CG Garage

Most VFX supervisors trained on tentpoles have no idea how to make an independent film. Ed Douglas (VFX supervisor on Kane Parsons' Backrooms ) and Peter Timberlake (VFX on Curry Barker's Obsession ) have built careers doing exactly that, and they're back with Chris and Daniel for a Rough Cut on where VFX leadership is heading. Ed recently bid the same work at $8,000 with a legacy vendor and $250...

Jonathan Goldman called CAA to find out if his agent still worked there, and the replies to his Threads post said more about Hollywood's middle layer than most trade coverage this year. Jonathan has spent thirty years on the development side of the business. He started as Phillip Noyce's assistant, directed second unit for him, then rose from story producer to showrunner at Thom Beers' Original Pr...

Warner Bros. was ready to write off Coyote vs. Acme , and after a sale to another company it has taken in about $85 million as of this episode's release. That sits inside a summer that put $4.7 billion through the box office, a record in dollars with ticket sales still short of the peak, and theaters full of young people lining up for smaller originals like Buddy alongside Nolan's Odyssey and Spid...

Kane Parsons was 19, had never worked inside a professional visual effects pipeline, and had taught himself the shots he needed in Blender in his bedroom. Edward Douglas, VFX supervisor on Backrooms (also Long Legs , Keeper , and multiple Oz Perkins films), built the production pipeline to fit him: direct access to vendor files, animation, and cameras, so Kane could work the same way he always had...

Chris and Daniel are thrilled that Widow's Bay is now shooting its second season, and they've brought on Brian Drewes, the man whose team at Zero VFX made the show's VFX disappear, to talk about how they did it. Drewes and his crew are based in Massachusetts, and the show's authentic New England vibe, the peeling paint, the real fishing towns, the moldy-book-smell houses, comes from a team that ac...

Nobody thinks Obsession has visual effects. That's the point. Peter Timberlake, the VFX supervisor behind one of the year's biggest indie breakouts, joins Chris and Daniel to break his silence on work so subtle most audiences never register it as VFX at all. The centerpiece is the character Nikki: rather than fighting to escape the uncanny valley, director Curry Barker asked Timberlake to push str...

Easy Rider is not a good movie. It's a chaotic, half-improvised, drug-fueled mess that stumbles for its first half and only becomes a movie in retrospect, once the ending lands. And that's exactly why Chris and Daniel keep coming back to it. Joining them is Richard Crudo, ASC, who spent years in friendship with László Kovács, the film's cinematographer, and brings firsthand insight into how a low-...

Alana Newell is CEO of Crafty Apes, a company that grew through the worst stretch this industry has seen in decades. She got there the rare way. She came up as a compositor, ran 2D, and took on what was effectively a chief operating officer (COO) role at Rising Sun Pictures because she was tired of watching the end of the pipeline absorb every problem created upstream. Then she went and got a mast...

Spider-Man just posted the biggest opening weekend in box office history, and Chris, Daniel, and returning panelist Todd Perry dig into why, right after a year of everyone insisting the superhero genre was dead. From there the panel tackles Kitbash3D's surprise acquisition of ArtStation and Sketchfab from Epic Games, the strange history of ArtStation's own anti-AI protest era, a visibly shrinking...

Steven Spielberg doesn't want you to know his aliens aren't real. That's the standard Matthew Butler had to hit on Disclosure Day : total photographic believability, zero tolerance for anything that reads as fantasy, even when the story is about a supposed decades-long government cover-up of extraterrestrial contact. Butler has been Spielberg's go-to VFX supervisor for grounded, "make it real" wor...

Is it a good movie if you have to watch it ten times? That's the question Chris and Daniel keep circling back to as they take on Christopher Nolan's The Odyssey, skipping the marketing noise and the wireframe-cyclops conspiracy theories to actually ask whether the thing works as a film. They dig into what Nolan is doing as a filmmaker, structurally and emotionally, in his adaptation of the oldest...

Something is shifting in independent film right now, and Ron Cohen, one of the producers on June July and a veteran of physical production, is exactly the person to make sense of it. Chris and Daniel bring him in for a wide-ranging conversation that touches on everything from The Odyssey 's marketing to the A24 backlash of the moment, but the real news is that the team just wrapped a shoot on June...

