Oliver Markowski, head of 3D at German VFX studio RISE, talks USD, Houdini, and Material X, and reminisces about the days of floppy disks and huge manuals.

Angie Jones has contributed to projects including “X2,” “Fortnite,” “Bloodshot,” and many more. Join her to find out what it takes to be a professional animator.

VFX legend Garman Herigstad sheds light on his globe-trotting career and talks about working on “O Brother, Where Art Thou?” “The Time Machine,” and “Black Adam.”

How do you make a high-quality animated TV series? Mio Markovic, DreamWorks’ VP of Animation Production, breaks down “Voltron,” “Camp Cretaceous,” and more.

Love Death & Robots’ supervising creative director breaks down “Bad Travelling,” “Jibaro,” “Three Robots: Exit Strategies,” and “The Very Pulse of the Machine.”

Scanline’s “Stranger Things” VFX supervisor talks Chris through a career that has taken in “The Nevers,” “2012,” “Super 8,” “Iron Man 3,” and “Tomb Raider.”

Seeing the bigger picture: Discover how Mike Rome has helped create planetariums, Times Square billboards, “Star Wars” rides, and virtual production toolsets.

Join VFX Supervisor Isaac Irvin for a globetrotting guide to his VFX adventures, including “Speed Racer,” “Iron Man 3,” “Real Steel,” “Robocop,” and many more.

Bob Bacon has gone from greenlighting Disney movies “The Lion King” and “Aladdin” to founding a Web3 animation studio. Here’s how he found the value of creativity.

Sean Devereaux’s body of work includes “American Hustle,” “The Equalizer,” “Patriots Day” — and Zync cloud rendering. He shares his secrets of success.

Scanline VFX supervisor Mathew Giampa has worked on shots for “The Joker,” “Black Widow,” and “The Suicide Squad.” He talks about leveling up throughout his career.

Cult animator Bill Plympton talks us through his career in short and feature films, TV ads and idents, and offers tips and inspiration for budding artists.

Marc Morissette has taken blockbuster VFX experience and knowledge into founding his own studio, Cluster. He shares the secrets of establishing a growing company.

Brazil, beer, and being back on set — versatile VFX supervisor and head brewer Scott Kirvan gives Chris the heads-up on his 30-year-career in the CG industry.

Veteran Digital Domain VFX artist Eddie Smith reveals how Houdini changed the face of VFX via “G.I. Joe,” “Tron: Legacy,” “Ender’s Game,” and “Fantastic Beasts.”

INK-spiration: 3D Artist Ioanna Ivanova gives essential tips for getting started in the CG industry and reveals the benefits of working for a smaller studio.

Laika’s Jeff Stringer reveals how the studio behind “Coraline” and “Kubo and the Two Strings” combines traditional stop-motion animation with cutting-edge CG.

Future House Studios’ Adam Sidwell has gone from “King Kong” VFX to virtual concerts for Justin Bieber. He shares his thoughts on NFTs, the metaverse, and more.

CGarchitect, the world’s largest online community for archviz, has become part of the Chaos family. Founder Jeff Mottle talks about handing the reigns over to Chaos’ Lon Grohs.

Animal Logic’s Darin Grant talks about the studio’s move into animation, the moving CG content at this year’s SIGGRAPH Electronic Theater, and global VFX trends.

“Huxley” is about to become huge. Creator and concept artist Ben Mauro tells Chris how NFTs have helped his sci-fi comic book go to the big screen — and beyond.

Can web 3.0 power the future of cinema? Director and writer Matteo Santoro reveals how his NFT feature film “SIFT” gives fans a role in the production process.

From pioneering CG for “Apollo 13” and “Titanic,” to VP at Houdini developer SideFX: Judith Crow talks about her career on both sides of the effects industry.

Barbara Ford Grant is president of a world-leading virtual production facility and the first female chair of the Sci-Tech Committee of the Academy. Hear her inspirational story.

Creative studio Recom Farmhouse’s founder Christoph Bolten and managing director Richard Levene recount some of the crazy adventures they’ve had in photography.