin and Hobbes Other The Uncanny Valley Catalyst Program The Dutch Reach Maya Werewolf Peccy Unexpected Productions: Nonprofit Improv Theater located at Pike Place Market, next to the gum wall GISHWHES: Greatest International Scavenger Hunt the World has Ever Seen Jay Hitt UP Christmas Show H.B. IMDB Page
Atualmente trabalhando na ILM de Vancouver e com filmes como Dr. Strange e Star Wars - O Despertar da Força em seu currículo recente, Fernando é um profissional que faz parte da histõria do CG nacional, tendo sido um dos sócios da saudosa Seagulls Fly. Uma ótima maneira de começarmos 2017! Comentados neste episódio: Paul H. Paulino | http://www.paulhpaulino.com/ Leo Santos | http://leosantos.com/ Marcelo Souza | https://www.artstation.com/artist/kumodot FlavioMac | http://www.flaviomac.com.br/ Seagulls Fly | https://vimeo.com/seagullsfly Vetor Zero | http://vetorzero.com.br/ Conspiração Filmes | http://www.conspira.com.br/ Anderson Gaveta | www.gavetafilmes.com.br Alexandre Pit Ribeiro | http://memoriaglobo.globo.com/perfis/talentos/alexandre-pit-ribeiro/trajetoria.htm Pixar | http://www.pixar.com/ Blur Studio | http://www.blur.com/ Industrial Light & Magic (ILM) | http://www.ilm.com/ O "adeus" da Seagulls Fly | http://www.b9.com.br/31865/advertising/obrigado-seagulls-fly/ Phoenix FD | https://www.chaosgroup.com/phoenix-fd/3ds-max SpeedTree | http://www.speedtree.com/ iToo Soft Forest Pack | https://www.itoosoft.com/forestpack.php Marvelous Designer | http://www.marvelousdesigner.com/ Jovem Nerd (episódio com Fernando Reule) | https://jovemnerd.com.br/nerdcast/profissao-artista-digital/ Não se esqueça de visitar o V-Ray Masters: www.vraymasters.com www.facebook.com/vraymasters/ www.facebook.com/groups/vraymaster/ Dúvidas? Sugestões? contato@vraymasters.com
You can help to support this show and the rest of the Suicide Squadcast Network through Patreon at this link! Thank you for your support! In this episode, Tim and Scott talk about: Lora Kennedy, the head of casting for Warner Brothers, is leaving. The Aquaman release date is reportedly moving up a week in Brazil! Industrial Light and Magic (ILM) is doing some VFX for Aquaman! Jason Momoa exits "The Crow". James Wan teases inspiration during sound editing for Aquaman! David Sandberg continues to have fun with the Shazam memes! The Wonder Woman sequel seemingly gets a name! Zack Snyder confirms that he is a producer for the Wonder Woman sequel! Zack Snyder shares his first Flash costume test with Ezra Miller! Zack Snyder's next project is "The Fountainhead"! We talk about all of this and much, much more! Where to find us: Follow The Suicide Squadcast on Twitter at @SuicideSquadcst Follow Tim on Twitter at @Allenfire Follow Scott on Twitter at @ScottDC27 Email us at SuicideSquadcast@gmail.com Subscribe to The Suicide Squadcast Network: The Suicide Squadcast: iTunes / Google Play / Stitcher / RSS DCTV Squadcast: iTunes / Google Play / Stitcher / RSS DC Comics Squadcast: iTunes / Google Play / Stitcher / RSS Fans Without Borders: iTunes / Google Play / Stitcher / RSS The show's intro music was composed by Tim Yoko. The show's outro music was composed by Jordan Funk. We are a proud member of the Batman Podcast Network! Please go check out the other great shows that can be found there!
