Podcasts about Visual Effects Society

Episode 124  Like many visual effects artists of a certain vintage, Jeff Okun didn't plan on a career in VFX. In fact, by his own account, he didn't even plan to work in film at all. "I'm a completely accidental human being," he told me with a chuckle. His ambitions began on a very different stage — as a stand-up comic — until a sharply atheistic routine delivered at home earned him a lifetime ban from performing in front of his parents. Instead, Okun's creative outlet took the form of magic tricks, homemade stunts, and Super 8 visual gags. “I would blow up model ships and fake fights in rush hour traffic,” he said, “and I'd be in the bushes filming with ketchup for blood.” All of this childhood chicanery ultimately gave way to a fascination with the trickery of movies — the kind of illusions you could only pull off with careful camera work, sleight-of-hand editing, and an appetite for mischief. Learning the Craft the Hard Way Okun's first job in film was with the legendary graphic designer and filmmaker Saul Bass. The experience was, in Okun's words, “awful,” but also profoundly formative. As Bass's gopher-turned-editor, Okun was thrown into the deep end. “I hated him,” he laughed. “But he taught me everything: editing, sound, post-production supervision, how to shoot, how to frame. It was a masterclass.” Working for Bass meant operating in a visually precise, effects-heavy style — layering camera moves, creating in-camera effects, and often relying on labor-intensive optical printing processes. When optical houses turned down Bass's business — too exacting, too expensive — Okun stepped in with cost-saving workarounds and pricing schemes that actually worked. “We doubled the budget, added a contingency, and somehow still landed exactly on target.”“By the end of it, I ended up loving the man,” Okun said. “Not because he gave me a break, but because he was so specific and difficult to please that when you did please him, it meant something. He learned how to prep lineup sheets, how to composite with interpositives, and how to break down 140-layer optical shots into manageable components. “I was just the fix-it guy. I didn't know what I was doing half the time. I still don't.” VFX by Way of Accident It wasn't long before optical houses and producers began calling on Okun when their films were in trouble. One fix led to another. His reputation grew as someone who could step into a crisis and calmly solve it — usually with a combination of ingenuity, humour, and brute-force trial and error. “I think Saul trained me to see puzzles. That's what it comes down to — seeing what's broken and putting it together in a way that works. Most of the time, it wasn't about having the right answer. It was about trying 50 wrong ones.” This kind of lateral thinking came into its own on films like Stargate (1994), where Okun — working with Jeff Kleiser and Diana Walczak's fledgling CG company — had to convince director Roland Emmerich that computer graphics were even worth attempting. “Roland didn't believe in CG. So we built the shot, made the CG glider deliberately less detailed to match the miniature footage. Showed it to him. He said, ‘Exactly — that's what I'm talking about. Miniatures are the way to go.' And we said, ‘Nope. All CG.' That's when he finally came around.” (Fun fact, VFX supervisor Jeff Okun was paid homage by Brent Spiner in Independence Day in the role of Dr. Brackish Okun. There's uh, a slight resemblance.) - Credit to Nofilmschool.comPenguins, Moose, and the Invisible Effect Okun is quick to point out he wasn't a Star Wars kid. In fact, he avoided the original film for weeks on principle — he doesn't do queues. But he did get a behind-the-scenes tour of ILM's original Van Nuys facility courtesy of Bass and George Lucas. There, he saw motion control rigs, Richard Edlund on his knees filming the crawl, Phil Tippett animating the chess game, and pyro tests in the parking lot. It was, he admits, a little magical — though it didn't change the fact that his creative allegiance remained with illusion, not spectacle. “My favourite effects are the invisible ones. I started out as a magician. The goal is to make people believe there's no trick. That's where the real artistry is.” Still, that didn't stop him from sneaking penguins and moose into the background of multiple films. He once gave a horse antlers in a Cameron Crowe movie. In Blood Diamond, he added a huge penguin family to a wide evacuation shot — no one noticed. “It's like the gorilla basketball video. You just don't see what you're not looking for.” The Shark That Ate Sam Perhaps his most famous — or infamous — contribution to pop culture came on Deep Blue Sea. Samuel L. Jackson had just delivered a particularly rough eight-page monologue, and Okun, unimpressed with the script, asked Jackson what he wanted to do. “He just said, ‘Kill me.' So I said, ‘If you make it to the front of the moon pool, I'll kill you.'” The surprise shark attack that interrupts Jackson mid-speech is now legendary. It wasn't in the script. “Renny Harlin didn't know until the day,” Okun said. “Sam did take after take but always got to the kill spot early. We cut the rest. I shot the elements. It was a massacre. We even had baby sharks pull him apart for fun.” The Changing Landscape Much of our conversation revolved around the changing realities of visual effects — the rise of AI, the complications of LED walls, and the shifting expectations from directors and studios. “People think VFX is just hitting the ‘do it right' button and then the ‘do it fast' button,” he said. “There's so little appreciation for how hard this stuff is, and we've done ourselves no favours by making it all invisible.” He sees today's VFX artists as increasingly anonymous — a shift he's spent much of his career trying to reverse, both through his own visibility and via his tenure at the Visual Effects Society. “We don't sell our artistry. We sell our software. You know the names of the DPs, but no one can name last year's VFX Oscar winners. That's not sustainable.” The Invisible War Stories At the end of our chat, Okun expressed a desire to tell more of the “true” stories of VFX — the screw-ups, the late-night fixes, the shots that weren't supposed to work. He wants more people to know that the chaos behind the curtain is often where the real creative breakthroughs happen. “It's always fun. That's the only reason I still do it. And when it's collaborative, when it's people bouncing ideas off each other, it's magical. That's when everyone forgets the pain and just remembers the movie.”All the Filmumentaries Links

"Kingdom Of The Planet Of The Apes" represents a vast technological breakthrough in visual effects technology as the "Planet of the Apes" franchise continues to push the boundaries of what's possible in visual effects with each passing installment. The work on Wes Ball's 2024 blockbuster has received nominations from the Critics Choice, BAFTA, Visual Effects Society, and now, the Academy Awards. WETA Visual Effects Supervisor Erik Winquist was kind enough to spend some time speaking with us about his work on the film, which you can listen to below. Please be sure to check out the film, which is now available to stream on Disney+ and is up for your consideration for this year's Academy Awards for Best Visual Effects. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... 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 and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to another episode of Sci-Fi Talk,  I'm your host, Tony Tellado, and this is Sci-Fi Talk Weekly for January 16, 2024, Episode 118. In today's episode, we start on a somber note with a real-life tragedy: the devastating fires in California, which have impacted the lives of many, including members of the entertainment industry. We'll also bring you the latest headlines, such as new cast additions for "Wheel of Time" and an exciting role for Colman Domingo in the upcoming "Running Man." Other updates include the Duffer Brothers receiving an award, the Visual Effects Society nominations, and the return of Farhar Tahir to the MCU in the Vision series. You'll also hear about Gerard Butler's grueling experience filming "300" and upcoming film adaptations like "Horizon Dawn" and "God of War." We'll dive into some fascinating fantasy book releases for January 2025 and a recap of the first season of "Severance." Plus, we'll cover updates on "Alien Romulus," a lifetime achievement award for Colm Meaney, and exciting strides in animation style by DreamWorks. Additionally, we discuss the upcoming "28 Years Later" film, an Avatar 3 update, and films like "Final Destination" and "American Psycho" turning 25 this year.   Subscribe To Sci-Fi Talk Plus For A Free One Year Trial

On this episode of 8111 I talk with Craig Barron. Craig is an Academy Award-winning visual effects supervisor, entrepreneur, and film historian with a groundbreaking career spanning over two decades. He has contributed to visual effects on more than 100 films and served as a founding member of the Visual Effects Society. Barron also spent nine years on the Academy of Motion Picture Arts and Sciences Board of Governors and was co-chair of the Science & Technology Council.At just 18, Barron joined Industrial Light & Magic during the "Star Wars" era, contributing to classics like The Empire Strikes Back, Raiders of the Lost Ark, and E.T. He later co-founded Matte World, an Emmy-winning studio that evolved into Matte World Digital, known for its innovative visual effects in films such as Batman Returns, Zodiac, Hugo, and The Curious Case of Benjamin Button, for which he won an Oscar and BAFTA in 2009.Barron co-authored The Invisible Art: The Legends of Movie Matte Painting, an award-winning book chronicling the history of matte painting. A dedicated film historian, he frequently lectures for AMPAS and Turner Classic Movies, collaborating with sound designer Ben Burtt to showcase the artistry behind classic films like Modern Times and Forbidden Planet.In recent years, Barron has worked as a visual effects supervisor at Tippett Studio and now serves as Creative Director of Magnopus, a cutting-edge visual storytelling company based in Los Angeles.It was a genuine pleasure to talk with Craig about his incredible career. 

Superheroes, crumbling buildings, mega monsters, and sci-fi movies; visual effects make everything you can imagine real. In this episode, Colin Campbell, visual effects expert for more than 50 feature films and Chair of the Visual Effects Society, elaborates on the history and evolution of VFX and what we can expect from this technology in the future. Virtual reality and special effects can create an immersive experience in architecture and design, bringing the not-yet-built environment to life. Join us in this Curious Conversation and learn the transformational power of special effects to make the designer's vision a reality. Visit: https://www.Corgan.com/  Also connect with us on: Instagram: https://www.instagram.com/CorganInc/  Facebook: https://www.facebook.com/CorganInc/  Twitter: https://twitter.com/CorganInc  LinkedIn: https://www.linkedin.com/company/corgan  Video Produced by: Corgan Have Questions? We'd love to hear from you.  Email: communications@corgan.com

Join our conversation with FX artist and local professor Nelson Lim as he talks through his journey from computer science into the exciting world of animation & games, and how AI is changing it as we speak. Lim has worked on an impressive record of projects including but not limited to Fortnite, Pacific Rim, Marvel's The Avengers and Transformers: Age of Extinction; and now dedicates his skills to help other emerging technical artists through The Visual Effects Society. Find out more on https://www.nelsonlim.com/

We previously interviewed the Oscar-nominated Production & Costume Designers for Ridley Scott's epic historical film "Napoleon." Now, we're bringing you the final of its three Oscar nominations with Best Visual Effects. The team of Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco, and Neil Corbould are also nominated at the Visual Effects Society for Best Supporting Visual Effects In A Photorealistic Feature and the BAFTA Awards for Best Visual Effects. All four were kind enough to take a few minutes to discuss their work on the film. Please be sure to check out the film, which is up for your consideration at this year's Academy Awards and is now available to stream on Apple TV+. 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

The Framestore Podcast, our learning and talent development focused podcast made by Framestore, for Framestore, is back with another fantastic new episode. In this two-part episode, instead of our usual format, we dedicate this special edition to recognise the incredible visual effects achievement that is 'Guardians of the Galaxy Vol. 3' by the epic Framestore team and its multitude of award nominations this year, including the Visual Effects Society, Academy Awards, BAFTA and more. Our special guests this week are VFX Supervisor, Alexis Wajsbrot, and Lead Animators Pete Warbis and Chris McGaw.    Alexis, famed for crafting action scenes in Doctor Strange, Thor: Ragnarok, and Spider-Man: Far From Home, joined Framestore as Lead FX TD in 2009. He has contributed to 'Prince of Persia' and later served as FX Super on Gravity, leading the shows groundbreaking software development. After a three-film MCU stint, he supervised Wonder Woman 1984's explosive third act, and more recently, served as VFX Supe for Doctor Strange in the Multiverse of Madness, Guardians of the Galaxy Vol. 3, and the GOTG holiday special. Pete, having previously worked at MPC and ILM has portfolio that includes Tom and Jerry, The One and Only Ivan, Jurassic World: Fallen Kingdom, Avengers: Infinity War, and Paddington 2. He excels in crafting nuanced performances for characters and creatures, adding depth to storytelling.  Chris, a veteran character animator with decades of experience, left his mark at major VFX studios in Canada and the UK, including ILM, Sony Pictures Imageworks, and MPC. He has worked on some of the world's biggest film franchises including The MCU, Star Wars, Jurassic World, and Fantastic Beasts. This is a discussion brimming with spoilers, where we delve into our work on Rocket Raccoon's origin story, pivotal moments and sequences handled by the Framestore crew, the remarkable impact the actors' performances had on the creature and character animation in the film, all while acknowledging the Guardians Trilogy as the best of the MCU! We talk about the wonderful dichotomy of creating 'crazy characters' who are grounded, flawed and relatable, as well as what made James Gunn such a great director to work with from a VFX perspective and the obvious challenge for our guests picking their favourite shots!

