In this podcast, Ian reveals the painstaking and lengthy process of creating Cassidy and his other portraits. He tells Chris about how he makes his subjects feel at ease, and then the numerous elements he must consider, such as whether the images should be realistic or stylized, candid or posed, harshly or softly lit.

Andre Matos is something of a hero at Chaos Group. He’s a proponent of V-Ray GPU and VRscans, which are part of the toolset he uses to create enormous eye-catching renders for sports car company Porsche.

Legendary Croatian arch viz firm Studio Niskota is no more — but something bigger and better is in the pipeline. Founders Dean and Hrvoje tell Chris what’s next.

The partnership between Corona and V-Ray is starting to bear photorealistic fruit. Find out how the companies are collaborating, and the exciting new features coming soon to Corona.

Dan Thron joins Chris for another epic discussion of a groundbreaking movie — with special guest star Erick Schiele.

Steven Spielberg’s Jaws marked a turning point when it was released in 1975, blending believable characters and a relatable setting with an unstoppable monster. It built on movies of the time, like Thunderbolt and Lightfoot, The Godfather and Bonnie and Clyde, and heralded a new era of profitable blockbusters such as Star Wars, E.T., and Jurassic Park.

Avengers: Infinity War is full of wonderful things, but a particular highlight is Thanos, the movie’s purple antagonist. In this week’s podcast, Digital Domain’s Darren Hendler and Ron Miller join Chris to explain how they turned actor Josh Brolin’s nuanced performance into one of the most impressive digital characters ever to hit the big screen.

VFX vets talks software, swimsuits — and Scott Ross. Steve Blakey has been in visual effects since 1989, beginning with animated logos and commercials in New York, and then moving to Los Angeles to work on movies. He and Chris first met at Digital Domain, where they worked on disaster movie The Day After Tomorrow.

After Black Panther and Ready Player One VFX supervisor tells you everything you need to know about working on set in the movies.

Jesse James Chisholm’s illustrious movie career has spanned work from The Curious Case of Benjamin Buttons to upcoming Marvel blockbuster Ant-Man and the Wasp. Along the way, he’s done everything from sweeping set floors, to supervising effects shots alongside legendary directors David Fincher, Clint Eastwood and Steven Spielberg.

Colin Green took his many skills including the very early computer graphics he learned from his Architecture education to help start a company called Pixel Liberation Front. While the company is no longer around, it was one of the first to focus on a new art form called Previs. Colin talks about how Previz worked on such movies as Fight Club, Panic Room, and Minority report.

If you’ve played any AAA videogame in the last few years, chances are you’ve seen Allegorithmic’s tech in action. Headed up by Sebastien Deguy, the company’s Substance Painter and Substance Designer help artists create and fine-tune realistic textures which aren’t repetitive or obviously procedurally generated.