It was important that CG creatures like Momo felt like they were making character choices rather than just simply appearing to be cool or cute.
Brought together by Netflix is the visual effects supervisor duo of Jabbar Raisani and Marion Spates who are collaborating on their third series together, beginning with Lost in Space and followed by Stranger Things and Avatar: The Last Airbender. Their current partnership is an epic adaption of the animated series that was previously tried by M. Night Shymalan in a much-maligned feature film that fans and critics would rather burn or bury.
As for what the live-action adaption could achieve that was not possible for the source material, Spates comes up with one word, “Perspective. The cartoon is 2D and hand-drawn perspectives, while this is all done in 3D with proper depth and scale. You are immersed in the show.” Raisani, who also took on the roles of director and executive producer, is in agreement. “Across the board, we tried to represent if this was real, what would this really look like? Hopefully, that allows for a suspension of disbelief that when you’re watching the animated [series], you know that it’s not real, but we tried to make it feel like a real living, breathing world.”
Aang leaves his earthly body and enters the Spirit World.
Aang visits the Fire Nation temple of Avatar predecessor Roku in order to communicate with him.
Spanning eight episodes, the Netflix adaption concludes where the first season of the animated series ended with the Fire Nation laying siege to the home of the Northern Water Tribe as part of its plan to gain global supremacy over the other three nations that have the ability to control water, wind and earth. The main threat is the Avatar, a reincarnated spirit who can master all four elements, who has returned after freak natural accident imprisoned him in a frozen tomb for a century. “We always knew the scale, scope, quantity and quality were going to be difficult because those things never align with the time,” Raisani states. “Specific challenges were Appa and Momo. We knew that we had to nail those characters because how beloved they are, and it took a long time to get them just right. On the Netflix side, working with Ted Biaselli, he was a great resource to look to, talk through the characters and look at the animated series, and he helped us all shape that feeling to get the emotion right for those characters. Once we nailed that, the execution was much faster than we might have anticipated. Bending was hard, too. It was hard to figure out how to do it right. There was a lot of trail and error. It took us awhile to understand exactly what components went into each form of bending.”
“Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water. We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
—Jabbar Raisani, Executive Producer/Director
The Spirit World was shot in the forests of British Columbia and made otherworldly with lens effects such as chromatic aberrations.
A major storyline is watching Katara develop as a waterbender, which had to be reflected in the visual effects work throughout the eight episodes.
Around 3,400 visual effects shots were created for the eight episodes over a period of 18 months by Framestore, Scanline VFX, Important Looking Pirates, Accenture Song VFX, Pixomondo, Image Engine, Rodeo FX, Untold Studios, Outpost VFX, BigHugFX, Cadence Effects, The Resistance VFX, Atomic Pictures, NEXODUS, FABLEfx and DNEG VP. “We looked at the animated series and wanted to mimic everything that we could; however, what do we need to do to ground it in today’s reality?” Spates notes. “We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!” Simulations had to be art directed. “You’re trying to art direct something that is a random event and attempting to use forces to get exactly what you’re after,” Raisani notes. “We understand that you cannot art direct every single drop or drip or element.” A major part of the waterbending recipe was the concept of an underlying force that resembles a twirling barbershop pole. “Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water,” Raisani explains. “We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
Various dangerous beings inhabit the Spirit World, like the angry forest deity known as Hei Bei.
Sokka and Katara witness Aang escaping his century-old frozen tomb.
Getting the glowing arrow and eyes of the Avatar State integrated with the plate photography took a lot of finessing.
Three departments that had to work closely were stunt, visual effects and special effects, all of which had multiple supervisors to manage the workload. “We all start from the moment we are on set,” Spates notes. “We didn’t have an opportunity to come on at the beginning in production, but we were definitely there for the reshoots. The way that Jabbar and I approach things is you get in and work with all of the different departments early on in the process so that way everyone is on the same page of what we’re trying to pull off. They can’t do it without us, and we can’t do it without them.” Easing the communication was an established shorthand. “Fortunately, with people like Jeff Aro, who was one of the stunt coordinators, we worked with him on Lost in Space for years, so there’s an existing relationship that helps to streamline the process,” Raisani remarks. “Nevin Swain was also the prop master on Lost in Space. I know a lot of the crew up in Vancouver from many years of working there.” The special effects team led by Chris Flemington and Mark Gibbard provided some clever solutions. “We had this cool contraption where they could blow wind from a hose,” Spates reveals. “For Aang’s landing, they could just blow the dirt out of the way, so that way we get that effect for free which was great.” Earthbending was mainly digital with exception of some practical debris. “For fire, we had the firelight on their hands to simulate the interactive lighting, and it had to be operated by the board operator, so when someone is bending and doing the firebending all of that has to be timed out and matched exactly,” Spates remarks. “We definitely had some things to figure out for Season 2 because we needed to tighten some areas as far as the interactive lighting and some things that we did on set.”
Along with being a firebender, Princess Azula has the ability to bend lightning, much to the pleasure of her father Firelord Ozai.
A lot of attention was paid to get enough detail between the iris, pupil and sclera for the Avatar State.
“[For the location of the Southern Air Temple] I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar. That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
—Marion Spates, Visual Effects Supervisor
Classic scenes were recreated, like when Aang is showing off his airbending skills to a group of children and accidentally crashes into a statue. “It was moments like that where you’re trying to emulate the animated series as well as you can,” Raisana observes. “For that particular shot, Gordon Cormier was on a practical driving rig that drove him around, then we do a swap to a full CG version of Aang. Once he comes to camera, he is digital and full CG, crashes and falls to the ground. We definitely used all of the magic of the practical stuff on set as well as full CG stuff, and pulling from this beloved animated series. Moments like that are fun.”
Something that had to be kept in mind was how and where Katara could summon mass amounts of water that she would be unable to carry.
A fun creature to create was the ostrich horse, which is a mode of transportation for the Earth Kingdom.
In the majority of cases, the earthbending was entirely digital, such as in the fight between Bumi and Aang.
Interestingly, a cinematic franchise that shares the same name but isn’t related provided the location of the Southern Air Temple. “I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar” Spates recalls. “That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
“[W]hat do we need to do to ground it in today’s reality? We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!”
—Marion Spates, Visual Effects Supervisor
Acting alongside the live-action cast were CG characters, with two of the hardest being the air bison Appa and the flying lemur Momo. “There was a huge structure that was covered in fur for Appa that the actors are climbing or riding on top of,” Raisani explains. “There was a lot more of a physical representation of Appa on set and less so with Momo. There is a great scene in Episode 105, which Roseanne Liang directed, where Momo finds a little acorn. This acorn represents the fact that this forest has been burned down is going to be rebuilt. That’s a scene that we worked hard to ensure Momo brought an emotion to his performance and a connection, not only to Katara but to Aang, who is in the position of emotional strife, and make it feel like Momo makes a character choice to give this acorn that he wants to eat to Aang because Aang is struggling and he wants to do something for his friend. It’s moments like that we worked hard to ensure that they are giving a performance as opposed to being cool or cute-looking digital characters.”
The throne room of the Fire Nation made use of virtual production.
A fun creature was the ostrich horse ridden by the Earth Kingdom. “I love the ostrich horses,” Spates remarks. “Accenture Song VFX worked on that creature and did such a good job of bringing the movement of the ostrich into the ostrich horse. It’s unbelievable how [they captured] just little nuance motions of how they move around and walk. Also, there was the challenge of how do we make it into a horse and how do we make fur bend into the tail of a horse? Also, they had all of the armor, too. That becomes a big challenge because all of that stuff has to be simulated because there’s movement in the armor.”
Ian Ousley as Sokka leaps over the fur-covered buck for Appa with the help of wires and greenscreen.
Greenscreen props assisted Elizabeth Yu in achieving the acrobatic firebending that Princess Azula showcases in the series.
A classic pose is Aang flying using his staff as a glider which involved Gordon Cormier being shot against greenscreen and suspended by wires.
“Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
—Jabbar Raisani, Executive Producer/Director
On a different plane of existence is the Spirit World, which can be accessed via the Avatar State. “I won’t get into how the original footage was shot because we weren’t there,” Spates states. “That was one area we could get creative and stylized. Normally, Jabbar and I stay away from stylized stuff because we always try to keep it grounded.” It was a tricky balancing act achieving the proper visual aesthetic. “We were trying to come up with something that felt heightened but also photographic, so we were leaning on a lot of photographic elements like chromatic aberrations, treating it as if it was something that was happening with the lens but was also happening with Aang,” Raisani remarks. “Especially in that first scene where he hadn’t been in the Spirit World, and we were trying to make it feel almost out of focus. It’s overwhelming, and he doesn’t know how to process it. We were trying to get that visually into the footage, but also emotionally connected with what Aang is feeling. In terms of the color, Marion worked with our in-house vendor to figure out how we take this forest in Vancouver and make it feel heightened, but don’t break to where it does not feel like a real place at all.”
The stunt work was so extensive for the eight episodes that it was divided between Stunt Supervisors Jeff Avro and Dean Choe.
Clever devices, such as wind hoses that stirred up dirt, were critical in making the landings of Aang look believable.
Gordon Cormier performs alongside a stuffie of Momo.
A signature effect is the Avatar State when the Avatar achieves maximum power. “As far as the Avatar State and the arrow and eyes, that was something we put in a lot of effort into,” Spates reveals. “We figured out with one of our in-house vendors what that would look like. The tricky thing is you’re putting all of this illumination and light on an actual image of a character. It’s easier when it’s all in CG, but we couldn’t make the CG aspect of Aang be so far different than the physical production footage of Aang. We had to figure out how to illuminate his head. We have a little of subdermal that we put around the arrow and his eyes. How much detail between the iris, pupil and sclera? We spent days and hours [figuring that out].”
A partial set build of Agna Qel’a, which is the capital city of the Northern Water Tribe.
A gray proxie for the head of a shirshu is positioned beside Arden Cho, who portrays the professional bounty hunter June.
