VES Hall of Fame
This distinction is bestowed upon a select group of professionals and pioneers who have played a significant role in advancing the field of visual effects by invention, science, contribution or avocation of the art, science, technology and/or communications.
L.B. Abbott, ASC (1908-1985)
Lenwood Ballard Abbott, ASC, was an award-winning special effects expert, cinematographer and cameraman. He won four Academy Special Achievement Awards for Visual Effects for DOCTOR DOLITTLE, TORA! TORA! TORA!, THE POSEIDON ADVENTURE and LOGAN’S RUN. Abbott was head of the Special Effects Department at 20th Century Fox from 1957-1970.
Richard “Doc” Baily (1953-2006)
Baily was a visual effects pioneer, digital animator and creator of the abstract image construction software Spore. Doc is best known for the breathtaking visuals he created to represent the sentient planet in Steven Soderbergh’s film SOLARIS, which were generated at extremely high resolution. His filmography also includes BLADE, FIGHT CLUB and THE CELL.
Saul Bass (1920-1996)
Bass was a renowned graphic designer, VFX consultant and Academy Award-winning filmmaker. During his 40-year career, Bass worked for some of Hollywood’s most prominent filmmakers including Hitchcock, Preminger, Kubrick and Scorsese. He is best known for designing some of the most iconic film posters and title sequences in film history, including VERTIGO, NORTH BY NORTHWEST, PSYCHO, SPARTACUS, WEST SIDE STORY and GOODFELLAS.
Ray Harryhausen (1920-2013)
Harryhausen was a pioneering multiple-award-winning visual effects creator, writer and producer who created a form of stop-motion model animation known as Dynamation. His most memorable highlights include: working with his mentor Willis H. O'Brien on Academy Award winner MIGHTY JOE YOUNG; his first color film, THE 7TH VOYAGE OF SINBAD; and JASON AND THE ARGONAUTS, which featured a legendary sword fight with skeleton warriors. He received the Academy’s Gordon E. Sawyer Award for technological contributions that brought credit to the industry.
Derek Meddings* (2018)
Meddings was a special and visual effects supervisor who worked in television and film, most notably for the James Bond and SUPERMAN film series. Meddings was awarded a shared Special Achievement Academy Award for special effects on SUPERMAN and shared the BAFTA Michael Balcon Award. He was also Oscar-nominated for MOONRAKER and BAFTA-nominated for BATMAN and GOLDENEYE.
Eileen Moran (1952-2012)
Moran was a multiple VES Award-winning visual effects producer known for her groundbreaking CG commercial work at Digital Domain and her feature work as an executive producer at Weta Digital. Moran won her first VES Award for Outstanding Visual Effects for her work on KING KONG. She led the Weta Digital effects team on VES Award-winner AVATAR. She also received a VES nomination for THE ADVENTURES OF TIN-TIN: THE SECRET OF THE UNICORN.
Gene Roddenberry (1921-1991)
Roddenberry was an award-winning writer and producer, best known for creating the STAR TREK franchise. He was the first TV writer with a star on the Hollywood Walk of Fame and was inducted into the Science Fiction Hall of Fame and the Academy of Television Arts & Sciences Hall of Fame. Roddenberry and STAR TREK have been cited as inspiration for other science fiction franchises, with George Lucas crediting the series for enabling STAR WARS to be produced.
Awarded for meritorious service to the Society, the industry and for furthering the interests and values of visual effects artists around the world.
Jonathan Erland, VES
As Chairman of the Academy of Motion Picture Arts and Sciences Visual Effects Award Steering Committee, Jonathan Erland was instrumental in establishing Visual Effects as a Branch of the Academy. He served 11 years on the Academy’s Board of Governors and 25 years on the Executive Committee of the Visual Effects Branch and the Scientific and Engineering Awards Committee.
Erland was a founder of the Visual Effects Society, the recipient of the inaugural VES Founders Award, and was among the first to receive the VES Fellows distinction. He also received the Academy’s Scientific and Engineering Award and the Gordon E. Sawyer Award in recognition of his career of technological contributions that have brought credit to the industry.
Founders Award Recipient
Awarded to any individual member of the VES who has significantly contributed to the success of the VES.
Gene Kozicki has served as a member of the Board of Directors and L.A. Section Board of Managers and was the co-founder of the VES Festival for many years, as well as a moderator of numerous VES panels. As chair of the VES Archives Committee, he helped secure portions of personal archives of Robert Abel, Richard Edlund and others and was instrumental in organizing the VES archives and helping to secure funding to digitize many of our assets. As a VFX Historian, Kozicki is active in the archiving of information, imagery and artifacts from the visual effects industry and regularly consults with the Academy of Motion Pictures Arts and Sciences and the American Cinematheque on retrospectives and conservation.
Kozicki’s career has spanned almost three decades, from working with Robert and Dennis Skotak, who were tasked with blowing up Los Angeles for TERMINATOR 2: JUDGEMENT DAY. He joined VIFX in 1994 and then worked with Rhythm & Hues for more than a decade. He has worked on various STAR TREK series and films including TITANIC, THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE and POWER RANGERS.
Awarded for exemplary contributions to the entertainment industry at large, and for furthering the interests and values of visual effects practitioners around the world.
