In this episode, Richard Crudo, the cinematographer, and Esther Woodworth, the 1st Assistant Camera for the Ray Tracing FTW short film, share their journey working on the groundbreaking project. We take a deep dive into the dynamics of the camera crew, exploring how different departments like lighting and grip collaborate to bring a director’s vision to life. Esther provides insight into her passion for cameras, and the duo sheds light on their roles and teamwork on set.

Richard and Esther discuss their approach to shooting Ray Tracing FTW, detailing their experience working with LED volumes to seamlessly blend live-action with digital environments. They also talk about using the ARRI Alexa 35 paired with vintage Panavision lenses to create a classic 1970s film look while leveraging the flexibility and precision of modern technology. Throughout the conversation, they reflect on the balance of creativity and technical expertise and share their favorite moments from filming the short. This is a must-listen episode for anyone wanting to get a better idea of the right way to shoot ICVFX.

Matthias Christen, the main 3D artist from The Scope on Ray Tracing FTW, shares his fascinating journey from traditional analog painting to becoming an expert in 3D and virtual production. Starting with a passion for drawing, Matthias entered the advertising industry, where he honed his skills in Photoshop and Illustrator before transitioning into 3D work. He talks about his growth at The Scope, where he’s been involved in creating cutting-edge car commercials and collaborating with top-tier photographers and filmmakers. Matthias also highlights the challenges and creative satisfaction of working on photorealistic environments that elevate product imagery.

In this episode, Matthias dives into his role in creating the massive virtual set for Ray Tracing FTW, a short film produced by Chaos and Martini Giant. He worked closely with production designer Erick Schiele to build one expansive set, containing nearly 2 trillion triangles, that was used seamlessly from pre-production to post-production. Running in real-time with Project Arena, this incredible asset allowed for consistent lighting and textures throughout the entire project, pushing the boundaries of real-time rendering. Matthias reflects on the technical achievements and creative process behind creating lifelike visuals that brought the world of Ray Tracing FTW to life.

In this episode, Chris sits down with AJ Wedding, founder of Orbital Studios, to discuss how the Chaos Innovation Lab used his studio to film Ray Tracing FTW using Project Arena. AJ shares how his early fascination with virtual production, inspired by his work on The Mandalorian, led him to launch Orbital Studios during the pandemic. He explains the challenges of building a virtual production studio from scratch, perfecting LED panel technology, and saving productions like Snowfall significant time and money.

AJ also explores the advancements in virtual production, discussing AI tools and their impact on giving filmmakers real-time creative control. He highlights the importance of educating producers and DPs on how to maximize this technology’s potential. AJ’s insights show how virtual production is transforming the film industry, making it more accessible to filmmakers of all levels.

It’s been seven years since Ed Ulbrich last appeared on the CG Garage podcast — and a lot has changed. The man who digitally aged Brad Pitt for The Curious Case of Benjamin Button and resurrected late rapper 2Pac as an on-stage hologram is now chief content officer and president of production at metaphysic.ai, which is using AI tools to create photorealistic digital humans in real time for movies such as Robert Zemeckis’ Here.

Ed breaks down what Metaphysic.ai does, and how it can be used by directors to see live digital doubles while slashing production times and costs. In turn, Ed envisions AI tools turning Hollywood on its head and enabling filmmakers to be more creative on lower budgets. He also highlights some of the challenges of enticing new audiences into theaters and shares what he’s working on next.

Kevin Tod Haug has always been destined for a career in VFX. From a young age, he analyzed movies and TV series to work out how they were made. He joined the industry and saw it transform from electro-mechanical to digital via movies and TV series, including Tron and Star Trek: The Next Generation. He then became a full VFX supervisor on movies including Fight Club, The Cell, Panic Room, and Quantum of Solace, and pioneered creative VFX shots that allowed cameras to move through tiny spaces or make the unbelievable look real.

As the industry shifts once more with AI and virtual production, Kevin talks about his career and how he’s managed to catch successive waves of VFX technology from the 1970s to today, sharing how he used new technology to create convincing effects for low-budget Italian war movie Comandante. He shares amusing anecdotes from his career in VFX, from a literal fly in the ointment to an encounter with Prince, and he gives advice on how to stay ahead of the curve.