Cg Garage

Visual effects veteran Dennis Berardi joins the podcast to discuss the resurrection of his legendary studio, Mr. X, and his latest collaboration with Guillermo del Toro on Frankenstein. Dennis shares the technical and artistic challenges behind the film, detailing how his team blended massive physical builds with digital artistry to create the film's "invisible" effects. From creating expansive Arctic icescapes in a Toronto parking lot to blowing up 20-foot "bigature" miniatures for the climactic tower sequence, Dennis explains how they achieved an operatic scale while maintaining the emotional intimacy of Del Toro's father-son narrative. The conversation also navigates the complex business of visual effects, as Dennis recounts the dramatic story of selling Mr. X to Technicolor and his subsequent fight to reclaim the brand and IP after the parent company's collapse. He outlines his philosophy for rebuilding Mr. X as a boutique, filmmaker-focused studio that values artistry over volume. Finally, Dennis, Chris,

The anonymous "VFX soldier in the trenches" who took on the studios is back, and the fight he started is far from over. Two legends of the VFX labor rights movement, Daniel Lay (the formerly VFX Soldier) and veteran exec Scott Ross, join Chris and Daniel Thron to revisit the pivotal moment their fight began. The conversation goes back 10+ years to when the VFX Soldier blog became the rallying cry for an industry in crisis, detailing why Lay started it, his reasons for anonymity, and how he and Ross ultimately "merged forces" to fight for artists. The group dives deep into the history of their legal battle, revealing how their "Jedi Knight" law firm nearly won a tariff war against the studios, a fact later confirmed by the 2014 Sony hack. They also connect this past fight to the present, discussing the new Trump administration tariff proposal, the disruptive force of AI, and whether the collapse of the studio tentpole model finally creates an opportunity to rebuild the industry. Original VFX Soldier Blog > Sco

What was it like to be inside Softimage during the Microsoft acquisition? How did Bill Gates' "big pivot" to the internet change everything overnight? Industry veteran David Morin joins Chris to share his fascinating origin story, from programming with punch cards and an 8-year art detour to working with ILM on Jurassic Park and navigating the seismic shifts at Softimage, Microsoft, Avid, and Autodesk. Today, David leads the Academy Software Foundation (ASWF), and he details its crucial mission: providing a permanent, secure home for the industry's most vital open-source software. He discusses the importance of the foundation's "stamp of approval," the massive recent addition of ACES, and how open source works with commercial tools to democratize filmmaking, enabling independent, Oscar-winning animated films like Float to be created with tools like Blender. Academy Software Foundation > Join the ASWF > David Morin on LinkedIn > History of Softimage >   This episode is sponsored by: Center Grid Virtual Studio

For our special Halloween episode, we sit down with VFX Supervisor Gabriel Regentin to discuss his work with Ingenuity Studios on the smash-hit horror film, Weapons. Gabriel details his close collaboration with director Zach Cregger, whose primary goal was to ensure every visual effect felt 100% "in-camera" and unquestionably real. He shares the challenge of creating the film's signature terrifying effects and how Ingenuity Studios was brought in early to develop the look for such a massive, director-driven vision. Gabriel also walks us through his fascinating "origin story," from studying Performing Arts Technology in Michigan to navigating the 90s dot-com boom in New York with Macromedia Director and After Effects. He recounts his big break on The Secret Life of Walter Mitty, where he earned the nickname "Gatlin Gabe" for his rapid temp comps and created a shot so good it became the benchmark for the final vendor, landing him a job at Framestore and launching his career in feature films. Ingenuity Studios

Returning to the podcast for his fourth appearance, director Tim Miller, the creative force behind the blockbuster hit Deadpool and the acclaimed anthologies Love, Death & Robots and Secret Level, pulls back the curtain on the unpredictable reality of a Hollywood career. In a candid discussion, Miller unpacks the delicate balance of luck and perseverance that defines success, the misconceptions surrounding his collaborative directing style, and the complex challenges of working within the massive machinery of a studio franchise like Terminator. ​The conversation then pivots to the monumental shifts transforming the film industry. The group tackles the rise of Artificial Intelligence and its existential implications for creators, the changing landscape of Hollywood leadership, and the eternal debate between art and craft. Miller also reflects on his own creative drive, discussing the very different satisfactions of climbing the "mountain" of a major feature film versus the artistic freedom found in the sho

