This is a hot topic with "No AI" trending on Artstation and pending court cases we spoke to Director, Filmmaker and Game Designer Alvaro García Martínez who has been heavily engaged with this topic. 

Alvaro worked as VFX Artist for 10 years at London's top studios before founding Mayhem Mirror, his own Game Design studio. So he has experience as an employee an independent creator and as an employer of artists. 

As Alvaro says, "I am not against AI, but against the unethical use of AI". But what does that mean? 

00:08:00 : If it feels wrong it probably is wrong 

00:42:30 : Translating emotions into actions

Markers powered by [Chaptered.app](https://Chaptered.app) As always, if you liked this episode, please like, comment, subscribe and share!

Listen to all episodes on our website https://www.thevfxartistspodcast.com/#vfxpodcast#compositing#motioncapture

AI - a Historical Moment, with Alvaro García Martínez from Mayhem Mirror | TVAP EP52

An Unreal Engine Discussion, with Filipe Magalhães, Realtime Supervisor at NVIZ | TVAP EP27

In this episode, Kofi chats to Filipe Magalhães, Realtime supervisor at NVIZ about Unreal engine and all things realtime.

We do a deep dive into Unreal engine in the use for previs, VFX, and Virtual production, compare it to Unity, and retrace Filipe's journey into the industry.

Following up on that, we discus the education, diversity and representation in the VFX industry, neurodiversity and more.

A very well packed episode, not to be missed!

As always, if you liked this episode, please like, comment, subscribe and share!

Listen to all episodes on our 


00:00:00 Episode Overview
00:02:05 intro
00:02:32 Introductions and a bit about Filipe
00:09:52 When did you realise you had a creative interest?
00:13:10 Differences between unreal and unity and why the previs/postvis, VFX and virtual production industries have adopted unreal over Unity
00:18:06 What do you generally use unreal for and how does the workflow differ between previs/postvis, VFX and or virtual production
00:32:33 What are the common requests/demands from directors and what does it take to provide the right tools and results in a fast environment
00:40:48 Non handheld virtual camera challenges in Unreal
00:42:44 What does Unreal lack or can be improved
00:48:23 How technical does one need to be when using unreal
00:55:44 Is non-realtime rendering a thing of the past
00:58:45 Favourite non-real time renderers and why
01:00:27 Achieving diversification and representation in the VFX industry
01:05:44 Assets and Unreal showreel advice
01:08:10 Career path advice
01:14:29 The importance of parental support in finding self
01:18:31 Conclusion

Being a black artist in the games and VFX industry, pre-rendered cinematics vs unreal engine | TVAP EP15

In this episode, we chat to Floyd Billingy, a U.K. based realtime supervisor and environment artist for the games and VFX industry about his transition into the industry, how he became an environment artist and a realtime supervisor, as well as how black artists perceive and feel about working in the gaming and VFX industry.



Floyd's career is colourful, and it's led him to be part of artists who have brought us some great cinematics and video games for some incredible AAA games, such as Gears of War, Diablo II Resurrected, War of the Spark, Throne of Eldraine and more.

Of course, we couldn't talk about video games, without talking about unreal engine. We go on to discuss the evolution of unreal engine, as well as discuss pre-rendered cinematics versus realtime workflow, and how life was life for video game artists before unreal engine.




00:00 - What to expect in this episode
1:45 - Host intro
2:08 - Journey as a student into entering the industry
5:26 - First industry job
6:03 - Working at Rare studios
7:26 - Working in mobile video game industry and living abroad
8:08 - Working at Splash damage
10:17 - Transitioning from the game industry into the vfx and animation industry
12:30 - What/who inspired the moving into the gaming and vfx industry
14:35 - What’s the role of an environment artist
15:54 - How competitive is it when trying to get into thee gaming or vfx industry
18:33 - What’s the difference between environments for games vs cinematics
22:45 - Titles/credits of shows worked on
27:08 - Unreal engine
31:39 - Diversity in the industry
40:19 - Highlights of working in the industry so far
41:34 - Advice from an industry professional
43:09 - Conclusion



#vfxpodcast #unrealengine #diablo2resurrected

Being a black artist in the games and VFX industry, pre-rendered cinematics vs unreal engine, with Floyd Billingy | TVAP EP15

Being a VFX artist at some of the top VFX studios in the world, with Simon Legrand | TVAP EP13

In this episode, I chat to Simon Legrand, realtime Supervisor at Untold Studios in London about his journey into the VFX industry.

During this discussion, Simon shares his un-sugarcoated journey and story of the realities of the VFX industry, worth listening to.

We talk about some of the pros and cons of working in the VFX industry, and touch on topics such as overtime work and realties of how that and the industry culture can sometimes be dangerous for the mind frame, and in some unfortunate cases, temporarily or permanently hurt relationships, which is common to Simon's story.

Simon, in my opinion is a legend of an artist, with so much experience, having worked at incredible studios such as Animal Logic, Weta, ILM, DNEG, MPC and more, and on some incredible shows such as Avatar, Star Wars, Xmen, Rise of the planet of the apes and many many more!

Matchmove for film, AR, VR & XR with Sarah Gatefield | TVAP EP06

In this episode, I chat to senior matchmove artist and supervisor Sarah Gatefield about her experience and journey into the VFX industry. A journey which begun as a runner at Framestore London, leading on to freelancing at VFX studios such as MPC, DNEG, Trixter, Method Studios, Prime Focus Film, Pixomondo, Rise and more, on incredible films such as Harry Potter, Iron Man 3, Total Recall, The Martian, Jungle Book and many more!

We also go on to touch base on Sarah's route to dabbling a bit in the VR and AR industry.

Overall, an incredible experience and journey Sarah has been on and is still on, and one that can inspire generations to come!

Realtime