Podcasts about Pixomondo

In dieser Episode spricht Lukas Gräbner (SAE Hamburg), FX Artist bei Red Parrot Studios, über seinen Werdegang in der VFX-Branche. Erteilt seine Erfahrungen mit Houdini und seine Anfänge bei Pixomondo, wo er an Projekten wie "John Wick IV" und "House of the Dragon" mitwirkte. Lukas gibt Einblicke in seine aktuelle Arbeit bei Red ParrotStudios, reflektiert über die Qualität von VFX-Arbeiten und dieHerausforderungen projektbasierter Arbeit. Er betont die Bedeutung vonSpezialisierung, Networking und persönlichen Projekten für SAE-Absolventen aufJobsuche.LinkedIn:https://www.linkedin.com/in/lukasgraebner/ Life After SAE auf Instagram: https://www.instagram.com/lifeaftersae/Mehr zu Kurt gibt's hier:https://www.instagram.com/kurt_jonathan_engert/Mehr zu Glen gibt's hier:https://glenschaele.com/linktree

We'd love to hear from you. Send us a text! The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.  Welcome to the sixth and penultimate slice from my conversation with the Dragon Lady. In this part I finally bring up the reason I wanted to talk to her: Is Myriam Catrin the world's best texture artist? Her work speaks for itself, but more than ability and talents, it is Myriam's humanity that make her one of the great and truly special artists. I am sure you will agree, when you have listened to her take on all the greatness talk. There is no sunshine without occasional darkness: Myriam shares a very personal episode, where her work broke her and how she managed to steer herself back to health again.  If you want to know the innerworkings of one of the best texture artists in VFX today, the highs and the lows, Myriam shares very generously and fearlessly of her experience. Enjoy! Myriam is a fantastic artist, who's work and interests reach far beyond VFX.  Do yourself a favour, please, and explore and support the amazing work Myriam also does:  https://www.artstation.com/myriamcatrin  Sadly her amazing comic book, Passages, is currently sold out. But look out for new print runs here:  https://shop.publicdomain.paris/product/passages-myriam-catrin  Myriam has also recently contributed beautiful artwork to the Modern Calligraphy Bible:  https://schifferbooks.com/products/modern-calligraphy-bible  As well as the exciting project Nariko's Voyage, which is in development for TV: https://www.narikosvoyage.com/  We also talk about the multi-facetted Martin Hill, who's excellent pottery can be found here: https://www.martinhillceramics.com/ Hokusai of legend:  https://images.app.goo.gl/S1PvUoHf7wVptqNJ6  We refer back to Steven Pressfield's indispensable book The War of Art. Read it many, many times. It will enable you to do your best work: https://stevenpressfield.com/books/the-war-of-art/  Myriam refers to the breakthrough style of Alberto Mielgo, who of course created the seminal Jibaro episode for Love Death + Robots  https://www.albertomielgo.com/  The Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

We'd love to hear from you. Send us a text! On The Naked Texture Artist, I have deep and honest conversations with working artists.Here is a snippet, which is genuinely useful advice for any artist:Texture Supervisor Claudia Marvisi explains, "what is the different between a good and a truly great artist?"Enjoy!If that was useful for you, feel free to share the podcast with your friends and colleagues. I would appreciate your help.You can catch the full conversation on The Naked Texture Artist, wherever you get your podcasts.Thanks for listening!The Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

Guest: Tony Vinciquerra, outgoing CEO of Sony PicturesTony Vinciquerra never planned to get into the entertainment business, let alone to become one of the most powerful people in Hollywood. After seven years, he's about to leave the CEO role at Sony Pictures (although he will stay on as chairman for one more year) and attributes much of his success to luck: “I've been in the right place at the right time a lot of times.” That said, he also encourages his children to proactively be curious, something that has served Tony well across his whole career. “I don't have as deep an education as many of the people that [I] compete with,” he says. “So I try to make up for that by knowing what's going on and being more curious ... working harder at it and being more — I don't know what the right word is, but sucking more information in, all the time.”Chapters:(00:54) - The perks of being a studio boss (03:38) - Hulu and Peter Chernin (06:41) - Fox Television (10:03) - Building relationships (13:37) - Not retiring (15:34) - Fixing Sony (23:29) - Intellectual property (26:58) - Juggling and baseball (29:30) - Setbacks and cable networks (34:58) - The WGA and SAG-AFTRA strikes (37:22) - AI and replacing writers (39:46) - Adapting to new tech (44:38) - Changing consumer behavior (49:25) - Sports media and live TV (55:31) - Bad days (58:57) - Tony's family (01:02:47) - Looking back (01:05:04) - Proactive curiosity (01:07:33) - What “grit” means to Tony Mentioned in this episode: Jason Kilar and Warner Bros., Jeff Zucker, John Waldron and Goldman Sachs, FX, Drayton McLane, Netflix, Variety, PlayStation, Spider-Man, Tom Rothman, CBS and Paramount, Comcast and NBC, Disney, Mike Hopkins, Amazon Prime, Funimation, Crunchyroll, Breaking Bad, The Last of Us, HBO, Uncharted, WBZ-TV, the Game Show Network, Wheel of Fortune, Jeopardy!, Joker: Folie à Deux, Miramax, Here, Tom Hanks, Venom: The Last Dance, Michael Ovitz, Sam Altman and OpenAI, Pixomondo, Neal Mohan and YouTube, Susan Wojcicki, DirecTV and AT&T, NFL Sunday Ticket, Qualcomm, the New York Knicks, the Golden State Warriors, Larry Baer and the San Francisco Giants, Major League Baseball, Walmart and Vizio, Madame Web, Capital Cities, Mark McLaughlin, and Mark Fields and Ford.Links:Connect with JoubinTwitterLinkedInEmail: grit@kleinerperkins.com Learn more about Kleiner PerkinsThis episode was edited by Eric Johnson from LightningPod.fm

Mark Spindler is a Visual Effects Supervisor at Pixomondo in Frankfurt, Germany. He's worked on feature films such as Midway, Justice League, Star Trek: Into Darkness, as well tv shows like The Mandalorian and Game of Thrones for which he received two VES Award nominations. His most recent work on House of the Dragon has also been recognized with an Emmy nomination. He began his career path as a Compositor after finishing his Master of Arts in Media Production in 2012, then became a Lead Compositor and Compositing Supervisor before being promoted to his Supervisor position. Besides his career as a Supervisor, Mark has also contributed to visual effects by developing several tools for Nuke. Some of those Gizmos, Python scripts and C++ plug-ins can be downloaded from the tools section on his website (http://www.mark-spindler.com/tools.html) or from Nukepedia. In this Podcast, Allan McKay interviews VFX Supervisor Mark Spindler about his work on both HOUSE OF THE DRAGON and GAME OF THRONES; the pipeline, creative process and go-to tools of a VFX Supervisor; his career at Pixomondo, as well as the future of AI in VFX. For more show notes, visit www.allanmckay.com/433.  

The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.This is the final episode from my conversation with Claudia Marvisi, texture supervisor from Pixomondo. Claudia explains how she ended up picking texturing out of all the disciplines of the VFX pipeline; We also talk discrimination in the workplace, what the future will hold for texture artists, and Claudia explains what makes a good texture artist great. Lots of practical advice and observations that we can all benefit from in our careers as working artists. You can also learn more about Claudia on her LinkedIn profile:https://www.linkedin.com/in/claudiamarvisi/The Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

Special Effects Supervisor for Pixomondo who has worked on Game Of Thrones, Star Trek Into The Darkness, Star Trek Discovery and now Carnival Row. Subscribe for free lifetime plan here

The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.As we are continuing our conversation with Claudia Marvisi, texture supervisor from Pixomondo, we drill down into the topics that make up her day-to-day life as an artist and a team lead. This episode contains a lot of practical advice from a talented and seasoned artist. You can also learn more about Claudia on her LinkedIn profile:https://www.linkedin.com/in/claudiamarvisi/Footer:The Naked Texture Artist is produced by Marque Pierre Sondergaard.Support us on https://ko-fi.com/thenakedtextureartistContact us on thenakedtextureartist@gmail.comFollow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/Additional sound effects from https://www.zapsplat.comThe Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

The Naked Texture Artist is a podcast where VFX/animation veterans have deep and honest conversations about their challenges and growth as working artists.I am proud to present none other than Claudia Marvisi. https://www.linkedin.com/in/claudiamarvisi/Claudia has risen through the ranks of Pixomondo, where she today serves as texture supervisor. I first came across her on an online presentation called An Asset is Born, where she spoke intelligently about texturing and more. And so her name promptly entered my mental notebook as someone I'd like to discuss textures with now and in the future.Recently Claudia graciously gave me over 2 hours of her time; where we discussed everything from balancing the demands of being a team lead and supervisor to occasionally satisfying her own individual needs as an artist. Yep, she is a dragon fan as well – and with her impressive work on House of the Dragon, she has entered herself into the pantheon of texture artists battling it out for best dragon of all time.There will of course be multiple episodes from this conversation. Here we are just getting warmed up. Make sure you check all of them out. Footer:The Naked Texture Artist is produced by Marque Pierre Sondergaard.Support us on https://ko-fi.com/thenakedtextureartistContact us on thenakedtextureartist@gmail.comFollow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/Additional sound effects from https://www.zapsplat.comThe Naked Texture Artist is produced by Marque Pierre Sondergaard. Support us on https://ko-fi.com/thenakedtextureartist Contact us on thenakedtextureartist@gmail.com Follow us on https://twitter.com/nakedtexture and https://www.instagram.com/thenakedtextureartist/ Music copyright belongs to Tycho for the song Awake - https://tychomusic.com/ Additional sound effects from https://www.zapsplat.com

Asad Manzoor Asad spearheads content creation for Pixomondo's Virtual Production division, squeezing feature-quality imagery out of Unreal Engine. Recently, he has delivered such titles as Star Trek: Strange New Worlds, Halo, Nightbooks, and the upcoming Avatar: The Last Airbender. From initial pitch to today, Asad co-developed Pixomondo's Virtual Production division, with a sprinkle of game development throughout that time. Having taken shots from R&D through the final frame, Asad had previously handled characters, lighting, environment art, all with a sprinkle of compositing — today, he uses all of the above to ensure PXO's Virtual Production team runs smoothly. To keep things interesting when he's not managing Virtual Production, Asad finds himself jumping back into game development, concept art, and the occasional practical SFX project. Zach Dembinsky With a passion for creating digital worlds since Lightwave 7.5c, Zachary is devoted to the journey of trying to mimic the reality of light. You can find him looking around random corners of the world asking, “How would I achieve that in CG…” Zachary Dembinski brings a decades worth of VFX experience to Pixomondo's exciting endeavor of virtual production. With his background roots in traditional vfx Lighting – he ambitiously tries to push the boundaries of real-time rendering with every environment. He firmly believes real-time rendering is the future and it's here to stay. His latest VP projects include, Star Trek: Discovery, Star Trek: Strange New Worlds, and Netflix's – Avatar: The Last Airbender. Highlights of the Episode: 0:00 Introduction 0:14 Introduction of guests 3:33 Getting into the industry 7:59 Education and biggest contributors 11:41 Zach's path into the industry 20:01 Lighting and its appeal 22:36 Balancing making your own work and working on someone else's 29:33 What it's like to be more connected to virtual production 35:23 Difference between a VAD and the art department 39:30 How to help the VAD and the art department function well together 44:39 Level instancing or data layers in your VAD workflow? 45:56 workflow for ingesting high poly lidar assets 49:11 Exploring Nerfs 51:06 Optimistic about AI 54:29 Collaborative working for guys in VADs 59:19 What the traditional art department need to learn to work better with the VAD 01:02:17 Wrap up 01:02:53 Outro “In any project, not necessarily just visual effects, any thing that a group is working on, the more interconnected that group is, the better the product you're gonna end up with by the end.” - Asad Manzoor Connecting with the Guest: Asad Manzoor Website: https://www.pixomondo.com/ Linkedin: https://www.linkedin.com/in/asadnmanzoor/ Youtube: https://www.youtube.com/watch?v=xNLNAcU-wcQ Zach Dembinsky Website: https://www.pixomondo.com/ Linkedin: https://www.linkedin.com/in/zacharydembinski/ Instagram: https://www.instagram.com/zackdembinski/?hl=en Connecting with CG Pro: Facebook: https://www.facebook.com/groups/becomecgpro Instagram: https://www.instagram.com/becomecgpro/ Website: https://www.becomecgpro.com/ Twitter: https://twitter.com/BecomeCGPro #virtualart #virtualproduction #cgpro