"Godzilla Minus One" was one of 2023's most surprising success stories. The film grossed over $105 million worldwide, becoming the highest-grossing Japanese "Godzilla" film of all time; it crossed over into the U.S., where it received an overwhelmingly positive response from critics and now has been nominated for an Oscar for Best Visual Effects making it the first film in the 70-year-old franchise to receive an Academy Award nomination. Director, Writer, and Visual Effects Supervisor Takashi Yamazaki was kind enough to spend some time speaking with us about the work that went into the visual effects, which you can listen to below. The film is now up for your consideration for the 96th Academy Awards and the Visual Effects Society, where it is nominated for Outstanding Animated Character In A Photoreal Feature. 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

Afternoon Teatime at 3pm EST December 14th. Joining and coming to share a T-E-A is Darren Cranford, an accomplished artist in illustration and the visual arts. He brings you his first written and illustrated book “Nottle First Day of School," a book on learning to accept others. Join us, and let's make a difference together. LIVE STREAMING TO MULTIPLE PLATFORMS AND PODCAST STATIONS AND APPS. LIVE SHOW ON MISS LIZ'S YOUTUBE CHANNEL BELOW. Please give it a quick subscribe and be notified when teatimes are live. https://youtube.com/@misslizsteatimes?si=VhVODhNkY__evnDarren Cranford is an accomplished artist from Newfoundland who relocated to Niagara, Canada. He holds a distinguished academic background, having earned a Bachelor's degree in Fine Art with a specialization in painting. In the professional realm, Darren is the co-owner of Krow VFX, a premier visual effects and animation studio that has operated for over 25 years. Under his adept leadership, Krow VFX has garnered recognition for its exceptional work with prominent movie studios such as Netflix, NBC Universal, and 20th Century Fox. Darren's expertise in Art Direction and storyboarding has solidified his reputation as a notable figure in the film industry. Additionally, Darren Cranford is a member of the Directors Guild of Canada and the Visual Effects Society and is on the Advisory Boards of several notable colleges and Universities in Ontario. He also boasts the honour of being a Canadian Academy-nominated Director for Animation, a testament to his remarkable contributions to the field. Beyond his directorial achievements, he is widely regarded for his exceptional skills as a painter and illustrator for children's books - illustrating dozens of books for Authors over the past few decades. Darren has recently published the first book he has authored and illustrated, titled "Nottle's First Day of School." https://www.darrencranford.com/#teatimewithmissliz #misslizteatime #makingadifference #illustrator #diversity #childrenbooks #visualeffects#animation #netflix#storyboarding#publishedauthor #filmindustry#visualarts #author #podcasting #podcastshow #livestreaming #likefollowshare #liveshow #joinus #subscribe #youtubechannel

Today we talk with Lucien Harriot, what we consider a "digital renaissnce man", about the ins and outs and ups and downs of all things VXF and AI...and the Rubix Cube! Since 1996, Lucien Harriot has been the driving force behind Mechanism Digital, a New York City-based studio specializing in award-winning visual effects, animation, and next-gen media for marketing and entertainment. As both a creative and technical director, Lucien develops advanced workflows to further content production. Under Lucien's leadership, Mechanism Digital has become an industry trailblazer in CGI and VFX. The studio serves a diverse clientele, from feature films to medical education and corporate communications. Lucien's agile problem-solving and quick decision-making have guided teams of technical artists in both studio and on-set environments. Always forward-thinking, the studio leverages AI in post-production to benefit projects. Lucien is a VFX-supervisor for 2D/3D animation, design, and experiential projects. But he's not just about work; he's a man of diverse experiences. An avid sailor, Lucien enjoys racing and family overnights on Chesapeake Bay or Hudson River. He's a pilot, a DJ, and in the '80s, taught himself to solve the Rubik's Cube. His life has been a tapestry of unique experiences: from summers in nudist communities to living in a Tennessee school bus, and an Amsterdam houseboat. He's led a blind runner through two marathons, volunteered at Ground Zero, and enjoys Burning Man. He's raced classic sports cars, survived high-speed motorcycle crashes, and enjoys longboarding in NYC with his boys and night SCUBA diving with sharks. Raised in SOHO among artists, Lucien maintains a loft lifestyle. He's a published author, experimental photographer, and a concert sound engineer. He mentors disadvantaged entrepreneurs, believe the best way to learn is to teach, enjoys math, puzzles, and singing. He's been arrested, awarded, and does all his own stunts. A member of both Visual Effects Society and Producers Guild of America, his studio has garnered numerous awards, testifying to Lucien's dual strengths in technical mastery & creative innovation. www.mechanmismdigital.com https://www.linkedin.com/in/lucienharriot/

Grant Miller is a Partner and an Executive VFX Supervisor at Ingenuity Studios. Grant brings a deep level of technical and artistic acumen to his role as Executive VFX Supervisor at Ingenuity Studios. He oversees the studio's CG, FX, and Pipeline teams, ensuring that final results meet the exacting demands of sophisticated clients. Working closely with directors and creative decision-makers, Grant provides guidance and methodology during preproduction, supervision on set, and ensures seamless collaboration and high-quality results through post. Over the years, Grant has supervised visual effects for a long list of notable clients, including episodic television shows such as The Night Agent, The Orville, The Boys, and Westworld; films such as Get Out and A Star is Born; music videos for Taylor Swift, Billie Eilish, and Lady Gaga; and Super Bowl commercials for Fox Sports. Grant got his start working in video games in 2007, a background that he pulls from as the industry moves toward real-time VFX. Based in Los Angeles, Grant is a member of the Visual Effects Society and Film Independent. He received an Emmy Award for Outstanding Sports Promotional in 2017, and is frequently called upon to share insights at industry events and conferences. In this Podcast, Allan McKay interviews VFX Supervisor and Partner at Ingenuity Studios Grant Miller about how up-and-coming Artists can launch their career: the importance of following your dreams, how to train your eye in visual effects, why keeping it simple always wins and some job interview red flags. For more show notes, visit www.allanmckay.com/422.  

I had 5 minutes with the legend C. Andrew Nelson this past weekend at Thunder Con. Check it out! C. Andrew Nelson is an award winning artist, actor, writer, consultant, and motivational speaker. Andrew spent four years as a visual effects artist at Industrial Light & Magic. His VFX credits at ILM include Star Wars Episode I: The Phantom Menace, Galaxy Quest, Adventures of Rocky & Bullwinkle, The Perfect Storm, Jurassic Park III, The Time Machine, and Star Wars Episode II: Attack of the Clones.   Prior to joining ILM, Andrew worked nearly six years at LucasArts Entertainment Company where he served as a visual effects supervisor. At LucasArts he helped create and design such popular games as Dark Forces, Rebel Assault II, Full Throttle, The Dig, Jedi Knight, Curse of Monkey Island, Masters of Teras Kasi, Shadows of the Empire, Rogue Squadron, and Indiana Jones & the Infernal Machine. Andrew has worked extensively with sister companies Lucasfilm Ltd., Lucas Learning, Lucas Licensing, and THX.   Andrew is probably best known for having played the character of Darth Vader in the Special Edition re-release of the original Star Wars trilogy as well as in the Rebel Assault II and Dark Forces games from LucasArts. Andrew, who began playing Vader for Lucasfilm in 1994, has portrayed the infamous dark lord for commercials, television shows, print, games, and live appearances. He has managed to spend more time in the official Vader costume than any other actor.   In addition to his tenure with the Lucas companies, C. Andrew Nelson is a consulting VFX supervisor and art director for some of the top effects, animation, and post-production facilities in the U.S. His credits include Rocky Balboa, The Last Mimzy, Fantastic Four: Rise of the Silver Surfer, Rush Hour 3, Enchanted, The Kite Runner, The Spiderwick Chronicles, Jumper, Race to Witch Mountain, and Witness 11. Andrew also served two terms on the Board of Directors of the Visual Effects Society.   No stranger to academia, from 2002 to 2004 Andrew took on the role of Visual Effects Director for the School of Animation & Visual Effects at the Academy of Art University in San Francisco. At the university, he presided over the school's visual effects curriculum and trained the next generation of VFX artists who are now working throughout the industry. Andrew routinely consults for various networks, studios, and developers such as Disney, MTV, Nickelodeon, PBS, Fox, Hasbro, Electronic Arts, and others.   When he's not at a workstation conjuring up images for motion pictures and television or speaking on the lecture circuit, Andrew can be found in front of the camera or behind a microphone as a performer. Andrew has appeared in numerous feature films, television series, commercials, and print ads. He has shot national spots for ESPN, Wal-Mart, M&Ms, Taco Bell, and Kenner. Andrew is also a much sought after voice-over artist having lent his vocal talents to many games, animated films, and interactive multimedia projects. He currently co-produces and directs full-cast audio dramas with his business partner Jerry Cornell and their company Adventurous Ideas, LLC.    Andrew and his wife Veronica Loud - a gifted actress, voiceover artist, singer, model, and photographer - live in the San Francisco Bay Area with their daughter and son.

