Podcasts about vfx

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.

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.

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.

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.

Ian Failes from befores & afters chats to 'Daredevil: Born Again' visual effects supervisor Gong Myung Lee and visual effects producer Fahed "Freddy" Alhabib, to break down the oner, the ship VFX, and the other invisible effects this season.

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.

Visual Effects is a delicate art, especially in the worlds of Science Fiction...On this episode we're back into it with more over at Apple+ during the heights of Emmy consideration and we're going headlong into our favorite genre of science fiction.  It's time for a little 'Murderbot'A security android (Alexander Skarsgård) hides its sentience as it works on risky jobs, even though all it wants to do is watch soap operas in the sci-fi thriller/comedy based on The Murderbot Diaries book series by Martha Wells.From showrunner Chris Weitz this show is a blend of all the glorious things about the genre wrapped up in some weirdness and hilarity all at the same time.We had the unique pleasure of talking with VFX supervisor, Sean Faden about his work on the show and so very much more.Season 1 of 'Murderbot' is on Apple+ now.

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

Brooks Leibee is a media composer with a passion for crafting percussive, atmospheric, and emotive soundscapes that deepen the connection between story and imagery, helping projects resonate with audiences across the globe. Brooks is the recipient of several editing and music awards, including Best Editing for the short film "Homebody", Best Music for the original score for "Entrance", and Best Music for the short film "Direct Message". He has assisted in creating behind-the-scenes material for major composers such as Max Aruj (Mission Impossible: The Final Reckoning) and Adam Lukas (Frozen Planet II, Minecraft). Brooks has composed and performed music for brands such as Alienware and GamesRadar; audio dramas including the fan series "Tales From a Jurassic World", Orsonic's "Eternity Fraternity", and "Jingle Cell Block"; as well as various feature-length and short films such as "DeRosa: Life, Love and Art in Transition" and, most recently, the black gothic horror short "HAG". A multidisciplinary artist, Brooks has years of experience in video production, including cinematography, editing, VFX, color grading, and motion graphics. These complementary skills shape his instincts as a storyteller and strengthen his ability to collaborate across departments. His background allows him to bridge music and picture with a unique sensitivity to both craft and narrative.​His curiosity for the visual arts began early, experimenting with photography and stop-motion animation. That passion continued through his undergraduate studies at Coastal Carolina University, where he gained hands-on experience working across multiple production disciplines. These technical foundations continue to inform his creative process today, grounding his work in a lifelong pursuit of storytelling through every medium he can explore

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

Chris Ritvo, Overall Visual Effects Supervisor on Netflix's Remarkably Bright Creatures, joins Filmmaker Mixer to discuss the creation of Marcellus, the giant Pacific octopus at the heart of the film. In this conversation, Chris shares how his team combined real animal reference footage with advanced CGI to create a believable and emotionally engaging character. From researching octopus behavior at the Vancouver Aquarium to solving the challenges of photoreal creature animation, this episode offers valuable insights for filmmakers, visual effects artists, and film students interested in modern VFX workflows. Learn how filmmakers blend practical reference, technology, and storytelling to create digital characters audiences truly connect with.

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.

On this episode of Filmmaker Mixer, Ben King takes us inside the creation some of the most ambitious sequences from IT: Welcome to Derry. From meteor impacts to terrifying creature transformations, Ben breaks down the technical and creative process behind bringing horror to life on screen.We discuss the undead moose attack sequence, designing fear through visual effects, and how the series explores themes through horror imagery. Filmmakers, VFX artists, horror fans, and indie creators will learn about creature design, cinematic storytelling, practical vs. digital effects, and how high-end television horror sequences actually get made.

Amanda Elliott continues our artist profile series with an interview with Gedaly Guberek. Part 2 of 2. Gedaly is an actor and director creating adventure and action comedy films. His recent swashbuckling adventure, "The Flower of Battle," won awards at several film festivals including "Best Short." Recently he had the chance to study action filmmaking with the one and only Jackie Chan Stunt Team in Beijing. He's also worked as an editor, colorist, and VFX artist for commercials and feature films. He's also passionate about educating filmmakers as the founder & lead educator of DVResolve.com, and a teacher for Blackmagic Design & AFI Conservatory. His production company, Razee, is focused on creating original independent films. He's currently writing/directing an upcoming Fantasy-Adventure series, “Shadow of the Mages”. https://shadowofthemages.tv https://gedalyguberek.com IG: gedalyguberek