Jules Roman is co-founder and CEO of Tippett Studio. In this role, she has continually strived to push the creative and technical edge of the visual effects industry, from early, high-profile stop-motion design to lauded animation work on films SOLO: A STAR WARS STORY, JURASSIC WORLD, HARRY POTTER AND THE DEATHLY HALLOWS: PART 2, STAR WARS: THE FORCE AWAKENS, THE TWILIGHT SAGA and TED.
Roman is recognized as a pragmatic leader in the field of animation and visual effects. She has been nimble in the face of runaway production overseas, maintaining her Berkeley-based studio by diversifying offerings for Themed Entertainment, TV Commercials, Mobile and VR content, and International productions.
Craig Barron, VES
Barron has been an innovator in the cinematic illusion of creating visuals for the past two decades and has contributed to the visual effects on more than 100 films. He began his career at Industrial Light + Magic, where he worked on such classic films as THE EMPIRE STRIKES BACK, RAIDERS OF THE LOST ARK and E.T. THE EXTRA-TERRESTRIAL. Barron’s visual effects company, Matte World Digital, conjured environments for such films as TITANIC, ZODIAC, ALICE IN WONDERLAND and HUGO. Barron received an Oscar nomination for his work on BATMAN RETURNS and an Oscar for Best Visual Effects for THE CURIOUS CASE OF BENJAMIN BUTTON. He is the co-chair of the Science and Technology Council for the Academy of Motion Picture Arts and Sciences, and an Academy Governor representing the Visual Effects branch. He is the Creative Director at Magnopus, a Los Angeles-based new media company.
Joyce Cox, VES
In the mid 90’s Cox transitioned from producing commercials into the role of VFX Producer for feature films. Since then she has produced thousands of visual effects shots. Her credits include HARRY POTTER AND THE SORCERER’S STONE, X-MEN 2, THE DARK KNIGHT, AVATAR, MEN IN BLACK III, and most recently Jon Favreau’s THE JUNGLE BOOK. Cox has been the recipient of VES Awards for her work on AVATAR and THE JUNGLE BOOK. In addition, she teaches PRODUCING VFX at the USC School of Cinematic Arts and is working with UST Global Media Services to create Curó, a web-based application for organizing and simplifying the complex process of managing the finances of VFX.
Dan Curry, VES
A veteran of over 100 feature films and television productions, Curry’s career spans over three decades working with some of the industry’s most influential and respected filmmakers. Among other awards, his work has been recognized with seven Emmys (15 nominations) and a VES Award for Best Broadcast Visual Effects. Curry is a past VES Board member and a past Visual Effects Peer Group Governor of the Academy of Television Arts & Sciences. He is also a member of DGA, ASC, and PGA. Curry is a former Peace Corps Volunteer in Community Development, designing and supervising construction of small dams and bridges in rural Thailand. He subsequently directed a Thai language television series, taught architectural drafting at Khon Kaen University and did freelance art, architecture, and production design for clients ranging from the United States Information Service to the late King Bhumibol Adulyadej of Thailand. Returning to the U.S., he taught Fine Arts, Film, and Theatre at the university level prior to entering the entertainment industry.
Paul Debevec, VES
Debevec is a Senior Scientist at Google VR and Adjunct Research Professor of Computer Science in the Viterbi School of Engineering at USC, working with the Vision and Graphics Laboratory at the USC Institute for Creative Technologies. His Ph.D. theses presented Façade, an image-based modeling and rendering system for creating photoreal architectural models from photographs. He led the creation of virtual cinematography for his 1997 film THE CAMPANILE MOVIE, whose techniques were used to create virtual backgrounds in THE MATRIX. Subsequently, he pioneered high dynamic range image-based lighting techniques and led the design of HDR Shop, the first high dynamic range image editing program. At USC ICT, Debevec has led the development of a series of Light Stage devices used to create photoreal digital actors in film including SPIDER-MAN 2, SUPERMAN RETURNS, THE CURIOUS CASE OF BENJAMIN BUTTON and AVATAR. Debevec received ACM SIGGRAPH’s first Significant New Researcher Award. In addition to serving as a longtime VES member, he is Vice President of ACM SIGGRAPH and a member of the Academy of Motion Picture Arts and Sciences and the Academy’s Science and Technology Council.
Michael Fink, VES
Fink began working in film on CHINA SYNDROME. He was hooked, and worked on films such as STAR TREK – THE MOTION PICTURE and BLADE RUNNER before becoming a Visual Effects Supervisor on WAR GAMES (BAFTA Nomination). He has since worked on BUCKAROO BANZAI, BATMAN RETURNS (Academy Award nomination, BAFTA nomination), BRAVEHEART, MARS ATTACKS!, X-MEN, X-MEN 2, THE GOLDEN COMPASS (VES nomination, Academy Award, BAFTA Award), AVATAR, TRON: LEGACY, TREE OF LIFE and LIFE OF PI. Fink directed the first Coca Cola Polar Bear spot in 1993, which was one of the earliest widely seen examples of 3D fur on a CG creature. Fink is a founding member of the Visual Effects Society and a former VES Board Member. He is a member of the Executive Committee of the Visual Effects Branch of the Academy of Motion Picture Arts and Sciences. He is currently a Professor at the School of Cinematic Arts at the University of Southern California, and Chair of the Division of Film and Television Production. He holds the George Méliès Endowed Chair in Visual Effects at the USC School of Cinematic Arts.