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With credits including The Batman, Walking Dead: Worlds Beyond Thor, Love and Thunder its's no wonder  we've been wanting to catch up with Freelance Compositor, Shonda Hunt. But in the end she got in touch with us after we asked about the issues facing mothers working in the VFX industry.So in this two pronged interview Daniel and Shonda discuss the challenges of parenting while working compositing. We also discuss Shonda's career and inspirations. This interview gives valuable insights for working more efficiently in Foundry Nuke, building trust and credibility with producers and supervisors and tips for continual learning and improvement.If you are interested in upping your compositing career you will not want to miss this one!00:54 : How I got started04:52 : Tutorials and Books06:07 : Depper understanding09:19 : Freelancing vs staff28:33 : Advice to up your game30:33 : Don't be afraid to test things out31:32 : Read read read33:50 : Custom tools and gizmos37:35 : Being a parent in the VFX industry40:44 : WFH and childcare44:09 : Growing as an artist while working from home45:24 : The value of blogging49:37 : Hard greenscreens please!56:30 : The value of feedback58:45 : Becoming the go-to person for hard shotsRendered: 2022-05-02 21:38:54Powered by [](
In this episode, we chat to Baptiste Jaquemet, a senior Houdini FX TD and generalist, about his journey into the VFX industry and how his journey has led him to work at the studio that inspired his interest in VFX - Weta.Baptiste's journey is an interesting one, and we talk about his early beginnings, his love for Blender, and Houdini, negative experiences in the VFX industry, and his dreams for the future.We hope you enjoy!  You can find our audio podcast on your favourite podcast player.Chapters:00:00:00 Episode Overview 00:01:24 Intro 00:01:47 Introducing Baptiste 00:03:44 Weta 00:05:10 Who/What inspired your VFX journey 00:08:08 Realisation of creative interest 00:09:28 Journey into the industry 00:13:08 Dark aspects of the industry - Part 1 00:16:20 VFX industry in France 00:17:39 Working as a Freelancer vs Contract 00:20:48 Let's talk Houdini 00:31:20 Watch Baptiste's short film 00:36:50 Best methods for learning Houdini 00:39:24 Pro's & Cons of working at different studios, as an FX TD 00:41:34 creative freeedom when it comes to simulating real world physics 00:43:49 Importance of understanding real world physics 00:45:31 Shading and lighting as an FX TD 00:47:58 FX showreel advice 00:49:51 Dark aspects of the industry - Part 2 00:52:05 OOO and dreams 00:55:37 Conclusion As always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our website #houdini #FX
In the second installment of our interview with veteran VFX Artist and filmmaker, Sean Cunningham we go into detail about the process used on the 1990's action movie True Lies for the missile sequence - featuring some of the earliest uses of Nuke digital compositing at Digital Domain as well as an early version of SideFX Houdini (Prisms).We talk about his role supervising on Strange Days and working on Oh Brother Where Art Thou with the first use of full DI on feature film. We discuss how he raised funds, produced and distributed two indie feature films and his return to VFX.It's a great tour for VFX artists interested in some of the early history of digital FX and the tools we use everyday as well as a case study in indie filmmaking.Full timestamps below:00:00:05 : The Team on True Lies00:00:05 : Marker 100:03:34 : The origin of the name "Nuke"00:04:42 : Nuke always planned as a commercial project00:06:43 : Th Pixel was sacred00:07:56 : Talking through the workflow on a missile shot00:09:09 : The use of Amigas at DD for playback00:10:45 : Everybody would have to queue up their tests00:21:39 : How FVX work teaches you to think about things00:32:46 : Running out to film00:33:30 : First time as Supervisor and the fear00:35:00 : O Brother Where Art Thou - first film with end to end DI00:35:31 : Working with Roger Deakins00:41:13 : Presentation to PETA00:42:28 : From Hollywood  to indie filmmaking00:45:50 : Fundraising first indie feature film00:49:47 : Shooting in a small town00:56:02 : Distribution01:00:09 : After release - back to VFX01:02:03 : A kidnapping01:03:18 : Sick Boy - finally making a horror movie01:08:06 : The response to Sick Boy01:24:37 : Working at Rooster Teeth01:28:12 : How to get out of a creative rut01:29:44 : Remote work opportunities01:32:31 : Final words and adviceAs always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our website
