Cg Garage

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.

In this podcast, Vikkal breaks down his career so far, from his beginnings in architecture and on MTV series Room Raiders, to founding Ataboy Studios and making use of the latest VFX and motion graphics technology to create eye-catching ads in a variety of formats. Vikkal and Chris also discuss their common ground in architecture and talk about how Apple could potentially revive VR and the metaverse with its Vision Pro VR headset.

Ben Hansford has his finger on the pulse of filmmaking — the prognosis is excellent. Beginning his career in VFX, Ben moved into directing short films and commercials for the likes of Old Spice, Starfield0, Call of Duty, Nike, and many more. He also teaches AI at the University of Southern California (USC), giving him unfettered access to the minds of a new generation of filmmakers. Ben shares his thoughts on how converging pipelines and creative innovations like AI will create a new kind of filmmaking, in the same way that lightweight cameras enabled the French New Wave and, in turn, New Hollywood. He also talks about the legal and quality issues that surround AI technology, and he finishes with an upbeat vision for the future of filmmaking and telling stories.

Here’s the perfect start to 2024: Kat Dawes and NOWism’s particular blend of positivity for creative people. From busking in her native Brisbane to traveling through Africa, Kat has combined her love of performance art and spirituality to create NOWism, a playful philosophy that embraces the present moment and focuses on becoming the hero of your own story. In this podcast, Kat tells Chris how artists struggling in a modern, ever-changing world can overcome anxieties related to AI and financial woes. She also talks about how to find joy in a world that seems to be fuelled by negativity and conflict, and reveals how storytelling can help us understand our predicaments. If you feel that you’re stuck in a creative rut, then Kat’s infectious enthusiasm might just help you turn 2024 into your year.  

2024 gets off to an explosive start with this week’s guest: CG supervisor Jonas Ussing, who is on a quest to give visibility to the VFX artists and studios who create invisible effects. He’s doing this via his YouTube channel, The Movie Rabbit Hole, where his impeccably researched and presented arguments have racked up over a million views. Jonas and Chris talk about how studios are making it seem like films such as Oppenheimer, Top Gun: Maverick, and Mission: Impossible 7 favored practical effects, undermining VFX studios’ hard work and even making it hard for artists to get hired. They also talk about the politics of VFX, from Jurassic Park’s celebrated dinosaurs to Andy Serkis’ controversial take on his performance as Gollum. Jonas also reveals how to get the public on board with CG again.

Faruk Heplevent has spent his career perfecting the art of car photography. His experience in traditional photography transferred smoothly into CGI, and he set up his company, The Scope, to create breathtaking renders for the world’s biggest car companies. Now, he’s released Scope City, a groundbreaking tool that empowers car manufacturers and CG artists to create and customize the perfect urban backdrops for digital vehicles. Faruk discusses his career and how the industry has changed from the days of shooting on film. He also talks about how gaming technology has influenced Scope City and its potential to go beyond the world of automobiles. This podcast is the perfect listen for when you’re trying to get that hubcap reflection just right.

SideFX President and CEO Kim Davidson has been a luminary of the computer graphics industry since the 1980s. In this podcast, Kim delves into his history, recounting his early days with the PRISMS procedural graphics application and the subsequent development of Houdini, SideFX’s popular and Oscar-winning 3D animation software, which has delivered astounding visuals for everything from Jingle All the Way to Indiana Jones and the Dial of Destiny. Kim also shares his own journey in the industry, highlighting how his passions for art and science converged in the burgeoning world of CG. He reflects on the evolution of software and the industry over the past three decades, revealing how SideFX’s agile development and open approach to software standards, such as USD, have benefitted VFX artists and studios. 

Meet the legend behind some of the movie industry’s most iconic creatures: Joe Letteri. From Jurassic Park’s dinosaurs to Gollum in The Lord of the Rings, Avatar’s Na’vi, and the Planet of the Apes’ simian stars, Joe has constantly pushed VFX boundaries and technology to deliver utterly believable CG characters.  In this info-packed Q&A, Joe talks about everything from how he created his very first VFX shot for Star Trek VI: The Undiscovered Country to the cutting-edge technology that helped him bag an Oscar for Avatar: The Way of Water, and the new AI, rendering, and depth-compositing tools that could get him another statuette. Joe also discusses where he finds inspiration and reveals his passion for fractal computer graphics and astrophotography.

The universal language of cinema has proved a constant in Pixar director Peter Sohn’s life, and with Elemental, he used it to tell a story close to his heart. Born in New York City to Korean parents, Peter’s mother fell in love with the visual storytelling of Disney movies. He then carved out a career in animation, starting with The Iron Giant and moving to Pixar for moves including Finding Nemo and Up, and making his directorial debut with The Good Dinosaur. In this podcast, recorded at the View Conference, Peter discusses how his life experiences contributed to Elemental and helped inform creative decisions. He delves into the technical aspects of the movie, revealing how machine learning helped solve some of the surprising complexities of fire and water characters. It’s a moving episode, and one that affirms cinema as a powerful tool to express and share human emotions.

Spider-Man: Into the Spider-Verse left some big spider-boots to fill — but director Joaquim Dos Santos was clearly the man to fill them. With Spider-Man: Across the Spider-Verse, the director expanded the Spider-Verse in new and unexpected directions while, crucially, staying true to the first film’s tender and nuanced approach to character and story. Joaquim reveals how his early obsessions with VHS and comic books led to his first break in storyboarding with Starship Troopers: Roughnecks, through to helming a golden era of US animation, including Avatar: The Last Airbender, The Legend of Korra, and Voltron: Legendary Defender. He discusses where he finds inspiration as a filmmaker, talks about the differences between working in TV and film animation, and gives his thoughts on entertaining a new generation.

As Illumination Studios' duck tale Migration prepares to take flight on the big screen, Chris had a conversation with its director, Benjamin Renner, at the VIEW Conference in Italy. Benjamin turned his passion for drawing into a career in animation via Macromedia Director and rose to prominence as co-director of the Academy Award-nominated animated movie Ernest & Celestine. In this podcast, Benjamin offers a candid and insightful look into the process of crafting a 3D animated film in Hollywood, contrasting it with his experiences in 2D animation in France. He opens up about times when he’s felt nervous, and he reveals some surprising misconceptions about Hollywood movies. Benjamin is warm and honest, and his experiences will ring true with any creative spirit.