Podcasts about Visual effects supervisor

KAITLYN YANG is founder and Visual Effects Supervisor at Alpha Studios. She has over 70 visual effects credits, including “The Walking Dead,” “Grey's Anatomy,” and “American Born Chinese”. Kaitlyn is also a co-founder of 1IN4, a coalition for increasing employment and authentic representation of disabled people on screens. She was honored as one of Forbes 30 Under 30 in Entertainment, one of Variety's 10 Artisans to Watch, and received the 2023 USC Alumni Association's Young Alumni Merit Award. Host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts.Music: “The Day it All Began and it All Ended” by Pawel Feszczuk (License: CC by 4.0). 

John Heller is the Visual Effects Supervisor of the alternate worlds sci-fi series, Dark Matter. He describes the challenges and rules relating to the alternate universes in the series, they had to follow. Another challenge was the different versions of Chicago to create from dystopian to ultra-modern. And there's the box too. What effects were used ?  Start Your Free One year Trial At Sci-Fi Talk Plus Today

Jijo Reed, recognized by LA WEEKLY and NEW YORK POST as "Top Trendsetter in 2023" is an Emmy Winning Producer, 16 time Telly Award Winner, and Executive Producer of over 80 feature films and/or series.Latest feature films include Crescent City starring Alec Baldwin and Terrence Howard, THE BLACKENING directed by Tim Story for MRC, Village Roadshow's CINNAMON, and MENDING THE LINE starring Brian Cox (Succession)... also, MACHINE GUN KELLY'S LIFE IN PINK 2022 documentary for Hulu/Disney and BACK ON THE STRIP with Kevin Hart and Tiffany Haddish.A high point in his career is when he deep dived to the wreck site of TITANIC in the Russian submersible, MIR 1, while directing and producing a documentary about the famed, ill-fated ship...during which he became one of the very few men in the entire world to dive the actual wreckage of TITANIC at 2.5 miles below sea level. More people have been to outer space than this depth of the ocean. His "ground breaking, cinematic" footage of Titanic is recognized globally. Reed states: "This was the most life changing project of my career."Also, Reed was Visual Effects Supervisor for THE AVENGERS S.T.A.T.I.O.N 3D interactive exhibit, the innovative and revolutionary experience which is currently a main attraction in Times Square, NY and Las Vegas.Jijo was Executive Producer of the 2013 OBAMA PRESIDENTIAL INAUGURATION Concert in Washington DC featuring WIL I AM and JOHN LEGEND. Additionally, he has produced screen media for live music concert tours, including EMINEM's MTV Awards performance and GUNS & ROSES.In 2004, Jijo created the hit VH1 show "CELEBRITY REHAB" which has won numerous awards and has helped people all over the world overcome addictionThroughout the 1990's, he worked as Post Supervisor on the audio/visual ad campaigns of studio films such as Martin Scorsese's CASINO, Jim Cameron's TRUE LIES, STAR TREK, DIE HARD, LETHAL WEAPON 4, THE UNFORGIVEN, and many others.Jijo Reed is a third generation Los Angeles native and the grandson of Alan Reed who was the voice of FRED FLINSTONE and acted in such movies as Breakfast At Tiffany's and Postman Always Rings Twice. Jijo is also the nephew of FRED ASTAIR'S choreographer, Hermes Pan.

"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

Todd Perry, a veteran visual effects supervisor with decades of experience in the industry, shares his journey from his early fascination with Star Wars to becoming a key figure in VFX. Todd discusses how he transitioned from experimenting with stop-motion and early computer graphics to landing his first major jobs at Imageworks and Weta, working on projects like The Lord of the Rings: The Two Towers. He reflects on pivotal moments in his career, including his work as a CG supervisor on blockbuster films like Age of Ultron, Doctor Strange, and Black Panther. Todd also reveals how he embraced the challenges of remote work early, setting the stage for a future in distributed filmmaking. The conversation dives into the evolution of VFX workflows, the integration of AI, and the balance between practical effects and digital artistry. Todd highlights his role in innovative projects like I'm a Virgo and his involvement in the Oscar-shortlisted live-action short film he recently produced and supervised. Packed with industry insights and advice for aspiring artists, this episode showcases Todd's adaptability, passion for storytelling, and deep understanding of the tools shaping the future of filmmaking.

"Civil War" was released last spring to a positive yet somewhat polarizing reception from critics and audiences as its story drew some controversy while the technical crafts were lauded with praise. The film grossed over $126.2 million worldwide, becoming A24's second-highest-grossing film to date, and has been nominated for the American Cinema Editors Awards and won the British Independent Film Craft Awards for Best Sound and Effects. And now, the film's visual effects have been shortlisted by the Academy's visual effects branch for the 97th Academy Awards. Visual Effects Supervisor David Simpson, Visual Effects On Set Supervisor/Compositing Supervisor Chris Zeh, and CG Supervisor Freddy Salazar were all kind enough to spend some time speaking with us about their work on the film, which you can listen to below. Please be sure to check out the film, which is now available to rent or own from A24 and is up for your consideration in all eligible categories at this year's Academy Awards, including 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

A deep dive into Dune: Part Two with Oscar winner Paul Lambert, including that amazing black-and-white infrared sequence.

"Alien: Romulus" was released over the summer to praise from critics for its visual and practical effects, which horrified, disgusted, and exhilarated audiences. Visual Effects Supervisor Eric Barba & FX Designer Alec Gillis were kind enough to spend some time speaking with us about their work on Fede Alvarez's entry in the long-running and beloved franchise, which you can listen to or watch below. Please be sure to check out the film, which is now available to stream on Hulu and is up for your consideration in all eligible categories at this year's Academy Awards, including 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

"Ultraman: Rising" is a Japanese-American co-production between Netflix Animation and Tsuburaya Productions, with animation by Industrial Light & Magic; it is the 44th film in the franchise with Shannon Tindle making his feature directorial debut. The film stars Christopher Sean as Ken Sato/Ultraman, along with the voices of Gedde Watanabe, Tamlyn Tomita, Keone Young, and Julia Harriman. The film was released worldwide on Netflix over the summer and received positive reviews for its animation, writing, and voice performances. Next Best Picture was invited to Industrial Light & Magic to interview Tindle, Co-Director John Aoshima, Composer Scot Stafford, and Visual Effects Supervisor Hayden Jones, which you can listen to below. The film is up for your consideration in all eligible categories at the 97th Academy Awards, including Best Animated Feature. 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

Stargate's believability is often defined by its visual effects. One of the key people responsible for 15 seasons of the franchise is Craig VandenBiggelaar. Join us as we talk creating Replicators, fully-CG Asgard and more!

