Podcasts about vfx

Infinity Ward just had its biggest Modern Warfare 4 reveal week yet — and the community immediately found the flaws. We break down everything shown at the MW4 creator event and Fanatics Fest: the Kill Block modular map with 500+ configurations, the gunplay reveal and the instant visual recoil backlash, VFX masking, no-bloom hipfire, doors, takedowns, proximity chat, and the Aston Martin Dreadnought that quietly confirmed Warzone isn't dead yet. Then the real question: MW4 looks like MW19 2.0 — but is a well-executed return to form enough in 2026? We get into why the arcade shooter can't hold anyone's attention all year anymore, why the "third game mode" is the entire Call of Duty paradigm now, and why everything — the game, the year, maybe the franchise's momentum — is riding on DMZ2. Plus: why you should treat beta weekend two as the final verdict, because beta tests aren't beta tests anymore. Also announced: monthly Patreon hangouts are BACK starting in August — hot take open mics, trivia, and more. patreon.com/thedropshot One of us is buying in. One of us has seen this movie before. You know how this goes. 0:00 - Intro 1:18 - MW4 reveal week: how we got here 3:30 - Patreon hangouts are BACK (August) 8:31 - Topic of the week: the MW4 reveal 9:07 - Kill Block: the shapeshifting map 15:01 - Was Kill Block worth the dev time? 20:00 - Kill Block in a BR? The bigger idea 25:15 - The gunplay reveal & firing range video 27:56 - Realism vs. fun: the two camps 30:06 - The visual recoil backlash 34:08 - Jake: I'll take Infinity Ward's flaws 35:48 - Raz: "Wouldn't it be nice?" 42:22 - VFX masking & visual noise 43:51 - The feedback honeypot pattern 48:43 - Bullets punch holes through smoke 51:09 - Underhand grenade throws 53:15 - "MW2 with improvements?" debate 57:27 - Raz: it's just more CoD slop 1:01:10 - Is a return to form enough in 2026? 1:07:49 - The third-game-mode paradigm 1:15:23 - Did Aston Martin just confirm Warzone? 1:16:31 - The Warzone fan's dilemma 1:19:10 - Doors, takedowns & prox chat 1:21:39 - No-bloom hipfire & the Tarkov skill gap 1:27:44 - The Aston Martin Dreadnought 1:31:51 - Combined-arms big maps 1:34:25 - Raz's beta advice 1:36:17 - Where is CoD Next? 1:39:21 - Wrap-up & what we're playing _Note: timestamps may be slightly misaligned on podcast apps (but not on YouTube) due to dynamic ads._ The podcast is available wherever you listen to podcasts, and ad-free & early access versions - as well as bonus episodes - are available to all of our Patreon (https://www.patreon.com/thedropshot) supporters. We stream the podcast live on our YouTube (https://www.youtube.com/c/thedropshotpodcast) every Saturday morning at ~9 o'clock Pacific Time. We typically start the stream 30 minutes early to answer viewer questions, banter, and chat. Links for everything are below. Thanks for checking us out!

Steven Spielberg is the most famous filmmaker alive, which is exactly why almost nobody actually understands him. Chris and Daniel use Disclosure Day, Spielberg's new alien chase thriller with Emily Blunt, to argue that the "safe, mainstream" reputation is a decades-long misdirection: underneath the crowd-pleasing surface is a genuinely weird, deeply personal artist who has been smuggling strange, uncomfortable ideas inside blockbuster packaging since at least Close Encounters. They trace it through Fabelman's casting David Lynch as John Ford, the theory that Kubrick handed Spielberg AI specifically because Spielberg's glossy reputation could disguise a bleak, unnerving film, and the moment James Lipton caught Spielberg off guard by connecting his parents directly to Close Encounters on camera. Disclosure Day itself is proving strangely divisive, and Chris and Daniel dig into why. They break down its Sugarland Express-style chase structure, an Emily Blunt performance that starts as broad comedy and quietly transforms into something much stranger, a train sequence built to feel genuinely dangerous rather than stylized, and the VFX work from longtime collaborator Matthew Butler. Along the way, a detour into Spielberg's actual filmmaking journey, from Close Encounters to Poltergeist to AI, makes the case that his reputation as the "obvious" director has always been the biggest misdirection in his own filmography. Referenced in this episode: Disclosure Day Close Encounters of the Third Kind Poltergeist A.I. Artificial Intelligence War of the Worlds Minority Report The Fabelmans Sugarland Express Matthew Butler, VFX Supervisor Sponsors: Center Grid Virtual Studio: https://cgvirtualstudio.com/

401 VelociPastor II Interview Jurassic Park Trivia Comic Con CarrieDoom Scrolling IntroThe Foos kick off the 400s with yard-work injuries, mosquito attacks, and the ongoing backyard project that may or may not destroy Joe's arm before it's done. Steph explains her mosquito bite allergy situation, Joe suspects he messed up his elbow trenching in 90-degree weather, and somehow this still counts as progress.Geeking Out starts with San Diego Comic-Con week: Marvel is expected to bring Avengers Doomsday heat to Hall H, Insomniac is showing off Marvel's Wolverine, DC is bringing Batman: Caped Crusader and Lanterns energy, Guillermo del Toro is tied to Pan's Labyrinth programming, and The VelociPastor II is premiering at the con with a double feature of the original movie.Then it's horror TV news: Mike Flanagan is bringing Stephen King's Carrie to Prime Video as a series, which actually makes sense given his track record with Gerald's Game and Doctor Sleep. The Foos also talk American Horror Story Season 13 bringing back a massive lineup of franchise favorites, including Jessica Lange, Sarah Paulson, Evan Peters, Angela Bassett, Kathy Bates, Emma Roberts, and Billie Lourd.In honor of Sam Neill, Steph runs Joe through Jurassic Park trivia focused on the original movie. There are correct answers, wrong answers, technical difficulties, a timer disaster, and the realization that the first dinosaur they see is not the Triceratops with the giant pile of poop.The main event is an interview with Jesse Gouldsberry, director of The VelociPastor II and producer/director of photography on the original VelociPastor. Jesse talks about how a fake title and college short became a real cult movie, how the first trailer went micro-viral and even landed on G4's Attack of the Show, the jump from the first film's tiny budget to the sequel, and why having more money doesn't mean losing the handmade chaos.They dig into the fake Australian trailer narration, the legendary “VFX: Car on fire” placeholder gag, balancing intentionally ridiculous filmmaking with actual story structure, the pressure of making a sequel to a cult favorite, and the DIY production choices that keep the movie feeling like community-theater grindhouse insanity in the best way possible.Jesse also talks about premiering The VelociPastor II in a 14th-century church in Prague, bringing it to San Diego Comic-Con, planning a roadshow, getting rights back to the first film, possible future streaming/distribution plans, and why fans should ask their local theaters to bring the movie to town.ChaptersDoom Scrolling IntroIntroMosquito bites skeeter syndrome and yard work injuriesBackyard project trenching granite sod and chaosGeeking Out San Diego Comic-Con previewMarvel Avengers Doomsday Hall H expectationsMarvel's Wolverine deep dive at Comic-ConDC Batman Caped Crusader Lanterns and Pan's Labyrinth programmingThe VelociPastor II Comic-Con double feature previewMike Flanagan Carrie series for Prime VideoAmerican Horror Story Season 13 franchise reunionJurassic Park trivia in honor of Sam NeillInterview Jesse Gouldsberry joins the showThe VelociPastor origin fake title college short and G4VelociPastor II budget sequel pressure and DIY chaosFake Australian trailer voice and VFX car on firePrague church premiere and San Diego Comic-Con screeningRoadshow plans streaming rights and future VelociPastor ideasOutro + Doom Scrolling OutroThe Foobar Show, VelociPastor II, Jesse Gouldsberry, VelociPastor interview, San Diego Comic-Con 2026, Avengers Doomsday, Marvel's Wolverine, Batman Caped Crusader, Lanterns DC, Mike Flanagan Carrie, Stephen King, American Horror Story Season 13, Jurassic Park trivia, Sam Neill, grindhouse comedy, cult movie sequel

Episode 118-Live from Texas Haunters Convention 2026 Released 19 July 2026 Hosts: John Schelt, Keoni Hutton & Leslie Reed We had a blast at Texas Haunters Convention and streamed a live show from booth 322.  This is the recording of that livestream. If you want to see the video, check out our YouTube page at https://youtube.com/live/XhpdtA-EqsU. Resources mentioned during this episode: Here are the featured vendors: Dead Noodle Studios: https://deadnoodlestudios.myshopify.com/ Scare Innovations: https://scareinnovations.com/ Mind Trap Creations: https://www.etsy.com/shop/MindtrapcreationsArt 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.  