In this episode we hop into our Valkyrie space fighters and shoot up some Jaggie saucers to review LucasFilm's, "Rescue on Fractalus!" and we'll go full tilt on one of Kieren's budget game, "Advanced Pinball Simulator". Show Notes News Kieren's "Atari 8-bit Vs. Arcade" videos Kieren's "A-Z of Atari 2600 Games: Volume 1" book, at Amazon US and Amazon UK Kieren's video tutorial on the AtariMax Max Flash Cart "Let's Go Dizzy! The Story of the Oliver Twins" book Jaguar Sector III & Lynx Sector groups on Facebook Sacramento Indie Arcade, April 8th, West Sacramento, CA pro(c) ATARI magazine, issue 11 (h/t The Real Bounty Bob) Tape Preservation Project, at atari.area "A8CAS" project at SourceForge "Keep those XL's/XE's humming" (home of "WAV2CAS", "CAS2WAV", and "XEX2CAS") at Ernest R. Schreurs' website Rescue on Fractalus! Published by Atari Corp (1987) Epyx (1984, US) & Activision (1985, UK) Developed by Lucasfilm Ltd. David Fox (programmer) Loren Carpenter (programmer) Charlie Kellner (graphics) Gary Winnick (graphics) James St. Louis (graphics) Douglas "Crock" Crockford (graphics) Peter Langston (sound, and team lead) Charlie "Dragon" Kellner (sound) Info: Rescue on Fractalus!: "Rescue on Fractalus!" entry at MobyGames "Rescue on Fractalus!" (XE Cart) entry at AtariMania "Rescue on Fractalus!" (Epyx (US) disk) entry at AtariMania "Rescue on Fractalus!" (Activision (UK) disk & tape) entry at AtariMania "Behind Jaggi Lines" entry at AtariMania "BALLBLAZER and Rescue on Fractalus! The Lucasfilm Computer Division Games Project is born - A very brief personal history", at Peter Langston's website Atari/Lucasfilm Games Press Kit, at Peter Langston's website "Rescue on Fractalus! video from 1984 press conference", at David Fox's website "Tomorrow's Promise" article at ElectronDance website "Changing Lives: David Fox" interview (part 1) & "Changing Lives: David Fox" interview (part 2), at ElectronDance website "Atari Unveils Lucasfilm Games - Star Wars company touts 'edge of the art' sound, graphics" InfoWorld article (June 4, 1984), at Google Books "The Making of Rescue on Fractalus!" Retro Gamer article (November 2007), at David Fox's website (PDF) Review of "Rescue on Fractalus!" at Super Adventures in Gaming (2013) Fractals and fractal landscapes: "Fractal landscape" at Wikipedia "Fractal" at Wikipedia "Benoît Mandelbrot, The Father of Fractals", a "Big Brains. Small Films." IBM documentary video Industrial Light & Magic (ILM), Lucasfilm Computer Division, LucasFilm Games / LucasArts: "Loren Carpenter" at Wikipedia Loren's 1980 "Vol Libre" fractal landscape computer-generated film Star Trek II: The Wrath of Khan, "Genesis Effect" scene (mountain split at 1m 49s) "Genesis Effect" scene with Industrial Light & Magic commentary Miscellanea: "Jump Scare" article at TV Tropes "Rescue on Fractalus!" at TV Tropes "The Influence of the UNIX Operating System on the Development of Two Video Games" Bell Communications Research paper, at Peter Langston's website (PDF) Legacy: Unfinished 7800 "Rescue on Fractalus!" prototype, at AtariAge "Koronis Rift" at Wikipedia "The Eidolonn" at Wikipedia "Fractalus" (currently alpha) for Windows "Fallen Angels" for Jaguar, at AtariAge forums Downloads: XE Cart Epyx (US) disk Activision (UK) disk & tape Where to Buy: B & C ComputerVisions Best Electronics Other Reviews and Info: ANTIC Podcast Interview #37: David Fox 7800 Game by Game podcast: "The Prototype Games!" Advanced Pinball Simulator Published by Codemasters (1989) Developed by The Oliver Twins: Philip & Andrew Oliver (designers) Hassan Mehmet (Atari code) Terry Lloyd (Atari graphics) David Dunn (Atari sound) Info and Downloads: "Advanced Pinball Simulator" entry at AtariMania "Advanced Pinball Simulator" info & story at Oliver Twins' website Other Reviews and Info: ChinnyVision review of various ports of "Advanced Pinball Simulator" "Advanced Pinball Simulator", Amstrad CPC reviews, at MobyGames "Advanced Pinball Simulator", ZX Spectrum reviews, at MobyGames "Advanced Pinball Simulator", Commodore 64 reviews, at MobyGames