Jared Sandrew, a 3D supervisor at Disney and visual effects veteran, joins the podcast to discuss his career journey, from growing up around the pioneering technology of digital colorization to becoming a key figure in stereoscopic 3D conversion for blockbuster films. Jared shares fascinating stories about his time at Legend 3D, where he worked on major projects like Alice in Wonderland and Shrek, and how he helped build the stereo pipeline that revolutionized the industry. His passion for storytelling, visual effects, and the future of technology shines through as he reflects on how the field has evolved. The conversation also touches on cutting-edge developments in AI and machine learning, which Jared has been exploring as a way to enhance visual effects and stereoscopic workflows. He explains how new tools are making the process more efficient and consistent, while still allowing for creative input from filmmakers. Jared and Chris also discuss the future of virtual production and real-time rendering, including the impact of LED walls and new ways to streamline content creation for films and beyond.

Hello everyone! Today's episode features the Visual Effects Supervisor and Visual Effects Producer Robert Stadd. I was fortunate enough to collaborate with Robert on our Netflix film We Have A Ghost. We get into some fascinating discussions about his work in VFX including the intersection of VFX and Costumes (especially on We Have A Ghost!) as well as covering his extensive film career, and the reasons he turned down Titanic and The Matrix! Also tune in to hear about working on the miniatures for The Crow & Crimson Tide as well how he made a monkey look like he's smoking for The Hangover. If you head on over to the Patreon, there's an extended version of the episode with more tales, like working with Michael Mann, designing his favorite shot from Miami Vice and how some Navy Seals accidentally had their hair turn green on Crimson Tide.  --- VFX Supervisor & VFX Producer Robert Stadd Credits include: War Dogs, The Hangover Part 2 & Part 3, The Laundromat, Ali, Collateral, Miami Vice, and Public Enemies --- Robert Stadd has supervised and produced the visual effects for We Have a Ghost, A Babysitter's Guide to Monster Hunting, The Laundromat, Mortal Engines, War Dogs,  Hangover Part 2 and Part 3, Public Enemies, Miami Vice, Redline, Collateral, Ali, as well as producing the VFX for Nutty Professor (I & II),  Galaxy Quest, Liar Liar, Mighty Joe Young, My Fellow Americans, The Crow, Crimson Tide, The Mask, Hot Shots!, Defending Your Life Stadd directed Alien Siege for the Sy-Fi Channel, which had their highest viewership in five years when it played.  He has directed theater at the Off Main Street theater in Santa Monica as well as the Globe Playhouse in West Hollywood.  His webisode, The Ballad of Mary and Ernie has won multiple streaming awards. --- Robert Stadd Links: Instagram: @robertstadd Twitter: @rstadds IMDb: Robert Stadd --- TFACD Links: Patreon: Tales From A Costume Designer Instagram: @talesfromacostumedesigner Twitter: @talesfromaCD TikTok: @talesfromaCD --- Whitney Anne Adams Links: Website: whitneyadams.com IMDb: Whitney Anne Adams Instagram: @WAACostumeDesign Twitter: @WhitneyAAdams TikTok: @waacostumedesign Ko-Fi: @waacostumedesign --- Union Links: #NakedWithoutUs Website Pay Equity Now IG: @payequitynow Pay Equity Now TikTok: @payequitynow Costume Designers Guild IG: @cdglocal892 United Scenic Artists Local 829 IG: @unitedscenicartists Local USA 829 Pay Equity Task Force IG: @usa829payequity IATSE IG: @iatse

"The Boys" is one of the world's most successful and popular shows. The fourth season has recently finished airing, and now everyone is waiting with great anticipation for the fifth and final season. Composer Christopher Lennertz and Visual Effects Supervisor Stephan Fleet were kind enough to spend some time talking with me about their work on the latest season, how their work has changed across the show's lifespan, what they hope to accomplish in Season 5, and more. Please listen to the below and be sure to check out the show, which is now available to stream in full on Prime Video. 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

Chris and Alex welcomed Oscar-winning visual effects artist Andrew Whitehurst to the Fantasy/Animation podcast back in November 2019 for this reflection on the posthumanism of science-fiction parable Ex Machina (Alex Garland, 2014). Andrew kindly spoke with us about his role as Visual Effects Supervisor on the film (for which he received an Academy Award for Best Visual Effects in 2015), and navigated through Ex Machina's technologised construction of bodies and the hybrid performance of humanoid robot Ava. **Fantasy/Animation theme tune composed by Francisca Araujo** **As featured on Feedspot's 25 Best London Education Podcasts**

Jim Rider shares his VFX journey from shooting miniatures to virtual production, offering insights into the evolution of visual effects in filmmaking. Discover the cutting-edge VP setup at Pier59 Studios and learn about the challenges and opportunities in modern filmmaking.

Today we chat up Brian Maffitt, who has a prolific background in VFX, Post Production and a myriad of other under-the-hood experiences in the entertainment industry. Brian is the Visual Effects Supervisor and Technical Director at Late Night Cartoons, the NY-based animation studio that produced Our Cartoon President, Tooning Out the News and many animated specials for The Late Show with Stephen Colbert. Films include In and Of Itself, The Blind Date and Family of the Sun. He was founder and Creative Director of Total Training from 1997 through 2014, producing and presenting thousands of hours of educational content. He also designed the Evolution plugins for Adobe After Effects, which were acquired by Adobe and have been part of AE since 2000. @BMaffitt

John Knoll is one of the most legendary visual effects artists in history. He also served as the visual effects supervisor for both the first “Mission: Impossible” and “Mission: Impossible – Ghost Protocol.” He talks about the shot he did on the first film to get his name in the opening credits, working with “Mission: Impossible – Ghost Protocol” director Brad Bird on the unmade earthquake epic “1906” and we get his Tom Cruise hair rankings. This episode was originally released in February 2020. You can own “Mission: Impossible – Dead Reckoning” on digital and 4K HD, Blu-ray and DVD now. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Flick talk with Tim Burke, the Visual Effects Supervisor for Harry Potter and Fantastic Beasts.