Welcome to another episode and today we sit down with two remarkable visionaries, Jess Loren and Erick Geisler, who are redefining the boundaries of digital realms and entertainment landscapes. Jess Loren is a seasoned entertainment professional, tech entrepreneur, and internationally published author. As CEO and founding partner of To Whom It May Concern, a production services company, and Founder and CEO of Global Objects, she leads the charge in democratizing access to digital replicas of the world. With over 15 years of experience, she has overseen production & experiential projects for brands like Netflix, Hulu, Apple+, Microsoft and NVIDIA, and is a voting member of the Television Academy and a member of the Visual Effects Society. Jess's research on the brain's response to visual imagery continues to guide her work in virtual production, creative development, and experiential marketing. Erick Geisler is a recognized technology leader and two-time Emmy winner serving as the Chief Technology Officer of Global Objects. With extensive expertise in innovative fields like Neural Radiance Fields (NeRFs), generative AI, LIDAR scanning, and photogrammetry, Erick spearheads the development of realistic digital environments, democratizing access to digital replicas of the world. A voting member of the Television Academy and a member of the Visual Effects Society, he combines his technical prowess and artistic vision to drive the success of various projects across diverse platforms. His leadership at Global Objects is shaping the future of digital experiences across multiple sectors. Highlights of the Episode:0:00 Introduction0:16 Introduction of guest1:10 Early inspirations in film and production12:13 Jess' start as an entrepreneur20:04 Focus on AI26:22 An industry in flux29:22 Work in LightCraft Jetset31:56 Locations and other reasons for starting Global Objects35:22 Hiring for artists40:07 Going after things as an entrepreneur47:16 Sharing in the visual effects community48:51 Competition between the Amazon and the Trellis stage57:17 Tech and LightCraft Jetset1:06:12 Advice for working with your significant other1:08:48 First Friday1:12:26 Wrap up1:12:51 Outro Connecting with the Guest:Jess LorenWebsite: https://www.globalobjects.com/Linkedin: https://www.linkedin.com/in/jessloren/ Erick GeislerWebsite: https://www.globalobjects.com/https://www.linkedin.com/in/ejgeisler/ Connecting with CG Pro:Facebook: https://www.facebook.com/groups/becomecgproInstagram: https://www.instagram.com/becomecgpro/Website: https://www.becomecgpro.com/Twitter: https://twitter.com/BecomeCGPro #VirtualProduction #VFX #Entrepreneurship

Dennis Muren is the Senior Visual Effects Supervisor and Creative Director of Industrial Light & Magic. A recipient of nine Oscars for Best Achievement in Visual Effects and a Technical Achievement Academy Award®, Muren is actively involved in the evolution of the company, as well as the design and development of new techniques and equipment. In June 1999, Muren became the first visual effects artist to be honored with a Star on the Hollywood Walk of Fame. In February 2007, he was honored with the Lifetime Achievement Award from the Visual Effects Society. --- Support this podcast: https://podcasters.spotify.com/pod/show/amuse/support

ICFX For Indie Filmmakers: Using LED Walls & Green Screen for In-Camera FX What do you need to know when prepping and shooting on LED walls? How about using in-camera fx with green screen? Where is the technology heading and how can you get in on using this now to level up your filmmaking? Let's get in to it! (Episode 45) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our ICFX studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at TheWorkingDirector.Pro. You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on our panelists: Kyle Frazer has been active in the film and TV industry since 2004. He has worked on numerous projects from feature films to TV shows, and commercials to projects for the Department of Defense.  Some shows include Stalked Someone is watching and Americas Funniest videos.  He has demoed cameras for Panasonic, collaborated on their prosumer cameras, and early 3D models. Kyle has experience in setting up robotic cameras as well as live streaming events. As a Camera Operator and Director of Photography, Kyle has shot reality TV all over the world, and shoots digital content for Walt Disney World. After coming to Full Sail University, Kyle's skills were put to use establishing the streaming and technical aspects required to launch DCBS TV as well as extensive work with ESPN. During his time as an educator he was the course director for a few different classes including Digital cinematography 1, Portfolio III, Composition and Visual design and Electronic Field Production. Using all these skills he is currently running Studio V1 which is Full Sail University's virtual production stage. While working in Studio V1 he has worked on many projects using the technology. Including features, TV shows, commercials and student projects. **** Kristofer Cross, a multi-talented performer and entertainment industry professional, originally from Chicago, Illinois. His journey in the world of entertainment began at a young age when he stepped onto the theater stage. Later, Kristofer and his family moved to Los Angeles, California, where he would embark on his career as an actor, dancer, and model. From "The Hunger Games" to "Star Wars: The Force Awakens," "Joker," and sequels to "Avatar," Kristofer has left his mark on some of the most iconic films of our time. Beyond his contributions as a visual effects professional, he also delves into creative roles, writing, directing, producing, and developing his independent projects.  *** Jess Loren is a highly accomplished entertainment professional with a broad range of expertise. As a tech entrepreneur, executive producer, and showrunner, she has founded and led two successful companies to profitable exits before the age of 30. Today, she serves as the Chief Executive Officer and founding partner of To Whom It May Concern, a production services company operating virtual production facilities in Burbank and North Hollywood. In addition to this, Jess is also the Founder and CEO of Global Objects, a pioneering tech startup focused on democratizing access to digital replicas of the real world.   A voting member of the Television Academy and a member of the Visual Effects Society, Jess has over 15 years of experience at the forefront of the digital and visual transformation of businesses. She has successfully managed complex projects as an executive producer and showrunner for leading global brands such as Netflix, Hulu, Apple+, Lifetime, A&E, Crackle, and Chicken Soup For The Soul in the realm of production.   --- Send in a voice message: https://podcasters.spotify.com/pod/show/theworkingdirector/message

CHRISTOPHER JOHNSON is film writer-director and producer, whose career began in the visual effects arena. Johnson designed and created the special make-up effects for the cult favorite DROP DEAD FRED and created special make-up effects for Michael Mann's iconic THE LAST OF THE MOHICANS. Johnson made his directorial debut with the feature film OUTSIDE OF WINTERS BEND. This was followed by the supernatural thriller SHADES OF DARKNESS and SUMMER OF TOMORROWS which was re-edited for a special international release in 2010. Johnson's latest film, the documentary/feature hybrid JOURNEY TO ROYAL: A WWII RESCUE MISSION, produced through his own Misty Falls Motion Picture Company, was recently released. The story recounts the last rescue mission of his great uncle, WWII rescue pilot and hero, Lt. Royal A. Stratton. Johnson is a former Walt Disney Imagineer and a member of the Visual Effects Society. https://www.chrisjohnsonfilms.com/

Hello and welcome to Episode 42 of Jurassic Minutes, The January issue.  Welcome to 2023!   Where we discuss recent movie, toy and franchise news for the Jurassic series.    Introductions Brad David   On this episode we will be discussing  A lot of props recently being discovered, and purchased by one of us, Mattel continues with the large sauropod release, And we have some sad news about the continuation of the franchise in novel form at least. So stay tuned as we discuss all of that and more... But first, Recent Toy or Prop Purchases? Brad - custom hc male Rex, pre ordered the lost work cliff attack diorama from prime 1  Dave - TLW prop map, JP3 Raptor CT slide, Visitor Center fan cross-section poster, Captivz Pyroraptor, TLW Site B cap, new beaded band for my Roland hat, and a rare Thai TLW magazine.    Socials and the Fandom: Prussia [countryhumans] July 22 Jurassic Minutes Podcast you should talk about the novels of Jurassic park   Now for the news Another TLW prop has surfaced and now is in the hands of my co host https://m.facebook.com/story.php?story_fbid=pfbid02zvApqtpo7vpnbmkZXjE1M5kiaA5h5B6vVLkDLS7AHxYqBp6PHuDoDiU4LHq1Ujirl&id=100077983015488&mibextid=qC1gEa   And the CT scan of the raptor skull in jp3 recently went up for auction giving us a date when the film takes place, also in the hands of David.  https://m.facebook.com/story.php?story_fbid=pfbid04yJSxgZtmPHaZ9UX9ZW2pFJXkPfb6uX66EEbeMXrp5YC5KUBwvoejvX3AiidyjCWl&id=100077983015488&mibextid=qC1gEa   Speaking of props, the original matte painting background for the brachiosaur night scene has appeared online https://m.facebook.com/story.php?story_fbid=pfbid0YqwQcmuhRCh13TQzVikYjDXvQMEoqbiVDqcAxsyw2EeSZRGVvtcYsZDjJm2yQuMxl&id=100077983015488&mibextid=qC1gEa   Nano has a new Jp set on the way, FINALLY! https://m.facebook.com/story.php?story_fbid=pfbid0y4viQ6aGtneaEKxeYRzK7qvckFLAGpycnn1gTRgWKWBSSDRFvo27XYzVBpgUPCoLl&id=100062994896790&mibextid=qC1gEa   Mattel Mamenchiosaur https://m.facebook.com/story.php?story_fbid=pfbid0263SWsYUPjZA5sStxQtZukva7fPwgVJoYt4ECT86c5DjxKjGiZ8rgxxpdyWy7dq5Xl&id=100062994896790&mibextid=qC1gEa   New psuedosuchian figure from Mattel, Prestosuchus. It fugly!  https://m.facebook.com/story.php?story_fbid=pfbid01NiBEpfTR6EiFrTcDMHtSFYmhWCQdjuDNhW94u9TqV2hJhZy4qGDNjp6uN66F4Yql&id=100062994896790&mibextid=Nif5oz  Jp 30th anniversary captive eggs collector cards  https://m.facebook.com/story.php?story_fbid=pfbid02WRpb1Xggtb1q2vtmduQNCTNJS7hV9hr3DofxMLDZKZj8uCKqiPKSRAz6Ugjzp8t8l&id=1576565913&mibextid=qC1gEa   Maisie novel author says the third has been cancelled.  https://twitter.com/sharpegirl/status/1612460001448321025    Dominion VFX up for a few award nominations:  -Annie Award for Best Character Animation  -Visual Effects Society for Outstanding Visual Effects in a Photoreal Feature -Outstanding Created Environment in a Photoreal Feature    Camp Cretaceous nominated for a GLAAD Award for Outstanding Kids & Family Programming    Outro Thank you for listening.  -Anything else we'd like to bring up? You can find us the following ways   web site: www.jurassicminutes.wordpress.com Email: thelostworldminute@gmail.com Facebook page: groups/jurassicminutes Twitter: @jurassicMinute Instagram: Jurassicmimutes Links to The Lost World and Jurassic Park 3, and Jurassic World Minutes can be found at the web site.  End credits added in post

A two-time Emmy Award-winner, Andrew Roberts is a versatile Visual Effects Supervisor with over 25-years of experience in crafting effects for film, television, and commercials. Among a number of accolades, Roberts earned a Primetime Emmy nomination for his work on Bury My Heart at Wounded Knee, and received Sports Emmy Awards for his contributions to the Super Bowl 36 and Super Bowl 39 television specials. In 2021, Roberts served as Virtual Production Supervisor on the highly successful Disney+ miniseries, Obi-Wan Kenobi directed by Deborah Chow. Previously Roberts worked alongside director Iris Shim as Visual Effects Supervisor on her thriller Umma. An exceptional collaborator, Roberts' expertise in supporting filmmakers from script through on-set production to screen shines in each project he contributes to. His credits include Godzilla vs Kong, the award-winning animated short Cops and Robbers, Ang Lee's Gemini Man, and the Oscar-nominated film Snow White and the Huntsman. Roberts serves as a mentor to artists from underrepresented backgrounds and diverse groups through the Academy GOLD Program. He is a member of the Academy of Motion Picture Arts and Sciences (Visual Effects Branch), the Visual Effects Society, ACM Siggraph, and the Academy of Television Arts and Sciences (Special Visual Effects).

