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 virtual production wall inside ISS (Independent Studio Services) where filmmakers can shoot a full day on LED for $6,000, props included.
Recorded live at the HPA (Hollywood Professional Association) Tech Retreat in Palm Springs, this conversation covers why polygons are giving way to splats, how AI is quietly restructuring VFX workflows, the uncomfortable reality of synthetic actors and deepfake-flooded social feeds, and what happens when a research lab asks you to find 40,000 random objects for training data and you realize the answer is a prop house. Jess also breaks down Global Objects' partnership with ISS to digitize the world's largest prop library, creating 3D assets destined for Fab, Turbo Squid, and eventually, robot training sets.
//links//
Jess Loren on LinkedIn > 
Global Objects > 
Independent Studio Services (ISS) > 
XGrid > 
Visual Effects Society > 
HPA Tech Retreat > 
This episode is sponsored by:
Center Grid Virtual Studio
Kitbash 3D (Use promocode "cggarage" for 10% off)

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 priesthood around tech complexity that actively gets in the way of the story. What he found in the VidViz sessions was the opposite: a blue screen, a rough key in OBS, and a team moving fast enough to make creative breakthroughs that quietly rewrote the arc of the entire film. One actor's performance changed the screenplay without changing a single line of dialogue. That kind of discovery does not happen in a pipeline. It happens in a room.
Links:
Monstrous Moonshine > 
Richard Crudo's website >
Chaos Vantage >
Chaos Arena >
This episode is sponsored by:
Center Grid Virtual Studio
Kitbash 3D (Use promocode "cggarage" for 10% off)

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 the "weird stuff" between traditional film and immersive technology.
The future of storytelling belongs to the tactical generalists who are willing to build their own labs rather than wait for a studio to discover them. We look at how Markiplier bypassed the traditional, expensive studio marketing machine by leveraging his own fanbase to bring Iron Lung to life, and why artist-driven projects like Everything Everywhere All at Once have become the new blueprint for success. Andy breaks down his current mission in Santa Monica, where he is bypassing traditional distribution models to create "Loud Movies," an open-source medium that prioritizes human experience over corporate commodification. It is a deep dive into why the most important tool in your kit isn't a new piece of software, but the willingness to keep moving while the building collapses around you.
The CG Pro Show >
Andy Cochrane on LinkedIn >
Andy Cochrane on IMDB >
Mark Duplass: The Cavalry is not Coming > 
 
This episode is sponsored by:
Center Grid Virtual Studio
Kitbash 3D (Use promocode "cggarage" for 10% off)

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, and getting back to the actual discipline of telling a story that makes an audience physically flinch.
The conversation pivots from the "all-or-nothing" marketing hype of AGI to the practical, gritty reality of modern production budgets. As Netflix-style algorithms push for "dumbed down" content designed for second-screen scrolling, these creators are using tools like VidViz (being championed by Monstrous Moonshine) to fight back. We explore how AI is fundamentally altering the landscape of what is affordable and accessible, allowing independent filmmakers to compete with massive studio footprints. Ultimately, it is a breakdown of why a $35 million set and a toilet paper roll prop are both just tools, and why the only metric that matters at the end of the day is finishing a film that carries a human fingerprint.
Monstrous Moonshine's VidViz for June July >
"Another" by Dave Clark | AI Horror Film - Rob Nederhorst, Producer and VFX Supervisor >
Ben Hansford's website >
Rob Nederhorst's website > 
Ben Hansford on IMDB >
Rob Nederhorst on IMDB >
 
This episode is sponsored by:
Center Grid Virtual Studio
Kitbash 3D (Use promocode "cggarage" for 10% off)

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 that suggests great, uncompromising cinema is finally clawing its way back to the center of the frame.
Fair warning: we aren't holding anything back here, so consider this a total spoiler warning. We are going deep into the structure, the endings, and the technical magic tricks that make these films work: from the anxiety-inducing rhythm of Safdie's 1950s ping pong subculture to Anderson's mastery of the long-lens Mojave car chase. This year's nominations feel like a turning point, a collective realization that the audience is hungry for movies that challenge them rather than just pat them on the back. It's a look at why the "cavalry isn't coming" for Hollywood, and why that might be the best news we've heard in decades for anyone who actually cares about the craft of visual storytelling.
//links//
Monstrous Moonshine >
Marty Supreme Trailer >
One Battle After Another Trailer >
Original Ending of Marty Supreme >
 
This episode is sponsored by:
Center Grid Virtual Studio
Kitbash 3D (Use promocode "cggarage" for 10% off)