Podcasts about vfx supervisor

Michael Ralla joins the podcast to share his journey through the world of visual effects, with a focus on his latest project as VFX Supervisor on the film Sinners. He discusses how he worked closely with cinematographer Autumn Durald Arkapaw, whose fearless approach to lighting and darkness pushed the creative envelope. The episode features a deep conversation about the differences between film and digital, the evolving language of color, and how these choices impact storytelling—insights that are especially relevant to the visual style of Sinners. Michael also opens up about his unconventional path into VFX, from his early ambitions as a heavy metal drummer to finding his footing in sound engineering, and ultimately discovering his passion for compositing. He reflects on his formative years at Scanline, learning the ropes through hands-on experience, and how that foundation led him to major studios like Digital Domain and ILM. Throughout the episode, Michael's candid perspective offers a rare look at the challenges and excitement of modern visual effects, as well as the importance of staying adaptable in an ever-changing industry.

In this episode of the VFX Artists Podcast, Kofi interviews Freefolk VFX supervisor Rob Sheridan, about his journey in the visual effects industry, the importance of internships, and the evolving landscape of VFX jobs. Rob shares insights on how he progressed from a runner to a supervisor, the significance of the Futurefolk internship program, and advice for aspiring VFX artists. The conversation also touches on the challenges faced by the industry and the importance of communication and collaboration in career advancement.Takeaways- Rob Sheridan has been with Free Folk for 11 years.- Starting as a runner can provide valuable insights into the industry.- Internships like Futurefolk are crucial for gaining experience.- Strong communication skills are essential for career progression.- Applicants should focus on showcasing their best work in reels.- The VFX industry is changing, with fewer runner positions available.- Commercial work can provide quick opportunities for building a portfolio.- Networking and reaching out on LinkedIn can open doors.- It's important to be proactive and aware of industry changes.- Positivity and attitude play a significant role in career success.

Adam Howard is the winner of four Primetime Emmy Awards for Outstanding Individual Achievement in Special Visual Effects and has been nominated a total of nine times for his VFX work on multiple Star Trek series. He originally trained in his home town of Melbourne Australia as a graphic designer, illustrator and animator, using very traditional artist tools. His passion for visual effects in film and television led him to be one of the first digital artists on the planet creating groundbreaking digital effects and animation for ABC-TV Melbourne and AAV Studios. He moved to Los Angeles in 1990 getting his dream jobs of working as lead animator and compositor on Star Trek: The Next Generation and MacGyver, and a few years later working as a senior artist at George Lucas's Industrial Light & Magic (ILM).​Adam has worked on over 145 feature films including Titanic, Birdman, Star Wars Episode III - Revenge of the Sith, Pirates of the Caribbean 2: Dead Man's Chest, Mission Impossible 3, Rush Hour 3, Jarhead, Cliffhanger, The Sandlot, The River Wild, Pee Wee's Big Holiday, War of the Worlds, Star Trek: First Contact, The Day After Tomorrow, Van Helsing, Coneheads, The Hurricane Heist, Tower Heist, The Twilight Saga: Breaking Dawn 1 & 2, X-Men Origins: Wolverine, The Island, Peter Pan, The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, and Bram Stokers Dracula.​He also created visual effects and animation for TV series including Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise, Will & Grace, That 70's Show and the iconic opening title chalkboards for The Simpsons. He was senior VFX Supervisor for the Harry Potter and the Forbidden Journey ride experience at Universal Studios Orlando, Tokyo and Los Angeles. Adam is also a fine artist creating custom painted portraits which are available by commission on his website www.adam howard.art. In addition to his VFX and fine art work, Adam is also Manager to award winning actress and screenwriter Lorenne Clarke. Adam recently completed work as VFX Supervisor for M. Night Shyamalan's TV series SERVANT and season 4 of EVIL on CBS.Connect with Adam:➡️ Instagram: @adamhoward_officialwww.adamhoward.arthttps://www.adamhoward.art/visualeffectsAbout The Lot1 Podcast ✨The Lot1 Podcast is designed for anyone who is interested in or working in filmmaking. Whether you're just starting out or a seasoned veteran, we hope you gain the knowledge you need to improve your craft, achieve your filmmaking goals, or simply get an understanding and appreciation for the roles and duties of your peers and colleagues.Follow Us! ⤵️Instagram & TikTok: @thelot1podcasthttps://www.instagram.com/thelot1podcast/?hl=enhttps://www.tiktok.com/@thelot1podcast–Hosted byDeji Bankole (@deji_bankole)Christopher Henley (@henley_son)Produced byMina VazirianEdited byChristopher Henleyhttps://linktr.ee/thelot1podcast Hosted on Acast. See acast.com/privacy for more information.

Join Rob Fredette on this captivating episode of HODGEPOD as he sits down with Paul DeNigris a seasoned professional in the world of film and television. With a career spanning three decades, Paul shares his journey from building LEGO spacecrafts as a child to founding his own company, Foxtrot X-Ray. Specializing in visual effects, Paul delves into the intricacies of his craft and the evolving role of AI in film production. Paul discusses his favorite films, such as "Blade Runner" and "The Wire," and shares insights on how visual effects bring stories to life, both in major productions and independent films. The conversation also touches on Paul's love for pizza, a passion rivaled only by his enthusiasm for filmmaking. Whether you're a film enthusiast or a pizza aficionado, this episode promises to be a feast for the senses.  RECORDED MARCH 13, 2025 Paul is the CEO, Creative Director and VFX Supervisor of his company Foxtrot X-Ray.  Check out their website and , www.foxtrotxray.com Their Visual Effects are amazing and you will get a crash course. HODGEPOD can be heard on APPLE,SPOTIFY, IHEART, AUDACY AND THE PODBEAN APP. Please give a follow, share and listen. Email: hodgepodallin@yahoo.com  

Join Rob Fredette on this captivating episode of HODGEPOD as he sits down with Paul DeNigris a seasoned professional in the world of film and television. With a career spanning three decades, Paul shares his journey from building LEGO spacecrafts as a child to founding his own company, Foxtrot X-Ray. Specializing in visual effects, Paul delves into the intricacies of his craft and the evolving role of AI in film production. Paul discusses his favorite films, such as "Blade Runner" and "The Wire," and shares insights on how visual effects bring stories to life, both in major productions and independent films. The conversation also touches on Paul's love for pizza, a passion rivaled only by his enthusiasm for filmmaking. Whether you're a film enthusiast or a pizza aficionado, this episode promises to be a feast for the senses.  RECORDED MARCH 13, 2025 Paul is the CEO, Creative Director and VFX Supervisor of his company Foxtrot X-Ray.  Check out their website and , www.foxtrotxray.com Their Visual Effects are amazing and you will get a crash course. HODGEPOD can be heard on APPLE,SPOTIFY, IHEART, AUDACY AND THE PODBEAN APP. Please give a follow, share and listen. Email: hodgepodallin@yahoo.com  