After nearly 20 years dedicated to James Cameron's groundbreaking Avatar saga, virtual production supervising stage operator Dan Fowler joins host Chris Nichols in the garage for a deep dive into his incredible 30-year career. Dan recounts his journey from being the drummer in a 90s hair metal band to becoming a key operator on one of the most technologically advanced film sets in history. This conversation is a rare, firsthand look into the evolution of modern filmmaking. Dan shares stories from the trenches, starting with his self-taught entry into VFX, his "rock and roll" days at Digital Domain in the late 90s, and the pivotal moment in 2005 when he joined the top-secret Avatar prototype project. He provides an insider's perspective on how the virtual production pipeline was built from the ground up, the immense pressure of working alongside James Cameron, and what it was like to solve unprecedented technical challenges in real-time. Dan Fowler and IMDB > Dan Fowler on LinkedIn > Avatar: The Way of Water

https://www.imdb.com/title/tt1235529/Ever wonder how the scrappy, sarcastic world of Murderbot was brought to life? Veteran Visual Effects Supervisor Sean Faden pulls back the curtain on the hit Apple TV+ series, revealing the innovative and often hilarious journey of its creation. He shares the origin story of his involvement, detailing a highly collaborative process that began nearly a year before filming. Discover how the team stretched a modest budget to create an epic feel, using real-world locations from the deserts of Moab to the volcanic landscapes of Iceland. Sean gives a masterclass in creative problem-solving, from embracing the glorious cheese of the show-within-a-show "Sanctuary Moon" to designing a spaceship based on Jiffy Pop popcorn and filming creature attacks with a kiddie tunnel. They also discuss the future of the entire industry. Looking ahead from his current work on the anticipated Highlander reboot, Sean provides a firsthand account of the massive technological shifts underway. He and

A few months back, on episode 510, we debated whether James Cameron is an all-powerful maverick who answers to no one. VFX legend and Digital Domain co-founder Scott Ross heard the discussion and had a clear message for us: "You got it wrong." According to Scott, the idea that Cameron operates completely free from studio influence is a fantasy, especially when a quarter-billion dollars is on the line. He holds nothing back, sharing an explosive insider story from the set of Titanic that shows exactly how fraught that relationship can become. However, Scott is quick to admit that while he critiques the process, he never bets against the results, acknowledging that Cameron's success is both undeniable and admirable. The conversation then ignites over the future of the industry, as Scott labels Cameron’s public stance on AI "totally disingenuous." In his unfiltered opinion, AI isn't a tool for faster creativity; it's a weapon the studios will use to decimate the visual effects workforce. Strap in as Scott Ross u

Computer graphics pioneer Ken Perlin invented Perlin noise, a foundational tool used in nearly every area of computer graphics. In this episode of CG Garage, Ken shares his unique journey, starting with a childhood love for both art and mathematics. He recounts how his early work on the film Tron inspired him to invent Perlin noise and the foundational concepts of shaders, a breakthrough that laid the groundwork for modern GPUs and the photorealistic visuals we see today. His presentation of this work at SIGGRAPH in 1984 directly influenced companies like Pixar and permanently altered the landscape of visual effects. The conversation extends beyond historical innovation to a compelling discussion about the future. Perlin draws a sharp distinction between VR and XR, predicting that true mass adoption of immersive technology will only happen when devices become socially invisible, much like the iPhone's impact on personal communication. He posits that the future of technology is not about escaping reality but e

This week, we sit down with acclaimed cinematographer Autumn Durald Arkapaw, the first woman ever to shoot on IMAX for the film Sinner. She discusses her unique journey into filmmaking, including her work in 16mm on The Last Showgirl and her credits on major studio projects like Black Panther: Wakanda Forever and Marvel’s Loki. Autumn highlights the vital importance of finding a creative community and emphasizes how her career has been built on trust and collaboration with fellow artists. Autumn also dives deep into the dynamic (and sometimes frustrating) relationship between cinematographers and visual effects artists. Using her experience on Sinner as a prime example, she advocates for a more collaborative approach, stressing the need for on-set decisions and in-camera solutions to create more authentic and emotionally resonant images. The conversation is a masterclass in filmmaking, exploring everything from the subtle power of light and shadow to her experience as the first woman to shoot on IMAX for a na

