Cg Garage

After being inspired by Star Wars to pursue a career in entertainment law, Joshua Lastine helped with clearances on everything from American Idol to The Man in the High Castle to Midway to the Hulkbuster armor in Avengers: Age of Ultron and weapons for TV series Echo 3. Today, Joshua runs Lastine Entertainment Law, which drafts bespoke agreements for everything from YouTube videos to big-budget movies, and he teaches law at Los Angeles Film School. In this podcast, Joshua covers all the hot topics in the film and TV industry, including AI, the causes of the writers’ strike, digital celebrities, and the effects of streaming media. Joshua offers an informed perspective on where the industry is going, details the strengths and weaknesses of artificial intelligence, and explains how copyright law applies to everything from code to works of art.  

Marc Simonetti’s dreamy visual style has made him a big name in sci-fi and fantasy art — but what does this mean in the age of AI? In this podcast, Marc tells Chris how it feels to have your name used as an AI art prompt some 400,000 times, and what it’s like to see your name attached to artwork that isn’t yours. But it’s not all bad — Marc delves into the advantages of AI art and how it might put the concept back into concept art, and offers positive advice for budding artists who are about to embark on art courses. He also talks about his fascinating career, which has seen him rub shoulders with George RR Martin, and he discusses his work on movies including Valerian and the City of a Thousand Planets and the upcoming Ghostbusters: Afterlife sequel.

Hailing from Detroit, Linden Vennard began his career in visualizing vehicles (of course!). Having established pipelines that turned raw CAD data into sumptuous CG images, Linden became a core part of Speedshape, the VFX studio that specialized in creating visuals for automotive companies. After Speedshape closed, Linden traveled to Asia and Africa before returning to the US to become a freelance CG generalist. Linden talks about his early inspirations to pursue a career in VFX, how he got started in automotive visualization, and how he worked with budding Hollywood director Joseph Kosinski to bring his “Blackbird” commercial to life. Linden also talks about his explorations in Midjourney AI imagery, where he’s created over 10,000 images.  

Here's a masterclass on rising to the top of VFX supervision. Inspired by classic 80s movies, Sean Faden began his career in practical effects for Starship Troopers and The Fifth Element, helped sink Titanic, and became VFX supervisor on movies including A Nightmare on Elm Street and A Good Day to Die Hard. Then he switched to studio-side VFX supervision for Power Rangers and Mulan, the latter of which earned him a VFX Academy Award nomination. Sean reflects on his career and regales Chris with stories about the early days of visual effects. He also highlights the importance of traveling and immersing yourself in new cultures, goes into detail on how Moon Knight turned Budapest into Cairo, and talks a little about his upcoming projects, The Last Voyage of Demeter and Family Leave.

If recruiters are the unsung heroes of the VFX industry, Stan Szymanski is Superman. This huge film fan began in graphic design and post-production but quickly worked up the ladder into recruitment, via movies including Virtuosity, Independence Day, Starship Troopers, and Hollow Man. Today, Stan’s company, Stanleyvision, has become a go-to source for the perfect talent for companies including Crafty Apes, MPC, The Mill, and Method, as well as PlayStation, MSG Sphere Studios, and TurboSquid. Stan reveals what it takes to be a recruiter in the VFX world, from maintaining up-to-date expertise on new technology to understanding how people will fit in at certain companies. If you’re job hunting or headhunting, it’s worth staying with the podcast to the end, where Stan gives crucial advice on how to market yourself in the VFX industry.  

Jeff Barnes’ career has taken him from two Amigas and a VHS deck to the world’s most cutting-edge digital display screens. After discovering a love for post-production, Jeff founded CafeFX in the early-90s and created VFX for over 90 movies including Flubber, Armageddon, Panic Room, Pan’s Labyrinth, Sin City, The Mist, and Alice in Wonderland. Jeff then helped build DD’s 3D pipeline and consulted in the industry before moving to the innovative lightfield company Lytro, where he now develops content for the SolidLight holographic display platform. In this podcast, Jeff reminisces about the early days of CafeFX, revealing how the company demonstrated its abilities via a Rocketeer laserdisc, reveals the pros and cons of being based in Santa Maria, and talks about meeting directors including John Hughes, Robert Rodriguez, and Guillermo del Toro. Jeff also discusses his current work at the Light Field Lab, which promises to make immersive Star Trek Holodeck-style experiences a reality.  