We go all the way back the 1990's in this 2 part interview with Sean Cunningham, a veteran of the VFX industry whose credits as an FX Artists include films such as True Lies, Strange Days, The Fifth Element, Godzilla, Oh Brother Where Art Thou and who has directed and produced independent feature films in his own right.This journey takes us from the excitement of the Commodore Amiga, missed proms, the inspiration of T2 and the founding days of James Cameron's Digital Domain studios.We learn about the origins of industry standard tools SideFX Houdini and Foundry Nuke from someone who was using both in their earliest incarnations as SideFX Prisms and Digital Domain's in house compositing tool - Nuke.We go deep and geeky so be warned.00:00 : What to Expect01:53 :  Meet Sean Cunningham03:01 :  How I got started in the industry05:29 : The importance of the Amiga for creative computing07:00 :  Sculpt 3D on the Amiga07:52 :  Lightwave14:10 :  The inspirational effect of T214:33 :  First VFX online bulletin board16:15 :  T2 Comes out, a turning point17:47 :  Calarts23:36 : : Metrolight Studios and Sexy Robot28:07 :  The Role of TD in the 1990's31:05 :  You had to build up an intuition - working without UI feedback36:22 :  Elastic Reality, morphs and splines39:28 :  James Cameron founds Digital Domain42:05 :  Digital Domain in Stan Winston's Creature Shop42:53 :  Stealing Artists and the pirate mentality45:18 :  True Lies49:51 :  Side FX Prisms (which became Houdini)51:51 :  Learning VFX software in the 1990's58:06 :  My Approach to learning at Digital Domain and sinceAs always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our website
In this episode, Kofi chats to Filipe Magalhães, Realtime supervisor at NVIZ about Unreal engine and all things realtime.We do a deep dive into Unreal engine in the use for  previs, VFX, and Virtual production, compare it to Unity, and retrace Filipe's journey into the industry.Following up on that, we discus the education, diversity and representation in the VFX industry, neurodiversity and more. A very well packed episode, not to be missed!As always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our website#vfxpodcast #unrealengine #realtimeChapters:00:00:00 Episode Overview 00:02:05 intro 00:02:32 Introductions and a bit about Filipe 00:09:52 When did you realise you had a creative interest? 00:13:10 Differences between unreal and unity and why the previs/postvis, VFX and virtual production industries have adopted unreal over Unity00:18:06 What do you generally use unreal for and how does the workflow differ between previs/postvis, VFX and or virtual production00:32:33 What are the common requests/demands from directors and what does it take to provide the right tools and results in a fast environment00:40:48 Non handheld virtual camera challenges in Unreal 00:42:44 What does Unreal lack or can be improved 00:48:23 How technical does one need to be when using unreal 00:55:44 Is non-realtime rendering a thing of the past 00:58:45 Favourite non-real time renderers and why 01:00:27 Achieving diversification and representation in the VFX industry 01:05:44 Assets and Unreal showreel advice 01:08:10 Career path advice 01:14:29 The importance of parental support in finding self 01:18:31 Conclusion
