VFX expert Mike Seymour is back with a new title and a new lipsync technique for Polish movie “The Champion.” Find out his thoughts on the rise of neural networks.

Academy Award-winner Jonathan Egstad reveals how he’s helped Nuke become essential CG software via movies including “Apollo 13,” “Titanic,” and “I, Robot.”

Celebrated artist and “Obi-Wan Kenobi” virtual art director Meats Meier discusses the positives and negatives of generating images with artificial intelligence.

From “The Adjustment Bureau” to “Beau is Afraid:” Director and VFX Supervisor Yuval Levy talks shooting cars, replacing faces, and artificial intelligence art.

How has the streaming boom affected visual effects work? Zoic’s “Legends of Tomorrow” VFX supervisor Andrew Bardusk reveals how episodic is the new cinematic.

Chris joins Prototype CTO Culley Bunker and Producer Richard Kidd to discover how machine learning and new techniques are taking digital humans to the next level.

Evan Jacobs pulls back the curtain on Marvel Studios’ well-oiled VFX pipeline and explains how he bridges the gap between DPs, directors, and CG supervisors.

From “Happy Feet’ to “Entergalactic:” Taylor Moll tells Chris how she’s traveled the world, learned to lead — and set up Dneg’s feature animation department.

Calligraphy is a unique fusion of mind, body, and art — and Aoi Yamaguchi has mastered the form. Find out how her performances are taking the medium to new places.

Discover the inner workings of theme park rides with Eugénie von Tunzelmann, who’s taken her VFX skills from “Interstellar” to “Jurassic World VeliciCoaster.”

“Spider-Man: No Way Home,” “Cowboy Bebop,” and “Boardwalk Empire” title designer Karin Fong on working with top talent to create the perfect credit sequence.

Crafty Apes CG Supervisors Sean M. Ritchie and Chris Cook discuss working on movies including “Dune” and “Spirited,” and reveal how tech will change the industry.

Pixar Animation Studios’ Marketing Manager talks about making “Toy Story,” and how artificial intelligence is changing some surprising elements of movie making.

Chris celebrates the podcast’s 400th episode in style with Scott Leberecht, the director whose documentary “Jurassic Punk” profiles VFX renegade Steve Williams.

The director behind Muse’s “You Make Me Feel Like It's Halloween” promo discusses the creative processes, as well as founding a small company and embracing AI.

From applied mathematics to “Space Jam,” “Finding Nemo” and “Klaus:” Animated movie producer Jinko Gotoh tells Chris about her incredible Hollywood journey.

Former Navy Seal Mikal Vega now directs “Call of Duty” content and he’s acted in “Transformers” movies. Find out how he balances destruction and creativity.

In her sights: World-renowned photographer and air rifle champion Zhang Jingna shares tips on how to take great shots and sheds light on the fashion industry.

Oliver Markowski, head of 3D at German VFX studio RISE, talks USD, Houdini, and Material X, and reminisces about the days of floppy disks and huge manuals.

Angie Jones has contributed to projects including “X2,” “Fortnite,” “Bloodshot,” and many more. Join her to find out what it takes to be a professional animator.

VFX legend Garman Herigstad sheds light on his globe-trotting career and talks about working on “O Brother, Where Art Thou?” “The Time Machine,” and “Black Adam.”

How do you make a high-quality animated TV series? Mio Markovic, DreamWorks’ VP of Animation Production, breaks down “Voltron,” “Camp Cretaceous,” and more.

Love Death & Robots’ supervising creative director breaks down “Bad Travelling,” “Jibaro,” “Three Robots: Exit Strategies,” and “The Very Pulse of the Machine.”

Scanline’s “Stranger Things” VFX supervisor talks Chris through a career that has taken in “The Nevers,” “2012,” “Super 8,” “Iron Man 3,” and “Tomb Raider.”