Getting the Most out of NAB 2008
We talk with organizers Chris Brown, Rochelle Winters, and Ben Kozuch about the off-the-showfloor highlights of the 2008 NAB Conference in Las Vegas.
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the vfx show #37: Outsourcing
Mike Seymour and Mark Christiansen discuss the topic of outsourcing within the visual effects industry.
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fxguidetv #024
Glenn Melenhorst and Simon Rosenthal from Iloura discuss the making of a fully animated TV commercial.
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red centre #001
The premiere of fxguide’s new podcast covering the latest on the RED camera.
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The final fxpodcast
New directions for the crew at fxguide. Mike Seymour, Jeff Heusser and John Montgomery discuss life beyond fxguide.
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Local Hero Post: Indie DI Heros
Owner Leandro Marini discusses the approach Local Hero has taken in providing a DI solution for the indie filmmaker, offering high quality at prices in line with their budgets.
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What’s Up with Imagineer’s Mogul?
We speak with Imagineer founder and CEO Allan Jaenicke about their new mogul vfx product line, to be introduced at NAB and rolled out over the next 18 months.
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the vfx show #36: 10,000 BC
Mike Seymour and Mark Christiansen discuss the visual effects in 10,000 BC.
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Tim Baier on Stereoscopic 3D
Mike Seymour chats with Tim Baier, a vfx supervisor and 3D researcher who now specializes in 3D stereo productions, about the history, technology and trends in the field.
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fxguidetv #023
Part two of a special series on RED camera workflow in post, including keying and camera lens data.
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fxguidetv #022
Part one of a special two part series on RED camera workflow in post.
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the vfx show #35: Jumper
Mike Seymour and David Stripinis discuss the visual effects in Jumper.
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the vfx show #34: Cloverfield
David Stripinis and Mark Christiansen discuss the visual effects in Cloverfield.
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Madame Tutli Putli – The Eyes Have It
Mike Seymour talks with artist Jason Walker, who created the effects in the animated film Madame Tutlie Putli.
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Gareth Edwards on the VFX of Attila the Hun
A conversation with Gareth Edwards, director of Attila the Hun, about how he completed over 250 visual effects shots for the film using a combination of After Effects, Premiere, MochaAE, 3dsMax, and more.
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