Nothing would have been possible without the contributions of the other three Production Visual Effects Supervisors: Jared Higgins, Christopher D. Martin and Alex Gitler. as well as the army of vendors. “Scanline VFX did this incredible sequence of Koizilla wreaking havoc on the Fire Nation, and it’s all done through animation combined with simulations,” Raisana states. “Really complex work that is a combination of character, story, performance and technical complexity. It’s a cool sequence.” Spates agrees with his colleague. “Definitely what I want people to see is Koizilla, which is insane,” Spates says. “You talk about simulation — that is a lot of simulations. It gives me chills to my bones every time I see it. The things that we did to it, also in color, to represent what happens in the animated series has turned out fabulous.”
A crane elevates Gordon Cormier as Aang loses control of his Avatar powers upon returning to the Southern Air Temple after witnessing the aftermath of the massacre caused by the Fire Nation.
Getting the cast to interact with the Appa was made easier by the furry gimbal constructed by the special effects team led by Chris Flemington and Mark Gibbard.
Raisani has a personal bias. “Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
Images courtesy of Republic Pictures and Theodor Groeneboom.
The woman (Jodie Comer} and her baby navigate the flooded streets of London with the help of greenscreen. Comer’s compelling performance was one of the anchors of the film.
Mahalia Belo’s remarkable feature directorial debut The End We Start From follows a woman (Jodie Comer) and her newborn child as she embarks on a treacherous journey to find safe refuge after a devastating flood. Based on Megan Hunter’s 2017 novel, The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Theodor Groeneboom served as Visual Effects Supervisor on the film. “A friend of mine in London went to film school with Mahalia,” Groeneboom recounts. “Mahalia reached out to me because of him. I used to live in London and worked in a few of the big studios there doing visual effects. Then, I moved back out to Norway a couple of years ago and started my own little company. We do quite a bit of work for the U.K. visual effects companies and some of the independent UK films as well. It felt like an extension of keeping in touch with everything that was happening there. I was involved from the early stages – the screenplay breakdowns, planning on the shoot and throughout the shoot and post-production, so it has been a long journey. I very much enjoyed it.”
Jodie Comer and Joel Fry in British survival drama The End We Start From.
The post-apocalyptic elements in the film are a backdrop in the story. “It’s not a visual effects film,” Groeneboom acknowledges. “That’s very much true for how the book portrays it as well. Production Designer Laura Ellis Cricks and Mahalia were very much into making sure the film has some kind of texture to it, not just visually but the way the landscape conveys through the film that it’s not just front and center that everything is happening.”
“We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie [Comer] and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate.”
—Theodor Groeneboom, Visual Effects Supervisor
A woman (Jodie Comer) and her newborn child embark on a treacherous journey to find safe refuge after a devastating flood.
Explains Groeneboom, “It’s not so much a coherent film that goes from A to B; it sort of drifts in and out of these moments that you take in when you view the film that go away from the whole. We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate. Suzie Lavelle, the DP, was also a big part of that conversation in driving the lighting and the look of everything.”
The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Groeneboom and his team collected lots of material for visual references and relied heavily on the production design ‘bible’ that Production Designer Laura put together. “We were just looking at real photos of flooded areas such as farmland and cities around Europe and all from recent events,” Groeneboom explains. “It’s all based on real references that are quite current. The concepts from Laura were amazing, and it was sort of a bible – its own locations and references from both the recce and the [actual] places. There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
“There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background, and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
—Theodor Groeneboom, Visual Effects Supervisor
The biggest challenge for Visual Effects Supervisor Theodor Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. Greenscreen was required to isolate key elements to be added later.
“There were loads of references we were putting into the film,” he continues. “There were references for the textural quality of the rain and how much we should use. Some of it was more on the practical side of things and how to shoot, etc. and elements we want to use. As an overarching production design bible, there was a lot of stuff that came from Laura. A lot of ideas of not strictly stuff they wanted to see in the film, but Mahalia liked the feeling of it. There’s definitely less of the 28 Days Later vibe with the military and trying to keep it a bit more chaotic and grounded in the people around Jodie.”
“[Fleet Street underwater] was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. … I was taking photographs of every single façade, building, element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building.”
—Theodor Groeneboom, Visual Effects Supervisor
Groeneboom took photographs of every single façade and building, element and item that he could find of Fleet Street, then modeled them in 3D for textures and lighting, rebuilding the street from scratch.
Belo and Lavelle had a clear vision in their heads of what they wanted to achieve. “It wasn’t specific, but they were after a certain feeling. I think the production design bible picked all the right pieces,” Groeneboom remarks. “It was Suzie who set the real textural film quality to everything with her cinematography. We did really early development, sketches of trying to make things feel like they are underwater, like a suburban submerged in the city. This was all CG stuff that we were playing with beforehand to see whether or not it was doable with a small team and the amount of resources that we had. These were all based off the same references from the production bible.”
The biggest sequence for Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. “Underwater in whatever capacity we could do,” he adds. “I think we got there in the end. It was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. I was dangling off a rental bus, one of the old Routemasters, and I was taking photographs of every single façade and building and element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building. Once the light hits a certain angle on Fleet Street, it just becomes completely obscured by the buildings.”
Recreating Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. The VFX team relied heavily on the production design bible put together by Production Designer Laura Ellis Cricks.
Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. “There are so many great photo references of it as well,” Groeneboom details. “It was a matter of bouncing between what Mahalia felt was real, or what she would accept being real, and what Suzie thought of the texturing and lighting of the scene and how she would approach it from a practical point of view. Obviously, she can’t light an entire street, but how as a DP would she approach it from a practical point of view? We had lots of discussions trying to figure out the right angle for the sun, but also blocking out certain elements to create interesting patterns on one side and having the other side a bit more muted. The opening shot of that scene was quite challenging as well, just trying to make it feel like London specifically. It was shot on a little greenscreen.”
There were around 120 visual effects shots in total, with 13 or 14 of those being Fleet Street. “The film is quite slow-paced, especially in terms of number of cuts in the film. Every single little detail and item on Fleet Street was modeled up and painstakingly created. There are some hints of hope in this scene as well. For example, there are few people dotted around in the windows. The bus was a challenge as well because the chassis of the bus was not favorable to any particular lighting. If you see the Routemasters buses in the city and take pictures of them, they are just uniformly red. It’s very hard to see any shading on them. Getting some prospective lighting on them proved to be a little bit difficult, so we had to exaggerate the amount of light and shadow that the material actually has. It’s a combination of plastics and metal, so that was a bit of a faffle.”
Groeneboom studied real photos of flooded areas such as farmland and cities around Europe based on current references.
Continues Groeneboom, “[Lighting was also an issue on] quite a few shots where there is flooding on some of the signs, but it’s all CG. We rebuilt a lot of environments and tried to make it all as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background. One of my favorite shots is of a traffic jam. There is a giant boom mic on the windshield of the car, which was a bit of pain to remove. We just extended the whole background with a bit of the M25 in the background, and there are fires and fire trucks and lots of things happening, but you probably don’t see it. In terms of rain enhancements, it was just putting more in. On the day, you can only get rain so far close to certain things before you have to do some augmentation with visual effects because of rain. Working with real effects elements is always a bit unwieldy. We also worked on the little baby bumps as well, which are partially prosthetics and partially visual effects.”
Groeneboom and his team also worked on the little baby bumps, which are partially prosthetics and partially visual effects.
Groeneboom and his team had ample support from every department in pre-production and on set. The riggers and the gaffers were especially helpful in pulling up greenscreens if needed and accommodating for the lighting and tracking markers whenever Groeneboom and his team were able to be on set for supervision. “We were there for the most important days, but they would take our potential work into consideration by just phoning us up and asking if we need tracking markers here, for example,” he adds. “So, in terms of on the shoot, we were quite welcome and an integral part of solving some of these shots. In terms of the post-production side, it was me and my company [Rebel Unit in Bergen, Norway] doing it. SunnyMarch were producing the whole film, and they were our client for the job. We are a small team of 10-11 people. I think we had six people on this at the most. The idea of my company is most of the people working there have worked in larger facilities before, so we are trying to move away from the idea of thinking large pipelines and overcomplicating, or over-engineering things, which we are trying to do as much as we can in off-the-shelf software and just being a bit more nimble about the approach. I’m quite happy with a small team of six people doing the work. There were two of us, including myself, doing the modeling for the Fleet Street elements.”
“We rebuilt a lot of environments and tried to make it as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background.”
—Theodor Groeneboom, Visual Effects Supervisor
There were around 120 visual effects shots in total, with more than a dozen of those being Fleet Street.
Groeneboom concludes,“Given the fact we are a small team and what we were able to achieve, I’m quite proud of the work we did. I really enjoyed working with Mahalia. It’s her first film, and I think she’s approached it in such an interesting and inspiring manner. I’m very interested in seeing what she does next. It was also great working with Suzie, as she’s lovely to work with, and working with the production team was one of my favorite parts. Reading good reviews, and the fact that the film has an important backdrop about the state of the world is interesting. From a visual effects point of view, you tend to go with more lackluster ideas of what apocalyptic visions happen to be. I thought this felt more real and important. Also, watching Jodie perform was really cool. She’s absolutely phenomenal.”
A parallelogram was implemented for when Tarak seeks to tame a Bennu, which is a hybrid of a crow, raven and tiger.
As Akira Kurosawa was a major influence on George Lucas’ The Hidden Fortress in particular, Zack Synder was inspired by Seven Samurai for what was initially meant to be a Star Wars pitch that has since been retooled for Netflix as a multiplatform original IP. A feature film was shot that has been divided into two parts with the first being Rebel Moon: Part One – A Child of Fire followed by Rebel Moon: Part Two – The Scargiver. Participating in what Synder has termed a “giant atmospheric space adventure” is Visual Effects Supervisor Marcus Taormina who previously collaborated with the filmmaker known for speed ramping, hyper-real, painterly compositions and lens flares on another Netflix production, Army of the Dead. “What has been nice about working on both movies simultaneously, both shooting them and doing post-production, is that we’re looking at both movies at the same time,” Taormina states. “A lot of what is set up in Part One we use in Part Two.”
Planetary skies were peppered in when needed to give scenes the proper tone.
Nemesis lethally wields two swords which are a combination of molten metal, a streaking light effect and a heat signature.
A flashback of when Kora was a soldier for the Imperium.
