Jack Evans’ illustrious VFX career has taken him to some of the biggest studios in LA and Vancouver, including Digital Domain, ILM, Disney, and Image Engine Design. His impressive roster of credits includes lighting on Speed Racer, TRON: Legacy, X-Men: Days of Future Past, Fast & Furious 8, Solo: A Star Wars Story, The Mandalorian, and Aquaman. 

In this entertaining podcast, Jack talks about his career so far, from his early days of creating TV graphics with Photoshop and 3ds Max to learning Nuke, V-Ray, and Gaffer. He also discusses working from home in the pandemic, goes into depth on shots for TRON: Legacy and The Girl with the Dragon Tattoo, and gives insight into different cultures at visual effects houses.

V-Ray won an Emmy! And joining Chris this week is Craig Weiss, a committee member on the board for the Engineering Emmy Awards. Craig explains how Chaos’ rendering engine has changed the way TV VFX are made and why the board chose it to win this prestigious award.

Craig also delves into his role as CBS VFX’s executive creative director, from his humble beginnings in stop-motion animation to the high-resolution, cinema-quality CG home audiences have come to expect. It’s a fascinating journey into the past, present, and future of the technology that helps bring stories to life.

Real-time CG is quickly taking over the film industry — but learning about its virtual cameras, lenses, and sets can be tricky. Tackling this is “Becoming a CG Pro,” an online virtual production course aimed at filmmakers and CG artists hosted by Edward Dawson-Taylor and Jacqueline Cooper, a pair of VFX industry pros with credits on Jurassic World, The Jungle Book, and The Lion King.

In this podcast, Edd and (returning guest) Jackie talk to Chris about what he learned through taking the course, and how virtual filmmaking brings back on-set collaboration and puts CG tools in the hands of traditional filmmakers. They also discuss the history of filmmaking, from Eadweard Muybridge to The Matrix, and the applications of artificial intelligence and machine learning in the real world.

Ruairidh “Roo” MacNeill’s love for 3D modeling began with sandcastles in Lightwave—and now, he’s working in London on blockbusters including Thor: Ragnarok, Alita: Battle Angel, and Wonder Woman 1984. In this podcast, Roo brings fresh insight into the trends reshaping the way VFX are produced, with procedural tools such as Houdini removing the industry’s reliance on hard-surface modelers.

Roo gives some candid tips about working in VFX, including his thoughts on getting a VFX-related degree, the importance of attending dailies, and why he’s on a race to the bottom of Rotten Tomatoes scores. He also dives into why he loves Modo—and talks about taking a rabbit across European borders.

Liz Montes bumped into someone at an LA party—and landed a job at Digital Domain. Here, she worked alongside Chris on movies including Real Steel and Oblivion. Then she moved to visualization specialist The Third Floor, where she worked as a production manager and producer on blockbusters including Edge of Tomorrow, Solo: A Star Wars Story, and Avengers: Endgame.

In this podcast, Liz talks about how The Third Floor’s expertise in previs has made it a perfect fit for the emerging world of virtual production. She delves into how The Mandalorian’s immersive set, Volume, helped the cast and crew create incredible worlds in real-time. She also discusses The Third Floor’s work on Loki, how gaming graduates are taking over VFX, and how working from home has changed the industry.

Chris Harvey’s brief encounters in biology and theater set him up perfectly for a thriving career in VFX. After taking an animation course, he went on to work on movies such as Chappie, TRON: Legacy, and Zero Dark Thirty. Then, he helped Neill Blomkamp launch independent production company Oats Studios and now he works as a freelance VFX supervisor.

In this podcast, Chris talks about striking a balance between working hard and raising a family. He shares the lessons he learned from working at the ahead-of-its-time Oats Studios, covers how easy it is to tighten pipelines and make filmmaking more efficient—and reveals why Neill Blomkamp’s new production house is called Stability. 

You’ll also find out about Chris’ upcoming sci-fi film projects, including Neill Blomkamp’s Demonic, and 65, from the team behind A Quiet Place.

After making stop-motion videos as a kid and studying furniture design, Ross Denner found his way into VFX via stints at Bermuda Shorts and The Mill. He then moved from London to Los Angeles to work for MPC and now lives in New York, where he helped set up boutique studio ArtJail.

Ross talks about how SideFX’s versatile Houdini software is usurping Maya in traditional pipelines and empowering smaller VFX houses. He also gives invaluable advice on getting hired by VFX studios and what to do when you start, and he and Chris talk about working with dyslexia.

Originally hailing from Russia, Dmitry Vinnik's love for CG computer game cutscenes inspired him to learn 3D Studio and study at Vancouver Film School. He’s gone on to work on VFX projects big and small, including Battlestar Galactica, Tron: Legacy, Final Destination 5, and Game of Thrones.

Throughout his career, Dmitry has embraced technology and encouraged studios to use V-Ray—with spectacular results. This podcast serves as a deep dive into the past, present, and future of rendering technology, covering everything from 286s in the mid-90s to the versatile, superpowered hardware that powers today's CGI.

This week’s podcast tells the fascinating story of Doug Wilkinson, who worked with Chris on Tron: Legacy and is now head of CG at global creative company Buck. Inspired by Jurassic Park, Doug helped create cutscenes for video games before moving from Boston to LA to join effects companies including Digital Domain, Sway and Buck.

Doug recounts his numerous adventures in visual effects, including creating a David Fincher-directed Heineken ad starring Brad Pitt, working with Joe Kosinski on car commercials, and his latest work, including Apple’s “Share Your Gifts” spot. Doug also shares his thoughts on the CG industry's future, talks about how Buck balances creative freedom with technical innovation and reveals surprising connections to Chris’ friends and co-workers.

Over the past 15 years, Matan Abel has worked on lots of cutting-edge VFX projects, including the game Call of Duty, numerous car commercials and movies such as 2012, A Nightmare on Elm Street, The Last Airbender, Red Tails and Fast & Furious 5. Now, Matan’s getting into real-time via John Wick: Chapter 3: Parabellum’s virtual pre-production and The Mandalorian’s virtual sets.

In this podcast, Matan tells former boss Chris how his laid-back approach and honesty have helped his career trajectory. He talks about how he loves lighting tail lights despite knowing nothing about cars; overcoming cultural, linguistic and time barriers when he worked in China; and the practical and financial reasons behind the rise of real-time in movies.