John Schlag

John Schlag grew up in Baltimore and became the church organ player from the ages of 13 to 17. Everyone thought he'd grow up to become a music major but instead he studied electrical engineering at University of Delaware and later attended Carnegie Melon for his Master's degree. He spent a few years at NYIT and then drove across the country on his motorcycle. He later landed at MacroMind (later to become Macromedia) where he worked with Alex Seiden developing a 3D program that never launched in time. He then landed a job in 1990 at ILM in the computer graphics division on Terminator 2 followed up by Death Becomes Her. John helped develop Viewpaint for Jurassic Park. He helped supervise and set up tools for the crowd scenes in Forrest Gump and the pingpong scenes with the digital pingpong ball.

After four years at ILM John left to work as a freelance consultant and to spend more time being a dad. John moved to Germany for a few years working as a VFX supervisor on numerous projects and later landed at ESC Entertainment to work on the Matrix sequels. Since then he’s has worked with Nvidia, Sony Imageworks, Digital Domain, Adobe Research, and Google.

John is a great storyteller and shares his knowledge and perspective on the evolution of digital tools and the immeasurable value of experience.

John Schlag, Doug Smythe, Dennis Turner, Rita Zimmerman, & Grant McGlashan play ping-pong on one of the ILM stages at the Kerner facility between takes while serving as extras on one of the Star Trek Next Generation movies.

John Schlag, Doug Smythe, Dennis Turner, Rita Zimmerman, & Grant McGlashan play ping-pong on one of the ILM stages at the Kerner facility between takes while serving as extras on one of the Star Trek Next Generation movies.

Robert Bruce

Robert Bruce, "brucer" was his ILM email nickname, grew up in California. He attended a number of schools and flirted briefly with the idea of becoming a classical guitarist. He eventually landed in Sonoma where he earned an undergraduate degree in Computer Science. Rob later came to work at ILM, but wound up leaving after an unexpected health issue forced him to change gears. He returned to school earning a master's degree in Library Science and began his own career in academia.

Rob is amazing and we talk about the old days, old friends, and the pros and cons of a life in academia.

Brucer’s old ILM “showme” photo.

Brucer’s old ILM “showme” photo.

Paul Hill

Paul Hill grew up in Arlington, Virginia. He is the youngest of three children and attended catholic school in his youth. He earned a degree in english from the University of Virginia with an emphasis in creative writing. After college he went to work for the US government helping coordinate resettlement of Vietnamese refugees from South Vietnam to the United States. Paul moved to San Francisco and got a job working for Dolby Laboratories as their Creative Director. From there he did a stint at Skywalker Sound and eventually landed at ILM where he would work for the next 16 years. Since ILM, he’s worked on multiple projects including several feature films, commercials, Audi’s website portal, and numerous other projects.

Paul’s documentary film “Alaska Far Away”, and the new documentary on PepsiMan are available online. Paul Hill is a wonderful human being. Its 100% true that he is the kind of person you always dream of working with. His work ethic, kindness, empathy, and good humor are unparalleled in the business. It was a great pleasure to reconnect with Paul and hear his story. He won 25K once on Jeopardy!

Rod Bogart

Rod Bogart, aka RGB, (the best initials in the biz) grew up in Colorado. His dad worked at IBM and occasionally brought computers home. Computer Science was a natural pursuit and Rod went on to earn his BS and MS degrees. After graduating he spent some time running a visualization lab on the University of Michigan campus. He later worked at PDI in Hollywood where he helped develop procedurally based image processing tools to automate wire removal and the removal of most anything from any shot. He joined the ILM R&D group in 1995 and helped develop the Open EXR standard with Florian Kainz, Drew Hess, and Piotr Stanczyk which went on to win a Scientific and Technical Achievement Academy Award. Years later at Pixar he developed their color science pipeline. Rod then moved to NYC where he worked for HBO on their HDR tools and workflows. Today he is the senior software engineer on the virtual production team at Epic. He’s been at ground zero of virtually every major development in the business for the last 30 years.

Rod is one of the most kind and intelligent people I've ever worked with. He would make an excellent teacher as he has an uncanny ability to take highly complex technical concepts and explain them in terms anyone can follow and understand. It was great fun to reconnect with him and hear his story. 

The Notorious RGB

The Notorious RGB

Blade Runner: Special Photographic Effects

“The real key to doing the special effects on this or any other picture is the experience

and ingenuity of the people involved. It is not the equipment.” 

— David Dryer

This quote from Special Photographic Effects Supervisor David Dryer really resonated for me. It’s from an article in the July 1982 issue of American Cinematographer. It’s a great read for any student or fan of visual effects and it details the tenacity, teamwork, and gumption required for complex creative problem solving.

© Matt Wallin. All rights reserved.