In this episode, we welcome Daniel Myrick, co-director of The Blair Witch Project, one of the most influential independent films of all time. Released in 1999, the groundbreaking horror phenomenon helped redefine the found-footage genre, became a cultural touchstone, and changed the landscape of indie filmmaking. In our conversation, Daniel reflects on the origins of the project, its innovative production approach, the unprecedented impact of the film's release, and the lessons he has carried throughout his career as a filmmaker and storyteller.“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.Join The Making Of at Panasonic's Cine Gear Panel:The Making Of joins Panasonic at Cine Gear Expo Los Angeles for “The New Talk Show,” a panel exploring how cinematic tools and studio design are transforming video podcasts into next-generation talk shows. Founder and host Michael Valinsky joins SoundShed AV Solutions CEO Matt Alvarez for the discussion on Saturday, June 6, 3:45pm–4:35pm in Theater 1. To register for the show, visit here 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 hereIgelkottPlates: One-Lens 360° Driving Plates for VFXIgelkottPlates announces its redesigned storefront for licensing single-lens 360° driving plates. Read full horizon-strip thumbnails, share collections with DP and VFX supervisor via one link — no logins, and download free ProRes 422 HQ samples in seconds. Captured on real European and US roads, up to 16K. Learn more hereMeet the YoloCam S7The YoloCam S7 paired with the included YoloLiv MFT 18mm F1.4 Lens gives creators a complete professional video solution right out of the box — all for just $799. Featuring stunning 4K60FPS video, real-time autofocus, interchangeable lenses, simultaneous HDMI and USB-C output, and seamless integration with YoloBox and YoloLiv workflows, the YoloCam S7 delivers incredible flexibility for livestreaming, content creation, and video production. Whether you're using it as a high-end webcam or a full live production camera, this bundle gives you everything you need to get started. Learn more today by contacting Videoguys at 800-323-2325. Visit herePodcast Rewind:May 2026 - Ep. 135.Advertise in The Making Of:Promote your products or services to 260K 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

Brian Sepanzyk joins the show to discuss his short film Defile and the way empathy can curdle into survival horror.The conversation explores remote cabin dread, moral gray zones, relationship collapse, and the fear that begins when your alarm bells go off too late.Brian talks about building unease before violence, using the woods as a boundary between the ordinary and the monstrous, and deciding what to leave unexplained.We also get into his other films, including Compulsion and In the Shadow of God, along with his work developing Into the Abyss.Along the way, Brian discusses indie filmmaking, VFX work, writing under pressure, editing painful cuts, horror influences, and the creative outlet he finds in his band Waingro.Website and professional profile:https://image-engine.com/crew/brian-sepanzyk/IMDb:https://www.imdb.com/name/nm1559870/Instagram:https://www.instagram.com/briantologist/Facebook:https://www.facebook.com/BSepanzyk/Defile coverage and interview pages:https://www.leagueoffilmmakers.com/defile-when-horror-becomes-a-mirror-for-modern-anxiety/https://readrange.com/brian-sepanzyk-in-the-shadow-of-god/YouTube interview and short-film pages:https://www.youtube.com/watch?v=0nUFupbEKFkhttps://www.youtube.com/watch?v=aX9R-IBvfLAhttps://www.youtube.com/watch?v=zpaAr5HhB2kTo watch or stream his short films and related work, these are the verified platform pages I found:https://www.youtube.com/watch?v=aX9R-IBvfLAhttps://www.youtube.com/watch?v=zpaAr5HhB2khttps://letterboxd.com/film/defile-2025/I did not find verified Amazon or Barnes & Noble purchase pages for Brian Sepanzyk's films or books in the current search results, so I'm not listing unverified storefront links here.Waingro official music pages:https://waingro.bandcamp.com/musichttps://waingro.bandcamp.com/album/sportshttps://waingro.bandcamp.com/album/iiiSpotify:https://open.spotify.com/artist/1tqsK5Px4s5tH6Mkehw6DkApple Music:https://music.apple.com/us/artist/waingro/935148728Facebook:https://www.facebook.com/waingrovancouver/Instagram:https://www.instagram.com/waingro_van/Support The Dark Mind Podcast: https://www.patreon.com/c/thedarkmindpodcastFilm and interview pagesBuy and stream film workMusic and band linksSupport The Dark Mind Podcast

