Sun, 26 February 2017
This candid, illuminating podcast is two hours of pure heaven for anyone interested in the history of special and visual effects. Michael Fink’s career began almost 40 years ago, when he created the computers for nuclear thriller “The China Syndrome.” Over the next few years, he’d sit in a darkened room with a tesla coil for “Star Trek: The Motion Picture,” raid components store Apex Electronics to build “Blade Runner’s” Voight-Kampff machine, and sync multiple projectors, monitors and cameras for “WarGames.” In the digital era, Mike talks about how “Batman Returns’” effects are an underappreciated milestone in the history of CG, tight post-production periods on the first two “X-Men” movies, and the trials and tribulations of “The Golden Compass’” effects. Mike currently serves as a professor at the University of Southern California School of Cinematic Arts, where he’s passing on his years of experience to a new generation of filmmakers. His thoughts on digital humans are an invaluable end to an interview with a true legend of the visual effects industry. |
Sun, 19 February 2017
CG Labs is very proud of Vladimir “Vlado” Koylazov’s recent Scientific and Technical Academy Award win. In fact, Chaos Group’s co-founder had barely stepped off the red carpet when Chris and Lon wrangled him into the CG Garage recording studio for this special podcast. As well as talking about the sci-tech awards, Vlado goes into detail about what to expect from Chaos Group’s latest 3.5 update to its flagship V-Ray for 3ds Max software. He talks about how adaptive lights can accelerate render times, the unexpected benefits of resumable rendering, and interactive VR output from within V-Ray. V-Ray for NUKE’s imminent 3.5 update is also covered, including its new and improved volume grid, deep rendering, and denoiser. Finally, Vlado talks about the future of Chaos Group and the exciting roadmap for V-Ray products in 2017. |
Sun, 12 February 2017
Visual effects artist and supervisor Daniel Trbovic hails from former Yugoslavia, where he learned 3D Studio on a 386 computer in the early 90s. He then ventured to Portugal, where he created a surprisingly long-lived lotto jingle, restored old movies about Lisbon, and added noxious gasses to sci-fi movie “Low Flying Aircraft.” In the United States Daniel spent time at Real FX in Dallas, did two long tours at Blur, and spent time at ILM where he worked on “Lucy,” “Avengers: Age of Ultron,” and “Terminator Genisys” He also took a year out to record an album. In his new role as founder and creative director of Gone Coyote VR, he’s investigating how VR can deliver experiences rather than stories. Daniel’s enthusiasm and knowledge is astounding, and his thoughts on VR tie in neatly with those of Kevin Mack, with their passion for Art and VR. |
Sun, 5 February 2017
“Plug” neatly combines sweeping cinematic visuals with an intriguing tale of identity in a post-apocalyptic future, and it’s one of the best short films you’ll ever see. With over 600,000 views on the internet and a host of awards, it’s proof that shorts can be every bit as good as their feature-length brethren. The man behind “Plug” is concept artist and director David Levy, who joined Chris for this absorbing podcast. David talks about everything from his early days as a beach bum in the south of France, to working in horrendous conditions in the French and British games industries, to his cinematic debut on Joseph Kosinski’s Tron: Legacy. He also discusses his work on "Prometheus" and "Ender's Game" and explains just how much hard work goes into short films. David Levy’s official site [http://vyle-art.com/] |