Kathryn Brillhart is a Cinematographer, Director, and Producer who leverages volumetric capture, visualization techniques, and supervising visual effects to enhance projects. For the past decade, she has helped to redefine best practices and standards in virtual production and has advocated for diversity in the film industry through her role on the Global Board of Directors for the Visual Effects Society. Kathryn is a member of the Virtual Production Committee within the ASC Motion Imaging and Technology Council. Her recent work and role as Virtual Production Supervisor, incorporates real-time game engine and virtual production techniques to achieve in-camera visual effects, including such projects as Warner Bros. Black Adam (2022), Netflix's Rebel Moon (2023), and Amazon Studios' Fallout (2023) Highlights of the Episode: 0:00 CG Pro Introduction0:16 Introduction to Kathryn Brillhart 1:06 How did this all start for you? 5:43 Lessons from using film having already used digital9:44 Room for a new role12:50 Virtual production supervisor, how do you become one?15:29 Influencing a dynamic environment21:08 Approaching fear around new things for producers23:56 Virtual production should save you money30:24 Cinematographers learning unreal engine to help their own process 34:59 What does the role of virtual production supervisor mean when it's client side?37:36 What's the biggest obstacle you faced in virtual production and how did you overcome it?42:02 Gems you can offer about leadership, and the different approach between the older and younger generations in visual effects?51:44 What would you advise people if they wanna learn leadership skills?54:44 How do you track elements for virtual production?58:54 Aspects of virtual production used on Black Adam01:04:25 Volumetric capture workflows used film or tv01:08:15 As a VP supervisor, are you the head of the VAD or part of the VFX department?01:09:52 What are you excited about in the future of virtual production?01:11:50 Are you still making your own films? Quote: “When you start understanding how many different types of processes there are, it gets exciting as a filmmaker because you realize that all these different recipes for how you work affect the final product.” - Kathryn Brillhart Connecting with the Guest:Website: https://www.kathrynelisebrillhart.com/LinkedIn: https://www.linkedin.com/in/kathryn-brillhart-3b118324/ Connecting with CG Pro:Facebook: https://www.facebook.com/groups/becomecgproInstagram: https://www.instagram.com/becomecgpro/Website: https://www.becomecgpro.com/Twitter: https://twitter.com/becomecgpro RSVP here for upcoming CG Pro Podcasts: https://www.eventbrite.com/o/cg-pro-39748423833 #virtualproduction #supervision #becomecgpro

Илья Самохвалов забежал на подкаст и рассказал много интересных штук про свою нынешнюю жизнь. Добрая беседа! Там вообще про всё, что можно — про переезд, про то как говорить по-английски, про то как вступить в Visual Effects Society, немного про Sila Sveta, немного про переобувание, немного про CG Event, много про тайм-менеджмент и самоорганизацию, FTP и S3. И еще важные анонсы!

Oscar-winning Visual Effects Specialist Ben Grossmann has been paving the way for the new immersive web for nearly 20 years. As a Co-Founder of Magnopus, he's long had a vision of bringing physical and digital worlds together through connected spaces. His passion for immersive technologies has made him a prominent voice on the subject. Over the years, Ben has used his experience in films to lead augmented and virtual reality projects for brands like Sony, Disney, Meta, and NASA. He led the creation of a virtual live-action world for the makers of Disney's The Lion King. And most recently, directed Expo Dubai Xplorer, bringing the world's largest social digital twin to life for tens of millions of visitors globally.  Prior to Magnopus, Ben supervised visual effects on more than a dozen feature films including the Oscar-nominated Star Trek Into Darkness, and Martin Scorsese's Hugo — earning him the Oscar for Outstanding Special Visual Effects in 2012. His work continues to transform the way movies are made today. Ben has also directed award-winning commercial campaigns and worked on iconic projects like The Wizarding World of Harry Potter theme park. He is also a member of the Academy of Motion Pictures Arts and Sciences, the Academy of Television Arts and Sciences, and the Visual Effects Society.  In this Podcast, Allan McKay interviews the Co-Founder of Magnopus Ben Grossmann about his journey in VFX, taking initiative as a young Artist, the state of VFX versus the promise of VR, visual fidelity versus interactivity, the power of communication and persuasion, how Artists pigeonhole themselves, the power of “WE” and how and when to say NO. For more show notes, visit www.allanmckay.com/367.

Barbara Ford Grant is President, NEP Prysm Stages, a business of NEP Virtual Studios. She is responsible for growing NEP's global network of permanent virtual production facilities, stage partnerships and client relationships in Film and TV, and for building solutions with her team to empower artists and storytelling.Barbara has contributed to media and entertainment for nearly 30 years across both creative and technical aspects of film production. Her experience includes emerging technologies, large-scale production operations, research and development, visual effects, animation and enterprise level management. Before joining NEP, Barbara was Chief Technology Officer at arts and entertainment company Meow Wolf overseeing the company's mixed-reality platform and IT divisions. Before Meow Wolf, she served as SVP, Digital Production Services at HBO overseeing studio production and post-production operations and growth, and next-gen technologies. Prior to that, she worked at entertainment companies Digital Domain, Sony Pictures Imageworks, and DreamWorks Animation, where she enabled new digital human animation and rendering, digital story and post production workflows, and simulations technologies. Her credits include groundbreaking Film and TV productions Game of Thrones, Maleficent, Alice in Wonderland and the Shrek franchise. Barbara has been active throughout her career in recognizing and mentoring current and new talent. She is a member of both the Television Academy and the Motion Picture Academy, currently serving as Chair of the Scientific and Technical Awards Committee, is a member of the Technology Committee of the Visual Effects Society, and recently worked as a strategy consultant to MovieLabs, a non-profit R&D joint venture providing universities, corporations, start-ups and others technical guidance and funding for innovative technologies in the distribution and use of motion pictures. She studied Art History and Photography at the University of New Mexico and currently lives in Los Angeles with her family. Highlights of the Episode:0:23 Introduction to Barbara Ford Grant1:19 Journey into visual effects7:11 Coding16:28 Starting in New Mexico20:45 What it's like working on….24:16 Is it possible to retain creative spirit in a bigger institution31:38 The hardest part to scale34:10 Role as President of NEP Prysm Stages39:02 Currently working in Production40:43 Building tools independent of the engine43:51 Having a healthy R&D team48:41 Stage plans for the New York Metro area48:56 Opportunities to see the Atlanta stage50:19 Favorite aspects in virtual production53:08 Machine learning AI tools coming out1:01:39 A short film1:02:57 Being multi disciplinary Quotes: "If you've been in visual effects this long nothing drives you're more crazy than rebuilding the same asset over and over again for a different purpose." - Barbara Ford Grant "The advantage of a big company is that they were the IP and the advantage of a small company is they were kind of a punk scrappy collective that kinda started the whole thing." - Barbara Ford Grant "It's a sketch with technology, they're sketching out something that's never been sketched before and using some amounts of technology to help illustrate that." - Barbara Ford Grant “It's not about policy it's like what's necessary, what's actually gonna have the biggest impact.” - Barbara Ford Grant “Maintaining our passions is important to our career growth.” - Barbara Ford Grant Connecting with the Guest:LinkedIn: https://www.linkedin.com/in/barbaraanneford/Instagram: @barbarafordgrantTwitter: https://twitter.com/barbarafordgra1?lang=en Connecting with CG Pro:Facebook: https://www.facebook.com/groups/becomecgproInstagram: https://www.instagram.com/becomecgpro/Website: https://www.becomecgpro.com/Twitter: https://twitter.com/edgevisualCG RSVP here for upcoming CG Pro Podcasts: https://www.eventbrite.com/o/cg-pro-39748423833 #virtualproduction #filmmaking #innovation

Paul Debevec is Netflix's Director of Research for Creative Algorithms and Technology, overseeing R&D for visual effects and virtual production with computer vision, graphics, and machine learning. In 2002, his Light Stage 3 system surrounded actors with LEDs displaying images of virtual sets and environments for lighting-accurate compositing. Techniques from Paul's work have been used to create key visual effects sequences in The Matrix, Spider-Man 2, Benjamin Button, Avatar, Gravity, Furious 7, Blade Runner: 2049, Gemini Man, Free Guy, and numerous video games. Paul's techniques for HDR imaging, image-based lighting, and photoreal digital actors have been recognized with two Academy Awards and the SMPTE Progress Medal. Paul is a Governor of the Visual Effects Branch of the Academy of Motion Picture Arts and Sciences, a Fellow of the Visual Effects Society, and an Adjunct Research Professor at the University of Southern California Computer Science. More info at: www.debevec.org Highlights of the Episode:0:00 Introduction1:52 Paul's early days7:39 Image based lighting and HDR12:44 Some early adaptations17:19 3D rendering in natural light19:01 Rendering Synthetic Objects into Real Scenes23:04 The Campanelli movie27:56 Facade: Reconstructing polyhedra models 32:16 High dynamic range imaging34:52 Light Stage: 360° of illumination39:47 Real world image based lighting42:08 Virtual HRI Maps software named after Arnold46:52 LED lighting environment from 20 years ago52:49 Optimal linear color correction matrices55:53 Working on Light fields with Google59:27 Exciting future for filmmaking01:02:18 Democratizing new technology01:05:02 Advice for aspiring filmmakers01:09:17 Go to a Siggraph conference near you Quotes: “When I look at the kind of work that made Star Wars possible, that made The Matrix possible, that made Gravity possible. It's folks who had this creative vision and realized maybe the technology can meet it there; but then they really took technology where there wasn't any real solid reason to believe it was gonna be possible to do it. And they just made it happen anyway.” - Paul Debevec “The goal is to try to create tools for filmmakers and every so often this beautiful marriage of art and technology comes together. There's things ripe for the picking that maybe no one's quite seen yet that they're gonna get, and it's gonna blow everybody away and it's gonna be the next Matrix or the next Gravity.”- Paul Debevec “LED panels that have a wider color gamut have worse color rendition, they light stuff funnier because they have to put the RGB LEDs further out in weird parts of the spectrum to do that. But it dramatically increases the polarization. I think we're not too far away from people releasing panels that will have that additional color and it, and it's probably gonna be white and we know how to drive it.”- Paul Debevec “You can invert that matrix and apply the inverse of that matrix to your in-camera pixels in the frustum so that your frustum now looks like it has bad color rendition. So without having to separate foreground and background, you put it all through that post correction matrix. It fixes considerably three quarters of color rendition and skin looks a heck of a lot better.” - Paul Debevec Connecting with the Guest:Twitter: https://twitter.com/debfx Website: http://www.pauldebevec.com/ Siggraph: https://www.siggraph.org/ Connecting with CG Pro:Facebook: https://www.facebook.com/groups/becomecgproInstagram: https://www.instagram.com/becomecgpro/Website: https://www.becomecgpro.com/Twitter: https://twitter.com/becomecgpro RSVP here for upcoming CG Pro Podcasts: https://www.eventbrite.com/o/cg-pro-39748423833 #virtualproduction #technology #filmmaking

David Vickery is a VFX Supervisor at ILM, well known for his work on films such as Sherlock Holmes, Harry Potter and the Deathly Hallows: Parts 1 and 2, Fast & Furious 6 and Jupiter Ascending. His work has been recognized with an Academy Award® nomination and the 2012 BAFTA Award for Special Visual Effects for Harry Potter and the Deathly Hallows Part 2 in addition to numerous Visual Effects Society Award nominations and wins. Vickery joined ILM having spent the past 13 years at London effects house Double Negative where he worked his way up from CG Artist to Lead 3D artist then CG Supervisor on such films as Harry Potter and the Order of the Phoenix, The Bourne Ultimatum, Cloverfield and The Dark Knight. Having strong ties to the visual effects community in London, Vickery formerly sat as Co-Chair on the UK board of the Visual Effects Society and is a member of BAFTA. After completing a Degree in Industrial Design at De-Montfort University, Vickery went on to receive an MA in Digital Moving Image from London Metropolitan University. In this Podcast, Allan McKay interviews ILM's VFX Supervisor David Vickery about his journey from a VFX Artist to supervising on set, dealing with rejection, working at ILM, working on projects like Jurassic World: Fallen Kingdom, Cloverfield, Die Another Day; communicating with creatives and the importance of mentoring younger artists. For more show notes, visit www.allanmckay.com/361.