Ash Thorp is a graphic designer, illustrator, artist, and creative director for a multitude of media, including feature films, commercial enterprises, and print. Most recently, Ash worked on the concept for the Batmobile and the Batcycle, for the 2022 film The Batman directed by Matt Reeves.  Previously, Ash has worked on graphics for Ender's Game and Total Recall, as well as contributed to the design concepts for Spectre, Prometheus, X-Men First Class, Call of Duty and others. His first directorial debut started with the assembly of an international team for his Ghost in the Shell tribute, as well as the main title for OFFF Barcelona 2014. In 2015, he was requested to assemble an international team of designers and create the title sequence for FITC Tokyo. Later that year, Ash co-directed “Ares — Our Greatest Adventure”, a promotional trailer for the feature film The Martian. Allan McKay is an Emmy Award winning VFX Supervisor and Technical Director. He is responsible for many visual effects sequences including on hit titles like God of War: Ragnarok, Avengers: Endgame, Game of Thrones, Marvel's Runaways, Bloodshot, Transformers, Blade, The Last Airbender, Star Trek, Superman, Flight, The Equalizer, and dozens of others; as well as many of the top video games worldwide: Halo, Destiny, Call of Duty, Bioshock, Prototype, Half-Life, and Team Fortress 2.  Allan has over two decades of experience working in the visual effects industry for many leading studios such as ILM, Pixomondo, Blur Studio, Sony, Paramount Picture, Atomic Fiction, Prime Focus, Ubisoft, Activision and dozens of others. In addition to his VFX work, Allan runs many online courses, as well as a mentorship. Throughout the past two decades, he has appeared as a speaker at events in over 15 different cities including Paris, Sydney, Los Angeles, New York, Vancouver, Singapore, Helsinki. He has taught master classes at SIGGRAPH and IAMAG, and has spoken at events with Nvidia Google. His hit Podcast is rated in the top 200 podcasts on iTunes where he interviews many award winning VFX Artists, Supervisors and Film Directors, focusing on both creativity and drive, as well as on how to boost your career and achieve success as a creative. In this Podcast Ash Thorp interviews Allan McKay about his outlook on failure and how to move past it, AI and other technological disruptions, following one's calling, as well as the importance of gratitude and always moving forward. For more show notes, visit www.allanmckay.com/400.

Previz Supervisor Matt McClurg for The Orville from 2019 talks about creating the sequences for this fun series.

Visual Effects Supervisor for Halo The Series, Phil Prates talks translating this world from game to streaming visually. We also chat about Pixomondo's work on Star Trek Discovery and Star Trek Strange New Worlds

Phil Prates, Visual Effects Supervisor for Halo The Series talks about bringing this gaming world to streaming in terms of visual effects.

Henrique Reginato is a VFX Supervisor and the Founder of NOX Visual Effects. After working in VFX for over 13 years, Henrique launched NOX Visual Effects during COVID-19 by purchasing the Nuke Indie license and working from home. Born in Brazil, Henrique first studied at Centro Universitario Senac, in Sao Paolo. He then pursued 3D Animation and VFX training from Vancouver Film School. He's worked at a number of studios, including Pixomondo. His credits include: Star Trek: Discovery, For All Mankind, The Orville, The OA, Gotham and so many more! In this Episode, Henrique shares his journey as an artist, the benefits of working for smaller studios, how to become a VFX Supervisor and gain experience on set, how to start your own studio, the importance of relationships and gaining a business mindset for artists. For more show notes, visit www.allanmckay.com/362.

Visual Effects Supervisor for Halo The Series, Phil Prates talks translating this world from game to streaming visually. We also chat about Pixomondo's work on Star Trek Discovery and Star Trek Strange New Worlds

This episode has author Matthew Donald and comic artist and writer Richard Fairgrey , Director Emma Needell talks about her VR infused short, Life Rendered and we go behind the visual effects of Halo with Visual Effects Supervisor Phill Prates.

Interview with Visual Effects Supervisor Phil Prater

Приехать в Канаду и работать из дома. Проблемы с квартирами в Канаде. Проблемы с HR и почему они совсем не помогают? Еще про визы, софт и скилы.

Армен Маилян рассказал как работалось в PIXOMONDO в Пекине, чем чешский композ отличается от китайского и как в разгар ковида открыть первую VFX студию в Ереване. Так же в подкасте есть предложение для смелых духом, не пропустите!

This week on Episode 517 of Priority One: The virtual becomes reality on the set of Discovery Season 4, meanwhile the Disco captains reflect on their past and future in the center seat on the bridge.  In gaming news, Pahvo is under attack on the ground and orbit in the third Event Eampaign installment in Star Trek Online, and Dr. Robert Hurt shares the importance of the Hubble Telescope's return! TREK IT OUT Edited by Thomas Reynolds Is This The Real Life? Is this Discovery? By Elio Lleo When that other “Star” franchise debuted their own serialized, live-action TV series on Disney+, critics not only raved about its story, but also about its cinematography. The Mandalorian, which started streaming in 2019, showcased a new style of filmmaking that was absolutely breathtaking. You see, instead of having to find locations where to shoot, the production used a 360-degree LED wall to project–in real time–all the landscapes and effects needed for the scene. The end result: a creative and astonishing backdrop that really helped build that world. Now, everyone wants in! Not only does this technology save the time and resources it takes to shoot on location but, combined with the Unreal Engine, actors can actually see and react to visual effect environments in real time. Now we can visit Strange New Worlds with much more ease, as Noah Kadner explains in his article for American Cinematographer. According to Kadner, Star Trek: Discovery Season 4 and the first season of Strange New Worlds have been filming with a 270-degree horseshoe-shaped LED wall by a company called Pixomondo–which can be fed real-time animations using Unreal Engine. Gul Madred's cruelest torture to date: do the virtual lights count? Image: Michael Gibson/Paramount Plus, via American Cinematographer. Star Trek's Lead Visual Effects Supervisor Jason Zimmerman told Kadner “getting something in-camera on the day is so much better than greenscreen in many ways. One major difference [in terms of workflow] is that the production-design and art departments are a lot more involved much earlier in the process, because they have to get assets ready to be photographed instead of waiting until after the shoot.” But the away teams from Strange New Worlds will be beaming down to realistic landscapes–the New Mexico Film Office announced this week that the television series is using New Mexico landscapes for the show's visual effects.  Jamming With Captain Burnham By Rosco McQueen Michael Burnam meets Bugs Bunny–is this a crossover episode? No, Sonequa Martin-Green plays Lebron James' wife in the Space Jam sequel, and right now Martin-Green is on the promo circuit talking about the animated adventure.  But the good folks at Collider and Gizmodo couldn't help but ask some questions about Discovery Season 4 and what the future holds for Captain Burnham.   Kamiyah, When LeBron Dunked. Image: Warner Brothers, via Collider. According to Martin-Green, filming for Season 4 is almost complete with only a little bit left to shoot.  She emphasized the importance of cementing her new position as Captain, particularly the importance of having a black woman in the role. But she was tight lipped on what's to come, telling Gizmodo it's going to be about finding out who she is as Captain Michael Burnham, “[b]ecause there's always been this question of who am I in this moment? Who am I in this role? And now I'm going to have to answer those questions for myself as Captain because everything is different now. And we've got a huge threat coming our way.” The Rubber Meets The Wormhole By Rosco McQueen Meanwhile, Doug Jones reflected on Captain Saru and his journey through Season 3 of Discovery.  Jones sat in the Captain's chair for almost its entirety, something Jones believes was a dream of the character but not necessarily the actor–it meant a lot more time in the makeup chair.   “I was on more days on Season 3 than ever before. But the honor and the gravity of it was not lost on me that put me in a very small handful of actors who have played Captains in Star Trek. And even a bigger honor that I was the first non-human alien creature to take a Captaincy of a title ship. That was a really a big deal for me, especially as a geeky boy who has played a lot of rubber animals and creatures over these years.” Just keep working on that tagline. Image: ViacomCBS, via Decider. Jones goes on to talk about adding new cast members to the series, particularly his joy at working with Bill Irwin who played Su'Kal, as each actor has been a fan of the other for a long time.  Season 4 of discovery was filmed under COVID restrictions, and thanks to a few stops and starts has taken a few extra months to film than previous seasons. However Jones doesn't see the measures as restrictive. “I think that's what Star Trek helps us realize, that the situation can be different if you perceive it differently. So you can look at it as restrictions, or you can look at it as enablement. I'm going to look at this as it's enabling us to get the job done, and to stay employed, and to keep the production running.”  Would You Just Give LeVar The Host Position Already By Cat Hough We will finally get to see LeVar Burton take his turn in the guest host role on Jeopardy! next week. And, many of his friends, including Brent Spiner and Gates McFadden have continued lobbying efforts to get him that full-time gig. McFadden told showbizjunkies.com, “I think he would be superb. I think he is born to do it. He's perfect.” Spiner added, “I can't think of anyone more qualified than he is. LeVar has proven himself as a host, an educator, a personality, and this and that. He's a very smart guy with a really great personality, which I think is key for the job. He's got all of the qualities.”  You definitely should Trek out the full article because it recaps both of their careers. They tell us their favorite TNG director and give us an update on their latest ventures. As we previously reported on this very podcast, McFadden is currently hosting the podcast Gates McFadden InvestiGates: Who Do You Think You Are?, while Spiner, who we will see in the second season of Picard–has written a novel called Fan-Fiction: A Mem-Noir: Inspired by True Events. Don't forget to watch Jeopardy! next week! Kenneth Mitchell: To Boldly Go By Elio Lleo Image: StarTrek.com Star Trek: Discovery Season 3 is coming to Blu-Ray with several special features and StarTrek.com showcased one last week. Dedicated to Kenneth Mitchell, the featurette showcases Mitchell's various roles on these latest iterations of Trek and of course, addresses his ALS diagnosis. It is an incredibly moving segment with commentary from his fellow actors and crewmates.  STAR TREK GAMING NEWS Edited by Thomas Reynolds Pahvo Pops Off By Cat Hough Just earlier today, Star Trek Online released details on the third installment of the Event Campaign, where players can participate in a series of campaigns to earn the grand prize. The Defense of Pahvo Event starts July 27th on PC and will run for 3 weeks before concluding. Xbox One and PlayStation 4 players will be able to participate starting in September. Once the Campaign starts, players will be able to earn their Daily Progress once every 20 hours by completing either the ground TFO “Pahvo Dissension,” or its space-based counterpart, “Peril Over Pahvo." As with previous Events, players can still use their old Event tokens to apply toward this Event. Brutal, savage, unprincipled, uncivilized, treacherous, but snazzy dressers. Image: Cryptic Studios. A few minor adjustments have been made to each TFO: Each completion will reward a Choice of All Marks (replacing the usual Mark rewards) Both TFOs have had their Cooldown Timers temporarily disabled Both TFOs have been temporarily removed from Random TFO eligibility For this specific event, once you earn a total of 14 days' worth of Daily Progress, you can claim the Crystal Prism Universal Console for your entire account. This unique console features  a charge-driven design, allowing for rapid creation of multiple energy-conductive prisms in space. This console emulates the popular Kit Module of the same name, allowing players to build networks of damage-dealing crystal prisms in formations of their own choosing. Everyone thought Skynet would turn against us, when it was really Starlink. Image: Cryptic Studios. Each Prism that is placed in space will automatically attack nearby enemy starships, inflicting Psychic damage upon their crews, and tearing apart their hulls with telekinetic energies. The damage inflicted by each Prism in a connected group is increased based on the number of other networked Prisms, allowing for an incredibly high ceiling on such a cluster's overall potential for rending into their foes. Other rewards include  the now-standard 25,000 dilithium ore and three Featured TFO Reward Boxes (choice of 1x Specialization Point or an Enhanced Universal Tech Upgrade) for a single character. ASTROMETRICS REPORT By Dr. Robert Hurt For this week's Astrometrics Report, we will stare into the heart of a swirling beam of energy generated by a supermassive hole in the nearby galaxy. But first, I had to mention the good news---that NASA's Hubble Space Telescope has been successfully resuscitated, after a system failure back on June 13th. The issues arose due to a connection fault between its power control unit and payload computer. Finding a way to bypass the malfunctioning system was not trivial. While on Star Trek, that usually takes about two strained metaphors and three minutes of typing, for NASA that required over four weeks of painstakingly careful labor (but fortunately no problematic metaphors). Hubble jumped back into its science program on July 17th, and released some of its post-recovery data this week of some beautifully-twisted galaxies. High fives all around! Deployed in 1990 by Discovery, appropriately enough. Image: NASA/Smithsonian Institution/Lockheed Corporation. Of course, Hubble is only one of a fleet of critical telescopes that operate both in space and on the ground. This week we got to see three different views into the heart of a nearby galaxy: one only possible with a planetary-scale telescope array. I speak of the Event Horizon Telescope (or EHT for short) an international collaboration combines the power of many radio telescopes scattered across the planet. Synchronizing their data collection, they can create some of the highest-resolution images ever made of the universe. You probably have already seen the historic image of the black hole at the heart of the M87 galaxy---or at least the materials swirling around its Solar System-scale event horizon. This week, the collaboration has released a new radio image of the center of another galaxy: Centaurus A. This time, the focus is not on the black hole, but the incredible jets of high-energy particles that are being flung away at nearly the speed of light from the region around the black hole. We've known about the powerful jets emanating from the hearts of some galaxies for decades. In fact, these jets provided some of the early evidence that supermassive black holes lie at the centers of galaxies. As material collects into a disk around the black hole, it rotates really quickly and gets heated to incredible temperatures. We expect that much of this material flows into the black hole over time, adding to its mass. [...yeah, I got nothing.---Ed.] Image: Radboud Univ. Nijmegen; CSIRO/ATNF/I. Feain et al., R. Morganti et al., N. Junkes et al.; ESO/WFI; MPIfR/ESO/APEX/A. Weiß et al.; NASA/CXC/CfA/R. Kraft et al.; TANAMI/C. Müller et al.; EHT/M. Janßen et al.. But some of these hot electrons and protons get swept up along spiraling magnetic fields, get ejected from the disk before reaching the black hole. Think of these like beads on a string: as you whip the string back and forth, the beads can accelerate and pop off the end, moving at high velocities. The exact mechanisms behind these high-energy, near-light speed jets of accelerated plasma are not well understood. That is, in part, in due to the fact that we have never been able to see these jets up close in enough detail to unravel their structure. That is, until now. The new EHT image unveils the structure of this jet all the way down to its base, revealing a tube-like shape that lights up brightest along the outer edges. It shows details down to scales of a few light-hours across, essentially resolving features as small as our Solar System---but from a distance of over 10 million light-years away. The black hole at the base of this jet is about 55 million times as massive as our sun, which makes it a bit smaller than the one imaged in M87---which is a few billion times the sun's mass---but still much larger than the one at the heart of our Milky Way, which is only a few million solar masses. Image: Janssen, M., Falcke, H., Kadler, M. et al. Event Horizon Telescope observations of the jet launching and collimation in Centaurus A. Nat Astron (2021). https://doi.org/10.1038/s41550-021-01417-w Make sure to check out the groundbreaking image of the Centaurus A jet---but even better, I wanted to let you know about a fun chance to try your hand at making your own astronomical image by participating in NASA's Astrophoto Challenges. The Summer 2021 event will be running through August 16th, and the subject is the M87 Galaxy. You can pick between real datasets from telescopes in space and on the ground, or even have a robotic observatory take a picture just for you. (Full disclosure: I am part of the team that develops these challenges, so I'd be thankful if you'd check it out. Just Google NASA's Astrophoto Challenges, or look for our Ask the Astronomers episode about it on YouTube.) https://www.youtube.com/watch?v=IC30EJYMgaQ

