"Knowledge is Power" and through high level networking, the 2014 VES Summit will explore the dynamic evolution of visual imagery – in the artistry of the craft, the expansion of content and the growing applications for commerce.

The 2014 VES Summit will provide unparalleled networking access to top professionals in our global industry.

Come / Hear / Present / Discuss the latest breakthroughs in television, film, technology, gaming and entrepreneurism – and network with the leaders and trendsetters that make VFX the most innovative force in the entertainment industry today. 

Speakers & Panel Discussions

schedules permitting

Keynote Speaker
Victoria Alonso
Executive Vice President of Visual Effects and Post Production, Marvel Studios
about the speaker: Executive Producer Victoria Alonso is currently executive producing writer/director Joss Whedon’s Avengers: Age of Ultron and Peyton Reed’s Antman for Marvel Studios, where she serves as Executive Vice President of Visual Effects and Post Production. She executive produced James Gunn’s Guardians of the Galaxy, Joe and Anthony Russo’s Captain America: The Winter Soldier, Alan Taylor’s Thor: The Dark World, Shane Black's Iron Man 3, as well as Marvel’s The Avengers for Joss Whedon. She also co-produced Iron Man and Iron Man 2 with director Jon Favreau, Kenneth Branagh’s Thor, and Joe Johnston’s Captain America: The First Avenger. Alonso’s career began at the nascency of the visual effects industry, when she served as a commercial VFX producer. From there, she VFX-produced numerous feature films, working with such directors as Ridley Scott (Kingdom of Heaven), Tim Burton (Big Fish) and Andrew Adamson (Shrek), to name a few.
Panel Discussion

Visual Imagery

“What constitutes Visual Imagery?” … and what do many of the recent award winners for VFX, Cinematography, Production Design have in common? Let’s not forget the importance of Animation, since the work on the shooting set more often looks nothing like the finished product. Is Visual Effects the common denominator or is it Animation, as can be argued by the manipulation of actors’ bodies, heads and facial features. Perhaps it's Cinematography and/or a large amount of the credit can go to Production Design as shown by the seamless integration of non-existent sets and the interchangeable use of physical and digital props and set-pieces.

Obviously, the Director’s vision is shepherded to fruition by all these amazing artists. With the forethought and planning required for virtual production, the art and science that goes into this process requires great collaboration, and this panel will try to sort out "what's what?" and how best to work together to get the magic on screen as intended.

  • Ben Grossmann
    Visual Effects Supervisor / CEO, Magnopus
    Ben Grossmann
    Visual Effects Supervisor / CEO, Magnopus

    He is an Oscar-winning and Emmy-winning visual effects supervisor who is currently CEO of the visual development company Magnopus in downtown Los Angeles. He has supervised visual effects on many films in the past decade, most recently the Oscar-nominated Star Trek Into Darkness, and Martin Scorsese’s Hugo for which he won the Outstanding Special Visual Effects Oscar in 2012.

    His resume includes films like Tim Burton’s Alice in Wonderland , Shutter Island, Sin City, The Day After Tomorrow, Master and Commander and dozens more. In addition to feature films, he has worked on, and
    occasionally directed, award-winning commercial campaigns and other special venue projects beyond the theater and television screen.

    His projects can range from finishing independent films in a garage with a handful of people, to supervising tentpoles with 800+ artists in a dozen cities across Asia, Europe, and North America. Passionate about technology, logistics, and efficiency as a means, of enabling maximum free-range creativity, he’s magnetically attracted to the phrases “you can’t do that” and “that will never work.”

    Ben Grossmann is also a member of the Academy of Motion Pictures Arts and Sciences, the Academy of Television Arts and Sciences, and the Visual Effects Society.!

  • Bo Welch
    Production Designer
    Bo Welch
    Production Designer

    Armed with a Bachelor of Architecture degree, Bo Welch began his design career in Los Angeles at a large architectural  firm. After 6 mind numbing months he was lured into the world of movie design. From LOST BOYS, BEETLEJUICE, EDWARD SCISSORHANDS, BATMAN RETURNS, to MEN IN BLACK I,II,and III (Memorial Day 2012) and many films in between, Bo Welch has designs spanning 3 decades. He's a 4 time Oscar nominee. He won a BAFTA .

    His wide range of work also includes A LITTLE PRINCESS,THE BIRDCAGE, and THOR.

    Bo Welch directed THE CAT IN THE HAT as well episodes of THE TICK.

  • Dion Beebe, ASC
    Cinematographer
    Dion Beebe, ASC
    Cinematographer

    Dion Beebe, ASC, ACS, was born in Australia. He was mainly raised in Cape Town, South Africa, where his father was a dentist and his mother was a makeup artist who worked with still photographers specializing in fashion advertising. Beebe explored the possibilities of still photography in high school, but his interest shifted to cinema. He studied FIRST at Pretoria Technical College for a year and then moved back to Australia to study at the Australian Film, Television and Radio School in Sydney, Australia, where he won an Australian Film Australian Award and an Australian Cinematographers Society Golden Tripod Award for two of his student films. After graduation, Beebe worked for a small production company in Sydney that specialized in music videos.

    He earned his first narrative feature credit in 1992 for Crush, only a year after graduating from college. Beebe compiled around a half a dozen documentary and feature film credits during the following five to six years. He won a Golden Tripod Award in the annual Australian Cinematographers Society competition for Down Rusty Down in 1997.

    Beebe moved to Los Angeles the following year when his wife enrolled at the American Film Institute. He earned his first U.S. film credit for My Own Country, a Showtime movie that aired in 1998. Beebe compiled a half a dozen feature film credits during the next three to four years, including Praise, Holy Smoke, Forever Lulu and Charlotte Gray.

    He earned a 2003 Oscar nomination for Chicago. The following year Beebe received another Golden Tripod Award from the Australian Cinematographers Society for In the Cut. He and Paul Cameron shared Outstanding Achievement Award nominations from the American Society of Cinematographers and top honors from the British Academy of Film and Television Arts for Collateral in 2005. His film Memoirs of a Geisha took top honors in the feature film competition at the 20th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards.

Moderated By
Bill Taylor, ASC
VFX Supervisor / Cinematographer
Bill Taylor, ASC
VFX Supervisor / Cinematographer

Bill Taylor ASC is a VFX Supervisor and Director of Photography.  After ten years as Al Whitlock’s cameraman at Universal Studios, Bill and Syd Dutton co-founded Illusion Arts in Van Nuys CA, where they created effects for more than 200 films during the company’s 26 year run.  Bill is a Founder of the VES. He wrote the chapters on Green Screen Compositing in the VES handbook and in the last 4 editions of the American Cinematographer Manual. A recent feature credit is John Hillcoat’s “Lawless”; he’s currently at work on an AFI Thesis film, “A Daughter of These Hills”. In addition to his work in Visual Effects, Bill shoots still photos of three-dimensional art objects.  A coffee-table book about antique clocks, “The Art of Pierced Brass” was published in 2012. 

Additional Speakers: Coming Soon

Please check back soon for updated information on the 2014 VES Summit. If you have any questions regarding the VES Summit, please contact Brent Armstrong at the VES Office at brent@visualeffectssociety.com or at 818-981-7861