Mike Seymour covers the ins and outs of digital grading with colourist Warren Lynch.

We speak with Jake Parker and Michael Ruzicka about their presentations at the flame and smoke master classes being held at NAB this year.

We speak with Teresa Hall of Muse recruitment about how vfx artists can best present themselves to prospective employers.

A conversation with Stu Maschwitz of the Orphanage about using a 32-bit linear color workflow in AE. Maschwitz has been an evangelist for using After Effects for high end projects.

A conversation with Alp Altiner.

Mike Seymour talks with Dr. Bill Collis, Head of Research at the London-based Founrdy. The Foundry develop the Furnace, Keylight, Tinder, and Anvil plugins.

We talk with Steve Kilisky and David Simons of Adobe about the recent release of After Effects 7.

Examining the art and beauty of matte painting with senior matte painter Wayne Hagg

We speak with matte painter Gerhard Mozsi about his craft and his use of Adobe Photoshop to create both photoreal as well as concept art.

Discussion of credits, shows, awards, and the growing importance of the VES

This week, we speak with Mark Ruff, a photographer who specialises in frozen moment multi-camera time splices. After many years with a film rig and then a digital rig, Mark has developed a near real-time system.

As it is almost Christmas we figured we’d explore a different side of visual effects and talk to someone who creates the scripts and characters that we daily need to film and composite. We decided to talk to an entremely successful writer and producer. Doug Naylor is a funny guy, he writes funny comedy, but the business of writing for visual effects – especially for a tight budget, cult classic – with global appeal is a tough job. This week, Doug Naylor k

Nuke 4.5 in production. In this week’s podcast we talk to Jonathan Egstad, visual effects supervisor for the Paramount release “Aeon Flux” starring Charlize Theron. For our online story we chatted to Gary Meyer, Nuke Product Specialist about the details of the 4.5 release.

In this week’s podcast, we check in for an update on Toxik with Autodesk’s Chris Vienneau, who is the product manager for the application.

We interview Scott Gross of IMAGICA Corporation of America, developers of the Primatte keying plug-in.

We speak with Bill Roberts of Autodesk about he recent Linux product announcements.

After more than a year of development, Eyeon Software’s Fusion 5 began shipping over the last several weeks. The new version boasts numerous improvements, the highlight of which is a new 3D compositing environment in the procedural workflow. In this week’s fxpodcast we speak with Isaac Guenard, Senior Product Manager for Eyeon, about the new features in the software and how they have been received by the users.

We speak with Aaron Weintraub from Mr. X in Toronto, Canada. The facility completed over 150 visual effects shots for the film.

A look at the Apple 4.0 Shake SDK with Dion Scoppettuolo, Senior Product Marketing Manager of Shake and Motion.

In this week’s podcast we talk to Don Shay, the publisher of the world’s leading authority and publication of record for the visual effects industry: Cinefex.

In this week’s fxpodcast, we discuss the recent release of Autodesk’s Smoke 7 editing product. Our two guests were beta testers for the release and are able to provide insight into the product as they have been using the product for months. We also talk about Smoke’s support for the Final Cut Pro XML standard with Stephane Labrie of Autodesk. What exactly is XML and is it simply an industry buzzword for a text file?

We concentrate on the fxPlug SDK in Motion 2, as well as highlight a new set of Motion DVD templates. Guests are Ben Syverson – developer of DVMatte Blast, Sean Safreed — partner at Red Giant Software, and Simon Maziak — creator of MotionVFX DVD templates.

Marco Paolini is a compositor and president of Digital Film Tools, a company that creates production proven plugins. Noteworthy for their digital simulation of optical filter, effects and camera effects, they also include a range of compositing tools developed in the firing line of feature film production at Digital Film Works.

One of the most successful viral ad campaigns of recent times is Carlton Draught’s Big Ad. In this weeks podcast we discuss the spot with Andrew Jackson, the visual effects supervsior from Animal Logic in Sydney.

In this week’s podcast we talk to one team from each of the two visual effects categories for this year’s Emmys as well as discuss the first-ever bake off.

We take an over view of this great film and then burn down on one sequence for an in depth look. Interviews with people at MPC, Framestore-CFC and Cinesite.

London-based Sohonet has targeted the the media and film industries by providing tools and a network that can carry massive files, quickly and at very low cost. In this week’s fxpodcast, Mike Seymour gets the details from Dave Scammel, Managing Director for Sohonet.

Mike Seymour interviews the father of HDR imagery, Paul Debevec, to learn how he invented HDR and what his latest research is investigating – with amazing results.