Eric Barba, Academy Award-winning VFX supervisor, returns to the podcast to discuss his latest work on Alien: Romulus, directed by Fede Álvarez, for which he is nominated for an Oscar in 2025. He shares the challenges of bringing the world of Alien to life, from balancing practical effects with cutting-edge VFX to ensuring the film stays true to Ridley Scott's iconic franchise. Eric dives into the evolution of creature effects, how real-time technology is being used in production, and the meticulous process of creating photorealistic environments that blend seamlessly with on-set footage. Beyond Alien: Romulus, the conversation explores how VFX workflows are evolving, the increasing role of AI in production, and Eric's thoughts on the future of the industry. He also reflects on his time at Digital Domain, leading teams on groundbreaking projects like The Curious Case of Benjamin Button (David Fincher), Tron: Legacy (Joseph Kosinski), and Oblivion (Joseph Kosinski). With behind-the-scenes insights and expert knowledge, Eric offers a fascinating look into the state of visual effects today and where it's heading next.

For this brand new podcast episode, Chris and Alex are delighted to discuss the spectacle and staging of virtual holograms with Ian Comley, VFX Supervisor at Industrial Light & Magic and part of the creative team that brought the ABBA Voyage (2022-) musical experience to life. Over three years in the making, ABBA Voyage uses computer-generated imagery to (re)imagine the long-retired Swedish group for 21st century audiences. The show combines sophisticated de-aging techniques to craft the illusion of the band's 1979 selves, combined with re-recorded vocals and a contemporary light show. Topics include the fluctuating role of nostalgia in the ‘retro' creation of ABBA's virtual ‘abbatars' and the speculative aesthetic of contemporary musical concerts; the ethics of virtual holography when combined with digitally-mediated posthumous performance; the myth of the photographic ‘close-up' rendered in computer graphics; questions of likeness, liveness, and duration in the construction of an immersive concert; and the complex status of ABBA Voyage as a feature-length animation that negotiates the musical star as a computerised base asset. **Fantasy/Animation theme tune composed by Francisca Araujo** **As featured on Feedspot's 25 Best London Education Podcasts**

In the special 500th episode of the CG Garage podcast, Steve Preeg, one of the first-ever guests of the show, returns to reflect on a decade of change in the visual effects industry. An Academy Award-winning VFX supervisor known for his groundbreaking work on The Curious Case of Benjamin Button and TRON: Legacy, Steve shares how both the industry and his own career have evolved since his last appearance. He delves into advancements in digital humans, motion capture, and AI tools, providing insights into the shifting landscape of technology-driven storytelling and where it's headed next. The conversation highlights Steve's contributions to iconic films and the new challenges he faces as he explores innovations in real-time rendering and virtual production. As he reflects on the growth of the podcast and his long-standing friendship with Chris, Steve offers unique advice for aspiring artists navigating the rapidly changing VFX world. This milestone episode celebrates the evolution of both CG Garage and the art of visual effects, showcasing how collaboration and innovation have shaped the industry over the last 10 years.

In this episode of the CG Pro podcast, Thomas Hollier, a digital artist and visual effects supervisor, shares his journey into the world of visual effects, discussing early inspirations, memorable projects, and the importance of curiosity and passion in maintaining a creative career. He reflects on the industry's evolution, the balance between technical and creative skills, and the future of storytelling in an increasingly immersive digital landscape.

  In this episode, Allan McKay sits down with Andy Boyd, a seasoned VFX Supervisor, and co-owner of Jamm VFX. Andy shares his extensive journey in the visual effects industry, from his early days breaking into major studios like Framestore and Method Studios to founding his own successful VFX company. The conversation delves into the challenges and triumphs of managing a VFX team, navigating cultural differences between the UK and US VFX industries, and overcoming technical hurdles in high-profile projects like "Brothers" and "Werewolf by Night." Andy also discusses the future of VFX, including the impact of AI and remote work, and offers invaluable insights for aspiring VFX artists and entrepreneurs looking to make their mark in the industry.   Topics Covered Andy Boyd's early career in South Africa and transition into VFX Working at Framestore and Method Studios Founding Jamm Visual Effects and managing a boutique studio Behind the scenes of Werewolf by Night and creating Man-Thing Crafting photoreal creatures, including Samuel the orangutan in Brothers Transitioning to tools like V-Ray for superior fur rendering The evolving role of AI in VFX and storytelling Striking a balance between creative freedom and technical challenges   Key Quotes "VFX is the perfect blend of creativity and problem-solving—each challenge pushes you to innovate in unexpected ways." The most exciting projects are the ones where you begin with no clear solution—those moments ignite innovation." You can feel the energy of a passionate team in the final product—great work reflects great collaboration."   Resources Jamm Visual Effects Website Werewolf by Night on Disney+ 5 Key Takeaways 1. Evolving Through Challenges Andy's career exemplifies the importance of adapting to new roles and technologies, whether transitioning from retouching to 3D or embracing V-Ray to achieve lifelike fur. 2. The Power of Boutique Studios Jamm thrives on the advantages of a smaller team, delivering high-quality work with a collaborative and personalized approach that stands out in a crowded industry. 3. Crafting Creatures with Heart From Werewolf by Night to Brothers, Andy highlights the joy and challenge of bringing creatures to life, focusing on subtlety and realism to tell compelling stories. 4. The Importance of Studio Culture Jamm's success stems from its commitment to people-first management, ensuring employees are supported and projects are properly resourced. 5. AI and the Future of VFX Andy reflects on how AI tools are opening new creative possibilities, streamlining workflows while keeping artistry at the forefront.

In this episode, CG Spectrum's Chief Creative Officer Jeremy Chinn interviews Emmy-nominated VFX Supervisor and CG Spectrum alum Charlie Lehmer. Charlie shares his inspiring journey from aspiring filmmaker to a VFX career working on major projects like All the Light We Cannot See, Avengers: Endgame, and Deadpool & Wolverine.Discover how Charlie's unrelenting commitment set him apart—whether it was flying across the country to demonstrate his commitment to a gig, learning advanced tools like Nuke and Maya while working full-time, or simply making the best sandwiches to show his dedication to craft. He reflects on the challenges and rewards of his career, the critical role of mentorship, and his advice for aspiring VFX professionals looking to break into the industry. Charlie reflects on his early days, crediting CG Spectrum's flexible, mentor-led training in 3D Modeling and Nuke VFX for helping him bridge the gap between production and post-production, and allowing him to stand out in the industry. Through hard work, perseverance, and a deep love for the craft, Charlie rose from entry-level roles to becoming a lead VFX supervisor. With his success story, he wants to encourage more professionals to explore specialized learning as a tool for career growth.This episode is packed with practical tips and inspiration for aspiring VFX artists and film professionals looking to carve their path in a competitive field. Don't miss it! Hosted on Acast. See acast.com/privacy for more information.

