In this episode, Allan McKay sits down with Xavier Bernasconi, VFX Supervisor at DNEG, to dive deep into the world of virtual production. They discuss Xavier's fascinating career journey, his recent work on the highly anticipated Masters of the Air, and the decision to utilize virtual production for the project. Xavier shares insights into the current state of virtual production technology, its challenges and limitations, and the exciting future potential as the tech continues to evolve. The conversation also covers the impacts of virtual production on actor performances and the shifts in collaboration it brings to VFX workflows. This is a must-listen for anyone curious about the cutting-edge of filmmaking innovation.   Table of Contents Introduction (00:00:00) Introducing Xavier Bernasconi (00:00:03) Xavier's Background and Journey (00:00:46) From Proskier to Visual Effects (00:00:46) Developing Compositing Software (00:02:05) Becoming a VFX Supervisor (00:03:40) Masters of the Air Project (00:04:17) Overview and Initial Thoughts (00:04:25) Complexity and Challenges (00:05:27) Virtual Production Decision (00:05:46) Logistical and Creative Reasons (00:06:11) Comparison to Traditional Green Screen (00:06:57) Challenges and Limitations of Virtual Production (00:09:18) Technological Advancements and Limitations (00:09:55) Limitations with Unreal Engine (00:12:03) Preparation and Pressure on Set (00:13:35) Workflow and Collaboration (00:14:09) Pressure on VFX Team (00:16:48) Current State and Future of Virtual Production (00:22:02) Infancy and Potential for Growth (00:22:09) Advantages and Limitations (00:22:36) Virtual Production and Final Pixel (00:26:59) Misconceptions and Post-Production Work (00:27:33) Developing an End-to-End Pipeline (00:28:29) Virtual Production in Episodic vs. Feature Films (00:31:48) Prevalence in Episodic Content (00:31:53) Blurring Lines Between Episodic and Feature Budgets (00:33:30) Proprietary vs. Out-of-the-Box Tools (00:34:53) Use of Unreal Engine and Cost of Setup (00:35:43) Virtual Production for Previs and Pitching (00:36:27) Quick and Cheap Iteration (00:37:10) Benefits for Certain Types of Directors (00:38:14) Collaboration in Virtual Production vs. Traditional Post (00:38:36) Real-Time Collaboration and Creativity (00:39:15) Challenges of Remote Work (00:39:21) Actor Reactions to Virtual Production (00:42:48) Immersion and Performance Benefits (00:43:31) Conclusion (00:44:41) Appreciation and Wrap-Up (00:44:41)   Memorable Quotes "I love telling stories. I felt that I was drawn more to the end of the pipeline, more to the beginning of the pipeline, so I was more drawn into lighting and compositing." Virtual production was the most logical choice for Masters of the Air due to logistical, budgetary and creative reasons. Virtual production is still in its infancy with lots of room for technological development. Extraction of foreground elements from LED screens is an important area of research. Virtual production fosters real-time collaboration and creativity compared to traditional segmented workflows. However, on-set experience and mentorship is still crucial. Actors appreciate virtual production as it helps their performances by providing interactive environments rather than pure green screen.   Xavier Bernasconi Bio Xavier Bernasconi is a VFX Supervisor at DNEG. Originally from Italy, he now lives in Canada. His recent projects include Masters of the Air, Mad Max Furiosa and Godzilla x Kong.  

In this insightful episode, Allan McKay sits down with Colin Giles, head of the School for Animation and Visual Effects at Vancouver Film School, for a deep dive into the world of modern VFX education. They discuss Colin's fascinating journey from small town artist to leading a world-class animation school, the intense pressures faced by today's students, and how virtual learning during COVID has transformed educational models. Colin shares wisdom on the irreplaceable value of in-person collaboration, how AI is impacting the curriculum, and the vital role of social media and online presence for aspiring artists. This is a must-listen for anyone curious about the future of visual effects and what it takes to succeed as a student in 2023.   Quotes: "There is a difference between just crafting images and telling a story. I think that it's part of that learning process as well that is very exciting." Students should focus on their own artistic growth rather than unrealistic pressure to be the best or work at certain studios. Everyone has a unique voice to contribute. Virtual learning revealed the need for adaptable, hybrid education models that combine the benefits of online and in-person instruction. However, nothing replaces the creative energy of people connecting and collaborating face-to-face. AI is a useful iteration tool to quickly generate ideas, but won't replace the human touch. It's important for students to learn with the technology and discover its applications together. Aspiring artists must cultivate an authentic online presence that shows their personality and connects them to a community, not just a portfolio checklist. Social media engagement is vital for networking and getting hired.

