Episodes
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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.
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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.
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Missing episodes?
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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
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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.
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In this episode of the podcast, Allan McKay sits down with Olivio Sarikas, a renowned AI expert and YouTuber, to dive deep into the world of AI image generation. Olivio shares his extensive knowledge and experience working with various AI tools, providing valuable insights for both beginners and advanced users. The conversation covers a wide range of topics, from getting started with AI image generation to exploring the latest advancements in the field. Olivio offers practical advice on navigating the learning curve, finding the right tools, and unleashing your creativity with AI. He also discusses the potential career opportunities in the AI industry and shares his thoughts on the future of AI in art and media production. Whether you're an artist, a content creator, or simply curious about AI, this episode is packed with actionable tips and inspiring ideas to help you stay ahead of the curve.
Key Takeaways:
AI image generation tools offer a wide range of possibilities for artists, content creators, and businesses. Experimenting with different AI tools and techniques can help you find your unique style and unleash your creativity. Joining AI communities on Discord and Reddit is a great way to learn, get support, and stay up-to-date with the latest advancements. Custom training models and datasets can open up new opportunities for creating specific styles and assets. Embracing the fluidity and randomness of AI can lead to unexpected and inspiring results. AI is becoming an essential tool in various industries, and developing AI skills can enhance your employability and career prospects.Follow Olivio
Olivio's Twitter Olivio's YouTube Olivio's InstagramMentioned Tools, Websites, and Resources:
Midjourney Stable Diffusion DALL-E Krita ControlNet Automatic1111 ComfyUI InvokeAI OpenArt Civitai Hugging Face GitHub DreamShaper Juggernaut Chilloutmix RealViz RevAnimated Patreon -
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
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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/
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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!
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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.
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Josh Rosenbaum is a Producer at Waypoint Entertainment.
Josh majored in Business Administration at the USC Marshall School of Business and minored in Music Industry through the USC Thornton School of Music. Before he joined Waypoint Entertainment, he worked as an Agent Trainee at William Morris.
After joining Waypoint Entertainment in 2015, he worked his way up from being a Production Coordinator to now a Producer. Since joining Waypoint, he worked on titles like THE FAVOURITE, CUCKOO, MID90S, HOSTILES.
In this Podcast, Allan McKay interviews Producer at Waypoint Entertainment Josh Rosenbaum about his start in the entertainment business at William Morris; why relationships and strategy are the most important tools in building a career; how a production company chooses VFX vendors; why AI will never replace storytellers (including VFX artists); the behind-the-scenes of CUCKOO (to be released in 2024) – and so much more!
For more show notes, visit www.allanmckay.com/444.
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With 15 years in the VFX business, Jonas Ussing has supervisor credits on several feature and television titles, including the Netflix series THE RAIN. Jonas has furthermore earned nominations for an Emmy and a Danish Academy Award.
In 2012, Jonas was nominated for an Emmy for his work on INSIDE THE HUMAN BODY. In 2014, he directed a short film ZOMBIEHAGEN which he also wrote.
During 2023, Jonas launched his own YouTube Channel The Movie Rabbit Hole. He released two videos that have immediately gone viral in the VFX community, in which he talks about the collective publicity stunt in Hollywood on the subject of “NO CGI”. He does a deep dive into those projects that claim they used “no CGI” in the making, like TOP GUN: MAVERICK, BLADERUNNER, FAST 5 and STRANGER THINGS.
In this Podcast, Allan McKay interviews VFX Supervisor Jonas Ussing about the dangerous marketing rhetoric encouraged by studios about “No CGI” in films like TOP GUN: MAVERICK, BLADERUNNER, FAST 5; the inspiration behind Jonas YouTube Channel The Movie Rabbit Hole and the viral videos on the subject; the reaction of the VFX community to his content; surviving Hollywood Labor Strikes of 2023, whether VFX artists will ever get unionized – and so much more!
For more show notes, visit www.allanmckay.com/443.
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Infinite-Realities (IR) specializes in digital humans. Founded in 2007, IR has been developing static and motion scanning systems for over 15 years.
Lee Perry-Smith is the original Founder of Infinite-Realities. As CEO, he has led various large scale project developments. He has a deep passion for human scanning and the ongoing pursuit of the perfect digital human.
In this Podcast, Allan McKay interviews Founder of Infinite-Realities Lee Perry-Smith about his passion for digital humans and scanning technology, the inspiration for his launching of Infinite-Realities; his first feature film project STAR WARS: THE FORCE AWAKENS; 3D Gaussian Splatting, 4D capture, Artificial Intelligence – and so much more!
For more show notes, visit www.allanmckay.com/442.
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Kat Montagu is the Head of Writing for Film, Television and Games Program at the Vancouver Film School. She has taught for over 20 years in VFS’s Writing and Film Production Departments. Her Career Launch class has prepared countless VFS graduates to work on feature films, in the writers’ rooms of tv series and in video game studios. Kat has been named a VFS Instructor of the Year three times.