On today’s episode, we have Jamie Bakewell in the hot seat to discuss all things previs and postvis, starting from his journey into the industry , to the decisions which led to the creation of his Previs studio in the midlands  - Bigtooth Studios.Jamie’s incredible first job with Aardman, soon after graduating in 2009 from Staffordshire University led him to work on The Pirates! In an Adventure with Scientists!, spiralling a great friendship with Pawl Fulker, co-owner of Proof Inc, (before it was called Proof!), who then ended up inspiring Jamie to set up his previs studio.We dive into what it takes Jamie to wear two hats on a daily basis, as an artist and entrepreneur, as well as what it took for him to transition into that role.Of course, focusing the topic around previs, we couldn’t leave out what previs and postvis is all about and the use of Blender vs Maya for previs.Strap in, and we hope you enjoy this episode.As always, if you liked this episode, please like, comment, subscribe and share!Links:Bigtooth StudiosChapters:00:00:00 Coming up.. 00:03:05 Episode overview 00:03:30 Jamie intro 00:04:43 Story behind the name 00:06:00 Industry journey before Bigtooth Studios 00:19:30 Shows worked on 00:22:39 Epiphany moment, leading to the creation of Bigtooth Studios 00:58:00 Runing and managing Bigtooth Studios during the pandemic 01:03:22 Advantages and disadvantages of running your business in the midlands 01:06:00 Tools and software 01:14:16 Why should anyone decide to work in the visualisation industry 01:15:55 Would you recommend working in previs and postvis before working in VFX studios to deliver finals?01:17:52 Balancing being an artist and an entrepreneur on a daily basis 01:21:06 Best and worst decisions made as an artist and a business owner 01:24:21 What should be the key differences for anyone making a previs/postvis reel and a VFX finals reel01:27:31 Unreal engine and Virtual Production 01:30:43 Conclusion Listen to all episodes on our website#vfxpodcast #previs #blender
This week Daniel caught up with Layout Artist who has 7 Oscar Nominated films, as well as an Emmy and a Goya  under her belt!Many of our Spanish speaking audience may already be familiar with Carolina as she runs an incredibly popular VFX and film Youtube, blog and Twitter account as Okingrafia. Carolina is a Lead Layout Artist at Scanline, most recently on projects like Free Guy, Moonfall and Eternals. Her career spans the Globe and major studios such as Dneg in London, Scanline in Canada, and Weta in New Zealand where she fulfilled her dream by working with the Lord of Rings crew on the Hobbit trilogy.In this episode we roll back the curtain on the Layout Department, a little understood and vitally important part of VFX and animation pipelines. We find out what it takes to become a Layout Artist and Layout Lead, hear Carolina’s advice for artists, learn a little about working in Canada and find out about her favourite projects.íDisfrutamos!Timestamps:00:00:00  : What to expect and Intro00:02:25  : Meet Carolina00:05:47  : He's a pandemic dog00:06:48  : Layout and overview of the department00:12:29  : The start of Carolina's Career00:15:16  : Software used in Layout00:18:03  : OKinGrafia - Carolina's filmmaking channel00:19:50  : A snippet from OKinGrafia (Spanish)00:20:15  : Carolin'a research for her content channels00:24:06  : Favourite Project to Work on: The Hobbit Trilogy00:26:39  : Taking those first steps in the industry00:28:04  : Planet of the Apes00:30:20  : When your work gets cut from the movie00:31:59  : Overtime and keeping the team happy00:33:01  : Working in different countries00:38:23  : Different perspectives on filmmaking00:39:20  : Typical working day and working from home00:41:15  : Why working from home is more productive00:44:05  : Blended working00:45:24  : Vancouver00:46:47  : Are Leads involved in recruitment00:47:55  : Maya, custom tools and the pipeline00:51:00  : Layout for Animation vs Live-Action00:52:02  : The hierarchy and approval process00:53:49  : Reshoots00:55:06  : Where to find Carolina online00:56:56  : Goodbye and outroRendered: 2022-02-14 19:49:27Powered by []( is the New Sexy, blog (Español) IMBD Courses (Español)Twitter (Español) Instagram (English) Youtube (Español)
