Podcasts about vfx

Editor - Michael P. Shawver Sinners editor Michael Shawver has enjoyed a long and productive relationship with his former USC classmate, director Ryan Coogler.  Together the two have collaborated on Fruitvale Station, Creed, Black Panther, Black Panther: Wakanda Forever and now Sinners.  Their past experience on both VFX-heavy films like Black Panther, as well as socio-political dramas like Fruitvale Station, would prove invaluable as they worked to blend the real horror of racial injustice with the fantastical horror of a vampire onslaught. Taking place in 1932, Sinners follows identical twins, and World War I veterans, Elijah "Smoke" and Elias "Stack" Moore as they return to Clarksdale, Mississippi after spending seven years in Chicago. Using money stolen from criminal syndicates, they purchase a sawmill from a landowner to start a juke joint for the local Black community. Their younger cousin Sammie, a singer and guitarist, joins them despite his pastor father's warnings about the sins of blues music.  His warnings would prove prophetic, as the twins and their friends face foes both familiar and supernatural. MICHAEL P. SHAWVER Originally from Rhode Island, Sinners editor Michael Shawver developed an early working relationship with director Ryan Coogler during their time together at the University of Southern California School of Cinematic Arts. Shawver initially edited Coogler's short film, Fig, and later went on to cut his feature debut, Fruitvale Station, starring Michael B. Jordan. The film garnered two of the Sundance Film Festival's top prizes, the Audience Award and the Grand Jury Prize, and went on to receive numerous awards and nominations at film festivals worldwide. Shawver also edited All Summers End, a debut feature film by director Kyle Wilamowski; Warren, by director Alex Beh; Tell, for director J.M.R. Luna; and Fourth Man Out, for Andrew Nackman. Shawver's next collaboration with Coogler and Jordan was Creed, for which he received a nomination for Best Editing in the Independent Critics Poll. Michael then reunited with Coogler and Jordan on Black Panther, a box office smash, which was nominated an outstanding 43 times, including for Best Picture at the Academy Awards and Best Motion Picture Drama at the Golden Globes. His work on this project also earned him a Saturn Award Nomination for Best Editing and an Alliance of Women Film Journalists Nomination for the Best Editing EDA Award. In addition, the film won Movie of the Year at the AFI Awards. Following Black Panther, Shawver edited A Quiet Place: Part II, directed by John Krasinski. He later returned to the Marvel universe for Black Panther: Wakanda Forever, again collaborating with Coogler and Jordan. Shawver's recent work includes Abigail, a genre-bending thriller directed by Matt Bettinelli-Olpin and Tyler Gillett. He is currently editing The Thomas Crown Affair directed by and starring Michael B. Jordan. The Credits Visit Extreme Music for the new Extreme Music panel for Avid Media Composer See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Josh Safdie's Marty Supreme transports audiences to a vibrant 1950s world of professional ping pong, yet many viewers remain unaware that the film contains over 500 visual effects shots. Eran Dinur, the film's VFX Supervisor, reveals how his team meticulously recreated period accurate crowds in Tokyo and Wembley while keeping the digital work entirely "invisible." He views his role as a bridge between the filmmaker's vision and the technical reality on set, ensuring that every digital element supports the story without drawing attention to itself. For Eran, the ultimate compliment is a viewer who walks out of the theater believing every single frame was captured in camera. The transition into high end visual effects was an unlikely one for Eran, who spent fifteen years as a classical music composer before a random software download steered him toward ILM and eventually the Safdie Brothers. This musical background provides a unique perspective on the rhythm and "choreography" of effects, whether he is timing CG ping pong balls to Timothée Chalamet's performance or animating the surreal openings of Uncut Gems. Beyond the technical craft, he addresses the current industry backlash against CGI and the marketing trends that prioritize "practical only" narratives. He also offers a practical look at the future of AI in cinema, arguing that tools are only as good as the control an artist has over them. Eran Dinur on IMDB > Eran Dinur's website >  Marty Supreme Trailer > Marty Supreme Wikipedia > The Filmmaker's Guide to Visual Effects: The Art and Technique of VFX for Directors, Producers, Editors and Cinematographers by Eran Dinur > The Complete Guide to Photorealism for Visual Effects, Visualization and Games: For Visual Effects, Visualization and Games by Eran Dinur >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)  

What do great visual effects actually look like? Hint: you're not supposed to notice them. In this episode, we sit down with Eran Dinur, VFX Supervisor on MARTY SUPREME, to break down how modern visual effects are designed to disappear into story, performance, and cinematography. From subtle enhancements to large-scale problem solving, Eran reveals how VFX can elevate a film without ever calling attention to itself. We dive into the creative and technical challenges of supervising VFX and how to collaborate with directors and cinematographers. Whether you're an indie filmmaker, editor, or director working with limited resources, this conversation will change how you think about visual effects. If you think VFX is only about spectacle, this episode will prove why restraint, planning, and storytelling matter more than explosions.

Episode 107-Happy New Year with Kimberley Grant Released 11 January 2026 Hosts:  Keoni Hutton & Leslie Reed Happy New Year! We welcome back Ms. Kimberley Grant, President of the Chamber of Haunters to talk about the exciting new plans the Chamber has in store for 2026.  From education to new programs, a simplified membership program and the reintroduction of the Magazine and the Chamber Bowl, 2026 is shaping up to be an exciting year! Resources mentioned during this episode: Chamber of Haunters Website: https://chamberofhaunters.com/ Instagram: https://www.instagram.com/chamberofhaunters/ Facebook: https://www.facebook.com/chamberofhaunters ScaredU: https://scaredu.org/ Haunting U can be found at www.hauntingu.com. Sanguine Creek Estates: www.scehaunt.com Sound Effects: Music: Dance of Death http://www.purple-planet.com/ Thunder: Recorded by Mark DiAngelo Uploaded: 07.29.11 http://soundbible.com/1913-Thunder-... License: Creative Commons Attribution 3.0 Modifications: Inserted over Dance of Death Music Evil Laughter: Recorded by Himan Uploaded: 03.13.13 License: Public Domain  http://soundbible.com/2054-Evil-Lau... AI Text to Speech Generator: https://www.hume.ai/ We couldn't continue to bring you awesome content without the support of our sponsors, particularly our Premium sponsors, the Chamber of Haunters, and VFX.  Learn more here: www.chamberofhaunters.com https://vfxcreates.com/ Haunting U is a production of Sanguine Creek Entertainment LLC published under the Creative Commons Attribution 3.0 license. All rights reserved.  

How do you hand-craft costumes for a nine-foot-tall alien—and then rebuild them digitally? Listen in to this episode about Avatar: Fire and Ash to hear how it's done. In this deep-dive conversation, legendary costume designer Deborah L. Scott (Avatar, Titanic, Back to the Future, E.T.) joins Catherine Baumgardner to unpack the astonishing creative process behind Avatar: Fire and Ash. Scott reveals how every Na'vi costume begins with story, environment, and research—then moves through hands-on workshops, material experimentation, and ultimately into the virtual world of VFX. They explore how Weta Workshop artisans, illustrators, and visual-effects teams collaborate to translate handcrafted garments—made from organic textures, carved elements, feathers, bone-like structures, and woven fibers—into believable digital performances. Scott explains why 3D printing is used sparingly, how movement in wind and water dictates material choices, and why tactile realism often beats high-tech shortcuts. The discussion expands into the design of new Na'vi clans, including the Wind Traders and the volcanic Fire/Ash clan, highlighting how climate, culture, color palettes, body art, hair design, and symbolism shape identity and storytelling. Scott also reflects on collaboration with James Cameron, creative intuition, trusting process over perfection, and why costume designers rarely receive royalties despite defining iconic characters. This episode is a masterclass in world-building, costume design, filmmaking collaboration, VFX integration, and creative resilience, offering invaluable insight for filmmakers, designers, and storytellers alike.  The "Voice of Costume" is the first podcast created between working costume designers sharing stories, inspiration, struggles, and insights into the creative career of costume design. A behind-the-scenes podcast to showcase the voices of Costume Designers around the world. Listen in on this inspirational, one-on-one conversation with Catherine Baumgardner. Audio available wherever you get podcasts. https://voiceofcostume.com/    

Addy and Joey dive into their tech predictions for 2026, categorizing forecasts from "super confident" to "long shots." They explore the future of AI tools like Comfy UI, real-time video generation, and VFX-focused models. Will we see feature-length AI-generated cinema or neural renderers integrated into major production tools? --The views and opinions expressed in this podcast are the personal views of the hosts and do not necessarily reflect the views or positions of their respective employers or organizations. This show is independently produced by VP Land without the use of any outside company resources, confidential information, or affiliations.

In today's Tech3 from Moneycontrol, we continue our year-end wrap with a deep dive into how gaming and entertainment were reshaped in 2025. From the sudden ban on real-money gaming and mass layoffs to enforcement action and ripple effects across influencers and sports sponsorships, we trace the fallout. The episode also looks at esports, microdramas, YouTube's distribution push, AI adoption in filmmaking, global investor bets, and job losses in animation and VFX.

It's that time of year again—the School of Motion End of Year Podcast is here, and this one is our longest yet... by a lot. Buckle up for an in-depth look at everything that shaped motion design in 2025, and a look ahead to 2026!