On the latest 8111 I catch up with Stephen Rosenbaum!!! Stephen grew up in Los Angeles and always loved building things. As the youngest of three he thought he'd likely follow in his father's footsteps and become a doctor. But in 1977 he saw Star Wars and the seed was planted. While attending Berkeley he enrolled in the College of Environmental Design and began working in the nascent field of computer graphics. Stephen decided to stay in Northern California after college and landed a dream job as the first TA (Technical Assistant) at Industrial Light and Magic in 1989. Under the guidance of Doug Kay and George Joblove he honed his skills, developing software tools and scripts for managing files. The team was small and the opportunities were omnipresent. In those early days Stephen shared an office with John Knoll and they worked together to present some of the first digital composites. With the successes of The Abyss, Terminator 2, and Jurassic Park (among others) Stephen became the Computer Graphics Supervisor on Forrest Gump. In 1995 he won the VFX Oscar alongside Ken Ralston and George Murphy. When Ken Ralston left ILM for Sony Imageworks, Stephen joined his mentor and began working as a Visual Effects Supervisor on Contact. Stephen list of credits is impressive; Indian in the Cupboard, I Robot, The Waterhorse, Avatar,  and he's been nominated for the VFX Oscar three times. Most recently Stephen served as the Visual Effects Supervisor on the impressive Apple TV+ series Masters of the Air. It was great fun to catch up with Stephen and to hear about his amazing journey. I cannot wait to see what he works on next. 

In this episode, Edd speaks with guest Zach Stoltzfus, a filmmaker and director of photography. Zach shares his journey from a rural upbringing to a career in filmmaking, sparked by a high school project. He discusses his transition from biotech to studying at NYU's Tisch School of the Arts and his evolution from focusing on VFX technicalities to embracing creative storytelling. Zach and the host bond over influential films and dive into the making of "Molly and Max in the Future," highlighting the importance of collaboration and innovation in filmmaking. They also touch on the impact of AI on the industry and the joy of the creative process, concluding with advice for aspiring filmmakers and where to find more information about Zach's work. 01:13 Zach's journey into filmmaking, inspirations, and the impact of his background on his career. 02:08 Childhood and early experiences with filmmaking, including a project inspired by "The Hobbit" and his introduction to VFX. 5:05 Decision to pursue filmmaking at Tisch, NYU, and his shift from science to a career in film. 07:24 Involvement in VFX projects, experiences with VFX in New York, and his return to VFX in filmmaking. 10:08 Discussion of influential films, including "Jurassic Park," "Lord of the Rings," and "Pan's Labyrinth," and their impact on his career. 15:41 Reflections on the emotional impact of filmmaking and the manipulation involved in taking the audience on a journey. 17:17 Educational experiences, his preference for collaborative work, and the influence of visual language on his career. 20:23 Collaboration with Michael Litwack as the director of "Molly and Max in the Future," including its recent release in theaters and upcoming streaming availability. 20:47 The distribution of "Molly and Max in the Future" and its streaming platforms. 21:43 Collaboration with Michael, the making of the film, and their background in filmmaking. 22:41 The challenges and adaptation faced during the production of the film due to the COVID-19 pandemic. 25:23 The various visual effects techniques used in the film, including miniatures and 3D printing. 26:25 The discussion highlights the accomplishment of creating the film with a small VFX team and the use of After Effects for rendering. 31:25 The decision-making process for choosing between green screen, projection, and LED techniques for different scenes. 37:48 The management of collaborative design processes for both 2D and 3D production. 39:43 The setup for remote collaboration and the benefits of working remotely, particularly in the VFX industry. 42:20 The language and approach used between the director and the cinematographer, and the importance of working with familiar crew members. 44:03 The process of creating a visual language and production bible to maintain consistency and communication among the crew. 47:49 Challenges faced in meeting the VFX deadline for a theatrical release and the collaborative effort involved. 56:29 The potential impact of AI and machine learning on filmmaking, including its benefits and potential challenges for the industry. 01:02:33 The impact of Bitcoin and AI in the filmmaking process and the potential changes in the industry. 01:03:42 Addressing the challenges and changes in the film industry and sharing advice for newcomers starting their careers. 01:04:14 The importance of finding passion in filmmaking and aligning it with lifestyle choices. 01:07:17 Encouragement to adapt to industry changes and follow intuition while incorporating personal interests into filmmaking. 01:09:01 The iterative nature of film production and the value of not waiting to start a project. 01:11:30 Encouraging continuous learning and growth in filmmaking, and the importance of trying different styles and formats. 01:12:54 Promotion of the film "Molly and Max in the Future" and sharing personal projects and behind-the-scenes content. Connecting with the Guest: Website: www.ZachStoltzfus.com Instagram: https://www.instagram.com/notzachs The film's Instagram: https://www.instagram.com/molliandmax/ Connecting with CG Pro: Facebook: https://www.facebook.com/groups/becomecgpro Instagram: https://www.instagram.com/becomecgpro/ Website: https://www.becomecgpro.com/ Twitter: https://twitter.com/BecomeCGPro #photography #visualeffects #virtualproduction