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

Gothic horror is having a moment, and Justin Denton got there before the wave. His feature The Curse of the Sin Eater is now streaming on Prime, built for under a million dollars with 19 shooting days, a single private benefactor, Chicago theater actors, an English manor that half-burned down and got rebuilt by hand, and a composer found on Spotify who bowed his guitar like a cello because he didn't own one. Justin is a VFX veteran who has worked on $200 million productions, directed VR experiences for Legendary, and now has a completed independent feature with a Samuel Goldwyn distribution deal to show for a process that looks nothing like what Hollywood taught him and everything like what filmmaking actually requires. Chris and Daniel dig into the full journey with Justin: how the sin eater mythology stuck with him through COVID, why he pitched it as a drama dressed in horror clothing, what it costs to make a real film in a union town, how distribution actually gets done in the backroom deals before AFM (American Film Market) even opens, and why not having a recognizable name in your cast is the one decision that follows a first-time director all the way to the release screen. The conversation ranges from the Philippou Brothers grinding out horror on YouTube in rural Australia to Demi Moore chasing a script nobody thought she would want, to why the studios are wrong about Gen Z and the movies. This is a real-world map of what it takes to make a feature right now. Links and References: Justin Denton on IMDB > Justin Denton on LinkedIn > Justin Denton on Instagram > The Curse of the Sin Eater Trailer > The Curse of the Sin Eater on Amazon Prime > Film discussed: Talk to Me (dirs. Danny and Michael Philippou)  The Substance (dir. Coralie Fargeat)  My Old Ass (dir. Megan Park)  Weapons (dir. Zach Cregger)  Obsession (dir. Cory Barker)  The Bride (dir. Maggie Gyllenhaal) Widows Bay (Apple TV+)  Honey Don't (dir. Ethan Coen)   This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)

Union VFX and Clear Angle are turning Gaussian splats from a tech demo into a crowd-pleasing production pipeline. Literally. We speak with David Schneider, VFX and Technical Supervisor at Union, in this fxpodcast episode.

Episode 114-Social Media Marketing with Daveah Released 01 June 2026 Hosts: Keoni Hutton & Leslie Reed If you want people to come to your haunt, they need to hear about it, and social media is an effective tool to help.  We're excited to welcome back the Marketing Director for Athens Scream Park, Daveah, to talk all about her social media marketing techniques.  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/ 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.  

NBC's new summer event series "Surviving Earth" chronicles the creatures and major changes of the planet over thousands of years — and the impact today. It premieres Thursday June 11th at 8pm (and begins streaming on Peacock the next day). Joining me to discuss the show are VFX supervisor He Sun ("The Lion King") and animation supervisor Joe Tarrant ("Ex Machina").

Recorded live at RENDR 2026 we caught up with Oscar-shortlisted animator and acclaimed storyboard artist Giovanna Ferrari about her latest short film Éiru.With a career spanning major European productions and some of Ireland's most celebrated animated features, Ferrari reflects on her creative journey, the rewards and challenges of storyboarding, and the evolving language of animation. From her early work in France to her current role at Cartoon Saloon, she discusses the collaborative process behind award-winning films, as well as the personal inspiration driving her own directorial work.In partnership with RENDR Festival and supported by the National Talent Academy for VFX, this series of talks was recorded in The Spinners Mill Studio, a podcast and DJ studio based in Banana Block offering tailored solutions for DJ sessions, small-scale events and podcasting from concept to final distribution.About Giovanna FerrariSince the early 2000s, Giovanna has worked on several feature films across Europe both as Storyboard Artist and Animator. After working in France for 10 years, she moved to Ireland and worked with Cartoon Saloon on a number of projects, including Song of The Sea, The Breadwinner and Wolfwalkers. Recently she was Head of Story and Animation Director of Cartoon Saloon's new feature film My Father's Dragon produced by Netflix and directed by Nora Twomey. Giovanna's storyboarding on The Breadwinner was awarded with an Emile Award in 2018. ÉIRU, a short film written and directed by Giovanna, and produced by Cartoon Saloon was one of 15 Animated Short Films shortlisted for the 98th Academy Awards® and has screened at festivals all across the globe.Éiru is the smallest child of a mighty and powerful clan of Iron age Irish warriors. When the village well mysteriously dries up, she can finally prove herself worthy of her clan's name by descending into the belly of the earth and facing whoever or whatever has stolen their water.RENDR FestivalThis is a unique event celebrating creative craft and artistry in a fully immersive two-day festival exploring the space between Creativity and Technology. Ignite your imagination with inspiring speakers from the worlds of Film, Gaming, Animation, Immersive, and more! Learn from the best, with 30+ creatives from the likes of Netflix, Pixar, Walt Disney Studios and Epic Games among others.Witness creative uses of new technology, explore the gallery of digital art, chow down at the food village or play in the arcade. You will be transported to the future, and provide you with unforgettable and inspirational nights. Like nothing you have experienced before, our unique combination is guaranteed to provide two nights you can't miss. Come for the talks, stay for the experience!National Talent Academy for Visual EffectsAs the newest of the Academies, the National Talent Academy for VFX provides support and opportunities for anyone interested in a career in VFX. Launched in 2024, the National Talent Academy for VFX is an initiative of Fis Eireann/Screen Ireland, managed by Cultural & Creative Industries Skillnet. Their mission is to transform aspiring VFX artists into industry-ready professionals while providing ongoing upskilling opportunities for current talent.Through comprehensive courses and programmess, we introduce participants to best practices both locally and globally, creating clear pathways and solidifying Ireland's reputation as a premier destination for VFX. The National Talent Academy for VFX is dedicated to attracting individuals from diverse backgrounds and disciplines, fostering greater awareness of VFX as a viable and exciting career choice. Learn more about the work they do hereOver the years, the podcast has featured acclaimed guests such as Phyllida Lloyd, Lenny Abrahamson, M. Night Shyamalan, John Boorman, Saoirse Ronan, Colin Farrell, Aisha Tyler, Colm Meaney, Paul Reiser, Niamh Algar, David Freyne, Ciarán Donnelly, Joshua Oppenheimer, John Crowley, Niamh Algar, Gene Stupnitsky, and Terence Davies, alongside many of the most influential voices working in film and television today.So make sure to subscribe and listen back! Hosted on Acast. See acast.com/privacy for more information.

