Episodes
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Reading the feed…
Go with the Flow—AI filmmaking just got directable, with a system that combines interactive 3D scene construction with the visual power of generative 2D video models.
VFX Supervisor Betsy Paterson breaks down Stranger Things season 5. The best visual effects don’t replace reality, they convince reality to play along.
From LiDAR to Gaussian splats, Clear Angle is capturing the real world so the best VFX teams, in the world, can rebuild it: one scan, one face and one lava field at a time.
Cooke’s Jordan Thistlewood joins us to explain why lens /i Tech may be the missing link between what was shot on set and what VFX needs to finish the shot, and we should now be demanding it.
Our latest fxpodcast with ILM's John Knoll on miniatures in a tiny LED cube, the Star Wars style, and why the practical and the digital still need each other.
From brain-sucking horror to heartbreaking empathy, for this fxpodcast we go inside the creature work of The Boroughs with VFX Supervisor Tara DiMarco and ILM’s Steve Ellis.
We talk with Man on Fire VFX Supervisor Kevin Lingenfelser about the explosive building collapse, chaotic rubble aftermath, and high-octane Learjet sequence.
Union VFX and Clear Angle are turning Gaussian splats from a tech demo into a crowd-pleasing production pipeline. Literally. We speak with David Schneider, VFX and Technical Supervisor at Union, in this fxpodcast episode.
We talk with Academy Technical Achievement Award recipient Paul Debevec about HDR image-based lighting, Fiat Lux, virtual production, NeRFs, 3DGS, machine learning, and why now is a great time to do research.
From hacky Stable Diffusion experiments to production-ready pipelines, ComfyUI is shaping how AI fits into VFX.
Find out how Stranger Things season five deployed previs and real-time storytelling using Unreal Engine & splats, from Proof's VFX Supervisor Jordan Nounnan.
In our latest fxpodcast, DOP Ed Moore breaks down the massive stage builds, clever virtual production, and the 2,000+ VFX shots that keep the world’s unluckiest commuter racing in another high-stakes season.
VFX Supervisor Jay Worth discusses the intricate production of Fallout Season 2, highlighting a continued commitment to blending practical puppets with digital enhancements, cutting-edge VFX, and state-of-the-art AI.
A deep dive into Nuke 17 exploring BigCat machine learning, native Gaussian splats, the new USD-based 3D system, and how evolving workflows are reshaping the role of the modern compositor.
Griptape's Jason Schleifer (Chief Creative Officer) and the Foundry's Christy Anzelmo (Chief Product Officer) discuss the just announced acquisition and what the ongoing shift in the vfx industry means for artists, studios, and pipelines.
From Unreal previs to real flames: Oscar-nominated The Lost Bus demonstrates that sometimes the hardest VFX work is making reality feel honest.
We spoke with Emma Kolasinska (Executive VFX Producer) and Tav Flett (Compositing Supervisor) to discuss how they used invisible VFX to support the unscripted television series without breaking emotional or visual authenticity.
We speak to Pablo Hellman about the second Wicked for Good film and it comes with a special treat of a gallery of behind-the-scenes images.
VFX supervisor Scott Stokdyk unpacks the visual effects of the latest Fantastic Four film, including how the team approached the film as three huge challenges.
Hear how Foundation season 3’s jaw-dropping visuals came together as Chris MacLean walks us through the season’s standout VFX challenges and innovations.
A conversation with DNEG VFX Supervisor Dan Bethell on how they turned sunny Sydney into a snow-covered New York as well as other work for Shane Black’s thriller, Play Dirty.
Shaders, AI, and bananas...Zap is back on the fxpodcast to break down his wildest experiments with generative AI yet.
We chat with Nichols & Thron about their careers and their new venture, SIGGRAPH highlights, and the future of filmmaking -- gaussian splats and all.
Fabricio Baessa, DNEG VFX supervisor, discusses the VFX of the Air Force One attack sequence in Heads of State.
Scanline VFX brings grit, glass, and grounded physics to Andor season 2 and Sue Rowe reveals how they did it.
