In the second installment of our interview with veteran VFX Artist and filmmaker, Sean Cunningham we go into detail about the process used on the 1990's action movie True Lies for the missile sequence - featuring some of the earliest uses of Nuke digital compositing at Digital Domain as well as an early version of SideFX Houdini (Prisms). We talk about his role supervising on Strange Days and working on Oh Brother Where Art Thou with the first use of full DI on feature film. We discuss how he raised funds, produced and distributed two indie feature films and his return to VFX. It's a great tour for VFX artists interested in some of the early history of digital FX and the tools we use everyday as well as a case study in indie filmmaking. Full timestamps below: 00:00:05 : The Team on True Lies 00:00:05 : Marker 1 00:03:34 : The origin of the name "Nuke" 00:04:42 : Nuke always planned as a commercial project 00:06:43 : Th Pixel was sacred 00:07:56 : Talking through the workflow on a missile shot 00:09:09 : The use of Amigas at DD for playback 00:10:45 : Everybody would have to queue up their tests 00:21:39 : How FVX work teaches you to think about things 00:32:46 : Running out to film 00:33:30 : First time as Supervisor and the fear 00:35:00 : O Brother Where Art Thou - first film with end to end DI 00:35:31 : Working with Roger Deakins 00:41:13 : Presentation to PETA 00:42:28 : From Hollywood  to indie filmmaking 00:45:50 : Fundraising first indie feature film 00:49:47 : Shooting in a small town 00:56:02 : Distribution 01:00:09 : After release - back to VFX 01:02:03 : A kidnapping 01:03:18 : Sick Boy - finally making a horror movie 01:08:06 : The response to Sick Boy 01:24:37 : Working at Rooster Teeth 01:28:12 : How to get out of a creative rut 01:29:44 : Remote work opportunities 01:32:31 : Final words and advice As always, if you liked this episode, please like, comment, subscribe and share! Listen to all episodes on our website https://www.thevfxartistspodcast.com/