If digital humans are evolving, Isaac Bratzel is the scientist altering their DNA. Beginning his career as a character artist (because it represented the biggest challenge), Isaac helped create Amelia, a conversational AI with a digital human face, and then went on to establish virtual social media phenomenon Lil Miquela. Today, Isaac is bringing his expertise in AI and digital humans together in AvatarOS, the company he founded to create digital humans with personalities. In this podcast, Isaac reveals how he overcame some of the technical challenges of creating digital humans that work across the platforms of tomorrow and reveals his ultimate goal for the company.  

For the past 30 years, Digital Domain has been ahead of the CG curve, delivering everything from True Lies’ CG jet to The Last of Us’ desolate landscapes. But what does the future hold for this innovative VFX studio? This week, Lala Gavgavian, the president and COO of DD, explains how it's charting a course through the waters of new technology. Lala talks about how Digital Domain has branched out beyond blockbuster VFX and is now taking on gaming projects and medical imaging. She also talks about how AI and machine learning have been changing things behind the scenes at Digital Domain and how the technology behind its Digi Doug and Digi Zoe projects is helping create the perfect digital double.  

Could Macroverse change the way creative content is created and consumed? In this podcast, Chris is joined by Adam Martin, an assistant director who has worked on productions including Transformers, Dave, and Barry. After growing frustrated with the Hollywood system, Adam co-founded Macroverse to give writers and artists a platform to share their stories and visions. Adam gives a full overview of Macroverse and what makes it work, explaining how its Tap Story system enriches comic stories and gives them a cinematic flair, and covering how this democratized web 3.0 platform gives everyone a chance to tell their story and adds a level of transparency to funding and payments.  

We want some of Chris Browne’s energy. This multiskilled VFX supervisor, currently working at Sony Pictures Animation, has helped bring animated series to life, including The Fast and Furious Spy Racers, Kung Fu Panda, and Jurassic World: Camp Cretaceous. At the same time, he’s devoted his spare time to his own award-winning short films, beginning with “Gibb” at university, alien sci-fi “Beating the Abductors,” and now “Pleroma,” which examines themes of AI versus humanity.  Chris breaks down what it was like to work on “Pleroma” during the pandemic, talks about shooting in a dangerous particle accelerator facility, and shares how he single-handedly created 200-plus visual effects shots and built robots for the short. He also reveals his big plans for the future of “Pleroma,” as well as discussing what’s coming up in the world of animation.  

With John Wick: Chapter 4, the sleeper franchise reaches a violent crescendo, peppering the rogue assassin’s globe-trotting bone-crunching fights with jaw-dropping plot twists. This week, the film’s Production VFX Supervisor Janelle Croshaw Ralla, and Prep and On-Set VFX Supervisor Johnathan Rothbart join Chris for a spoiler-free discussion of the movie. Janelle and Jonathan talk about working with director Chad Stahelski, who takes a meticulous, frame-by-frame approach to filmmaking and prefers to work in camera and on location over bluescreen or virtual production sets. They reveal the feats of stamina and endurance performed by star Keanu Reeves, share how to hit someone with a car or set them on fire without hurting him, and discuss the creative decisions behind the film’s incredible 1,500 invisible VFX shots.  

Over the course of his career, Sean Looper has gone from humble beginnings as an architectural draftsman to chief technology officer at VFX studio Crafty Apes. Along the way, the pipelines he’s built have provided seamless effects for movies including Zathura: A Space Adventure, Guardians of the Galaxy, and Edge of Tomorrow. In this podcast, Sean talks about his career and reveals a natural inclination toward the technical nuts and bolts that help a VFX pipeline run smoothly. He shares some of the important lessons he’s learned from being in the industry and gives his thoughts on how machine learning, cloud, and gaming technology will reshape the way movies are made.  

This week, Chris takes a trip to Pandora to delve into the design of Avatar: The Way of Water, James Cameron’s latest jaw-dropping cinematic epic. His guide is Ben Procter, the super-talented production designer who specializes in creating vehicles and environments for Avatar antagonists the RDA — to the extent that he thinks of himself as the “bad guy” of the art department. Ben goes into a fascinating deep-dive into the design and construction of the S-76 SeaDragon, the formidable whaling ship that becomes the setting for the film’s final act. Ben talks about how the design process works between the writers, other artists, VFX studios, and James Cameron himself. Ben also gives his thoughts on artificial intelligence and how it’s going to change a generation.  

