Cg Garage

Daniel Thron, Erick Schiele, and James Blevins join Chris to discuss their work on the short film Ray Tracing FTW. Directed by Daniel, the film pushed the boundaries of virtual production, and Erick’s production design had to work both digitally and practically, ensuring consistency across virtual environments and physical sets. James, with his expertise in virtual production, shares how they overcame technical challenges using real-time ray tracing to handle complex scenes. Each of them wore many hats on the project—including cowboy hats—since they were all actors in the short as well. The conversation explores how new tools like Project Arena allowed the team to streamline production, balancing innovation with practicality. They talk about how careful pre-production, from storyboarding to previewing assets, helped maintain visual fidelity while keeping the project within budget. By merging creativity with cutting-edge technology, Daniel, Erick, and James highlight how virtual production is reshaping filmmak

Jared Sandrew, a 3D supervisor at Disney and visual effects veteran, joins the podcast to discuss his career journey, from growing up around the pioneering technology of digital colorization to becoming a key figure in stereoscopic 3D conversion for blockbuster films. Jared shares fascinating stories about his time at Legend 3D, where he worked on major projects like Alice in Wonderland and Shrek, and how he helped build the stereo pipeline that revolutionized the industry. His passion for storytelling, visual effects, and the future of technology shines through as he reflects on how the field has evolved. The conversation also touches on cutting-edge developments in AI and machine learning, which Jared has been exploring as a way to enhance visual effects and stereoscopic workflows. He explains how new tools are making the process more efficient and consistent, while still allowing for creative input from filmmakers. Jared and Chris also discuss the future of virtual production and real-time rendering, inclu

Line producers Debbie Kennard and Ron Eli Cohen discuss their work on the short film Ray Tracing FTW and offer an insider’s perspective on the art of film production. Debbie shares her story, from her beginnings as John Carpenter’s PA on The Thing to becoming a trusted line producer in Hollywood, while Ron talks about transitioning from acting to producing, with credits like The Dark Knight Rises. Together, they break down the vital role of a line producer and provide insight into the world of budgeting, crew management, and creative problem-solving in the film industry. The episode also dives into the technology behind Ray Tracing FTW, exploring how the team utilized virtual production techniques, including LED walls and complex set construction, to craft a visually striking film on a tight budget. Debbie and Ron emphasize the significance of meticulous prep work, strong crew collaboration, and maintaining a balance between creativity and practicality. Through their experiences, listeners gain a better under

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 epis

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

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.

Ian Dawson’s dream of a Jarvis-style computing interface seems to be coming true. This multi-talented CG veteran began his career in graphic design, before moving into producing and creating flying logos throughout the 90s. He then moved into advertising, and title sequences and VFX sequences for movies including the Iron Man trilogy, Star Wars: Rogue One, and Mission Impossible: Ghost Protocol, picking up work in AR and VR along the way. Ian talks through his career and the technology that has helped define it, from the obscenely expensive days of Quantel’s PaintBox and Harry systems, to today’s cheap and accessible VFX software and systems. He gives an interesting update on the state of AR and VR systems, which are undergoing a mini-resurgence thanks to Apple’s Vision Pro and Microsoft’s AI integration in its AR systems. Ian also shares advice about the industry, including the pros and cons of profit sharing.

Get ready to dive into the magical world of virtual production with the one and only Gary Marshall, Vice President of Virtual Production at Nant Studios. In this episode, Chris chats with Gary, a true wizard in the visual effects industry, who’s been behind some of the most jaw-dropping movie moments you’ve ever seen. From running film reels around London as a newbie at the iconic Moving Picture Company to working on the epic Avatar and Gravity, Gary’s journey is nothing short of legendary. He spills the beans on how he helped bring Hollywood’s wildest dreams to life using mind-blowing tech like in-camera visual effects and LED walls that turn movie sets into living, breathing worlds. But the magic doesn’t stop there. As the VP of Virtual Production at Nant Studios, Gary shares insider secrets on the next big thing in virtual production — modular, moveable LED volumes that can transform on the fly. And if you’ve ever wondered how these cinematic spells can save big bucks, Gary’s got some surprising answers

Alex and Tim Porter have the perfect skillset of a VFX power couple. Alex has a background in interior design, which she leveraged into user experience and virtual spaces. Tim, meanwhile, has worked in games and VFX, beginning as an artist but gravitating towards developing tools and scripts that make it easy to create complicated environments and characters. Together, Alex and Tim have established Mod Tech Labs, bringing together their expertise for a new generation of visual content creation. Their tools make it easy to work across platforms — from games to movies, and from LED walls to smartwatches — while maintaining high visual fidelity. Alex and Tim talk about what Mod Tech Labs is doing differently, how they’re making use of cutting-edge tech such as USD and AI, and how their approach could reduce the huge costs of virtual production.  

Erick Giesler has seen the filmmaking industry change right from the very start. As a child, he acted in TV shows, but found that he was more fascinated with what was happening behind the camera. He learned how to create VFX, beginning on SGIs, then moving to software such as Electric Image, 3ds Max, and V-Ray, and helping to create VFX for movies including Independence Day, Titanic, and The Day After Tomorrow, and picking up two Emmy awards. Today, Erick is leveraging his experience behind the scenes with Global Objects, a company set up to create astonishingly accurate digital twins of real-world things for use in everything from real-time to machine learning. Erick discusses his career and how the VFX industry is still facing familiar challenges, and he gives his thoughts on promising new technology in VFX, including USD, MaterialX, NeRFs, Gaussian Splats, real-time rendering, and artificial intelligence.  

