This week we look at digital and practical effects on Terminator Salvation with ILM and Kerner Optical

Jeffrey A. Okun, Chair of the Visual Effects Society, sits with us to discuss the mission and latest news from the VES.

A conversation with ILM vfx supervisor Roger Guyett about the film Star Trek.

Director Michael Gracey tells us about filming large crowds for two viral campaigns for T-Mobile.

We talk with friends as well as fxphd post grads and professors about what they saw on the first day of the show. Recorded live at a party sponsored by The Foundry, Sohonet and da vinci.

A conversation with Gary Einhaus, CTO and General Manager of Kodak Digital Cinema, about new technology and research at Kodak.

Rich Hoover, visual effects supervisor on Valkyrie about the complexity of doing such a powerful historical film.

Visual Effects in the movie Australia with artist Peter Webb from Iloura Pictures.

An interview with Simon Robinson, co-founder of The Foundry, to get the reasons behind their decision to reduce prices on Furnace, Tinder, and Keylight sparks for Autodesk.

Conversation with Stu Maschwitz who supervised over 1900 shots for the latest movie from a Frank Miller graphic novel.

We speak to Richard Lambert principle at Fin Design about the award winning commercial for Herringbone

Kids show with very adult tech. Sid the Science Kid from Jim Henson Studios is a remarkable project for the complexity and simultaneous simplicity of its motion capture. fxguide spoke to Steffen M. Wild, Visual Effects Supervisor, Digital Supervisor at Jim Henson Co. for this week’s fxpodcast.

A conversation with Bill Roberts from Softimage about version 7 of XSI, which was released earlier this year.

Mike Seymour chats with VFX Supervisor Eric Grenaudier from Stargate Digital about their work on the U.S. television series ‘Heroes’.

Mike Seymour chats with Ron Brinkmann, author of The Art and Science of Digital Compositing.

We talk to Jeff Goldman, a vfx supervisor at CafeFX about their emmy nominated work on John Adams

In this week’s fxpodcast, Mark Breakspear of CIS (formerly Rainmaker) discusses how Blades of Glory showed his company how fundamentally different the pipeline needs to be for visual effects in comedies. We follow up with more details and background in our online story.

Recorded on a rooftop in downtown Los Angeles at our traditional tradeshow Barcamp. We are joined by fxphd members to discuss what they have seen so far at Siggraph.

We speak with stereo colorist Jeff Olm about grading and post considerations for Journey to the Center of the Earth 3D.

In part one of a new series on Labor issues we talk with Dave Rand who has taken on the role as spokeperson for about 100 artists who worked on a film in Canada at Meteor Studios who were not paid for the last few months of work as the company filed bankruptcy. This is an important story and a great conversation about the state of visual effects as a business.

We chat with Double Negative vfx supervisor Paul Franklin about their work on the latest Batman flick, including special considerations for the IMAX release.

We speak with Chris Edwards, CEO of Los Angeles-based Third Floor, about the pre-visualization work they do for films, commercials, and games.

We speak with Chris Sage of Luma Pictures about their work, their facility pipeline, and their tools.

We talk to Michael Rubin about his book: DroidMAKER: George Lucas and the Digital Revolution.

A conversation with ILM visual effects supervisor Ben Snow about the work behind creating Ironman’s suit.

We speak with Dav Rauch from The Orphanage. Rauch is a director, designer and visual effects supervisor who led the team that conceptualized and designed Ironman’s Heads Up Display.