"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

Jim Rider is a Visual Effects Supervisor and Virtual Production Supervisor with over 25 years of experience in film and television. After beginning his career shooting models & miniatures, Jim transitioned to compositing, working as an artist and then VFX supervisor at facilities such as Method Studios, Gravity and The Mill. As an independent Visual Effects Supervisor, Some of Jim's recent clients include HBO and Apple Studios. His extensive filmography includes iconic productions like Titanic, Star Trek (TV series), Requiem for a Dream, Angels in America, Evan Almighty, The Adjustment Bureau, Tower Heist, Non-Stop, Foxcatcher, Run All Night, Vinyl, The Deuce, The Plot Against America, and more. Seeing ICVFX as the perfect fusion of his VFX skills and years of on-set experience, since 2020 Jim has veered the ship of his career firmly toward virtual production, having worked as Virtual Production Supervisor at Final Pixel and now at the new Pier 59 Studios volume in Manhattan. Truly exciting times. Highlights of the Episode: 0:00 Introduction 0:08 Introduction of guest 1:46 A conversation with visual effects pioneer Jim Ryder 5:01 The role of motion control technology in the visual effects industry 10:02 The use of practical effects and CGI in the movie Titanic and the speaker's transition into compositing 15:00 The fast-paced and collaborative world of a freelance flame artist 20:02 The evolution of film production and its impact on virtual production 25:01 The use of robots and CGI in the film industry 30:02 The use of a combination approach in creating visual effects for movies 35:01 The potential of real-time rendering and virtual production in the entertainment industry 40:02 The impact of technology on visual effects careers 45:02 The potential of virtual production in film and television 50:00 The evolution and potential of virtual production 55:02 The role of AI in the creative industry 1:00:01 The role of producers in using Chat GPT Connecting with the Guest: Website: https://www.pier59studios.com/ Linkedin: https://www.linkedin.com/in/jim-rider-6916771/ Connecting with CG Pro: Facebook: https://www.facebook.com/groups/becomecgpro Instagram: https://www.instagram.com/becomecgpro/ Website: https://www.becomecgpro.com/ Twitter: https://twitter.com/BecomeCGPro #VirtualProduction #VisualEffects #FilmandTelevision

Carl Bogan Are you certain that every attendee in your Zoom meeting is the person they claim to be? Deep fakes have improved. VFX expert Carl Bogan demonstrates to The Futurists how easy it is to fabricate a persuasive fake persona. Politics and remote work will never be the same again. I am Carl Bogan, Visual Effects Supervisor & Innovation Consultant With over two decades of experience leading in visual effects, with the last several focused on AI, my mission is all about going beyond traditional storytelling. I weave creativity, technology, and leadership seamlessly to reshape experiences. ABOUT SHOW Subscribe and listen to TheFuturists.com Podcast where hosts Brett King and Robert TerceK interview the worlds foremost super-forecasters, thought leaders, technologists, entrepreneurs and futurists building the world of tomorrow. Together we will explore how our world will radically change as AI, bioscience, energy, food and agriculture, computing, the metaverse, the space industry, crypto, resource management, supply chain and climate will reshape our world over the next 100 years. Join us on The Futurists and we will see you in the future!

It has been a rough rode for the entertainment industry in 2023, including the VFX industry. Stargate's Visual Effects Supervisor, Mark Savela, joins Dial the Gate (along with industry veteran Jenny Stiven) to explore the impact of the Hollywood strikes on his profession and bring light to the dangers that are still to come.

Mark Spindler is a Visual Effects Supervisor at Pixomondo in Frankfurt, Germany. He's worked on feature films such as Midway, Justice League, Star Trek: Into Darkness, as well tv shows like The Mandalorian and Game of Thrones for which he received two VES Award nominations. His most recent work on House of the Dragon has also been recognized with an Emmy nomination. He began his career path as a Compositor after finishing his Master of Arts in Media Production in 2012, then became a Lead Compositor and Compositing Supervisor before being promoted to his Supervisor position. Besides his career as a Supervisor, Mark has also contributed to visual effects by developing several tools for Nuke. Some of those Gizmos, Python scripts and C++ plug-ins can be downloaded from the tools section on his website (http://www.mark-spindler.com/tools.html) or from Nukepedia. In this Podcast, Allan McKay interviews VFX Supervisor Mark Spindler about his work on both HOUSE OF THE DRAGON and GAME OF THRONES; the pipeline, creative process and go-to tools of a VFX Supervisor; his career at Pixomondo, as well as the future of AI in VFX. For more show notes, visit www.allanmckay.com/433.  

Meet the legend behind some of the movie industry's most iconic creatures: Joe Letteri. From Jurassic Park's dinosaurs to Gollum in The Lord of the Rings, Avatar's Na'vi, and the Planet of the Apes' simian stars, Joe has constantly pushed VFX boundaries and technology to deliver utterly believable CG characters.  In this info-packed Q&A, Joe talks about everything from how he created his very first VFX shot for Star Trek VI: The Undiscovered Country to the cutting-edge technology that helped him bag an Oscar for Avatar: The Way of Water, and the new AI, rendering, and depth-compositing tools that could get him another statuette. Joe also discusses where he finds inspiration and reveals his passion for fractal computer graphics and astrophotography.