Overall, 1,380 visual effects shots were created by Framestore, Luma Pictures, Mammal Studios, Rodeo FX, Scanline VFX and Wētā FX for Rebel Moon: Part One – A Child of Fire, which revolves around an adopted daughter of a despot standing up against him by assembling a gang of notorious renegades to protect a planet that she now calls home. What makes the production somewhat unusual is that Synder doubles as his own cinematographer. “It’s nice to have a director/DP because I only have to go to one side of the set versus splitting time,” Taormina notes. “Days of Heaven was a huge inspiration for this movie, which means organic filming, daylight dependent, lots of lens flares, and we also had a custom one-of-a-kind anamorphic package that Zack created for the film, which in itself was a huge challenge. What was nice was that I could go to him about things that I needed. ‘I love the lens flares, but I need you to do a clean pass as I have to erase that flare and put it back over the work later on.’ He was understanding to that and granted me those opportunities on set.”
A hard job for Framestore was incorporating energy tracers into 300 shots for the Gondival gunfight.
While playing JC-1435 (aka Jimmy) on set, Dustin Ceithamer listened to the voice of Anthony Hopkins to make sure that their two performances were in sync with each other.
Skies set the tone for scenes, and Snyder sent a whole library of them to Taormina. “It would always be, ‘I like this and that reference,’” Taormina explains. “I would pull them together and go, ‘What do you like about this one?’ I would smash them all together. We had a lot of discussions about the gas giant Mara at the beginning of the movie, which is not a sky, but it’s [related] enough that it’s an important part. Zack found a colored look that he liked that was a dirtier orange. Obviously, he had to put the lightbox up there, which was headache in itself because the flare contaminated the lens a lot. There was a lot of compositing needed to put those shots together, but it adds to the believability because when you get this dirty orange wash over Kora [Sofia Boutella] it feels cohesive.” Over 38 worlds had to be conceptualized with the main ones being Veldt, Neu Wodi, Daggus, Castor, Sharaa, Gondival and Motherworld. “It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role. When going to Sharaan we meet King Levitica. It’s moody because it feels like we’re not supposed to be there as the viewers,” Taormina remarks.
To make Neu Wodi more threatening, rocky spires caused by a collision with asteroid were added to the arid terrain.
While Jena Malone is strapped to a rig to limit her movements, stunt performers dressed in green shift the legs of Harmada.
“It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role.”
—Marcus Taormina, Visual Effects Supervisor
Clean plates were shot at times with the distinct lens flares caused by the custom-made anamorphic lenses added later in post.
For arid Neu Wodi, the ranch was a real location; however, when the creature known as a Bennu takes flight, the entire environment becomes digital. “We talk about how we wanted to get a lot more claustrophobic,” Taormina states. “When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it. Designing that was fun.” The Bennu harkens back to Pegasus. “It’s neither a raven or crow but both at the same time, and a gryphon, too.” Stunt performer Albert Valladares was placed in the middle of a parallelogram with his colleagues holding on to ropes that were attached to his backpack to simulate what it would be like trying to restrain a rearing Bennu. “Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense,” Taormina says. Nair was subsequently captured sitting on a gimbal setup in a parking lot for the aerial sequence. “I said to Zack, ‘I know that we have these anamorphic lenses, which are great. However, let’s do one camera anamorphic and shoot the other three spherically. It will be super sharp, but don’t worry, we’ll add our optics later on to it to make it feel anamorphic.’ We basically reanimated and recomposed all of those shots and scaled them down so that it feels like he’s flying through.”
Stunt performers provide the resistance on set of a person being captured by ecto-shackle, otherwise known as the ‘Beetlejuice Chair.’
“We talk about how we wanted to get a lot more claustrophobic. When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it.”
—Marcus Taormina, Visual Effects Supervisor
The CG went up to the rib cage of Jena Malone to believably integrate her into the body of a spider to create the Daggus-dwelling creature known as Harmada.
Influencing the aesthetic of the cobalt-mining planet Daggus was Blade Runner. “I wanted it to feel dark, dingy and moist,” Taormina states. “A lot of narrative and production design determined that environment as we had a lot of built pieces to the set.” Dwelling in the basement level is a native spider/humanoid hybrid called Harmada (Jena Malone) which abducts a child and in doing so comes into conflict with Nemesis (Bae Donna). “The stuntvis or previs was a combination of digital shots and stunts in motion capture suits. Because that space was so small, stunts had to be careful about the movements. Jena Malone is on this huge swivel rig, which is best described as a cart that she is strapped to because we didn’t want her body moving too much, as we needed to see her just below the navel or bust to make it cohesive. We had three to five stunt performers swiveling the rig while having it going up and down to the performances. They also have noodles that are interacting with Donna. It was a harmonious integration of everything together because we didn’t want to replace Jena as her performance was too great.” Nemesis wields two swords that avoid being replicas of lightsabers. “When I had that initial conversation with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
Tony Amendola gets transformed into King Levitica.
“Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense.”
—Marcus Taormina, Visual Effects Supervisor
The three massive explosions that occur during battle on Gondival were entirely CG.
Anthony Hopkins voices a robot called JC-1435, also referred to as ‘Jimmy,’ that decides to participate in the rebellion against the oppressive Imperium led by Kora. “I asked Zack if we could video record and do a ADR scratch session with Anthony Hopkins,” Taormina reveals. “If you don’t have your performer listening to the way that Anthony delivers the lines then there may be a mismatch, and when you put them all together in the end, your brain is going ‘something is wrong or odd here.’ The inflections and body movements are not right. We made the Jimmy suit for Dustin Ceithamer that had chest plates in the front and back, shoulder pads, a face plate and some hands, but the hands had to be replaced digitally. When we got into post, Dustin’s performance and Zack’s direction were so great and minimal that it was less robotic and more human. I actually mandated that when we could, which is about 90% of the shots, to keep the practical chest and face plates, which is a lot more difficult to do because it was so beautiful in the way Zack captured them in the available light.”
Augmenting natural elements like mountain ranges and waterfalls helped to make the Southern California location for Veldt unrecognizable.
“When I had that initial conversation [about the swords of Nemesis and avoiding the lightsabers of Star Wars] with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think that we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
—Marcus Taormina, Visual Effects Supervisor
The Bennu gimbal was shot in parking lot while the aerial environment was fully digital.
Another interesting approach was for the restraining devices that have a mechanical base resemble a crab. Explains Taormina, “Those are called ecto-shackles in the script, but we named them ‘Beetlejuice Chairs.’ We have stunt performers grabbing the cast when they get thrown back, and then we swap out and put the practical prop in there. Like for Gondival or in Providence when the gentleman gets captured, we do the stunt followed by the digital version of it and then swap it out, and we had special effects create this RC-controlled base of the ecto-shackle. We put him on that with only the spine and added all of the digital pieces of it walking. Again, with your brain you’re trying to do the trickery of ‘what’s real and not.’ That’s a great example of stunts, props and special effects doing a fantastic job. We get the plates and go, ‘Let’s make this look cool.’”
Michael Fassbender portrays an assassin simply known as The Killer in the latest feature film collaboration between David Fincher and Netflix.
Producer and long-time David Fincher collaborator Peter Mavromates extend their partnership in the The Killer where an assassin seeks revenge after a botched assignment. The Netflix feature consists of 900 digitally-augmented shots that range from shortening the tail of a dog to CG airplanes, tasked to a vendor list that includes Ollin VFX, Artemple-Hollywood, Savage VFX and Wylie Co. as well as an in-house team. “Visual Effects Compositor Christopher Doulgeris and I will go into the color bay with [Colorist] Eric Weidt and talk about some issue that we had,” Mavromates explains. “Even sometimes if it’s an outside vendor, we’ll focus to help problem-solve. It’s this wonderful and fluid atmosphere, and it works for David Fincher because he’s always got ideas flowing. He doesn’t want to be on a clock at a facility where you’ve got from 2 p.m. to 5 p.m. and then it’s overtime. There’s none of that. David will walk the halls and stop in on people to check on stuff.”
Each setting was given a different color palette with the most vibrant being the Dominican Republic.
The Parisian apartment window shots were captured onstage in New Orleans and inserted into a digital recreation of the actual building by Artemple-Hollywood.
“The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute! David calls me in and says, ‘We’ve got to get this tail down to two inches.’ … Ollin VFX in Mexico doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!”
—Peter Mavromates, Producer
A vintage glass effect had to be created by Artemple-Hollywood for the Parisian apartment footage shot in New Orleans.
Savage was responsible for the gunshot enhancements.
An unusual visual effects situation arose when a guard dog pursues The Killer, played by Michael Fassbender, after its owner has been murdered. “The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute!” Mavromates laughs. “David calls me in and says, ‘We’ve got to get this tail down to two inches.’ This is a night scene, so in terms of the type of work that you have to do on manipulating an image, it was tough footage. We had 37 shots, and for that we worked with Ollin VFX in Mexico, and they doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!” What has become more common is the reframing of shots in the DI. “That is something David discovered while we were still shooting on film for Panic Room,” Mavromates remarks. “Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
The stage shoot combined with an exterior matte painting.
The attention to detail was so fine that the shadow of the red cross inside of the scope moves along with the rifle.
[The reframing of shots in DI] is something David discovered while we were still shooting on film for Panic Room. Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
—Peter Mavromates, Producer
Because of the desire to control the reflections and fractions of the helmet visor, Wylie Co. created a digital double of both Michael Fassbender and his scooter.
A landscaping matte painting was executed by Ollin VFX.
Considering that the entire first reel of the movie has the protagonist surveying the building across the street in Paris, one would have thought that Rear Window would have been an influence. “It’s astonishing how little we talked about that movie,” Mavromates notes. “The movie that David referenced and has nothing to do with the look of it is Le Samourai in terms of the tone and what the character is.” The daytime building in Paris actually exists and has been featured in Emily in Paris. “The initial shooting was in Paris and was in that square,” Mayromates explains. “We had eight cameras rolling so that David could capture the images of the people walking in the square and the façade of the building in the daytime. You could capture them simultaneously with different lens lengths so that the action matches perfectly because it’s literally the same take. Later, in New Orleans, they shot the individual window settings all laid out on a stage for the night scenes. Based on the daytime footage of that building and some nighttime plates, Artemple built an element where they put those windows in that were shot in New Orleans, then added tinted glass on the foreground.”