#virtualproduction #virtualreality #metaverse Parth Shah is a Virtual Production Supervisor at Green Rain Studios and Visual Effects Society' Secretary for India Chapter. Before joining Green Rain, Parth was instrumental in setting up Centroid India's Mumbai studio and supervised the studios' performance capture, virtual production, and previs services. Parth has a passionate understanding of Performance Capture, In-Camera VFX (LED and real-time Compositing on Green Screen), Photogrammetry, VR Scouting, real-time AR, and Visualization (Pitchvis, Previs, Stuntvis, Techvis, and Postvis), Volumetric Capture, Simulcam, and Projection. He has gained a wealth of experience working across Film VFX, Games and television, and already has an impressive list of credits to his name. Parth Shah was also Virtual Production Supervisor for setting up India's first LED Volume in 2020 which was in collaboration with Cineom India, Green Rain, Centroid, Liminal and Famous Studios. Parth was also awarded 40 under 40 in Indian AVGC Sector by Animation Xpress. https://in.linkedin.com › parth-shah-09 https://mobile.twitter.com › parthshah91293 https://greenrain.io

This week on 8111, Ellen Pasternack! Ellen grew up in Long Island. As a kid she was an avid reader. She was the youngest person in her town to get a library card. As a young adult she earned a degree in anthropology from SUNY Buffalo in three years time and thought seriously about going to law school. But in 1975, a good friend was traveling to California and Ellen decided join the adventure. In sunny Los Angeles, Ellen quickly landed a job working as a temp secretary at Burbank Studios (now Warner Bros.). She's worked in the movie business ever since. Ellen went to work in the publicity department reading all the scripts of the films coming out at Columbia. She worked as the assistant to the head of marketing. When Ellen's boss, Elizabeth Landon, made the move from Columbia to Fox, Ellen came along and was promoted to Jr. Publicist. While at Fox she met Sid Ganis who was the publicist for Lucasfilm (which would come in handy a few years down the road). Ellen later moved over to Tri-Star Pictures as a Publicity Manager. But within a year she left Tri-Star to work as a Unit Publicist working directly on productions. She worked on several big projects including; Rainman, Born on the Fourth of July (where she even appears as an extra!), The Doors, Class Action, Joy Luck Club, Mrs. Doubtfire, and several others. She also moved up to the Bay Area during this time. In 1994, new tax incentives started to drive production out of the state. Wanting to stay in the Bay Area, Ellen landed the job at Lucas Digital as the in house head publicist. She worked closely at LDL with Miles Perkins and Nagisa Yamamoto. Ellen would work out of ILM for the next 12 years leaving just before the move to the Presidio. Working freelance she did work for the Visual Effects Society, Pixar's Renderman, The Orphanage, Tippett Studios, Rainmaker, and Method Studios. Today, Ellen continues to live in Berkeley. For the past several years she's worked on the awards campaigns for multiple studios and streamers. It was fascinating to hear about Hollywood publicity and the often complex, important work she does for the industry. Ellen is brilliant, thoughtful, kind, and great fun to chat with.

DNEG (www.dneg.com) is one of the world's leading visual effects (VFX) and animation studios for the creation of feature film, television and multiplatform content. DNEG employs nearly 7,000 people with worldwide offices and studios across North America (Los Angeles, Montréal, Toronto, Vancouver), Europe (London) and Asia (Bangalore, Chandigarh, Chennai, Mumbai). DNEG's critically acclaimed work has earned the company six Academy Awards® for Best Visual Effects and numerous BAFTA and Primetime EMMY® Awards for its high-quality VFX work. Upcoming DNEG projects on behalf of its Hollywood and global studio and production company partners include Dune (October 2021), No Time To Die (October 2021), Ron's Gone Wrong (October 2021), Last Night In Soho (October 2021), Ghostbusters: Afterlife (November 2021), The Matrix 4 (December 2021), Uncharted (2022), Borderlands (2022), Aquaman and the Lost Kingdom (2022), The Flash (2022), and Shazam! Fury of the Gods (2023). Dan Glass is an acclaimed VFX Supervisor with numerous accolades over the course of his 25-year career, including a BAFTA nomination and two Visual Effects Society awards. He is a long-time collaborator of the Wachowskis and Terrence Malick, and production VFX Supervisor on films such as Jupiter Ascending, Cloud Atlas, Tree of Life, Batman Begins, The Matrix sequels, Deadpool 2, and many more. In addition to his impressive list of film credits, Dan also served as VFX Supervisor on two seasons of Netflix's sci-fi cult hit Sense8, while directing two episodes himself; and previously served as Executive Vice President and Chief Creative Officer for Method Studios. In this Podcast, the acclaimed VFX Supervisor for The Matrix: Resurrections Dan Glass talks about the underlying message of the film, shares some behind-the-scenes, and discusses technological innovations throughout the franchise's history. For more show notes, visit www.allanmckay.com/342/.

Remington is the CEO and Chief Architect of Hyperreal® Inc., a firm dedicated to engineering the worlds most recognized digital humans called HyperModels™. Hyperreal has created Madison Beer's HyperModel and digital performance for Sony's Immersive Music Virtual Concert. ​ Remington is an acclaimed cinematic director for best selling video games and virtual reality. Franchise titles include CALL OF DUTY, JUST CAUSE, ASSASSINS CREED, NEED FOR SPEED, RESISTANCE, and SPIDER-MAN. Clients include Ubisoft, Sony Computer Entertainment of America, Activision, OF3D and Electronics Arts. Recognition includes The Visual Effects Society's "Outstanding Real-Time Visuals in a Video Game".    His achievements in motion pictures are extensive, including supervisory digital production under filmmakers Peter Jackson, Sam Raimi, Robert Zemeckis, Bryan Singer, Hironobu Sakaguchi, Zack Snyder and others.

It's been over twenty years since the original "Matrix" won the Oscar for Best Visual Effects at the 1999 Academy Awards. While the two sequels, "Reloaded" and "Revolutions," did not go on to receive nominations, "The Matrix Resurrections" finds itself shortlisted for Best Visual Effects once again. Recently nominated for a Critics Choice Award for Best Visual Effects and receiving two nominations from the Visual Effects Society, enough time may have passed for voters to want to return to Lana Wachowski's world. DNEG visual effects supervisor Huw J Evans was kind enough to talk with us about the work he and his team completed for the film, which you can listen to down below. Enjoy! Check out more on NextBestPicture.com Please subscribe on... SoundCloud - https://soundcloud.com/nextbestpicturepodcast iTunes Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture

Richard Edlund is a four-time Academy Award visual effects winner for Star Wars: A New Hope, Star Wars: The Empire Strikes Back, Raiders of the Lost Ark, and Star Wars: Return of the Jedi. He is VFX Supervisor, Producer and Cinematographer. Richard was also nominated for Poltergeist, 2010, Ghostbusters, Poltergeist II: The Other Side, Die Hard and Alien 3. He's won three Academy Technical Awards, the British Academy Award for Poltergeist and Return of the Jedi. He earned an Emmy for creating the visual effects for the original television miniseries Battlestar Galactica and another nomination for Mike Nichols' Angels in America. The Academy of Motion Picture Arts and Sciences honored him with their John A. Bonner Medal of Commendation in recognition of his contributions to the Academy. And the ASC (American Society of Cinematographers) presented him with their esteemed Presidents Award in 2008. He has also received top accolades from the Visual Effects Society, Academy of Science Fiction, Fantasy & Horror Films, and numerous other organizations. In 1975, Richard was one of the first visual effects artists to join fellow VFX enthusiast, John Dykstra for a startup he called Industrial Light and Magic (ILM). This team of filmmakers began their work on a movie called Star Wars. When the new technology and Star Wars franchise clicked, Richard moved to Marin County to supervise visual effects for the next two episodes of Star Wars, as well as Indiana Jones and the Raiders of the Lost Ark and Poltergeist.  In 1984, he took over the equipment amassed by Doug Trumbull's Entertainment Effects Group and retooled the 65mm visual effects company, renaming it Boss Film Studios. Boss Films became a star in the visual effects world, when company simultaneously produced the comedic visual effects for Ghostbusters, created a hybrid technology integrating NASA's digital images of Jupiter into a key sequence in 2010. Boss's pioneering VFX technology went on to create stunning imagery for over 40 features, including Die Hard, Ghost, Poltergeist 2, Alien3, Species, Multiplicity, Air Force One. Masters of the Universe, Cliffhanger, Batman Returns, The Last Action Hero, Waterworld, Heat, Starship Troopers and a slew of other high profile projects, including pioneering Bud Light Superbowl spots. The company achieved ten Academy Award nominations over a fourteen-year period. Richard is a twenty-two year Governor of the Academy of Motion Picture Arts and Sciences, founding member of the AMPAS visual effects branch and is chair of the Branch Executive Committee, also chairman of the Academy's Science and Technology Council. He also serves as a board member of the VES and on the Board of Directors of the American Society of Cinematographers.  Richard is a frequent lecturer at industry organizations and universities across the world including USC and Chapman film schools. His 1977 Oscar for Star Wars is currently on display at the newly opened Academy Museum of Motion Pictures in Los Angeles. In this Episode, legendary Oscar-winning VFX Supervisor, Producer and Cinematographer Richard Edlund talks about his work on some of the most influential films and their groundbreaking VFX sequences: Raiders of the Lost Ark, Ghostbusters and Die Hard. For more show notes, visit www.allanmckay.com/335/.

Kyle Lira returns with Alexis Soto to catch up with some of the movies he's seen lately on the show that brings you all of the latest stories coming out of the world of movies. The panel also takes a look at some of the biggest performing movies on streaming like "Luca," "Eternals," "Raya and the Last Dragon," "Moana," and a rant about the nominees from the Visual Effects Society. Time Stamps 0:00-51:02/Kyle's catch up time51:03-1:38:04/New Streaming Ratings1:38:05-1:48:19/VFX Society Snubs2:03:32-2:49:45/Kyle talks about West Side Story, House of Gucci, Dune, Encanto, Ghostbusters: Afterlife, Being The Ricardos, The Father, Gilmore Girls, The King's Man, The Matrix Resurrections, Spider-Man: No Way Home, The Harder They Fall, and Tick Tick Boom.

