Episode 532 - Josh Safdie’s Marty Supreme and the Invisible Mastery of Eran Dinur
Release Date: 01/19/2026
Episode 542 - Refuge VFX: How a Portland Boutique Landed Fallout, Shogun, and One Piece
CG Garage
Portland, Oregon is not where you expect to find a VFX studio with credits on Fallout, One Piece, Shogun, and The Peripheral. Fred Ruff built Refuge VFX there anyway, starting with six freelancers crammed into an office barely big enough to breathe in, and grew it into one of the more interesting independent shops working in streaming today. The secret, if there is one, is that Refuge treats every sequence as a storytelling problem before it is ever a technical problem. On Fallout, they blocked out shots the production couldn't afford to ask for and sent them anyway. On The Peripheral, they...
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Episode 541 - Ashay Javadekar: The Clapperboard Is 100 Years Old and Nobody Fixed It
CG Garage
Most filmmaking tools are built by engineers who have never made a film. Ashay Javadekar has done both. A PhD chemical engineer who directed two internationally awarded independent features on shoestring budgets, he approaches filmmaking the way he approaches any hard system: find the broken process, understand it from first principles, and build something better. Eagle Slate, his iPad-based smart production slate, is the direct result of that instinct. It creates a unique audio-visual fingerprint for every take, embedding metadata directly into camera and audio files with no extra hardware,...
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Episode 540 - Sean Rourke: The Third Floor and the Tuesday Night Writers Group
CG Garage
There's a Tuesday night writers group that has quietly shaped the careers of some seriously talented people working in Hollywood right now, and CG Garage is slowly pulling back the curtain on it. Sean Rourke is the second member of that group to come on the show, following Andy Cochrane, and his path through the industry is one of the more unlikely and instructive ones you'll hear. He spent 12 years as Head of Editorial at The Third Floor, the previz studio behind some of the biggest films in production, and he got there by being the only person in the building who remembered how to unjam a...
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Episode 539 - Ryan Kelsey on Why Boutique Cloud is the Secret Weapon for Indie VFX Studios
CG Garage
Most people who end up in VFX spent years obsessing over frames and film. Ryan Kelsey spent 13 years in telecom in Cincinnati, selling fiber and managed IT services, before stumbling into an industry where studios win Oscars and go bankrupt in the same month. That collision of worlds turns out to be exactly the perspective the business needs right now. Ryan is VP of Sales at Center Grid Virtual Studio, and his outsider's eye cuts through a lot of the noise around cloud infrastructure for creative studios. Why are small VFX shops still running overheating GPU racks in their back offices? Why...
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Episode 538 - Jess Loren on Gaussian Splats, AI Actors, and the Real Future of Virtual Production
CG Garage
Jess Loren has built one of the most-followed voices in the entertainment technology space on LinkedIn, and she has earned it by calling industry shifts before they become consensus. Her read on Gaussian splats as a genuine production tool, not a novelty, is proving correct. As co-founder of Global Objects and a board member of the Visual Effects Society, Jess has spent the last year turning that conviction into working pipelines: partnering with XGrid as California's media and entertainment distributor, building Go Scout for collaborative splat-based location scouting, and installing a...
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Episode 537 - Lights, Camera, VidViz! Richard Crudo Joins Chris and Daniel to Plan Our Western: June July
CG Garage
Here is a radical idea: what if you rehearsed the movie before you shot it? Not storyboards. Not an animatic. Live actors, real cameras, and actual creative decisions being made in the room. That is what Chris Nichols and Daniel Thron have been doing on June July, and cinematographer Richard Crudo, ASC joined them to find out if it actually works. Richard brings perspective from the Coen Brothers' dime-store ingenuity on Raising Arizona (yes, an Arri 2C strapped to a two-by-four), decades navigating the film-to-digital transition, and a long-standing argument that the industry has built a...
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Episode 536 - Stop Waiting for the Studio to Save You: Andy Cochrane on the New Media Frontier
CG Garage
Why are we still waiting for a green light from people who do not understand our craft? This reality is at the heart of our conversation with Andy Cochrane, a creative who has spent twenty years navigating the collapsing bridges of the entertainment industry. Andy takes us through the trenches of his career, from the grueling 70-hour weeks as a runner on CSI: Miami to the high-stakes visual effects world of Asylum and Terminator Salvation. We discuss the hard realization that being a "button pusher" in a massive pipeline is no longer a safe bet, and why the most vital work is now happening in...
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Episode 535 - Rob Nederhorst and Ben Hansford: The end of "good enough" in filmmaking
CG Garage
The "good enough" era of streaming is hitting a wall, and a new rebellious streak in Hollywood is reclaiming the theater as the primal source of the cinematic experience. We are joined by two veterans navigating this shift: Rob Nederhorst, a VFX supervisor who has shaped the visceral worlds of John Wick 3 and The Conjuring, and Ben Hansford, a prolific commercial director now leading the charge in AI filmmaking at USC. They are not just talking about tech for tech's sake. They are discussing how to move past the "lens test" phase of AI, where everyone is just showing off what the tool can do,...
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Episode 534 - Why Safdie and PTA are Saving Cinema: Marty Supreme and One Battle After Another Breakdown
CG Garage
If the movies you’re seeing lately feel like they were assembled by a committee rather than a creator, you’re looking at the wrong side of the lens. We are dusting off a classic format today, leaning into the kind of raw film breakdowns we used to live for. The spotlight is on two heavyweights: Josh Safdie’s Marty Supreme and Paul Thomas Anderson’s One Battle After Another. Both of these pictures have just locked in Best Picture nominations for the 2026 Academy Awards, and it feels like a signal fire. After years of franchise fatigue and focus-tested safety, we are looking at a lineup...
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Episode 533 - Jeff Okun’s Decades-Long Battle for VFX Respect and the Future of the VES
CG Garage
Long before he was codifying the industry in the VES Handbook, Jeff was a kid in Los Angeles pouring ketchup on his friends to stage fake street fights for a hidden camera. His journey into the heart of cinema began under the mentorship of graphic design icon Saul Bass, where he learned that pushing the right buttons could lead to miraculous results. This foundation in precision and storytelling propelled him from a midnight gopher to the primary "fix-it guy" for landmark projects like The Last Starfighter and Stargate, ultimately leading to his pivotal role in founding the Visual Effects...
info_outlineJosh Safdie’s Marty Supreme transports audiences to a vibrant 1950s world of professional ping pong, yet many viewers remain unaware that the film contains over 500 visual effects shots. Eran Dinur, the film’s VFX Supervisor, reveals how his team meticulously recreated period accurate crowds in Tokyo and Wembley while keeping the digital work entirely "invisible." He views his role as a bridge between the filmmaker’s vision and the technical reality on set, ensuring that every digital element supports the story without drawing attention to itself. For Eran, the ultimate compliment is a viewer who walks out of the theater believing every single frame was captured in camera.
The transition into high end visual effects was an unlikely one for Eran, who spent fifteen years as a classical music composer before a random software download steered him toward ILM and eventually the Safdie Brothers. This musical background provides a unique perspective on the rhythm and "choreography" of effects, whether he is timing CG ping pong balls to Timothée Chalamet’s performance or animating the surreal openings of Uncut Gems. Beyond the technical craft, he addresses the current industry backlash against CGI and the marketing trends that prioritize "practical only" narratives. He also offers a practical look at the future of AI in cinema, arguing that tools are only as good as the control an artist has over them.
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