Episode 515 marks the very first CG Garage Podcast episode under the Monstrous Moonshine banner, and it’s a big reset moment. Chris is joined by longtime collaborator Daniel Thron and new producer/coordinator Lily Nichols to introduce this new chapter. Together, they reflect on the origins of the Monstrous Moonshine name, its ties to both 1970s cinema and mathematics, and why it represents the kind of creative synchronicity they want to bring into filmmaking. They also talk openly about the transition from Chaos, where the podcast began 11 years ago, and what this move means for the future of the show. The discussion quickly moves into the state of the movie industry today, with the group debating whether Hollywood is on the brink of another “New Hollywood” moment like the late 1960s. They examine the rise of bold new films such as Everything Everywhere All at Once, Spider-Verse, K-Pop Demon Hunters, and Godzilla Minus One, contrasting them with the fatigue of endless franchises. The conversation also tackles

This episode marks the final CG Garage podcast under the Chaos umbrella. The next chapter of the show will launch under a new banner, continuing the conversations that explore the art, craft, and future of filmmaking. Armen Kevorkian joins Chris to reflect on his long career in visual effects, from his early start as an intern on Star Trek: Voyager and Deep Space Nine to becoming the president of Ingenuity Studios. He shares how mentorship in those formative years at Paramount shaped his career, his transition into supervising on shows like Invasion and The Flash, and the evolution of VFX in broadcast television, where tight deadlines and experimental techniques pushed his teams to innovate. Armen recalls being part of television milestones like scanning actors for digital doubles for the first time and watching the rise of superhero shows that paved the way for streaming-era ambitions. The conversation dives into how the industry has shifted in the past 20 years, from the challenges of working through COVID

At SIGGRAPH 2025, Chaos unveils major updates to Vantage and Arena that significantly expand real-time ray tracing workflows. Product managers Simeon Balabanov and Georgi Zhekov join Chris to break down the new capabilities, including native USD and MaterialX support, Gaussian splats with ray-traced lighting, volumetric caches, and a streamlined pipeline that keeps the same asset across previs, virtual production, and post. This episode arrives just in time for SIGGRAPH, where these features are being officially announced, giving listeners an early look at what will be showcased in Vancouver. The conversation dives into key production tools like mimic lights for realistic set illumination, in-volume color correction, real-time depth of field, and live lighting adjustments. Simeon and Georgi explain how these innovations reduce conversion work, improve on-set flexibility, and allow for advanced asset previews even from a home studio using Vantage with camera tracking. They also highlight new camera tracking pr

In this episode, Chris chats with Susan O’Neal, a long-time force in the visual effects industry, about her remarkable career journey and insights into the evolving VFX world. Susan recounts starting as employee #24 at Digital Domain in the early ’90s, working on landmark projects like Titanic, and moving through various studios such as Lightstorm, A52, CIS, Zoic, and Riot. Along the way, she wore many hats, from operations to production, before pivoting to recruiting, where she found her niche connecting talent with opportunity while balancing her family life. Susan shares candid stories about the early days of VFX, the quirky culture at DD, and how she transitioned into recruiting and coaching. She and Chris discuss how the industry has changed with remote work, tax incentives, and the rise of AI and virtual production. Susan also offers practical advice for creative professionals on LinkedIn best practices, career resilience, and staying adaptable in uncertain times. This episode is a thoughtful reflection

VFX veterans Chad Wanstreet and Allan McKay join Chris to talk about their new startup, Version Zero, a company aimed at automating the mundane tasks that bog down visual effects work. Born out of years of frustration with tedious jobs like roto, paint, plate cleanup, and matchmove, Version Zero helps artists and studios save time and focus on the creative parts of production. Chad and Allan share the origin story of the company, which started over Thanksgiving wine and coffee, and explain how their tools are already being used on shows like The Sympathizer and SWAT. The conversation dives into how Version Zero works, how it differs from other AI-driven tools, and why they have resisted VC funding to stay focused and practical. Chris, Chad, and Allan debate the future of entry-level VFX jobs, the rise of the empowered generalist, and how AI can enable artistry rather than replace it. They also reflect on the resistance to new technology in the industry, the “false economy” of outsourcing, and the importance o