The Cinematography Podcast Episode 339: Autumn Durald Arkapaw, ASC Cinematographer Autumn Durald Arkapaw, ASC was first introduced to director Ryan Coogler through fellow DPs Bradford Young and Rachel Morrison. After their successful collaboration on Black Panther: Wakanda Forever, Coogler sent her the script for Sinners, a supernatural horror-action film. The film tells the story of twin brothers who return home in the 1930's to open a juke joint, only to encounter the ancient evil of the undead. Autumn's epic cinematic camerawork on Sinners integrates the vampire story with the spiritual power of Black American rhythm and blues music.  Though Coogler initially envisioned shooting in 16mm, the team realized a larger format would better facilitate the complex "twinning" effects required for Michael B. Jordan's dual roles. After rigorous testing, they landed on a historic combination of 70mm and IMAX. “I think one thing with Ryan, when you're standing next to someone that's a brave filmmaker, you feel like you can do anything.” Autumn says. “He's open to anything. He's excited about doing things for the first time. He creates an environment where people have power and the collaboration is at the highest level.” The production was a logistical marathon. The massive IMAX cameras were frequently rigged to cranes or mounted on Steadicams, all while the crew battled the volatile Mississippi summer. Between the oppressive heat, sudden rain, and thick mud, the physical act of filming became an exercise in endurance. “We've seen those movies like Lawrence of Arabia, and everybody out there with big cameras trying to tell a story with scope,” notes Autumn. “You know, you're in the land. You then become a person that's a part of the structure of the land. And you have to be able to work in it, with the elements to get the most beautiful images. It's not easy.” Perhaps the film's greatest technical feat is the juke joint sequence set to the song “I Lied To You.” What appears as a seamless “oner” is actually several complex shots threaded together. The sequence required months of storyboarding, pre-visualization and camera rehearsals in the space to execute. By placing the heavy IMAX rig on a Steadicam, the team rehearsed every beat to ensure the emotional momentum remained unbroken as the camera moved from an interior stage setup to an exterior shot of a burning mill. The final roof collapse was a practical plate shot on the final day of principal photography, later enhanced by VFX. Seeing that scene still makes Autumn feel emotional. “I get very teary-eyed when I watch that because I'm proud of everybody, and you can really feel the music in the theater.” See Sinners in select theaters and streaming on HBO Max. Find Autumn Durald Arkapaw: Instagram @addp Hear our previous interview with Autumn Durald Arkapaw. https://www.camnoir.com/ep193/ SHOW RUNDOWN: 00:00 Intro 01:38 Autumn Durald Arkapaw interview 52:08 Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

In this episode, host Charles Haine sits down with cinematographer Oren Soffer to dive deep into the groundbreaking and much-discussed visual style of The Creator. As the co-DP alongside Greig Fraser, Soffer shares how they achieved the film's unique aesthetic using a prosumer Sony FX3 camera, a single vintage lens, and a minimalist, indie-inspired production model. This discussion covers everything from lighting choices and VFX collaboration to gear workflows and lens testing, offering an in-depth look at how one of the year's most visually striking sci-fi films was crafted. In this episode, No Film School's Charles Haine and guest Oren Soffer discuss... How Oren Soffer became co-DP on The Creator alongside Greig Fraser The decision to shoot 95% of the film on one vintage 75mm Kowa anamorphic lens Using the Sony FX3 with an Atomos Ninja for ProRes RAW capture The benefits of designing visual effects around photography rather than the reverse Lighting choices inspired by naturalism and a small-footprint, indie ethos The influence of films like Baraka and Rogue One on the visual approach Operating with a nimble crew and custom-built gimbal rigs Remote collaboration between Soffer, Fraser, and director Gareth Edwards The impact of location shooting across Southeast Asia Memorable Quotes: "We shot 95 percent of the movie on a single focal length, which is the Kowa Cine Prominar... you're baking the look into the image." "The way to make visual effects feel more real is to let the photography lead." "We wanted to shoot this big movie as if it's this tiny road movie." "It was an indie film with a 90-day shoot schedule and a full stunt team... but the filmmaking process itself felt really scrappy in the best way possible." Guest: Oren Soffer Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

Episode 106-Athens Scream Park Post‑Mortem Released 21 December 2025 Hosts:  Keoni Hutton & Leslie Reed Happy Hannukah and Merry Christmas! We invited back Breck and Eli from Athens Scream Park and they brought along a few of their friends.  Join the Haunting U Hosts along with special guests Breck, Eli, Daveah, Rea, and Tori as they discuss their 2025 haunt season. Resources mentioned during this episode: Athens Scream Park: Instagram: https://www.instagram.com/athensscreampark/ Facebook: https://www.facebook.com/profile.php?id=61575626467563 TikTok: https://www.tiktok.com/@athens.scream.park Website: https://www.athensscreampark.com/ Haunting U can be found at www.hauntingu.com. Sanguine Creek Estates: www.scehaunt.com Chamber of Haunters Website: https://chamberofhaunters.com/ Sound Effects: Music: Dance of Death http://www.purple-planet.com/ Thunder: Recorded by Mark DiAngelo Uploaded: 07.29.11 http://soundbible.com/1913-Thunder-... License: Creative Commons Attribution 3.0 Modifications: Inserted over Dance of Death Music Evil Laughter: Recorded by Himan Uploaded: 03.13.13 License: Public Domain  http://soundbible.com/2054-Evil-Lau... AI Text to Speech Generator: https://www.hume.ai/ We couldn't continue to bring you awesome content without the support of our sponsors, particularly our Premium sponsors, the Chamber of Haunters, and VFX.  Learn more here: www.chamberofhaunters.com https://vfxcreates.com/ Haunting U is a production of Sanguine Creek Entertainment LLC published under the Creative Commons Attribution 3.0 license. All rights reserved.  

We breakdown the snubs & surprises from the 98th Oscar Shortlists in all the feature film categories including Best International Feature, Documentary, Score, Song, Makeup and Hairstyling, Sound, VFX, Cinematography and Casting. Which films had the best day? Which struggled? Which held serve?? International Feature - 2:19 Documentary Feature - 6:54 Original Score - 12:40 Original Song - 15:40 Makeup and Hairstyling - 18:39 Sound - 23:16 Visual Effects - 24:35 Cinematography - 27:03 Casting & then we close with the Tallies - 28:53 OUTRO: We discuss the Spielberg movie - Disclosure Day trailer a bit during the Outro, and we mention a few potential upcoming episodes. So if you enjoy our work, please support our show by liking, subscribing, rating, reviewing and by telling people about our show. We appreciate it. https://linktr.ee/mikemikeandoscar

#AvatarFireAndAsh #Avatar #JamesCameron  Here we are at the 3rd Avatar film and surprisingly this is a step up from the 2nd film top to bottom. Yes this is a movie that is all about James Cameron flexing his chops at VFX and the movie looks good as hell but same time we get a pretty engaging story with plot points thats been done before. New locations, new characters, and revisiting even old characters from the first film. End of the day, you have a film that is pretty damn entertaining from start to finish.

From disrupting the print industry with the original Macintosh to building bespoke tech for Premier League teams, Ivan Reel has always lived at the bleeding edge of media. Now the Head of Studio Technology at StradaXR, Reel traces his evolution from graphic designer to virtual production leader, sharing insights from his time managing Sony's pivot to digital workflows and his inspiring choice to return to film school later in life to master modern VFX. This convergence of deep technical experience and fresh artistic training has placed him at the forefront of optimizing LED stages for the next generation of filmmaking. The discussion digs into the technical and economic forces reshaping the industry, drawing parallels between the current AI explosion and the democratization of digital video. Ivan details how StradaXR utilizes Chaos Vantage to introduce real-time ray tracing to the volume , offering a superior alternative to standard game engine pipelines. The episode wraps with a compelling argument for the future of indie film, suggesting that the true power of virtual production lies not in big budgets, but in its ability to empower efficient, high-quality genre storytelling. Ivan Reel on LinkedIn > StradaXR > Ivan Reel's website > Chaos Arena > Hammer Film Productions >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)  

Brandon Christensen is a Canadian filmmaker and VFX artist whose directorial work includes Night of the Reaper, Superhost, Puppet Man, and VFX work on multiple films with a particularly close collaboration with Joe Begos on VFW, Bliss, Jimmy and Stiggs, and Christmas Bloody Christmas.In this conversation, Brandon walks through the making of Night of the Reaper, his latest film, which is a nostalgic 80's style slasher with very heavy Halloween vibes. Brandon also gets into how to consistently make films with limited resources, why he takes on editing and VFX himself, and how to achieve compelling period production design on a budget.Key TakeawaysDesign period detail around what exists.To create an authentic 1980s vibe without a big period budget, Brandon's team scouted unchanged locations, bought used furniture and TVs, and leaned on production people who could find pockets of the past. When money is limited, good location scouting and clever prop reuse do most of the heavy lifting.Wearing many hats saves money and shapes the film.Brandon edits and does VFX on his films because it keeps the money on screen and lets him really control everything from tone to pacing. This equation means lower overhead and a highly personal imprint on every frame, but be cautious because it also makes criticism sting even more because much more of the work has been done by you. So if you take on multiple roles, expect both the creative control and the emotional cost.Make the movie you can actually make.Brandon survived multiple financing setbacks by refusing to let the project die. When previous investors walked, he scaled down the project according to the money that existed. The result was a finished film rather than a stalled ambition. Practical lesson: prioritize completion over perfection because careers are contingent on forward momentum and experience. His repeated, practical advice to creators: do not overcomplicate your first projects. Shoot small, fail quietly, learn fast. The path deepens by doing, not by waiting for the perfect package or deal.Show NotesMovies MentionedNight of the ReaperSuperhostPuppet ManStillbornIt Stains the Sands RedVFWBlissJimmy and STIGsChristmas Bloody ChristmasHouse of the DevilStranger ThingsWhen a Stranger CallsScreamRosemary's BabyDonnie DarkoPulp FictionAvengers: Infinity WarWeaponsFollow Brandon Christensen at:IMBd: https://www.imdb.com/name/nm3417134/Instagram: https://www.instagram.com/thebrandonchristensen/X (Twitter): https://x.com/thebrandonc85Facebook: https://www.facebook.com/brandonchristensendirector/Website: http://thebrandonchristensen.com/

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VFX supervisor Scott Stokdyk unpacks the visual effects of the latest Fantastic Four film, including how the team approached the film as three huge challenges.