Since 2007, Kaitlyn Yang has pushed the limits of visual effects creativity combined with technology to support film and TV storytelling. Kaitlyn worked her way up from an intern and then digital artist, to now serving as a Visual Effects Supervisor and CEO of the post-production company Alpha Studios. In 2023, Kaitlyn was recognized as one of Variety's prestigious 10 Artisans to Watch. With esteemed clients including Amazon, Coca-Cola, YouTube, and Disney - Kaitlyn empowers her team, while earning trust from her clients every step of the way. Throughout her career, Kaitlyn has supervised the visual effects department on numerous TV shows on major streaming platforms, including Grey's Anatomy; the Apple TV series The Shrink Next Door, starring Will Ferrell and Paul Rudd: and the HBO Max series Raised By Wolves, directed and executive produced by Ridley Scott; as well as Best Foot Forward for Apple TV+, Absentia for Amazon, The Innocent Man for Netflix, and The Good Doctor for Sony. Most recently, Kaitlyn worked as the Visual Effects Supervisor on Disney+'s American Born Chinese, which stars recent Oscar winners Michelle Yeoh and Ke Huy Quan as well as the Oscar-nominated Stephanie Hsu. On the film side, Kaitlyn has supervised visual effects on several culturally empowering independent features. Most notable among these credits is her work on Emily Ting's Go Back to China, which premiered at the 2019 SXSW film festival and was nominated for the Grand Jury Award; as well as the documentary Hailing Cesar made by Cesar Chavez's grandson Eduardo Chavez on immigrant workers. Alongside her work in visual effects, Kaitlyn is a fierce advocate for the representation of disabled persons in the industry. She is the co-founder of 1IN4, an intersectional coalition of disabled creatives focused on long-term institutional shifts to increase the employment and authentic representation of disabled people in media. As a Chinese American immigrant woman and wheelchair user, Kaitlyn believes that overlooked talents can always be found at the intersection of disability and all other diverse populations. In 2018, Kaitlyn's remarkable career earned her a place on the Forbes 30 under 30 list under the Hollywood Entertainment category. Kaitlyn was also the recipient of the Young Alumni Merit Award from her undergraduate alma mater, the University of Southern California, School of Cinematic Arts. Her impressive education further includes securing her MBA from the Quantic School of Business and Technology, and earning certificates from the USC Business School and Harvard Business School for Leadership Training and Organizational Psychology. Highlights of the Episode: 0:00 Introduction 0:08 Introduction of guest 2:25 Kaitlin Yang's Journey to Becoming a Visual Effects Supervisor 4:38 Exploring Art Forms to Create Visual Interest 9:52 Crafting art with attention to detail 14:41 Inspiration from cooking shows and film sets 19:58 The importance of shared experiences and fantastical storytelling 24:54 Visual Effects Supervisor Journey 29:32 The Visual Effects Industry: Diversity and Offshoring 34:49 The Post-COVID Remote Workforce 39:44 The Evolving Use of Technology in the Entertainment Industry 44:23 The 1414 Coalition: Promoting Inclusion and Language Education 49:32 Supporting Neurodiversity and Disrupting the Male Gaze 54:35 Finding inner voice and bravery in the VFX industry 59:49 Defining success and developing a sustainable business model 1:04:30 The importance of communication in art 1:13:09 Outro Connecting with the Guest: Website: https://www.alphastudios.com/ Linkedin: https://www.linkedin.com/in/kaitlyny/ Twitter: http://twitter.com/kaitlynyang Connecting with CG Pro: Facebook: https://www.facebook.com/groups/becomecgpro Instagram: https://www.instagram.com/becomecgpro/ Website: https://www.becomecgpro.com/ Twitter: https://twitter.com/BecomeCGPro #VirtualProduction #VFXSupervisor #CreativitywithTechnology

Bryan Grill, is Visual Effects Supervisor at Scanline VFX. Bryan has over 30 years' experience in the visual effects business. He is currently serving as overall production VFX Supervisor on the upcoming Netflix feature, Beverly Hills Cop 4. Prior to his current project, Bryan helped supervise the adventure-comedy Free Guy, for which he received both BAFTA and Academy Award® nominations, as well as the Russo Brothers' The Gray Man, for which he was On-Set 2nd Unit Visual Effects Supervisor and Senior Visual Effects Supervisor for Scanline. Highlights of the Episode:0:00 Introduction0:16 Introduction of guest1:30 A passion for film and visual effects5:00 A Journey from Receptionist to Digital Effects10:01 Transition to Digital Effects15:00 Virtual Production Techniques for Filmmaking20:02 Virtual Production and Entering the Visual Effects Industry25:01 Skills for a successful compositor30:01 Succeeding in the CG industry35:02 Learning the fundamentals of CG40:01 Visual Effects Industry: Challenges and Growth45:02 Solidarity for the next generation50:01 Benefits of in-person collaboration for artists55:00 The use of technology in film1:00:01 Advances in Visual Effects Production1:05:00 Achieving success in the visual effects industry1:10:01 Bob Ryan's words of wisdom1:13:07 Outro Quotes: 17:38“At the end of the -day, it's all about serving the story. It's not about how technically Advanced it is. It's like, does it serve the story?” - Bryan Grill 29:54“I wanted to be a leader. I had to learn how to treat people and basically treat people the way you would want to be treated. That will go a super long way. ” - Bryan Grill Connecting with the Guest:Website: https://www.scanlinevfx.com/Linkedin: https://www.linkedin.com/in/bryan-grill-1217421/ 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 #VisualEffectsSupervisor #CGI

Todd Sheridan Perry is an On-Set Supervisor on the show with a diverse background in video games, film and television. He's worked on titles like Lord of the Rings: The Two Towers to Final Destination 5, The Immortals, Total Recall, Resident Evil 5 and Avengers: Age of Ultron. Todd has also worked as a CG Supervisor on Marvel's Doctor Strange which was nominated for a Best Visual Effects Oscar. Scott Kirvan is a VFX and Virtual Production Supervisor, Tech Enthusiast and multidisciplinary creative. He is also the Co-Author of globally recognized Brazil Rendering System, a high performance production quality GI ray trace renderer. As a Virtual Production and Visual Effects Supervisor, Scott has over 20 years of leadership experience, including client-side supervisory roles and in-studio digital production work. He has a diverse background in filmmaking, VFX, business leadership, and engineering, making him a valuable asset to any production team. In this Podcast, VFX Supervisors Todd Sheridan Perry and Scott Kirvan do a deep dive into the making of the Amazon comedy series I'M A VIRGO by Boots Riley, the practical effects and some of the technology used in the show, its challenges and how they resolved them. For more show notes, visit www.allanmckay.com/425.  

"I hate space." For anyone that got to see Alfonso Cuaron's Gravity in the theater, it's a breathless, palm-sweating, white-knuckled experience that is hard to describe. Essentially Castaway in space, Sandra Bullock is by herself for most of a tight 90 minute adrenaline rush just trying to survive. This episode of CineFix Top 100, Clint, Cal and Alex celebrate this harrowing film's 10th Anniversary with its Academy Award winning Visual Effects Supervisor, Tim Webber. Tim walks us through all the little details and tries to describe how necessity really is the mother of invention when making a movie where only the faces are real. Buckle up. Meanwhile, producer Dan's algorithm is floating quietly through space, looking down on the earth and probably scheming… CineFix Top 100 is produced by Tayo Oyekan, with Director of Photography, Jamie Parslow and Technical Producer, Marhyan Franzen. Our Executive Producers are Clint Gage, Dan Parkhurst and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. CineFix Top 100 is available on all your podcast networks including: Spotify: https://open.spotify.com/show/02lznfKZ2gCnBwFoTgKlYr Apple: https://podcasts.apple.com/us/podcast/cinefix-top-100/id1693413490 Amazon Music: https://music.amazon.com/podcasts/80256cff-2174-4d69-a9c7-8b565e96e39b Learn more about your ad choices. Visit megaphone.fm/adchoices