Bloodstains were added later in post-production.
CG traffic was created by Ollin VFX for the scenes in the Dominican Republic.
“Special effects put a wick in the bottle [of the Molotov cocktail that Fassbender throws] that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
—Peter Mavromates, Producer
All of the planes were fully CG.
A lot of work went into recoloring and creating taxi logos and numbers by Ollin VFX.
A digital double was created for the scooter escape of The Killer through the streets of Paris after the botched assignment. “The scooter and Michael Fassbender are all CG,” Mavromates reveals. “They did shoot Michael Fassbender on a scooter. That was in our early edits. Then Wylie Co. came in and slowly replaced everything. The background is a photographic plate behind the digital character and scooter in the foreground. If you were doing that all from scratch, that’s a big ask. At least when you have those plates, a lot of lighting decisions are made inherently.”
LED lights were placed in a bottle that was thrown by Michael Fassbender and later turned into a Molotov cocktail by Ollin VFX.
“There might be a few Fitbits that are actually photographic. I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’”
—Peter Mavromates, Producer
An unexpected visual effect was having to shorten the tail by 10 inches to avoid undermining the vicious performance of the dog.
Even the Fitbit that Fassbender wears got a facelift. “There might be a few Fitbits that are actually photographic,” Mavromates observes. “I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’” The Molotov cocktail that Fassbender throws was also digitally augmented. “Special effects put a wick in the bottle that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
An effort was made to heighten the fear by bringing Godzilla closer to the characters.
Not since Neill Blomkamp released District 9 in 2009 has an international production received receive Academy Award and VES Award nominations for its visual effects work. But Takashi Yamazaki has repeated the feat by stomping through the box office beyond Japan along with an iconic kaiju that has been cinematic staple since 1954. Godzilla Minus One revolves around a World War II kamikaze pilot suffering from survivor’s guilt having a re-encounter with the title character, which has gone through further mutation because of American nuclear tests at Bikini Atoll.
It was always important to convey the proper scale, which meant at times only showing parts of Godzilla in the frame.
“In the current digital era, we tried to use technology that could only be used digitally. We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG.”
Visual and special effects have dramatically evolved like the creatures in the Godzilla franchise. “In the current digital era, we tried to use technology that could only be used digitally,” notes Yamazaki, who was previously responsible for the live-action adaption of Parasyte. “We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG. On the story side, 1954 Godzilla does a great job balancing the human drama with the Godzilla scenes; therefore, we were mindful in trying to have strong story and character development, and to make sure that it’s woven together with what Godzilla is doing on screen.”
The art department created a period-appropriate street surface, sidewalks and storefronts in a parking lot.
Along with being the director, Yamazaki was the Visual Effects Supervisor on the project. “Let me add screenwriter to that as well! Being all three had its benefits, although having said that, when I went to shoot on location, I wanted to ask the writer why he wrote in that specific scene because it was so difficult to shoot! When we went into post, I wanted to ask the director why did he shot the scene in that particular way because it made the visual effects that much more challenging! But of course, I only have myself to blame for all of it!” The different roles had an influence on each other. “Normally, when I write a screenplay, I have to pay some consideration to the visual effects team. Can they achieve this scene? However, in this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
Atmospherics were a big part in creating the proper mood for shots.
Godzilla was treated as both a god and monster, which had to be reflected in the movements and physique.
“[I]n this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
“We watched various Godzilla movies again and learned what makes everyone think, ‘This is Godzilla,’” Yamazaki explains. “We analyzed a great deal of photos and videos for historical background. The assistant director’s team collected a variety of background materials, and I remember being terrified that we could no longer use existing materials. Once we had a clear picture of what was going on at the time, we couldn’t just fudge it.” Storyboards drove the design process. “I drew everything that involved visual effects. It was a huge amount of work. The assistant director [Kôhei Adachi] and Kiyoko Shibuya [Visual Effects Supervisor at Shirogumi, which was the sole vendor] were very impatient with me! Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for. If something is closely related to the shooting, I made it before the shooting starts. However, if it was necessary to include it in the editing, after the shooting is over [for example, a full CG shot], I made postvis in the same way to set the rhythm of the editing.”
A lot of time and effort were spent developing the walk of Godzilla.
The dorsal fin was made more acute and the legs thicker to emphasize the ferocious nature of Godzilla.
The camera circling around Godzilla while its holding and crushing the heavy cruiser Takao was an extremely complex undertaking. On land, trains got the same treatment, though no water was involved.
The overall silhouette of the creature is based on the previous Godzilla suits. “The dorsal fin is more acute and the legs are thicker to give a more ferocious impression,” Yamazaki remarks. “We tried to heighten the fear by making Godzilla closer to the characters, so we included many fine details to allow the camera to get closer to the characters.” No motion capture was utilized in the animation of Godzilla. “However, to help define Godzilla’s look, the animator and I spent a lot of time testing Godzilla’s walk. In Shin Godzilla, Godzilla’s posture feels very straight and uptight. In Hollywood, Legendary’s Godzilla feels more aggressive, like an animal ready to pounce. But we wanted something different from both of those. In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design,” Yamazaki states.
“Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for.”
Breaking the down the destruction that Godzilla causes in the Tokyo shopping district of Ginza.
As for the world-building, it was important to transport audiences back to 1947. “We collected a large number of photos and videos from that time and were conscious of recreating the atmosphere of that period,” Yamazaki explains. “We could not use any existing open sets, and we did not have the budget to construct new buildings, so we created a composite of a digital building on a simple road set. It was difficult to make the two fit together.” The visual effects shot count is misleading. “Although there were 610 cuts, screentime amounted to two thirds of the entire film. Production time was roughly eight months after the shoot was over and in full swing. Although several people were involved in modeling and scene design before the shoot.”
“In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design.”
The first ocean battle was the most complex scene to execute. “We wanted to shoot this on location at sea because I felt it gave the picture this cool documentary style,” Yamazaki reveals. “What I didn’t expect is that everyone got seasick, and the weather was quite unstable, which made filming difficult. Once we took the footage back to the office, the natural waves that we captured were both beautiful and complex, which made it difficult making a giant creature swim through it creating its own waves. With that said, filming on one location and overcoming this challenge unified the team, and that natural imagery we were able to capture made the shot more powerful and convincing. Would I write an ocean scene into my next screenplay? That’s debatable!”
Compositing explosion and environmental elements together to create the final shot.
Simulating the ocean was hard because of the amount of data and work to make it appear believable. “A young staff member showed us a simulation of the ocean that he had made as a hobby using his home-made computer,” Yamazaki recalls. “It was so good that we rewrote part of the scenario and increased the number of ocean scenes considerably. However, in the latter half of the work, I regretted why I did that. We didn’t have a server with plenty of data to store it, so we had to make do by deleting cuts as they became available. I was astonished when I was told that the total amount of data exceeded one peta!” A personal favorite is Godzilla emitting a heat ray and destroying the entire Ginza area. Yamazaki comments, “Including the gimmick of the dorsal fin and the depiction of the area after it is destroyed, I believe I was able to create a heat ray that is more powerful and more horrific than ever before; that is a proper metaphor for the atomic bombing.”
Images courtesy of Apple+ and Legendary Entertainment.
Cinematographer Jess Hall decided to go with anamorphic lenses because they compress perspective thereby bringing the creatures even closer to the viewer.
The AppleTV+ series Monarch: Legacy of Monsters provides the backstory for the mysterious organization formed upon the discovery of kaiju through a family drama where two half-siblings learn of each other’s existence and their father’s connection to Monarch. The MonsterVerse production created by Chris Black and Matt Fraction on behalf of Legendary Entertainment, Toho Company and Warner Bros. Entertainment consists of 10 episodes that required Visual Effects Supervisor Sean Konrad to craft over 3,000 shots with the help of Rising Sun Pictures, Rodeo FX, Framestore, FuseFX, Outpost VFX, Crafty Apes, Wētā FX, MPC, Storm Studios, Vitality VFX, BOT VFX, Mr. Wolf, Scarab Digital, The Third Floor, Proof, MPC Visualization and an in-house team.
MPC, Rodeo FX, Rising Sun Pictures and Wētā FX worked on Godzilla, which appears in two different forms over the course of the series.
The Frost Vark is a cross between a giant star-nosed mole and pangolin, and has the ability to suck the heat out of objects.
Integrated into the narrative are previous MonsterVerse installments that appeared on the big screen. “What’s interesting about the show is the scene in the beginning of Episode 101 has this Kong: Skull Island [2017] classic adventure movie tone that is a bit off-the-wall crazy and every second has a new amplification of stakes through the action,” Konrad notes. “Then you get back to Kate Randa’s [Anna Sawai] perspective later on in the episode, and you’re going to Godzilla [2014] and you’re having that serious tone of this is a city being destroyed. You need to communicate those ideas visually in a way to people that is meaningful and serious. Then you have the final creature scene in the episode, which is a bunch of new monsters coming out of the ground and attacking our protagonist. Each one of them has a different tone.” Do not expect shots from the kaiju point of view. “A lot of the series is constructed around a subjective point of view of our characters experiencing the action from their perspective and reinforcing that with the visual effects design. A lot of times we knew the kind of creature we wanted and the terrain was immaterial to what the creature was doing, but it did influence how and where we shot it,” Konrad says.
The Endoswarm nest is lighted by the hole in the ceiling of the reactor.
Adding to the mystery of the Ion Dragon is it being an aquatic creature with wings living in the middle of a jungle.
The Frost Vark is one of the new additions to the MonsterVerse.
Taking advantage of the physical location rather than rely heavily on bluescreen was the mandate. “We went to a bunch of locations in Hawaii for Episode, 101 and one of them was Lānaʻi Lookout [on O’ahu],” Konrad recalls. “It is this beautiful volcanic rock cone that points out into the ocean. If you’re running away from a monster that’s a great place to be heading towards. We looked at the terrain and the action we wanted to plan. There is a big bamboo forest in the corner of this landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs. Simultaneously, I was doing the concept for the crab itself. All of that happened within a five-week period where we concepted, re-prevised and re-storyboarded the whole thing. It’s so much better than trying to shoot that into a bluescreen. It’s a hard process and definitely time-consuming. People did some brilliant work to get that done. We wanted the characters to feel in the action.”