Kat is also the author of the best stilling book The Dreaded Curse: Screenplay Formatting for Film and Television. This twist on the how-to guide demonstrates best practices through a riotous story of two witches loosely inspired by her own family history, and is used to teach screenwriting at film schools and universities globally.
She is also the Senior Story Editor for Crazy8s and produced many short films and co-produced indie feature film THE PRODIGAL DAD.
In this Podcast, Allan McKay interviews Kat Montagu, the Head of Writing at the Vancouver Film School – as well as Writer and Producer – about finding passion for writing, the importance of the emotional journey in every story, what makes for a compelling story, why every department in film and tv production is involved in storytelling; as well as her own writing and teaching career at the Vancouver Film School.
For more show notes, visit www.allanmckay.com/441.
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Kris A. Truini was born in Middletown, Connecticut, and was raised in Italy until the age of 15. There, he first discovered his passion for film when he was 8 years old and has been making videos ever since. With little to no help for his first videos, he had to explore and learn as much as possible on every aspect involved in completing a film from start to finish. He acquired a good knowledge of software such as 3DS Max, After Effects, Photoshop, Premiere, Final Cut Pro X, FL Studio, along with other 3D applications, tracking programs and non-linear editors.
At the age of 15, he left his parents to go continue his school studies in the United States. He began to make tutorials and short videos posted on YouTube in the channel Kriscoart Productions. In the summer of 2010, he attended a film school at Maine Media Workshops.
After graduating high school in 2012, he moved to Florida to enroll in Full Sail University. There he continued to make videos and short films. One of his directing teachers offered him the position of Director of Photography, Editor, and Music Composer for his short REVERSE. His next short SPECULUM was a Finalist at the 2013 StartFest Florida Film Festival.
Kriscoart currently has over 436 Subscribers.
In this Podcast, Allan McKay interviews Kris Truini, the Creator of a successful YouTube Channel Kriscoart, about the inspiration for his Channel, the importance of building a supportive creative community, how to get over creative blocks, the future of AI, why both self-doubt and perseverance are part of the creative process, and so much more!
For more show notes, visit www.allanmckay.com/440.
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Rob Nederhorst is a veteran of the VFX industry. As a VFX Supervisor, he’s worked on titles like JOHN WICK: CHAPTER 3 - PARABELLUM, THE CONJURING, GHOSTBUSTERS, CAPTAIN AMERICA: THE FIRST AVENGER, and so many others.
Rob has deep knowledge in compositing, lighting, 3D, 2D and programming. In addition, he does his own photography (https://www.flickr.com/photos/71678094@N00/) and teaches at University of Southern California.
In this Podcast, Allan McKay interviews VFX Supervisor Robert Nederhorst about his viral Generative AI Webinar for SAG-AFTRA Membership and the feedback that followed; the current CGI backlash and why the best visual effects are invisible; why AI will never replace VFX artists and why 2024 will be a year abundant with opportunities – and so much more!
For more show notes, visit www.allanmckay.com/439.
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Eric Wachtman is a CG / VFX Supervisor and Art Director at LAIKA where he’s been working for nearly 20 years. Prior to that, he served as the Director of CG / Visual Effects and Art Director at the Cartoon Network.
LAIKA was founded in 2005 in Oregon and is guided by the vision of its President & CEO Travis Knight. Located just outside Portland, Oregon, LAIKA was awarded a Scientific and Technology Oscar® for its innovation in 3D printing in 2016.
Its five films – MISSING LINK (2019); KUBO AND THE TWO STRINGS (2016); THE BOXTROLLS (2014); PARANORMAN (2012), and CORALINE (2009) – were all nominated for Oscars® and PGA Awards as Outstanding Animated Film.
MISSING LINK was the first LAIKA film to win the Golden Globe® for Best Animated Feature and was awarded two Visual Effects Society (VES) awards for Outstanding Visual Effects in an Animated Feature and Outstanding Animated Character, and received seven Annie Award nominations. KUBO received a second Oscar® nomination for Outstanding Visual Effects and won the BAFTA Award, as well as three Annie Awards, the National Board of Review's Best Animated Feature citation, and 19 regional and critics’ group awards. THE BOXTROLLS earned Critics’ Choice and Golden Globe Award nominations and 13 Annie Award nominations, more than any other film that year. PARANORMAN garnered BAFTA, Critics’ Choice, and GLAAD Media Award nominations, won two Annie Awards, and was cited as the year’s best animated film by 14 critics’ groups. CORALINE earned Golden Globe, BAFTA, and Critics’ Choice nominations and was named one of the year’s 10 Best Films by the American Film Institute (AFI).
In this Podcast, Allan McKay interviews the CG / VFX Supervisor at LAIKA Eric Wachtman about his experience working on award-winning titles of CAROLINE and PARANORMAN, his leadership in founding the Portland Chapter of VES, how curiosity and passion drives one’s VFX career, the secret to winning reels and so much more!
