Hugo Guerra is the dictionary definition of multitasking. Having taken his eye for compositing into directing short films and commercials, and supervising VFX, Hugo fills his spare time with producing content for his successful YouTube channel and recording the VFX Notes podcast with Ian Failes. If that’s not enough, he’s also produced a cookbook with his wife.

Hugo talks about his early career in Portugal and how he took his love for movies into short films, and then compositing and directing. He also tells you why you need to go on-set, talks about the benefits of teaching, gives his thoughts on AI and “invisible” CGI, and reveals the inner workings of YouTube.

As Chris is tied up with a really cool Chaos project, we’re revisiting some of the older episodes of the CG Garage podcast. And we’re starting big with true luminaries of Hollywood revealing how they got their projects off the ground.

First up is Doug Trumbull, the 2001: A Space Odyssey VFX genius who went on to direct Silent Running and continually innovated Hollywood motion picture technology. Recorded shortly before his death in 2022, Doug talks about getting Brainstorm made and gives a prescient perspective on home theater.

We follow with a seminal live show that celebrated the podcast’s 100th episode with a pair of VFX experts turned blockbuster directors: Joe Kosinski and Tim Miller. Recorded at Gnomon School, Joe talks about how he leveled up Tron: Legacy and brought Oblivion’s stunning visuals to life, while Tim talks Deadpool and reveals some of the interesting choices that led to the beloved but very R-rated superhero movie.

With V-Ray 6 for Maya and Houdini, update 2, Chaos adds an important feature to its powerful renderer: MaterialX support. With this addition, artists and studios can seamlessly use materials across different DCCs and get identical results, removing many of the pain points of increasingly complicated modern 3D pipelines.

In this podcast, V-Ray for Maya Product Manager Alex Yolov and V-Ray for Houdini Product Manager Gosho Genchev reveal how they’ve worked with studios to implement MaterialX in the latest software updates. They also tackle some frequently asked questions about MaterialX, such as how it works and whether it can be used with existing projects, and they reveal some of the additional features that have recently been added to V-Ray.

Over his 30-year career, Julian Levi has produced VFX for Hollywood movies, beginning with Braveheart, moving into O Brother, Where Art Thou?, The Day After Tomorrow (with Chris), Speed Racer, X-Men: First Class, Prometheus, and many more. Most recently, he helped director Gareth Edwards bring the world of The Creator to life, earning four VES awards and a VFX Oscar nomination in the process.

Julian talks about how The Creator marks a return to the guerilla-style sci-fi Gareth pioneered with his debut, Monsters, utilizing cheaper cameras and preferring real-world locales over sets. Julian reveals how Gareth’s background as a VFX artist also means that he understands where corners can be cut while delivering awe-inspiring shots, and he shares his thoughts on how the industry is changing. 

Archviz artists love Chaos Corona. This renderer has become a go-to for visualizing everything from compact kitchens to sky-scraping towers, giving users stunning results straight out of the box. But what’s on the horizon for this popular renderer?

In this podcast, Product Manager Tom Grimes discusses what makes Chaos Corona a popular choice for the architecture industry and how its philosophy differs from other renderers such as V-Ray. He also talks about the software’s future and plans to make it an integral part of the Chaos ecosphere, as well as how it’s getting real-time functionality via Chaos Vantage.

Tram Le-Jones has an eye for detail, a people-centric personality, and a passion for computer science — making her perfect for VFX production roles. After getting a job on The Matrix Revolutions via craigslist (no, really), she became a sought-after coordinator and then moved into producing VFX for movies including Spider-Man 3, Tower Heist, and Extremely Loud & Incredibly Close, as well as commercials, moving from west to east coast and back again along the way.

Having served on the front line of VFX, Tram has taken her expertise into project management software for media and entertainment, starting with Autodesk’s Shotgrid and moving to Backlight’s ftrack. Tram talks through her fascinating career, from lugging huge CRTs around Digital Domain’s office, to working with Spike Jonze on his short film “I’m Here,” to the challenges of integrating cutting-edge virtual production technology into traditional VFX pipelines.

VFX visualization might just be the closest you can get to being a film director without stepping behind the camera. This technology has become a key part of the VFX process, with previz storyboarding growing into pitchviz (to get movies greenlit), techviz (to figure out logistics), and postviz (to create temporary VFX). It’s an area Casey Pyke has become an expert in via his role at Halon Entertainment, which has helped visualize movies including The Batman, Pinnochio, Argylle, and John Wick: Chapter 4.

Casey breaks down how the technology required for visualization differs from that for VFX — speed is of the essence, but looking good is increasingly important. He also talks about how his background as an amateur filmmaker helped him understand what directors want and the satisfaction of recognising his work on the big screen. Casey concludes with his experiences using LED walls and AI tools in visualization pipelines.

Richard Crudo began his career in New York City, learning from some of the best in the business, including László Kovács and Gordon Willis, and helping shoot movies such as Ghostbusters 2, Raising Arizona, and Broadway Danny Rose. He then served as cinematographer on movies including American Pie, Out Cold, and Brooklyn Rules, as well as television series such as FX Network’s Justified, The CW’s Jane the Virgin, and CBS’s SWAT. 

In this podcast, Richard discusses the transition of motion pictures from film to digital, and the concurrent rise of new visual effects techniques. He also talks about being president of the American Society of Cinematographers, the popularity of dark shots in Netflix TV series, and the rise of artificial intelligence and the democratization of movie making.

It’s an enlightening and entertaining discussion, and it’s great to get another perspective on the filmmaking process.

Could Paolo Berto Durante really be Chris, but from another dimension? These outspoken CG enthusiasts have a lot in common: an extensive knowledge of 3D software and render engines stretching back decades, a history in VFX and teaching CG, and strong opinions on the current state of the industry.

Paolo talks about his roles in the research and development of 3D software, starting from Alias|wavefront, to mental images. to Jupiter Jazz, up to his current role at J Cube, their team has developed CG tools for artists such as Multiverse USD, Maneki, and the futuristic WeRender generative service. Paolo also reveals some interesting thoughts on AI and creativity, and discusses how he comes up with new creative and business ideas.

Robert Moggach has experienced the full arc of the VFX artist career, from being treated like a rockstar in the early days of CG to working on personal, small-scale indie projects today. Along the way, he’s racked up credits on movies including Harry Potter, I, Robot, and Stealth, created ads for the world’s biggest brands, bagged a VES award for the Halo ODST trailer, and helped make music videos for the likes of Moby, Muse, Garbage, and Tori Amos.

Rob and Chris discuss the dynamics of cloud versus local workflows, the nuances of small-scale creative projects such as the short film Go For Grandma, and the logistical challenges of collaboration across time zones. The conversation culminates in speculation about AI's potential to catalyze new creative forms in Hollywood and beyond.