In this episode, we conclude our two-part episode with Michael Morgan, a U.K. based senior character animator and animation mentor about his journey into the industry and working with some of the most highly respected studios in the world.Michael has over two decades of experience in the VFX industry, and has contributed to some of your favourite movies and characters on the big screen, ranging from Marvel's Black Panther, Guardians Of The Galaxy: Vol 2, Star Wars: Clone Wars, Venom, Pacific Rim: Uprising and more!In this episode, we discus his journey into the industry, his experiences leading and supervising teams. We also go on to discuss what qualities he looks for in animators, as well as the common practices and mistakes animators do, showreel advice, motion capture, and moreAs always, if you liked this episode, please like, comment, subscribe and share!You can find Michael on LinkedinChapters:00:00 - Pre roll and what to expect in this episode00:38 - Imposters syndrome10:02 - Common mistakes animators make16:16 - What transferable skills or knowledge can be passed on to a 2D animator or a stop motion animator?19:32 - What advice would you give to anyone putting together an animation showreel24:34 - Recommending good universities and courses31:46 - What’s been a memorable highlight of your career so far36:46 - As a family man, how do you organise things with loved ones, when you have to leave for work44:04 - What are you aspiring for in the next few years?48:57 - Working with Daniel Miller on Broken Toy short film50:58 - How to engage with Michael online52:02 - ConclusionListen to all episodes on our website#vfxpodcast #animator #vfxanimation
In this episode, we chat to Michael Morgan, a U.K. based senior character animator and animation mentor about his journey into the industry and working with some of the most highly respected studios in the world.Michael has over two decades of experience in the VFX industry, and has contributed to some of your favourite movies and characters on the big screen, ranging from Marvel's Black Panther, Guarians Of The Galaxy: Vol 2, Star Wars: Clone Wars, Venom, Pacific Rim: Uprising and more!In this episode, we discus his journey into the industry, his experiences leading and supervising teams. We also go on to discuss what qualities he looks for in animators, as well as the common practices and mistakes animators do, showreel advice, motion capture, and moreAs always, if you liked this episode, please like, comment, subscribe and share!You can find Michael on LinkedinChapters:00:00 - Pre roll and what to expect in this episode03:24 - Welcoming Michael on the show05:28 - Did you always want to be an animator?07:10 - Journey into the industry14:20 - Doing 3D animation at home in the late 99's and 2000's15:43 - Getting into the industry17:07 - Preference between being a senior animator and supervisor23:20 - Best way for animators to get in the industry or transition into, from different departments27:05 - Traits you see in those who go on to be successful28:31 - Qualities you look for in animators on your team?29:52 - Why has 2D animmation mostly become redundant37:31 - Will Maya remain the industry standard for animators?39:05 - Would you hire an animator, if you liked their work but had never used Maya?40:10 - Parents thoughts about your career choice44:25 - Preference between animation for VFX and full animated feature 49:27 - Achieving realism in animation with/without motion capture53:34 - Approaching a new sequence or shot57:08 - Confidence with filming your own references59:45 - Managing stressful daysEnd of Part 1Listen to all episodes on our website#vfxpodcast #animator #vfxanimation
In this episode we meet with Arpita Venugopal, Head of FX at One of Us and a highly accomplished Houdini Artist.We talk about her career in FX and how it has increased her appreciation for the beauty in the World. She gives advice for showreels and applications based on her role as a Head of Department and in recruitment. We discuss managing artists, her favourite projects, her plant-based Instagram @platefulofbliss  and what makes SideFX Houdini so powerful in the field of FX in particular.You will not want to miss this one and if you are an FXTD or aspiring FX-TD you may want to take notes!Timestamps:00:00  : What to expect and intro 02:19  : Meet Arpita, career outline 03:55  : Bollywood movies and VFX 08:53  : Getting into 3D and Houdini 10:10  : First job at MPC - Voyage of the Dawn Treader 11:35  : Why FX is so rewarding 12:10  : Research process for film FX 14:46  : Does working on FX change your perception of the World? 