I then approached Matt Holben and Alex Hope because I’d never set up a company before. They wanted to make it more efficient and get their own people to do it. I said, “Yeah! That’d be great!” They funded the whole thing! They had the foresight into how post-production was becoming an integral part of the filmmaking process. They approached me and asked if I wanted to set up a company to make films. From that, they realized there was a need to service their productions to make them more efficient. And straight after that, we were jumping into Peter Hewitt’s Thunderbirds. I’ve been working with them on The Borrowers. Peter: It came down to Michael Kuhn who was then running Polygram and Tim Bevin who is a Co-Chairman of Working Title. In terms of DNEG, how did you get started? You’ve been around for a long time and DNEG is one of the biggest. Allan: I have to ask: You worked with Thomas and Friends, didn’t you? From then on, I kept my head down and kept going. I worked my way up until someone trusted me and said, “Hey, how would you like to supervise a film?” The first film I supervised was Hackers in 1995. Peter: Yeah, it was really model making and Roy Field, miniatures and optical effects. Allan: Thanks so much for coming on! How did you first start out? I believe you started in a more traditional background and grew from there. INTERVIEW WITH F9 VFX SUPERVISOR PETER CHIANG Check it out: ! This is a chance for you to put in your level of experience, your discipline, your location - and it will give you an accurate idea what you and everyone else in your discipline should be charging. One of the biggest problems we face as artists is figuring out how much we’re worth.
#Cinesync screen black for free#
You can get this book for free right now at ! Have you ever sent in your reel and wondered why you didn’t get the callback or what the reason was you didn’t get the job? Over the past 20 years of working for studios like ILM, Blur Studio, Ubisoft, I’ve built hundreds of teams and hired hundreds of artists - and reviewed thousands of reels! That’s why I decided to write The Ultimate Demo Reel Guide from the perspective of someone who actually does the hiring. I’m super excited to talk with Peter! He has a huge amount of experience going back to the late 80s, including with the incredible success of DNEG. Just to mention, Peter is the overall client-side Supervisor on this film so it’s not just DNEG, but also we talk about the overall scope of the film. We talk about DNEG: The studio and its projects, the rate of technological innovation, the challenges of COVID-19, and their most recent work on F9.
Welcome to Episode 319! I’m sitting down with Peter Chiang, the Co-Founder of DNEG and Critically Acclaimed VFX Supervisor who recently wrapped his work on Fast 9.
Upcoming Technology and InnovationĮPISODE 319 - F9 VFX SUPERVISOR - PETER CHIANG Digi Doubles and the Speed of Innovation
The Importances of Relationships in an Artist’s Career In this Podcast, Allan and Peter talk about the beginning of DNEG, the projects the studio has worked on, the rate of technological innovation, adapting to the challenges of COVID-19 and their most recent work on F9: The Fast Saga. Upcoming DNEG projects on behalf of its Hollywood and global studio and production company partners include Dune (October 2021), No Time To Die (October 2021), Ron’s Gone Wrong (October 2021), Last Night In Soho (October 2021), Ghostbusters: Afterlife (November 2021), The Matrix 4 (December 2021), Uncharted (2022), Borderlands (2022), Aquaman and the Lost Kingdom (2022), The Flash (2022), and Shazam! Fury of the Gods (2023). DNEG employs nearly 7,000 people with worldwide offices and studios across North America (Los Angeles, Montréal, Toronto, Vancouver), Europe (London) and Asia (Bangalore, Chandigarh, Chennai, Mumbai).ĭNEG’s critically acclaimed work has earned the company six Academy Awards® for Best Visual Effects and numerous BAFTA and Primetime EMMY® Awards for its high-quality VFX work. ĭNEG ( is one of the world’s leading visual effects (VFX) and animation studios for the creation of feature film, television and multiplatform content. Starting out as a graphic artist, animator and later visual effects art director, he moved quickly into visual effects supervision on films including Pitch Black (DNEG’s first project), Chronicles of Riddick, Flyboys, The Bourne Ultimatum, Green Zone, John Carter, Total Recall, Pacific Rim: Uprising, as well as Ridley Scott’s Exodus: Gods and Kings and Justin Lin’s Star Trek: Beyond. He is one of the leaders in his field with over 30 years experience in the industry. Peter Chiang is co-founder of DNEG and a prolific and critically acclaimed Visual Effects Supervisor. Episode 319 - F9 VFX Supervisor – Peter Chiang
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