Viren Tellis, co-founder and CEO of Uthana, joins the show to discuss how generative AI is reshaping motion creation for games, VFX, and interactive worlds. With over 15 years of experience leading product and operations teams at AppNexus and Hedado, Viren explains how Uthana's technology can generate animation from text, video, or even in real time, giving creators instant, controllable motion without traditional mocap setups. He breaks down how developers use Uthana's SDKs and APIs in Unreal, Unity, and web platforms, what defines high-quality motion, and how foundation models for human movement could power the next generation of AI-driven characters. Subscribe to XR AI Spotlight weekly newsletter

In this episode of Decorating Pages, Emmy-winning set decorator Kim Wannop sits down with Production Designer Cara Brower to talk about designing Hedda, Amazon MGM Studios' new adaptation of Henrik Ibsen's Hedda Gabler—now streaming on Prime Video. Brower—whose credits include Candyman, The Marvels, Twin Peaks: The Return, Us, and Hail, Caesar!—explains how she found and transformed a single English country estate into Hedda's entire universe: grand staircase, dark entry hall, sensual bedroom, secret telephone nook, glass conservatory with a deadly chandelier, and a lakeside bonfire that bookends the story. The conversation digs into:How Ibsen's original themes of power, boredom, control, and societal constraints on women informed the design choicesLayering Victorian architecture with Art Deco curves, 1960s-inspired pattern, and bold modern art so Hedda's home feels like a socialite's act of rebellionDesigning Hedda's bedroom as a cold, sensual, almost Hollywood-boudoir space that belongs entirely to herThe engineering and cross-department chaos behind the film's glass chandelier set pieceWhy shooting mostly on location—with minimal VFX—makes the film feel more immediate and theatricalPerfect listening if you love period drama, literary history, and extremely opinionated wallpaper.

Why does the superhero spinoff Gen V often look more visceral and grounded than its blockbuster feature film counterparts? The answer lies in the unique philosophy of Visual Effects Supervisor Karen Heston, who joins Chris and Daniel to reveal the analog soul beating beneath the show's digital surface. Heston traces her journey from the chemical smells of a black-and-white darkroom to the high-pressure world of "Flame" compositing in New York, where she learned to be a "finisher" capable of managing clients and pixels simultaneously, a skill set that eventually propelled her to lead major projects like Arthur Christmas and Beasts of No Nation. The conversation pulls back the curtain on the gory, creative success of Gen V. Heston explains that the show's secret isn't an over-reliance on CGI, but a fierce commitment to practical filmmaking, using giant props for shrinking characters and silicone "blood darts" to anchor the digital effects in reality. She discusses the intense collaboration required between stunts, prosthetics, and VFX to pull off "blood powers" that feel weighty rather than cartoony, and concludes with a forward-looking discussion on how AI might reshape the industry by bringing back the era of the "generalist" artist. Karen Heston on IMDB > Karen Heston on LinkedIn > Gen V on Prime >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)  

In this episode, we dive into the epic scope of Apple TV+'s Foundation with Chris MacLean (Overall Visual Effects Supervisor) and Mike Enriquez (Visual Effects Supervisor). From the grandeur of the Starbridge to the intricate planetary environments, they reveal how the show's ambitious world-building was achieved under pandemic constraints and relentless deadlines. Chris and Mike share how they collaborated with production designer Rory Cheyne to translate abstract concepts from Isaac Asimov's legendary sci-fi saga into tangible, cinematic experiences. They discuss the challenges of remote workflows, the evolution of visual effects pipelines, and the emotional weight behind designing scenes that feel both futuristic and mythic. In This Episode:

Get More LVWITHLOVE Content at LVwithLOVE.com Become a partner or contact us Bethlehem Catholic graduate and Lehigh Valley native Madelyn Dundon is bringing her latest film Hazel to the Frank Banko Alehouse Cinemas at ArtsQuest for three special screenings this December AND you can find it on streaming soon! Hazel is a survival thriller based on the true story of Hazel Miner, a teenager who tried to protect her younger siblings during a deadly 1920 blizzard in North Dakota. The film has played to sold out audiences across the Dakotas and now arrives in Bethlehem before it begins streaming later this month. The production converted an abandoned Kmart in Bismarck into a full movie studio, complete with a snow landscape, lighting rigs, VFX elements, and even horses brought inside for filming. Local audiences will appreciate the creativity of turning a forgotten building into something new. Dundon also spoke about what it means to bring the film home. From her years at Bethelehem Catholic High School to the Freddy Awards to her breakout in Getting Grace with Dan Roebock (who has also been on our podcast), she credits the Valley for giving her the foundation to take on roles like this one. ArtsQuest screening dates:• Sunday, December 7 at 1 p.m. with Q and A• Monday, December 8 at 7:15 p.m. with Q and A• Wednesday, December 10 at 12:30 p.m. Tickets: https://www.artsquest.org/event/hazel-standard-screening/ Hazel will also be available to stream on Apple TV beginning December 23. Thank you to our Partners! WDIY 88.1 FM Wind Creek Event Center Michael Bernadyn of RE/MAX Real Estate Molly’s Irish Grille & Sports Pub Banko Beverage Company Email your news release to info@lehighvalleywithlovemedia.com Advertisement Advertisement

Enter Toontown as Noirvember continues with Who Framed Roger Rabbit (1988). This week, Jason and Steven are joined by Bee Dawley to break down Robert Zemeckis' genre-blending masterpiece. From Bob Hoskins' hard-boiled detective to cartoon chaos, we talk animation plus live action, groundbreaking VFX, dark humor, and the film's place in cinema history. Was Judge Doom ever going to play fair? And does this movie still hold up more than 30 years later?Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out!Starring: Bob Hoskins, Christopher Lloyd, Charles Fleischer, Stubby Kaye & Joanna CassidyDirected By: Robert ZemeckisSynopsis: Down-on-his-luck private eye Eddie Valiant (Bob Hoskins) gets hired by cartoon producer R.K. Maroon (Alan Tilvern) to investigate an adultery scandal involving Jessica Rabbit (Kathleen Turner), the sultry wife of Maroon's biggest star, Roger Rabbit (Charles Fleischer). But when Marvin Acme (Stubby Kaye), Jessica's alleged paramour and the owner of Toontown, is found murdered, the villainous Judge Doom (Christopher Lloyd) vows to catch and destroy Roger.Watch LIVE on Twitch (https://www.twitch.tv/heydidyouseethisone) and YouTube (https://www.youtube.com/@HeyDidYouSeeThisOne/videos) every Thursday at 8 PM ESTWE HAVE MERCH - https://www.redbubble.com/people/HDYSTMerch/shop?asc=u & http://tee.pub/lic/GdSYxr8bhtYWe use White Bat Audio – a user that creates DMCA free music for podcasters and YouTubers. Please follow at: https://www.youtube.com/@WhiteBatAudioAudio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175YouTube Audio Podcast - https://youtube.com/playlist?list=PLD6BOSx2RcKuP4TogMPKXRMCxqfh5k9IU&si=umIaVrghJdJEu2ARA MEMBER OF THE UNITED FEDERATION OF PODCASTSCheck us out online at: https://www.ufpodcasts.com/Main Intro and Outro Themes created by Josh Howard - remixes by Jacob Hiltz & Jake ThurgoodLogo created by Jeff RobinsonChapters:00:00 - Intro05:00 - A Brief Synopsis09:04 - A Brief History17:23 - Production Talk45:45 - The BODY Of The Episode03:00:26 - Home Alone Of It All, Final Thoughts & Ratings03:12:07 - Plugs03:21:40 - Outro#WhoFramedRogerRabbit #Noirvember #FilmPodcast #MovieDiscussion #HeyDidYouSeeThisOne

What happens when filmmaking becomes a marathon of collaboration — spanning years, thousands of shots, and the world of Oz itself? For Wicked: For Good, that was the daily reality for Film Editor Myron Kerstein and Visual Effects Supervisor Pablo Helman. This week on Below the Line, Skid welcomes back Myron Kerstein and introduces Pablo Helman, who makes his Below the Line debut to discuss their shared journey on Wicked: For Good, the sequel to Jon M. Chu's Wicked. Together, they reflect on what it means to sustain creative momentum through two interconnected films and the largest project of their careers. This episode unpacks: Building a years-long partnership between editorial and visual effects — and learning to “finish each other's sentences” after thousands of hours together Integrating production, post, and VFX pipelines from the earliest days of Wicked through the sequel's final render Designing the epic opening battle on the Yellow Brick Road, where performance, camera, and creature animation all converge Navigating Jon M. Chu's collaborative process — a director who, as Myron puts it, is “a collector of people” and thrives on creative dialogue Crafting the technically complex “Girl in the Bubble” sequence — eight stitched plates, multiple reflections, and a seamless illusion that tested every department's trust Refining the “No Good Deed” sequence — balancing raw emotion, musical rhythm, and visual effects spectacle Intercutting Glinda's wedding with the imprisoned creatures to heighten tension and emotional contrast across parallel storylines How small creative choices — like a cape's weight, a confetti storm, or a single flash of red sky — became storytelling tools in the hands of two artists who speak the same cinematic language What emerges is a portrait of collaboration under pressure — one built on mutual respect, relentless curiosity, and a shared belief that every frame, no matter how fantastical, should feel grounded and human.