16:05  : A feline digression 17:20  : How Arpita broke into the industry 18:28  : Showreel advice and showing good attitude 20:00  : What is a technical reel? 21:41  : Do Houdini artists need to be science experts? 23:56  : The place of FX in the pipeline 27:40  : Show based vs department based organisatoin 32:26  : Work from Home and blended workflows 36:36  : The role of the Head of Department 38:42  : Specialities within FX 40:27  : More does and don'ts in job applications 44:56  : Favourite shows 46:58  : Important new developments in workflow and software 49:21  : Bringing people in for specific experience 49:54  : Marker 23 52:04  : A Plateful of Bliss: plant-based cookery 57:40  : Houdini is like a recipe book 01:01:29  : FX Artists use of Nuke 01:01:58  : I wish every artist got to spend a week in every department 01:03:55  : Houdini's tools for helping comp 01:07:05  : Goodbyes and outro Powered by []( of Us: Plateful of Bliss: always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our websiteListen to all episodes on SpotifyListen to all episodes on Apple PodcastListen to all episodes on Amazon Music#vfxpodcast #compositing #motioncapture
In this episode we chat to Maik Pham Quang, a Matchmove lead at Framestore London, about his career progression, as a runner, through to becoming a matchmove lead, with a decade's experience, to transitioning and changing departments to pursue his interest in the lighting department as a lighting TD.Maik tells us about how it is leading and managing teams, managing pressure and expectations, fitting into a new department, and more.We hope you enjoy the show!Maik's IMDBChapters:00:00 - What to expect in this episode03:19 - Guest intro05:19 - Entry into the industry14:40 - Getting into the matchmove department19:18 - Seniority progression through the matchmove department21:33 - Watch Maik's 2021 Lead Matchmove reel24:50 - What artists think about you as a lead25:41 - What are the common mistakes matchmove artists make27:33 - What do matchmove leads and supervisors expect to see in showreels?29:42 - Which matchmove tasks are requested more lately on shows?33:46 - Switching from matchmove to the lighting department38:50 - Do you see yourself transitioning to another department in the future?44:43 - What advice would you give to the aspiring artists?48:10 - Conclusions48:52 - Should artists work at different studios to validate their skills?51:26 - ExtrasListen to all episodes at #matchmove #lighting
In this episode we complete our rundown of 2021. Daniel and Kofi discuss some of the themes raised in the episodes, as well as clips. Topics include VFX Editing, Previs, Realtime and Unreal Engine, discrimination and racism in the industry, independent filmmaking, Nuke, Blender, Unreal, VFX software development, Costume Design, VFX Editing, game cinematics and more!Chapters00:00:00 Intro00:01:00 Previs and PostViz( EP10 with Paris Marin: Growing up with VFX, Blender, After Effects, Social Media (EP11 with Ty Robillard: Costume and Set-Design (EP12 with Rianna Charles and Jodie-Simone-Howe Working at top studios and the Realtime pipeline (EP13 with Simon Legrand Realtime, V-Ray and Vantage, Unreal, CG Garage and Chris Nichols ( More Unreal and VFX Supervisor talk, racism and representation in the industy, Floyd Billingy ( Foundry, software development, Nuke and USD clip from Christy Anzelmo( Indie Filmmaking and the mainstream VFX industry with Marcus Flemmings ( The role of the VFX Editor - Beaumony Loewenthal ( Roundup, plans for 2022 and outro
This has been a rollercoaster year for many of us and The VFX Artists Podcast is no exception.A toddlers decision to play with toy cars at 3am changed the fate of 2 VFX artists who met up to reflect on how far the podcast has come in less than a year. With guests ranging from Matchmove Artists to Compositors, VR Developers to Stunt Performers, Character Modellers to VFX Supervisors, On-Set Data collectors, a Black Widow and more.Originally planned as a single episode we cover a lot of ground. There are helicopters, career tips, kung fu masters.So don your headphones, kick back and join Kofi and Daniel as they take you  through the highlights.