This week on Episode 517 of Priority One: The virtual becomes reality on the set of Discovery Season 4, meanwhile the Disco captains reflect on their past and future in the center seat on the bridge.  In gaming news, Pahvo is under attack on the ground and orbit in the third Event Eampaign installment in Star Trek Online, and Dr. Robert Hurt shares the importance of the Hubble Telescope's return! TREK IT OUT Edited by Thomas Reynolds Is This The Real Life? Is this Discovery? By Elio Lleo When that other “Star” franchise debuted their own serialized, live-action TV series on Disney+, critics not only raved about its story, but also about its cinematography. The Mandalorian, which started streaming in 2019, showcased a new style of filmmaking that was absolutely breathtaking. You see, instead of having to find locations where to shoot, the production used a 360-degree LED wall to project–in real time–all the landscapes and effects needed for the scene. The end result: a creative and astonishing backdrop that really helped build that world. Now, everyone wants in! Not only does this technology save the time and resources it takes to shoot on location but, combined with the Unreal Engine, actors can actually see and react to visual effect environments in real time. Now we can visit Strange New Worlds with much more ease, as Noah Kadner explains in his article for American Cinematographer. According to Kadner, Star Trek: Discovery Season 4 and the first season of Strange New Worlds have been filming with a 270-degree horseshoe-shaped LED wall by a company called Pixomondo–which can be fed real-time animations using Unreal Engine. Gul Madred's cruelest torture to date: do the virtual lights count? Image: Michael Gibson/Paramount Plus, via American Cinematographer. Star Trek's Lead Visual Effects Supervisor Jason Zimmerman told Kadner “getting something in-camera on the day is so much better than greenscreen in many ways. One major difference [in terms of workflow] is that the production-design and art departments are a lot more involved much earlier in the process, because they have to get assets ready to be photographed instead of waiting until after the shoot.” But the away teams from Strange New Worlds will be beaming down to realistic landscapes–the New Mexico Film Office announced this week that the television series is using New Mexico landscapes for the show's visual effects.  Jamming With Captain Burnham By Rosco McQueen Michael Burnam meets Bugs Bunny–is this a crossover episode? No, Sonequa Martin-Green plays Lebron James' wife in the Space Jam sequel, and right now Martin-Green is on the promo circuit talking about the animated adventure.  But the good folks at Collider and Gizmodo couldn't help but ask some questions about Discovery Season 4 and what the future holds for Captain Burnham.   Kamiyah, When LeBron Dunked. Image: Warner Brothers, via Collider. According to Martin-Green, filming for Season 4 is almost complete with only a little bit left to shoot.  She emphasized the importance of cementing her new position as Captain, particularly the importance of having a black woman in the role. But she was tight lipped on what's to come, telling Gizmodo it's going to be about finding out who she is as Captain Michael Burnham, “[b]ecause there's always been this question of who am I in this moment? Who am I in this role? And now I'm going to have to answer those questions for myself as Captain because everything is different now. And we've got a huge threat coming our way.” The Rubber Meets The Wormhole By Rosco McQueen Meanwhile, Doug Jones reflected on Captain Saru and his journey through Season 3 of Discovery.  Jones sat in the Captain's chair for almost its entirety, something Jones believes was a dream of the character but not necessarily the actor–it meant a lot more time in the makeup chair.   “I was on more days on Season 3 than ever before. But the honor and the gravity of it was not lost on me that put me in a very small handful of actors who have played Captains in Star Trek. And even a bigger honor that I was the first non-human alien creature to take a Captaincy of a title ship. That was a really a big deal for me, especially as a geeky boy who has played a lot of rubber animals and creatures over these years.” Just keep working on that tagline. Image: ViacomCBS, via Decider. Jones goes on to talk about adding new cast members to the series, particularly his joy at working with Bill Irwin who played Su'Kal, as each actor has been a fan of the other for a long time.  Season 4 of discovery was filmed under COVID restrictions, and thanks to a few stops and starts has taken a few extra months to film than previous seasons. However Jones doesn't see the measures as restrictive. “I think that's what Star Trek helps us realize, that the situation can be different if you perceive it differently. So you can look at it as restrictions, or you can look at it as enablement. I'm going to look at this as it's enabling us to get the job done, and to stay employed, and to keep the production running.”  Would You Just Give LeVar The Host Position Already By Cat Hough We will finally get to see LeVar Burton take his turn in the guest host role on Jeopardy! next week. And, many of his friends, including Brent Spiner and Gates McFadden have continued lobbying efforts to get him that full-time gig. McFadden told showbizjunkies.com, “I think he would be superb. I think he is born to do it. He's perfect.” Spiner added, “I can't think of anyone more qualified than he is. LeVar has proven himself as a host, an educator, a personality, and this and that. He's a very smart guy with a really great personality, which I think is key for the job. He's got all of the qualities.”  You definitely should Trek out the full article because it recaps both of their careers. They tell us their favorite TNG director and give us an update on their latest ventures. As we previously reported on this very podcast, McFadden is currently hosting the podcast Gates McFadden InvestiGates: Who Do You Think You Are?, while Spiner, who we will see in the second season of Picard–has written a novel called Fan-Fiction: A Mem-Noir: Inspired by True Events. Don't forget to watch Jeopardy! next week! Kenneth Mitchell: To Boldly Go By Elio Lleo Image: StarTrek.com Star Trek: Discovery Season 3 is coming to Blu-Ray with several special features and StarTrek.com showcased one last week. Dedicated to Kenneth Mitchell, the featurette showcases Mitchell's various roles on these latest iterations of Trek and of course, addresses his ALS diagnosis. It is an incredibly moving segment with commentary from his fellow actors and crewmates.  STAR TREK GAMING NEWS Edited by Thomas Reynolds Pahvo Pops Off By Cat Hough Just earlier today, Star Trek Online released details on the third installment of the Event Campaign, where players can participate in a series of campaigns to earn the grand prize. The Defense of Pahvo Event starts July 27th on PC and will run for 3 weeks before concluding. Xbox One and PlayStation 4 players will be able to participate starting in September. Once the Campaign starts, players will be able to earn their Daily Progress once every 20 hours by completing either the ground TFO “Pahvo Dissension,” or its space-based counterpart, “Peril Over Pahvo." As with previous Events, players can still use their old Event tokens to apply toward this Event. Brutal, savage, unprincipled, uncivilized, treacherous, but snazzy dressers. Image: Cryptic Studios. A few minor adjustments have been made to each TFO: Each completion will reward a Choice of All Marks (replacing the usual Mark rewards) Both TFOs have had their Cooldown Timers temporarily disabled Both TFOs have been temporarily removed from Random TFO eligibility For this specific event, once you earn a total of 14 days' worth of Daily Progress, you can claim the Crystal Prism Universal Console for your entire account. This unique console features  a charge-driven design, allowing for rapid creation of multiple energy-conductive prisms in space. This console emulates the popular Kit Module of the same name, allowing players to build networks of damage-dealing crystal prisms in formations of their own choosing. Everyone thought Skynet would turn against us, when it was really Starlink. Image: Cryptic Studios. Each Prism that is placed in space will automatically attack nearby enemy starships, inflicting Psychic damage upon their crews, and tearing apart their hulls with telekinetic energies. The damage inflicted by each Prism in a connected group is increased based on the number of other networked Prisms, allowing for an incredibly high ceiling on such a cluster's overall potential for rending into their foes. Other rewards include  the now-standard 25,000 dilithium ore and three Featured TFO Reward Boxes (choice of 1x Specialization Point or an Enhanced Universal Tech Upgrade) for a single character. ASTROMETRICS REPORT By Dr. Robert Hurt For this week's Astrometrics Report, we will stare into the heart of a swirling beam of energy generated by a supermassive hole in the nearby galaxy. But first, I had to mention the good news---that NASA's Hubble Space Telescope has been successfully resuscitated, after a system failure back on June 13th. The issues arose due to a connection fault between its power control unit and payload computer. Finding a way to bypass the malfunctioning system was not trivial. While on Star Trek, that usually takes about two strained metaphors and three minutes of typing, for NASA that required over four weeks of painstakingly careful labor (but fortunately no problematic metaphors). Hubble jumped back into its science program on July 17th, and released some of its post-recovery data this week of some beautifully-twisted galaxies. High fives all around! Deployed in 1990 by Discovery, appropriately enough. Image: NASA/Smithsonian Institution/Lockheed Corporation. Of course, Hubble is only one of a fleet of critical telescopes that operate both in space and on the ground. This week we got to see three different views into the heart of a nearby galaxy: one only possible with a planetary-scale telescope array. I speak of the Event Horizon Telescope (or EHT for short) an international collaboration combines the power of many radio telescopes scattered across the planet. Synchronizing their data collection, they can create some of the highest-resolution images ever made of the universe. You probably have already seen the historic image of the black hole at the heart of the M87 galaxy---or at least the materials swirling around its Solar System-scale event horizon. This week, the collaboration has released a new radio image of the center of another galaxy: Centaurus A. This time, the focus is not on the black hole, but the incredible jets of high-energy particles that are being flung away at nearly the speed of light from the region around the black hole. We've known about the powerful jets emanating from the hearts of some galaxies for decades. In fact, these jets provided some of the early evidence that supermassive black holes lie at the centers of galaxies. As material collects into a disk around the black hole, it rotates really quickly and gets heated to incredible temperatures. We expect that much of this material flows into the black hole over time, adding to its mass. [...yeah, I got nothing.---Ed.] Image: Radboud Univ. Nijmegen; CSIRO/ATNF/I. Feain et al., R. Morganti et al., N. Junkes et al.; ESO/WFI; MPIfR/ESO/APEX/A. Weiß et al.; NASA/CXC/CfA/R. Kraft et al.; TANAMI/C. Müller et al.; EHT/M. Janßen et al.. But some of these hot electrons and protons get swept up along spiraling magnetic fields, get ejected from the disk before reaching the black hole. Think of these like beads on a string: as you whip the string back and forth, the beads can accelerate and pop off the end, moving at high velocities. The exact mechanisms behind these high-energy, near-light speed jets of accelerated plasma are not well understood. That is, in part, in due to the fact that we have never been able to see these jets up close in enough detail to unravel their structure. That is, until now. The new EHT image unveils the structure of this jet all the way down to its base, revealing a tube-like shape that lights up brightest along the outer edges. It shows details down to scales of a few light-hours across, essentially resolving features as small as our Solar System---but from a distance of over 10 million light-years away. The black hole at the base of this jet is about 55 million times as massive as our sun, which makes it a bit smaller than the one imaged in M87---which is a few billion times the sun's mass---but still much larger than the one at the heart of our Milky Way, which is only a few million solar masses. Image: Janssen, M., Falcke, H., Kadler, M. et al. Event Horizon Telescope observations of the jet launching and collimation in Centaurus A. Nat Astron (2021). https://doi.org/10.1038/s41550-021-01417-w Make sure to check out the groundbreaking image of the Centaurus A jet---but even better, I wanted to let you know about a fun chance to try your hand at making your own astronomical image by participating in NASA's Astrophoto Challenges. The Summer 2021 event will be running through August 16th, and the subject is the M87 Galaxy. You can pick between real datasets from telescopes in space and on the ground, or even have a robotic observatory take a picture just for you. (Full disclosure: I am part of the team that develops these challenges, so I'd be thankful if you'd check it out. Just Google NASA's Astrophoto Challenges, or look for our Ask the Astronomers episode about it on YouTube.) https://www.youtube.com/watch?v=IC30EJYMgaQ