Andy Boyd, co-founder of Jam, shares insights into his studio's journey over the past decade and their ability to adapt to changing industry dynamics. Andy reflects on his studio's blend of commercial and long-form projects, including Brothers, a feature film featuring a photoreal CG orangutan, now available on Amazon Prime. He discusses the challenges of creating realistic fur and how transitioning to V-Ray as a rendering solution revolutionized their approach to creature work. Andy also explores how smaller VFX studios like Jam have carved out niches by focusing on high-quality work for projects with limited but impactful shot counts. The conversation covers the evolution of the VFX industry, the influence of AI as a tool, and the importance of diversifying offerings in a competitive landscape. Andy highlights the growing opportunities for smaller studios to excel in both commercials and specialized film work, sharing how Jam's ability to collaborate and adapt has allowed them to thrive. From comedic PSA campaigns to innovative miniature-based projects like Stanley Spillzilla, Andy's stories showcase the creativity and resourcefulness of a studio determined to push boundaries while staying true to its roots.

SEASON 2 - EPISODE 122 - Jo Plaete - VFX Supervisor VFX supervisor Jo Plaete (HERE; ALIEN: ROMULUS; FURIOSA) joins us on this episode of the Team Deakins Podcast. Jo is also the Chief Innovation Officer at Metaphysic, and we spend much of the episode discussing the company's AI technology and its use in several recently-released films. Having come up through the VFX world, Jo compares the techniques of more traditional VFX artists to what he does today using artificial intelligence, and he likens the recently spotlighted technology to “proceduralism on steroids”. We get a deep dive into the tech behind the de-aging AI used on HERE, and Jo shares how the technology integrated itself into the production process to let the crew see what the final effect would look like in real-time. Jo also reflects on some of the troubleshooting that occurred between departments during production, and we discuss whether the filmmakers were working around the AI or if the AI was working with them. Jo also shares how data is fed into the technology to build out the model's understanding of a person's face, and Jo shares what they do with all that data once the show wraps. - This episode is sponsored by Aputure

At our inaugural Future of Filmmaking summit this November, IndieWire's Chris O'Falt hosted a fascinating discussion on performance capture filmmaking, featuring the director, VFX supervisor, and a lead actor from "Kingdom of the Planet of the Apes." Listen in to hear how the team on these films is pushing performance capture technology forward, and what it was like for the actors in "Ape Camp." Learn more about your ad choices. Visit megaphone.fm/adchoices

Jason Smith, the senior visual effects supervisor on The Lord of the Rings: The Rings of Power, joins the podcast to discuss his award-winning career in visual effects. With nearly 25 years at Industrial Light & Magic (ILM), Jason's achievements include an Oscar nomination and a Sci-Tech Award from the Academy for his groundbreaking work on Blockparty, a rigging tool used to bring countless creatures to life. He shares how his fascination with creatures and his dedication to mastering both the technical and artistic aspects of VFX have driven his remarkable career. The conversation highlights Jason's contributions to The Rings of Power, where he led the creation of photoreal creatures and solved unique challenges like scale and world-building. He also reflects on his work on iconic projects such as Transformers, Avengers, and Bumblebee, emphasizing the importance of blending practical and digital effects. Jason offers valuable insights into the evolving VFX industry, discussing collaboration, innovation, and the future of visual effects. This episode is a deep dive into the art and science of VFX from one of the industry's most accomplished artists.

There is a lot to unpack in Robert Zemeckis' Here. VFX Supervisor & 2nd Unit Director Kevin Baillie explains the complex filming, editorial complexity, and its AI de-aging.

On this episode of Reel Insights, Sean Tajipour, the Mayor of Nerdtropolis, dives into the creative process behind Netflix's Ultraman: Rising! Sean sits down with two key visionaries from the project—Hayden Jones, the VFX Supervisor, and Scot Stafford, the Composer—who reveal the magic behind Ultraman's spectacular visuals and powerful score. Discover how they brought the iconic superhero to life in bold, innovative ways, from groundbreaking special effects to an unforgettable score that adds depth to every action-packed scene. Visit Nerdtropolis.com Watch on Netflix: https://www.netflix.com/title/81007144 https://www.Facebook.com/nerdtropolis https://Instagram.com/nerdtropolis https://Twitter.com/nerdtropolis

In this episode, Allan McKay sits down with Jason Smith, Senior Visual Effects Supervisor for Rings of Power and longtime ILM veteran, to delve into his fascinating career journey and creative process in the world of visual effects. Jason shares his story, from early passions for creature design and practical effects to an unplanned but impactful transition to CG and computer graphics. They explore the unique blend of technical and artistic skills required in VFX, including Jason's early work developing rigging software at ILM, and how these technical foundations have shaped his approach to supervising complex, high-stakes projects like The Revenant and Rings of Power. The conversation dives into the importance of storytelling, communication, and collaboration, as well as the evolving challenges in VFX, such as adapting to new technology and achieving the director's vision on both large and small budgets. Jason offers valuable insights for aspiring VFX artists and supervisors, sharing how flexibility, perseverance, and creative problem-solving have been critical throughout his career. This is an essential listen for anyone passionate about VFX, storytelling, and the intersection of art and technology in blockbuster productions. Topics Covered Jason Smith's background and career path in visual effects The importance of storytelling in visual effects Developing rigging software and technical skills in VFX The role of communication and collaboration with directors and teams Managing creative and budgetary constraints on large and small projects Techniques for achieving forced perspective and scale effects in Rings of Power Challenges and rewards of working on high-budget productions and indie projects Advice for young artists entering the VFX industry Reflections on the VFX community's adaptability during COVID Highlights “You're telling stories, not just producing pixels. That's where the magic happens.” “The path isn't linear; the universe has a way of using every skill you pick up.” “Working within limitations is where some of the most innovative ideas come from.” “When I came to ILM, I wanted to work on creatures, and here I am still working with creatures decades later on Rings of Power.” “The relationships you build with directors and teams – that's what makes you a trusted collaborator in this industry.” Resources The Lord of the Rings: The Rings of Power Industrial Light & Magic (ILM) Weta Digital The Revenant The Lord of the Rings: The Fellowship of the Ring Legacy Effects

Jo Plaete, a pioneer in digital humans and chief innovation officer at Metaphysic, joins the podcast to discuss his company's groundbreaking work on the newly released film Here, now in theaters. Jo traces his journey from his early career in computer graphics and visual effects, working on films like Where the Wild Things Are and Aladdin, to creating cutting-edge AI-driven tools that enable photorealistic de-aging of actors like Tom Hanks and Robin Wright. His experience includes collaborating with Disney Research on facial reconstruction technologies and pushing the boundaries of neural network-based visual effects. Jo also explains how Metaphysic's tools provided real-time feedback on set, allowing filmmakers to see younger versions of the actors instantly. This innovation enabled directors and actors to evaluate performances live, making adjustments on the spot to achieve the most authentic and emotionally resonant portrayal. Jo reflects on the future of digital humans in cinema, emphasizing how AI and real-time feedback are reshaping storytelling while maintaining a high level of artistic control.

