Established VFX Supervisor Chris Browne makes award-winning short films in his spare time. Find out how he single-handedly crafted 200+ shots for “Pleroma.”
“John Wick: Chapter 4” VFX supervisors Janelle Croshaw Ralla and Jonathan Rothbart talk about working with Keanu and reveal their incredible, invisible work.
Crafty Apes’ Chief Technology Officer on creating pipelines for blockbusters, and how machine learning and gaming technology will power up tomorrow’s movies.
Ben Procter, the “Avatar” sequels’ Oscar-nominated production designer, talks about creating the movie’s vehicles and sets, including the incredible SeaDragon.
Crafty Apes’ Head of Studio Molly Pabian reveals how she got her job, and talks about working on “The Last of Us,” “John Wick: Chapter 4,” and “Indiana Jones 5.”
Chris Edwards, co-founder and CEO of THE THIRD FLOOR, discusses visualization for titles including “Avatar: The Way of Water” and “The Mandalorian” season 3.
DNEG exec Philipp Wolf talks about his work on “Dune” and “Glass Onion: A Knives Out Mystery,” and discusses trends in virtual production, AI, and the metaverse.
Martini Giant podcasters Daniel Thron and Erick Schiele return in this special CG Garage episode. Expect in-depth AI discussion — and “Star Wars” arguments.
From “Space Jam” to “The Mandalorian” — virtual production company founder James Blevins shares stories from behind the scenes and reveals his thoughts on AI.
Is artificial intelligence safe, can we trust it, and where will it lead us? Computer graphics and technology expert Andrew Schmied discusses this brave new world.
From his first CG shot to VFX supervising “The Last of Us,” Alex Wang gives Chris an overview of his career, including work on “Deadpool” and “Terminator: Dark Fate.”
VFX expert Mike Seymour is back with a new title and a new lipsync technique for Polish movie “The Champion.” Find out his thoughts on the rise of neural networks.
Academy Award-winner Jonathan Egstad reveals how he’s helped Nuke become essential CG software via movies including “Apollo 13,” “Titanic,” and “I, Robot.”
Celebrated artist and “Obi-Wan Kenobi” virtual art director Meats Meier discusses the positives and negatives of generating images with artificial intelligence.
From “The Adjustment Bureau” to “Beau is Afraid:” Director and VFX Supervisor Yuval Levy talks shooting cars, replacing faces, and artificial intelligence art.
How has the streaming boom affected visual effects work? Zoic’s “Legends of Tomorrow” VFX supervisor Andrew Bardusk reveals how episodic is the new cinematic.
Chris joins Prototype CTO Culley Bunker and Producer Richard Kidd to discover how machine learning and new techniques are taking digital humans to the next level.
Evan Jacobs pulls back the curtain on Marvel Studios’ well-oiled VFX pipeline and explains how he bridges the gap between DPs, directors, and CG supervisors.
From “Happy Feet’ to “Entergalactic:” Taylor Moll tells Chris how she’s traveled the world, learned to lead — and set up Dneg’s feature animation department.
Calligraphy is a unique fusion of mind, body, and art — and Aoi Yamaguchi has mastered the form. Find out how her performances are taking the medium to new places.
Discover the inner workings of theme park rides with Eugénie von Tunzelmann, who’s taken her VFX skills from “Interstellar” to “Jurassic World VeliciCoaster.”
“Spider-Man: No Way Home,” “Cowboy Bebop,” and “Boardwalk Empire” title designer Karin Fong on working with top talent to create the perfect credit sequence.
Crafty Apes CG Supervisors Sean M. Ritchie and Chris Cook discuss working on movies including “Dune” and “Spirited,” and reveal how tech will change the industry.
Pixar Animation Studios’ Marketing Manager talks about making “Toy Story,” and how artificial intelligence is changing some surprising elements of movie making.