Premier épisode de la EVIL DEAD WEEK, notre semaine dédiée à EVIL DEAD BURN où on vous propose TROIS épisodes autour de la production du nouveau film de la saga culte. Dans ce premier épisode, on reçoit THIBAUT JOUHANNET, superviseur VFX sur le film, pour nous expliquer les secrets de fabrication du film !Musique de cet épisode composée par EROINA : https://www.eroinamusic.com/https://www.youtube.com/@Eroinamusic Suivez-nous sur Bluesky et Instagram : @jumpscarecastContact : jumpscarecast@gmail.com L'ancienne musique de Jumpscare: https://cedriccremet.bandcamp.com/album/jumpscare-original-podcast-soundtrackTout l'argent revient au compositeur, n'hésitez pas, et envoyez lui du love ! Discord de Jumpscare : https://discord.gg/ew9CfgYCz8 https://jumpscare.lepodcast.fr/

Non-Spoilers for nearly 75 Mins, we discussed Oscars potential in all categories for Christopher Nolan's The Odyssey, before we dive into about 20 minutes on the film's final act. This is Part I of our coverage of The Odyssey, followed by Part II with a very special guest in Variety's Jazz Tangcay. NON-SPOILER REVIEW OF THE ODYSSEY: Critical & Audience Reception Numbers & Box Office Projections - 2:40 Exceeded Expectations and the Plot Premise - 7:36 Best Picture & Discussing Producers Emma Thomas and Christopher Nolan - 8:12 Is Best Director over? - 11:44 Adapted Screenplay Thoughts & Should AlsoMom come see this - 17:14 Jennifer Lame's Film Editing - 24:31 Matt Damon's Lead Actor Candidacy - 28:34 Anne Hathaway, Casting, Other Supporting Possibilities & Ensemble Awards - 30:46 Sound Design - 42:55 Ludwig Goransson's Original Score - 44:49 Then Original Song: When I'm Home - 50:03 VFX - 51:52 Ellen Mirojnick's Costume Design & The MUAH - 54:20 Hoyt van Hoytema's Cinematography - 1:00:06 Production Design - 1:03:08 The Final Oscar Lens Assessments & Over / Under - 1:07:38 A SHORT SPOILER SECTION ON THE ENDING OF THE ODYSSEY - 1:16:42 OUTRO: Stay tuned for Part II of our coverage of The Odyssey next week when we are joined by a very special guest for a larger spoiler filled discussion. In the meantime, you can read Jazz Tangcay's coverage at Variety here: https://variety.com/author/jazz-tangcay/ We'll also be LIVE on Chaz and AJ in the Morning on Monday 7/20 around 8:20am EST to discuss our reactions to the film. Listen here: https://www.wplr.com/listen-live And finally, you can find links to all our other episodes and social media here: https://linktr.ee/mikemikeandoscar

Nous sommes heureux de révéler la EVIL DEAD WEEK ! La semaine prochaine, vous aurez droit à un de nos projets les plus ambitieux : 3 podcasts en une semaine qui reviennent sur différents aspects de la production d'EVIL DEAD BURN, le nouvel opus de la saga culte réalisé par Sébastien Vaniček et écrit par Florent Bernard. On a invité du beau monde pour l'occasion. Le premier épisode reviendra sur la création des effets spéciaux numériques du film avec Thibaut Jouhannet qui a travaillé sur le film en tant que superviseur VFX et que vous connaissez bien si vous écoutez le podcast... Vu qu'il fait la voix française de nos invités anglophones ! Jack Sholder, Robert Englund... C'est lui

Sarah (Jessika Van) and Molly (Courtney Pouroso) receive some unfortunate marketing data in Grind (2026) Intensity:

Commercial director, AI filmmaker, and USC professor Ben Hansford joins Reid Hoffman and Parth Patil to explain how AI is reshaping Hollywood, film production, VFX, and comics. Ben has been experimenting with generative AI since before DALL-E and Midjourney went mainstream, using the earliest tools to sharpen commercial treatments, win jobs, and teach one of the country's first AI film courses. He traces Hollywood's arc from student protests and industry resistance to a scramble for answers, as shrinking budgets and shifting audiences push creators toward new workflows. He also recounts how a 30-minute AI VFX test reset his sense of what a director can prototype, and why he's building BloqBloq around a stark creative bottleneck: as he puts it, there are more NBA players than professional comic book illustrators. He maps the "iceberg" of creation, from databases and security to publishing and iteration, and explains why turning an idea into a finished product takes more than a prompt. For Ben, AI isn't just a tool. It's a crew. For more info on the podcast and transcripts of all the episodes, visit https://www.possible.fm/podcast/

Episode 117-Haunt Actor Training with Drew Badger Released 15 July 2026 Hosts: John Schelt, Keoni Hutton & Leslie Reed Its time to start thinking about how you will staff your haunt, and whoever you bring in to help can benefit from training.  Experienced Haunt Actor and Owner of Rabid Badger Haunt Consulting (not to mention host of the Big Scary Show), Drew Badger is here to talk all about actors. Resources mentioned during this episode: Drew Badgers Links: Rabid Badger Consulting: https://www.rabidbadger.org/ Big Scary Show: https://www.bigscaryshow.com/ Chamber of Haunters Website: https://chamberofhaunters.com/ Instagram: https://www.instagram.com/chamberofhaunters/ Facebook: https://www.facebook.com/chamberofhaunters ScaredU: https://scaredu.org/ May Lunch & Learn:  Part 1: https://www.youtube.com/watch?v=_McKDzLuICM Part 2: https://www.youtube.com/watch?v=qmuaQ49aOII 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.  

In this episode, we welcome director Connie He and Google DeepMind's Márcia Mayer to discuss the making of Dear Upstairs Neighbors, which premiered at the Tribeca Festival in June. Connie and Márcia, both Pixar alumni, embarked on a creative journey to explore how emerging technologies could help bring Connie's story and artistic vision to life. In our conversation, they discuss their respective roles in the project, the collaborative process behind this unique animated film, DeepMind's mission to empower creators through cutting-edge technology, and what they learned along the way. They also share advice for the next generation of storytellers navigating today's rapidly evolving creative landscape.“The Making Of” is presented by AJA:AJA introduces high-performance Thunderbolt™ 5-enabled PCIe expansion chassisMeet Io Xpand, a Thunderbolt 5 expansion chassis for AJA KONA and Corvid I/O cards. Io Xpand lets video professionals integrate the performance of AJA PCIe I/O cards on Thunderbolt 5 laptops and mini-PCs for an incredibly powerful, fast, and portable I/O solution for on set, remote production, and live switching. Visit hereA Solution Built Around Your WorkflowThe OWC Express 4M2 Ultra is available in a range of configurations to fit your workflow and budget. Choose from ready-to-run solutions with up to 32TB of high-performance NVMe storage, giving you the speed, capacity, and reliability needed for everything from multi-camera editing to demanding VFX and finishing workflows. Available now. Learn more hereNew York City | July 28The sports-production landscape is undergoing a dramatic transformation as a result of the cloud and AI, and SVG's new Cloud & Content Workflows Summit is where the industry comes together to navigate it. As virtualized hardware, cloud-based workflows, and AI-powered tools become more commonplace, the entire sports-production supply chain is being reimagined from the ground up. This special event brings together SVG's previous Cloud Production and Content Management events into a single, comprehensive day of programming—covering both live and non-live production workflows alike. Learn more hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows.Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors. Read more hereSanDisk Extreme PRO USB4 Portable SSDPower your workflow with the SanDisk Extreme PRO USB4 Portable SSD, available in 2TB and 4TB capacities. Featuring speeds up to 3800 MB/s read and 3700 MB/s write, it's built for fast transfers and editing. The rugged, IP65-rated design is ready for work anywhere. Learn more at Videoguys or call 800.323.2325 for free tech advice. View herePodcast Rewind:July 2026 - Ep. 141.Explore a Partnership with The Making Of:Reach over 275,000 film industry, broadcast professionals, and content creators reading this weekly newsletter. To learn more, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Ian Failes from befores and afters chats to ILM compositing supervisor Todd Vaziri, who via his VFXHQ.com website in the late 90s kickstarted Ian's career in VFX journalism.

A24 announced a $75 million research partnership with Google DeepMind and framed it as R&D for production tools, not a content deal. Nobody cared about the distinction. Chris, Daniel, and James Blevins spend the first half of this Rough Cut on why that announcement landed like a betrayal anyway, then pull the same thread through the Paramount Skydance and Warner Bros. Discovery merger, Mark Ruffalo's New York Times op-ed on quiet industry retaliation, and what it means that four studios now control what used to take six. From there the panel turns to Christopher Nolan's press tour for The Odyssey and the practical-versus-VFX marketing dance that VFX artists roll their eyes at every single time it resurfaces. They close with a Monstrous Moonshine state of the union, walking through the June July shoot and a quick, lighthearted aside on why the show still uses AI tools like Suno for its own theme song. Mentioned this episode: A24, Google DeepMind Paramount Skydance, Warner Bros. Discovery, Mark Ruffalo, Matt Stoller Christopher Nolan, The Odyssey, D-Neg, Weta Workshop Monstrous Moonshine June July Suno Special thanks to our sponsor: Center Grid Virtual Studio: https://cgvirtualstudio.com/

From LiDAR to Gaussian splats, Clear Angle is capturing the real world so the best VFX teams, in the world, can rebuild it: one scan, one face and one lava field at a time.