Amanda Elliott continues our artist profile series with an interview with Gedaly Guberek. Gedaly is an actor and director creating adventure and action comedy films. His recent swashbuckling adventure, "The Flower of Battle," won awards at several film festivals including "Best Short." Recently he had the chance to study action filmmaking with the one and only Jackie Chan Stunt Team in Beijing. He's also worked as an editor, colorist, and VFX artist for commercials and feature films. He's also passionate about educating filmmakers as the founder & lead educator of DVResolve.com, and a teacher for Blackmagic Design & AFI Conservatory. His production company, Razee, is focused on creating original independent films. He's currently writing/directing an upcoming Fantasy-Adventure series, “Shadow of the Mages”. https://shadowofthemages.tv https://gedalyguberek.com IG: gedalyguberek ————— Logik Academy Pro https://logikacademypro.com/

La entrevista principal tiene como protagonista a Carlota Massó, directora de Baile con la muerte, una de las piezas emergentes más destacadas de la animación española reciente. El cortometraje ha sido nominado en los Premios Fugaz 2026 en las categorías de Mejor cortometraje de animación y Mejor cortometraje breve, en una edición especialmente simbólica por el décimo aniversario de estos galardones de referencia para el cortometraje español. Producido por Brooder Lab, la incubadora de talento y contenidos emergentes de La Salle-URL, «Baile con la muerte» acumula más de 23 premios nacionales e internacionales y forma parte de la lista de cortometrajes preseleccionados a los Premios Goya 2026 en la categoría de Mejor cortometraje de animación. La obra está dirigida por Massó y nace del trabajo conjunto de once alumni del Grado en Animación & VFX de La Salle-URL: Berta Alsinet, Paula Anglas, Núria Aranda, Martina Berney, Joan Cortit, Laia Domene, David Martín, Carlota Massó, Roger Menta, Víctor Moya y Gisela Torres. El corto puede verse actualmente en Movistar Plus hasta el 31 de mayo, mientras que la gala de los Premios Fugaz 2026 se celebrará el próximo 22 de junio en los cines Kinépolis Ciudad de la Imagen de Madrid. A partir de ahí, Sección Oficial despliega una entrega especialmente cargada de rodajes, festivales, entrevistas y estrenos, manteniendo su vocación de acercar al espectador algunos de los movimientos más interesantes del panorama audiovisual. Entre los contenidos del programa figura el rodaje en Donostia de Si te he visto no me acuerdo, una comedia romántica gamberra dirigida por Mar Olid y protagonizada por Silvia Alonso, Álex González y Maxi Iglesias, que propone una mirada irreverente al género romántico. El programa también se detiene en Sin huella, thriller dirigido por Daniel Benmayor y protagonizado por Pedro Alonso, rodado íntegramente en Galicia, que enfrenta la vida rural y la supervivencia más primitiva con un mundo dominado por la tecnología y el rastro digital. Junto a él, la entrega se acerca a Entre viñas, nueva comedia coral de A Contracorriente Films y Onza Euskadi dirigida por María Cereceda, con un reparto encabezado por Elena Irureta, Luis Fernández, Edurne, Patricia Conde, Paula Prendes, Alejo Sauras, Cristina Lora, Salva Reina y Unax Ugalde. La Alfombra roja también ocupa un lugar destacado en esta entrega número 30. Sección Oficial recoge el ambiente de la premiere de Los mejores años de nuestra vida, la película original de Movistar Plus dedicada a Hombres G, con la presencia de David Summers, Javier Molina, Rafael Muñoz y Daniel Mezquita, acompañados por los directores Charlie Arnaiz y Alberto Ortega. El programa se acerca además a Hugo 24, el largometraje de Luc Knowles protagonizado por Arón Piper, presentado en la Sección Oficial del Festival de Málaga fuera de concurso. La entrega también dedica espacio a Leonas, la película de Juan Manuel Cotelo sobre la labor de Mamás en Acción y el acompañamiento a niños hospitalizados, así como a Serás Farruquito, que lleva al cine el alma, la leyenda y el legado de una de las grandes dinastías gitanas del flamenco a través de la figura de Juan Manuel Fernández Montoya, Farruquito. En el bloque de estrenos, el programa repasa títulos como El pasajero nocturno, Beast (La bestia), Cowgirl, Asesinato en la 3ª planta, Tres mujeres, Las catadoras de Hitler, Dos días y Sal & Dean: Tras los pasos de Kerouac, además de acercarse al universo de The Mandalorian and Grogu, la nueva aventura cinematográfica de Star Wars impulsada por Walt Disney Studios Motion Pictures Spain.