In this episode, I chat to senior matchmove artist and supervisor Sarah Gatefield about her experience and journey into the VFX industry. A journey which begun as a runner at Framestore London, leading on to freelancing at VFX studios such as MPC, DNEG, Trixter, Method Studios, Prime Focus Film, Pixomondo, Rise and more, on incredible films such as Harry Potter, Iron Man 3, Total Recall, The Martian, Jungle Book and many more!We also go on to touch base on Sarah's route to dabbling a bit in the VR and AR industry.Overall, an incredible experience and journey Sarah has been on and is still on, and one that can inspire generations to come!As always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on Spotifyhttps://open.spotify.com/show/0N6CL5b6MvEkklP9L97tON?si=6Dw7wLg_S2aGakc-VoQlJw&dl_branch=1Listen to all episodes on Apple Podcasthttps://podcasts.apple.com/us/podcast/the-vfx-artists-podcast/id1567749088Listen to all episodes on Amazon Musichttps://music.amazon.com/podcasts/421f1b39-7596-438e-aa45-02d34b5685f2/The-VFX-Artists-PodcastListen to all episodes on other audio streaming platformshttps://thevfxartistspodcast.buzzsprout.com

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

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

When it comes to VFX Work, Bryan Hirota has seen a lot in his career, from his first VFX job at Visual Image to currently being a VFX Supervisor at Scanline VFX. He's worked at studios like Pixomondo, Prime Focus VFX, CIS Hollywood, Blue Sky - VIFX. His projects include The Zack Snyder's Justice League, Godzilla vs Kong, The Suicide Squad, Aquaman, Batman v Superman: Dawn of Justice, The Green Lantern, Tree of Life, Watchmen, Tropic Thunder, Pirates of the Caribbean, X-Men, Armageddon, The Relic and many more. In this Podcast, Allan interviews Bryan about his experience working with Zack Snyder on Justice League, reworking the film for the 2021 Cut for HBO Max, Scanline's shots on Godzilla vs Kong, as well as Bryan's advice for VFX Artists and Supervisors. For more show notes, visit www.allanmckay.com/298/.

This week on Episode 505 of Priority One: We #TrekOut the Tweet that broke the Star Trek Community, the fate of the multiverse, and a look into Star Trek Discovery’s special effects for Season 3. In gaming, grab yourself a Phoenix Prize Pack and check out the update to the Azure Nebula. Later, Dr. Robert Hurt reports on black holes with this week’s Astrometrics Report. This week’s Community Questions are: CQ: If you were writing for Worf’s return in a show like Star Trek: Picard, how would you set it up? CQ: What items from the Phoenix Prize pack do you think players should try to get their hands on? CQ: What are the key pieces of advice you would give to first-time players of Star Trek Online? Let us know on social media like Facebook, Twitter, or by visiting our website! TREK IT OUT Edited by Thomas Reynolds Michael Dorn Breaks Twitter By Elio Lleo On Monday, April 19th, Michael Dorn broke Twitter. Well, metaphorically broke the corner of Twitter that most Trekkies hang out in. You see, his tweet read "Just got the news, being summoned back into action. Starfleet calls. #ad". https://twitter.com/akaWorf/status/1384232487656640522 At the time of this writing, the post has been retweeted almost 3,000 times and liked nearly 40,000 times. Everyone assumed that this was an “unofficial” announcement that he would be reprising this role as Worf in an upcoming Star Trek film or television production. Even our own team at Priority One mistakenly believed this was another “slip-up” from one of the actors: an announcement that he had been cast to return. Dishonor On You And Your Podcast We’re not journalists, nor have we ever announced ourselves as such. For 500 episodes, we’ve curated the big headlines from industry sources and do our best to offer our thoughts and reviews on the subject. So, it was definitely our mistake to have retweeted it as if we had official confirmation of his return to the small or big screen [so stop emailing us about it-Ed.]. But the fine folks at TrekMovie and io9–with their constantly reliable sources--did their due diligence. Michael Dorn’s tweet “...whatever this is, it isn’t related to a Paramount+ Star Trek project.” So that’s that. Worf is not returning–at least not on any Star Trek Paramount+ or film project. Some of us are taking it harder than others. Image: ViacomCBS, via Memory Alpha. But let’s say he did. What would that look like? If you’ve read the IDW Countdown series that set up the Kelvin Fork, you know that Worf was impaled by Nero. If you’ve played Star Trek Online, you know he’s an ambassador. And most recently, if you’ve read Una McCormack’s pre-Picard Prime Universe novel, you know he’s the captain of the Enterprise. That leads us to our first community question this week:   CQ: If you were writing for Worf’s return in a show like Star Trek: Picard, how would you set it up? Let us know in the comment section for this episode at priorityonepodcast.com, or by replying to our community question post on our social media channels like Facebook, Twitter, and Instagram! He Who Controls The Multiverse Controls the Streams! By Elio Lleo Last week, we recapped Akiva Goldsman's interview with The Hollywood Reporter, about what viewers can expect from Star Trek: Picard and Strange New Worlds. This week, Variety spoke with Alex Kurtzman (and several other executives) exploring how big intellectual properties are influencing the streaming and film industries. Image: Giacomo Gambineri, for Variety. When exploring how the production and distribution of media has shifted–especially during the COVID19 pandemic when theatres were shut down–Kurtzman explains that “I think vertical alignment has made it so that it’s impossible not to accept the reality that the line between movies and television is gone. It doesn’t mean that you can’t have a feature that is separate from television. But if they aren’t connected in some way, then you’re basically running two universes parallel as opposed to interconnected, and I think that those messages could potentially cancel each other out.” Interestingly, in the wake of the merger the Star Trek team of showrunners are (apparently) meeting monthly. Kurtzman told Variety, “We make sure that those showrunners are coordinating so that they’re not stepping on each other’s toes." So Star Trek: Discovery aired back in 2017, and Picard in January of 2020. Is it possible we’ll see more cohesive storytelling and development from collaboration going forward? A Closer Look At Discovery Season 3 Visual Effects By Cat Hough Pixomondo, the Emmy-nominated visual effects house for Star Trek: Discovery,. released a highlight reel of the visual effects seen in Season 3. We hear VFX supervisor Phil Jones explaining some of the complexities involved in designing 32nd century ships. One challenge in particular was Book's chameleon ship, which had to be re-configured to fit in the Discovery's shuttle bay–not to mention constantly changing shape when flying.  https://www.youtube.com/watch?v=NmXn5PFaQug The team also designed most of the planet and ground locations by starting with live-action footage and layering in additional effects. For example, the ice planet was based from footage shot in Iceland. As discussed in previous episodes, Pixomondo also confirmed that Season 4 is being shot on a virtual production stage, Mandalorian-style.  In Memoriam: Felix Silla, Cousin Itt On The Addams Family, 84 By Rosco McQueen The actor Felix Silla, who played Addams Family member Cousin Itt, has died after a battle with pancreatic cancer. He was 84. Silla was a trained circus performer who came to the United States from Italy in 1955. He toured with the Ringling Bros. and Barnum & Bailey Show, which ultimately led him to roles in Hollywood as a stuntman.  Felix Silla, 1937-2021. Image: Dave Starbuck/Geisler-Fotopress via Variety. Silla’s links to Star Trek go back to the very beginning–he was a Talosian in the original pilot “The Cage”–but his list of credits is extensive. Along the way, he worked with the likes of Michael Dorn in 1977’s Demon Seed, Michael Ansara in 1978’s The Manitou, and in the 1979 film The Brood by David Cronenberg. In Memoriam: Robert Fletcher, Star Trek Costume Designer, 98 By Rosco McQueen Also Robert Fletcher, 'Star Trek' Costume Designer, has died this week aged 98. Fletcher was the designer behind the feature films’ Klingon and Vulcan looks, which have since become iconic to the franchise. He was also the designer of the full set of rank pins used in Wrath of Khan and beyond. Robert Fletcher, 1922-2021. Image: Frazer Harrison/Getty Images via The Hollywood Reporter. Robert Fletcher received three Tony Award nominations for his work on Little Me (1963), High Spirits (1964), and Hadrian VII (1969). In 2005 he was awarded the Career Achievement Award from the Costume Designers Guild and in 2008 he received a Theatre Development Fund / Irene Sharaff Lifetime Achievement Award for his set design work. ASTROMETRICS REPORT By Robert Hurt, PhD. Edited by Thomas Reynolds For this week's Astrometrics Report, we're going to take a journey into darkness: specifically, the vast halo of dark matter astronomers think surrounds our galaxy. Because dark matter is, well, dark, it is notoriously hard to study. It can't be observed directly, and indeed there's no clear idea of what it is. It is only inferred to exist by its substantial gravitational effect on the normal, luminous matter that we can detect. That effect is not subtle–scientists think that dark matter outweighs normal matter by a factor of 5 to 1. That's a lot of dark, but there is a tiny bit of light in this dark matter tunnel that astronomers have just leveraged to get a handle on all that stuff surrounding out galaxy. Two teams of astronomers have come together, in a recent Nature paper, to compare theoretical models of how dark matter may flow around the Milky Way. The challenging observational effort: survey the most difficult stars in the outer reaches of our galaxy, in the region known as its halo. Image: NASA/ESA/JPL-Caltech/Conroy et. al. Our galaxy has two neighboring galaxies that factor into this study, the Large and Small Magellanic Clouds. These are a standard fixture in our dark nighttime skies, but only from the Southern Hemisphere. The larger one ("LMC" for short) has about one-quarter the mass of the Milky Way, and is about 160,000 lightyears away. For a sense of scale, the Milky Way itself is only about 100,000 lightyears across. It has long been thought that the LMC and SMC are satellite galaxies orbiting the Milky Way. A recent theoretical study from the University of Arizona, indicates this orbit should create a sort of gravitational wake in the Milky Way's dark matter halo. But how would one ever find the wake if it existed? This is when a group of Harvard astronomers came into the picture. Reasoning that the sparse scattering of stars in the halo would follow the hidden distribution of dark matter, they set out to find the faint population of the most distant stars around the Milky Way. To do this, they combined star catalogues from two complementary missions. The European Space Agency's Gaia mission has mapped out billions of stars in visible light, while NASA's NEOWISE mission has surveyed the entire sky in infrared light. Only by comparing the visible and infrared signatures of billions of stars could they identify about 1300 sitting further out than even the LMC itself. This map of our galaxy's most distant stars showed a striking irregularity–one that aligned incredibly well with the dark matter simulation. It's a classic case of theory leading to a hypothesis that could be tested with data. This is the scientific method in action! https://www.youtube.com/watch?v=bvcFHSJTJHU&feature=emb_imp_woyt Animation: NASA/JPL-Caltech/NSF/R. Hurt/N. Garavito-Camargo & G. Besla. The study also sheds light on the nature of mysterious dark matter itself. In this case, it lends support for a kind of scenario scientists have dubbed "cold dark matter. " Refining the dark matter simulations to better match the observations may also help establish more precise properties of this elusive stuff. Make sure to check the shownotes for a link to the paper, and the cool animation showing the dark matter halo simulation. But as a parting thought, I'd like to take a minute to imagine what it would be like, standing on a world orbiting one of these distant lonely stars in the Milky Way's halo. Chances are you would not be able to see easily the nearest star with the naked eye, as they would just be too far apart. Instead, your night sky would be filled with the spectacle of the entire Milky Way itself. Not unlike that closing moment in the Empire Strikes Back, as the rebel fleet regroups in the far reaches of their own galaxy far, far away. "Star Wars"? Never heard of it. Image: Disney/Lucasfilm STAR TREK GAMING NEWS Edited by Thomas Reynolds Upgrading Phoenix Box Upgrades By Rosco McQueen Captains on PC can claim a free Phoenix Prize pack each day until April 27th. So why not take the time to say hi to Gyrm on Drozana Station, or shoot the breeze with Onna on Deep Space Nine? For those brand new to STO, your account can claim one prize pack per day, or you can spend dilithium for single or 10-box bundles. Open the pack and receive a token with one of five rarity levels. The top two tiers, Ultra Rare and Epic, will allow you to claim a T5 or T6 starship. For a full list of available prizes, trek out the link in our show notes. Image: Cryptic Studios. The most interesting part is the Experimental Upgrade tokens are now available to claim at the Ultra Rare level.  It’s not the first time the token has been a part of the prize pack. However, the blog post announcing the event states “[t]hese tokens will only be available in this pack during this event.” CQ: What items from the Phoenix Prize pack do you think players should try to get their hands on? STO Remasters Tholian TFOs By Cat Hough If you happened to be playing through TFOs over the weekend, you may have noticed the Azure Nebula and Vault Ensnared have been remastered. Updates include different optional requirements, updated timers and more noticeable indicators. The remastering wasn’t mentioned in patch notes, but announced via tweet instead. Be Advised: First-Time Players In Star Trek Online By Rosco McQueen The independent MMO website Massively OP asked a straightforward question this week. What key advice would you give to first-timers in your MMO? Star Trek Online has just been through the Klingon Recruitment event, and rolled into a revamped Delta Recruit event.  What does this mean for new players?  It’s the perfect time to start a new character and take them on a new adventure, with all-new bonuses available! So if you’re brand new to the game, first of all, welcome!  We thought we would share a couple of pieces of advice that will hopefully set up your captain for success. Image: Cryptic Studios via SFC3/STOwiki. Choose a weapon type at the start–phasers, disruptors, etc.–and a style like beams or cannons. Stick with them. You can never go wrong with a hot, sour little pick-me-up in a stemmed glass, with a drop of honey. STOWiki is your best source of information for missions, equipment, build, and anything else in the game. An MMO-style mouse with side-mounted 10-key pad will make the game far easier to play. Also, consider setting up macros to automate your power usage. Don’t rush! Enjoy the game and get through the story missions. You don’t have to be in a hurry to get to endgame. Join a fleet! We happen to know a few. CQ: What are the key pieces of advice you would give to first-time players of Star Trek Online?