Rathnavelu enters the Permit Room and talks about our new set, Peddi trailer, working on Peddi, meeting Sukumar, VFX breakdowns, why movies get delayed, shooting dual roles, music videos, rich visuals in Peddi, small vs big films, being a Peddi himself and much more!Chapters:00:00 - Rating our new set1:55 - Does he use phone for photos?7:47 - Peddi trailer10:22 - Meeting Sukumar16:32 - Why movies get delayed?28:56 - VFX breakdown34:26 - Born with talent?39:01 - Difficulty with dual role46:54 - Focused in shoot50:23 - Shooting music videos56:22 - Movie watching experience57:54 - Rich visuals in Peddi1:07:14 - Validation1:09:38 - Small film vs big film1:31:42 - Dolby, IMAX1:35:48 - Movie recommendations1:46:28 - Cricketer and Dhoni fan1:49:27 - Four aspects

On this Thursday bonus episode we are going to play the interview from episode 519 from March 2025 featuring VFX artist turned feature director Bryant Griffin, who left his job at Lucas Arts to make his first feature film, Young King. I thought this was a great match for Anthony Lucero from Monday because he also used to work at Lucas Films and left when he made his first feature as well. After that we play another round of You're the expert, enjoy! Don't forget to support us on Patreon! www.patreon.com/mmihpodcast Leave us a Review on Apple Podcasts! https://podcasts.apple.com/us/podcast/making-movies-is-hard-the-struggles-of-indie-filmmaking/id1006416952 Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Most AI image tools give you a prompt box and a result. ComfyUI gives creators the pipeline underneath - the models, parameters, nodes, and repeatable workflows that can turn visual AI from a toy into production infrastructure.In this episode of The Neuron, Corey Noles and Grant Harvey talk with Yannik Marek, co-founder and original creator of ComfyUI, about why node-based workflows matter, how open-source visual AI is moving into real creative production, and what teams gain when they can inspect, modify, and repeat every step of generation.They cover how diffusion models work in plain English, why Comfy is useful for VFX, gaming, animation, e-commerce, and creative studios, and how Comfy balances open-source values with Cloud, API, and Enterprise products. Yannik also shares practical hardware advice for running models locally, where open models are catching up fastest, and why the future of creative AI may depend less on a universal prompt box and more on visible, controllable workflows.Try ComfyUI at comfy.org, and subscribe to The Neuron for more grounded conversations about AI in practice.https://www.theneuron.ai/The Neuron Academy helps professionals build practical AI skills they can use right away, with lessons on prompting, workflows, and real workplace use cases. Check out theneuronacademy.com today!

In this episode, we welcome award-winning cinematographer Jeff Hester, whose work includes documentaries such as Postcard from Earth, Our Planet, Dolphins Up Close with Bertie Gregory, Planet Earth III, and Hammerhead Sharks Up Close for Nat Geo's annual summer event, SHARKFEST. In our conversation, Jeff shares his journey into cinematography, how he developed his unique skill set, and the making of Hammerhead Sharks Up Close. He also discusses what it's like to film underwater alongside sharks, the specialized cameras and techniques used to capture these incredible images, and offers valuable insights for the next generation of filmmakers.“The Making Of” is presented by AJA:AJA introduces high-performance Thunderbolt™ 5-enabled PCIe expansion chassisMeet Io Xpand, a Thunderbolt 5 expansion chassis for AJA KONA and Corvid I/O cards. Io Xpand lets video professionals integrate the performance of AJA PCIe I/O cards on Thunderbolt 5 laptops and mini-PCs for an incredibly powerful, fast, and portable I/O solution for on set, remote production, and live switching. Visit hereThunderbolt 5 Speed. DIY RAID Without Limits.The OWC Express 4M2 Ultra is a next-gen Thunderbolt 5 NVMe enclosure built for serious post workflows. Delivering up to 6622MB/s, it lets you use your own drives to create a high-performance RAID with up to 32TB—and beyond via daisy chaining. Compact, powerful, and scalable for 8K+ and VFX workflows. Available for pre-order now, shipping in late June. Explore hereNew York City | July 28The sports-production landscape is undergoing a dramatic transformation as a result of the cloud and AI, and SVG's new Cloud & Content Workflows Summit is where the industry comes together to navigate it. As virtualized hardware, cloud-based workflows, and AI-powered tools become more commonplace, the entire sports-production supply chain is being reimagined from the ground up. This special event brings together SVG's previous Cloud Production and Content Management events into a single, comprehensive day of programming—covering both live and non-live production workflows alike.Learn more hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows.Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors. Read more hereSanDisk Extreme PRO USB4 Portable SSDPower your workflow with the SanDisk Extreme PRO USB4 Portable SSD, available in 2TB and 4TB capacities. Featuring speeds up to 3800 MB/s read and 3700 MB/s write, it's built for fast transfers and editing. The rugged, IP65-rated design is ready for work anywhere. Learn more at Videoguys or call 800.323.2325 for free tech advice. View herePodcast Rewind:July 2026 - Ep. 140.Promote your brand with The Making Of:Reach 275,000+ film industry, broadcast pros, and content creators reading this newsletter. To explore a partnership, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Cooke's Jordan Thistlewood joins us to explain why lens /i Tech may be the missing link between what was shot on set and what VFX needs to finish the shot, and we should now be demanding it.

"Be careful what you wish for..."This week, we are diving deep into the ancient, ruby-encrusted world of Wishmaster (1997)! While critics might have slept on it back in the day, the You Run Podcast crew is planting our flag: this movie is an absolute, criminally underrated 90s horror classic.Directed by special effects legend Robert Kurtzman and executive produced by Wes Craven, Wishmaster delivers the ultimate playground of twisted logic and gruesome, practical VFX. We break down Andrew Divoff's brilliantly sinister performance as the Djinn, that jaw-dropping statue-coming-to-life party scene, and the incredible parade of horror cameo royalty (Robert Englund, Kane Hodder, and Tony Todd, just to name a few!).Special Guest Alert!

From being fascinated by cartoons as a child to editing blockbuster Punjabi music videos, Jalandhar-born Dilpreet Singh is the creative force behind some of the most imaginative visuals on Punjabi pop culture screens. His notable work includes Karan Aujla's 'Ink', 'Admirin' You', 'Mexico', along with several hit videos for Tegi Pannu, Parmish Verma, Mani Sandhu and many other Punjabi music stars. Now based in Australia, the post-production professional credits his wife as his biggest source of strength. Listen to this podcast to hear Dilpreet's journey from a curious teenager to one of the Punjabi music industry's most renowned VFX artists. - ਦਿਲਪ੍ਰੀਤ ਸਿੰਘ ਨੇ ਕਦੇ ਨਹੀਂ ਸੋਚਿਆ ਸੀ ਕਿ ਬਚਪਨ ਵਿੱਚ ਕਾਰਟੂਨਾਂ ਲਈ ਉਨ੍ਹਾਂ ਦਾ ਸ਼ੌਕ ਇੱਕ ਦਿਨ ਉਨ੍ਹਾਂ ਨੂੰ ਪੰਜਾਬੀ ਮਿਊਜ਼ਿਕ ਇੰਡਸਟਰੀ ਦੇ ਮਸ਼ਹੂਰ VFX ਕਲਾਕਾਰਾਂ ਵਿੱਚ ਸ਼ਾਮਲ ਕਰ ਦੇਵੇਗਾ। ਸ਼ੁਰੂਆਤੀ ਦੌਰ ਵਿੱਚ ਕਈ ਵਾਰ ਰਿਜੈਕਸ਼ਨ ਦਾ ਸਾਹਮਣਾ ਕਰਨ ਵਾਲੇ ਦਿਲਪ੍ਰੀਤ ਦੀ ਕਿਸਮਤ ਉਦੋਂ ਬਦਲੀ ਜਦੋਂ ਡਾਇਰੈਕਟਰ ਰੂਪਨ ਬੱਲ ਅਤੇ ਗਾਇਕ ਕਰਨ ਔਜਲਾ ਨੇ ਉਨ੍ਹਾਂ ਦੀ ਪ੍ਰਤਿਭਾ ਨੂੰ ਪਛਾਣਿਆ। ਇਸ ਤੋਂ ਬਾਅਦ ਉਨ੍ਹਾਂ ਨੇ ਕਰਨ ਔਜਲਾ ਦੇ 'Ink', 'Mexico', 'Admirin' You' ਸਮੇਤ ਤੇਗੀ ਪੰਨੂ, ਪਰਮੀਸ਼ ਵਰਮਾ, ਮਨੀ ਸੰਧੂ ਅਤੇ ਹੋਰ ਕਈ ਪੰਜਾਬੀ ਸਿਤਾਰਿਆਂ ਦੀਆਂ ਹਿੱਟ ਮਿਊਜ਼ਿਕ ਵੀਡੀਓਜ਼ 'ਤੇ ਕੰਮ ਕੀਤਾ। ਐਸ ਬੀ ਐਸ ਪੰਜਾਬੀ ਦੇ ਇਸ ਪੌਡਕਾਸਟ ਵਿੱਚ ਸੁਣੋ ਦਿਲਪ੍ਰੀਤ ਸਿੰਘ ਦੇ ਸੰਘਰਸ਼, ਸਫਲਤਾ ਅਤੇ ਰਚਨਾਤਮਕ ਸਫ਼ਰ ਦੀ ਦਿਲਚਸਪ ਕਹਾਣੀ।

Episode 116-Community Sponsorship Released 02 July 2026 Hosts: John Schelt, Keoni Hutton & Leslie Reed As we continue our march toward Halloween 2026, we want to find a way to engage local businesses and organizations to start building a support structure in the community.  Come brainstorm with us and take some ideas back to your own community.  Resources mentioned during this episode: See the layout here: https://www.instagram.com/p/DZlsWSaRtMZ/ Chamber of Haunters Website: https://chamberofhaunters.com/ Instagram: https://www.instagram.com/chamberofhaunters/ Facebook: https://www.facebook.com/chamberofhaunters ScaredU: https://scaredu.org/ May Lunch & Learn:  Part 1: https://www.youtube.com/watch?v=_McKDzLuICM Part 2: https://www.youtube.com/watch?v=qmuaQ49aOII 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.  