The lighting was naturalistic for the contemporary scenes in Tokyo.
The Mother Longlegs makes a reappearance in what feels like a cut scene from Kong: Skull Island.
The design of the Mantleclaw was inspired by the volcanic environment where the scene takes place.
“There is a big bamboo forest in the corner of this [volcanic Hawaiian] landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs.”
—Sean Konrad, Visual Effects Supervisor
A pivotal location is the nuclear reactor that experiences a meltdown, which has become as portal where monsters can enter Earth.
Television production happens at a quicker pace than movies. “When you’ve got one movie, you have over six months to do an hour and a half episode as supposed to 30 days to shoot a movie,” sates Special Effects Supervisor Paul Benjamin. “The setups have to be doable to make it into TV land. We had a bit of prep time for the first two episodes. It helps if the directors are on beforehand to know if you have some bigger builds. However, it’s always hard to get the directors before the episode starts.” Some visual research was done regarding the MonsterVerse. “I took a quick view of what they’ve been up to and been doing. When you watch the movies, sometimes it’s hard to figure out how they did everything, or how you block it out and film it. You get a general sense of what you’re up against or what they’re going to be looking for. But as far as pulling builds from watching the movies, it’s quite difficult,” Benjamin adds. Atmospherics were not a significant part of the visual language. “We did a couple of episodes of heavy smoke when they went to the Lost Lands to give a different look to the environment. We definitely did some snow but didn’t do a lot of exterior snow dressing, except for the base camp.” The weather was not always agreeable. “We did a snow dress and had a heavy rain that night, but luckily it held up and we didn’t plug any drains. We had somebody there watching just in case all of our paper snow came down and plugged one of the drains,” Benjamin remarks.
Originally, the Endoswarm was suppose to resemble a millipede, but the decision was made to make it appear more alien.
“We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking. The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.”
—Paul Benjamin, Special Effects Supervisor
Keiko getting attacked by the Endoswarm is made more horrific by them piling onto each other to cause her to fall.
Airbag decks were favored over hydraulic gimbals, such as when the school bus is tipping over the severely damaged Golden Gate Bridge. “We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking,” Benjamin explains. “The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.” It was not all about shaking things. “For the last few episodes we did a vortex, so we had a lot of big wind machines and ratcheting things and pulling things into the vortex. I want to see that portion of it. For the vortex in Alaska, we were shaking the trucks and equipment. But when the creature was chasing them, we didn’t do any explosions for that. The only thing that we did was blast air cannons to have some snow flying around. We did some pyro for the seismic charges that were set off at the power plant. Then we had Kurt Russell running through the lightning field. We had a bunch of mortars going off around them at that point, too.” After being in special effects for 23 years, Benjamin learned a particular lesson. “A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.” The practical elements are critical in making the stunts and visual effects believable. “We’re trying to do anything to help give the set some life so that the actors can get into it a bit more. You don’t have to fully act when you have the set moving around.”
A Fletcher Class Destroyer is found inland.
“A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.”
—Paul Benjamin, Special Effects Supervisor
One of the challenging special effects to get right was the goo that belongs to the Ion Dragon.
Collaboration is pivotal to the success of any project. “Ultimately, my attitude is that visual effects are a big part of the show,” states Jess Hall, Cinematographer, Episodes 101 and 102. “The CG has to be integrated into the photography, so I take it as my responsibility that those things have to work together. That means being collaborative and also organized about how you light; for example, on greenscreen matching lighting and doing the work in advance in terms previs and storyboards. But, ultimately, I treat it as a collaboration for which I bare a lot of responsibility for the end result. It’s not like I’m going to shoot someone on a greenscreen, hand it over to visual effects and let them do their thing; that’s not going to produce a good result.” A different color palette was adopted for the series. “We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones, but the lighting was always naturalistic. The composition was reasonably consistent. The lenses I would shoot the faces on were a similar composition. You’re building this thread of visual language that is bulletproof in a way. You can apply these period looks or more action-sequence elements in there, but it doesn’t feel out of place. That was the challenge of the show, and a lot of thinking around design for me was about bringing them together enough, but having them different enough because you also had to understand these timelines. It was important that Skull Island did look different from the 1950s content, otherwise I don’t think you understand where you were.”
The wings of the Ion Dragon had to increased to get a flying cycle that looked believable.
“We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones. but the lighting was always naturalistic.”
—Jess Hall, Cinematographer
A prevailing challenge for visual effects was conveying the proper size and scale of the creatures.
Hall partnered with filmmaker Matt Shakman on Episodes 101 and 102. “Matt is a dramatist and a real actor’s director,” Hall describes. “Having to try to pretend that things are moving around you, and you’re on a bluescreen and saying, ‘Okay, the crowd is coming from the right.’ Or, ‘Now turn to look at the crowd 300 feet away.’ ‘Follow the tennis ball.’ We’ve all seen how that can be quite tough for actors and performers. Matt is always looking to put the actors in the position where they’re comfortable and can give the best performance, but also feel the scene. We went to practical photography. There were a lot of visual effects but a lot of photography on location, and a lot of in-camera stunt action and real effects work that went on in all of these scenes that added to the sense of realism, which is what we wanted.” Atmospherics like smoke were never utilized without intention. “You have to be careful about how much you put in because quickly you lose the contrast of the shot. It’s something that you rely on special effects to operate. Ultimately, I’m the one who has to say, ‘Turn the smoke on or off.’ The whole show had this low-level haze. I was going for a softer, more dramatic look with a bit of texture in there and in the shadows.” The legacy of what has come before loomed large over the production. Hall observes. “You’ve got this huge IP and franchise and so many different elements to it. How do you take that, respect that and do that justice, but also do something that is distinct and appropriate for the show that you’re making and is your own work. Threading that needle was hard.”
France’s heritage of abandoned buildings provided vacant hospitals, schools and churches for zombies to be found. (Photos: Emmanuel Guimier. Courtesy of AMC)
Following the events of the final season of The Walking Dead, Daryl Dixon washes ashore in France and must undertake a perilous journey in order to find a way home in the series The Walking Dead: Daryl Dixon. Jao M’Changama served as Overall Visual Effects Supervisor on the show, with Sébastien Voisin and Justine Paynat-Sautivet working as VFX producers. “Excuse My French is the French supervision company that hired me for the show. The show’s French line producers, Raphael Benoliel and Augustin de Belloy, found the Excuse My French team, and AMC hired them. It was unreal for me at the beginning. having the Walking Dead come to Paris and getting the chance to be the Visual Effects Supervisor – and getting to destroy Paris. I was finishing a day on a cute CGI commercial spot with friends, and we were aiming to go to a bar when I got the call. That was surprising because we weren’t expecting this big of a show to come over to France, and being selected to work on it was like a dream come true,” M’Changama says.
When it came to the initial conversations about the look of the show, M’Changama and his team set up a Zoom call with creator and showrunner David Zabel and the AMC team. “They were asking not how I see the show but questioning me about my strengths and what I like and how I feel about zombies,” M’Changama adds. “I explained that I come from advertising. I’ve been supervising advertisements for 10 years for both big and small campaigns. They were very pleased to know that I worked in various worlds and with different types of narratives, including the Ubisoft live campaigns, exploring sci fi- gladiators and war action styles. It meant that I can easily change worlds, which is one of my strengths. It was really cool to be only focused on the Walking Dead world and to transfer the 15 years of Walking Dead that I’ve been watching to France and know that I have a huge part to play in that role. I wanted to create trust with AMC, and I know it’s the first time they’ve worked in France, so that was mainly the first exchange. Then, the week after there were some tech recces in the south of France. David [Zabel] was there as well as the director, Dan Percival, and Executive Producer Greg Nicotero, father of the Dead. It was great to switch between the U.S. TV show and being part of it [in France] in the best way we could.”
France doesn’t have the same variety of weapons as the U.S., and they tend to be historically older, so the VFX team designed weapons that weren’t too old school for The Walking Dead universe. (Photo: Emmanuel Guimier. Courtesy of AMC)
In terms of visual references, M’Changama looked at France’s urbex (urban exploration) culture to define the apocalypse in France. “There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures,” he notes. “The government won’t clean them, so they just stay there until something happens to them. One of my goals was to chase a lot of those urban exploration references. There are tons of Youtubers and photographers that goes everywhere, so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen. We have this huge heritage In France. That was one of my first directions.”
Visual Effects Supervisor Jao M’Changama looked at France’s urbex (urban exploration) culture to locate and define the apocalypse in France. (Photo: Emmanuel Guimier. Courtesy of AMC)
“There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures. The government won’t clean them, and so they just stay there until something happens to them. One of my goals was to chase those urban exploration references. … so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen.”
M’Changama paid close attention to weaponry as it’s such a large part of the Walking Dead universe. “France doesn’t have the same variety of weapons as the U.S., so this was an important part of our research,” he details. “For the visual effects, we shot specific plates because we have a heritage with older weapons on France. We wanted to design something that wasn’t too old school and fit into the Walking Dead universe. It was the same thing for Norman’s [Norman Reedus portrays Daryl Dixon] mace. He’d already used a mace in Season 10. In France it’s smaller, so we needed to put the green tape on the mace and ask Norman to do it a bit slower to make it seem heavier. We couldn’t slow down the movement with VFX. We needed to adapt a bit.”
The boat scene was initially located only at sea, but the script was changed just before shooting to make part of the scene happen in a harbor – which changed the way the show was filmed. (Photos: Stephanie Branchu. Courtesy of AMC Networks)
M’Changama worked closely with Series Production Designer Clovis Weil. “We went to the same school and hadn’t seen each other for about 15 years. At the first meeting about the set decoration, we remembered when we were in school and how we built a frame and a picture, which was something learned at school,” M’Changama explains. “It was great to work with Clovis as a friend and very talented individual. His team was working on the show around three months before I arrived, so they’d already been thinking about the show. It was a real collaboration between the set design and the VFX department.”