SEASON 2 - EPISODE 112 - DAN LEMMON - VFX Supervisor VFX Supervisor Dan Lemmon (THE BATMAN, DAWN OF THE PLANET OF THE APES, AVATAR) joins us on this episode of the Team Deakins Podcast. Expanding upon our collection of conversations with filmmakers who worked on THE BATMAN, Dan is more than eager to discuss his work on the film, and he breaks down his team's contributions to the Batmobile chase sequence and the look of the film as a whole. We also discuss the value of shooting references for the VFX department, and Dan reveals his reasoning for advocating to shoot as much as possible in-camera. We later learn how VFX houses are adapting to deliver their work at the same quality under tightening budgets, and we reflect on how the pace of innovation in the field has changed over Dan's career. Dan also explains how motion capture technology works and how it's evolved to allow for films like AVATAR and the recent PLANET OF THE APES trilogy to exist as envisioned by their directors. Towards the end, we reflect on the modern trend towards naturalism and the diminishment of theatricality in how stories are told cinematically. - This episode is sponsored by Aputure

How has the VFX industry evolved from Silicon Graphics to real-time rendering? In this October 21st episode of Monday Meeting, host EJ Brieva talks with Jeff Lopez, co-head of CG and VFX Supervisor at The Mill, about his 27-year journey in the industry. From his early days at SVA to leading innovation at The Mill, Jeff shares insights on adapting to technological changes while maintaining creative passion. This episode includes: The importance of personality over technical skills in on-set supervision (80/20 rule) How remote work is reshaping studio culture and creating nationwide opportunities Why junior artists should prioritize in-person learning and community building The value of R&D and experimentation in keeping large studios competitive Visit MondayMeeting.org for this episode and other insightful conversations from our motion design community! Reminder: Join us next week for our spooktacular Halloween-themed open discussion. Costumes, masks, and haunting makeup are encouraged! SHOW NOTES: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting Instagram⁠⁠⁠⁠⁠⁠⁠⁠ ⁠The Mill Visual Effects Society ⁠Next "Food In Motion" Motion/Sound Design Collab SignUp Sheet F9 Collective School of Motion Scholarship Program

In this October 14th episode of Monday Meeting, host EJ Brieva sits down with Ricardo Roberts, Executive Producer and Co-founder of BIEN studio. As BIEN celebrates its 7th anniversary, Ricardo shares insights on building a motion design company founded on principles of inclusivity and how it's shaping the industry landscape. This episode includes: BIEN's journey from inception to becoming a leader in inclusive motion design Innovative initiatives like "Double the Line" and "Fly on the Wall" that provide opportunities for underrepresented talent Strategies for creating authentic, non-stereotypical representations in design The importance of designing with, not for, diverse audiences Challenges and successes in promoting diversity in the motion design industry Visit MondayMeeting.org for this episode and other insightful conversations from our motion design community! Reminder: Join us next week when we have Jeff Lopez, Co-head of CG and VFX Supervisor at The Mill. Don't forget to submit any questions ahead of time for the show. SHOW NOTES: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting Discord⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Monday Meeting Instagram⁠⁠⁠⁠⁠⁠⁠ Bien Studio Creative Codex "Drawing People" by Joumana Medlej ⁠Jeff Lopez from The Mill Question Form Adobe MAX SOM Rive Academy Course "Food In Motion" Motion/Sound Design Collab FINAL Next "Food In Motion" Motion/Sound Design Collab SignUp Sheet

Welcome to a new Geektown Behind The Scenes podcast. This week I'm chatting with Laurent Spillemaecker, VFX Supervisor for VFX company FOLKS about their work on the fourth and final season of the Netflix hit show ‘The Umbrella Academy'.The final season sees our dysfunctional family of heroes, consisting of Luther (Tom Hopper), Allison (Emmy Raver-Lampman), Klaus (Robert Sheehan), Diego (David Castañeda), Viktor (Elliot Page) and Number Five (Aidan Gallagher), trying to avert yet another apocalypse. Warning, there are SPOILERS below, and in the interview itself, so if you haven't seen the final season yet, go and watch!..Still here?Okay, so if you remember the end of Season 3, the gang were left in a new reality, but also powerless. Whilst they do find a way to get their powers back, they also discover, they are the problem… After various, very "Umbrella Academy" type things happen, Ben, and his new girlfriend Jen, end up merging into a giant blob monster which threatens to destroy the Earth… And that's where Laurent and his team at FOLKS come in...FOLKS have been involved with 'The Umbrella Academy' since season one, but for the final season, the team received its most significant mandate yet. They were responsible for conceptual pre-production work to establish the creatures' identities, post-viz, final elaboration of complex shots, and creation of character and environment assets, animation, simulation, and compositing.Along with creating the monstrous version of Ben and Jen, they also enhanced the environment for a Christmas-themed sequence, adding crowd characters, vendors, snow, and more. Plus they picked up some other shots, such as Five's “blinking”, some of the laser eyes FX, and other superpowers and background work.Outside of ‘The Umbrella Academy' Laurent has previously worked on a huge range of projects including Sin City, 300, Mission: Impossible - Ghost Protocol, Blade Runner 2049, Thor: Ragnarok, Star Wars: The Last Jedi and lots more. Support this show http://supporter.acast.com/geektown. Hosted on Acast. See acast.com/privacy for more information.