Richard Edlund is a four-time Academy Award visual effects winner for Star Wars: A New Hope, Star Wars: The Empire Strikes Back, Raiders of the Lost Ark, and Star Wars: Return of the Jedi. He is VFX Supervisor, Producer and Cinematographer. Richard was also nominated for Poltergeist, 2010, Ghostbusters, Poltergeist II: The Other Side, Die Hard and Alien 3. He's won three Academy Technical Awards, the British Academy Award for Poltergeist and Return of the Jedi. He earned an Emmy for creating the visual effects for the original television miniseries Battlestar Galactica and another nomination for Mike Nichols' Angels in America. The Academy of Motion Picture Arts and Sciences honored him with their John A. Bonner Medal of Commendation in recognition of his contributions to the Academy. And the ASC (American Society of Cinematographers) presented him with their esteemed Presidents Award in 2008. He has also received top accolades from the Visual Effects Society, Academy of Science Fiction, Fantasy & Horror Films, and numerous other organizations. In 1975, Richard was one of the first visual effects artists to join fellow VFX enthusiast, John Dykstra for a startup he called Industrial Light and Magic (ILM). This team of filmmakers began their work on a movie called Star Wars. When the new technology and Star Wars franchise clicked, Richard moved to Marin County to supervise visual effects for the next two episodes of Star Wars, as well as Indiana Jones and the Raiders of the Lost Ark and Poltergeist.  In 1984, he took over the equipment amassed by Doug Trumbull's Entertainment Effects Group and retooled the 65mm visual effects company, renaming it Boss Film Studios. Boss Films became a star in the visual effects world, when company simultaneously produced the comedic visual effects for Ghostbusters, created a hybrid technology integrating NASA's digital images of Jupiter into a key sequence in 2010. Boss's pioneering VFX technology went on to create stunning imagery for over 40 features, including Die Hard, Ghost, Poltergeist 2, Alien3, Species, Multiplicity, Air Force One. Masters of the Universe, Cliffhanger, Batman Returns, The Last Action Hero, Waterworld, Heat, Starship Troopers and a slew of other high profile projects, including pioneering Bud Light Superbowl spots. The company achieved ten Academy Award nominations over a fourteen-year period. Richard is a twenty-two year Governor of the Academy of Motion Picture Arts and Sciences, founding member of the AMPAS visual effects branch and is chair of the Branch Executive Committee, also chairman of the Academy's Science and Technology Council. He also serves as a board member of the VES and on the Board of Directors of the American Society of Cinematographers.  Richard is a frequent lecturer at industry organizations and universities across the world including USC and Chapman film schools. His 1977 Oscar for Star Wars is currently on display at the newly opened Academy Museum of Motion Pictures in Los Angeles. In this Episode, legendary Oscar-winning VFX Supervisor, Producer and Cinematographer Richard Edlund talks about being one of the first artists to join ILM -- to work on the 1977 film Star Wars -- his work on Return of the Jedi and Ghostbusters, as well as gives some insight on being a pioneer in the visual effects industry. For more show notes, visit www.allanmckay.com/329/.

In this episode, we are talking about the Visual Effects Society, otherwise known as VES, a non-profit, professional, honorary society, dedicated to advancing the arts, sciences, and applications of visual effects and to improving the welfare of its members by providing professional enrichment and education, fostering community, and promoting industry recognition.   ABOUT THIS PODCAST: "Experience Imagination" is a Themed Entertainment Podcast presented by Falcon's Creative Group, a design studio and media house that works to create immersive experiences around the world. Learn more about us at falconscreativegroup.com   FOLLOW FALCON'S ON SOCIAL: Twitter: twitter.com/falconscg  Facebook: facebook.com/falconscreativegroup/  Linkedin: https://www.linkedin.com/company/falcon's-treehouse-llc

Alastair has been working within the Australian visual effects industry for the last 25 years. Alastair started his career in the advertising sector working within leading international agencies such as DDB, McCann-Erickson, George Patterson Bates and Attik as well as Australia's foremost visual effects studios, Fuel VFX, Iloura,The Lab and Engine. He has collaborated with directors, supervisors, producers and artists on a myriad of awarding-winning projects throughout his career. Alastair joined Fin Design + Effects in 2013 as Executive Producer and after six years developing Fin's strategic business plan, expanding its operations and attracting significant international film and television work into the studio, he waspromoted to Head of Visual Effects in 2019. Alastair has been instrumental in securing and managing international productions for Fin comprising: Marvel's Thor: Ragnarok, & Shang Chi and the Legend of the Ten Rings, Twentieth Century Fox's Logan, Fox Entertainment's Cosmos Possible Worlds, Sony Television's Preacher Season 4, Netflix's I Am Mother, and Legendary's Lost in Space 3 Alastair's skill set includes management of large teams of creative and technical personnel, effective client management, clear communication and strategic business growth within a SME. He has a deep respect for, and extensive understanding of, creativity, technology and innovation within the visual effectsindustry. Alastair's professional philosophy has been to share knowledge and support the development and growth of a globally competitive visual effects industry in Australia. Alastair is an active member of the Visual Effects Society and is currently Co Chair of the Australian Section

Erika Burton brings over 25 years of senior-level experience to her role at DNEG. Most recently, she led as EVP, Global Features & Streaming VFX at Method Studios. Prior to that, she held senior leadership positions at major studios, including Walt Disney Animation Studios, PDI / DreamWorks Animation, Digital Domain and Rhythm & Hues.  Erika Burton is a member of the Academy of Motion Pictures Arts and Sciences, the Producers Guild of America and the Visual Effects Society. DNEG (www.dneg.com) is one of the world's leading visual effects (VFX) and animation studios for the creation of feature film, television and multiplatform content. DNEG employs nearly 7,000 people with worldwide offices and studios across North America (Los Angeles, Montréal, Toronto, Vancouver), Europe (London) and Asia (Bangalore, Chandigarh, Chennai, Mumbai). DNEG's critically acclaimed work has earned the company six Academy Awards® for Best Visual Effects and numerous BAFTA and Primetime EMMY® Awards for its high-quality VFX work. Upcoming DNEG projects on behalf of its Hollywood and global studio and production company partners include Dune (October 2021), No Time To Die (October 2021), Ron's Gone Wrong (October 2021), Last Night In Soho (October 2021), Ghostbusters: Afterlife (November 2021), The Matrix 4 (December 2021), Uncharted (2022), Borderlands (2022), Aquaman and the Lost Kingdom (2022), The Flash (2022), and Shazam! Fury of the Gods (2023). In this Podcast, Erika Burton speaks about her career, her experience and her role as the President of Global VFX Production at DNEG, as well as the importance of paying your dues and the path to becoming a supervisor. For more show notes, visit www.allanmckay.com/324/.

Corey Rosen is a writer, producer, creative director, and much more. He's led a diverse career of over 20 years in the entertainment industry, with experience in movies, television, and even theme parks. He has spent the past decade at Tippett Studio, where he currently works as their Creative Director and Vice President of Creative Marketing & Development. He is also the StorySLAM Host for the Moth, a nonprofit storytelling organization. In addition to these roles, Corey is still a part of BATS Improv and the Treasurer for the Visual Effects Society. His book, Your Story, Well Told, dives into the creative strategies and processes that can take your story to the next level. In this episode… As a leader, storytelling is an overlooked tool. There are stories all around us where we least expect them, even in the world of business. Knowing how to present a story helps with communication, explaining your company's brand, or even marketing a product. The ability to captivate audiences and connect with others is important for effective leadership. However, it can be difficult to put these skills into practice. For Corey Rosen, storytelling and improvisation are his specialties. He has worked in the entertainment industry for more than 20 years, developing his philosophies on stories and genuine inspiration. He leverages his expertise while coaching businesses, organizations, and schools on how to better communicate. His book, Your Story, Well Told, shares some of the wisdom he's earned over the years — and now, he's here to share his pearls with you, too. On this episode of Next Wave Leadership, Dov Pollack is joined by Corey Rosen, writer, producer, creative director and Host of the Moth StorySLAM, to explain his idiosyncratic approach to storytelling and how it applies to leadership. They talk through the best ways to deliver your story, the common mistakes to avoid, and how to introduce improvisation to your leadership style. Corey goes through his dense career and what helped him get to where he is now. Stay tuned!

R. Christopher White grew up in Dale City, Virginia and always had an interest in computers. After seeing some rigid body dynamics during a Summer program at George Washington University he was hooked. Chris earned his BFA in Computer Arts at Syracuse University. He went on to graduate school at University of Illinois’ Electronic Visualization Lab in Chicago and applied for the ILM internship for the fourth time and got in developing tools for Twister. He would up working at ILM for the next seven years. He later left, finished his graduate degree and soon headed for New Zealand where he’s been ever since. Today, Chris is a Visual Effects Supervisor with over 25 years of industry experience. From feature films and streaming media to special venue projects, he has a passion for making engaging environments, creatures, and effects. His work has been recognized with multiple awards from the Visual Effects Society, along with Academy Award, BAFTA, and Emmy nominations.Some of his more notable work includes Twister, Star Wars Episode I, Lord Of The Rings: The Return Of The King, King Kong, Avatar, Rise Of The Planet Of The Apes, and The Umbrella Academy. He is currently working on the Avatar sequels at Weta Digital in New Zealand.Enthusiastic about giving back to the next generation of artists, he enjoys guest lecturing at universities and conferences. As an active member of InclusionFX, Chris offers young people from traditionally underrepresented groups mentoring and career guidance in visual effects.