“Predator: Badlands” is one of those rare movies. You already expect something good after “Prey,” but then you watch this and it turns out to be one of the most satisfying action films of the year. Disney clearly believed in it too, bumping the budget to about 105 million, which is a big jump from “Prey's” 65 million.Dan Trachtenberg is officially three for three. “Prey,” “Killer of Killers,” (also released in2025, on Hulu and awesome) and now “Badlands.” He delivers a confident, fast, beautifully paced movie that never wastes a moment. It also works as a complete standalone. No homework required. You don't need to be a Predator fan or even a sci-fi fan. The movie just pulls you in as a flat-out fun, kickass action experience.The details are great. The runtime is a perfect one hour and forty-seven minutes. The movie lightly introduces Yautja culture without slowing anything down, and the world-building is clear, exciting, and leaves the door open for the future. There's even a subtle crossover nod that never pulls focus.Elle Fanning is incredible. Dimitrius Schuster-Koloamatangi brings a whole new life to the Predator character, making it both terrifying and surprisingly sympathetic. The Kalisk creature is a very fun addition. The invented language is a cool touch. And the villain is genuinely strong without giving anything away.The sound design is excellent, the VFX are top tier, and New Zealand looks unbelievable on screen. Trachtenberg blends real landscapes with massive effects in a way that makes the world feel alive.If there's one small con: you just hope the crossover tease doesn't jinx the success the movie has earned so far.“Badlands” is in theaters now and will likely hit digital platforms in December and stream on Hulu or Disney+ in early 2026.

The Cinematography Podcast Episode 335: Jess Hall Cinematographer Jess Hall, ASC, BSC reunited with director Matt Shakman to bring the retro-future world of The Fantastic Four: First Steps to life. The two had collaborated on several projects together, such as Marvel's Wandavision. “I have a lot of faith in Matt Shakman,” says Jess. “I went into it with a lot of goodwill behind me. I was very aware that this was one of the original Marvel, it is the first family of Marvel, so I took that responsibility very seriously. I got very well prepared and I made sure that I was making choices that I thought would bring success to the project as well as tell the story that Matt wanted to tell.” Fantastic Four: First Steps required a higher level of pre-production planning than most, involving intense collaboration with the special effects team and production design. Many complicated sequences were prevised to meticulously establish the intended 1960s aesthetic. Jess achieved this period look through his lighting, camerawork, and lens choices. For the majority of the cinematography, he chose the relatively new Panavision Ultra Panatar II lenses, which coved the IMAX camera and were customized to his specifications. He also used a 16mm camera and Hasselblad lenses for some of the newsreel sequences. Color was crucial for establishing the 1960s aesthetic, and Jess infused it with a comic book vibrancy. He was inspired by a 1968 Fantastic Four comic book, creating a unified color palette for the LUT that featured blue, green, orange, and pale blue. Complex lighting setups were essential, incorporating miniatures, bluescreens, blackscreens, and motion capture performances. Jess opted for tungsten lights on Mr. Fantastic's (Pedro Pascal) lab set—a deliberate, retro choice that grounds the technology in the past. He found controlling the light challenging on bluescreen and blackscreen stages, as the lack of background required him to carefully conceive and control the light sources to maintain a sense of photorealistic depth. The production team prioritized creating as much of the film practically as possible to achieve the photoreal look director Matt Shakman wanted, with characters and scenes enhanced with VFX in post. Both Ben Grimm “The Thing” (Ebon Moss-Bachrach) and the Silver Surfer (Julia Garner) performed in motion capture suits. Rather than working on a volume stage, blue screens and black screens were used for the space sequences. A miniature scale model of the Fantastic Four's ship helped bring it to life, while a realistic 1960's Times Square set was built for the New York action sequences. For the planet-eater Galactus, Jess had a unique practical concept: treating him like a miniature. An extremely detailed costume was constructed, and Galactus moved through a small-scale set. Jess used specialized lighting and camerawork on his suit to create the illusion of the villain's immense, terrifying size. Find Jess Hall: Instagram: @metrorat See The Fantastic Four: First Steps streaming on Disney+ SHOW RUNDOWN: 01:56 Close Focus 13:10-59:54 Interview 01:00:08 Short Ends 01:10:09 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Episode 105-2025 Post Mortem from Leslie's Basement Released 27 November 2025 Hosts:  Keoni Hutton & Leslie Reed Happy Thanksgiving! The Haunting U Hosts are thankful for the opportunity to gather in Leslie's basement to debrief Halloween 2025, sharing behind-the-scenes stories about builds, camera footage, child actors, costumes, soundscapes, marketing, and more. They recap lessons learned and plans for 2026 — all while eating snacks, watching hockey, and indulging in chaotic banter. Resources mentioned during this episode: Haunting U can be found at www.hauntingu.com. Sanguine Creek Estates: www.scehaunt.com Chamber of Haunters Website: https://chamberofhaunters.com/ Sound Effects: Music: Dance of Death http://www.purple-planet.com/ Thunder: Recorded by Mark DiAngelo Uploaded: 07.29.11 http://soundbible.com/1913-Thunder-... License: Creative Commons Attribution 3.0 Modifications: Inserted over Dance of Death Music Evil Laughter: Recorded by Himan Uploaded: 03.13.13 License: Public Domain  http://soundbible.com/2054-Evil-Lau... AI Text to Speech Generator: https://www.hume.ai/ We couldn't continue to bring you awesome content without the support of our sponsors, particularly our Premium sponsors, the Chamber of Haunters, and VFX.  Learn more here: www.chamberofhaunters.com https://vfxcreates.com/ Haunting U is a production of Sanguine Creek Entertainment LLC published under the Creative Commons Attribution 3.0 license. All rights reserved.  

Rewatching Star Trek: Enterprise Season 1, Episode 7 — “The Andorian Incident.” Directed by Roxann Dawson, this tense bottle episode introduces Shran (the great Jeffrey Combs) and repositions the Andorians as more than blue-skinned bruisers. We dig into the Vulcan monastery of P'Jem, the hidden sensor array twist, T'Pol's loyalty test, Archer getting absolutely walloped, and why this hour is often cited as the moment Enterprise “found its voice.”We also riff on transporter anxiety, Andorian antennae, “pink-skins,” and how this early Human-Vulcan-Andorian friction foreshadows the United Federation of Planets.

Andy Povey is joined by two guests at the forefront of this space: Rob Liddell, Executive Producer at BBC Studios Science Unit, and Simon Clarke, Creative Director and Founder of Moonraker VFX. Fresh from announcing their new creative partnership, they're here to share what happens when world-class storytelling meets cutting-edge visual effects in the world of immersive experiences. Show References: Rob Liddell, Executive Producer at BBC Studios Science Unithttps://productions.bbcstudios.com/our-production-brands/the-science-unit/https://www.linkedin.com/in/rob-liddell-171639137/ Simon Clarke, Creative Director and Founder of Moonraker VFXhttps://moonrakervfx.com/https://www.linkedin.com/in/simon-clarke-07ba9146/ Skip the Queue is brought to you by Crowd Convert. We provide attractions with the tools and expertise to create world-class digital interactions. Very simply, we're here to rehumanise commerce. Your host is Andy Povey.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn.   We have launched our brand-new playbook: ‘The Retail Ready Guide to Going Beyond the Gift Shop' — your go-to resource for building a successful e-commerce strategy that connects with your audience and drives sustainable growth. Download your FREE copy here