SEASON 2 - EPISODE 109 - KEVIN BAILLIE - VFX SUPERVISOR On this episode of the Team Deakins Podcast, we speak with visual effects supervisor Kevin Baillie (HERE, PINOCCHIO, FLIGHT) in an engaging conversation about the evolving use of VFX in film. We learn what types of discussions Kevin has with filmmakers to determine how to incorporate VFX effectively into their projects, and we discuss his belief in using the right tool for the right job. While looking back in history, we marvel in the immersive quality of Ray Harryhausen's pioneering work on JASON AND THE ARGONAUTS and discuss the function of VFX within a piece of storytelling. We also discuss the increasingly prevalent role of VFX in production and on a perceived creative bifurcation between the production stage and the post-production stage. A frequent collaborator of director Robert Zemeckis, we discuss how the director's relationship to visual effects has changed over the years, and Kevin reveals the intent behind the VFX in the upcoming feature HERE. - This episode is sponsored by Aputure

In this episode, Allan McKay sits down with Philip Cramer, VFX Supervisor at Digital Domain, to explore the groundbreaking world of character-based visual effects and the innovative tools shaping the future of the industry. They discuss Philip's journey from animation to supervising some of the most iconic visual effects projects, including Avengers: Infinity War and Endgame. Philip dives into the creation of Thanos and the challenges of delivering photorealistic CG characters with extensive screen time. He also covers the evolution of Digital Domain's facial capture technology, Masquerade, and its role in major projects like She-Hulk and Ant-Man and the Wasp: Quantumania. The conversation touches on the importance of flexibility in a technical pipeline, the advantages of working with both technical and artistic teams, and how to lead by example as a supervisor. Philip offers key insights on problem-solving in high-pressure environments and shares valuable advice for artists on how to stand out in the competitive world of visual effects. This is a must-listen for anyone interested in character animation, performance capture, and the future of VFX technology, especially as studios transition to more real-time solutions and advanced facial capture techniques.   Topics Covered: Philip Cramer's background and transition from animation to VFX supervision The creation and performance capture of Thanos for Avengers: Infinity War and Endgame The development and impact of Digital Domain's markerless facial capture system, Masquerade The challenges of delivering a fully CG character for She-Hulk Leadership and team collaboration in high-pressure environments Advice for artists on standing out in a competitive industry   Quotes: “Never say no. Say yes, but explain the trade-offs.” “Leading a team is about working longer, working harder, and being there to support your crew.” “We needed to mass-produce She-Hulk's performance in a way we had never done before, which pushed us to innovate Masquerade.”   Resources: Digital Domain website Masquerade facial capture technology

Today's conversation is one I've had in the bag for a couple of months now . I had the absolute pleasure of sitting down with Andrew Whitehurst.Andrew's journey into the visual effects industry is one that really resonates with me, especially when he talks about his childhood fascination with movie magic and a certain BBC documentary. Yes, THAT one! Like many of us, it all started with a spark of curiosity. He pursued that passion at art college and gained experience in various roles, which eventually led him to become a visual effects artist. His early work on projects like Tomb Raider 2 and Troy paved the way for his role as VFX supervisor on Ex Machina, ultimately winning him an academy award.In our conversation, I got to dive deep into Andrew's experience working on films like Ex Machina and Indiana Jones and the Dial of Destiny. We talked about the challenges of creating realistic CGI characters and the meticulous attention to detail that's required for modern audiences. Andrew shares that belief in the value of using traditional tools like pencil and paper in the design process, and on the importance of looking beyond the screen to other forms of art for inspiration.Through our discussion, Andrew provided some great insights into the decision-making process for visual effects and how to strike that delicate balance between realism and audience expectations. Key points:A love for movies and a fascination with visual effects can lead to a career in the industry.Art college and self-learning are valuable for developing skills in animation and 3D software.Opportunities may arise in unexpected ways, such as working as a runner or doing graphic design for DVD menus.Being open to new roles and challenges can lead to career progression and working with renowned directors.Enjoying the process and having a good working relationship with colleagues are key to success in the industry. Ex Machina was a highly ambitious film with a tight shooting schedule and minimal pre-visualization and concept work.The design process for Ava focused on creating visual effects that could be executed like a regular piece of drama.The decision to use CG for Ava's head was made during the editing process, allowing for more creative control and a stronger visual impact.The design of Ava was influenced by a variety of sources, including racing car suspension, modernist sculpture, and human anatomy.The use of pencil and paper in the design process is a valuable tool for exploring ideas and understanding visual concepts. Taking the time to manually create something allows for thinking and feeling, which can lead to better results and creative collaboration.Observing the world and engaging with different forms of art can enhance creativity and provide inspiration for visual effects.Recreating a young version of a character like Indiana Jones requires a combination of techniques, including face swapping and machine learning.The use of high-resolution scans and archival material can help ensure accuracy and detail in visual effects.Closure on a project is important for maintaining mental health and allows for focusing on new challenges.All the links

Tonight on GhostBox Radio with Greg Bakun, Greg talks with podcaster Daren Dochterman of the Star Trek podcast Inglorious Treksperts. September 8th is Star Trek day so Daren has kindly agreed to come by and talk all things Star Trek. Daren was also the VFX Supervisor & Associate Producer on the Director's Cut to Star…

Kevin Tod Haug has always been destined for a career in VFX. From a young age, he analyzed movies and TV series to work out how they were made. He joined the industry and saw it transform from electro-mechanical to digital via movies and TV series, including Tron and Star Trek: The Next Generation. He then became a full VFX supervisor on movies including Fight Club, The Cell, Panic Room, and Quantum of Solace, and pioneered creative VFX shots that allowed cameras to move through tiny spaces or make the unbelievable look real. As the industry shifts once more with AI and virtual production, Kevin talks about his career and how he's managed to catch successive waves of VFX technology from the 1970s to today, sharing how he used new technology to create convincing effects for low-budget Italian war movie Comandante. He shares amusing anecdotes from his career in VFX, from a literal fly in the ointment to an encounter with Prince, and he gives advice on how to stay ahead of the curve.

Erik Winquist is a renowned VFX Supervisor at Wētā FX, a leading visual effects company based in New Zealand. After leaving the US to work on the Lord of the Rings, he now has over two decades of experience working on iconic films such as Avatar, X-Men, I Robot, King Kong, Rampage, and the Planet of the Apes franchise. In this episode, we discuss the latest installment, Kingdom of the Planet of the Apes, the evolution of motion capture, on-set processes for the crew in relation to VFX, and the extreme detail Wētā FX puts into bringing the apes to life.  