Is this truly the way? Josh & Alex discuss The Mandalorian & Grogu and its place in the Star Wars lineage of films. Hey there, hi there, hello there A quick intro? Is this going to be a short episode? (0:00) Movie Wire promo (1:23) Initial thoughts and feelings on The Mandalorian & Grogu (1:48) How do we feel about face actors being cast in Star Wars properties? (19:24) Josh pivots to vent about Dave Filoni inserting himself via cameos (21:25) Sigourney Weaver as Col. Ward (25:44) Jeremy Allen White as Rotta the Hutt (31:59) Plot breakdown (34:26) One of the best easter eggs in the film (37:27) More plot summary (39:39) More praise for the VFX team (45:42) The voice for the Anzelians is Moaning Myrtle (47:39) The low point of the film (49:39) Are we okay with the New Republic committing war crimes? (58:40) A cut plot thread from the trailers (1:00:12) The future of Star Wars projects? (1:06:07) Goodbyes and social media plugs (1:12:02) Please remember to check out the Movie Wire podcast, and join our Discord! *The sound clip at the end of the episode is from The Bad Lip Reading YouTube channel. We do not own the rights to this song and we do not receive any monetary compensation for this episode. 

In this episode, we welcome cinematographer Pepe Avila del Pino. Pepe has shot projects including Ozark, House of the Dragon, and The Deuce, along with films such as The Kindergarten Teacher and Worth. In our conversation, we discuss the series Love Story, which explores the relationship between John F. Kennedy Jr. and Carolyn Bessette Kennedy, two of the most iconic and heavily photographed public figures of the 1990s. We talk about building the visual language of the series, recreating the look and energy of New York City during that era, and other insights into the making of Love Story.“The Making Of” is presented by AJA:AJA solves IP, sync gen hurdles at NABFrom remote production to monitoring, IP introduces new challenges across productions. Get ahead of them with AJA's latest ST 2110 solutions, including BRIDGE LIVE IP and an upcoming IP25-R firmware update. The company also unveiled a new OG-GEN10 solution bringing its GEN10 Mini-Converter functionality to an openGear format. Find out more.You're invited…ZEISS Launch Event | Tuesday, June 2 | L.A.Join us as we move beyond tradition and launch the next major advancement in lens technology…ZEISS enters a new chapter in lens technology that will be revealed on Tuesday, June 2 at the ZEISS Cinema Showroom in Sherman Oaks, CA. Be one of the first to experience this new technology first hand! Register hereJune 2, 6:00-9:00 PM | 15260 Ventura Boulevard #820, Los Angeles, CA 91403Thunderbolt 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 hereOur Conversation with Markiplier on YouTube: Women In Media Altitude AwardsJune 7th, 11:00am | Burbank, CAThe 5th Annual Women In Media Altitude Awards celebrate the extraordinary achievements of women and gender non-conforming cinematographers, gaffers, and camera operators. Join us for a special champagne toast at 10:30 AM honoring this year's participants! Tickets hereMeet the YoloCam S7The YoloCam S7 paired with the included YoloLiv MFT 18mm F1.4 Lens gives creators a complete professional video solution right out of the box — all for just $799. Featuring stunning 4K60FPS video, real-time autofocus, interchangeable lenses, simultaneous HDMI and USB-C output, and seamless integration with YoloBox and YoloLiv workflows, the YoloCam S7 delivers incredible flexibility for livestreaming, content creation, and video production. Whether you're using it as a high-end webcam or a full live production camera, this bundle gives you everything you need to get started. Learn more today by contacting Videoguys at 800-323-2325. Visit herePodcast Rewind:May 2026 - Ep. 134.Advertise in The Making Of:Promote your products or services to 260K film industry 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

This week, we review and discuss 1998's "Armageddon". How much of a phenomenon was this film upon its release? How much of it could really happen? Is it a pure product of its time? How do the VFX compare to that of a modern film? All of that and more this week on Monoreel Radio.  Join the conversation on social media @monoreelradio on all major platforms or send us an email at monoreelradio@gmail.com. For links to anything you heard on the show, visit our website and if you want to experience the Disney magic for yourself, click here to start planning your next vacation.