This week, on The VFX Artists Podcast, we speak to Beaumont Loewenthal about his journey to the industry and delve into his path to VFX assisting and editing at some great studios, on some very familiar feature films, to becoming a VFX editor on Star Wars Andor at Lucasfilm.In this episode, we discuss routes to entry into the VFX industry, and discuss the differences between an editors role compared to a VFX editor, editors assistant and VFX editors assistant's role on both production and VFX side.Beau has had a great career so far, leading him to working on films such as Fantastic Beasts, Maleficent 2, Venom 2, and is still growing into an ever demanding role. A lot to be discovered and learned in this episode. For audio versions on this or our previous episodes, you can listen on our website or on your favourite podcast platform.Chapters:0:00 - Highlights of what to expect in this episode2:37 - Guest intro 3:43 - Where the love for VFX and editing came from6:40 - What’s the difference between a VFX editor and a VFX assistant editor8:51 - Responsibility as a VFX editor9:23 - How I got my first job in the industry11:30 - Shows worked on as a VFX editor12:40 - Day to day life of a VFX editor16:50 - Importance of starting off as a VFX editor’s assistant 17:35 - Who decides how a film should be cut19:15 - How early on are you brought on a show?20:52 - How do you feel about having an integral role in the film industry22:49 - How close tied is the role of a VFX editor tot the director?25:19 - VFX finals coming back through editorial28:41 - Working on retimed shots29:48 - What do VFX editors transition into 34:37 - Favourite show till date35:51 - What are the best things about what you do and what advice would you give?40:00 - Conclusion#lucasfilm #starwars #starwarsandor
This week, on The VFX Artists Podcast, my curiosity with how movies are made and brought to life, brought me to a discussion with London based film director, writer and producer Marcus Flemmings.On this episode, I find out about Marcus’ background and journey to becoming a film director, talk about his new film Blonde Purple, out on November 30th, and discuss realities of inspiration, competition, originality, ego, mistakes and more, in the life of an indie film maker.Marcus’s latest film Blonde purple can be watched on Amazon Prime, Apple TV, Voodoo and on the Xbox.You can also find Marcus on LinkedIn, Twitter, Instagram and IMDBApologies for the occasional echoes in this episode.#indiefilmmaking #marcusflemmings #blondepurpleChapters:00:00:00:00 - What to expect in this episode 00:02:46:23 - Host intro 00:03:23:21 - Marcus introduction & Filmography00:12:01:14 - Filming during covid00:13:11:15 - Process of bringing a film idea to life00:16:14:19 - How to manage responsibilities leading a crew, as a director, during production 00:18:39:10 - How important is it for film makers to have connections to attain budget for a project, or during distribution00:21:42:14 - Competing with other film makers for exposure on streaming channels like Netflix & Amazon00:24:31:09 - What’s the end goal/desire as a film maker/creative00:27:01:02 - Story vs visuals - which takes priority?00:28:48:19 - Competition with other creatives00:31:18:08 - How to produce original content00:34:22:20 - How to catch a break/be recognised for what you do00:37:00:22 - Dealing with the ego from constructive criticism and feedback00:39:30:05 - Challenges of being a black creative00:43:26:05 - Vision for the future00:44:37:05 - Words of advice00:46:17:14 - How to reach out to Marcus00:47:12:23 - Question for the host - My role in the VFX industry00:49:29:15 - Conclusion
This week we talk with Christy Anzelmo, Chief Product Officer at Foundry and before that Director of Product for the Nuke family of projects.We take a tour of her career, beginning in the fashion industry before moving in to VFX, her role in leading development on one of the most widely used compositing softwares in the industry, and on the uses of Foundry products outside of VFX in product design, architecture and even car configuration. We talk about the rising importance of machine learning and USD in VFX, interoperability and finally we talk about working in software as a career path for VFX Artists.Apologies for the occasional echoes in this episode - I had my headphones a little too loud.Time codes00:00:00What to expect in this episode00:01:36Introduction to Christy Anzelmo00:04:10Career beginning and work in the Fashion industry00:09:30Foundry Products in product design00:12:00Use of digital in the fashion industry00:13:30Starting working on Nuke00:15:30How Daniel and Christy met at her first client facing meeting00:17:30The diversity of the Nuke userbase00:18:30Can Christy use Nuke?00:20:09The Nuke team00:21:02Product Management and working in the industry00:24:30What Foundry does with that long survey they send you00:26:00A feature added to Nuke as a result of the survey00:26:40Cara VR and 360 video00:28:00Unusual uses of Nuke00:30:00Car configuration with Nuke00:32:46Different priorities for different companies00:33:20Shake to disconnect and Apple Shake00:34:00Improving usability in professional software00:36:50Looking at rival software and consistency00:39:00Interoperability and less linear pipelines00:41:30USD and “The Dream”00:43:12Copy Cat and machine learning in Nuke 1300:48:15Pre-trained tools in Nuke 1300:48:50IP and copyright obstacles to machine learning