Stephan Fleet is the VFX Supervisor for the hit Amazon series The Boys and serves as Associate Producer and Co-Producer on its spinoff Gen V. With a diverse background in visual effects and production, Stephan has become a leading innovator in television VFX. Stephan has developed a reputation for creative problem-solving and empathetic leadership in high-pressure production environments. His work on The Boys has set new standards for tv series visaul effects, balancing realism with the show's signature style while pushing the boundaries of what's possible in episodic content. In this Podcast, Stephan Fleet talks to Allan McKay about the unique challenges of creating grounded superhero powers for The Boys, his innovative approaches to monitor comps, and the intricacies of on-set VFX supervision. He shares insights on workflow optimization using custom database solutions, and the importance of empathy in VFX leadership. Stephan also discusses his transition into producing roles with Gen V and how his VFX background influences his approach to overall production. This episode offers valuable advice for both aspiring and established VFX artists, as well as producers and directors interested in the evolving landscape of visual effects in high-end television production. Stephan's unique perspective, spanning both the creative and managerial aspects of VFX production, provides a comprehensive look at the current state and future potential of visual effects in prestige TV series. Key Highlights: 1. Superhero Power Development Stephan reveals the intricate process behind crafting iconic effects like Homelander's laser eyes and Butcher's grotesque tentacles. Learn how the team balances realism with the show's signature style. 2. Innovative VFX Techniques Discover the groundbreaking "monitor leader" approach that revolutionized on-screen graphics in "The Boys". Stephan explains how this technique has set a new standard for monitor comps in the industry. 3. Cutting-Edge On-Set Technology Get an inside look at how the VFX team utilizes state-of-the-art tools like Polycam for 3D scanning and Tentacle Sync devices for seamless timecode synchronization across multiple cameras. 4. Workflow Optimization Explore the custom solutions developed by Stephan's team, integrating Airtable and FileMaker for efficient VFX tracking and financial management within the production pipeline. 5. Leadership in VFX Stephan shares his philosophy on empathetic leadership in the high-pressure world of VFX production, offering valuable insights for industry professionals at all levels. 6. Cinematic Techniques in TV Learn how "The Boys" adapts high-end cinema techniques for television, including the use of Sony Venice cameras to achieve feature-film quality in a TV production schedule. Resources Mentioned: The Boys (TV series) Gen V (TV series spinoff) Polycam (3D scanning app) Tentacle Sync (timecode devices) PTGui (panorama stitching software) Nuke (compositing software) Airtable (database software) ShotGrid (production management software) Stephan Fleet's Instagram Tamron 35-150mm F2-2.8 lens XY Short Film   Don't miss this insightful conversation with one of the industry's most innovative VFX supervisors. Whether you're a seasoned professional or an aspiring VFX artist, this episode is packed with valuable knowledge and inspiration for pushing the boundaries of visual effects in television.      

A love of computing, music, and cinema has propelled Jeff Kleiser's career from the earliest days of VFX on movies including Tron, Flight of the Navigator, Stargate, Judge Dredd, Surrogates, and many more. Along the way, he's helped the late, great Doug Trumbull create eye-popping film-based projects for Luxor hotels and Radio City's 3D Christmas movie. Jeff talks through his career, and how he's seen the industry evolve from optical printers and really slow computers to today's AI and CG tech, which are making it easier to create low-budget movies that look like blockbusters. He also talks about his fascinating upcoming movie with his brother, Grease director Randal Kleiser, which tells a remarkable true tale of heroic teenage girls in wartorn Amsterdam.

VFX Supervisor Tim Carras joins Allan McKay to discuss his work on high-profile projects like "Clipped" and "Shogun". Tim shares insights into the challenges of creating realistic crowds for basketball arenas, crafting flaming arrow effects for period dramas, and the intricacies of on-set VFX supervision. The conversation covers a range of topics, from simulating realistic insect movement to adapting to remote work in the VFX industry. Tim offers valuable perspectives on the evolution of visual effects technology, the importance of networking, and the skills required to navigate complex productions in today's fast-paced entertainment landscape. Links Mentioned: Barnstorm VFX: https://www.barnstormvfx.com/ ShotBot App: https://www.shotbot.com/ Tim Carras on Instagram: @wip_for_approval   Memorable Quotes and Interesting Topics: "The only thing more important than your reel is your network." "Sometimes a decisive wrong answer is better than an indecisive right answer." "The McDonald's Principle" - Using a concrete suggestion to spark creative discussion. The counterintuitive difficulty of creating sparse crowds versus packed stadiums. The importance of admitting when you don't know something as a supervisor. The evolution from running a VFX studio to focusing on the creative aspects of supervision. The impact of remote work on the VFX industry and global talent accessibility. The balance between technical accuracy and aesthetic appeal in VFX. The importance of detailed on-set data collection and how it impacts post-production. The transition from student films to professional union sets and respecting specialized roles. The value of understanding multiple disciplines within VFX to communicate effectively with different departments.

Chad Wanstreet and Chris Nichols have experienced similar career trajectories — but this is the first time they've sat down together. Like Chris, Chad transitioned from architecture to VFX, and his experience spans working at notable firms including Blur Studio and FuseFX. Along the way, Chad has contributed to projects that pushed the boundaries of visual effects, such as The Sympathizer, SWAT, The Tick, and the short-lived but brilliant Kill the Orange-Faced Bear. Chad discusses the challenges and innovations brought by technological advancements, such as virtual production and real-time ray tracing, and highlights the importance of understanding these tools. Additionally, Chad shares personal anecdotes about the highs and lows of his career, including the struggles during the economic downturn of 2008 and the unexpected opportunities that led him to his current role.

Continuing our look at the hot contenders in this year's Emmy Awards race, we chat with Chris MacLean to discuss his approach to the epic series Foundation on Apple TV+.

Over a 40-year career, Joel Hynek has helped bring some incredible VFX to life, beginning with optical effects for Xanadu, then making the Predator a terrifying opponent for Arnie, and moving onto a range of movies, including xXx, Judge Dredd, Stealth, plus blockbusters from India and China. He picked up a sci-tech Oscar for the design and development of an optical printer, and a VFX Oscar for his quietly revolutionary work on What Dreams May Come. Joel shares incredible stories from the world of VFX, including how he developed the Predator's invisibility cloak and night vision, the scrapes and near-misses he got into while filming Stealth, and reveals some interesting trivia about The Matrix and The Bourne Identity. He also talks about working with industry luminaries including Doug Trumbull, Rob Cohen, Doug Liman, and reveals his impressive lineage.