Norman Reedus (Daryl Dixon) used a mace in Season 10 of The Walking Dead, but in France the mace was smaller. Green tape was placed on the mace so VFX could enlarge it in post to match. Reedus also had to wield the mace slower to make it seem heavier. (Photo: Emmanuel Guimier)
“David has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX and instructed these departments on how to do that best. It was a very smart move,” M’Changama adds. “Expectations were high. We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
“[Creator/showrunner David Zabel] has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX. … We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
There were 740 VFX shots in total, and over 400 artists worked on the show. “We managed the workload with confidence,” M’Changama says. “It wasn’t an issue, but we knew that we weren’t the usual Walking Dead team. We had to show everyone that we could bring something new to the show. Sébastien, like me, has a solid background in advertising. On the other end, Justine had one in feature films. We are used to holding a huge workflow and doing a lot of work in a small amount of time. We knew that working in that way was achievable because we had the team needed to do the job. What is specific to our way of working is that we prioritize everything. Every single frame is important and every shot is important. ‘Scope’ and ‘details’ were the words from David with all the teams. We just wanted to build a consistent and imaginative show. We want the first episode to be as good as the last episode and all the fights done with the same love and care.”
Creator/showrunner David Zabel, Executive Producer Greg Nicotero, director Dan Percival and Overall Visual Effects Supervisor Jao M’Changama scouted potential shooting locations in France, including Mont-Saint-Michel and its bay in Brittany. (Photo: Emmanuel Guimier)
M’Changama worked with five top Paris studios: BUF, MPC, Mathematic Light and Mac Guff. “Paris is a fairly small city, so we knew each other and each other’s work. I worked at MPC for 10 years before, so I knew that MPC had solid strength in environmental work and digital matte painting. So, for the deconstruction of the city, we just wanted them to work on it very closely. We exchanged lots of concept art. BUF just made Eiffel, so we knew that they had all the assets of the iron lady. We knew it would be fun for the team to destroy what they’d built. We also knew that Mathematic had a solid comp and craft vision that is very elaborate, and they are fast at adapting a lot of simulation techniques and lighting. We felt that they were the best guys to work on the zombies. The French zombies needed a lot of love and ingenuity. Greg Nicotero brought some incredible concepts of new species appearing in the Walking Dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood, and more details not to be spoiled here. One of the supervisors with Light is also a flame artist – like me, and we knew they could craft technical shots, including 2D and CGI, very quickly. This process allows us to quickly share the steps with David Zabel and the AMC team. Mac Guff is a studio known for their generalists who can adapt to reconstructing towns to matte painting. They handled several shots successfully. So, by knowing our studios’ strengths, we managed the shot dispatch with accuracy, and this also helped us to build trust with David and AMC.”
Mathematic Light handled work on the zombies. The VFX team wanted to get away from the “Emily in Paris perfect world” image of France and show a contemporary French view the apocalypse. (Photo: Emmanuel Guimier)
“The French zombies needed a lot of love and ingenuity. [Executive Producer] Greg Nicotero brought some incredible concepts of new species appearing in the walking dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood and more…”
When it came to filming the streets of Paris, the Eiffel Tower was, of course, the main event, but for M’Changama and his team, every street was important. “The most challenging locations for us involved the locations with bluescreens because we faced last-minute changes on the script,” M’Changama remarks. “For the bluescreens scenes, there was the rooftop camp, the cargo ship and the Eiffel Tower. The screenplay wasn’t completely finished as we were going to shoot. The good ideas from the showrunner and the director came in very late in the process, and as they were amazing ideas, we needed to adapt our initial plans. For example, the location of the boat was initially only in the sea and finally a part of it happens in a harbor, What could we do regarding the visual effects in the harbor? It changed the way we would film. It was challenging because we changed our vision to the good ideas that sometimes came 10 minutes before shooting. The on-set VFX team provided a large panel of solutions, not only on bluescreen but all along the road trip we made in France. Then, when we were in the VFX post-production process, we were honestly excited and impatient to share our vision with David and all the team.”
Zombie blood and how the zombies are killed – specifically, the exploding head in the arena towards the end of the series – was one of the most creative aspects of the show for M’Changama and his VFX team. (Photo: Emmanuel Guimier)
One of the biggest challenges for M’Changama was matching their work with the rest of the Walking Dead universe. “We had a vision of how the zombies work, but we are not doing another show about zombies, we are bringing the Walking Dead to France. We can bring something new to it, but we need it to match what already exists and we need it to be accurate. The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. The lights were changing, and it was becoming dark, and the blood was very specific. We needed to make those little details match. That one single shot was very fun to do, and we did a great job. It wasn’t too digital or too gory, but it was 100% CGI.”
“The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. … It wasn’t too digital or too gory, but it was 100% CGI.”
Clémence Poséy as Isabelle in Paris. BUF made the Eiffel Tower and all associated assets – and enjoyed destroying what they built. (Photo: Emmanuel Guimier)
M’Changama and his team also faced issues with anachronism. For one of the flashback sequences, Notre Dame’s spire, which was destroyed in the recent fire, had to be recreated. For M’Changama, working on these fine details was an important part of the process “I’m happy that Hollywood trusted France’s VFX ecosystem. I think we did a great job, and I’m proud of what we’ve achieved. We’re eager for the next challenge!”
Many different iterations were attempted for the reveal of the Heroes of the Horn before settling upon what appeared in the show.
Essential for any successful digital augmentation is having a member of the visual effects team present during the live-action shooting to ensure that are the required elements, whether it be plate photography or LiDAR scans of sets, are acquired and provided to vendors, thereby establishing a solid foundation for the work to be done in post-production. In the case of the second season of The Wheel of Time, the on-set visual effects supervision was equally divided between Roni Rodrigues and Mike Stillwell.
It was always important to have practical plate photography to build from when creating CG environments.
“When living away, you start immersing yourself in the project 24/7,” explains Roni Rodrigues, On-Set VFX Supervisor. “I did block one which was Episodes 201 and 202 and then straightaway did block two which was Episodes 203 and 204. Then Mike Stillwell did blocks three and four. When shooting block one, you will do some scenes from Episodes 201 and 202 together because we’re revisiting a lot of those locations. For block one, we had Thomas Napper as the director and for block two Sanaa Hamri as the director, so the team changed as well, including the DP and 1st AD.”
No matter the type of element, an effort was made to incorporate the weaving associated with channeling.
“We did previs and then postvis [of Heroes of the Horn] with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
—Mike Stillwell, On-Set VFX Supervisor
Location shooting took place in the Czech Republic, Italy and Morocco.
Overseeing the fantasy series is creator and showrunner Rafe Judkins. “Rafe’s position was important to give consistency on the visual identity of the show,” Rodrigues notes. “Even though the directors changed, we always kept everything in the same universe. That’s one of the reasons why it was so important for us to spend quite a lot of time in pre-production, because we managed to plan ahead for many of the details in every single scene. It was easy for us to transfer that information from the first block to the second block and achieve the desired results.” A lot of time was spent developing relationships with other departments, “from the collaboration with the DP discussing on-set light interaction to the production designer and how we want to build sets so there is a seamless line between what is practical and a CG extension,” Rodrigues adds.
A major new environment in Season 2 is the city of Falme.
“The relationships that Roni had started in the first four episodes made it so much easier for me because I was able to come in and build upon on what was already there,” remarks Mike Stillwell, On-Set VFX Supervisor. “The stunt guys would be showing me their stuntvis before they’ve shown other people and asking, ‘What do you think? Is this going to work?’ Jan Petrina, the Stunt Supervisor, would do incredible stuntvis with fantastic After Effects work in it. It paved the way for what we wanted to do. It was a constant dialogue. He never promised something that we couldn’t deliver and vice versa. We had each other’s backs wherever possible.”
Waygates are important means of travel – and tricky to pull off, especially when horses are involved.
The smoke reveal of the Heroes of the Horn was not the original idea. Stillwell observes, “We did previs and then postvis with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
Witness cameras capture every single body gesture and finger movement to get the proper channeling interaction.
“It was nice to work with Andy Scrase [Visual Effects Supervisor] as he was on the same page about the details, and the more information that we actually give to the post-production team, the more they can do,” Rodrigues states. “The cyberscan booth was there [in the studio] 24/7 for us. Hats off to the visual effects production team, production manager and production coordinators because we wanted not just everyone being scanned, every time our lead actors changed their clothes, we wanted that variation as well.” A variety of exterior locations were found in the Czech Republic. “The whole city of Cairhein was built, and was so vast and rich in details that it was incredibly helpful,” Rodrigues notes. “Also, we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
Practical and digital smoke were combined to create the dramatic reveal of the Whitecloaks calvary just before it attacks Falme.
“[In addition to the Czech Republic] … we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
—Roni Rodrigues, On-Set VFX Supervisor.
Killing Turak (Daniel Francis) was not as easy for the production team as it was for Rand al’Thor (Josha Stradowski). “When Rand is approaching the tower and Turak [Daniel Francis] has his heron-marked blade and does some fancy moves, we had so many meetings where I was presenting different ideas on, ‘How do we kill Turak?’” Stillwell recalls. “Rand has unbelievable power and is pissed. How would he do this? We were talking about turning someone to stone and then shattering them. Or having Rand fill them with lava and they explode from within. Or Rand whipping through these blades of air and doing the classic thing where they look fine and then slowly slide apart because of being sliced in half. What Rand ends up doing is so nonchalant, but it shows the power that he has. We spoke to Josha about it. Josha even plays it like he didn’t expect it to be that easy.”
Hardened air can be effective in producing weapons and shields.
Lessons were learned, in particular, when it came to characters channeling the One Power, which involves manipulating intricate illuminated weaves of water, fire, earth, air and spirit. “They used interactive light on Season 1, and when we received the plates, the lighting was baked into the plate, and it was too much,” Rodrigues explains. “We ended up painting out interactive light from all of those scenes. We wanted the showrunner to have a full scope of flexibility to decide in post-production which direction he wants to go. What we did was to do a performance take without interactive light and then we did it again, but with interactive light. The idea was once they decided on the take to use, we would get the plate with the interactive light and paint light in. In this way, we had the flexibility to paint the light as many times as we wanted in any position we wanted.”