A Note from James:Tye Sheridan is one of my favorite actors. You might know him as Cyclops in the X-Men movies (Apocalypse, etc.) or as the lead in Ready Player One—which is not only a great movie but also one of my favorite sci-fi books. One of his first films was Mud with Matthew McConaughey.What I didn't realize: since 2016, while still acting, Tye has also been a serious AI entrepreneur. He and Nikola Todorovic co-founded AI-powered VFX/CGI company, Wonder Dynamics, now an Autodesk company, that built AI tools to make visual effects more accessible.I wanted them both on to talk about how AI will change filmmaking—potentially letting someone like me make a movie that would normally cost hundreds of millions because of VFX—and, just as important, how Tye balanced being a movie star and an entrepreneur at the same time. I also wanted Nikola's take on where AI is going and whether it will take jobs. Fascinating conversation ahead—here are Tye Sheridan and Nikola Todorovic.Episode Description:James sits down with actor–founder Tye Sheridan and VFX director Nikola Todorovic to unpack how their company's AI tools (now part of Autodesk) are changing what small teams can pull off—and what that means for studios, budgets, and actual stories. They trace the path from stitching 360° GoPro rigs and a VR proof-of-concept… to a first demo for Steven Spielberg… to a platform that lets indies do big-look work without big-studio burn. You'll hear clear, non-hyped answers on where text-to-video fits, why they focus on editable 3D over black-box 2D, and a candid take on the only moat that still matters: writing something people care about.What You'll Learn:A workable cost model for VFX-heavy projects: where 10× savings can come from—and where they can't.How to run “lean” on real productions: recruiting cross-disciplinary talent and sequencing funding without chasing hype cycles.3D pipelines vs. text-to-video: why pros need full control of lighting, camera, and performance—and how Sora-style tools can still complement the workflow.Story first, always: the audience forgives limited budgets—not lazy scripts.A pragmatic future for studios and indies: expanding voices without erasing human actors or craft.Timestamped Chapters:[00:02:00] “Hollywood is nervous”: James frames the AI anxiety he's hearing in studio rooms.[00:03:01] A note from James: why Tye's career (from Mud to Ready Player One) made him the right guest—plus Nikola's VFX roots.[00:06:03] Tree of Life to tech startup: meeting on set, Chivo's influence, and early curiosity about tools.[00:13:46] DIY 360° & the Spielberg audition: the VR demo, a $10k experiment, and a first product pitch to Steven.[00:20:12] The question everyone asks: will AI erase studio jobs—or expand what smaller teams can make?[00:24:00] Distribution changed—financing didn't: presales, streaming, strikes, and why a bigger shift is still coming.[00:27:12] Reality check on budgets: VFX vs. SFX, and how a $100M effects bill could land near $10M.[00:36:02] Running lean + real backers: Founders Fund, MaC VC, Horizons; hiring for overlap (CV/ML/VFX/eng).[00:37:44] From waitlist to workflows: who used the platform first, and a TV case where weeks became days.[00:42:12] Sora vs. 3D pipelines: where text-to-video fits—and why pros avoid black-box 2D for final shots.[01:00:45] “A decade of procrastination”: the founders joke about building a company to avoid writing their own film—then set sights on making it.Additional Resources:Tye Sheridan — filmography and roles (Ready Player One, X-Men). WikipediaNikola Todorovic — Co-founder, Wonder Dynamics (Autodesk company). linkedin.comAutodesk acquires Wonder Dynamics — press release (May 21, 2024). Autodesk NewsAutodesk Flow Studio (formerly Wonder Studio) — product page & docs. AutodeskReady Player One (2018). WikipediaThe Card Counter (2021). WikipediaThe Tree of Life (2011) & Emmanuel “Chivo” Lubezki. IMDbSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Fei-Fei Li and Justin Johnson are cofounders of World Labs, who have recently launched Marble (https://marble.worldlabs.ai/), a new kind of generative “world model” that can create editable 3D environments from text, images, and other spatial inputs. Marble lets creators generate persistent 3D worlds, precisely control cameras, and interactively edit scenes, making it a powerful tool for games, film, VR, robotics simulation, and more. In this episode, Fei-Fei and Justin share how their journey from ImageNet and Stanford research led to World Labs, why spatial intelligence is the next frontier after LLMs, and how world models could change how machines see, understand, and build in 3D. We discuss: The massive compute scaling from AlexNet to today and why world models and spatial data are the most compelling way to “soak up” modern GPU clusters compared to language alone. What Marble actually is: a generative model of 3D worlds that turns text and images into editable scenes using Gaussian splats, supports precise camera control and recording, and runs interactively on phones, laptops, and VR headsets. Fei-fei's essay (https://drfeifei.substack.com/p/from-words-to-worlds-spatial-intelligence) on spatial intelligence as a distinct form of intelligence from language: from picking up a mug to inferring the 3D structure of DNA, and why language is a lossy, low-bandwidth channel for describing the rich 3D/4D world we live in. Whether current models “understand” physics or just fit patterns: the gap between predicting orbits and discovering F=ma, and how attaching physical properties to splats and distilling physics engines into neural networks could lead to genuine causal reasoning. The changing role of academia in AI, why Fei-Fei worries more about under-resourced universities than “open vs closed,” and how initiatives like national AI compute clouds and open benchmarks can rebalance the ecosystem. Why transformers are fundamentally set models, not sequence models, and how that perspective opens up new architectures for world models, especially as hardware shifts from single GPUs to massive distributed clusters. Real use cases for Marble today: previsualization and VFX, game environments, virtual production, interior and architectural design (including kitchen remodels), and generating synthetic simulation worlds for training embodied agents and robots. How spatial intelligence and language intelligence will work together in multimodal systems, and why the goal isn't to throw away LLMs but to complement them with rich, embodied models of the world. Fei-Fei and Justin's long-term vision for spatial intelligence: from creative tools for artists and game devs to broader applications in science, medicine, and real-world decision-making. — Fei-Fei Li X: https://x.com/drfeifei LinkedIn: https://www.linkedin.com/in/fei-fei-li-4541247 Justin Johnson X: https://x.com/jcjohnss LinkedIn: https://www.linkedin.com/in/justin-johnson-41b43664 Where to find Latent Space X: https://x.com/latentspacepod Substack: https://www.latent.space/ Chapters 00:00:00 Introduction and the Fei-Fei Li & Justin Johnson Partnership 00:02:00 From ImageNet to World Models: The Evolution of Computer Vision 00:12:42 Dense Captioning and Early Vision-Language Work 00:19:57 Spatial Intelligence: Beyond Language Models 00:28:46 Introducing Marble: World Labs' First Spatial Intelligence Model 00:33:21 Gaussian Splats and the Technical Architecture of Marble 00:22:10 Physics, Dynamics, and the Future of World Models 00:41:09 Multimodality and the Interplay of Language and Space 00:37:37 Use Cases: From Creative Industries to Robotics and Embodied AI 00:56:58 Hiring, Research Directions, and the Future of World Labs

In this episode we discuss James Gunn's new "Man of Tomorrow" storyboard photo, Superman's Critics Choice shortlist nominations, ILM's VFX secrets revealed, the new "Art and Making of the Film" book, HMV's exclusive 4K Steelbook, Black Friday deals on "Beyond The Cape," Zack Snyder's rare Henry Cavill photo, "Saving Superman" documentary award win, the most expensive comic ever sold discovery, vintage Atari pinball restoration, your favorite Superman toy vehicles, and much more.

AI is revolutionizing cinematic lighting control with Beeble AI's Switchlight. Founder Hoon Kim explains how his tool, originally a general AI concept, became a powerful VFX asset by tackling the difficult process of relighting. Switchlight "unlights" any video footage to figure out the fundamental physical properties, like the shape (normals) and texture (metalness/roughness) of objects, and then uses this data to apply new, photo-realistic lighting instantly and securely. The desktop application is quickly becoming indispensable for both small production teams and major studios who need precise creative control over their shots. The conversation reaches a pivotal point when host Chris, an expert in real-time rendering, mentions his work with the real-time ray tracer Vantage, leading to mutual excitement about integrating their technologies. Switchlight provides the control that other generative AI tools lack, and Hoon sees its PBR data as a perfect control signal for future generative video models. They agree the tool's true value is creating "relightable footage" that can be manipulated layer by layer, just like in professional compositing software. This technical precision promises to blend the creative freedom of AI with the consistency and detail demanded by professional filmmaking.   Beeble AI Official Website > Hoon Kim's LinkedIn Profile > Google Research Total Relighting paper > Paul Debevec's Parthenon project (2004) > Chaos Vantage (real-time ray tracing) >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)

Step inside the shipyard of imagination with Oscar Winning - Doug Drexler—legendary Star Trek artist, designer, and VFX mind—as he joins Captain's Quadrant: Section 31.5. From iconic starship design to makeup milestones and modern VFX storytelling, this conversation explores the craft, the heart, and the hustle behind building the final frontier. If you love Trek, creativity, or the anatomy of great world‑building, this one's a warp-core deep dive.Subscribe: More deep dives in Captain's Quadrant: Section 31.5.Let us know your favorite Doug Drexler design or moment—and what you want us to explore next.Please join us in supporting his Trek Star Documentary Kickstarter : https://www.kickstarter.com/projects/... Join the crew: Turn on notifications so you never miss a launch. If you enjoy the show even more you can enjoy our incredible #patreon  / captainsquadrant   New MERCH! https://captainsquadrant.myspreadshop...https://linktr.ee/captainsquadrant

Drew and Rory pull up to Episode 57 running on fumes and caffeine, only to get smacked in the face by one of the wildest AI weeks of the year. Midjourney drops two new features back-to-back like it's nothing, Google drops Nano Banana Pro into the world like a nuke, and both guys are out here pretending they're emotionally prepared (they're not).They clown themselves for completely misusing Style Creator on day one, break down how user profiles actually work, and speculate on whether v8 is hiding the surgical editing tools everyone's been begging for.Then the Nano Banana Pro segment hits and things get unhinged: micro-edits that used to take an hour now take a second, text layouts that look like a designer touched them, coherence hacks, refraction tricks, split-stack continuity workflows, and some examples from the community that genuinely feel illegal.If you're trying to stay ahead in Midjourney, Gemini, or AI creative workflows in general, this episode is basically the “don't-get-left-behind” starter pack.---⏱️ Midjourney Fast Hour 00:00 – Cold open + Thanksgiving chaos01:16 – Stream kickoff + why this week exploded01:47 – Midjourney drops two features in two days02:23 – First reactions to Style Creator04:52 – How Style Creator confuses everyone at first06:18 – Refining styles + the 5–15 refinement rule07:40 – Style history, safety nets, and code tracking08:36 – Eliminating style-drift anxiety09:25 – What Style Creator still gets wrong10:21 – Smart Search wish-list + missing features11:29 – Does refinement actually improve downstream results?12:15 – Style Creator verdict: fun, but who needs it?13:26 – Ending sessions + saving yourself from randomness14:38 – Style Creator wrap-up15:08 – Midjourney user profiles deep dive17:34 – Spotlight, archive, and profile curation18:43 – Private vs stealth vs public image management20:47 – Social linking + hopping across profiles22:52 – Portfolio potential + what's still missing27:22 – The V8 conversation: what MJ still owes creators29:50 – The editing limitations everyone wants fixed30:24 – Nano Banana Pro enters the chat31:57 – Google's naming chaos (again)32:53 – Nano Banana Pro's first real test: auto-summarizing video35:30 – Split-stacks, keyframes, micro-sequences41:34 – Refraction, distortion, and text-on-glass tricks45:35 – Micro-editing breakthrough examples48:33 – Best platforms for running Nano Banana Pro50:13 – Gemini Studio vs Weavy workflows52:13 – Multi-step layouts: text + objects + composition55:18 – Design briefs, ingestion, and real client examples57:57 – Why every team now needs a Nano Pro person01:01:02 – The “segment anything” Meta update + VFX workflow talk01:03:00 – Minority Report future of editing01:04:20 – Feeling behind while the internet shows off01:05:40 – Lighting setup extraction examples01:06:04 – Thanksgiving scheduling + next week's plan01:06:35 – The “full sprint” AI moment01:07:19 – Outro