Hablamos de los premios de la Visual Effects Society con dos personas que han asistido a la gala y uno de ellos ha ganado uno. Hoy Daniel Fernández, Lead FX TD en Scanline VFX y Xuan Prada, Build Supervisor en ILP, nos cuentan cómo se vive la gala desde dentro. https://www.visualeffectssociety.com/ adriancastroviejo.com @AdrianCastroV Music: Wait For Me (Paul Kalkbrenner Remix) by Moby, courtesy of https://mobygratis.com Music: The Right Thing (Cosmonauts Remix) by Moby, courtesy of https://mobygratis.com --- Send in a voice message: https://anchor.fm/charlascgi/message

Episode 11 with Fon DavisIn his three decade career, Fon Davis has worked on over 40 feature films, countless music videos, commercials, TV shows and other projects As an alumnus of the Industrial Light and Magic's Model Shop, Fon has worked on Starship Troopers, Galaxy Quest, and Pearl Harbor feature films, as well as the Star Wars, Terminator, Mission Impossible, and Jurassic Park franchises. In addition to his work in visual effects, Fon has also worked in several art departments on Disney's The Nightmare Before Christmas, James and the Giant Peach, Christmas Carol, Mars Needs Moms, Laika Entertainment's Coraline and Warner Brothers The Matrix series.More recently, Fon worked on Interstellar, Guardians of the Galaxy, and Neill Blomkamp's Elysium. Fon is currently a creative director at Fonco Studios, a celebrity judge on ABC's BattleBots, an instructor at the Stan Winston School, on shows including SuperFan Builds, Nerd Alert, Cake Masters, Starter Kit, Painter's Guild, and Adam Savage's Tested. Fon is also a content creator and public speaker, frequently using his broad knowledge in entertainment and visual storytelling to share his experience and knowledge with the world.Fon has actively participated and supported the education, VFX, SPFX, robotics, 3d printing, maker and geek culture communities through his work with disadvantaged youth programs, conventions around the world, the Visual Effects Society, Dwayne Johnson's Dwanta Claus organization, Glendale Unified School District, The Wounded Warrior Project, Expression College, Make: Magazine, The Make a Wish Foundation, Magic Wheelchair, and much more.About The Callsheet:After two decades working in and around Hollywood, I've met some incredible people with unique stories of how they made it. Listen in as I chat with Directors, Writers, Producers, DPs, Creators and Designers of all the films and tv that you know and love. For the latest updates on the podcast, follow me on instagram @thatdirectoraj or join our new facebook page under the same nameCallsheet theme by Evan BrauAbout the Host:Born in Flint, Michigan, A.J. Wedding created his first film in the 5th grade which helped push public opinion toward the first recycling program the city had ever seen. Realizing the power of filmmaking, he was hooked. After earning a B.F.A. from Western Michigan University, A.J. began reading scripts for Cruise/Wagner Productions at Paramount. He volunteered for every production he could, learning from the pros about producing, cinematography, lighting, directing, VFX and even ended up in front of the camera. He spent a great deal of time editing, including trailers for blockbuster films and pro-bono work for charities such as A Leg to Stand On. Eventually he was able to direct, and sold the series Infamous which he co-wrote with Craig Bonacorsi. A.J. has just launched Orbital Studios, a virtual production studio in Los Angeles. @orbitalvirtualstudiosajwedding.com

A native Californian, David Tanaka attended the University of California at Berkeley where in 1989 he earned his bachelor's degree in Fine Arts with an emphasis in Film Theory. Upon graduating, he worked for post-production facilities throughout the San Francisco Bay Area, quickly gaining experience through corporate advertising and industrial documentary assignments. In 1990, he joined Industrial Light & Magic, Lucas Digital Ltd., and served as a Senior Visual Effects Editor for fifteen years. His credits include Jurassic Park, Forrest Gump and Star Wars. In 2005, he accepted a Staff Post-Production Editor position for Pixar Animation Studios, handling trailer, international and marketing post-production pipeline matters on Cars, Ratatouille, WALL•E, Up, Toy Story 3, Cars 2 and Brave. In 2007, David was elected to the board of the Visual Effects Society's Northern California Section. In 2011 he was elected as Sectional Chairman and sincerely looks forward to the social and professional opportunities the Visual Effects Society provides for his fellow colleagues in the entertainment industry. Father of two (Mitchell, age 13, and Benjamin, age 10), he loves sharing the craft of film production, editing and visual effects with his family in the form of personal video projects and online challenges. Over the past few years, they have won international acclaim for internet competitions sponsored by Dreamworks Entertainment, Paramount Pictures and the Pepsi Corporation. All in the name of fun, David enjoys exposing his sons to not only the rewards, but also the hard work associated with his craft, while they together explore the ever-evolving frontier of multimedia. In addition to the Visual Effects Society, David is also an honorary member of Swords to Plowshares: A Veterans' Rights Organization for his psa producing contributions. In this Podcast, Allan interviews David about his career, his experience working for both ILM and Pixar; as well as the importance of building a personal brand and relationships as a VFX artist and / or freelancer. For more show notes, visit www.allanmckay.com/281/.

Terrence Masson has had an incredible career. He's worked on 20+ feature films as well as many “special venue" interactive, broadcast commercials and video game projects. Some highlights include three Star Wars movies, getting SouthPark started and the world's largest interactive digital Etch-A-Sketch. Terrence is a member of the Producers Guild of America, the Visual Effects Society and has been active in SIGGRAPH since 1988, including as the 2006 Computer Animation Festival Chair, the 2010 Conference Chair, and Outstanding Service Awards Chair. Terrence's enthusiasm for the craft is infectious. Today he works at Chair of the MFA program in Computer Arts at the School of Visual Arts (SVA) in New York.

POST BREAK: VFX Solutions to Covid Problems - Part II (Audio) New York State Post Production Community, Join the Post NY Alliance & the Visual Effects Society for the 2nd part of our event ... This is the Post New York Alliance's podcast of events in the New York Post-Production community.

Today we get to catch up with a Disney legacy who has made her path in filmmaking—Leslie Iwerks. Leslie is an Academy Award® and Emmy® nominated director and producer whose meaty resume speaks for itself. Her documentary films and shorts include the 2006 Academy Award® nominated short Recycled Life, 2008 Emmy® Award-nominated nonfiction special The Pixar Story (Starz), Ella Brennan: Commanding the Table (Netflix) Pipe Dreams, Downstream, Dirty Oil and The Hand Behind the Mouse-The Ub Iwerks Story and many more. Iwerks has been sought after to create multiple filmmaker’s tributes for the Producers Guild Awards, The Visual Effects Society, the Annie Awards, BAFTA, among others, as well as produce several Oscar Lifetime Achievement tributes. I had the pleasure of talking with Leslie about her recent successes and interests. We delved into The Imagineering Story about the history of Disney’s theme parks, interwoven her family’s history. We also discuss capturing her fascination and passion with global issues on film and the future of her acclaimed multimedia production company, Iwerks & CO. Leslie proves here that she wasn’t given her career, she earned her career. And I wholeheartedly believe it. I enjoyed being able to share her story on the show, so let’s dive in! Her story awaits! Tune in now!LI's 'Gram: @iwerks_and_coLI's Twitter: @iwerksandcoLI's FB Page: Iwerks and Co LI's Vimeo: https://vimeo.com/iwerksandcoLI's Website: www.iwerksandco.com SSR ‘Gram: @ajsoreelSSR Twitter: @shessoreelSSR FB Community: The Reelest CommunitySSR Shownotes: https://shessoreel.com/episode/leslie-iwerks/*This episode includes affiliate links for which I may make a small commission at no extra cost to you should you make a purchase. Read my disclaimer for further info.*

Today we get to catch up with a Disney legacy who has made her path in filmmaking—Leslie Iwerks. Leslie is an Academy Award® and Emmy® nominated director and producer whose meaty resume speaks for itself. Her documentary films and shorts include the 2006 Academy Award® nominated short Recycled Life, 2008 Emmy® Award-nominated nonfiction special The Pixar Story (Starz), Ella Brennan: Commanding the Table (Netflix) Pipe Dreams, Downstream, Dirty Oil and The Hand Behind the Mouse-The Ub Iwerks Story and many more. Iwerks has been sought after to create multiple filmmaker’s tributes for the Producers Guild Awards, The Visual Effects Society, the Annie Awards, BAFTA, among others, as well as produce several Oscar Lifetime Achievement tributes. I had the pleasure of talking with Leslie about her recent successes and interests. We delved into The Imagineering Story about the history of Disney’s theme parks, interwoven her family’s history. We also discuss capturing her fascination and passion with global issues on film and the future of her acclaimed multimedia production company, Iwerks & CO. Leslie proves here that she wasn’t given her career, she earned her career. And I wholeheartedly believe it. I enjoyed being able to share her story on the show, so let’s dive in! Her story awaits! Tune in now!LI's 'Gram: @iwerks_and_coLI's Twitter: @iwerksandcoLI's FB Page: Iwerks and Co LI's Vimeo: https://vimeo.com/iwerksandcoLI's Website: www.iwerksandco.com SSR ‘Gram: @ajsoreelSSR Twitter: @shessoreelSSR FB Community: The Reelest CommunitySSR Shownotes: https://shessoreel.com/episode/leslie-iwerks/*This episode includes affiliate links for which I may make a small commission at no extra cost to you should you make a purchase. Read my disclaimer for further info.*

Marc Rienzo is a Director, VFX Supervisor and Artist. He has over 20 years of experience of working in visual effects, including for studios like Marvel, Disney, ILM, Weta Digital, Digital Domain, Sony Imageworks, and PDI Dreamworks. He's been a creative Nuke Artist for 18+ years in both film and commercials. Marc has worked on multiple projects including Spider-Man: Far from Home, Thor: Ragnarok, TRON: Legacy, Rogue One: A Star Wars Story, Mulan; I, Robot; Beasts of No Nation and many others. His work has received several nominations from the Visual Effects Society.   In this Podcast, Marc talks about his experience as a VFX Artist and Supervisor, his past and current projects, and the importance of hard and soft skills for an artist. For more show notes, visit www.allanmckay.com/253.

In this episode Victoria chats to Demian Gordon, a pioneer in the field of Performance Capture. He's been capturing and manipulating data longer than many of us have been on the planet. His extensive feature film credits, to name a few, include: The Watchmen, I Am Legend, Hancock, Beowulf, Monster House, The Polar Express, The Matrix II and Matrix III, as well as numerous television and video game credits. While he's worked for many of the big studios, his current title is Virtual Production Supervisor at Dreamworks. Demian is also the Chairman of the Motion Capture Society Board of Directors and a member of the Visual Effects Society.

Before joining Mr. X, Trey Harrell was a 15-year ad industry veteran. Trey's forte for balancing the technical with the artistic has garnered numerous ADDY (American Advertising Federation) and New York Art Director's Club Awards for his work as both an Art Director and Creative Director for broadcast, web and print ads. Trey joined Mr. X in 2010 to work exclusively as the Lead Lighting TD on Tron: Legacy. Supervising the lighting department for many years, he's been instrumental in re-engineering Mr. X's lighting and rendering pipeline. Since joining the team at Mr. X, Trey has won two Canadian Screen Awards for Achievement in Visual Effects, including a 2013 CSA award for Resident Evil: Retribution, and a 2014 CSA Award for The Mortal Instruments: City of Bones. For his work as a CG Supervisor on Guillermo's Del Toro's television series, The Strain, Trey received a Visual Effects Society nomination in 2016. He also acted as the Digital Effects Supervisor on Paul W.S. Anderson's Resident Evil: The Final Chapter. He continued to exceed the client's expectations with his work on Guillermo del Toro's feature The Shape of Water.  Mr. X's VFX Supervisor Trey Harrell talks about the skills that a filmmaker must acquire, how having a versatile background guarantees longevity in the business -- and why you mustn't build your entire career on a single piece of software! For more show notes, visit www.allanmckay.com/229/.

In the first Star Wars news update for 2020, we discuss The Rise of Skywalker box office, the next season of The Mandalorian, and Star Wars in the Disney Parks plus more. On this fully armed and operational podcast, we discuss: The box office for The Rise of Skywalker, Award nominations for Star Wars from the Visual Effects Society and the BAFTA Awards, The announcement of season two of The Mandalorian, The date of the debut of the next season of The Clone Wars on Disney+, Additions to Star Tours from The Rise of Skywalker, and R2-D2 in Galaxy’s Edge. Thanks for joining us for another episode! Subscribe to Podcast Stardust for all your Star Wars news, reviews, and discussion wherever you get your podcasts. And please leave us a five star review on Apple Podcasts. Follow us on social media: Twitter | Facebook | Instagram | Pinterest | YouTube.