This week on Episode 505 of Priority One: We #TrekOut the Tweet that broke the Star Trek Community, the fate of the multiverse, and a look into Star Trek Discovery's special effects for Season 3. In gaming, grab yourself a Phoenix Prize Pack and check out the update to the Azure Nebula. Later, Dr. Robert Hurt reports on black holes with this week's Astrometrics Report. This week's Community Questions are: CQ: If you were writing for Worf's return in a show like Star Trek: Picard, how would you set it up? CQ: What items from the Phoenix Prize pack do you think players should try to get their hands on? CQ: What are the key pieces of advice you would give to first-time players of Star Trek Online? Let us know on social media like Facebook, Twitter, or by visiting our website! TREK IT OUT Edited by Thomas Reynolds Michael Dorn Breaks Twitter By Elio Lleo On Monday, April 19th, Michael Dorn broke Twitter. Well, metaphorically broke the corner of Twitter that most Trekkies hang out in. You see, his tweet read "Just got the news, being summoned back into action. Starfleet calls. #ad". https://twitter.com/akaWorf/status/1384232487656640522 At the time of this writing, the post has been retweeted almost 3,000 times and liked nearly 40,000 times. Everyone assumed that this was an “unofficial” announcement that he would be reprising this role as Worf in an upcoming Star Trek film or television production. Even our own team at Priority One mistakenly believed this was another “slip-up” from one of the actors: an announcement that he had been cast to return. Dishonor On You And Your Podcast We're not journalists, nor have we ever announced ourselves as such. For 500 episodes, we've curated the big headlines from industry sources and do our best to offer our thoughts and reviews on the subject. So, it was definitely our mistake to have retweeted it as if we had official confirmation of his return to the small or big screen [so stop emailing us about it-Ed.]. But the fine folks at TrekMovie and io9–with their constantly reliable sources--did their due diligence. Michael Dorn's tweet “...whatever this is, it isn't related to a Paramount+ Star Trek project.” So that's that. Worf is not returning–at least not on any Star Trek Paramount+ or film project. Some of us are taking it harder than others. Image: ViacomCBS, via Memory Alpha. But let's say he did. What would that look like? If you've read the IDW Countdown series that set up the Kelvin Fork, you know that Worf was impaled by Nero. If you've played Star Trek Online, you know he's an ambassador. And most recently, if you've read Una McCormack's pre-Picard Prime Universe novel, you know he's the captain of the Enterprise. That leads us to our first community question this week:   CQ: If you were writing for Worf's return in a show like Star Trek: Picard, how would you set it up? Let us know in the comment section for this episode at priorityonepodcast.com, or by replying to our community question post on our social media channels like Facebook, Twitter, and Instagram! He Who Controls The Multiverse Controls the Streams! By Elio Lleo Last week, we recapped Akiva Goldsman's interview with The Hollywood Reporter, about what viewers can expect from Star Trek: Picard and Strange New Worlds. This week, Variety spoke with Alex Kurtzman (and several other executives) exploring how big intellectual properties are influencing the streaming and film industries. Image: Giacomo Gambineri, for Variety. When exploring how the production and distribution of media has shifted–especially during the COVID19 pandemic when theatres were shut down–Kurtzman explains that “I think vertical alignment has made it so that it's impossible not to accept the reality that the line between movies and television is gone. It doesn't mean that you can't have a feature that is separate from television. But if they aren't connected in some way, then you're basically running two universes parallel as opposed to interconnected, and I think that those messages could potentially cancel each other out.” Interestingly, in the wake of the merger the Star Trek team of showrunners are (apparently) meeting monthly. Kurtzman told Variety, “We make sure that those showrunners are coordinating so that they're not stepping on each other's toes." So Star Trek: Discovery aired back in 2017, and Picard in January of 2020. Is it possible we'll see more cohesive storytelling and development from collaboration going forward? A Closer Look At Discovery Season 3 Visual Effects By Cat Hough Pixomondo, the Emmy-nominated visual effects house for Star Trek: Discovery,. released a highlight reel of the visual effects seen in Season 3. We hear VFX supervisor Phil Jones explaining some of the complexities involved in designing 32nd century ships. One challenge in particular was Book's chameleon ship, which had to be re-configured to fit in the Discovery's shuttle bay–not to mention constantly changing shape when flying.  https://www.youtube.com/watch?v=NmXn5PFaQug The team also designed most of the planet and ground locations by starting with live-action footage and layering in additional effects. For example, the ice planet was based from footage shot in Iceland. As discussed in previous episodes, Pixomondo also confirmed that Season 4 is being shot on a virtual production stage, Mandalorian-style.  In Memoriam: Felix Silla, Cousin Itt On The Addams Family, 84 By Rosco McQueen The actor Felix Silla, who played Addams Family member Cousin Itt, has died after a battle with pancreatic cancer. He was 84. Silla was a trained circus performer who came to the United States from Italy in 1955. He toured with the Ringling Bros. and Barnum & Bailey Show, which ultimately led him to roles in Hollywood as a stuntman.  Felix Silla, 1937-2021. Image: Dave Starbuck/Geisler-Fotopress via Variety. Silla's links to Star Trek go back to the very beginning–he was a Talosian in the original pilot “The Cage”–but his list of credits is extensive. Along the way, he worked with the likes of Michael Dorn in 1977's Demon Seed, Michael Ansara in 1978's The Manitou, and in the 1979 film The Brood by David Cronenberg. In Memoriam: Robert Fletcher, Star Trek Costume Designer, 98 By Rosco McQueen Also Robert Fletcher, 'Star Trek' Costume Designer, has died this week aged 98. Fletcher was the designer behind the feature films' Klingon and Vulcan looks, which have since become iconic to the franchise. He was also the designer of the full set of rank pins used in Wrath of Khan and beyond. Robert Fletcher, 1922-2021. Image: Frazer Harrison/Getty Images via The Hollywood Reporter. Robert Fletcher received three Tony Award nominations for his work on Little Me (1963), High Spirits (1964), and Hadrian VII (1969). In 2005 he was awarded the Career Achievement Award from the Costume Designers Guild and in 2008 he received a Theatre Development Fund / Irene Sharaff Lifetime Achievement Award for his set design work. ASTROMETRICS REPORT By Robert Hurt, PhD. Edited by Thomas Reynolds For this week's Astrometrics Report, we're going to take a journey into darkness: specifically, the vast halo of dark matter astronomers think surrounds our galaxy. Because dark matter is, well, dark, it is notoriously hard to study. It can't be observed directly, and indeed there's no clear idea of what it is. It is only inferred to exist by its substantial gravitational effect on the normal, luminous matter that we can detect. That effect is not subtle–scientists think that dark matter outweighs normal matter by a factor of 5 to 1. That's a lot of dark, but there is a tiny bit of light in this dark matter tunnel that astronomers have just leveraged to get a handle on all that stuff surrounding out galaxy. Two teams of astronomers have come together, in a recent Nature paper, to compare theoretical models of how dark matter may flow around the Milky Way. The challenging observational effort: survey the most difficult stars in the outer reaches of our galaxy, in the region known as its halo. Image: NASA/ESA/JPL-Caltech/Conroy et. al. Our galaxy has two neighboring galaxies that factor into this study, the Large and Small Magellanic Clouds. These are a standard fixture in our dark nighttime skies, but only from the Southern Hemisphere. The larger one ("LMC" for short) has about one-quarter the mass of the Milky Way, and is about 160,000 lightyears away. For a sense of scale, the Milky Way itself is only about 100,000 lightyears across. It has long been thought that the LMC and SMC are satellite galaxies orbiting the Milky Way. A recent theoretical study from the University of Arizona, indicates this orbit should create a sort of gravitational wake in the Milky Way's dark matter halo. But how would one ever find the wake if it existed? This is when a group of Harvard astronomers came into the picture. Reasoning that the sparse scattering of stars in the halo would follow the hidden distribution of dark matter, they set out to find the faint population of the most distant stars around the Milky Way. To do this, they combined star catalogues from two complementary missions. The European Space Agency's Gaia mission has mapped out billions of stars in visible light, while NASA's NEOWISE mission has surveyed the entire sky in infrared light. Only by comparing the visible and infrared signatures of billions of stars could they identify about 1300 sitting further out than even the LMC itself. This map of our galaxy's most distant stars showed a striking irregularity–one that aligned incredibly well with the dark matter simulation. It's a classic case of theory leading to a hypothesis that could be tested with data. This is the scientific method in action! https://www.youtube.com/watch?v=bvcFHSJTJHU&feature=emb_imp_woyt Animation: NASA/JPL-Caltech/NSF/R. Hurt/N. Garavito-Camargo & G. Besla. The study also sheds light on the nature of mysterious dark matter itself. In this case, it lends support for a kind of scenario scientists have dubbed "cold dark matter. " Refining the dark matter simulations to better match the observations may also help establish more precise properties of this elusive stuff. Make sure to check the shownotes for a link to the paper, and the cool animation showing the dark matter halo simulation. But as a parting thought, I'd like to take a minute to imagine what it would be like, standing on a world orbiting one of these distant lonely stars in the Milky Way's halo. Chances are you would not be able to see easily the nearest star with the naked eye, as they would just be too far apart. Instead, your night sky would be filled with the spectacle of the entire Milky Way itself. Not unlike that closing moment in the Empire Strikes Back, as the rebel fleet regroups in the far reaches of their own galaxy far, far away. "Star Wars"? Never heard of it. Image: Disney/Lucasfilm STAR TREK GAMING NEWS Edited by Thomas Reynolds Upgrading Phoenix Box Upgrades By Rosco McQueen Captains on PC can claim a free Phoenix Prize pack each day until April 27th. So why not take the time to say hi to Gyrm on Drozana Station, or shoot the breeze with Onna on Deep Space Nine? For those brand new to STO, your account can claim one prize pack per day, or you can spend dilithium for single or 10-box bundles. Open the pack and receive a token with one of five rarity levels. The top two tiers, Ultra Rare and Epic, will allow you to claim a T5 or T6 starship. For a full list of available prizes, trek out the link in our show notes. Image: Cryptic Studios. The most interesting part is the Experimental Upgrade tokens are now available to claim at the Ultra Rare level.  It's not the first time the token has been a part of the prize pack. However, the blog post announcing the event states “[t]hese tokens will only be available in this pack during this event.” CQ: What items from the Phoenix Prize pack do you think players should try to get their hands on? STO Remasters Tholian TFOs By Cat Hough If you happened to be playing through TFOs over the weekend, you may have noticed the Azure Nebula and Vault Ensnared have been remastered. Updates include different optional requirements, updated timers and more noticeable indicators. The remastering wasn't mentioned in patch notes, but announced via tweet instead. Be Advised: First-Time Players In Star Trek Online By Rosco McQueen The independent MMO website Massively OP asked a straightforward question this week. What key advice would you give to first-timers in your MMO? Star Trek Online has just been through the Klingon Recruitment event, and rolled into a revamped Delta Recruit event.  What does this mean for new players?  It's the perfect time to start a new character and take them on a new adventure, with all-new bonuses available! So if you're brand new to the game, first of all, welcome!  We thought we would share a couple of pieces of advice that will hopefully set up your captain for success. Image: Cryptic Studios via SFC3/STOwiki. Choose a weapon type at the start–phasers, disruptors, etc.–and a style like beams or cannons. Stick with them. You can never go wrong with a hot, sour little pick-me-up in a stemmed glass, with a drop of honey. STOWiki is your best source of information for missions, equipment, build, and anything else in the game. An MMO-style mouse with side-mounted 10-key pad will make the game far easier to play. Also, consider setting up macros to automate your power usage. Don't rush! Enjoy the game and get through the story missions. You don't have to be in a hurry to get to endgame. Join a fleet! We happen to know a few. CQ: What are the key pieces of advice you would give to first-time players of Star Trek Online?