We open by tracking our video money and mocking the chef who quit Elon's "epic" bacon diner, before diving into the IN THE NEWS segment where plummeting crypto and Nvidia stocks confirm everything is a sham; we cover Bezos's new $6.2 billion AI flop, a sleeping Tesla Robotaxi driver, and why OpenAI's new school tools are a Recipe for Idiocracy with students who can't read; in MEDIA CANDY, we tear apart Disney's lazy Moana remake; THE DARK SIDE WITH DAVE we discuss Zork going open source and why movies just don't feel real anymore before CLOSING SHOUT-OUTS where we are mourning Mani from the Stone Roses, and wishing Bjork a very metal 60th.We start with a FOLLOW UP on our channel's performance, wading through the garbage pile of Monetization questions and Stats, including the scourge of Shorts—because apparently, that's what we do now. Speaking of people running from trouble, former Treasury Secretary Larry Summers is ditching his OpenAI board seat after a fresh batch of cringey Jeffrey Epstein emails surfaced. Meanwhile, the financial world is having a meltdown: Nvidia's Stock is Falling Again after its earnings report, exposing the fact that almost Yet Another Study Shows That Most Companies Aren't Making Any Money Off AI, and Bitcoin is Getting Absolutely Crushed Right Now, which we happily remind you will Trigger the Next Financial Crisis. Don't worry, Jeff Bezos will head a new engineering-focused AI startup because the world clearly needs more tech billionaires throwing money at things they don't understand, while Apple is reportedly getting ready to replace Tim Cook.The tech-bro corruption parade continues as a former DOJ official points out that Trump's Crypto Pardon of the Binance co-founder is exactly what it looks like, and Elon's pet AI, Grok Insists That Elon Musk Is More Physically Fit Than LeBron James and better at everything else, proving the bot has been sampling its boss's Adderall. Even though ChatGPT Achieves a New Level of Intelligence by finally letting you disable its em-dash addiction, companies like Intuit are integrating its tax and accounting products with ChatGPT—because who doesn't want an AI-powered tax audit? This all dovetails nicely with the news that OpenAI is launching ChatGPT for Teachers' right as students' math skills hit a low, leading to a literal Recipe for Idiocracy where elite college students Can't Read Books. The whole thing is broken, including Tesla's so-called Robotaxi, where a Passenger Alarmed When Tesla Robotaxi “Safety” Driver Falls Completely Asleep at the Wheel. On a lighter note, we check out the new trailers for The Witcher S4, Frankenstein, and Project Hail Mary in MEDIA CANDY, and tear apart the absolutely unnecessary live-action Moana teaser, before mentioning the biggest drama launch on Apple TV, Pluribus.Next up is THE DARK SIDE WITH DAVE, where our tireless security guru Dave Bittner throws in some random facts, like Microsoft making Zork I, II, and III open source and videos on why the iOS Keyboard is Broken and Why Movies Just Don't Feel "Real” Anymore, and we discuss Thanksgiving plans. Finally, in CLOSING SHOUT-OUTS, we end with a shout-out to our generous PATREON supporters and PAYPAL/STRIPE donors, mourn the passing of Stone Roses and Primal Scream bassist Mani, and wish the incomparable Bjork a milestone 60th birthday.Watch on YouTube: https://youtu.be/tWM83ra7Qp8Sponsors:Private Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordShow notes at https://gog.show/723FOLLOW UPTesla Diner Chef and Co-Operator Quits to Open a Jewish DeliLarry Summers leaves OpenAI board, Harvard instructor role as scrutiny over Epstein emails intensifiesIN THE NEWSOops! Nvidia's Stock Is Falling Again After Its “Blowout” Earnings ReportBitcoin Is Getting Absolutely Crushed Right NowHow Crypto Could Trigger the Next Financial CrisisJeff Bezos will head a new engineering-focused AI startup called Project PrometheusYet Another Study Shows That Most Companies Aren't Making Any Money Off AIPassenger Alarmed When Tesla Robotaxi “Safety” Driver Falls Completely Asleep at the WheelMeta wins antitrust trial as judge denies that it's a monopolyApple is reportedly getting ready to replace Tim Cook as early as next yearFormer DOJ Official: Trump's Crypto Pardon Is Unprecedented CorruptionChatGPT Achieves a New Level of Intelligence: Not Using the Em DashGrok Insists That Elon Musk Is More Physically Fit Than LeBron James11 Things Grok Says Elon Musk Does Better Than AnyoneIntuit is integrating its tax and accounting products with ChatGPTOpenAI Introduces ‘ChatGPT for Teachers' to Further Destroy the Minds of Our Youth‘A Recipe for Idiocracy'The Elite College Students Who Can't Read BooksPornhub Begs Tech Giants to Verify User Ages on Their Device: ReportLondon thieves gave stolen phones back when they weren't iPhonesMEDIA CANDYThe Witcher S4FrankensteinPluribus is Apple TV's biggest drama series launch everSquid Game: The Challenge Season 2Mr. ScorseseThe American RevolutionMoana | Official TeaserProject Hail Mary | Official Trailer 2Goo Goo Dolls: NPR Tiny Desk ConcertTHE DARK SIDE WITH DAVEDave BittnerThe CyberWireHacking HumansCaveatControl LoopOnly Malware in the BuildingRIHC: Disney's Legacy, with Bob IgerMicrosoft makes Zork I, II, and III open source under MIT LicenseIt's Not Just You - The iOS Keyboard is BrokenWhy Movies Just Don't Feel "Real" AnymoreThe greatest space battle in Cinema history, and my personal favorite VFX shot. @ 7:07CLOSING SHOUT-OUTSStone Roses and Primal Scream bassist Mani dies at 63See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On episode 39 of Really Weird Stuff: A Twin Peaks Podcast, we're discussing Twin Peaks the Return: Part 78- "Gotta light?" This episode was written by David Lynch and Mark Frost, and Directed by David Lynch. It's best known as being the most cinematic episode of television that ever aired, and for presenting a complex metaphor for the battle between the light and dark and the perpetuating horrors that America unleashed when we decided to play god. Christopher Nolan could never. Special guest Megan Metzger joins us to discuss how Twin Peaks started her on her journey to media obsession from a very young age, and to attempt to comprehend this Ulysses of television episodes. We explore such mysteries as: WHY does the M.C. say THE Nine Inch Nails?WHERE exactly is Phillip Jeffries? WHAT is the real life inspiration for the Frog Moth?PLUS: The astonishing marriage of practical and VFX behind the visceral terror of the bomb and the Woodsmen. To learn more about Megan and her brilliant brain, follow her on instagram and check out her recurring shows (The Good Guy Show and Delightfully Unbothered) if you happen to be in Chicago! https://www.reallyweirdstuffpod.cominsta: @reallyweirdstuffpodbluesky: @reallyweirdstuff.bsky.social youtube: @reallyweirdstuffpod facebook: @reallyweirdstuffpodcast email: reallyweirdstuffpod@gmail.com

When his filmmaking career stalled during the pandemic, Toby Lockerbie turned to the one place that had never stopped inspiring him: the Universe. With no background in visual effects, he taught himself the tools needed to transform complex space science into cinematic stories using everyday objects and beautifully crafted visuals to make the Cosmos feel human. His channel, Epic Spaceman, now reaches millions and has earned multiple Webby Awards for its innovative approach to visualizing scale, awe, and accessible science. This week on Planetary Radio, Toby joins host Sarah Al-Ahmed to discuss the creation of Epic Spaceman, how visual metaphors can change how we understand the Universe, and why awe remains one of the most powerful tools for science communication. Then we welcome Bruce Betts back for What’s Up, where we reflect on the end of the Japanese Aerospace Exploration Agency’s Akatsuki mission to Venus. Discover more at: https://www.planetary.org/planetary-radio/2025-epic-spacemanSee omnystudio.com/listener for privacy information.