With a passion for storytelling and a flare for the visual, Matt Whelan has been making short films and commercials for over 10 years. Training as a classical animator at Sheridan College, Whelan's experience spans live-action and digital Directing, storyboarding, CG animation, and VFX supervision, where he has received international nominations for multiple film/television works. His current focus is on live action narrative. Whelan received a 2023 Emmy® nomination for his work on Apple TV+ series FIVE DAYS AT MEMORIAL. Eric Durst is a Visual Effects Supervisor known for his work on GODS OF EGYPT (2016), SNOWPIERCER (2013), and BATMAN FOREVER (1995). Durst received a 2023 Emmy® nomination for his work on Apple TV+ series FIVE DAYS AT MEMORIAL. He was previously nominated for an Emmy® in 2017 for his work on National Geographic's GENIUS. In this Podcast, Allan McKay interviews VFX Supervisors Eric Durst and Matt Whelan about their work on FIVE DAYS AT MEMORIAL for Apple TV+, the most memorable and challenging sequences on the show, doing previs in Unreal Engine, photorealism in an historic project, as well as the innovation of AI and its influence on visual effects. For more show notes, visit www.allanmckay.com/421.  

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

James David Hattin is the Founder and Creative Director of VFX Legion. James oversees every aspect of the visual effects process for episodic television shows and feature films, from start to end, and provides clients with 20+ years of skill and experience as a lead creative and Visual Effects Supervisor. Prior to launching VFX Legion, James spent three years as senior compositor and compositing/digital effects supervisor at Zoic Studios. James exited Zoic in 2013 to apply his creative skill set and technical ingenuity to a new challenge: designing a leading-edge digital management pipeline. Looking beyond long-standing traditional VFX business models, he tapped state-of-the-art technology to build the new infrastructure from the ground up.  Legion was launched later that year, with James' pioneering digital pipeline positioning the studio at the forefront of the next generation of visual effects companies. Legion's LA-based studio is structured to work as an on-site collaborative partner with TV and film studios. It provides an end-to-end approach that maximizes the quality and efficiency of VFX for episodic television shows and feature films around the globe. Under the VFX Legion banner, Hattin's supervised VFX for a mix of TV shows and movies. Episodic series include SCANDAL, HOW TO GET AWAY WITH MURDER, THE CATCH, SUITS, EL CHAPO, EYE CANDY, REVOLUTION and GONE. Film work includes SINISTER 2, STEPHANIE, OUIJA: ORIGIN OF EVIL, THE PURGE: ELECTION YEAR and THE PURGE: ANARCHY to name a few. James' work has been recognized with a VES Award nomination for 'Outstanding Visual Effects in Broadcast Programming,' for FALLING SKIES, and a Primetime Emmy nod for WORLDS APART, to name a few. He is an Emmy Award honoree of the California Channel's, The Three Branches of Government and a member of The Academy of Television Arts and Sciences. In this Podcast, Allan interviews the Founder and Creative Director of VFX Legion James Hattin about launching his own company and the lessons he's learned along the way: how to build trust, negotiate contracts, keep clear communication with clients and VFX artists alike, as well as the importance of humility in visual effects. For more show notes, visit www.allanmckay.com/417.  

Danielle Feinberg is a Visual Effects Supervisor at Pixar Animation Studios. Danielle's problem is this: How do you optimize technology so that you can spend more time being creative? Danielle Feinberg has worked at Pixar for 26 years. Earlier in her career, she was the director of photography on movies like Coco and Wall-E. She talks about how new software shapes creative work.See omnystudio.com/listener for privacy information.

Mohen Leo is Creative Director and Visual Effects Supervisor at ILMxLAB. In this episode of Soundstage Insider, we delve deep into the world of visual effects, with one of the industry's most respected practitioners. Blending creative with technical is what Mohen does every day, and we get to glimpse at that process in this wide ranging interview.How Mohen started his career, how he communicates with producers, VFX artists and directors, his thoughts on AI, as well as his advice to those looking to get into the industry are some of the subjects we talk about in this episode.We also discuss his work on Disney Plus' superb Star Wars series, Andor.For extra content, previews, and a whole lot more, follow us on social media.Instagram: https://www.instagram.com/soundstageinsiderTwitter: @SoundstageIn Hosted on Acast. See acast.com/privacy for more information.

Ken Ralston (born 1954) is an American visual effects artist, currently the Visual Effect Supervisor and Creative Head at Sony Pictures Imageworks. Ralston began his career at the commercial animation and visual effects company, Cascade Pictures in Hollywood, where he worked on over 150 advertising campaigns in the early 1970s. In 1976, he was hired at Industrial Light & Magic by Dennis Muren to help George Lucas create the effects for Star Wars. He remained at ILM for 20 years before joining Sony Pictures Imageworks as president. Ralston is best known for his work in the films of Robert Zemeckis. Ralston has won five Academy Award for Best Visual Effects, including a Special Achievement Oscar for the visual effects in Return of the Jedi (1983), and regular awards for his work on Cocoon (1985), Who Framed Roger Rabbit (1988), Death Becomes Her (1992) and Forrest Gump (1994). He was nominated three more times for Dragonslayer (1981), Back to the Future Part II (1989) and Alice in Wonderland (2010). --- Support this podcast: https://podcasters.spotify.com/pod/show/amuse/support