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.

What does it really take to create world-class visual effects for a hit series like Wednesday? Mark O. Hammond joins Filmmaker Mixer to discuss the art, technology, and collaboration behind modern VFX production. From concept development to final delivery, this episode explores how filmmakers and artists work together to create memorable cinematic moments. Perfect for indie filmmakers, aspiring VFX supervisors, and anyone passionate about film production.

In this episode, we're joined by the director of yet another horror movie in theaters this month, André Øvredal, the filmmaker behind fan favorites like Trollhunter, The Autopsy of Jane Doe, and Scary Stories to Tell in the Dark. Now, he's back with his latest supernatural horror film, Passenger. Together, we had an awesome conversation about his history with horror, from a childhood memory of a haunted tennis court movie to obsessively reading Stephen King novels. We also dove into the behind-the-scenes of Trollhunter's iconic VFX and his approach to finding humanity within monsters. We also talked about his collaboration with Guillermo del Toro, van life culture as reflected in Passenger, and a super sick projection sequence in his latest film. This episode is packed with great stories and insight into filmmaking as a craft. So … COME HANG OUT!!! Follow Us on Social Media:Instagram & Threads: @mostlyhorrorpodTikTok & Twitter/X: @mostlyhorrorSteve: @stevenisaverage (all socials)Sean: @hypocrite.ink (IG/TikTok), @hypocriteink (Twitter/X)Enjoyed this episode? Don't forget to subscribe, rate, and leave a review on your favorite podcast platform to help us reach more horror fans like you! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

We sit down with visual effects wizard and animation mastermind, Ryan Jonathan—better known to the internet as RyGuy. Long before the term "content creator" existed, Ryan was setting the blueprint for influencer culture in South Africa, shooting club after-movies that drew crowds of hundreds and burning matric ball edits onto CDs with Nero Burn.From his early days making DIY Fast & Furious remakes on bicycles to working at Hectic 9-9 and eventually founding his powerhouse agency, Renderjockey, Ryan shares the ultimate creative journey. We dive deep into his process of working with massive brands and icons like Ricky Rick, Schalk Bezuidenhout, and Tomorrowland, and discuss how to navigate the tricky waters of pricing your worth and avoiding creative burnout.Plus, we explore the explosive impact of AI on the creative space, share some hilarious personal stories (including a forgotten ProNutro disaster), and tackle important conversations about inclusivity and identity in South Africa.In This Episode, We Cover:Mastering the Craft: Self-taught VFX, renting DVDs to study directors, and the journey from Hectic 9-9 to launching Renderjockey.The Business of Creativity: Knowing your worth, overcoming burnout, and why "you are only as good as your last project."The AI Revolution: How AI is reinvigorating Ryan's love for VFX, plus JP and Lyle's takes on using AI for ideation and efficiency.Award-Winning Moments: Creating award-winning content alongside heavyweights like Lasizwe and Nadia Jaftha.Behind the Scenes: The beautiful chaos of being a "fairy dad" to 3 girls, managing a mini-zoo (4 chickens, 3 dogs, 14 fish), and surviving childhood without Drink-O-Pop.Empower My Family Segment: Rizaan drops knowledge on how AI is transforming environmental conservation.Real Talk: A candid check-in on inclusivity and representing the diverse coloured community in South Africa.Play Along: We also bring back the nostalgia with talk about Virtual DJ and Fruityloops, and play a round of "Say Ma Now"!Don't forget to LIKE, COMMENT, and SUBSCRIBE for more deep dives into the minds of the industry's best creators!00:00 Intro and Welcome02:14 Who is RyGuy11:03 Early Career Days18:08 Fascination for Learning19:22 Feeling like Work23:43 Influencer Space26:44 Making Your Parents Understand31:11 Surviving and Thriving35:46 Dad Ryan45:02 Render Jockey Studios49:16 Say Ma Now01:04:16 Ai Talk01:19:48 Question for the Hosts01:29:01 Message and Plug01:30:50 OutroFollow us at: Instagram