Visual effects veteran Dennis Berardi joins the podcast to discuss the resurrection of his legendary studio, Mr. X, and his latest collaboration with Guillermo del Toro on Frankenstein. Dennis shares the technical and artistic challenges behind the film, detailing how his team blended massive physical builds with digital artistry to create the film's "invisible" effects. From creating expansive Arctic icescapes in a Toronto parking lot to blowing up 20-foot "bigature" miniatures for the climactic tower sequence, Dennis explains how they achieved an operatic scale while maintaining the emotional intimacy of Del Toro's father-son narrative. The conversation also navigates the complex business of visual effects, as Dennis recounts the dramatic story of selling Mr. X to Technicolor and his subsequent fight to reclaim the brand and IP after the parent company's collapse. He outlines his philosophy for rebuilding Mr. X as a boutique, filmmaker-focused studio that values artistry over volume. Finally, Dennis, Chris, and Daniel speculate on the future of the industry, discussing the impact of AI, the fracturing of the VFX market, and why relationship-driven, smaller shops may be the key to sustainable high-end filmmaking. Mr. X Website > Dennis Berardi bio > Dennis Berardi on IMDB > Frankenstein on Netflix > The Empty Man Trailer >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)  

The Cinematography Podcast Episode 333: Jeff Cronenweth Two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC is known for visually defining modern classics like Fight Club and The Social Network. With TRON: ARES, he melded three distinct realities: the digital Grid, the gritty real world, and the retro feel of the grid in the original TRON. Jeff's involvement with TRON: ARES began through his long-standing relationship with Jared Leto. After working together on Fight Club, Leto, who stars as Ares and is a producer on the film, personally asked Jeff to meet with director Joachim Rønning. Jeff found that Rønning had established a remarkably clear vision for TRON: ARES from the start by storyboarding every scene. Having a clear plan was crucial, given the complexity of the environments and the technical demands of the shoot, which included a challenging seven weeks of night shooting in downtown Vancouver. Jeff chose ARRI DNA LF lenses for their character, flare, and artifacting, even for the digital setting, and the film was framed for IMAX. The core challenge for Jeff was using visual language to differentiate the film's three central environments, drawing inspiration from the franchise's past while exploring something new. 1. The Main Grid: Predictable Perfection Referencing the "pristine" aesthetic of TRON: Legacy, the new film's main Grid environment is defined by machine code—a world that is predictable and perfect. Look: Sharp, clean lines, saturated colors, and a highly geometric, mechanical feel. Color Coding: The classic blue/gray/white color palette is reserved for the good guys, while the presence of the bad guys is immediately signaled by the use of red. 2. The Real World: Embracing the Grit In TRON: ARES, for the first time, the computer programs emerge into the real world. Reality required a darker, grittier visual separation from the digital realm. Look: Shooting in Vancouver's downtown allowed reflections in large glass buildings to enhance the environment's texture. Practical locations, like a chase that concluded with lightcycles crashing into bales of recycled paper on a pier, further grounded the action. 3. ENCOM/Mainframe Grid: A Nod to the Original To connect back to the franchise's roots, the scenes where the character Ares ventures into the original ENCOM grid to find Flynn needed to match the look of the 1982 film. Reference: The 1982 TRON's grid scenes were shot in black and white and then hand-painted to achieve the glowing effect. To mimic this analog feel, Jeff intentionally doubled the amount of grain and desaturated the color, creating a look that closely matches the original.  Light is both a symbol and a weapon in Tron: Ares. To get the look, visual effects, costumes, props and cinematography had to work closely together. LED lights were installed in costumes, props and sets, and practically controlled through a dimmer board. This gave the VFX team a base to build upon. The lightcycles, some of which were built as practical, towable props, had LEDs built in and connected to dimmer boards as well. The lights provided real, interactive reflections on the actors and surrounding environment. Jeff also used light beams on set to simulate a recognizer scanning a high-rise office. The VFX crew could then track and enhance these practical effects in post-production. Jeff's choices were crucial for the post-production team. “We all knew what the goals were and what the scenes were going to be about,” he says. “It was a wonderful experience because it took all of us to be in harmony all the time.” See TRON: ARES in theaters Jeff is currently shooting The Social Reckoning, with director Aaron Sorkin. Hear our previous interviews with Jeff Cronenweth: https://www.camnoir.com/ep150/ https://www.camnoir.com/ep72/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod

A spark of madness is often the first step toward creation. On today's episode, we welcome Bojan Dulabic, a passionate Vancouver-based filmmaker who pulled off a small miracle—he made a full-length zombie movie for just $5,000. But this isn't just a story of budgeting brilliance; it's a tale of relentless passion, artistic vision, and the kind of self-taught wisdom you can't get in film school.Born in Bosnia, raised in Germany and Croatia, and finally settled in Canada, Bojan Dulabic's journey into filmmaking is stitched together by war, displacement, and a child's fascination with VHS tapes in his mother's shop. His early life sounds like something out of a global coming-of-age novel. And perhaps that nomadic upbringing seeded in him a gift for observation—a key trait in any great storyteller. When he finally turned his teenage creativity into a film project in high school, something clicked. Not just the shutter on a camera, but the internal compass of a man who knew he had to follow the path of cinema, even if it meant doing it on his own terms.This wasn't a journey paved in gold. His first feature, shot for $4,000, was a comedy that taught him the ropes. His follow-up? A feature-length zombie film titled Project Eugenics.What could have been a cliché genre dive instead becomes a thoughtful narrative on misinformation, the chaos of modern life, and yes—zombies as metaphors. “To me, a zombie flick... it's not about the zombies. It's always about something else,” Bojan reflects. In his hands, the walking dead become symbols of mass confusion, manipulation, and the blurred lines of truth in our hyper-connected world.There is a playful seriousness to Bojan's philosophy. He reveres Romero and admires Rodriguez, but he walks his own road. Like Alan Watts would muse about the dancer and the dance, Bojan seems less concerned with final outcomes and more with being in the creative flow—tripping over obstacles and finding meaning in the madness. He shares stories of juggling a wedding, a tight shooting schedule, and DIY visual effects like a magician with duct tape. His secret? A mindset that embraces “safe confusion”—a term borrowed from Tarantino—that invites the audience into mystery without losing them.What's more, Bojan brings a rare humility to the table. He speaks about his cast and crew with deep respect, understanding that low-budget filmmaking doesn't give you the license to burn out others for your dream. His actors often worked just a few days, each scene scheduled with precision.His respect for time, energy, and goodwill may be the real reason his film came together. For him, filmmaking is not just a creative act but a spiritual contract—with himself, with his collaborators, and with the audience.This podcast isn't just a technical breakdown of low-budget indie cinema. It's a spiritual blueprint for artists who feel the fire but lack the funds. Bojan's approach is radical because it's so simple: take stock of what you have, and build from there. Whether it's stock footage, free VFX plugins, or your friend's living room—use it. More importantly, finish it. Don't wait for permission. Make your movie now.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Hear how Foundation season 3's jaw-dropping visuals came together as Chris McClean walks us through the season's standout VFX challenges and innovations.

The anonymous "VFX soldier in the trenches" who took on the studios is back, and the fight he started is far from over. Two legends of the VFX labor rights movement, Daniel Lay (the formerly VFX Soldier) and veteran exec Scott Ross, join Chris and Daniel Thron to revisit the pivotal moment their fight began. The conversation goes back 10+ years to when the VFX Soldier blog became the rallying cry for an industry in crisis, detailing why Lay started it, his reasons for anonymity, and how he and Ross ultimately "merged forces" to fight for artists. The group dives deep into the history of their legal battle, revealing how their "Jedi Knight" law firm nearly won a tariff war against the studios, a fact later confirmed by the 2014 Sony hack. They also connect this past fight to the present, discussing the new Trump administration tariff proposal, the disruptive force of AI, and whether the collapse of the studio tentpole model finally creates an opportunity to rebuild the industry. Original VFX Soldier Blog > Scott Ross on LinkedIn > "Leaked Sony E-mails Reveal Execs Feared "VFX Soldier" (Cartoon Brew) > VFX Grunt on YouTube >   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "cggarage" for 10% off)

In this episode, Asim, Amrita, and Sujoy revisit the cult chaos that is Jaani Dushman: Ek Anokhi Kahani (2002) — the film that somehow managed to combine Terminator, The Matrix, Nagina, and 2000s melodrama into one glorious fever dream. From Armaan Kohli's muscle suit to Raj Babbar's “religious Voltron” pendant, no absurdity goes unexamined. The team breaks down how this film became a cornerstone of “so bad it's good” Bollywood, complete with CGI skeletons, ghost revenge plots, and a cast that includes everyone from Sunny Deol and Akshay Kumar to Sonu Nigam and Rambha. Expect unfiltered laughter, film trivia, and several “why did we watch this?” moments.

Have you ever wondered how your favorite movies are made? Today, we're going behind the scenes of the VFX process with Eric Kimelton, a visual effects supervisor who's helped bring countless on-screen worlds to life. In this episode, Eric breaks down: How VFX artists help directors visualize every shot before filming even begins What goes into building digital environments you see on screen How advancements in technology are transforming visual effects Why collaboration between artists, directors, and editors is the key to movie magic ✨ If you love learning how film magic is made—or just want to better appreciate the work behind your favorite Disney, Marvel, or blockbuster movies—this is a fascinating deep dive into the world of VFX. Submit a question/topic for us to discuss on a future episode. Don't forget to check us out on: -Instagram -Facebook  -Youtube Missing the smell of the parks? Check out Magic Candle Company and use code ENCHANTED at checkout to save 15% off your next order. Timestamps Welcome 00:00 Welcome Back Eric 03:08 How Eric Got Started in Visual Effects 05:11 How Movies are Made Completely Digitally First 9:42 Live Action vs. Animated Movies 17:47 The Benefits of Motion Capture Performances 22:31 The Production Process 26:40 Designing Characters 32:27 Creating the Final Scene 36:53 Editing Up To the Last Minute 47:12 The Impact of Reshoots on the Visual Effects Process 48:58 The Impact of Technology and AI 50:56 How to Start in the VFX Industry 53:38 Who Should We Interview Next? 59:49