In this epic episode of the Podcast, Allan sits down with Michael Cliett, the overall VFX Supervisor for the hit TV series Shogun. Michael shares his journey into the world of visual effects, from his early fascination with behind-the-scenes movie magic to working his way up in the industry. He dives deep into the making of Shogun, discussing the collaboration between various VFX studios, the show's commitment to historical accuracy, and the challenges of creating believable CG water and gore and other visual effects topics. This episode is a must-listen for anyone interested in the art and craft of visual effects in television.   Table of Contents: [00:02:54] - Michael's journey into a creative career in VFX [00:13:04] - The importance of diverse VFX skills as a supervisor [00:18:02] - Michael's initial reaction to the Shogun scripts [00:23:05] - Collaborating with the production designer and other departments [00:31:39] - Continuing the show's style in post-production  [00:36:28] - Michael's on-set kit and experience shooting Shogun [00:41:17] - Memorable shooting days, including the shocking scene in Episode 4 [00:49:49] - Diving into the gory details of the Episode 4 sequence  [00:57:15] - The challenges of creating believable CG water [01:02:27] - Crafting seamless environment extensions [01:06:23] - The surprising number of decapitations in Shogun [01:11:48] - The role of AI in the VFX industry and the importance of the human touch [01:22:53] - The incredible reception to Shogun   Check out the show notes : https://www.allanmckay.com/452  

In this episode of the Allan McKay Podcast, Allan sits down with VFX Supervisor Chad Wanstreet for an engaging discussion about Chad's experiences in the visual effects industry. They dive into Chad's transition from vendor-side to client-side VFX supervision, his work on the TV shows SWAT and Kill the Orange-Faced Bear (KTOFB), and the tools and techniques he employs on set. Chad shares insights into the challenges of creating photorealistic talking bears for KTOFB and the emotional journey following the show's cancellation. The conversation also touches on the future of KTOFB as a potential video game and the collaborative nature of working with directors and writers to bring their vision to life while managing budgets and technical limitations. Key Takeaways: Transitioning from vendor-side to client-side VFX supervision requires adapting to new responsibilities, such as working closely with directors, DPs, and editors to guide the storytelling process. Creating photorealistic talking bears for KTOFB presented unique challenges, including managing the creative appetite of the showrunner while staying within budget and tackling unconventional shots. Effective collaboration between VFX supervisors and producers is crucial, with the best producers being both organizationally skilled and creatively involved. Practical effects and stunts can be invaluable references for VFX work, even if the final shot requires extensive CG enhancements. VFX supervisors must be adaptable and context-specific when capturing data on set, using a combination of cameras, LiDAR scans, and photogrammetry to obtain the necessary information for their work. Despite the cancellation of KTOFB, the IP remains important to Chad and the showrunner, leading them to explore new avenues such as developing a video game based on the concept. Building strong relationships with directors and writers is essential for VFX supervisors to successfully manage the creative vision of a project while navigating technical limitations and budgetary constraints.