Susan Kathleen interviews Special Guest Jonathan Symmonds, originally from Durban, South Africa & Zimbabwe & currently on set for a Netflix Film in Mauritius, Indian Ocean. (NETFLIX America's - "Untitled Alicia Keys, A NETFLIX Original feature film)  Jono was previously the lead Animator on the HBO blockbuster series Game of Thrones at PIXOMONDO in Germany for 5 years working on season 5,6,7 and 8. Nominated 3 times for a VES award for the work on the Game of Thrones. He is widely recognized as the "Father of Dragons" after completing work on the Game of Thrones & has since created his own dragon, "Atourian." Jono has his own VFX company and online academy by the name of Sophoria VFX. He has completed a TED talk about his life. To date he has taught over 3000 students in the art of animation!  Jono is an incredible Creative and here are some of his amazing achievements: Lead animator on the “Game of Thrones” in Frankfurt in Germany ~ “The Nutcracker.” ~ 3rd series of “Primeval” ~ as James Cameron’s “AVATAR” ~ “Where the Wild things Are” directed by Spike Jones ~ pre-visualization on “Prince of Persia,” “Your Highness,” and “Nanny Mcphee.” ~ lead on a film called “Trollhunter,” in Norway ~ worked at a company called Qvisten Animation and worked on a film called “Knerten 2,” ~ “Ark Survival Evolved” ~ “Carnival Row” ~ “Iron Sky – the coming Race” ~ “Dark Tide” ~ “Twigson Ties the Knot” ~ “ARK: Survival Evolved” ~ “Siren” (TV Series) ~  Contact: Website: http://www.soph-oria.com/ Website: www.sophoria.acdemy. Website: https://jonathansymmonds.com/ FaceBook: https://www.facebook.com/GOTanimator/ Linkedin: https://www.linkedin.com/in/jonathansymmonds Twitter: https://twitter.com/Jono_zim Vimeo: https://vimeo.com/jonathansymmonds YouTube: https://www.youtube.com/watch?v=GqBS7BROldk&feature=youtu.be Instagram: https://www.youtube.com/watch?v=GqBS7BROldk&feature=youtu.be Behance: https://www.behance.net/JonathanSymmonds Join Susan Kathleen on a journey into your dreams, making a difference, and living life on your own terms. This is Awaken Your Mind Magic. Visit www.awakenyourmindmagic.com to find out more The theme song is by Heather Christie & Vir McCoy and is Called Silver on the Outside. Download the album here - https://heathercsongs.bandcamp.com/album/stars-that-fall

Allan McKay is an Emmy Award-winning VFX Supervisor and Technical Director based in Los Angeles, CA. Allan has created visual effects for projects such as Game of Thrones, Avengers Endgame, Transformers 3, and many more. He has over 20 years of experience working with different studios and directors, including Blur Studio, Pixomondo, and M. Night Shyamalan. In addition to this, Allan McKay recently launched his creative industry podcast, where he interviews the leading experts, creatives, and technical wizards in Hollywood. In this episode… What sets you apart from the competition in your industry? How do you stand out from every other qualified artist during a job interview? According to Emmy Award-winning visual effects artist, Allan McKay, the deciding factor that companies take into account before working with you is your personal brand. So, how can you create a unique, memorable, and authentic personal brand?  When Allan started in the VFX industry, he was only 14. However, he had the drive and knowledge to back up his passion. By amplifying his unique skills and story, he was able to build a powerful personal brand—and a successful career—that wasn’t impacted by his young age. So, what is his secret?  In this week's episode of Pencil Kings, host Mitch Bowler sits down with long time friend, VFX Supervisor and Technical Director Allan McKay. They discuss common misconceptions that artists have about social media, branding, and job interviews. Allan also shares the incredible impact that his personal brand had on his career and reveals his tips for building a powerful personal brand today. Stay tuned.

Special Effects Supervisor for Pixomondo who has worked on Game Of Thrones, Star Trek Into The Darkness, Star Trek Discovery and now Carnival Row.

00:00 — Вступление 02:26 — Коммуникация, удалёнка и выгорание 14:45 — Опти-трек и дипфейки 22:28 — Возвращение в офисы 26:12 — Очень важное объявление 30:38 — Дженерализм и смена пайплайна 38:13 — Митапы 40:04 — Виртуальный продакшен — это будущее? 44:33 — Трезвость, планы и Канада 52:18 — Завершение

00:00 — Начало 02:24 — Путь до Pixomondo 16:13 — Разница между анимацией и VFX 19:29 — Про Pixomondo 22:14 — Сколько нужно работать от артиста до супера? 27:38 — Unreal Engine, LED-панели и виртуальный продакшен 39:08 — Epic Games, ROE Visual и NVidia в Pixomondo 51:57 — Завершение

Welcome to the latest Geektown Behind The Scenes podcast. On this episode, I'm chatting with Goran Backman, VFX Supervisor for Pixomondo on superb Star Wars series 'The Mandalorian'.As you'd expect with a show like 'The Mandalorian', there we a lot of visual effects sequences split between various VFX companies. One of the areas Pixomondo specialised in for the series was the creature creation. This led to the company developing some innovative techniques to produce various alien animals, most notably the Blurrgs, which Mando has to learn to tame and ride. They also produced versions of the classic Dewbacks, along with the "flying beast" Reptavian, the tiny Gorvin Snu lizard, and the Qartuum... otherwise known as the "space goat"!Outside of the various creatures, Pixomondo worked on the Pit Droids, various environment such as Mos Eisley, the Jawa camp, Arvala, lava fields and even got a chance to play with the Mandalorian's ship, The Razor Crest.'The Mandalorian' has been nominated for 15 Emmys and already picked up 5 for Cinematography, Production Design, Sound Editing, Sound Mixing, and Visual Effects. If you like this interview, we also spoke with the show's (now Emmy-winning!) Music Editor Ryan Rubin, on Episode 25, which you can find here.If you'd like to hear more behind the scenes interviews, don't forget to rate and subscribe to where ever you get your podcasts by searching for "Geektown Radio". This will also give you our weekly Geektown Radio podcast which brings you all the latest tv, film and gaming news. Support this show http://supporter.acast.com/geektown. See acast.com/privacy for privacy and opt-out information.

Bryan got to sit down with Goran Backman from Pixomondo to talk about his company's work on The Mandalorian and Jon Favreau's deep love of the Ewok movies. If you haven’t already, join our new Facebook group and join in the discussions with us and other listeners at – http://facebook.com/groups/FullofSith If you like the show, please leave us iTunes/Stitcher reviews and share us with your friends and family! We’d greatly appreciate it.

Goran Backman of Pixomondo joins Brian to discuss some of the visual effects that went into The Mandalorian, including crafting some practical/digital combinations, working in The Volume, and how to make something 'look like Star Wars.'

Welcome to Episode 41 of the ACCESS:VFX podcast! A 'new chapter' special. We have historically spoken at great length about a West Coast Chapter or LA chapter of ACCESS:VFX, and often those conversations started off with best intentions and then slowly lost traction. We are pleased and proud to announce that ACCESS:VFX West Coast launches today with Framestore's Kathleen Ruffalo and The Mills Ann Hoang at the helm! Along with membership from Luma Pictures, Zoic Studios, Fuse FX and Pixomondo, exciting times lie ahead! Guests on this pod: Kathleen Ruffalo - Recruitment Manager - USA, Framestore Ann Hoang - Head of People and Culture - LA, The Mill Brooke Brigham - Head of Recruitment - LA and NY, Zoic Studios Katie Godwin - Senior VFX Recruiter, Luma Pictures

Do štvrtej epizódy podcastu PODKEC som si pozval Martina Demoviča, jedného z prvých študentov Compozitive, ktorý po rokoch ako 3D freelancer na Slovensku, prešiel na compositing a s prvým showreelom zamieril rovno do oskarového štúdia Pixomondo v Stuttgarte.S Martinom sme sa rozprávali o tom ako študoval školu Compozitive, o jeho showreel a umiestnení v rebríčku The Rookies, o živote v Nemecku, o začiatkoch ako junior compositor v štúdiu, ako získal zábery s dinosaurom či jeho zábery na seriáli Mandalorian.Prebrali sme aj kreslenie a či treba talent na vfx, spomenuli sme aj umelú inteligenciu či Michelangela a veľa iného.Moderátor: Vladimír ValovičHosť: Martin Demovič

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".

