Episode 373 - Judith Crow - VP of Strategic Partnerships, SideFX Software

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.