Steven Spielberg is the most famous filmmaker alive, which is exactly why almost nobody actually understands him. Chris and Daniel use Disclosure Day , Spielberg's new alien chase thriller with Emily Blunt, to argue that the "safe, mainstream" reputation is a decades-long misdirection: underneath the crowd-pleasing surface is a genuinely weird, deeply personal artist who has been smuggling strange...

A24 announced a $75 million research partnership with Google DeepMind and framed it as R&D for production tools, not a content deal. Nobody cared about the distinction. Chris, Daniel, and James Blevins spend the first half of this Rough Cut on why that announcement landed like a betrayal anyway, then pull the same thread through the Paramount Skydance and Warner Bros. Discovery merger, Mark Ruffal...

Doug Trumbull spent fifty years trying to convince Hollywood that the way movies are projected is fundamentally broken, and most of the industry never listened. The visual effects supervisor behind 2001: A Space Odyssey , Close Encounters of the Third Kind , Blade Runner , and Star Trek: The Motion Picture , and the director of Silent Running and Brainstorm , Trumbull passed away in 2022. This con...

Hnedel Maximore did not come up through the traditional VFX pipeline. He started drafting floor plans in Liberia, studied architecture in Michigan, got laid off during the housing crash, and worked his way across industries before landing at Speed Shape in Detroit doing automotive commercials. That's also where he and Chris first crossed paths, years before either of them could have predicted wher...

For years Chris and Daniel have been saying the corner was going to turn, that history would repeat itself the way it did in the 1970s. It turned. Jason Blum said the same thing last week. Two horror films made by twenty-something YouTubers just proved everything the studio system has been getting wrong, and the box office numbers are not being polite about it. Obsession cost under a million dolla...

Hollywood is having a Marie Antoinette moment. The people running studios and making AI announcements have no idea how their decisions are landing with the audience that actually buys tickets, and the backlash to Jorge R. Gutierrez announcing Punky Duck as an AI project is just the most recent and visible proof. Chris and Daniel are joined by Trina Renee, a studio-side post producer whose client c...

Sergio Cilli is going to get hate from both sides. The pro-AI crowd thinks he's mocking their tools. The anti-AI crowd thinks he's a hypocrite for using them. He's fine with that. Cilli is a director and writer who came up through sketch comedy and the writers' room of a David Spade Comedy Central show, went on to the Late Late Show as a segment producer, built a commercial directing career throug...

Gothic horror is having a moment, and Justin Denton got there before the wave. His feature The Curse of the Sin Eater is now streaming on Prime, built for under a million dollars with 19 shooting days, a single private benefactor, Chicago theater actors, an English manor that half-burned down and got rebuilt by hand, and a composer found on Spotify who bowed his guitar like a cello because he didn...

The man who invented nonlinear editing is not done disrupting filmmaking. Bill Warner, founder of Avid Technology and the engineer behind the tool that unlocked the indie film revolution of the 1990s, has spent the last several years pushing a new idea at Lightcraft: a CAD system for movies, built to take a filmmaker from first idea to final pixel without ever losing control to the technology alon...

A movie from 2006 looks like it could have come out last year. The cars are the same. The computers are the same. The fashion, the cinematography, the music -- all of it effectively unchanged. Chris and Daniel use The Devil Wears Prada as a lens to ask a question that goes well beyond film: has Western pop culture simply... stopped moving? The conversation covers the film's craft -- Meryl Streep's...

Marc Rienzo is a veteran VFX artist and supervisor with his roots deep in compositing -- the kind of career that runs through Digital Domain, Sony, Weta, and the first Spider-Man 's web-swinging climax, a shot he was literally escorted away from by a PA to make sure he went home after three days straight. That obsessive standard for invisible work turns out to be exactly the skill set that matters...

Hollywood isn't dying. It's being deconstructed and reassembled into something nobody has a blueprint for, and the people falling into the water right now are the ones who have to figure out what the new ship looks like. Chris Nichols, Daniel, and James are recording this one from a moving car, driving from Los Angeles to Angel's Camp, California for a live location shoot on their Monstrous Moonsh...

Hollywood has been gatekept for decades, but a multi-hyphenate who has appeared in films with Arnold Schwarzenegger and Werner Herzog, co-written a screenplay with Stan Lee, and produced for VH1 and Comedy Central is now building something the studios never could have given him. Victor Varnado, stand-up comedian, actor, filmmaker, National Science Foundation grant recipient, and CEO of Supreme Rob...