In this episode, we welcome Eben Bolter ASC, BSC, cinematographer of the new Apple TV series Cape Fear. Eben has also lensed acclaimed projects including The Life of Chuck, The Last of Us, and Slow Horses. In our conversation, he shares his journey into cinematography, the experiences that shaped his career, and his approach to developing the visual language of Cape Fear. He takes a deep dive into the cameras, lenses, lighting, and techniques used to bring the series to life, while offering valuable advice for the next generation of filmmakers.“The Making Of” is presented by AJA:AJA introduces high-performance Thunderbolt™ 5-enabled PCIe expansion chassisMeet Io Xpand, a Thunderbolt 5 expansion chassis for AJA KONA and Corvid I/O cards. Io Xpand lets video professionals integrate the performance of AJA PCIe I/O cards on Thunderbolt 5 laptops and mini-PCs for an incredibly powerful, fast, and portable I/O solution for on set, remote production, and live switching. Visit hereThunderbolt 5 Speed. DIY RAID Without Limits.The OWC Express 4M2 Ultra is a next-gen Thunderbolt 5 NVMe enclosure built for serious post workflows. Delivering up to 6622MB/s, it lets you use your own drives to create a high-performance RAID with up to 32TB—and beyond via daisy chaining. Compact, powerful, and scalable for 8K+ and VFX workflows. Available for pre-order now, shipping in late June. Explore hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows. Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors. Read more hereSanDisk Extreme PRO USB4 Portable SSDPower your workflow with the SanDisk Extreme PRO USB4 Portable SSD, available in 2TB and 4TB capacities. Featuring speeds up to 3800 MB/s read and 3700 MB/s write, it's built for fast transfers and editing. The rugged, IP65-rated design is ready for work anywhere. Learn more at Videoguys or call 800.323.2325 for free tech advice. View herePodcast Rewind:June 2026 - Ep. 139.Promote your Brand with The Making Of:Reach 270,000+ film industry, broadcast pros, and content creators reading this weekly newsletter. To explore a partnership, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Christian Sprenger, ASC on balancing horror and comedy in Widow's Bay with lighting, practical effects, and years of trust built with producer Hiro Murai. Podcast highlights include: -How Christian's 11-year creative partnership with executive producer and director Hiro Murai has built a shared shorthand, allowing him to pitch unconventional ideas with total trust. -Why the team resisted moody, shadow-heavy horror lighting in favor of bright, high-key images inspired by Jaws and The Shining. Contrast and realism do the dramatic work instead of obvious genre inspirations. -The team's commitment to practical effects over VFX shortcuts and how that craft translates to audiences. -How Episode 6 became a deliberate break in format, and what it took to convince guest director Ti West to shoot within those constraints. Find Christian Sprenger: https://www.sprengerdp.com/ Instagram: @casprenger Widow's Bay is streaming on Apple TV. SHOW RUNDOWN: 02:05 Close Focus 14:19-01:11:22 Christian Sprenger Interview 01:12:43 Short Ends 01:17:26 Wrap up/Credits The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Degens Andy S and Brandon Bombay tell you to hold onto your butts, as they talk about the 1993 wondrous classic, 'Jurassic Park.' Andy starts off the episode by telling a story about when he got very drunk with friends and went to see a dinosaur exhibit at a museum, but was forced to rush out in a hurry after causing a scene.Then the boys prove that like life, degeneracy finds a way, as they give the dirtbag analysis treatment to Steven Spielberg's beloved film. They recall how this movie was a mega-phenomenon on release and completely captured the imagination of kids, and adults alike. Obviously much credit goes to the VFX department, but the flick is also peppered with some genuinely frightening imagery. Plus, the cast is led by a trio of freaks, as genre favorites Sam Neill, Laura Dern, and Jeff Goldblum found their mainstream grooves. Spielberg did it all while also working on his other stone cold masterpiece that same year, and the dichotomy of the two projects may have literally bled over to John Hammond's amusement park. 

Hnedel Maximore did not come up through the traditional VFX pipeline. He started drafting floor plans in Liberia, studied architecture in Michigan, got laid off during the housing crash, and worked his way across industries before landing at Speed Shape in Detroit doing automotive commercials. That's also where he and Chris first crossed paths, years before either of them could have predicted where things would end up. What Hnedel built along the way was not just a technical skillset but a spatial intelligence that became the secret weapon behind one of the most visually distinctive streaming shows in recent memory. Spider-Man Noir is shot in color and black and white simultaneously, built on sets too small for the scripted action, and executed with a noir discipline that its showrunner and director Harry Bradbeer summed up as: what if Orson Welles had a Steadicam? Hnedel breaks down how previs shaped what they could actually afford to build, how the stunt team and VFX department merged into a single production unit, and why the dual delivery format put black and white monitors at video village for the entire shoot. He also gets direct about where VFX gets siloed too late in the process, and what it means when the VFX supervisor is employee number four. Guest: Hnedel Maximore on LinkedIn > Hnedel Maximore on IMDB > References: Spider-Man Noir (Amazon / Sony) > Speed Shape Torchlight (previs) V-Ray > ILM > Fuse FX Zero VFX Scanline VFX Digital Domain > Sway Chinatown (1974) Wicked Is Pain (documentary) Backrooms Obsession Honey Don't (Ethan Coen) Blender This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)

The good folks over at WiCA (Women in Concept Art), Emily, Val & Priya join us to talk about the explosive growth of the community they have built, and why they are dedicated to elevating women's voices in Concept Art across games, animation, film, and VFX as well as the journey it has taken them as they simultaneously nurture their own career in the process and the nice surprises nurturing a community had offered them.  - FOLLOW WiCA https://womeninconceptart.carrd.co/ https://discord.gg/DCHp8YAHrW https://www.instagram.com/womeninconceptart/ https://www.linkedin.com/company/women-in-concept-art FOLLOW EMILY, VAL & PRIYA Emily Bland https://www.instagram.com/emily.art.bland https://www.artstation.com/emilybland Valeriia Konstantinova https://www.instagram.com/valk.design https://www.artstation.com/valkdesign Priya Singh https://www.instagram.com/priya.singh.conceptart https://www.artstation.com/priyasingh - FOLLOW LEARN SQUARED (ALL First Lessons are FREE!) https://www.learnsquared.com https://www.instagram.com/patreon  https://www.instagram.com/learnsquared  https://www.twitter.com/learnsquared  https://www.linkedin.com/school/learnsquared - YOUR HOST  https://www.artstation.com/dhanda https://www.instagram.com/dhandatron https://bsky.app/profile/dhandatron.bsky.social https://cara.app/dhandatron

In this episode of The Making Of, we welcome legendary colorist and Company 3 founder/CEO Stefan Sonnenfeld. Stefan shares his journey into color grading, the evolution of his career, and the story behind building one of the industry's most respected post-production companies. He also discusses his work on Michael, the global blockbuster about Michael Jackson that has grossed nearly $1 billion worldwide, and how he helped shape the film's visual identity through color. During our chat, Stefan offers advice for the next generation of creatives on craftsmanship, collaboration, and building a lasting career in film.“The Making Of” is presented by AJA:Bridging ST 2110 with the Broader IP WorldAs IP adoption accelerates, establishing a seamless flow for IP media across a production is fundamental. Need to move compressed IP production media onto an ST 2110 network or deliver ST 2110 media to platforms that only accept compressed media? Discover how AJA BRIDGE LIVE makes both easy.Thunderbolt 5 Speed. DIY RAID Without Limits.The OWC Express 4M2 Ultra is a next-gen Thunderbolt 5 NVMe enclosure built for serious post workflows. Delivering up to 6622MB/s, it lets you use your own drives to create a high-performance RAID with up to 32TB—and beyond via daisy chaining. Compact, powerful, and scalable for 8K+ and VFX workflows. Available for pre-order now, shipping in late June. Browse hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows. Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors.Read more hereSanDisk Extreme PRO USB4 Portable SSDPower your workflow with the SanDisk Extreme PRO USB4 Portable SSD, available in 2TB and 4TB capacities. Featuring speeds up to 3800 MB/s read and 3700 MB/s write, it's built for fast transfers and editing. The rugged, IP65-rated design is ready for work anywhere. Learn more at Videoguys or call 800-323-2325 for free tech advice. View herePodcast Rewind:June 2026 - Ep. 138.Advertise with The Making Of:Reach 270,000+ film industry professionals and content creators reading this newsletter. To explore a partnership, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