EPISODE 450 - THE SYMPATHIZER - CHAD WANSTREET - VFX SUPERVISOR In this episode, Allan McKay interviews VFX Supervisor Chad Wanstreet about: His role as VFX Supervisor on the highly anticipated series The Sympathizer, an adaptation of the Pulitzer Prize-winning novel; Collaborating closely with visionary director Park Chan-wook to bring his unique vision to life; The extensive previs and planning process that went into executing the show's complex VFX sequences; Overcoming the challenges of creating digital doubles and face replacements for Robert Downey Jr.'s multiple characters; Ensuring geographical and historical accuracy while shooting on location in Thailand and Vietnam; Making confident, split-second VFX decisions on set to keep production moving forward; Lessons learned from his experience on other shows like S.W.A.T., Dollface, and Sweet Tooth; Practical advice for up-and-coming VFX artists looking to break into the industry; And so much more! If you enjoyed this episode, Allan would greatly appreciate it if you could take a moment to share it with others who might find it valuable. Your support means the world to him! Listeners are invited to dive into this fascinating conversation with Chad Wanstreet and discover the behind-the-scenes secrets of creating high-end VFX for a prestige series like The Sympathizer.

Renowned AI expert and YouTuber Olivio Sarikas shares insights on AI image generation, tools, and techniques for artists. Topics cover navigating AI communities, upscaling images, custom models, career opportunities in AI art, and balancing time for AI courses and artwork. Future VFX adventures teased.

In this episode, Allan McKay interviews Roxana Baldovin, an esteemed music video and commercial director known for her vibrant visual style. Roxana discusses her creative journey, from her early aspirations of being a screenwriter to becoming a sought-after director collaborating with major artists like Snoop Dogg, Steve Aoki, Doja Cat, Bella Poarch and Maluma. She shares insights into her creative process, the challenges of directing, and how she finds inspiration. Roxana also opens up about imposter syndrome, the importance of preparation, and rolling with the punches on set. Finally, she discusses her upcoming projects including a TV show and one-woman stage show.   Links Website - https://roxanabaldovin.com/ Instagram - https://www.instagram.com/senoradirectora YouTube - https://www.youtube.com/@senoradirectora4819/videos   Show notes - https://www.allanmckay.com/448

In the latest episode, I'm excited to spotlight David Wahlberg, an esteemed 2D Pipeline Supervisor and Comp Supervisor at Important Looking Pirates VFX in Stockholm, Sweden. With an expansive career of over 17 years, David has traversed the globe, contributing his vast skills to studios in Stockholm, Oslo, London, Sydney and Wellington. His work encompasses roles as a comp supervisor, senior compositor, and a pioneer in developing tools and plugins for Nuke, leveraging his programming expertise in C++ and Python to advance the VFX industry. David's portfolio boasts participation in major productions such as "The Book of Boba Fett", "The Mandalorian", "Star Wars" sequels, "The Hobbit" series, and more. He is also the founder of Pixelmania, a company at the forefront of AI-powered VFX tools, showcasing his passion for merging technology with visual effects. For insights into David's influential work and Pixelmania's innovative tools, visit www.pixelmania.se. Join us as we dive into the world of visual effects with David Wahlberg, exploring the blend of art and technology that defines his career and contributions to some of the most iconic visuals in film and television. https://www.imdb.com/name/nm1996338/ https://pixelmania.se/ https://www.ilpvfx.com/      

Quick updates on many things happening in 2024 and on the Podcast! Resuming back to the normal Podcast starting next week but thought I would share views on AI, the industry as it is right now in Q1 of 2024 and more!

Karen Heston is a VFX Supervisor on feature films and episodic tv. They began their VFX career at commercial houses in NYC on the night shift; while finishing their MFA in computer art by day.  Starting as a Flame artist, they led VFX teams and engaged with creatives from storyboards to finals. On-set supervision and taking projects from pre-production through post remains their passion today. Karen’s projects include titles like GREEN LANTERN, BEASTS OF NO NATION, OCEAN’S EIGHT, and most recently GEN V. In this Podcast, Allan McKay interviews VFX Supervisor Karen Heston about their creative journey as a VFX Supervisor on GEN V, the spinoff of THE BOYS; as well as their experience studying cinematography at NYU, switching to visual effects, the learning experience as a the main vendor on Cary Fukunaga’s BEASTS OF NO NATION, and so much more! For more show notes, visit www.allanmckay.com/445.