Pipeline Development Engineer / Artist Will Anielewicz talks about Pepsiman, Phantom Menace, Iron Man, and art in CGI Fridays Episode 8.

In part two of his interview, digital painter and animator Adam Howard tells Ed Kramer about his work on the Star Wars prequels with Industrial Light & Magic and working with cinematographer Emmanuel Lubezki and director Alejandro González Iñárritu to create the seamless one-take fake of Birdman or (The Unexpected Virtue of Ignorance) in CGI Fridays Episode 7.

From a firefighter’s mosaic to phasers and photon torpedoes, digital painter and animator Adam Howard reveals a passion for pyro in CGI Fridays Episode 6.

From answering the phones at ILM to previs on The Phantom Menace, Alia Agha tells Ed Kramer how she became a “matchmove master” in CGI Fridays Episode 5.

Probably the only person at ILM to prefer Star Trek over Star Wars, Henry LaBounta shares his incredible visual effects career with Ed Kramer on CGI Fridays Episode 4.

From pitching Disney's Tron to opening the Stargate, all way through to Judge Dredd and X-Men, Research and Development Artist and Programmer Frank Vitz discusses how he got started in the visual effects industry and how his career in CGI evolved with the changing technology. He contributed to the visual effects of the late Doug Trumbull’s multimedia Luxor Las Vegas attraction, and its spiritual successor, Roland Emmerich’s ancient astronaut action movie and accidental franchise-starter, Stargate (1994).

From Tron and Tide commercials to Stargate's breathtaking transformations, Flight of the Navigator's liquid metal ship, and X-Men's morphing Mystique, Jeff Kleiser shares his story of how he launched his own CGI company with Ed Kramer in the second episode of his CGI Fridays podcast.

From clown college to CGI, practical modeller turned digital modeller Mark Siegel talks Ghostbusters, Star Wars, ET, Planet of the Apes, Van Helsing, Pirates of the Caribbean, and getting into the visual effects industry in Ed Kramer’s CGI Fridays podcast. If you’re looking for entry points into the industry, then Mark Siegel is a pretty unorthodox example, but perhaps that’s what makes it so inspiring. His career goes from a slapstick starting point to sculpting Klingon foreheads in Star Trek III: The Search for Spock to puppeteering some of 80s cinema’s craziest critters in Ghostbusters, and then into the emerging field of CGI as a stalwart of Industrial Light and Magic.