The Cinematography Podcast Episode 331: Tobias Datum Murderbot is the story of a security unit, part-human and part-machine, that has hacked its governing module to act in its own free will: mainly to be left alone to watch TV shows. Cinematographer Tobias Datum views the Apple TV+ series as a visual exploration of a synthetic being's journey toward humanity and self-discovery. Tobias worked closely with show creator and director Paul Weitz, continuing a collaboration that spans over ten years with Paul and his brother, Chris Weitz. The production team included production designer Susan Chan, VFX supervisor Sean Falden, and colorist Tim Vincent. As a cohesive group that had worked together before, they were instrumental in establishing the show's distinctive visual identity. Working with the team, Tobias set the visual tone during pre-production to ensure a smooth, consistent flow throughout the shoot. He faced the challenge of lighting and shooting a cohesive environment that spanned multiple, drastically different settings. Murderbot takes place on an alien planet, on space ships and space stations, and in Murderbot's own head as it watches its favorite galactic soap opera, Sanctuary Moon. For the alien planet, the goal was to ground the setting in a believable, "earthly reality" where human life could exist, all while adhering to the production's budget and schedule. A volume stage was extensively used for scenes shot inside the ships, space stations, and for the stylized Sanctuary Moon segments. Exterior planet scenes were shot on location at a sand quarry pit in Ontario, Canada. A large, two-story exterior set for the habitat was constructed there, while the habitat's interiors were built on a separate soundstage. The diverse settings of Murderbot presented unique lighting issues. Fortunately, the design of the planet was grounded in reality, so Tobias lit for a desert planet with minimal vegetation. He used a translight as a backdrop and integrated practical lighting directly into the sets. The main habitat, designed as a translucent bubble with many windows, required careful management of its natural glow. Tobias used negative fill to strategically tone down the intensity. Dr. Mensa, the human leader of the group, acts as an anchor for the story's emotional stakes. To maintain narrative focus, Tobias consistently lit and framed her with clarity, regardless of her position relative to the other characters. At first, he was concerned that lighting the Murderbot character would be problematic, especially when it wears its highly reflective helmet. “Murderbot's a mirror ball, you know,” he explains. “So that meant lighting is going to be visible, and you don't want every shot to be a VFX shot. Once I saw the very first stage of that suit, I was like, ugh. But then when we started doing tests, it's kind of forgiving. I don't think we had a lot of equipment removal from Murderbot's helmet.” Tobias's journey began at film school in Berlin before he was accepted into AFI as a graduate student. There, he began building his portfolio while working on his colleagues' films. He credits a strong work ethic—constantly taking jobs and learning through experience—with his success as a director of photography. He reflects on his career with gratitude. “It's a great privilege and we're getting paid for this stuff. It's like every time I walk on a set, I'm just like, am I lucky. This is a great way to make a living.” See Murderbot on AppleTV. Find Tobias Datum: https://tobiasdatum.me/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Seth Worley https://www.imdb.com/name/nm2124394/ made money selling tools for filmmakers. And Matt and Oren get him to talk about ways filmmakers can make side-income today. Can filmmakers make money selling plug-ins and stock footage? And if so, how?But why make side-income as a filmmaker or working commercial director? Simply put: AI. And the guys get into a broader discussion how AI will change video and the impact AI will have in an already saturated marketplace of creatives. And they wrestle with tough questions like, what kind directors won't be replaced by AI?Like a lot of filmmakers, Seth's real passion is making good work. And he gets into his 9-year journey to complete his latest film, "Sketch". Did it change his life completely? The short answer is no. But you'll want to hear how making his feature film transformed how he worked from Nashville as a commercial director.This is the VFX episode you won't want to miss. And you'll hear some great tips for making a Spielberg-reminiscent, Amblin-inspired movie for today's audiences.Find Seth on IG @thesethworley---Help our Patreon! https://www.patreon.com/JustShootItPodMatt's Endorsement: Evan Monsma's YouTube Channel https://www.youtube.com/@EvanMonsmaOren's Endorsement: "Why You Should Shoot It Twice" from Frameset https://www.youtube.com/watch?v=JSrlQdtuLi0The latest episode from the podcast "Lonely Island and Seth Meyers " https://podcasts.apple.com/us/podcast/laser-cats-5/id1738121304?i=1000732778308Edgar Wright on "Smartless" podcast https://podcasts.apple.com/us/podcast/edgar-wright/id1521578868?i=1000731238799Seth's Endorsement: Sho Pizza Bar https://www.shopizzabar.com/ The album "Getting Killed" by the band Geese. https://geesebandnyc.bandcamp.com/album/getting-killed The soundtrack from "It Follows" https://music.apple.com/us/album/it-follows-original-motion-picture-soundtrack-deluxe/1842890406 Hosted on Acast. See acast.com/privacy for more information.

It's that time again! It's October. The sun goes down in the afternoon now. Night has a chill. And at CVS and Walgreens, they are already putting up the Christmas decorations. That's right, it's Halloween. But none of that for us! We are firmly planted in autumn. As Ray Bradbury once wrote, “Something, something, something, autumn something.” By Ray Bradbury. We have enough show here to stuff your pillowcase, so grab a bag of candy and settle back. Howard Berger and Marshall Julius are here to discuss their new book, Making Monsters, inside stories from the creators of Hollywood's most iconic creatures. This is a terrific book, basically it's a high school yearbook for professional monster kids. Rick Baker, Tom Savini, Michael Giacchino, Larry Karaszewski, Ve Neill, Richard Edlund, Derek Mears, Bill Corso, David Dastmalchian, Mick Garris, Mike Mendez. The list goes on and on and on. Monster kids who grew up but never put it away, and followed their passions right into show business. Packed with photos and interviews, it's really a terrific piece. Making Monsters, by Howard Berger. The Academy Award winning make up artist, he is the B in KNB FX and Marshall Julius, author and film critic and - get this – he's British. He's from the United States of Britain. Daren Docterman is also here. Daren is an illustrator and set designer, he's worked on The Abyss, Monster House, Master and Commander, he was the VFX supervisor on the director's cut of Star Trek - The Motion Picture. He, along with Mark Altman and Ashley Miller, make up The Inglourious Trexperts. Check out that podcast. And, like Howard Berger and Marshall Julius. He's a pal. We've had meals. Quite a few. Daren Dochterman. True Tales From Weirdsville takes a deep dive into American International Pictures and it's genre output in the '50s and '60s. It gave us Roger Corman, It Conquered The World, Invasion Of The Saucer Men, The Amazing Colossal Man, I Was a Teenage Werewolf. And then it segued into the '60s with the Vincent Price / Edgar Allen Poe films like The House Of Usher, The Pit and The Pendulum, and so and and so forth. And then, as a Halloween bonus, we're going to go back into the archives and present you the True Tales we did on Orson Welles' War Of The Worlds broadcast. It's all here. It's all for you. And now, I can hear the kids at the door, and so it is on to our filthy business.

SEASON 2 - EPISODE 164 - 28 YEARS LATER - with Anthony Dod Mantle In this special episode of the Team Deakins Podcast, cinematographer Anthony Dod Mantle (Season 1, Episode 68) returns to discuss his work on 28 YEARS LATER. The film was shot extensively using modified iPhones, and Anthony shares his early conversations with director Danny Boyle about the film's intended rural setting that informed their decision to commit to using the devices. Anthony later explains how he jailbroke the iPhone's camera system with the help of tech advisors and employees at Apple, and we discuss how the limitations of the phone forced Anthony to adjust the amount of light he used while filming. We also learn how the bar cam system actually works, and Anthony details the type of VFX work done throughout the film. We later investigate why the sequel was shot with an Alexa, and Anthony describes the elaborate build of the Bone Temple location featured prominently in both films. - Recommended Viewing: 28 YEARS LATER - This episode is sponsored by Sandstorm & Aputure

The boss made crude remarks, leaving you torn between outrage and flattery after years of marital boredom. Can good come from this? It's Feedback Friday!And in case you didn't already know it, Jordan Harbinger (@JordanHarbinger) and Gabriel Mizrahi (@GabeMizrahi) banter and take your comments and questions for Feedback Friday right here every week! If you want us to answer your question, register your feedback, or tell your story on one of our upcoming weekly Feedback Friday episodes, drop us a line at friday@jordanharbinger.com. Now let's dive in!Full show notes and resources can be found here: jordanharbinger.com/1214On This Week's Feedback Friday:Your boss made inappropriate sexual comments at a work event in front of colleagues. You're wrestling with complex emotions — you didn't want his attention, but you liked feeling desired again after years of routine marriage. How do you handle the workplace situation while rekindling intimacy at home?A 10-year-old made death threats against your daughter in the class group chat and on social media. The other child's parents told you to "play in traffic." The school principal suggested prayer and "good vibes" instead of action. How do you protect your child when those ostensibly in charge have apparently outsourced responsibility to the universe?You built a VFX career, moving from 2D to 3D work on blockbusters. Then strikes hit, the industry shrank, and AI started taking over. With a baby coming, you need stability but fear obsolescence. How do you transition when your passion industry is collapsing around you?Recommendation of the Week: Withings BPM Connect Digital Blood Pressure Cuff & Heart Rate MonitorYou've been a longtime listener wondering about Jordan and Gabe's relationship with alcohol. You're contemplating your own break from the bottle and wondering about their stance on the sauce, the giggle juice, the liquid social lubricant that flows through so many adult conversations.Have any questions, comments, or stories you'd like to share with us? Drop us a line at friday@jordanharbinger.com!Connect with Jordan on Twitter at @JordanHarbinger and Instagram at @jordanharbinger.Connect with Gabriel on Twitter at @GabeMizrahi and Instagram @gabrielmizrahi.And if you're still game to support us, please leave a review here — even one sentence helps! Sign up for Six-Minute Networking — our free networking and relationship development mini course — at jordanharbinger.com/course!Subscribe to our once-a-week Wee Bit Wiser newsletter today and start filling your Wednesdays with wisdom!Do you even Reddit, bro? Join us at r/JordanHarbinger!This Episode Is Brought To You By Our Fine Sponsors: DeleteMe: 20% off: joindeleteme.com/jordan, code JORDANBetterHelp: 10% off first month: betterhelp.com/jordanMint Mobile: Shop plans: mintmobile.com/jhsLand Rover Defender: landroverusa.comHomes.com: Find your home: homes.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.