The fire dragon required careful attention to detail to stand out properly in the daylight.
“It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.”
—Mike Stillwell, On-Set VFX Supervisor
Prosthetic makeup was digitally enhanced for the Trollocs.
Hallucinations allowed for surreal imagery. “For the psychedelic visions Matt Cauthon [Barney Harris] has after drinking the tea, we did a lot of work on how things would work with the mirrors, how it would look when his hands and veins are becoming distorted and enlarged,” Stillwell states. “There were lots of discussions about how to make that trip look terrifying, and the switching out of him and his mother. It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.” A character gets turned into stone and dissipates into the air. “The art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
Rather than be a straight white light, the Waygates reflected the environment about to be entered.
“[For a character that gets turned into stone and breaks up] the art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
—Mike Stillwell, On-Set VFX Supervisor
A dramatic moment occurs when Moiraine does fire channeling on a beach that goes through the water like torpedoes to destroy the Seanchan fleet.
One of the cool visual effects are the shields created by channeling air. “The ideas for that were still broad when we were actually shooting,” Stillwell reveals. “It was a case of talking to the actors and giving them something to work with, because so often they’re having to do all of this channeling and having to imagine what it is and how it’s affecting them. When Marcus Rutherford [Perrin Aybara] is protecting them from Ishamael [Fares Fares] at the end when we were rehearsing it, I asked if it was okay for me to go and show something. I was slamming my body onto his shield and saying, ‘This is the weight of what’s hitting you. You’re not just deflecting bullets like Captain America. These are massive large forces, not little pinpricks.’ I was just trying to give him something to work with so he can imagine it, because if the actor’s performance works, the visual effects work so much better.”
Framestore has shifted to a hybrid model, aiming to establish a balance between work-from-home and real-time in-studio experience. (Images courtesy of Framestore)
In just a few years, turbocharged by the pandemic, remote work has become widely established in the VFX industry and is now a preferred option for many visual artists. It has also helped boost the globalization of visual effects work, which in turn has increased the demand for remote workers.
Framestore was one of the VFX studios that succeeded in pivoting quickly in the new environment. Looking back, Framestore CEO Mel Sullivan recalls, “Thanks to our systems team we had an effective, efficient and secure remote working pipeline in place within two weeks of lockdown, and since then it’s mainly been a case of refining and enhancing our work-from-home capabilities.”
During that time, Sullivan says, “We’ve delivered some of the biggest shows on Earth from home – Oscar nominees, record-breaking box-office successes, you name it – so it’s now second nature and certainly isn’t hampering what we do. Like most of the companies operating at our level, we’ve now moved to a hybrid way of working. This has been a question of striking a balance between the improved work-life balance the industry is now enjoying versus the genuine benefits of being surrounded by your peers, being able to connect with each other in real-time and spark those spontaneous insights and conversations that only happen if you’re in the same physical space.”
Cinesite has embraced remote working on a permanent basis. It’s London, Montreal and Vancouver studios provide an optimal remote work setup while making the office easily accessible to employees who wish to make use of it. (Images courtesy of Cinesite)
“Our staff are at the core of Cinesite’s success; everyone is different, and we celebrate that. By allowing individuals to work according to their own working styles, we’ll get the best out of everyone rather than forcing them to conform to another person’s style, at their detriment.”
—Sashka Jankovska, Chief HR Officer, Cinesite
After COVID-19’s arrival, the necessity to maintain social distancing and prioritize employee safety led to a significant shift towards remote work in the VFX industry. During the pandemic, many VFX studios established remote work setups, enabling their artists to continue working on projects from home. Advancements in technology, high-speed internet connections and the availability of powerful remote collaboration tools made this transition possible. Artists could remotely access necessary software, collaborate with colleagues and render their work using cloud-based systems. Among such tools today, Hammerspace delivers a global data environment which spans across data centers and AWS, Azure and Google cloud infrastructure. Frame.io (owned by Adobe) is a leading cloud-based storage platform for video assets and files. LucidLink offers a high-performance cloud file system for distributed workloads, while Seagate’s Lyve Data Services provides data management, recovery and secure migration to any cloud service. Moxion (owned by Autodesk) is a dailies and content-review platform and offers an instant dailies service in HDR, with full Dolby Vision, HDR10 and 4K resolution playback support. The Television Academy for Engineering Development awarded Teradici an Emmy in 2020; it is a leader in “remoting software for performance, security and deployment flexibility.” Acquired in 2021, the firm’s Teradici CAS (Cloud Access Software) is now HP Anyware. MS Teams and Zoom are among the popular tools for communications collaboration.
Digital Domain is exploring a hybrid approach that enables artists to work both remotely and in-studio to alleviate ‘work-from-home fatigue,’ foster team-building and provide support and integration for new talent. (Images courtesy of Digital Domain)
Key benefits of remote work in the VFX business include increased flexibility, access to global talent and cost savings. Some of the challenges include achieving sufficient collaboration and communication, plus hardware and software requirements, data security and protection of intellectual property.
While remote work has grown tremendously, some studios may still prefer a hybrid approach, combining remote work with in-person collaboration for certain stages of production or specific projects that benefit from on-site interactions. Cinesite offers three different options at its London, Montreal and Vancouver offices – home-based, hybrid-based and office-based. It offers all-team meetings to provide transparency and motivation as well as seasonal opportunities to socialize with colleagues and friends, and it has retained its physical offices for employees in London, Montreal and Vancouver for in-person collaboration and special projects.
At BOT VFX, collaborative content-review software helps make remote work viable. (Image courtesy of BOT VFX)
Early on, Cinesite shifted to a flexible way of working, embracing workplace shifts made necessary by the pandemic. “After everyone settled into their new work-from-home environment, we quickly realized we could be even more creative and effective in delivering high-quality series and feature film work when adopting a flexible way of working,” notes Cinesite’s Chief HR Officer, Sashka Jankovska. “Our staff are at the core of Cinesite’s success; everyone is different, and we celebrate that. By allowing individuals to work according to their own working styles, we’ll get the best out of everyone, rather than forcing them to conform to another person’s style, at their detriment.”
“Looking ahead to 2024, we are exploring a hybrid approach that will enable our artists to work both in-studio and remotely. The primary driver behind this adjustment is to alleviate ‘work-from-home fatigue,’ encourage and foster team-building and provide better support and integration for new talent into Digital Domain. By combining the best of both worlds, this approach will create an ideal environment for collaboration and creativity while retaining the advantages of remote work.”
—Lala Gavgavian, President and COO, Digital Domain
President and COO of Digital Domain Lala Gavgavian comments, “Our rapid response to the pandemic in 2020 and the shift to a work-from-home paradigm have been among our significant operational achievements at Digital Domain. The evolving WFH setup has expanded our access to global talent without the need for physical relocations to a brick-and-mortar building and allowed us to scale our capacity in ways that were limited prior to the work-from-home success.” She adds, “Looking ahead to 2024, we are exploring a hybrid approach that will enable our artists to work both in-studio and remotely. The primary driver behind this adjustment is to alleviate ‘work-from-home fatigue,’ encourage and foster team-building and provide better support and integration for new talent into Digital Domain. By combining the best of both worlds, this approach will create an ideal environment for collaboration and creativity while retaining the advantages of remote work.”
Hitesh Shah, BOT VFX CEO and Founder, comments, “The discussion of ‘if remote work is in the mix’ is almost gone – most of the attention is on how organizations balance in-office versus remote. Organizations continue to wade through the conflicting needs posed by talent access, talent lifestyle preferences, collaboration needs, training needs and economics.” He adds, “Like most other industries, the VFX industry has gone from large ‘religious’ debates about all in-office or all-remote to everyone finding the balance that works for their situation.” Shah notes that “collaborative content-review software” helps make remote work viable.
The option of remote work allows Ingenuity Studios to best meet their hiring goals, especially when demand spikes, though the studio, like almost all studios, believes that remote work doesn’t replace the added benefits of people working together. (Image courtesy of Ingenuity Studios)
In a broader sense, the world is figuring out what types of businesses and industries are okay to work remotely – or not. According to David Lebensfeld, President and VFX Supervisor at Ingenuity Studios. “The VFX industry has gotten comfortable with the idea that remote work is here to stay. It’s interesting though – more workers are returning to the office in some locations more than others. So, for example, Europe has more workers returning to the office. Yet in New York City and Los Angeles, we’re finding that people want to continue working remotely.”
Lebensfeld observes, “Most artists do want the option. I think hybrid and remote work will endure in the VFX industry, if for no other reason than access to talent being key, and remote/hybrid options definitely expand the pool of qualified candidates.” In terms of key software and hardware that facilitate remote work, “There are common tools that everyone uses, including MS Teams and Zoom. We use Teradici to power remote working around the world,” Lebensfeld adds. “Remote work is supported well by the cloud. You can access workstations or storage from anywhere and move workstation demand closer to team member location, such as through AWS or Azure for improved latency speed, which is more or less attached to distance.”
“Europe has more workers returning to the office. Yet in New York City and Los Angeles, we’re finding that people want to continue working remotely. Most artists do want the option. I think hybrid and remote work will endure in the VFX industry, if for no other reason than access to talent being key, and remote/hybrid options definitely expand the pool of qualified candidates.”
Remote work is having a positive effect on many visual effects artists. “I think it is impacting work/life balance, quality of life and flexibility to handle family needs and work after the kids are sleeping,” Lebensfeld says. “All of this depends on the team member and the project needs at any given time. Sometimes, having work completed at odd hours really benefits a project timeline while still promoting a healthy balance.” He comments, “The hope is that post-strike demand returns to a level that is sustainable for the industry, and we happen to think that the option of remote work allows us to best meet our hiring goals, especially when demand spikes. I don’t think remote work fully replaces how people work together, however. In-person working and team interactions bring added benefits of additional context and relationship-building. I find that mentoring is often easier with in-person dialogue and rapport.”