We’re trying something new this week and taking a break from the usual interview format. This episode kicks off a roundtable discussion format that we plan to revisit every few months. Chris is joined in person by Daniel Thron and James Blevins, both CG Garage podcast veterans, for a relaxed but sharp conversation about recent events in technology and the movie industry. The group starts with James Cameron’s bold claim that he wants to use AI to cut costs without laying anyone off, and whether that’s even realistic in today’s production model. They also discuss MUBI, a platform well known for championing indie films, and why its $1 billion valuation signals a shift in what audiences and investors are willing to support. From the box office surprise of Sinners to the decline of risk-taking in studio films, it’s a wide-ranging talk about where things are going and how we might all adapt.

Marti Romances, co-founder and creative director of Territory Studio, joins the podcast to share his journey from designing DVD menus in Spain to creating iconic futuristic interfaces for blockbuster films like Prometheus, The Martian, Guardians of the Galaxy, and Captain America: The Winter Soldier. With roots in multimedia and motion graphics, Marti explains how his early passion for architectural drawings and spatial design naturally evolved into a unique approach to interface aesthetics. His breakthrough came when he moved to the UK and joined Activision, eventually landing at the nascent Territory Studio, where he helped define a new visual language for storytelling through motion design in narrative media. In this episode, we dive into how sci-fi interfaces not only serve narrative functions on screen but often inspire real-world technology—from heads-up displays to augmented reality systems. Marti discusses the balance between realism and imagination in interface design, the transition from on-set grap

Michael Ralla joins the podcast to share his journey through the world of visual effects, with a focus on his latest project as VFX Supervisor on the film Sinners. He discusses how he worked closely with cinematographer Autumn Durald Arkapaw, whose fearless approach to lighting and darkness pushed the creative envelope. The episode features a deep conversation about the differences between film and digital, the evolving language of color, and how these choices impact storytelling—insights that are especially relevant to the visual style of Sinners. Michael also opens up about his unconventional path into VFX, from his early ambitions as a heavy metal drummer to finding his footing in sound engineering, and ultimately discovering his passion for compositing. He reflects on his formative years at Scanline, learning the ropes through hands-on experience, and how that foundation led him to major studios like Digital Domain and ILM. Throughout the episode, Michael’s candid perspective offers a rare look at the cha

Jess Loren, CEO and co-founder of Global Objects, joins us for a wide-ranging conversation about the future of immersive content and the creative tech reshaping the industry. A force to be reckoned with, Jess has a sharp pulse on where things are headed, and she doesn't hold back when discussing the current state of Hollywood. She talks candidly about the challenges studios and creators face today, and how technology like digital scanning, virtual production, and Gaussian splats can embolden independent filmmakers. Jess also shares insight into how she builds meaningful partnerships across art, tech, and media. Her business and life partner, Erick Geisler, appeared back in episode 483, and together they’ve helped position Global Objects at the intersection of innovation and storytelling. In this episode, Jess dives into her own journey as an entrepreneur and explains how she identifies trends before they break, working with brands, creators, and studios to help them stay ahead. Whether you're building pipelin

Johnson Yan, a trailblazer in real-time 3D graphics, joins the podcast to recount his remarkable journey from the earliest days of computer graphics and flight simulation. Starting in the late 1970s, Johnson tackled fundamental challenges like texture mapping, anti-aliasing, translucency, and scalability, long before today's GPU technology emerged. He shares insights into his pioneering work at Singer-Link, where he developed flight simulators utilizing vector graphics and early raster technology, laying the groundwork for both military training and future advancements in real-time visualization. In this episode, Johnson also discusses his transition into the commercial sector, detailing his impactful roles at companies like Sun Microsystems and Oak Technology. He explores his efforts to develop affordable 3D graphics chips, significantly enhancing consumer PCs' capabilities. Reflecting on industry milestones such as the rise of NVIDIA, the evolution from rasterization to ray tracing, and the integration of A