This episode of the Animation Industry Podcast features Humberto Rosa on how he became a lead animator on Spider-Man: Into the Spider-Verse at Sony Pictures Imageworks. You will also learn: *Why positive reinforcement nearly led him down the wrong career path (and what it took to set his path straight) *The skill he picked up after animation school that changed his career for the better *How anyone can produce their best work possible Humberto Rosa is originally from Buenos Aires, Argentina, where he studied animation in his home town and completed the feature animation program at iAnimate.net. While he’s got a background in traditional 2D animation, Humberto has also worked in advertising, television, and the gaming industries as a freelance generalist and 3D animator before he made the move to Canada to work in feature films. Currently, his Imageworks credits include Storks and The Emoji Movie, plus he recently won a VES award from the Visual Effects Society for his work on Miles Morales in Into the Spider-Verse. Get in touch with Humberto through his LinkedIn (https://www.linkedin.com/in/humbertorosa/), or Twitter (https://twitter.com/hf_rosa). Learn more about this podcast at terryibele.com/animation-industry-podcast/

Alexis is joined by David Francisco and dive into the new trailer for "Spider-Man: Far From Home." Other news that discussed John Lasseter joins Skydance Animation a new Ghostbusters movie Disney remaking Hunchback of Notre Dame a Harley Quinn trilogy Infinity War sweeping the Visual Effects Society nominations and David has three mini reviews on Mid90s Beautiful Boy and Dragon Ball Super Broly

Alexis is joined by David Francisco and dive into the new trailer for "Spider-Man: Far From Home." Other news that discussed John Lasseter joins Skydance Animation a new Ghostbusters movie Disney remaking Hunchback of Notre Dame a Harley Quinn trilogy Infinity War sweeping the Visual Effects Society nominations and David has three mini reviews on Mid90s Beautiful Boy and Dragon Ball Super Broly

Gini Cruz Santos is a Filipina animator at Pixar studios based in the San Francisco Bay Area. She worked on numerous Pixar animation films including Toy Story 2, Monsters, Inc., Finding Nemo, A Bug's Life, The Incredibles, Ratatouille, Toy Story 3, Up, Lifted and Brave. She was nominated in 2004 for an Annie Award for her animation on Finding Nemo and was nominated by the Visual Effects Society for an award for this project as well. Her animation of Dory, voiced by Ellen DeGeneres, was praised for integrating "fish movement, human movement and facial expressions to make them look and feel like real characters".   Santos was born in Pasay City in the Philippines. She moved to Guam after age three but returned to study in the Philippines. She studied Fine Arts at the University of Santo Tomas with a major in Advertising. She earned a Master of Fine Arts degree in Computer Arts from the School of Visual Arts in New York. In 1996, she was hired by Pixar after submitting her short feature reel titled The Eclipse without submitting her resume. She was the Supervising Animator on the Pixar short film entitled Lifted.  In this Podcast, Gini talks about her training and career, how she got her Dream Job at Pixar and the most important part of her job as an Animator -- the STORY. For more show notes, visit www.allanmckay.com/173/.

On this episode, we welcome Abby Smith, Steven Saunders, Joaquin Loyzaga and Chris Menges of WETA Workshops in New Zealand. They join us hot off the heels of a big win at the 16th Annual VES Awards (the Visual Effects Society). Their model work for Blade runner 2049 won them the award for Outstanding Created Environment in a Photoreal Feature. Their miniature work - or as some may call it - BIGature work - is a phenomenal testament to the survival of practical effects in a CGI world and the creation of hand made environments. Listen in and hear one of the most amazing stories on how on visual effects artist got his big chance to work at WETA Workshop.

On this episode of Conversations With on The HMC, host Sarah Mason interviews award winning VFX Artist, Pav Grochola who is the Lead VFX Artist on Sony Pictures Imageworks upcoming animated film, Spider-Man: Into the Spider-Verse. Pav Grochola is the Lead VFX Artist for Sony Pictures Imageworks. His credits include Guardians of the Galaxy, Harry Potter and the Goblet of Fire and Edge of Tomorrow for which he won an Annie Award from the Visual Effects Society for Outstanding Effects Simulations in a Photoreal/Live Action Feature Motion Picture. For more episodes of Conversations With and other podcasts visit www.thehmcnetwork.com

Victor Navone is a Supervising Animator at Pixar Animation Studios. Since 2000, he has worked on such high budget animated features as Monsters, Inc., Finding Nemo, The Incredibles, Cars 2 & 3, WALL-E, Brave, Inside Out and many more.  After graduating from the University of California, Irvine, Victor began working as a 3D artist at Presto Studios, a video game company. He continued to study 3D character animation in his spare time. In 1999, Victor's first animated short Alien Song, which was a result of some animation and lip sync tests, went viral. When it caught the attention of Edwin Catmull, the President of Pixar Animation Studios, Victor was invited for an interview. He joined the company in 2000. For his work on WALL-E, Victor has won an award from the Visual Effects Society. He has taught at Animation Mentor and Animation Collaborative.  In this Episode, Victor talks about his career -- with its victories and detours -- tools of a successful artist and insider tips for a demo reel that's guaranteed to get you noticed! For more show notes, visit www.allanmckay.com/104/

We are lucky to be joined at this month’s Syn Studio podcast by Raphael Lacoste, the Brand Art Director of the Assassin’s Creed Franchise. As a Matte Painter and Senior Concept Artist, Raphael has worked on films such as: Terminator Salvation, Journey to the Center of the Earth, Death Race, Immortals, Repo Men and Jupiter Ascending. Raphael has won a Visual Effects Society award for his work as Art Director on Prince of Persia the Two Thrones cinematics and is also a popular and experienced teacher at Centre NAD, as an instructor for The Gnomon Workshop and has been invited as a speaker for the Syn Studio Gathering of Masters ‘16 and ‘17.

Jeff Okun is a Visual Effects Supervisor who has worked on wide-ranging effects in award winning films such as Blood Diamond, Stargate, Sphere, Red Planet, Deep Blue Sea, The Last Starfighter, and many more. His career spans for nearly four decades. In addition, Jeff is Chair of the Visual Effects Society, a global community of visual effects artists and businesses. Jeff was fundamental in starting the VES 2.0 initiative which brought together studios, facilities and artists to explore new business models, pipelines and technologies. Jeff has also created and co-edited the VES Handbook of Visual Effects, a 980-page reference book covering all aspects of creating visual effects, techniques and practices. for show notes visit http://www.allanmckay.com/78/    

Syd Mead is a designer, an artist and a futurist whose career spans five plus decades of creativity and vision. He started at the Ford Motor Company’s Advanced Design Studio and then traveled the world illustrating books, catalogues, and product design for a wide variety of corporate entities. He created architectural renderings for most of the best firms and then moved in to the motion picture industry where he designed and illustrated for iconic films. In 2016 the Visual Effects Society awarded Syd their top honor as Visual Futurist. His first love is transportation design and Syd’s art and design can be found around the world. His latest book, the Movie Art of Syd Mead: Visual Futurist will be available in September, 2017 through Titan Publications. His autobiography is in the works as well titled A Future Remembered. This June Syd will receive a lifetime design achievement award at the Eleanor Ford estate in Grosse Point Shores, Michigan during the Eyes On Design Collector Car Show.

Jeff Kleiser is a visual effects supervisor and CEO of Synthespian Studios. He has worked on movies like Tron, X-Men, and Fantastic 4. Today we talk about how he got involved In film and The Visual Effects Society. We also talk about networking, branding, training, and what its like for actors to work with green screens.

In episode 033 of the Pixar Post Podcast we discuss a ton of great Pixar news, including our exclusive first look at To Protect and Serve, the continuation of the Pixar Pipeline Project with Jason Johnston of the Effect team and so much more. Below are our show notes from the episode with time codes for your reference: Pixar Post Website Updates At the top of the episode we chat about Pixar Post getting on Tumblr. We have some great plans for how to use Tumblr to bring you the latest Pixar products on the web so you don't miss any of your favorite items when they go on sale.   Pixar News Starting at 2:45 into the podcast - we chat about the Toy Story That Time Forgot commercial that aired alongside the re-broadcast of Toy Story of TERROR! a few weeks back. Starting at 6:45 into the podcast - we chat about the two gorgeous images released for LAVA (the turtles and the whale) as well as several interviews with director, Jim Murphy. Starting at 11:18 into the podcast - we chat about the release (and disappearance) of Party Central from Disney Movies Anywhere. Starting at 14:52 into the podcast - we chat about the announcement of Peter Sohn moving into the lead director role on The Good Dinosaur. Starting at 18:30 into the podcast - we chat about our exclusive first look at To Protect and Serve, Pixar's 2015 Cars Toons release. We dig into all the gritty details from the synopsis, to what we can gather from the screenshot, to our predictions for the story elements of the short.   Image © Debbie Coleman/Pixar Part Seven of The Pixar Pipeline Project Starting at 32:26 into the podcast - We are excited to bring our seventh interview as part of the Pixar Pipeline Project. The Project is a nine-part series of Pixar interviews which will allow us to follow the path of a Pixar movie through its journey from story to screen.  Our interview this month is with Jason Johnston from Pixar's Effects department. We chat about everything from a day-in-the-life of an effects artist, to his Visual Effects Society award winning work on Ratatouille, Up and WALL•E, all the way to his brilliant advice for those looking to get into the effects field. Finally, we wrap up with a discussion on Jason's journey to Pixar. We're certain you'll be amazed with the level of detail and work that goes into the effects team's work - enjoy the interview. Pixar Post - T.J. & Julie

Greg Teegarden is a computer graphics supervisor at Digital Domain, a visual effects and digital production company based in Venice, Los Angeles, California.   He has been in the industry for over 20 years and has worked on productions including SeaQuest 2032, The Fifth Element, Tron : Legacy, X Men: First Class, The Girl with the Dragon Tattoo and more recently the Oblivion movie starring Tom Cruise.   He has been nominated six times at the Visual Effects Society for his work. We are pleased to interview Greg in this session and learn:- - How Greg's father, James Teegarden, who was an art director and set designer for Back to the Future II, Artificial Intelligence and E.T. influenced Greg.  - How Greg got started professionally in visual effects. - The experience of working as an animator on Seaquest 2032. - The influence of Industrial Light and Magic. - Some of Greg's earliest visual effects tools including Lightwave. - Greg's experience on the sci-fi movie Oblivion, which starred Tom Cruise.  - Using Terragen to create a procedural generated Earth for the opening scene in Oblivion with the Universal Studios logo. - Some of Greg's highlights at Digital Domain. - The benefits gained from managing production pipelines at Digital Domain. - Some of Greg's work on Tron : Legacy as the lighting supervisor.  - Advice from Greg for those who are looking to get into the visual effects industry. Resources and companies mentioned in this podcast Digital Domain : James Cameron's visual effects company - http://digitaldomain.com/reels Terragen (version 3) : Planetside Software - http://planetside.co.uk/  LightWave by Newtek - https://www.lightwave3d.com/ Houdini by Side Effects Software - http://www.sidefx.com/

Talking with Jeff Okun - effects supervisor (Sphere, The Day The Earth Stood Still) and the head of the Visual Effects Society. Also, discussing the GenArts / LucasFilm deal with Steve Bannerman of GenArts.