Todd Terrazas has been part of the AI revolution since the beginning. He started out developing a system to automatically triage 911 calls and then was part of the development team behind the first wave of AI-powered chatbots. Today, Todd has founded FRBC.ai, which empowers storytellers with AI tools. He’s also the mastermind of the AI LA Community, which in turn hosts the AI on the Lot summit. Todd voices his expert opinion on AI and creativity, covering everything from what AI means for musicians, concept artists, and directors to how it can remove barriers from the filmmaking process and give new voices a space. He also reveals why we need to treat AI with caution and how to think about it. If you’re interested in AI, this is a captivating listen.  

A love of computing, music, and cinema has propelled Jeff Kleiser’s career from the earliest days of VFX on movies including Tron, Flight of the Navigator, Stargate, Judge Dredd, Surrogates, and many more. Along the way, he’s helped the late, great Doug Trumbull create eye-popping film-based projects for Luxor hotels and Radio City’s 3D Christmas movie. Jeff talks through his career, and how he’s seen the industry evolve from optical printers and really slow computers to today’s AI and CG tech, which are making it easier to create low-budget movies that look like blockbusters. He also talks about his fascinating upcoming movie with his brother, Grease director Randal Kleiser, which tells a remarkable true tale of heroic teenage girls in wartorn Amsterdam.

Chad Wanstreet and Chris Nichols have experienced similar career trajectories — but this is the first time they’ve sat down together. Like Chris, Chad transitioned from architecture to VFX, and his experience spans working at notable firms including Blur Studio and FuseFX. Along the way, Chad has contributed to projects that pushed the boundaries of visual effects, such as The Sympathizer, SWAT, The Tick, and the short-lived but brilliant Kill the Orange-Faced Bear. Chad discusses the challenges and innovations brought by technological advancements, such as virtual production and real-time ray tracing, and highlights the importance of understanding these tools. Additionally, Chad shares personal anecdotes about the highs and lows of his career, including the struggles during the economic downturn of 2008 and the unexpected opportunities that led him to his current role.

Nikola Todorovic always wanted to make films, but encountered a familiar problem: the sci-fi screenplays he wrote would require $200 million budgets. Aiming to reduce this cost, Nikola co-founded Wonder Dynamics with Ready Player One actor Tye Sheridan to develop Wonder Studio, a platform that simplifies the time-consuming tasks involved in adding CG characters to live-action plates. Nikola breaks down the creation of Wonder Studio, how it ingests and analyses scenes to allow for easy export to software, including Unreal and Maya, and how it generates 3D characters. He also talks through the process of setting up Wonder Dynamics, from its beginnings as a startup company to its acquisition by Autodesk — and what this means for its user base.

Andy Fowler’s career has combined his creative eye with his incredible production skills. Beginning in London’s burgeoning VFX scene with titles such as Lost in Space, 300, and The Chronicles of Narnia: Prince Caspian, Andy picked up an Emmy for his work on The Life and Death of Peter Sellers. Then he moved to LA to work on Tron: Legacy, Noah, and The Revenant, before moving to Netflix and becoming Vice President of Production Innovation, overseeing an astounding 10,000 shots per year. In this podcast, Andy reflects on his career and how it’s evolved alongside the technology that makes VFX shots happen. He talks about live-action at Disney, making convincing digital humans for Scorsese’s The Irishman, and how virtual production emerged from the pandemic. Andy also gives his thoughts on AI and how it’s going to affect production.

Over a 40-year career, Joel Hynek has helped bring some incredible VFX to life, beginning with optical effects for Xanadu, then making the Predator a terrifying opponent for Arnie, and moving onto a range of movies, including xXx, Judge Dredd, Stealth, plus blockbusters from India and China. He picked up a sci-tech Oscar for the design and development of an optical printer, and a VFX Oscar for his quietly revolutionary work on What Dreams May Come. Joel shares incredible stories from the world of VFX, including how he developed the Predator’s invisibility cloak and night vision, the scrapes and near-misses he got into while filming Stealth, and reveals some interesting trivia about The Matrix and The Bourne Identity. He also talks about working with industry luminaries including Doug Trumbull, Rob Cohen, Doug Liman, and reveals his impressive lineage.

Kathryn Brillhart has always been ahead of her time. As a teen, she assisted her father in shooting documentaries; then she combined her sharp eye as a cinematographer with her passion for VFX to become a virtual production and volume capture expert. Projects she’s worked on include Las Vegas’ ginormous MSG Sphere, pioneering virtual production short “Ripple Effect,” and the movie Black Adam. Most recently, Kathryn has helped create the stunning, desolate world of the Fallout TV series. Kathryn shares her unique perspective on the way digital technology has transformed the industry, from her early days shooting on celluloid to DV tapes, as well as the rapid evolution of virtual production technology and how it was fuelled by restrictions created by the pandemic. She also gives her thoughts on artificial intelligence and its potential to democratize the industry by making advanced tools accessible to indie filmmakers.

Liz Hitt has worked across VFX departments on some very cool movies — and she’s not stopping there. Beginning at the legendary Dream Quest Images on Deep Rising and Mighty Joe Young, Liz built a name for herself as a talented production coordinator and producer via movies including Hollow Man, Spider-Man, Stealth (with Chris), The Golden Compass, Wonder Woman, and Spider-Man: Homecoming. In this podcast, Liz reflects on her career, the roles she’s taken and the crews she’s worked with, sharing how she manages people. She shares a rough guide to the “small-but-global” VFX industry, revealing how new technologies often present more challenges, and giving her thoughts on the effects of the pandemic on both the way we work and the films and series we make.