Eita! Tá no ar o segundo Esquenta. Nesse episódio conversamos muito sobre a vida em Vancouver e em Montreal e como é trabalhar com Efeitos Visuais na gringa. Nossos convidados nesse papo são: Weverton Alves - CG supervisor | Framelab Studios (http://www.vfxwev.com/) Henrique Reginato - Lead de compição | Pixomondo (https://www.facebook.com/reginatohenrique) Abel Vargas - Lighter Compositor | Sony Imageworks (https://www.instagram.com/abelvargasvfx) Matheus Marques - Senior Compositor | Scanline (https://www.linkedin.com/in/matheus-marques-951a79120/) Gustavo Schiapim - Senior Compositor | Method/AtomicFiction (https://www.linkedin.com/in/gustavoschiapim/) Para mais informações entre em contato: podcast.vfxbr@gmail.com gusgoncalves@gmail.com

Special Effects Supervisor for Pixomondo who has worked on Game Of Thrones, Star Trek Into The Darkness, and Star Trek Discovery

Special Effects Supervisor for Pixomondo who has worked on Game Of Thrones, Star Trek Into The Darkness, Star Trek Discovery and now Carnival Row.

Derek Spears is an award-winning VFX Supervisor. His career in Visual Effects started with the founding of Cinesite's 3D department where he was involved with the production of Kevin Costner's Waterworld and helped develop Cinesite's 3D tracking system. Over the years, Spears served as the Digital Effects Supervisor on Face / Off, The X Files movie, as well as the VFX Supervisor for The Sum of All Fears. His other film credits include Superman Returns, The Wolfman, X-Men: Days of Future Past, The Mummy 3 and Around the World in 80 Days. Most recently, he's been a VFX Supervisor at Pixomondo where he's worked on films Goosebumps 2 and Midway, as well as the Clio-winning “Joust” Super Bowl 2019 spot for HBO / Bud Light. Derek has a background in Electrical Engineering and brings a deep understanding of the fusion of art and technology. Prior to working in the film industry, he worked at Silicon Graphics and was a key developer on the Academy Award-recognized Cineon compositing system. Derek is a member of the both the Film and Television Academies, serving on the executive committee for the later. He is a three-time Emmy Award winner for his work as a facility Visual Effects Supervisor of the HBO series Game of Thrones. Derek also won a Clio for the Nike spot “Virtual Andre” starring tennis pro Andre Agassi, and the inaugural VES Award for his work on The Sum of All Fears. In this Podcast, Derek discusses his career, talks about the importance of having the passion for both the artistic and the technological aspects of visual effects, as well as the most valuable skills for VFX artists. For more show notes, visit www.allanmckay.com/187/.  

Colin Brady shares how he got started in the animation industry, as well as how he strives to balance his busy career with faith and family. Colin’s extensive career includes work on Toy Story, A Bug’s Life, The Hunger Games, and Hugo, and he’s worked with filmmakers such as George Lucas, Steven Spielberg, and Martin Scorsese. He is currently Head of Animation at the Emmy-award winning VFX studio Pixomondo and is also an adjunct professor at John Paul the Great Catholic University.The Cultivating Creativity Podcast is produced by John Paul the Great Catholic University, and hosted by alumnus Tyler Carlos. Website: https://jpcatholic.edu/Blog: http://impactingculture.com/Pixomondo's Website: https://www.pixomondo.com/

Compositor Travis Nobles wanted to work on films ever since he saw The Lord of the Rings. Through an unexpected journey that led him from the United States to Germany and then to New Zealand, he finally got to work for the company that brought CG Gollum to life: Weta Digital. Before Weta, Travis's resume includes several Emmy-winning seasons of Game of Thrones, where he got to composite a number of the show's iconic dragon shots. Travis came on the show to discuss his work and the role of a compositor on an effects-driven production. Some of the things we discuss include How someone can get started as a compositor Skills a compositor needs to work on big effects-driven projects How filmmakers can make things easier for their post-production teams Ways indie filmmakers can save money on visual effects What it was like working on Hugo and why the stereo 3D on it turned out better than most films How some of the dragon shots in Game of Thrones came together Dealing with unsettling content that comes with an adult-show like Game of Thrones  Travis’s transition to Weta Digital and how he prepped for his work on Mortal Engines, Weta’s upcoming film slated for release in December 2018   # To hear more about how the miniatures in Hugo were created, check out this interview I did with Jeff Jasper, the digital effects supervisor who oversaw the film's train crash.  # Sponsor for this Episode nsavides productions – I make videos and tell stories. Some of my videos are here. # Say hello: podcast@nsavides.com # Related Things Travis Nobles' site Twitter Nuke,the preeminent compositing program mentioned by Travis VFX breakdown of Pixomondo's work on Season 6 of Game of Thrones Weta Digital  https://www.youtube.com/watch?v=IRsFc2gguEg   Shortcut for the podcast: nicksav.show Music for the show provided by Rob Costlow. # Films & Shows Mentioned Avatar  Game of Thrones  Hugo  The Lord of the Rings  Meet the Feebles  Mortal Engines  Star Wars: The Force Awakens  Super 8  # If You Liked the Show Sign up for The nsavides Newsletter. Subscribe or leave an honest review:   Apple Podcasts   Spotify   Overcast Say hello on Twitter:  @nsavidesPRO Thank you for visiting!

本期嘉宾李翔Pixomondo合成师后期，一个大家既熟悉又陌生的名词，后期到底在做什么？下面有几个分支？西部世界里面有哪些是实景拍摄？哪些又是后期合成？嘉宾是怎么进行骚操作的？为什么你会觉得一些特效看起来特别假？他们都是怎么做到让特效特别假的？以上问题，我们的嘉宾李翔都会在节目中一一解答。偷偷告诉你们，这期内容有国内特效的内幕，仿佛闻到了八卦的味道。最后，也会给想学特效后期和正在学习特效后期的朋友们一些建议。李翔合成Reel：https://vimeo.com/165246648

本期嘉宾李翔Pixomondo合成师后期，一个大家既熟悉又陌生的名词，后期到底在做什么？下面有几个分支？西部世界里面有哪些是实景拍摄？哪些又是后期合成？嘉宾是怎么进行骚操作的？为什么你会觉得一些特效看起来特别假？他们都是怎么做到让特效特别假的？以上问题，我们的嘉宾李翔都会在节目中一一解答。偷偷告诉你们，这期内容有国内特效的内幕，仿佛闻到了八卦的味道。最后，也会给想学特效后期和正在学习特效后期的朋友们一些建议。李翔合成Reel：https://vimeo.com/165246648

Both Segments: Dariush Derakhshani. CGI/Graphics Expert, Correspondent. Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya--now going into its 10th edition and translated into more than a dozen languages--and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park.   Today's Topics Include: Hololens and how Microsoft is opening it up to researchers: https://gfxspeak.com/2018/06/22/inventing-reflects-liveworx/ Entry-level Xeons: https://gfxspeak.com/2018/07/12/announces-processor-workstations/ and the new workstations using them from Dell: http://www.cgw.com/Press-Center/News/2018/Dell-debuts-new-entry-level-Precision-workstatio.aspx 3d modeling from photos (not a super new thing, though): https://www.bentley.com/en/products/product-line/reality-modeling-software/contextcapture And more! For full show notes, check out ComputerAmerica.com!

Both Segments: Dariush Derakhshani, Graphics Correspondent. Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya--now going into its 10th edition and translated into more than a dozen languages--and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park.   Today's Topics Include: Character Nimator program from Adobe http://gfxspeak.com/2018/06/08/adobes-character-animator/ haptic feedback for AR http://gfxspeak.com/2018/04/27/demonstrates-technology-microsofts/ holograms https://www.sciencedaily.com/releases/2018/04/180425120208.htm Computers telling the future https://www.sciencedaily.com/releases/2018/06/180613102016.htm For full show notes, check out ComputerAmerica.com!

Both Segments: Dariush Derakhshani. Graphics Expert, Koosh3d Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya--now going into its 10th edition and translated into more than a dozen languages--and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park.   Links to today's articles: http://gfxspeak.com/2018/03/19/realtime-tracing-possible/ http://gfxspeak.com/2018/03/27/freesync-support-coming/ https://www.sciencedaily.com/releases/2018/04/180412102851.htm https://www.sciencedaily.com/releases/2018/03/180329083256.htm http://news.mit.edu/2018/affoa-vms-launch-advanced-fabrics-entrepreneurship-program-0413 https://www.sciencedaily.com/releases/2018/04/180410103458.htm For full show notes, check out ComputerAmerica.com!

Both Segments: Dariush Derakhshani. Graphics Expert. Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya--now going into its 10th edition and translated into more than a dozen languages--and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park. https://www.youtube.com/embed/486xMy8Fb30 Today's Topics Include: Screen Addicted Teens Unhappy Lytro Spinoff Adobe Dimensions Samsung QLED TV And more! For full show notes, check out ComputerAmerica.com!

Both Segments: Dariush Derakhshani. Graphics Expert. Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya--now going into its 10th edition and translated into more than a dozen languages--and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park. https://www.youtube.com/embed/WpgFpACtDKM Today's Topics Include:  http://www.sonnettech.com/product/egfx-breakaway-box.html http://sonnettech.com/product/thunderbolt/index.html?gclid=EAIaIQobChMI98arv4eX2QIVC2l-Ch0GIQgREAAYASAAEgJkKfD_BwE https://www.sciencedaily.com/releases/2018/01/180117135503.htm https://www.indy100.com/article/video-game-violent-actions-study-research-science-8175901 For full show notes, check out ComputerAmerica.com!

Und da war Staffel 7 auch schon wieder vorbei. Nur 7 Wochen / Folgen durften wir diesmal mitbangen, meckern, euphorisieren und und und... . Aber wir wären keine Nerdizisten, wenn wir nicht auch zum Staffelfinale 90 Minuten feinstes Geschwaffel raushauen würden. Und während für das wandelnde GoT Lexikon Michael das Finale "Der Drache und der Wolf" die Staffel gerettet hat, vergisst Chris mal wieder, was wir bereits in der letzten Staffel besprochen hatten. Ob Michaels Theorie zu Cerseis Brut Hand und Fuß oder ob Pixomondo einen Drachen mal eben um 300 Pfund erleichtert hat und was die Jungs sich für Staffel 8 wünschen könnt ihr euch selber anhören. Ach: Und falls ihr es bis zum Ende schafft, erfahrt ihr auch, warum ihr jetzt nicht 2 Jahren warten müsst, bis es neue „Game of Nerds“ Folgen gibt. Vergesst auch unser Gewinnspiel nicht. Zusammen mit Winning Moves verlosen wir ein brandneues Game of Thrones Monopoly Was ihr dafür tun müsst um zu gewinnen? Schreibt uns einfach in die Kommentare, unter den jeweiligen Episodenpost auf Facebook, Instagram oder Twitter, welche Schulnote ihr der jeweiligen Folge geben würdet. Unter allen Teilnehmern verlosen wir zum Staffelende ein Exemplar. Kleiner Tipp: fleißiges Kommentieren erhöht die Gewinnchancen ;) Das Gewinnspiel endet am 31.8.2017. Der Rechtsweg ist ausgeschlossen. Also haut in die Tasten, Nerds! Wir wünschen Euch nun viel Spaß beim Hören und freuen uns wie immer über Share, Likes, Kommentare.

Und da war Staffel 7 auch schon wieder vorbei. Nur 7 Wochen / Folgen durften wir diesmal mitbangen, meckern, euphorisieren und und und... . Aber wir wären keine Nerdizisten, wenn wir nicht auch zum Staffelfinale 90 Minuten feinstes Geschwaffel raushauen würden. Und während für das wandelnde GoT Lexikon Michael das Finale "Der Drache und der Wolf" die Staffel gerettet hat, vergisst Chris mal wieder, was wir bereits in der letzten Staffel besprochen hatten. Ob Michaels Theorie zu Cerseis Brut Hand und Fuß oder ob Pixomondo einen Drachen mal eben um 300 Pfund erleichtert hat und was die Jungs sich für Staffel 8 wünschen könnt ihr euch selber anhören. Ach: Und falls ihr es bis zum Ende schafft, erfahrt ihr auch, warum ihr jetzt nicht 2 Jahren warten müsst, bis es neue „Game of Nerds“ Folgen gibt. Vergesst auch unser Gewinnspiel nicht. Zusammen mit Winning Moves verlosen wir ein brandneues Game of Thrones Monopoly Was ihr dafür tun müsst um zu gewinnen? Schreibt uns einfach in die Kommentare, unter den jeweiligen Episodenpost auf Facebook, Instagram oder Twitter, welche Schulnote ihr der jeweiligen Folge geben würdet. Unter allen Teilnehmern verlosen wir zum Staffelende ein Exemplar. Kleiner Tipp: fleißiges Kommentieren erhöht die Gewinnchancen ;) Das Gewinnspiel endet am 31.8.2017. Der Rechtsweg ist ausgeschlossen. Also haut in die Tasten, Nerds! Wir wünschen Euch nun viel Spaß beim Hören und freuen uns wie immer über Share, Likes, Kommentare.