In the captivating world of filmmaking, a dynamic synergy emerges when technical expertise harmoniously blends with artistic finesse. As a filmmaker, mastering the craft involves a deep understanding of camera techniques, lighting, and editing software and an innate ability to weave storytelling magic through the lens of creativity. In this enthralling pursuit, the seamless integration of technical prowess and artistic vision unlocks boundless possibilities, allowing filmmakers to craft visually stunning and emotionally resonant masterpieces that transcend the boundaries of conventional cinema. Embracing the artistry within technology and the technology within art, filmmakers embark on a journey that celebrates innovation, imagination, and the transformative power of cinematic storytelling. In this episode, I am joined by Femi Awojide, a London-based cinematographer whose work is inspired by a harmonious blend of influences from the Arts, Photography, Science, and the serendipitous moments of everyday life. With a degree in Physics, Fẹ́mi perceives his craft as a conduit of transferable energy, capable of producing real-time effects on the audience. Today, Femi explains how technical skills can merge with art in producing world-class films. He talks about how he realized that his physics background could help in cinematography, how being a Visual Effects Supervisor has blended with cinematography and how London has influenced his work as a filmmaker. He also shares how filmmakers can thrive, elevate, evolve and grow in their craft. Tune in to learn more about this and other exciting topics! Timestamps [00:29] Fẹ́mi's first time experience picking a camera [03:08] Fẹ́mi's earliest philosophy as a filmmaker and how it has evolved over the years [05:50] How Fẹ́mi came to realize that his physics background could help in cinematography [06:55] How being a Visual Effects Supervisor has blended with cinematography [08:32] How LLMs and AI is affecting filmmakers [11:10] How London has influenced Fẹ́mi's work as a cinematographer [15:12] The memorable experience from the films that Fẹ́mi has done [18:54] The science of lighting black skin and tweaking your own style to make it unique [23:41] The relationship between Fẹ́mi and the gaffers that help perfect the projects [27:21] Fẹ́mi's experience of liking and loving cinematographers [32:30] Fẹ́mi's upcoming projects and collaborations [34:49] How to thrive, elevate, evolve and grow in your craft as a cinematographer Notable quotes: “The more you find about yourself, the more prepared you are to tackle the projects that come your way.” Connect with Fẹ́mi Awójídé : Website: https://femiawojide.com/ Instagram: https://www.instagram.com/femiawojide/ LinkedIn: https://www.linkedin.com/in/femiawojide/ Visual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

On Episode 135 of the RETROZEST podcast, Curtis concludes RetroZest's celebration of the 40th anniversary of WARGAMES; the first mass-consumed, visual media with the central theme of remote computing as well as hacking! The film stars Matthew Broderick, Dabney Coleman, John Wood, Ally Sheedy and Barry Corbin. Assisting Curtis in this final part 4 episode is the Visual Effects Supervisor for the film; MICHAEL L. FINK! Michael shares the amazing story about how he was in the right place at the right time in order to contribute to the success of WarGames. In addition to a wonderful behind-the-scenes discussion about the film (wherein he was actually INSIDE the WOPR Computer prop), he also discusses other key points of his career in SPFX including Battlestar Galactica, Star Trek: The Motion Picture, Close Encounters of the Third Kind: The Special Edition, Blade Runner, Tron: Legacy, etc. Michael recently retired and became a Professor Emeritus at the School of Cinematic Arts at USC. If you've really been enjoying the content here at RetroZest, please do us a favor by July 31, 2023; take a moment and nominate us for the People's Choice Podcast Awards.  Simply go to podcastawards.com/app/signup, complete the short registration form, and then nominate THE RETROZEST PODCAST in the Adam Curry People's Choice Category and the TV/Film Category. All you need to do is click on the dropdown menus for those two categories, select THE RETROZEST PODCAST, and then scroll down to the bottom of the screen and click on SAVE NOMINATIONS. That's all there is to it! Thank you! Incidentally, you may help the RetroZest podcast by purchasing a unique WARGAMES T-Shirt or two (many different designs and colors!) from our store at store.retrozest.com/wargames. You may also help the RetroZest Podcast by purchasing a Celebrity Video Message gift for a friend/family member from CelebVM! Choose from celebrities like Barry Williams, Gary Busey, Ernie Hudson, Robert Fripp, Right Said Fred, etc.! Simply enter their website through our portal store.retrozest.com/celebvm, and shop as you normally would; it's no extra cost to you at all! Contact Curtis at podcast@retrozest.com, or via Facebook, Twitter or Instagram. Also, check us out on TikTok!

Spider-Man: Across the Spider-Verse has been a huge hit in 2023. Mike Lasker worked on the first film, Into the Spider-Verse and is the Visual Effects Supervisor for the sequel. He came on the podcast in Episode 219 to talk about Into the Spider-Verse. Here, he discusses the massive undertaking to be the Visual Effects Supervisor for Across the Spider-Verse, such a dense and detailed film. In this episode, Lasker discusses all the characters in the film, and how they all not only had different looks, but also a totally different art style. He discusses the strategy of world-building, and how each universe has a distinctly different look. He also was asked about the upcoming 3rd film in the series, Spider-Man: Beyond the Spider-Verse, due out in 2024.

Carolyn is joined by the Visual Effects Supervisor for Disney's live-action remake of 'The Little Mermaid'. Burke shares how they created the look and movements for the mermaids and what it was like working on a film that takes place primarily underwater.

HBO's "The Last Of Us" concluded last weekend and has received a ton of praise for its story, characters, performances, and overall design atheistic. One crucial part of creating the world of "The Last Of Us" is the visual effects work from DNEG. Visual Effects Supervisor Stephen James and Digital Effects Supervisor Nick Marshall were kind enough to talk with us about their work on the acclaimed HBO series, which you can listen to and watch below. Thank you, and 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 Learn more about your ad choices. Visit megaphone.fm/adchoices