"Masters Of The Air" premiered on Apple TV+ at the beginning of the year, earning strong reviews for its storytelling, performances, and incredible craftsmanship, rightfully earning its place alongside the legendary WWII miniseries "Band of Brothers" (2001) and "The Pacific" (2010). Based on the 2007 book by Donald L. Miller, the show follows the actions of the 100th Bomb Group, a Boeing B-17 Flying Fortress heavy bomber unit in the Eighth Air Force in eastern England during World War II. Actor Callum Turner, who plays Major John "Bucky" Egan, Visual Effects Supervisor Xavier Matia Bernasconi, and Virtual Production Executive Steve Jelly were all kind enough to spend some time talking with us about their work on the show. Please be sure to check out the limited series, which is available to stream in full on Apple TV+ and is up for your consideration in all Emmy categories. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Allan McKay sits down with Xavier Bernasconi, VFX Supervisor at DNEG, to dive deep into the world of virtual production. They discuss Xavier's fascinating career journey, his recent work on the highly anticipated Masters of the Air, and the decision to utilize virtual production for the project. Xavier shares insights into the current state of virtual production technology, its challenges and limitations, and the exciting future potential as the tech continues to evolve. The conversation also covers the impacts of virtual production on actor performances and the shifts in collaboration it brings to VFX workflows. This is a must-listen for anyone curious about the cutting-edge of filmmaking innovation.   Table of Contents Introduction (00:00:00) Introducing Xavier Bernasconi (00:00:03) Xavier's Background and Journey (00:00:46) From Proskier to Visual Effects (00:00:46) Developing Compositing Software (00:02:05) Becoming a VFX Supervisor (00:03:40) Masters of the Air Project (00:04:17) Overview and Initial Thoughts (00:04:25) Complexity and Challenges (00:05:27) Virtual Production Decision (00:05:46) Logistical and Creative Reasons (00:06:11) Comparison to Traditional Green Screen (00:06:57) Challenges and Limitations of Virtual Production (00:09:18) Technological Advancements and Limitations (00:09:55) Limitations with Unreal Engine (00:12:03) Preparation and Pressure on Set (00:13:35) Workflow and Collaboration (00:14:09) Pressure on VFX Team (00:16:48) Current State and Future of Virtual Production (00:22:02) Infancy and Potential for Growth (00:22:09) Advantages and Limitations (00:22:36) Virtual Production and Final Pixel (00:26:59) Misconceptions and Post-Production Work (00:27:33) Developing an End-to-End Pipeline (00:28:29) Virtual Production in Episodic vs. Feature Films (00:31:48) Prevalence in Episodic Content (00:31:53) Blurring Lines Between Episodic and Feature Budgets (00:33:30) Proprietary vs. Out-of-the-Box Tools (00:34:53) Use of Unreal Engine and Cost of Setup (00:35:43) Virtual Production for Previs and Pitching (00:36:27) Quick and Cheap Iteration (00:37:10) Benefits for Certain Types of Directors (00:38:14) Collaboration in Virtual Production vs. Traditional Post (00:38:36) Real-Time Collaboration and Creativity (00:39:15) Challenges of Remote Work (00:39:21) Actor Reactions to Virtual Production (00:42:48) Immersion and Performance Benefits (00:43:31) Conclusion (00:44:41) Appreciation and Wrap-Up (00:44:41)   Memorable Quotes "I love telling stories. I felt that I was drawn more to the end of the pipeline, more to the beginning of the pipeline, so I was more drawn into lighting and compositing." Virtual production was the most logical choice for Masters of the Air due to logistical, budgetary and creative reasons. Virtual production is still in its infancy with lots of room for technological development. Extraction of foreground elements from LED screens is an important area of research. Virtual production fosters real-time collaboration and creativity compared to traditional segmented workflows. However, on-set experience and mentorship is still crucial. Actors appreciate virtual production as it helps their performances by providing interactive environments rather than pure green screen.   Xavier Bernasconi Bio Xavier Bernasconi is a VFX Supervisor at DNEG. Originally from Italy, he now lives in Canada. His recent projects include Masters of the Air, Mad Max Furiosa and Godzilla x Kong.  

We speak to Chris Townsend VFX supervisor of Loki Season 2.

In this epic episode of the Podcast, Allan sits down with Michael Cliett, the overall VFX Supervisor for the hit TV series Shogun. Michael shares his journey into the world of visual effects, from his early fascination with behind-the-scenes movie magic to working his way up in the industry. He dives deep into the making of Shogun, discussing the collaboration between various VFX studios, the show's commitment to historical accuracy, and the challenges of creating believable CG water and gore and other visual effects topics. This episode is a must-listen for anyone interested in the art and craft of visual effects in television.   Table of Contents: [00:02:54] - Michael's journey into a creative career in VFX [00:13:04] - The importance of diverse VFX skills as a supervisor [00:18:02] - Michael's initial reaction to the Shogun scripts [00:23:05] - Collaborating with the production designer and other departments [00:31:39] - Continuing the show's style in post-production  [00:36:28] - Michael's on-set kit and experience shooting Shogun [00:41:17] - Memorable shooting days, including the shocking scene in Episode 4 [00:49:49] - Diving into the gory details of the Episode 4 sequence  [00:57:15] - The challenges of creating believable CG water [01:02:27] - Crafting seamless environment extensions [01:06:23] - The surprising number of decapitations in Shogun [01:11:48] - The role of AI in the VFX industry and the importance of the human touch [01:22:53] - The incredible reception to Shogun   Check out the show notes : https://www.allanmckay.com/452  

We discuss the hit new Kingdom Of the Planet of Apes film with Director Wes Ball and Wētā FX VFX Supervisor Erik Winquist.

SEASON 2 - EPISODE 90 - DENNIS MUREN - VFX SUPERVISOR Visual effects supervisor Dennis Muren (JURASSIC PARK, TERMINATOR 2: JUDGEMENT DAY, STAR WARS: RETURN OF THE JEDI) joins us on this episode of the Team Deakins Podcast to discuss his lifelong craft. From playing with stop motion to working on the original STAR WARS, Dennis was interested in visual effects at an early age, and throughout the episode he reflects on the evolution of the field following the advent of computer generated imagery. We learn how Dennis prioritizes emotionality when building VFX into a shot and how he consults with a director and the crew  to come up with the best shots for the film. We also learn about the shift away from using models towards computer generated imagery and about the loss of certain aspects of reality that came with transition. We discuss the focusing power of deadlines, and Dennis later shares some advice for young filmmakers looking to breaking the field of VFX. Also included: how Dennis set up a prehistoric video call to coordinate the VFX of JURASSIC PARK across the globe with director Steven Spielberg in 1993. - This episode is sponsored by Godox

Production VFX Supervisor Michael Cliett discusses making FX's Shōgun.