The barrier to making your first film has never been lower, and this episode breaks down exactly how to start. In Part 2 of his conversation with host Gregg Goldfarb, filmmaker Steve Dabal pulls back the curtain on how his documentary Italian Wannabe came together: shot largely on a phone, edited by hand from terabytes of footage, and finished through community crowdfunding. Steve makes the case that you don't need a perfect subject or a big budget to begin. You need a story you care about and the willingness to start filming. From the free tools that turn a phone into a cinema camera, to why short films are the best reps a beginner can get, to how AI is quietly reshaping what independent filmmakers can afford, Steve offers a grounded look at the craft and the business of documentary work today, and why "make the thing" matters far more than worrying about how it will be received.   Join Gregg and Steve on Cut to the Chase as they explore: How to shoot a documentary for $0 using just an iPhone and free apps  Why the story "reveals itself" and how to start before you know the ending  Why short films are the best training ground for first-time filmmakers  The realistic path to a finished film: rough cuts, community, and crowdfunding  How AI is changing the cost of color, graphics, and finishing work  Why the festival system favors certain films, and how feel-good stories find their audience What comes after festivals: roadshows, screenings-with-dinners, and t-urning a film into an event    KEY MOMENTS 00:00 — Cold open: which films "climb the ladder"  00:01 — You've got a story and an iPhone — what do you actually need? 00:02 — The Blackmagic app: turning a phone into a cinema camera 00:03 — "Just start filming" — 14 terabytes and finding the story 00:04 — Do you really need a great subject to begin? 00:06 — Making the thing vs. releasing the thing 00:07 — Why short films are the best reps for beginners 00:09 — The money question: what $0 can (and can't) get you 00:10 — Rough cuts, honest feedback & the freelance colorist 00:12 — Spend $0 first, then crowdfund the finish 00:13 — AI and YouTube: best or worst time to start? 00:14 — Handmade stop-motion vs. AI temp graphics 00:15 — Inside the festival world: programmers & blind submissions 00:17 — Pairing screenings with dinners to build community 00:18 — What's next: roadshows, AI outreach & the film-as-event 00:21 — Closing: stop chasing the checklist — just make the thing    Steve Dabal is an Italian-American director, cinematographer, and editor with a deep VFX background and a focus on non-fiction storytelling. As co-founder and Creative Director of The Family, a New York-based production house, he has interviewed subjects ranging from Scarlett Johansson and Fortune 500 CEOs to war veterans and 9/11 survivors. His work has screened at SXSW, the New York Film Festival, and internationally. Italian Wannabe is his debut feature documentary. The film sold out five screenings at the 2026 Palm Springs International Film Festival and was also an official selection at the Berkshire International Film Festival. The film was directed, shot, and edited by Dabal, and produced with The Family in association with Current Mindset.    RESOURCES MENTIONED: Learn more about Italian Wannabe and follow the film's festival and pop-up screening tour Learn more about Fiore Market Cafe, chef Bill Disselhorst's legendary South Pasadena restaurant, one of America's Top 100 restaurants Learn more about the village of Casperia, Italy — one hour north of Rome — featured throughout the documentary Learn more about The Family, Steve Dabal's New York-based production company Follow the Italian Wannabe pop-up screening tour to find a screening near you   Want to hear more conversations about life, law, and the stories that matter? Subscribe to Cut to the Chase: with Gregg Goldfarb.   Want to stay updated on our latest podcasts? Subscribe to Cut to the Chase: Podcast Newsletter for monthly podcast releases and the latest legal news: https://lp.constantcontactpages.com/sl/KqDopgE

Welcome to another episode of Death Don't Do Fiction, the AIPT Movies podcast! The podcast about the enduring legacy of our favorite movies! It's June, so that means it's time for our “Junesis” series! Where we cover movies based on/revolving around video games! In this week's episode, Alex, Tim, and first time guest Gordon Jones discuss the first ever video game movie sequel, 1997's Mortal Kombat: Annihilation! Daddy issues! Cyber Ninjas! A hot goth baddie! Animalities! A lady with four arms kinda! Speedy sleeve removal! Goofy cybernetically-enhanced arms! Abundant flips! Evil eyebrows! Weird gyroscopic transport spheres! Surprise landmarks! Fun miniature FX! Cheesy designs and poorly executed CGI monsters! Excessive use of possibly one sandpit! Fun sets! Extra budget for campiness! An occasionally imposing villain! Awkward attempts to emulate gameplay! Shockingly few fatalities! An iconic soundtrack that does a lot of heavy lifting! Very noticeable recasting! Nearly-great fight scenes featuring stunt performances from future action movie legends Tony Jaa and The Furious director Kenji Tanigaki! All that and more in this infamous sequel that resulted in Paul W.S. Anderson holding onto the Resident Evil franchise like his life depended on it! In addition, the gang shares some spoiler-free thoughts on Maggie Gyllenhaal's The Bride, Backrooms, and Travis Knight's Masters of the Universe, while Alex declares his new found love for the filmography of Korean director Ryoo Seung-wan, including Humint, Veteran, I, the Executioner, The City of Violence, The Battleship Island, and Escape from Mogadishu! You can find Death Don't Do Fiction on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends! The Death Don't Do Fiction podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris and Tim Gardiner, the show gives you a peek behind the scenes from two filmmakers with oddly nonexistent filmographies. You can find Alex on Twitter, Bluesky, or Letterboxd @actionharris. This episode's guest, Gordon Jones, can be found on instagram @heyitzjonesy. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the Death Don't Do Fiction crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter or Instagram @aiptmoviespod. Theme song is “We Got it Goin On” by Cobra Man.

This week, we talk a bit about composing for early access, and how much scores (and VFX) influence films.

Edward Saatchi has been building at the frontier of AI storytelling for a decade—from Oculus Story Studios to Fable (where his AI character Lucy made her own films at Sundance) to his current venture, Amazon-backed Showrunner. Edward's most audacious project proves the point: reconstructing Orson Welles' lost masterpiece, The Magnificent Ambersons (44 minutes destroyed by studio cuts in 1942), using motion-capture actors and AI to seamlessly restore what was erased. The irony is intentional—it's a film about technology destroying beauty, restored by technology. Edward's approach isn't text-to-video slop. It's human performance driving AI synthesis: hire stage actors, capture their performances, use the original cutting continuity as a blueprint, and let AI fill the gaps. The result is cinema-quality work that would cost $100 million traditionally but costs $10 million with AI assistance.In AI XR News This Week:Amazon announces 16,000 layoffs while ramping robotics—replacing humans with machines in warehouses. Amazon Go and Amazon Fresh stores close after years of investment; the self-checkout convenience experiment dies. Snap spins off Spectacles AR glasses into a separate business, signaling lack of cash or confidence. Apple and OpenAI both developing AI wearables to launch in 2027, powered by Gemini and Google AI. Google launches Project Genie, a generative AI model that creates fully interactive 3D game worlds you can navigate and remix in real time. Walkabout Mini Golf lays off half its staff. Atlas V, the acclaimed French VR studio behind Spheres and Battle Scar, pivots to location-based entertainment. Darren Aronofsky launches an AI animated series on YouTube called On This Day.Key Moments Timestamps:[00:05:00] Amazon's 16,000 layoffs paired with robotics expansion; the canary in the coal mine for white-collar work[00:06:00] Amazon Go/Fresh failure: humans reject automated futures when given the choice[00:07:14] Snap spinning off Spectacles; Ted's thesis on AR glasses remaining "exotic," not mainstream[00:10:00] Apple wearables running Gemini + Google AI; the winning formula for wearable AI domination[00:12:48] Walkabout Mini Golf layoffs and Atlas V's pivot; VR right-sizing continues[00:15:25] Google Genie: generative 3D worlds, playable and remixable in real time; Epic should be scared[00:19:11] Edward Saatchi joins: the state of AI video and why there's no marketplace after 4 years[00:22:00] Edward's concern: AI content is "derivative but worse" with no commercial value[00:28:00] The marketplace problem: no buyers, no revenue, no sustainability for creators[00:34:00] Ted's thesis: AI is quietly disrupting VFX and screenwriting behind the scenes[00:44:00] Critters: the proof-of-concept for AI-assisted theatrical animation ($10M vs. $100M traditionally)[00:49:00] Showrunner's business model: creators earn money every time someone remixes their show[00:52:00] The Magnificent Ambersons project: restoring Orson Welles' lost masterpiece with AIEdward makes a case that reads like a manifesto: AI's killer app isn't making derivative work faster or cheaper. It's remix, interactivity, and personalization at scale—letting audiences co-create with AI while creators get paid. His challenge to the industry: hold yourself to "derivative but better" (can you make a better Simpsons episode than the last 15 seasons?) or "original and good" (something from a non-human intelligence's perspective). Until creators band together to make features and TV shows with commercial value, AI video will remain stuck in the trough of disillusionment.This episode is brought to you by Zappar, creators of Mattercraft—the leading visual development environment for building immersive 3D web experiences for mobile headsets and desktop. Mattercraft combines the power of a game engine with the flexibility of the web, and now features an AI assistant that helps you design, code, and debug in real time, right in your browser. Build smarter at mattercraft.io. Hosted on Acast. See acast.com/privacy for more information.