David Stump brings over 25 years of experience as a Producer, Director, Director of Photography, Visual Effects Director of Photography, Visual Effects Supervisor and Effects Cameraman. He has extensive experience in high definition film and video photography, content creation, CGI and visual effects production. He has won an Emmy Award and an Academy Award for Scientific and Technical Acheivement. He is a full member of the American Society of Cinematographers, where he currently serves as Chair of the Camera Subcommittee of the ASC Technical Committee. He was also the founder of camera and equipment company Motion Control Rental Services.He has photographed and supervised VFX work for every major studio and many independent production studios on feature film projects including James Bond 22 – A Quantum of Solace, Into the Blue, The Game of Their Lives, Garfield, X-Men 2, Sizzling Kung Fu Mice, Panic Room, The Bourne Identity, The One, Men of Honor, Pluto Nash, Hollow Man, X-Men, Navy Diver, Deep Blue Sea, Stuart Little, Soldier, Blade, U.S. Marshals, The Sphere, Contact, Batman & Robin, Mars Attacks!, Star Trek First Contact, Executive Decision, Mortal Kombat, Batman Forever, A Walk in the Clouds, Stargate, Clear and Present Danger, Exit to Eden, The Shadow, The Quick and the Dead, Wes Craven's Nightmare on Elm Street Part VII, Time Cop, Tall Tale, Double Dragon, Hot Shots! Part Deux, Ghost in the Machine, Dark Encounter, Free Willy, Toys, Batman Returns, Night Train, The Skateboard Kid, Doppelganger, Alien 3, Army of Darkness, Bill & Ted's Bogus Journey, Flight of the Intruder, Ghost Dad, Solar Crisis, Gremlins II, Karate Kid III, Rambo III, Beetlejuice, My Stepmother is an Alien, Adventures In Babysitting, Stand By Me, Runaway Train, Black Moon Rising, Ice Pirates, Jaws 3-D, The Man Who Wasn't There, Top Secret, The Last Dragon, and many others.Television projects completed include Storm of the Century, The Shining, Science Fiction Channel, The Tower, Space Rangers, Darkman, Beverly Hills 90210, Grand, Miracle Landing, Quantum Leap, Something Is Out There, The Christmas Star, Poor Little Rich Girl, Murder By The Book, Oceans of Fire, The Day After, Greatest American Hero, Condor, Hollywood Fever, Adventure Kids, Sidekicks, Completely Off The Wall, Crackers and others. His first and second unit Director of Photography credits include; Spring Break '83, Killer Pad, The Bronx Is Burning, The Trident, What Love Is, Southland Tales, Red Riding Hood, Daddy's Boys and The Black Gate. He has also completed numerous broadcast, commercials and industrial projects for leading companies, major brand names and various leading advertising agencies. He is a member of the Producer's Guild of America (PGA), the International Alliance of Theatrical Stage Employees (IATSE), Visual Effects Society (VES), the Society of Operating Cameramen (SOC), the Academy of Motion Picture Arts and Sciences (AMPAS), and the Academy of Television Arts & Sciences (ATAS).

Becoming VFX supervisor on HBO's The Last of Us has fulfilled a lifelong dream for movie and game fan Alex Wang. In this podcast, Alex tells Chris about his journey to this hugely prestigious position via his work on movies including The Day After Tomorrow, Sin City, Tron: Legacy, Deadpool, Fast & Furious 8, Jurassic World: Fallen Kingdom and Dominion, and Terminator: Dark Fate. Alex also shares some of the key lessons he's learned throughout his career, including whether it's better to work on animation or VFX, how working in-house compares to being employed by a studio, and the benefits of technical versus artistic knowledge. Chris and Alex also discuss the growing prevalence of AI in the VFX industry.  

You heard Sophia and Nick talk about him and his nomination on the first Contenders episode, but now hear from Frank Petzold himself, the Visual Effects Supervisor from “All Quiet on the Western Front”! He elaborates on how collaborative and rewarding the shoot was, which elements helped contribute to the naturalism of the film while still showcasing the actors, and even shares one of his biggest VFX inspirations and dream projects.“All Quiet on the Western Front” is available to watch on Netflix and is nominated for 9 Oscars.Follow us on Twitter and Instagram @oscarwildpodFollow Sophia @sophia_cimFollow Nick @sauerkraut27

The Visual Effects Supervisor for the box office smash hit 'Top Gun: Maverick' joins Carolyn to talk about how they used visual effects to complement the practical effects and bring this full force of the planes to the big screen. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Art of the Frame podcast. In this episode host Damian Allen talks with Dan Lemmon, Visual Effects Supervisor of The Batman. Dan & Damian talk extensively about shooting Magic Hour all day long on the volume, dealing with hydroplaning big rigs and making punches feel visceral. For those of you who don't know, Dan is an Oscar-winning visual effect supervisor who's contributed to eight Academy award-winning films and was nominated for four Oscars for his work on Rise of the Planet of the Apes, Dawn of the Planet of the Apes War for the Planet of the Apes and won the Oscar and a BAFTA for his work on The Jungle Book. Enjoy the episode and make sure to check out The Batman, now streaming now on HBO Max. The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show! --- Support this podcast: https://anchor.fm/artofthecut/support

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).

In today's episode, you'll hear from our insanely talented Visual Effects Supervisor. Whether you want to remove some mics from your video ads, or create a talking dog, he gives you some hot tips that make VFX more accessible.If Harmon Brothers grabbed your interest, we're offering a free online course to help you create valuable video content. Seriously, it's free—for now. So make sure to check out our website at harmonbrothers.com/freecourseDon't forget to like, subscribe, and share. Episodes published every Tuesday at 6 am EST. We'll see you on the next one.Harmon Brothers:https://harmonbrothers.com/home (Website)https://www.instagram.com/harmon.brothers/?hl=en (Instagram)https://www.tiktok.com/tag/harmonbrothers?lang=en (Tik Tok)

"Bullet Train" was just released in theaters this past weekend, opening to no. 1 at the box office with over $30 million grossed. The action film is an adaptation of a popular Japanese novel of the same name with an international all-star cast. DNEG Visual Effects Supervisor Stephen James and film editor Elisabet Ronaldsdottir were kind enough to sit down with us and talk about their work to bring director David Leitch's hyper-kinetic film, traveling at 275 mph to life. Please take a listen down below and enjoy. Thank you! 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

Sean Devereaux has fulfilled his childhood dream of making movies, and he started and sold a software company along the way. After being inspired by a viewing of The Wizard of Oz, Sean got a break at Digital Domain thanks to fellow alumni Jonathan Egstad. After working on movies including How the Grinch Stole Christmas and Vanilla Sky, he returned to Boston to found Zero VFX, which has created shots for American Hustle, The Equalizer, and Patriots Day. Sean also discovered the financial and practical benefits of cloud computing, leading to the development of Zync, which was subsequently bought by Google. Sean reflects on his incredible career with contagious enthusiasm and a knack for storytelling. He recounts some great stories involving directors Peter Berg and Antoine Fuqua, and reveals how his work ethic helped him get hired by Digital Domain. He also reveals some of the important life lessons he's learned, from how to balance creativity and finances, to how to deal with directors.