SEASON 2 - EPISODE 88 - JOHN KNOLL - VFX SUPERVISOR On this episode of the Team Deakins Podcast, VFX supervisor John Knoll (THE BATMAN, ROGUE ONE, PIRATES OF THE CARIBBEAN) joins us to talk about his career and his craft. Despite growing up among an academic family of engineers, scientists, and medical professionals, John fell in love with the fantastic imagery of cinema and television, and he saw miniature work as his way into filmmaking. From cold-calling Industrial Light & Magic at 15 to later working for them, John reflects on his life as one who turns hobbies into professions, and we learn how John fuses technology with art in his work. John reveals, with great clarity, how slit-scans are actually composed and shares how he used the effect to generate the illusion of the Starship Enterprise entering and exiting warp speed. We later discuss the leadership responsibilities of being a supervisor, including giving negative feedback in such a way that elevates a collaborator's work. Towards the end, we also discuss the enduring appeal of miniatures for audiences and filmmakers alike. In addition to his work in VFX, John (alongside his brother Thomas) invented Photoshop, the popular photo-editing software used around the world. - This episode is sponsored by Godox

EPISODE 450 - THE SYMPATHIZER - CHAD WANSTREET - VFX SUPERVISOR In this episode, Allan McKay interviews VFX Supervisor Chad Wanstreet about: His role as VFX Supervisor on the highly anticipated series The Sympathizer, an adaptation of the Pulitzer Prize-winning novel; Collaborating closely with visionary director Park Chan-wook to bring his unique vision to life; The extensive previs and planning process that went into executing the show's complex VFX sequences; Overcoming the challenges of creating digital doubles and face replacements for Robert Downey Jr.'s multiple characters; Ensuring geographical and historical accuracy while shooting on location in Thailand and Vietnam; Making confident, split-second VFX decisions on set to keep production moving forward; Lessons learned from his experience on other shows like S.W.A.T., Dollface, and Sweet Tooth; Practical advice for up-and-coming VFX artists looking to break into the industry; And so much more! If you enjoyed this episode, Allan would greatly appreciate it if you could take a moment to share it with others who might find it valuable. Your support means the world to him! Listeners are invited to dive into this fascinating conversation with Chad Wanstreet and discover the behind-the-scenes secrets of creating high-end VFX for a prestige series like The Sympathizer.

Chris MacLean's incredible career in VFX has transported him from documentaries on Cretaceous dinosaurs to the far-flung future for Foundation, Apple TV+'s bold adaptation of Isaac Asimov's genre-defining sci-fi novels. Along the way, Chris has created and supervised VFX for movies and TV series, including Crimson Peak, Godless, American Gods, Resident Evil, and many more. Having worked his way up from artist to second-unit director, Chris has a unique perspective on filmmaking and how the crew comes together. Chris also talks about making Foundation, including how they found the series' extraterrestrial locations here on Earth, avoided blue screens, and even digitally simulated the vintage lenses used on the physical shoot. Chris also shares his informed perspectives on new technology, including Gaussian Splatting, in-camera VFX, and AI.

Hugo Guerra is the dictionary definition of multitasking. Having taken his eye for compositing into directing short films and commercials, and supervising VFX, Hugo fills his spare time with producing content for his successful YouTube channel and recording the VFX Notes podcast with Ian Failes. If that's not enough, he's also produced a cookbook with his wife. Hugo talks about his early career in Portugal and how he took his love for movies into short films, and then compositing and directing. He also tells you why you need to go on-set, talks about the benefits of teaching, gives his thoughts on AI and “invisible” CGI, and reveals the inner workings of YouTube.  

Karen Heston is a VFX Supervisor on feature films and episodic tv. They began their VFX career at commercial houses in NYC on the night shift; while finishing their MFA in computer art by day.  Starting as a Flame artist, they led VFX teams and engaged with creatives from storyboards to finals. On-set supervision and taking projects from pre-production through post remains their passion today. Karen's projects include titles like GREEN LANTERN, BEASTS OF NO NATION, OCEAN'S EIGHT, and most recently GEN V. In this Podcast, Allan McKay interviews VFX Supervisor Karen Heston about their creative journey as a VFX Supervisor on GEN V, the spinoff of THE BOYS; as well as their experience studying cinematography at NYU, switching to visual effects, the learning experience as a the main vendor on Cary Fukunaga's BEASTS OF NO NATION, and so much more! For more show notes, visit www.allanmckay.com/445.

Visual effects supervisor Pablo Helman (KILLERS OF THE FLOWER MOON, THE IRISHMAN, JARHEAD) joins us on this episode of the Team Deakins Podcast. Born in Argentina, Pablo spent his youth playing music professionally and touring South America with his band before graduating from UCLA and working for several effects houses before ultimately ending up at Industrial Light & Magic where, for the past 27 years, Pablo has hung his hat. Throughout the episode, Pablo shares how he approaches implementing VFX into a film and how he works with directors and the various heads of departments during production to ensure the effects serve the story being told. Pablo also reveals how the de-aging technology used in THE IRISHMAN was developed, how it actually works, and why its development was led with the intent to preserve an actor's performance. Later, Pablo shares several stories from working on KILLERS OF THE FLOWER MOON, from scanning and reproducing a miniature oil derrick to wrangling digital cows. Towards the end, we consider how VFX is just another tool to use to create the reality of a film and discuss why you ultimately can't escape from what you shoot. - This episode is sponsored by the Dallas Film Commission & Aputure Instagram: @dallasfilmcommission & @aputure.lighting

With 15 years in the VFX business, Jonas Ussing has  supervisor credits on several feature and television titles, including the Netflix series THE RAIN. Jonas has furthermore earned nominations for an Emmy and a Danish Academy Award. In 2012, Jonas was nominated for an Emmy for his work on INSIDE THE HUMAN BODY. In 2014, he directed a short film ZOMBIEHAGEN which he also wrote.  During 2023, Jonas launched his own YouTube Channel The Movie Rabbit Hole. He released two videos that have immediately gone viral in the VFX community, in which he talks about the collective publicity stunt in Hollywood on the subject of “NO CGI”. He does a deep dive into those projects that claim they used “no CGI” in the making, like TOP GUN: MAVERICK, BLADERUNNER, FAST 5 and STRANGER THINGS.  In this Podcast, Allan McKay interviews VFX Supervisor Jonas Ussing about the dangerous marketing rhetoric encouraged by studios about “No CGI” in films like TOP GUN: MAVERICK, BLADERUNNER, FAST 5; the inspiration behind Jonas YouTube Channel The Movie Rabbit Hole and the viral videos on the subject; the reaction of the VFX community to his content; surviving Hollywood Labor Strikes of 2023, whether VFX artists will ever get unionized – and so much more! For more show notes, visit www.allanmckay.com/443.  

Rob Nederhorst is a veteran of the VFX industry. As a VFX Supervisor, he's worked on titles like JOHN WICK: CHAPTER 3 - PARABELLUM, THE CONJURING, GHOSTBUSTERS, CAPTAIN AMERICA: THE FIRST AVENGER, and so many others. Rob has deep knowledge in compositing, lighting, 3D, 2D and programming. In addition, he does his own photography (https://www.flickr.com/photos/71678094@N00/) and teaches at University of Southern California.  In this Podcast, Allan McKay interviews VFX Supervisor Robert Nederhorst about his viral Generative AI Webinar for SAG-AFTRA Membership and the feedback that followed; the current CGI backlash and why the best visual effects are invisible; why AI will never replace VFX artists and why 2024 will be a year abundant with opportunities – and so much more! For more show notes, visit www.allanmckay.com/439.