What happens when someone who grew up in the Lucasfilm Games golden era decides that today's AI tools are failing creatives? Mike Levine has spent more than 30 years building at the intersection of games, XR, VFX, and interactive storytelling—and his verdict is clear: the current AI stack is a fragmented, overcomplicated mess that turns directors into prompt engineers.Mike started as a tester at Lucasfilm Games (later LucasArts), working his way into the art department on titles like Sam & Max and The Dig before helping ship live-action Star Wars games such as Rebel Assault and Jedi Knight II. He later built rotoscoping tools used across the VFX industry, collaborated with ILM and Pixar, experimented with mobile AR games for Hasbro and HoloLens, and dipped into crypto gaming—before finally co-founding MovieFlow (now FilmSpark), an AI-native production platform designed so that filmmakers, agencies, and showrunners can move from script to screen without needing a computer science degree.The AI XR news you should know: Apple taps Google Gemini to power Siri, acknowledging that building world-class LLMs in-house makes little financial sense. Meta cuts 10% of Reality Labs, right-sizing its VR bets while pivoting toward wearables. Xreal raises another $100M amid questions about Chinese state influence and data flows. Higgs Field lands $80M at a $1.3B valuation for AI cinematography tools that many filmmakers still find unreliable. Wikipedia signs licensing deals with major AI companies after years of being scraped for free. OpenAI invests $252M in Sam Altman–backed Merge Labs, raising fresh conflict-of-interest questions.Key Moments Timestamps:[00:23:02] From Boston journalist-to-be to accidental hire at Lucasfilm Games[00:26:24] The “test pit” culture at Lucas and how Nintendo experience got Mike in the door[00:28:45] Moving into the art department, learning Photoshop from early legends, and shipping Sam & Max[00:31:15] Live-action Star Wars games: Rebel Assault, Jedi Knight II, and convincing George Lucas[00:34:38] Visiting Pixar with new VFX tools and recognizing the same creative “magic” as LucasArts[00:36:24] Doug Trumbull's influence on Mike's sense of cinematic possibility and immersion[00:43:27] The urinal meeting at Magic Leap and what early spatial computing got right (and wrong)[00:49:00] Why most AI tools are “dark ages” for filmmakers: node graphs, 10+ subscriptions, no story view[00:51:00] Building MovieFlow/FilmSpark: story-first, timeline-based AI production for long-form and vertical shows[00:53:00] The Neighborhood Podcast: a 90-second vertical murder mystery as proof-of-concept for AI-native seriesWhen humans can generate shots, scenes, and even entire episodes in minutes, the bottleneck shifts from production to vision. Mike argues that the winning AI tools will be the ones that let directors see their whole story, maintain continuity, and iterate fast—without ever feeling like they left the edit bay for a dev console. His vertical drama collaboration with Charlie, The Neighborhood Podcast, is an early look at what happens when narrative craft meets AI-native pipelines instead of fighting them.This episode is brought to you by Zapar creators of Mattercraft—the leading visual development environment for building immersive 3D web experiences. Build smarter at mattercraft.io.Watch the full episode on YouTube and subscribe to the AI XR Podcast for weekly conversations with the people building the future of AI, XR, and interactive media. Hosted on Acast. See acast.com/privacy for more information.

The crew reviews the VFX of Backrooms - which is in a genre that Mike absolutely HATES.

In this episode, we welcome the Backrooms production team— Cinematographer Jeremy Cox, VFX Supervisor Edward J. Douglas, Editor Greg Ng, and Production Sound Mixer Jan Hetmer. Together, they take us behind the scenes of the groundbreaking indie horror phenomenon, sharing how they brought the film's unsettling world to life through innovative cinematography, visual effects, editing, and sound design. We explore their creative process, technical workflows, lessons learned during production, and the collaborative approach that transformed a viral internet sensation into a blockbuster feature film. “The Making Of” is presented by AJA:Bridging ST 2110 with the Broader IP WorldAs IP adoption accelerates, establishing a seamless flow for IP media across a production is fundamental. Need to move compressed IP production media onto an ST 2110 network or deliver ST 2110 media to platforms that only accept compressed media? Discover how AJA BRIDGE LIVE makes both easy.Vimeo L.A. Event | June 23A night of inspiring Vimeo Staff Picks + live filmmaker commentary!6:30pm | Doors7:30-9pm | Films + commentary9-11:00pm | Reception (complimentary drinks)Vidiots — 4884 N Eagle Rock Blvd, Los Angeles, CA 90041Free passes hereThunderbolt 5 Speed. DIY RAID Without Limits.The OWC Express 4M2 Ultra is a next-gen Thunderbolt 5 NVMe enclosure built for serious post workflows. Delivering up to 6622MB/s, it lets you use your own drives to create a high-performance RAID with up to 32TB—and beyond via daisy chaining. Compact, powerful, and scalable for 8K+ and VFX workflows. Available for pre-order now, shipping in late June. Browse hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows. Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors.Read more hereSanDisk Extreme PRO USB4 Portable SSDPower your workflow with the SanDisk Extreme PRO USB4 Portable SSD, available in 2TB and 4TB capacities. Featuring speeds up to 3800 MB/s read and 3700 MB/s write, it's built for fast transfers and editing. The rugged, IP65-rated design is ready for work anywhere. Learn more at Videoguys or call 800-323-2325 for free tech advice. View herePodcast Rewind:June 2026 - Ep. 137.Sponsor The Making Of:Reach 250,000+ film industry professionals and content creators reading this newsletter. To explore a partnership, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Join Gary as he sits down for an introduction to VFX with the very talented, Carolina Jimenez Garcia. With a career across such franchises as Star Wars: Andor, and The Hobbit Trilogy, Carolina gives an early look back at her career and the many winding roads it took to get there!We have no doubt you'll enjoy getting to know Carolina and hearing her speak about the profession. But don't worry, a second part focusing on the more technical aspects of the industry is coming soon!

What does it take to supervise visual effects on a major television series? In this Filmmaker Mixer episode, Paradise Season 2 VFX Supervisor John Weckworth and CG Supervisor Evan Underwood discuss creative problem solving, digital environments, production planning, and the evolution of cloud-based VFX workflows.

In this episode, Allan McKay sits down with Hnedel Maximore, VFX Supervisor on Spider-Noir, and Brooke Noska, VFX Producer on the series, for a deep dive into the creative, technical, and production challenges behind one of the most visually distinctive Spider-Man projects to date. Hnedel and Brooke break down how they approached Spider-Noir as a grounded detective noir with superhero elements — balancing period-specific world-building, practical production choices, invisible visual effects, and large-scale hero sequences without letting the VFX overwhelm the story. They discuss the early pitch process, building alignment with showrunners and department heads, and why visual effects needed to be involved from pre-production through final delivery. The conversation gets into the unique black-and-white and color workflow for the show, including the technical lift of supporting both versions, building a pipeline across multiple vendors, protecting the noir look while preserving the richness of the color version, and managing the added storage, editorial, review, render, and QC demands that came with that process. They also discuss the importance of reference, from classic noir films and early color processes to nature, micro-photography, ceramics, period New York construction photography, and practical on-set artifacts. Hnedel and Brooke share how those references informed Sandman, Man-Spider, dream sequences, period Manhattan, and the tactile, organic feel of the series. This is a must-listen for VFX artists, supervisors, producers, filmmakers, and Spider-Man fans interested in how large-scale visual effects are planned, produced, supervised, reviewed, and delivered on a major television schedule — especially when the creative goal is not just spectacle, but a world that feels specific, cinematic, painful, grounded, and one-of-a-kind.

Episode 115-SCE 26 Layout II Released 15 June 2026 Hosts: Keoni Hutton & Leslie Reed We've had so many guests and events on that we haven't talked about the haunt in while.  So lets catch up on where we're at with our build, and examine the layout we have developed. Resources mentioned during this episode: See the layout here: https://www.instagram.com/p/DZlsWSaRtMZ/ Chamber of Haunters Website: https://chamberofhaunters.com/ Instagram: https://www.instagram.com/chamberofhaunters/ Facebook: https://www.facebook.com/chamberofhaunters ScaredU: https://scaredu.org/ May Lunch & Learn:  Part 1: https://www.youtube.com/watch?v=_McKDzLuICM Part 2: https://www.youtube.com/watch?v=qmuaQ49aOII 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.  

For our "Should Have Seen" series, we explore King Kong's pioneering stop-motion and in-camera compositing techniques, compare them to later VFX innovations, and note moments that feel dated in scripting and representation while emphasizing the film's emotional impact and sympathy for Kong. For Chaplin's Gold Rush, we both admire the film's pristine restoration, large-scale production, and silent-era storytelling conventions.

