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.

Rob Redman is a man of many skills: motion graphics and 3D art, guitar and amp building, “The Cinema 4D Guy” on social media. In his current role he edits 3D World magazine, and helped conceive and organize the Vertex CGI event in London — which is where Chris delivered a keynote speech and recorded this podcast.

This week’s podcast is another THU two-parter, recorded with Unity’s Josh Naylor and Angus Mackay, and Oculus Medium’s Brian Sharp.

Six years ago, Chaos Group developer Boris Simandoff had a dream: that cloud rendering could be as simple as clicking a button. Today, that dream is becoming a reality, with fast and easy cloud rendering seamlessly integrated into V-Ray for Rhino, Revit and SketchUp — and more products coming soon.

A bottle of Trader Joe’s Blended Scotch Whisky fuels Chris and Dan Thron for this in-depth discussion of Blade Runner 2049. Like its 1982 predecessor, 2049 is an eye-catching and thought-provoking movie which tackles themes of identity, emotion and mortality in a dystopic, dysfunctional metropolis. And, like its forebear, it’s underperformed at the box office — although it’s clearly destined for cult status.

Another Dimension: How Adobe’s V-Ray powered 3D software is revolutionizing workflows, embracing machine learning, and democratizing the industry

Recorded at THU last year, this podcast features another awesome foursome of guests: Ludger Pfanz, from Karlsruhe University of Art and Design, Kelli Townley from Oculus Medium, and Ciaran Wills and Mach Kobayashi from Google Tilt Brush.