Patrick Osborne — Animator, Writer, and Director
What does it take to become a director? Patrick Osborne, the man behind Disney’s Oscar-winning animated short “Feast,” talks about his adventures in Hollywood.
What does it take to become a director? Patrick Osborne, the man behind Disney’s Oscar-winning animated short “Feast,” talks about his adventures in Hollywood.
Blur Creative Director Franck Balson and CG Supervisor Gabe Askew talk cel-shading for Love, Death & Robots’ “Suits” and the trailer for Riot Games’ “Valorant.”
Dmitry Vinnik has worked on Game of Thrones, Tron: Legacy and Stranger Things. He tells us how crucial V-Ray for Maya has been throughout his career.
From “The Matrix Revolutions” to “Epic” and “Rio:” Blue Sky Studios compositor and short film director Ari on how he’s always chosen to follow a creative path.
Andrew Murdock’s CG explores distant moons, microscopic cells and robot worlds. Find out about his independent approach — and how his projects could save lives.
What started as an R&D project evolved into a thought-provoking short film. Here’s how Nu Boyana FX used V-Ray for Maya to create a photorealistic digital human.
Meet Yining Karl Li, the software engineer who’s helped Disney create the Hyperion rendering tech behind “Big Hero 6,” “Moana” and “Raya and the Last Dragon.”
Shuzo Shiota’s Polygon Pictures has produced TV shows including “Star Wars” and “Transformers.” He explains how Japan’s art has found a big audience in the west.
Graduates of South Korea’s Science Fiction Film School now work in Hollywood and beyond. Find out how they’re taught technical and creative skills.
CG artist Pedro Conti had just 6 weeks to deliver high-quality content for musical megastar’s latest promo. Here’s how V-Ray for 3ds Max helped him hit deadlines.
It's "Showtime!" Maciej Kuciara's short film is a beloved and meticulous tribute to anime classics. Discover how V-Ray for 3ds Max helped him create it.
From skateboards to storyboards: Jose Gomez has founded fashion companies and created stunning motion graphics and commercials. He tells Chris his amazing story.
Frank Rueter reveals how adding V-Ray for Nuke to OHU Domes’ pipeline helped the small team produce a new level of quality across three short planetarium films.
New features added to V-Ray for Houdini including custom AOV material input, IPR debug shading, an easier interface and much more.
When industry legend Jim Lammers isn't creating 3D content, including "Archer" sets, he's purveying the latest VFX software. He tells Chris and Lon his story.
Senior Motion Designer & Art Director, Carlos Gálvez, details the V-Ray for Cinema 4D tricks that helped him render a celebratory moon landing for the BBC.
Examining “The Witness:” Director Alberto Mielgo on making one of “Love, Death & Robots’” most memorable episodes — and his dreams of animated Oscar success.
Esdras Varagnolo powered up Pixar’s pipeline — and now he’s bringing his expertise to Skydance. He tells Chris about his incredible, boundary-pushing career.
ALIEN studio loves a 3D production challenge. 1,200 frames for an O2 Slovakia ad campaign was a chance to put V-Ray & RANCH computing’s render farm to the test.
“Terminator: Dark Fate,” “Love, Death & Robots” and “Deadpool” director, Tim Miller, returns to CG Garage to offer a human perspective on the Hollywood machine.
From Sao Paolo to Los Angeles: How music and animation have helped CG Artist and Director Pedro Conti get through tough times and be true to his heart.
Andrew Gordon, the man behind some of Pixar’s most iconic characters, discusses his 20-plus years of experience working alongside legends and his move to DNEG.
How Pedro Conti and Fernando Peque rendered what’s in their hearts for Ron Artis II. Go behind the scenes and learn about their first experience with Phoenix FD.
“A Poni’s Challenge” is a 5-minute animation fuelled by a 4-year-old’s imagination and rendered with the power of V-Ray and Chaos Cloud. Learn how it was made.