Backrooms is the record-breaking horror phenomenon of the summer. Christina sat down with brilliant production designer Danny Vermette and VFX supervisor Edward J. Douglas to talk about their work on the film and their collaboration with 20-year-old YouTube creator Kane Parsons , A24's youngest-ever director. We dig into the 30,000-square-foot build that brought Parsons's Backrooms YouTube series to life on the big screen, the themes and anxieties of isolation, (and the horror of fluorescent lighting ;) in the Backrooms , the dreamscape of the "outside world" (inspired by the Windows Bliss wallpaper), influences ranging from Eraserhead to Mr. Robot, Portal, and One Hour Photo, how young content creators are shaping the future of cinema, and whether they'd ever enter the Backrooms themselves :) ... and much moreVideo edited by Anton Isiukovhttps://www.antonisiukov.com

Most of us are moving faster than ever — more content, more hustle, more output. But what if the most powerful thing you could do right now is stop? In this episode of Cut to the Chase: with Gregg Goldfarb, Gregg sits down with filmmaker Steve Dabal, director of Italian Wannabe — a feature documentary that sold out five screenings at the 2026 Palm Springs International Film Festival and is now doing pop-up screenings across the country. Italian Wannabe follows chef Bill Disselhorst — co-founder of Fiore Market Cafe, one of America's Top 100 restaurants — as he walks away from his Los Angeles life and returns to Casperia, a small medieval village an hour north of Rome, where he and his late wife Anne first fell in love with Italian food, slow living, and the kind of community that doesn't exist on a screen. What started as one man's grief became a meditation on reinvention, passion, and what it really means to belong somewhere. Join Gregg and Steve on Cut to the Chase: as they discuss:   How chef Bill Disselhorst built one of America's Top 100 restaurants — and what happened when he lost it all Why the village of Casperia, Italy holds the secret to a life most of us only dream about What Italian Wannabe is really about — and why it's not just a food documentary How Steve went from a year of no work and near burnout to making his first feature film with a borrowed camera Why community is the most underrated currency in business, film, and life What the film festival circuit looks like right now — and why it has never been a better time to make a documentary The one lesson from Bill Disselhorst that will change how you treat every person you meet   Key Moments:   00:00 — Gregg introduces Italian Wannabe and filmmaker Steve Dabal 01:30 — What Italian Wannabe is really about and how it began 03:00 — How Steve met Bill at Fiore Market Cafe during film school 05:00 — The village of Casperia, Italy and why Bill keeps going back 07:30 — The contrast between hustle culture and the Italian slow life 10:00 — How Bill's approach to community changed how Steve lives and works 13:00 — The one habit — asking people their names — that builds real connection 16:00 — How the writers' strike and a year without work led to the film 19:00 — What it takes to make a documentary today — no degree, no big budget required 22:00 — Italian Wannabe's journey: from borrowed camera to Palm Springs Film Festival sellout 25:00 — Why this film will make you rethink what you're chasing   Guest Bio: Steve Dabal is an Italian-American director, cinematographer, and editor with a deep VFX background and a focus on non-fiction storytelling. As co-founder and Creative Director of The Family, a New York-based production house, he has interviewed subjects ranging from Scarlett Johansson and Fortune 500 CEOs to war veterans and 9/11 survivors. His work has screened at SXSW, the New York Film Festival, and internationally. Italian Wannabe is his debut feature documentary. The film sold out five screenings at the 2026 Palm Springs International Film Festival and was also an official selection at the Berkshire International Film Festival. The film was directed, shot, and edited by Dabal, and produced with The Family in association with Current Mindset. Resources Mentioned:   Learn more about Italian Wannabe and follow the film's festival and pop-up screening tour Learn more about Fiore Market Cafe, chef Bill Disselhorst's legendary South Pasadena restaurant, one of America's Top 100 restaurants Learn more about the village of Casperia, Italy — one hour north of Rome — featured throughout the documentary Learn more about The Family, Steve Dabal's New York-based production company Follow the Italian Wannabe pop-up screening tour to find a screening near you   Want to hear more conversations about life, law, and the stories that matter? Subscribe to Cut to the Chase: with Gregg Goldfarb. Want to stay updated on our latest podcasts? Subscribe to Cut to the Chase: Podcast Newsletter for monthly podcast releases and the latest legal news: https://lp.constantcontactpages.com/sl/KqDopgE  

In this episode, we welcome cinematographer Jamie Ramsay BSC, SASC, whose latest work can be seen in the WWII thriller Pressure, now playing in theaters. Jamie's credits include Goodrich, All of Us Strangers, District 9, Living, and See How They Run. In our conversation, Jamie reflects on his early years and filmmaking journey before taking us behind the scenes of Pressure. We explore the film's visual language, his creative and technical approach, and the tools used to bring the story to life. Jamie also shares lessons learned throughout his career and offers advice for the next generation of storytellers.“The Making Of” is presented by AJA:Bridging ST 2110 with the Broader IP WorldAs IP adoption accelerates, establishing a seamless flow for IP media across a production is fundamental. Need to move compressed IP production media onto an ST 2110 network or deliver ST 2110 media to platforms that only accept compressed media? Discover how AJA BRIDGE LIVE makes both easy.ZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows. Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors.Read more hereThunderbolt 5 Speed. DIY RAID Without Limits.The OWC Express 4M2 Ultra is a next-gen Thunderbolt 5 NVMe enclosure built for serious post workflows. Delivering up to 6622MB/s, it lets you use your own drives to create a high-performance RAID with up to 32TB—and beyond via daisy chaining. Compact, powerful, and scalable for 8K+ and VFX workflows. Available for pre-order now, shipping in late June. Browse hereScreamfest — Call to All Storytellers!Whether you craft terrifying scripts or visioned features and shorts, Screamfest is your home. Our screenplay competition deadline is June 15th—bring your stories to life here. Filmmakers, our extended final deadline is August 15th, 2026. Share your unique perspective and join our vibrant horror community. Submit your film today!SanDisk Extreme PRO USB4 Portable SSDPower your workflow with the SanDisk Extreme PRO USB4 Portable SSD, available in 2TB and 4TB capacities. Featuring speeds up to 3800 MB/s read and 3700 MB/s write, it's built for fast transfers and editing. The rugged, IP65-rated design is ready for work anywhere. Learn more at Videoguys or call 800-323-2325 for free tech advice. View here Podcast Rewind:June 2026 - Ep. 136.Advertise in The Making Of:Promote your products or services to 270K film industry pros and content creators reading this newsletter. To explore a partnership, email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Ian Hunter has spent four decades building miniatures, supervising visual effects and thinking like a filmmaker on some of the most demanding productions in Hollywood. In this episode, he traces a career that began in a garden shed with a punched-up piece of German black velvet and ended up — via James Cameron, Tim Burton, the Coen Brothers, and Christopher Nolan — on some of the most iconic screens in the world.Ian grew up surrounded by art. His father painted oils and acrylics, played music and did pastel portraits, and encouraged his three sons to make things — even when those things destroyed the materials he'd given them. The moment that really clicked, Ian recalls, was being handed a model kit as a kid and taking to it immediately. That creative instinct only grew stronger. In high school, he and his brothers were making Super 8 films, scratching laser effects onto the film with a pin and blowing up overloaded resistors for explosions. One of those films required them to fake-rob a local bank — and the encounter that followed, with the surprisingly enthusiastic vice president of the Monrovia Wells Fargo, led to a meeting with the mother of Rick Baker, whose work Ian had recently encountered in a traveling special effects exhibition and been completely floored by.After drifting away from an aerospace course at Cal Poly Pomona and working in an acid bath plastics factory, Ian answered a classified ad looking for model makers — and on the strength of a modest portfolio, was hired the same day. His first feature was The Abyss. He and fellow model maker Jim McGee built the flooded engine room of the Montana submarine with almost no direction beyond James Cameron's bare-bones description, and shipped it to South Carolina having never seen a frame of the live action. The production was not without its disasters — Ian found himself entangled in the notorious wax crane fiasco, and talks about the valuable early lesson of knowing when to call something out before it goes wrong.From there, a friend pointed him toward Boss Film, Richard Edlund's company in Marina del Rey, where a chance encounter with departing model supervisor Mark Stetson changed everything. What was supposed to be a one-week favour on a music video turned into six years. Working with Stetson took Ian from being a junior model maker building things in isolation to visiting sets, talking directly with directors, and understanding that miniature work only succeeds when it becomes invisible — just more shots in a movie, telling the story rather than showing off the technique.Among the projects from that period, Ian talks at length about Total Recall — including the behind-the-scenes chaos of a scale miscommunication on the final day of shooting, a scene involving a little person that nobody had accounted for, and the moment he glued a Coke can to a model building because they were running out of time. That Coke can, dressed up and shot from the front, made it into the finished film. So did one in Waterworld. And Inception. And Interstellar. And, after the story apparently got around, director Fede Álvarez greeted Ian on Alien: Romulus by asking exactly where he was planning to hide it.Ian built the suburb for Edward Scissorhands — deliberately making it more bland and mundane than real life — and talks about one of his proudest in-camera shots: the final view through the bedroom window and out over the snow-dusted neighbourhood, achieved with a 1:24 scale model and real snow shakers on the night. On Batman Returns he built the Penguin's zoo, and describes receiving one of his all-time favourite compliments from Tim Burton — who, after watching a pyrotechnics test, asked simply: "Where did you shoot this?" Not realising he was looking at a miniature. The zoo also gave Ian one of his best examples of a happy accident: a polar bear sculpture that was supposed to explode but instead toppled slowly sideways with flames coming out of its feet. Tim Burton loved it. The entire subsequent engineering challenge was figuring out how to recreate the mistake.On the X-Files movie, Ian and his partner Matthew Gratzner built a collapsing federal building on a tight budget, referencing Oklahoma City bombing photographs for the detail of damaged concrete and exposed floors. The late Roger Ebert reviewed the finished film and said the sequence should have been cut — because it was too reminiscent of real tragedy. Ian reflects on that as a marker: they'd gotten past the technique and into the emotion.The conversation turns to Christopher Nolan, with whom Ian has worked across multiple films. Ian describes Nolan as collaborative but definitive, someone who discusses a shot in depth and then tells you exactly what he wants. He talks about the liberation Nolan offered on Interstellar when he told the crew to stop following the previs — pre-vis is just a guy at a computer on a Friday trying to get the shot out the door, Nolan told them; if you can see a better angle, do that instead. The result was that the miniature crew started shooting faster, and a number of shots that had been planned as digital moved across to the physical side. Ian also describes the meticulous sun-angle calculation that went into matching the Inception hospital sequence — setting up models in a parking lot at a precisely calculated skewed angle to hit the exact quality of light that had been captured in Calgary on a specific date.On First Man with Damien Chazelle, Ian had drawn storyboards before the first meeting proposing a documentary approach — cameras attached to the spacecraft, nothing sweeping or cinematic, everything either very close or very wide as if shot from another ship. Chazelle walked in and described exactly the same idea. They spent twenty minutes together going through the sequence, working to an animatic cut to music, and Ian went off and shot it. That shorthand — that moment of being in sync before the conversation has really started — is something Ian describes as central to how he has survived in an industry where so many practical effects houses have not. He's a model maker, yes. But more than that, he's a filmmaker.This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