Inspired by scary movies to pursue a career in the film industry, Molly Pabian has worked her way up to head of studio at VFX company Crafty Apes. Along the way, she’s worked on over 100 movies and TV shows, including Avatar, Real Steel, Star Trek: Picard, The Last of Us, 1923, John Wick: Chapter 4, and Indiana Jones and the Dial of Destiny. Molly talks about her roles and responsibilities as she’s risen up the ranks. She also discusses the differences between working at big and small companies on 2D and 3D shots, how the bidding and budgeting processes work, and the effects of the pandemic and AI on the VFX industry. If you’re about to start in VFX, this podcast is an essential primer on its inner workings.  

Almost every major recent and upcoming film and TV series has had THE THIRD FLOOR involved in the visualization stage — and beyond. Recent productions include Avatar: The Way of Water, Ant-Man and the Wasp: Quantumania, and The Mandalorian season 3. This week, Co-founder and CEO of THE THIRD FLOOR, Chris Edwards, reflects on his 20-plus years of experience in the VFX industry. He also discusses how crucial visualization has become in the movie-making process and reveals how his colleagues Casey Schatz and Ryan Champney developed the Eyeline system, which enabled Avatar actors to convincingly interact with one another even if their performances were separated by time and space. This episode is an unprecedented insight into what goes on behind the scenes of movies — and you’ll even learn how THE THIRD FLOOR got its name.

Philipp Wolf has always had a passion for storytelling. He began his career in journalism, then helped shape stories for the reality TV show Big Brother before moving into visual effects production on movies and TV series, including Game of Thrones, Ghost in the Shell, and The Predator. Today, Philipp works at DNEG in Montreal, where his credits include Dune, Glass Onion: A Knives Out Mystery, Altered Carbon, and The Battle at Lake Changjin. As well as discussing his incredible career, Philipp details his role in the RealTime Society and how he’s helping the industry tap into more diverse pools of talent. He also talks about the effects of the pandemic on the industry, and he offers some interesting thoughts on virtual production, AI, and what’s needed to take the metaverse to the next level.  

The Martini Giant is back! It’s been almost five years since Chris and fellow VFX artists and frequent CG Garage guests Daniel Thron and Erick Schiele created the Martini Giant podcast to indulge in their love of all things cinematic and argue about Star Wars. This week, Dan and Erick return to their roots and talk about what they’ve been up to since they last visited the CG Garage. Which turns out to be a lot of stuff! Dan is back in the videogames industry, while Erick is using AI to help realize his childhood experiences with rock star Alice Cooper. Both discuss their experiences with AI and share thoughts on how it’s changing the industry, but also reveal how important it is to keep doing the things you love. As ever, this is a hugely entertaining discussion, and it’s great to hear Dan and Erick’s voices again.  

James Blevins has been involved in pretty much every step of the filmmaking process, from driving vehicles to virtual production. Films he’s contributed to include Waterworld, Armageddon, Pleasantville, and, most impressive of all, Space Jam. He’s also worked at some of Hollywood’s biggest studios, including Disney, Netflix, Amazon, and LucasFilm for virtual production on The Mandalorian. In this podcast, James delves into some funny stories from behind the scenes of movies, including Crimson Tide, Armageddon, and Pleasantville. He also gives an interesting perspective on the emergence of AI and talks about MESH, the virtual production consultancy company he set up. He also goes into detail about the Hollywood Professional Association and its Tech Retreat — which is where Chris recorded this podcast.

Andrew Schmied has established himself as an authority on all things related to computer graphics. He’s helped companies, including Samsung, Apple, and Microsoft, explore technology and drive innovation. He’s also a counselor and AI special interest group leader for the RealTime Society, which hosts a community and conference dedicated to the future of CG. In this conversation with Chris, Andrew shares his expertise on artificial intelligence, which is dramatically changing the world of computer graphics and beyond. Andrew reveals how AI works and what we need to do to make it fairer for artists whose work it may be taking influence from. He also answers some of the more ethical questions surrounding AI, such as whether we can trust it and if it’s safe enough to drive our cars.  

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.