My guest on this podcast episode, Matthew Luhn, worked for over twenty years at Pixar - helping create the stories for some of the most successful animated films in history: including Toy Story, Monsters Inc., Cars, UP, and Finding Nemo. Today, he is a keynote speaker and consultant to some of most influential businesses and brands in the world like Apple, Charles Schwab, Google, Adidas, Disney and many others. These companies contact him when they want to know how to inspire creativity and innovation internally as well as how to make better connections with their customers. Matthew’s unique story creation experience with Pixar, Industrial Light and Magic (ILM), and The Simpsons, along with his anybody can succeed attitude, make his “Story for Business” seminars and workshops a sought after experience. Fostering Creativity With his father’s encouragement, Matthew attended the California Institute of the Arts instead of running the family’s popular toy store business. His father exposed him to obscure animation festivals and enriched him with a “there is no such thing as failing” attitude. At CalArts, he focused on learning everything he could. His first-year final was a short film, which got the attention of the creators of the Simpsons. They offered him a job as an animator but while working there he realized what he really loved was making people feel something. So, he went back to CalArts to study story creation. His second student film caught the interest a small company named Pixar. He had seen some of Pixar’s animated shorts and was anxious to say yes to a job offer from them working on what was going to be with the first CGI feature-length animated movie, Toy Story. At the time, he did not realize he had agreed to a job as an animator even though his heart was in story creation. Disney decided to put the project on hold for a few months, so Matthew started freelancing doing storyboard work. When Pixar contacted him again they offered him a position on the story team and he never looked back. How the Power of Story is Helping Businesses Matthew is enjoying this second chapter of his life story by sharing his experience. He shares the tips and techniques of creating a great story with marketing organizations who benefit by using a story to make their customers feel something. Business leaders use his teachings to create a culture which inspires creativity and innovation and how to use collected data to make better connections with their audiences. Creative Business Culture Matthew learned a lot working on the Simpsons and at ILM in the early part of his career, and, of course, being at Pixar for over 20 years. He says that in those environments, they didn’t set out to create a “creative culture” per se, they just allowed people to be themselves, have fun, and create - without too much pressure or stress. He believes that some of the things his dad taught him as a kid are the key elements in allowing creativity to flow organically in business. What does Bring Your Whole Self to Work Mean to Matthew? Matthew says that being true to himself and the people he works while knowing that it is ok to fail is what bringing your whole self to work means to him. Quote “Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma – which is living with the results of other people’s thinking. Don’t let the noise of other’s opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.”- Steve Jobs Resources: Mike Robbins Website Mike Robbins on Facebook Mike Robbins on Twitter Mike Robbins Speaker Page Matthew Luhn Story Matthew Luhn on Twitter
Tauren Think Tank: The Podcast About the Blizzard Gamer Behind the Keyboard
Jules and Marconin welcome special guest, Jeff White to the show! Jeff works for Industrial Light & Magic (ILM) and is the visual effects supervisor for Warcraft. Join us for this special episode where we talk about the art of motion capture, actor integration with CGI creation, how certain key scenes were created, and the love of the Warcraft universe by those who took such special care to create this film. Warning: This episode contains discussion and spoilers of the Warcraft movie! Be a part of the show by sending your Tell Us One Thing questions, feedback, and requests for advice to questions@taurenthinktank.com. Slash Moo, everybody! Website: http://taurenthinktank.com Patreon site: http://patreon.com/taurenthinktank Twitter: @TaurenThinkTank Facebook: http://facebook.com/taurenthinktank Discord server: http://tinyurl.com/tttchat2
"Magic" is exactly the word to describe the work Industrial Light and Magic (ILM) does to bring the story to life in Star Wars: The Force Awakens. Punch it! ***We’re listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.*** Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave us a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. We're also on Pinterest and Instagram as "SW7x7" too, and we'd love to connect with you there!