Has Dany actually begun to turn? • Careful what you wish for. • Dracarys!!! Holy crap, Pixomondo! • Channeling Aegon • Joseph Scrimshaw on Episode 4 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

No episódio de número 18 do V-Ray Master Talk nós conversamos com Delcio Gomes, generalista da Industrial Light & Magic. Numa conversa super divertida, Delcio conta da sua experiência em alguns dos mais incríveis estúdios do mundo como Pixomondo, Blur e ILM, como é trabalhar em blockbusters como Rogue One, Star Wars: The Force Awakens, Transformers 5, Terminator Genisys, Avengers: Age of Ultron e muitos outros. Se você quer entender melhor a pipeline dos grandes estúdios de VFX, saber o que era CG no final de Rogue One e vários outros segredos, este episódio está imperdível! Comentados neste podcast: Delcio Gomes do IMDb | http://www.imdb.com/name/nm5467258/?ref_=nv_sr_1 Blur Studio | http://www.blur.com/ Pixomondo | http://www.pixomondo.com/ Industrial Light & Magic VFX and Animation Studio | http://www.ilm.com/ A história de Toy Story | https://pt.wikipedia.org/wiki/Toy_Story Consequência | http://www.consequencia.com/portifolio_categoria/clipes-filmes Conspiração Filmes | http://www.conspiracao.com.br/home Six Flags, um parque de diversões muito louco | https://www.sixflags.com/ Estúdio Ícone | http://www.estudioicone.com/pt-br You know nothing, John Knoll | https://pt.wikipedia.org/wiki/John_Knoll Dennis Muren | https://en.wikipedia.org/wiki/Dennis_Muren Ben Snow e suas 4 indicações ao Oscar | https://en.wikipedia.org/wiki/Ben_Snow Clarisse | http://www.isotropix.com/ Katana | https://www.foundry.com/products/katana Double Negative | http://www.dneg.com/ Kris Costa, o Antropus | http://www.antropus.com/artblog/ Os episódios com Pedro Conti, Victor Hugo e Fernando Reule (na verdade, todos os episódios) | https://vraymasters.com/category/podcast/ Como sempre, não se esqueça de visitar o V-Ray Masters: http://www.vraymasters.com http://www.facebook.com/vraymasters/ http://www.facebook.com/groups/vraymaster/ Dúvidas? Sugestões? contato@vraymasters.com

Both Segments: Dariush Derakhshani. Correspondent/Graphics Expert. Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya–now going into its 10th edition and translated into more than a dozen languages–and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park. https://www.youtube.com/embed/5DsKLErjM6w Topics for today include:  WS63 7RK Review Displays and display technologies For full show notes, head on over to ComputerAmerica.com!

Game of Thrones startet am 16.7. in seine 7. Staffel. In unserer Podcast-Serie "Game of Nerds"  besprechen und analysieren wir jede Woche die aktuelle Folge von GoT. Grund genug für die Nerdizisten sich mit Jan Fiedler zum Podcast zu verabreden.  Jan, Who? Das werden sich nun einige Fragen. Und auch wenn ihr Jan (noch) nicht kennt, so habt seine Arbeit sicher bereits gesehen. Denn Jan ist Senior VFX-Producer bei Pixomondo und in dieser Funktion u.a. verantwortlich für die Special FX in Filmen wie Wonder Woman, The Hindenburg, 2012, Sucker Punch, Fast Five, Red Tails und eben Game of Thrones. Über eine Stunde lange sprachen die Nerds Michael und Chris mit Jan über seinen Werdegang, Spoiler zu Filmen und Serien, gute und schlechte digitale Effekte und natürlich GoT. Ganz nebenbei versuchen die Nerds dem digitalen Erben von Ray Harryhausen den ein oder anderen SPOILER für die neue siebte Season des Lieds von Eis und Feuer aus dem Kreuz zu labern. Ob uns das gelungen ist und was das uncanny Valley damit zu tun hat, all das und noch viel mehr erfahrt ihr in der neuen Episode unserer Got-Podcast Reihe "Game of Nerds". Viel Spaß beim Hören :)

Game of Thrones startet am 16.7. in seine 7. Staffel. In unserer Podcast-Serie "Game of Nerds"  besprechen und analysieren wir jede Woche die aktuelle Folge von GoT. Grund genug für die Nerdizisten sich mit Jan Fiedler zum Podcast zu verabreden.  Jan, Who? Das werden sich nun einige Fragen. Und auch wenn ihr Jan (noch) nicht kennt, so habt seine Arbeit sicher bereits gesehen. Denn Jan ist Senior VFX-Producer bei Pixomondo und in dieser Funktion u.a. verantwortlich für die Special FX in Filmen wie Wonder Woman, The Hindenburg, 2012, Sucker Punch, Fast Five, Red Tails und eben Game of Thrones. Über eine Stunde lange sprachen die Nerds Michael und Chris mit Jan über seinen Werdegang, Spoiler zu Filmen und Serien, gute und schlechte digitale Effekte und natürlich GoT. Ganz nebenbei versuchen die Nerds dem digitalen Erben von Ray Harryhausen den ein oder anderen SPOILER für die neue siebte Season des Lieds von Eis und Feuer aus dem Kreuz zu labern. Ob uns das gelungen ist und was das uncanny Valley damit zu tun hat, all das und noch viel mehr erfahrt ihr in der neuen Episode unserer Got-Podcast Reihe "Game of Nerds". Viel Spaß beim Hören :)

Both Segments: Dariush Derakhshani. Computer Graphics Expert. Dariush Derakhshani is a VFX and CG supervisor in Los Angeles, Ca. and an award-winning CG generalist-lighter. He is the author of several Maya books, including the best-selling series Introducing Maya--now going into its 10th edition and translated into more than a dozen languages--and has been an educational resource around the world for eight years. Dariush has been an animator and supervisor on commercials and feature films for close to 15 years at such places as Pixomondo, Digital Domain, Zoic Studios, Radium|ReelFX, Café FX, Rhythm and Hues, Sight Effects, and the hit show South Park. Topics for today include: Intel Core i9 Processors: http://www.pcworld.com/article/3199955/components-processors/intel-core-i9-prices-specs-release-date-features-faqs.html Story: http://www.pcgamer.com/destiny-2-pc-will-be-able-to-use-all-the-cores-of-your-cpu/ AMD Threadripper Leak: http://wccftech.com/amd-ryzen-threadripper-1950x-specs-performance-leak/ For full show notes, check out ComputerAmerica.com! 

While speaking at the It's Art Masterclass 2016 event in Paris, we teamed together to enjoy some beer and talk VFX for this episodes podcast. This episode dives into many subjects from what we look for when hiring or building teams for projects, what it takes to work at big studios, lots of great insights into getting work and being a better artist, as well as workflow, process and what our electricity bills tend to look like when boasting a render-farm! Mark Theriault is an FX Lead at Image Engine in Vancouver, previously working for studios such as Industrial Light + Magic, Dreamworks, Blur Studio, Frantic Films/Prime Focus and many others. He has an extensive background in VFX working on films such as Star Wars, Deadpool, Independence Day: Resurgence, Avengers and many others. Anselm Seherr-Thoss (Ansi) is a VFX Supervisor located in New Orleans, Louisiana. He's worked for studios such as Blur Studio, Frantic Films/Prime Focus, Atomic Fiction, Pixomondo and many other studios around the US and Europe. Some of the projects Ansi has worked on include Quantico, NCIS: New Orleans, Grimm, The Expendables 3, Star Trek 2, Avatar and GI Joe. You can also listen to the AM Podcast with Ansi at http://www.allanmckay.com/ansi/ for those of you not on the inner circle, it's free to sign up. I literally just shared Friday 25 hours of free training content that is not publicly available anywhere else on Maya and MAx training I plan to release some Houdini videos very soon also. I typically send out 1-2 emails per week related to developing your skills as well as your career, lots of great stuff from actual emails I use to get work, tips on negotiating and bidding on film projects, through to step by step videos on creating a lot of the visual effects I do on various high-end film projects. Next week I have some vfx case studies I'm doing coming up which you probably don't want to miss You can sign up to get all of this and more, at http://www.allanmckay.com/inside/ For shownotes visit http://www.allanmckay.com/66/

Lukas Niklaus is a Swiss Animator currently at MPC Montreal on Pan. He's also worked on Edge of Tomorrow, Paddington, Robocop, Spiderman at Framestore, Pixomondo, and Soho. Lukas dives into the emotions of hearing an audience watch a movie he worked on, layering workflow, the power of persistence, and strong mindsets. What You'll Learn In This Episode: […] The post RA Podcast #5 – Lukas Niklaus appeared first on Rusty Animator.

For the latest episodes visit http://www.allanmckay.com Allan McKay is a visual effects supervisor and technical director and high profile mentor in Hollywood working in 3D, both in video-games, feature films and tv commercials. Allan works with many of the leading visual effects and 3D animation studios and speaks at Autodesk University, SIGGRAPH and various conferences worldwide!This is an episode of Artist Insight Series I never published, which gave great insight into Ansi's career starting out and his recent successes. This is a fun interview giving a lot of insight into Ansi and his background. Ansi is a talented FX artist from Germany living in the US working for many leading studios such as Blur, Pixomondo and Prime Focus! 

This episode covers more the technical side as Carlos and Allan dive into being a technical director and the benefits and impact it can have on your career, even if you're more on the creative side of the industry!reference links: http://www.tdtransformation.com http://www.losart3d.com http://www.allanmckay.com Allan interviews Carlos Anguiano, a Character and Pipeline Technical Director working for many studios including Industrial Light + Magic, Disney, Rhythm & Hues, Pixomondo, Scanline, Blur studio. Carlos is the creator of Mango pipeline platform which has been a huge success among many leading visual effects studios worldwide, and we discuss in this episode about his career working with many of the top studios on various major film productions. Lots of fun and very insightful! Allan McKay is a visual effects supervisor and technical director and high profilementor in Hollywood working in 3D, both in video-games, feature films and tv commercials. Allan works with many of the leading visual effects and 3D animation studios and speaks at Autodesk University, SIGGRAPH and various conferences worldwide!  

For the latest episodes visit http://www.allanmckay.com Allan McKay is a visual effects supervisor and technical director and high profile mentor in Hollywood working in 3D, both in video-games, feature films and tv commercials. Allan works with many of the leading visual effects and 3D animation studios and speaks at Autodesk University, SIGGRAPH and various conferences worldwide! All interviews Carlos Anguiano, a Character and Pipeline Technical Director working for many studios including Industrial Light + Magic, Disney, Rhythm & Hues, Pixomondo, Scanline, Blur studio. Carlos is the creator of Mango pipeline platform which has been a huge success among many leading visual effects studios worldwide, and we discuss in this episode about his career working with many of the top studios on various major film productions. Lots of fun and very insightful!   This covers many great subjects both from starting out to delving more into the technical aspects of visual effects. If you are intersted in scripting or becoming a technical director I highly advise this episode, but for everyone else, discussing many of the films and studios Carlos has worked at as well as Toy Story and many other great subjects, I guarantee this will be a great episode for you to listen to and gain a lot from!

3D-Festival BEYOND 2012 | Symposium Thu, June 21 – Sun, June 24, 2012 Karlsruhe becomes the epicenter of the 3D pioneer work: The 3D-Symposium BEYOND is the continuation of the successfully conducted 3D-Festival BEYOND, gathering the most important national and international signposts and innovators of stereoscopic 3D, such as Wim Wenders, Keith Cunningham and Jeffrey Shaw featuring lectures to impel new contents next to application devices in the area of TV, art, science, storytelling and education within this future technology. These different topic areas build the bases of an unusual 3D experience, while the focus of the symposium will refer to the intermediation and transfer of knowledge with help of discussions and lectures. All lectures will be held in English!