In this episode, we chat to Floyd Billingy, a U.K. based realtime supervisor and environment artist for the games and VFX industry about his transition into the industry, how he became an environment artist and a realtime supervisor, as well as how black artists perceive and feel about working in the gaming and VFX industry.Floyd's career is colourful, and it's led him to be part of artists who have brought us some great cinematics and video games for some incredible AAA games, such as Gears of War, Diablo II Resurrected, War of the Spark, Throne of Eldraine and more.Of course, we couldn't talk about video games, without talking about unreal engine. We go on to discuss the evolution of unreal engine, as well as discuss pre-rendered cinematics versus realtime workflow, and how life was life for video game artists before unreal engine.Timestamps:00:00 - What to expect in this episode1:45 - Host intro2:08 - Journey as a student into entering the industry5:26 - First industry job6:03 - Working at Rare studios7:26 -  Working in mobile video game industry and living abroad8:08 - Working at Splash damage10:17 - Transitioning from the game industry into the vfx and animation industry12:30 - What/who inspired the moving into the gaming and vfx industry14:35 - What’s the role of an environment artist15:54 - How competitive is it when trying to get into thee gaming or vfx industry18:33 - What’s the difference between environments for games vs cinematics22:45 -  Titles/credits of shows worked on27:08 - Unreal engine31:39 -  Diversity in the industry40:19 - Highlights of working in the industry so far41:34 - Advice from an industry professional43:09 - ConclusionShow notes:Visit our websiteFloyd's Art Station#vfxpodcast #unrealengine #diablo2resurrected
This week we meet Christopher Nichols, veteran VFX Supervisor and Director of the Chaos Group Labs. Chris’s career in computer graphics spans over 20 years, beginning in architecture and quickly moving to major motion pictures and later commercials at: Digital Domain, Sony Pictures, Method, Sway Studios and others. As this is Daniel’s first time hosting the show it’s lucky that Chris is himself a veteran podcaster - helming CG Garage (where Kofi and Daniel are also appearing as guests) in addition to the Martini Giant film podcast.We take a whirlwind tour and learn about true real time ray tracing, how to become a VFX Supervisor and how to rob a bank with V-Ray.Show Notes:Chaos Group LabsCG Garage PodcastMartini Giant film podcastVantageChris Nichols Supervisor Reel 2013ConstructRobert Nederhorst
In this episode, I chat to Simon Legrand, realtime Supervisor at Untold Studios in London about his journey into the VFX industry.During this discussion, Simon shares his unsugarcoated journey and story of the realities of the VFX industry, worth listening to.We talk about some of the pros and cons of working in the VFX industry, and touch on topics such as overtime work and realties of how that and the industry culture can sometimes be dangerous for the mind frame, and in some unfortunate cases, temporarily or permanently hurt relationships, which is common to Simon's story.Simon, in my opinion is a legend of an artist, with so much experience, having worked at incredible studios such as Animal Logic, Weta, ILM, DNEG, MPC and more, and on some incredible shows such as Avatar, Star Wars, Xmen, Rise of the planet of the apes and many many more!As always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on Spotify,  Apple Podcast,  Amazon Music, other audio streaming platforms#vfxpodcast #ilm #unrealengine
In this episode, I have an incredibly detailed chat to the founders of the Black Costume Network, Rianna Charles and Jodie-Simone Howe about how their role as costume designers and makers, work in the film and TV industry.During this discussion, I get to find out about their individual journeys/paths into the industry, discuss the difference between the fashion industry versus costume making and designing for the film and TV industry, as well as find out more about what the Black Costume Network is and why it was created.Between Rianna and Jodie-Simone, they have been involved in some amazing TV shows and films which you can learn more about in this episode.I hope you enjoy this episode.You can find the Black Costume Network on instagram, and can find more about Rianna and Jodie-Simone's work on IMDB.As always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on Spotify,  Apple Podcast, Amazon Music, other audio streaming platforms#fashiondesign #costumedesign #costumemaker
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