In this episode, we welcome Emmy-nominated director Andrew Bernstein. Known for his work on acclaimed series including Mad Men, Ozark, The Americans, The Diplomat, and Fear the Walking Dead, Andrew has built a remarkable career crafting visually dynamic and emotionally grounded stories across film and television. In our conversation, we discuss Tom Clancy's Jack Ryan: Ghost War, his collaboration with writer and star John Krasinski, shooting on location in New York City, and the creative process behind bringing the latest chapter of the iconic franchise to life.The Making Of is presented by AJA:AJA solves IP, sync gen hurdles at NABFrom remote production to monitoring, IP introduces new challenges across productions. Get ahead of them with AJA's latest ST 2110 solutions, including BRIDGE LIVE IP and an upcoming IP25-R firmware update. The company also unveiled a new OG-GEN10 solution bringing its GEN10 Mini-Converter functionality to an openGear format. Find out more.Upcoming Event:ATX TV Festival | May 28–31TV Camp for Grown Ups returns with ATX TV Festival: Season 15 happening in downtown Austin on May 28–31 — and it is packed full of TV goodness.This year's lineup includes Friday Night Lights 20 Year Reunion, a celebration with Phil Rosenthal & Ray Romano for Everybody (Still) Loves Raymond‘s 30th anniversary, HBO's House of the Dragon returns for S3, Apple TV brings us the enigmatic Tatiana Maslany, Jake Johnson & Murray Bartlett for Maximum Pleasure Guaranteed,and the return of Steve Zahn and Rick Gomez. British TV invasion with Jane Austin in Austin courtesy of Britbox, Universal TV celebrates NBC's 100th Anniversary with The Paper, Funny AF and Procedurals, and the Mark Duplass led inaugural Indie TV Pilot Competition.Whether you're a die-hard fan or a TV industry insider, there's a seat at the campfire for you. Badges on sale now — don't miss the weekend where TV people come to celebrate the medium they love most. 20% off Camp, GP, TV Pass with code: atxtvpartnerMAKE — expires 5/20/26. 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. Browse hereZEISS LA Event | June 4thJoin ZEISS Camera Lenses and Beers & Cameras LA for a special evening of photography, lenses, lighting and community before we kick off CineGear LA 2026!Whether it was a hand-me-down SLR, a thrift store point-and-shoot, or your grandpa's coveted rangefinder, every filmmaker begins their journey examining light and shape through the viewfinder of a still camera. ZEISS Camera Lenses is honored to have spent the last 130 years supporting the Photography and Filmmaking community on sets in LA and abroad and is thrilled to join Beers and Cameras LA to continue our legacy of community building and image making.The ZEISS and B&C:LA teams invite all LA imagemakers to Arts District Brewing Co on Thursday June 4th from 6:30-9:30 PM for an evening of lens testing, portrait shooting, analog geekery, and so much more, including: Otus ML, ZEISS ZM, Batis, Touit, and Milvus lenses will be available for testing at the ZEISS Lens Bar!A series of beautifully lit portrait bays will be provided by our friends and sponsors Harlowe Lighting! Additional event support provided by our friends at LA Film Lab and The Darkroom! With a special guest appearance by Photographer, Filmmaker, Analog Enthusiast, and YouTuber, Caleb Knueven! (@BadFlashes)RSVP hereMeet the YoloCam S7The YoloCam S7 paired with the included YoloLiv MFT 18mm F1.4 Lens gives creators a complete professional video solution right out of the box — all for just $799. Featuring stunning 4K60FPS video, real-time autofocus, interchangeable lenses, simultaneous HDMI and USB-C output, and seamless integration with YoloBox and YoloLiv workflows, the YoloCam S7 delivers incredible flexibility for livestreaming, content creation, and video production. Whether you're using it as a high-end webcam or a full live production camera, this bundle gives you everything you need to get started. Learn more today by contacting Videoguys at 800-323-2325. Visit here Podcast Rewind:May 2026 - Ep. 133.Advertise in The Making Of:Promote your products or services to 260K 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

Episode 113-ECHC 26 Recap Released 15 May 26 Hosts: Keoni Hutton & Leslie Reed Keoni attended the East Coast Haunters Convention in Oaks, PA on 25 April and met a ton of really cool people.  Hear about all his exploits here! Resources mentioned during this episode: S4 Lights: https://s4lights.com/ NextFriend AI: https://nextfriend.ai/ Fear Imagined: https://fearimagined.com/ Reapers Harvest: https://darkersideofhalloween.com/ VFX: https://vfxcreates.com/ Haunters Against Hate: https://www.hauntersagainsthate.com/ HAH The Event: https://www.hahtheevent.com/ Chamber of Haunters Website: https://chamberofhaunters.com/ Instagram: https://www.instagram.com/chamberofhaunters/ Facebook: https://www.facebook.com/chamberofhaunters ScaredU: https://scaredu.org/ March Lunch & Learn: https://www.youtube.com/watch?v=VPLUJkLEl6E 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.  