In episode 35 of Children of the Force we discuss elevators AGAIN. Finn's feminism. Weird Episode VIII. Sithless Kylo. A joke! A quiz! An email! Tears! Because we all need a good cry now and then. As always, check out our website for a more in depth show guide ... with pictures! Here: https://childrenoftheforce.com/2016/04/28/episode-35-some-weird-thing/ STAR WARSY STUFF [0:35] Anna has branched out into Harry Potter podcasting. She’s working on a podcast called Platform 9 ¾ News with a couple friends. The first episode isn’t up yet, but there’s a website (https://platform934news.wordpress.com), which is a great first step! We continue our enthralling discussion on elevators and we reference the Wookieepedia entry on elevators, which you can find here: http://starwars.wikia.com/wiki/Turbolift We continue our read-through of the Marysue’s “Resistance, Caring and “Mask”ulinity: The Feminist Message of the Dude’s in the Force Awakens.” by Kate Bennion. NEWS [20:40] Free Comic Book Day approaches! http://www.freecomicbookday.com/ Industrial Light and Magic (ILM) released a great video of them reacting to fans’ reactions to the Rogue One trailer. Check it out: https://www.youtube.com/watch?v=DeEU61EIgzk Oscar Isaac gave an interview to the LA Times that gave us some interesting tidbits about Episode VIII. The kids are scared at how different VIII sounds like it might be. CANON NEWS [29:30] Kylo Ren isn’t a Sith. Also, Snoke has decreed that no one can every say Kylo’s real name. Weird, right? JOKE [34:45] Where's the best planet to get burritos and enchiladas? Q&A COUNCIL [37:30] What weird thing would you choose for Rian Johnson to do in Episode VIII? STUMP THE LUMP! [45:35] I ask the kids again this week. Q. What is the name of the bird we see on Jakku as Rey is driving into Niima Outpost? Q. What is the name of the red-clad pirate in Maz Kanata’s castle who Finn is going to leave Takodana with? LISTENER MAILBAG [48:20] Nick from London laments the loss of some of the EU and asks us what we think about the whole thing. It gets emotional. But not for the reasons you'd assume. OUTRO [1:01:30] Thanks for listening! Please, feel free to connect with us in any of the following ways: Leave us a voicemail: https://www.speakpipe.com/ChildrenoftheForce Twitter: @forcechildren Facebook: Children of the Force Email: forcechildren@gmail.com Website: www.childrenoftheforce.com Thanks for listening, and may the Force be with you!
Shawn inspired me to do things I never would have, my life would be so much less had I not listen. It’s truly an honour to have such a wonderful person on the show. Shawn Kelly set his sights on working at Industrial Light and Magic (ILM) at age five when he saw the movie […]
Industrial Light and Magic - ILM, if you will - turns 40 this month! Celebrate with us as we share highlights from the Wired oral history article. Punch it! ***We’re listener supported! Go to http://Patreon.com/sw7x7 to donate to the podcast, and you’ll get some fabulous rewards for your pledge.*** Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave us a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. We're also on Pinterest and Instagram as "SW7x7" too, and we'd love to connect with you there!
Michael Thompson, senior systems engineer at Industrial Light and Magic (ILM), describes how NetApp Data ONTAP GX systems kept visual effects on blockbuster films in full production through modular scalability, global namespace, and loaded distribution features.
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