This Week In Startups is made possible by:Grasshopper Bank https://grasshopper.bank/twistVanta https://www.vanta.com/twistRender https://render.com/twistPlaud https://Plaud.ai/twistToday's show:Anthropic wrote a blog post calling for a global AI slowdown. Meanwhile, Sen. Bernie Sanders wants the government to seize 50% of every major AI company's stock. Find out why JCal is reconsidering universal basic (or even high!) income policies, and why he thinks the 2028 presidential election will likely come down to AI policies.PLUS a live ComfyUI demo from founder Yoland Yan. Find out why the free-to-use open-source node-based platform has become a crucial part of millions of designers' and VFX experts' workflows, and how their tool has been used to create everything from “The Wizard of Oz” at the Vegas Sphere to those viral Coca-Cola holiday ads.GuestYoland Yan: http://x.com/yoland_yanComfyUI: https://comfy.org/AI Models and ToolsIdeogram 4.0: https://ideogram.ai/models/4.0/Stable Diffusion: https://stability.ai/LTX Video: https://github.com/Lightricks/LTX-VideoLoRa: https://huggingface.co/docs/diffusers/training/loraGoogle Veo: https://deepmind.google/models/veo/Relevant Links:Anthropic: “When AI Builds Itself”: https://www.anthropic.com/institute/recursive-self-improvementBernie Sanders: “The Public Should Own Half of the Big AI Companies”: https://www.sanders.senate.gov/op-eds/the-public-should-own-half-of-the-big-a-i-companies/Bloomberg: “Sam Altman-Backed Group Completes Largest US Study on Basic Income”: https://www.bloomberg.com/news/articles/2024-07-22/ubi-study-backed-by-openai-s-sam-altman-bolsters-support-for-basic-incomeTimestamps:0:00 Guest 1: Yoland Yan, ComfyUI — live demo intro2:06 Plaud: If your work depends on conversations — interviews, meetings, calls — you need a Plaud NotePin. You can check it out at https://Plaud.ai/twist and use code TWIST for 10% off!4:34 Guest 1: Yoland Yan, ComfyUI — live demo intro9:47 Grasshopper Bank - Time is money. Don't waste either. Go to https://grasshopper.bank/twist and get an exclusive $500 cash bonus just for opening an account.20:05 Vanta - Get $1000 off your SOC 2 at https://www.vanta.com/twist22:24 What is Outpainting?30:01 Render - Find out why 5 million developers are already using the all-in-one cloud platform, Render. Go to https://render.com/twist and apply for the Render Startup Program to get $500-$100,000 in free credits, depending on your stage and backers.32:13 Jason's insider sales team advice38:42 LA mayoral race: Bass vs. Pratt42:25 Anthropic wants AI to slow down?48:45 Will Sen. Sanders' argument resonate with the public?59:39 Why 2028 will be the AI jobs election1:05:32 Brian Chesky's new AI lab1:15:21 Jason's "Mandalorian and Grogu" review1:18:53 YouTubers take over the box office1:24:16 Dean Potter vs. Alex HonnoldSubscribe to the TWiST500 newsletter: https://ticker.thisweekinstartups.comCheck out the TWIST500: https://www.twist500.comSubscribe to This Week in Startups on Apple: https://rb.gy/v19fcpFollow Lon:X: https://x.com/lonsFollow Alex:X: https://x.com/alexLinkedIn: ⁠https://www.linkedin.com/in/alexwilhelmFollow Jason:X: https://twitter.com/JasonLinkedIn: https://www.linkedin.com/in/jasoncalacanisCheck out all our partner offers: https://partners.launch.co/Great TWIST interviews: Will Guidara, Eoghan McCabe, Steve Huffman, Brian Chesky, Bob Moesta, Aaron Levie, Sophia Amoruso, Reid Hoffman, Frank Slootman, Billy McFarlandCheck out Jason's suite of newsletters: https://substack.com/@calacanisFollow TWiST:Twitter: https://twitter.com/TWiStartupsYouTube: https://www.youtube.com/thisweekinInstagram: https://www.instagram.com/thisweekinstartupsTikTok: https://www.tiktok.com/@thisweekinstartupsSubstack: https://twistartups.substack.com

Members of CorridorDigital, our Exclusive Streaming Service! Try a membership yourself with a 14-Day Free Trial ► http://corridordigital.com/We're back after a LONG absence. We finished filming SOAD S3, CorridorKey 2.0 is AMAZING, we're reinventing VFX, and we love to see YouTuber Film taking over the traditional theater space. Join our Public Fan Discord for Questions and Collaboration - https://discord.gg/cRef7KyN8hTOP 10 SCARY GAMES YOU CAN PLAY, IN YOUR HEAD, BY YOURSELFGet Your Copy Today: https://www.amazon.com/dp/B0GM7B4QR2Power To The Player Expansion Pack: https://www.amazon.com/dp/B0GN2JLR72This episode was recorded LIVE, exclusively for our website subscribers. Look out for updates on our website homepage, YT Community, and social media to find out about our next live recording session!Instagram ► http://instagram.com/corridordigitalMerch ► https://corridordigital.store/

Jason, Matt and Mike return to a galaxy far, far away to unpack the VFX, creatures, puppetry and theatrical scale of Star Wars: The Mandalorian and Grogu.

Trent Kusters chats with Gregory Louden, Creative Director behind Housemarque's latest dark sci-fi bullet-ballet, Saros. Together they discuss his early work in film with directors such as Alfonso Cuarón and Ridley Scott; transitioning into games and his path from VFX, to narrative, and ultimately direction; creating a spiritual successor to Returnal while developing a brand new IP; focusing on challenging but rewarding gameplay; and building a narrative around the roguelike gameplay.  This episode is supported by Xsolla iam8bit Episode Host: Trent Kusters Producers: Claudio Tapia and Josh Chu, The Academy of Interactive Arts & Sciences If you enjoyed this episode, please consider subscribing and leaving us a rating and review. Support the show and get all of our episodes early/ad-free: https://bit.ly/4kU34Lt Follow us: linktr.ee/AIAS Please consider supporting game dev students with: AIAS Foundation

Live fast, fight well and have a beautiful ending. On this week's episode, we are journeying to a minor planet in a third rate galaxy for Battle Beyond the Stars, a Roger Corman production that is arguably one of the better Star Wars knockoffs from the early 80s. The movie is also a loose remake of The Magnificent Seven / Seven Samurai with a character named Space Cowboy... I think you get the idea. Is the story behind the making of the movie more interesting than the movie itself? Did James Cameron's VFX work and James Horner's score do most of the heavy lifting? Why does Shad's ship have breasts? Should we be surprised that they still eat hot dogs in the future? Stimulate your solenoid and tingle dingle dangle prangle your transistors with the latest Film Junk Podcast.