Adapting manga to live action has defeated more than a few ambitious productions. But somehow, One Piece became one of Netflix's biggest successes — by embracing spectacle without losing sight of character. This week on Below the Line, Film Editor Eric Litman returns to the podcast alongside regular guest and co-host Christopher Angel to discuss the editorial challenges behind Netflix's hit adaptation of One Piece. From reshaping major sequences in post to balancing fan expectations with emotional clarity, Eric breaks down how the series found its rhythm — and why grounding the story emotionally became the key to making its larger-than-life world work. Among the highlights: Reworking the opening of Season 2 to establish energy, tone, and momentum from the very first scene Building complex visual effects sequences before the effects themselves even existed Using pacing, speed ramps, and eye-lines to shape action scenes around character perspective Finding visual inspiration in the original manga while still allowing the live-action series to stand on its own How editorial restructuring and pickups helped strengthen emotional connections between the Straw Hats Collaborating with previs, sound, stunt, and VFX teams across multiple countries during post-production Why the creative team resisted “fan service” in favor of character-driven storytelling The emotional audience reactions that revealed just how deeply One Piece connects with its fans What emerges throughout the conversation is how much modern editing — especially on a visual effects-heavy show like One Piece — depends on collaboration. Eric describes a process that extended far beyond the cutting room, involving constant communication between editorial, sound, previs, visual effects, production, and performance.

The portal to Outworld has reopened, and we're diving headfirst into the chaos. In this episode, we break down the highly anticipated sequel to the 2021 Mortal Kombat reboot. Does it deliver the "Flawless Victory" fans have been craving, or is it just another "Fatality" for video game adaptations?​What's On The Menu:​The Prince of Outworld: We discuss Karl Urban's take on Johnny Cage. Did he bring the star power and the signature sass, or did he feel out of place in the tournament?​A New Tournament: We analyze the expanded roster, from the introduction of Kitana and Jade to the menacing presence of Shao Kahn.​Kombat Evolution: A deep dive into the fight choreography and VFX. Are the fatalities more creative this time around?​Lore vs. Liberty: How well did the sequel stick to the NetherRealm source material while carving its own path?​Whether you're a die-hard fan who knows every frame of the 1995 original or a newcomer just here for the blood and guts, we've got you covered. Grab your controller, turn up the volume, and let's settle this.​FINISH IT!​@kevin27wrld

A VFX filled passion project. You should see this movie! It's Despiser (2003)! Support us on Patreon! www.patreon.com/nosuchthingasabadmovie Email us at nosuchthingasabadmovie@gmail.com Follow us on Instagram! @nosuchthingpod Bluesky us! @NoSuchThingPod @apriletmanski @Sgtzima @DeclouxJ

This week we re-enter the tomb of Imhotep and take a look at the classic re-imagining of the Universal Monster classic with The Mummy from 1999. Journey with us as we discuss this wildly fun film that mixes swashbuckling adventure with action oriented horror. We discuss the cast which includes Brendan Fraser, the VFX of the times, along with a look at this year's summer blockbusters. Is this the perfect remix of a Universal Monster or should they've made a straight-forward horror film? So pour some rye, grab the Book of the Dead, and watch out for those Scarab Beetles. Cheers!

Marc Rienzo is a veteran VFX artist and supervisor with his roots deep in compositing -- the kind of career that runs through Digital Domain, Sony, Weta, and the first Spider-Man's web-swinging climax, a shot he was literally escorted away from by a PA to make sure he went home after three days straight. That obsessive standard for invisible work turns out to be exactly the skill set that matters most when everyone else is just typing prompts. Marc and Chris dig into what it really means to match a shot to the DP's camera rather than just making it look cool, why compositors add optical imperfections on purpose, and how the discipline of working to film print-outs created habits that digital pipelines quietly erased. They also get into the honest conversation about what AI changes for VFX artists who never wanted to make their own films -- versus those like Marc who are now using 30 years of production knowledge to self-publish a comic book series and build a solo movie trailer using AI tools. If you have spent decades making every pixel work, Marc argues, you know exactly what to ask AI to do and when it got it wrong. Most people typing prompts don't have that. Links: Marc Rienzo's website > Marc Rienzo on IMDB > Marc Rienzo on YouTube > Foundry Nuke > This episode is sponsored by: Center Grid Virtual Studio Kitbash 3D (Use promocode "CGGarage" for 10% off)

Send us Fan MailThis one looks WILD.