For more show notes, visit www.allanmckay.com/438.
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Alex Wang is a VFX Supervisor. He started his career in visual effects at The Orphanage on THE DAY AFTER TOMORROW, right after graduating from Ringling College of Art and Design in 2003. He then joined Image Movers Digital to work on THE CHRISTMAS CAROL and MARS NEEDS MOMS.
In 2010, Alex joined Digital Domain for TRON LEGACY, and then he worked on TRANSFORMERS: DARK OF THE MOON, JACK THE GIANT SLAYER and FURIOUS 7. He also served as a CG Supervisor on FAST AND FURIOUS 7 and then VFX Supervisor on DEADPOOL.
In this Podcast, Allan McKay interviews VFX Supervisor Alex Wang about creating the post-apocalyptic practical and visual effects of the Emmy-nominated HBO show THE LAST OF US, the skills of a VFX Supervisor, staying relevant by keeping up with technology, how AI is changing VFX pipelines and so much more!
For more show notes, visit www.allanmckay.com/437.
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Freelance is such a big topic in visual effects! For those of you starting in the industry, you’re probably wondering how to get your foot in the door. Ultimately, 2024 will be a very busy year. That means that those of you who are good should be ready to turn down work.
The first thing you need to think about is how you’re positioning yourself in the business: What are the special skills that you have that allow you to stand out from others? We are in a problem solving business. Positioning means that you know how to sell yourself – by providing solutions to the potential employer – as well as understand your worth. You need to be aware of what you bring to the table and how to sell yourself. (That also means that you’re aware of what you’re not good at, which gives you room for improvement.)
You also need to understand the needs of your employer. You show that understanding by providing a reel that sums up your best work – and is very heavily catered to the specific task that the employer is looking to fill. In addition, your cover letter must mention the position you’re applying for and your understanding of what the position entails. That allows you to position yourself as the go-to person for this role.
In this Episode, you’ll learn about:
How to create a winning reel that guarantees a chance for a job interview;
Where to find available work – and how to apply for those jobs;
How to do successful outreach to potential employers or human resources departments;
How to identify the most in-demand skills and innovate in new technology.
One of the advantages of 2024 is widely available remote job opportunities. That means that you can live anywhere. By living in a cheaper area, you’re able to lower your overhead and actually enjoy your lifestyle. That also means that nowadays you can work for any studio you want. Remember: It’s not just about being skilled as a VFX Artist – it’s about the right artist for the right job, at the right time.
In this Podcast, Allan McKay gives critical insight into how to find remote work and freelance work in 2024, how to be successful at outreach to potential employers, how to create a winning reel that guarantees employment, how to work for a dream studio remotely – and so much more!
For more show notes, visit www.allanmckay.com/436.
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Chris LeDoux is the Co-Founder of Crafty Apes, a VFX Supervisor and an Entrepreneur.
Born and bred in Alaska, Chris earned Bachelor’s degree in both psychology and sociology, but his fascination with filmmaking led him to the world of visual effects. He began his career in VFX as a compositor at The Orphanage in 2004. He worked at numerous studios such as Uncharted Territory, Cafe FX and Scanline.
Now a veteran of the film industry, his impressive resume includes compositing and VFX supervision on multiple titles, including 12 Years a Slave, Doctor Strange, Better Call Saul, among others. He has also directed music videos and led visual effects teams for U2, Chris Cornell, New Kids on the Block, Paramore, just to name a few.
Crafty Apes is a full service, boutique VFX company based in Culver City, CA & Atlanta, GA. The company was launched in July of 2011 by three visual effects veterans Jason Sanford, Chris LeDoux and Tim LeDoux. Believing that strong 2D compositing is the backbone behind quality visual effects, Crafty Apes was formed to primarily offer high-end compositing services for feature films and television clients.
Crafty Apes specializes in compositing effects and visual effects supervision. By paying extra attention to the detail and integration that 2D work requires and by working with the best technology available spread among a select group of artists, Crafty Apes can deliver a superior product to higher end clients in a shorter time period.
Their recent credits include: The Babysitter: Killer Queen, Lovecraft Country, Doctor Strange, Hidden Figures, Lalaland, Fist Fight, Pete's Dragon, Captain America: Civil War, Killing Reagan, Neighbors 2: Sorority Rising, Dirty Grandpa, Allegiant, Insurgent, Avengers: Age of Ultron, Black Mass, The 33, Foxcatcher, 12 Years a Slave, American Hustle, The Monkey King, White House Down, Single Mom's Club, The Last Stand, A Madea's Christmas and many more.
In this Podcast, Allan McKay interviews the Co-Founder of Crafty Apes, VFX Supervisor and an Entrepreneur Chris LeDoux about his inspiration behind launching of Crafty Apes; ROI and taking the risk out of starting a business; why empathy guarantees professional success – and so much more!
For more show notes, visit www.allanmckay.com/435.
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