The First Woman to Run Physical Production at a Major Studio | Donna Smith | 572
Donna Smith was the first woman to serve as President of Physical Production and Post Production at a major Hollywood studio. Her years at U...
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CG Garage
Interviews that focus on the CG creative in visual effects, architecture and beyond. Christopher Nichols of Chaos Group sits down with directors, artists, photographers and developers for ca...
Episodes
20 of 574 episodes
The Next Fincher Will Rise Above the Slop | Ed Ulbrich | 571
Ed Ulbrich thinks the world needs more slop. Flood the market with AI-generated content and work with real taste becomes impossible to miss,...
Why Half the Critics Got Tom Cruise's Digger Wrong | 570
Digger opened to $8 million on a nine-figure budget, and critics split almost exactly in half. Chris and Daniel think Alejandro G. Iñárritu...
The Next Nolan and Scorsese Are Coming Out of YouTube | Episode 569
Most VFX supervisors trained on tentpoles have no idea how to make an independent film. Ed Douglas (VFX supervisor on Kane Parsons' Backroom...
I Called CAA to See If My Agent Still Worked There | Jonathan Goldman | Episode 568
Jonathan Goldman called CAA to find out if his agent still worked there, and the replies to his Threads post said more about Hollywood's mid...
A Record Summer, Yet Studios Still Can't Pick Winners | CG Garage #567
Warner Bros. was ready to write off Coyote vs. Acme , and after a sale to another company it has taken in about $85 million as of this episo...
Backrooms VFX Was Built Around Kane Parsons' Blender Workflow | Edward Douglas #566
Kane Parsons was 19, had never worked inside a professional visual effects pipeline, and had taught himself the shots he needed in Blender i...
Widow's Bay's Invisible VFX: How a New England Team Fakes Nothing | Brian Drewes | Ep. 565
Chris and Daniel are thrilled that Widow's Bay is now shooting its second season, and they've brought on Brian Drewes, the man whose team at...
Obsession's Secret VFX Behind Nikki's Uncanny Face | Peter Timberlake | Ep 564
Nobody thinks Obsession has visual effects. That's the point. Peter Timberlake, the VFX supervisor behind one of the year's biggest indie br...
Easy Rider Is the Roadmap Hollywood Needs Right Now | Episode 563
Easy Rider is not a good movie. It's a chaotic, half-improvised, drug-fueled mess that stumbles for its first half and only becomes a movie...
CEO of Crafty Apes Alana Newell on What Actually Motivates Artists | Episode 562
Alana Newell is CEO of Crafty Apes, a company that grew through the worst stretch this industry has seen in decades. She got there the rare...
Spider-Man's Record Weekend, the EU vs. AI Video, and the First Rule of Being a VFX Supervisor | Episode 561
Spider-Man just posted the biggest opening weekend in box office history, and Chris, Daniel, and returning panelist Todd Perry dig into why,...
Inside the VFX of Disclosure Day with Matthew Butler | Episode 560
Steven Spielberg doesn't want you to know his aliens aren't real. That's the standard Matthew Butler had to hit on Disclosure Day : total ph...
Nolan's Odyssey Is Really a Movie About Waiting | Episode 559
Is it a good movie if you have to watch it ten times? That's the question Chris and Daniel keep circling back to as they take on Christopher...
Split Diopters, Indie Film Private Equity, and the Rock and Roll of Making Movies | Episode 558
Something is shifting in independent film right now, and Ron Cohen, one of the producers on June July and a veteran of physical production,...
Disclosure Day and The Secret Weirdness of Steven Spielberg | Episode 557
Steven Spielberg is the most famous filmmaker alive, which is exactly why almost nobody actually understands him. Chris and Daniel use Discl...
A24, DeepMind, and the "No CGI" Marketing Lie Everyone's Tired Of | Episode 556
A24 announced a $75 million research partnership with Google DeepMind and framed it as R&D for production tools, not a content deal. Nobody...
He Cold-Called Kubrick's Secret Number | Doug Trumbull | Episode 555
Doug Trumbull spent fifty years trying to convince Hollywood that the way movies are projected is fundamentally broken, and most of the indu...
What If Orson Welles Had a Steadicam? | Hnedel Maximore | Episode 554
Hnedel Maximore did not come up through the traditional VFX pipeline. He started drafting floor plans in Liberia, studied architecture in Mi...
Obsession, Backrooms, and the 1970s Moment Hollywood Needs Right Now | Episode 553
For years Chris and Daniel have been saying the corner was going to turn, that history would repeat itself the way it did in the 1970s. It t...