FutureWorks is guided by the belief that remote work can bring filmmakers together more quickly and cost-efficiently while allowing the company to compete for new talent on a global scale. (Image courtesy of FutureWorks)
Gaurav Gupta, CEO of FutureWorks, notes that remote work can bring filmmakers together more quickly and offer “flexibility, speed, cost optimization and competition for the best talent at global scale.” He comments, “Content creation, by its nature, works best when creators are able to collaborate frequently and effectively, where multiple stakeholders can share their ideas quickly and review changes in a qualitative manner. Starting with Smartjog, Aspera and Cinesync in the 2000s, to modern cloud-based applications like Frame.io, Moxion, etc. now, technology has enabled creators to share high-quality audio, video and images.”
The cloud is already essential for much remote work. Gupta explains, “Whether private or public, cloud technologies are being used everywhere in content production; from set to screen, remote work and cloud go hand in hand. I think the industry is now aligned to make The 2030 Vision published by MovieLabs a reality sooner than its stated time frame. Its first principle ‘All assets are created or ingested straight into the cloud and do not need to be moved’ heralds a complete cloud future.”
Autodesk’s Moxion is a dailies and content-review platform that offers an instant dailies service in HDR, with full Dolby Vision, HDR10 and 4K resolution playback support.
Just as remote work has enabled globalization, the latter has fed the former. “Netflix has created the first true global studio without borders. Their focus on pushing both technology and creativity in content production at global scale has accelerated the development and adoption of remote working. The flywheel is now spinning faster and faster,” Gupta says.
“For me the most exciting developments are in the area of a Global File System, technologies like Hammerspace enabling seamless movement of data to a location where it’s needed with AI intelligence. I think technologies like these were only available to a select few studios, and now anyone will be able to adopt this. This solves a very important problem for a globally distributed workforce.”
—Gaurav Gupta, CEO, FutureWorks
Gupta adds, “For me the most exciting developments are in the area of a Global File System, technologies like Hammerspace enabling seamless movement of data to a location where it’s needed with AI intelligence. I think technologies like these were only available to a select few studios, and now anyone will be able to adopt this. This solves a very important problem for a globally distributed workforce.”
Evercast’s collaboration technology allows filmmakers, film editors, game developers, animators, musicians and creatives to work remotely together in real-time, securely stream work sessions in up to 4K, as well as video chat live. (Image courtesy of Evercast, LLC)
Still, with all the benefits brought by remote work, the old-fashioned approach is also important. “Being in the office is also vital for our new and early-career artists since they benefit so much from being able to work and learn alongside more experienced creatives,” Sullivan says. “Linked to this is our broader mission to ensure everyone working for Framestore, whether they’re in the U.K., U.S., Canada, India or Australia, can benefit from our unique creative culture and the wealth of training, development and mentoring opportunities we offer.”
The remote workflow has evolved steadily on several fronts since early 2020. Rob Hifle, CEO and Creative Director at Lux Aetena, notes the deep globalization of the workforce occurring in VFX. “Connectivity is continually improving, leading to more global collaboration as well as hybrid working, leveraging talent and expertise from different regions of the world. This will lead to wider representation of backgrounds and experiences across the industry, with the unique and valuable insights that brings.”
Preferring to shoot practically, Christopher Nolan aimed to avoid CG effects when making Oppenheimer. SFX and filmed elements were used to capture the power of the Trinity nuclear test. (Image courtesy of DNEG and Universal Pictures)
Last year, Avatar: The Way of Water scooped the Academy Award for Best Visual Effects, beating Top Gun: Maverick, Black Panther: Wakanda Forever, All Quiet on the Western Front and The Batman. When the nominees are announced on Tuesday, January 23, for Best Visual Effects at the 96th Academy Awards, it will be another competitive year with outstanding films in contention for the VFX Oscar.
Nominated for Best Visual Effects in 2014, the first Guardians of the Galaxy installment narrowly missed out to Interstellar. In 2017, Guardians of the Galaxy Vol. 2 saw itself nominated for the award, this time losing out to Blade Runner 2049. A third-time’s-the-charm win would be fitting for the third and final installment; although it should be noted that with the extraordinary craftsmanship of the film’s Visual Effects Production Supervisor, Stephane Ceretti, and all of the VFX vendors involved, it would be anything but luck, as Vol. 3 remains a serious forefront contender. “We had 3,066 visual effects shots in the film, a huge number,” says Ceretti, who also worked on the first film. “On top of that, we had to do the Christmas special at the same time, which was an additional 560 shots.”
Ceretti credits Guardians series director James Gunn for constantly evolving and challenging his VFX team to break new ground. “James Gunn always wants things to look as real as possible,” Ceretti explains. “He’s got his filming style that’s very specific to him, and that has evolved from the first Guardians film. He was really challenging us in terms of how he is now filming things with smaller cameras that are really portable and moving all the time. We knew that we had potentially a lot of full CG sequences, especially with the flashbacks. We had discussions about the different worlds that we would either revisit from previous films, like Knowhere, or the new places that we would introduce like Counter Earth or The Orgoscope. We worked alongside Production Designer Beth Mickle, who is fantastic and had previously done The Suicide Squad with James.”
Rocket proved to be the most challenging CG character to create for Ceretti and his team. “It was great to come back and finish the story of Rocket,” Ceretti says. “We knew we had to build Rocket across his different ages throughout the film. There was also a sense of an animalistic feeling that we had to get from Rocket that, in my opinion, we had lost a little bit across the different films.” Ceretti adds, “The emphasis on the high level of detail in terms of both modeling, grooming and keyframe animation for all of these animals was really key for the success of the movie and being able to tell that story.”
Indiana Jones and the Dial of Destiny marked the titular character’s return to the big screen. With Andrew Whitehurst serving as Visual Effects Supervisor, the film consisted of 2,350 visual effects shots. Whitehurst describes, “Because the movie is a journey, most scenes take place in different times and locations. It’s a story that has many components with little overlap between them. We knew that the scope of the work would mean that we would need several vendors on the show. By the time we were starting to think about that, Kathy Siegel, the VFX Producer, was onboard, so we were talking about the various folks that we might approach to work on it and who’d we worked with before, and who we knew specialized in certain types of work. It was an exercise in logistics really.”
Driven by more than 3,000 visual effects shots with many fully CG sequences, Guardians of the Galaxy Vol. 3 remains a serious standalone contender, even though the first two films were nominated but missed out in 2014 and 2017. (Image courtesy of Marvel Studios)
Along with the prologue, the Siege of Syracuse sequence was one of the main focus points in the pre-production of Dial of Destiny. “We started blocking it out with Previs Supervisor Clint Reagan,” Whitehurst notes. “[Editor] Mike McCusker, who was cutting that sequence, was on the project by then. We were exploring the sequence through previs and storyboards because a screenplay often isn’t the best place to explore an action sequence like that. The other thing we needed to figure out was how to film it and how the narrative would drive the layout of the environment. In my office in L.A., I had a map on my whiteboard that I was forever updating with what ancient Syracuse looked like based on the cut. I had all the various story beats as thumbnail sketches drawn on Post-it notes that I was laying out along the planes’ trajectories as I drew them out on the board. From that we could work out how the coastline and the city had to be laid out to accommodate that action. Previs was also vital in working out how we might stage action in the plane set pieces that we had at Pinewood. We were able to figure out ahead of shooting how we could get our actors, crew and cameras into such a confined space. It saved a lot of time on the shoot.”
“Everyone working on the film was very conscious of the previous films and the way that they were made,” Whitehurst explains. “The thing you will hear more from Jim [director James Mangold] when you are on set or talking about previs shots, is ‘nouns and verbs.’ Every shot needs a noun and every shot needs a verb. That’s a very classical filmmaking way of working, and I think that attention to detail really shines through in the finished film.”
With a tip of the visor to Blade Runner and the Lucasfilm legacy, Gareth Edwards’ The Creator introduces a brave new sci-fi world, both compelling and grounded in real-world locations that ring true. (Image courtesy of 20th Century Studios)
With 2,350 visual effects shots, including a prologue and a portal-through-time visitation to the Siege of Syracuse in 200 BC, Indiana Jones and the Dial of Destiny shines with a keen attention to a treasure chest of detail. (Image courtesy of Lucasfilm Ltd)
Gritty and grounded, Transformers: Rise of the Beast stars robots that reflect the different environments they inhabit, and features complex character animation and FX simulations in almost every shot. (Image courtesy of Paramount Pictures)
Ridley Scott’s Napoleon conjures a broad historical canvas of 18th century France with battlefields and thousands of soldiers, requiring a seamless weave of practical, CG and invisible effects that all contribute to the film’s unique look. (Image courtesy of Apple Studios and Columbia Pictures/Sony)
Following Rogue One: A Star Wars Story, Gareth Edwards was at the directing helm again with The Creator. FIN VFX contributed over 100 shots for the film. “By the time we joined the project, The Creator had been in Gareth’s head for years,” says FIN VFX Supervisor Stuart White. “When we received our first shots to begin work on, ILM had already finalized a large number of their shots, having had about a two-year head start. So, the expectations were high! I’ve long been a fan of concept artist [Production Designer] James Clyne. He and his team at ILM had been working on the most amazing body of concept art for this movie that I think I’ve ever seen, all handed to us as a PDF that numbered hundreds of pages.” Discussing the most challenging visual effects shot to create, White notes a shot where two (CG) police transport ships land in an alleyway, and about nine (partially CG) robots jump out of it and run into a building. “In the postvis, they had replaced the whole top half of the frame with a still that basically implied ‘insert Blade Runner awesome future city alleyway and skyscrapers here.’”
Joe DiValerio of Outpost VFX served as VFX Supervisor and interacted with Charley Henley, Production Visual Effects Supervisor, for Ridley Scott’s Napoleon. “Our work was just under 30 shots, which we ultimately hope are invisible. The film has a unique look and style we needed to adapt to,” DiValerio says. “We had a sequence, fleshed out shot design, and a solid plan of shot plates and elements that needed to be assembled. There was some amazing roto and paint work to preserve the essence of the practical element photography. We had some very clever uses of mixing up the photography in ways it wasn’t originally intended – mixing up takes, augmenting stunt work, mixing angles and standard hiding logistics of the practical effects. The biggest challenge we anticipated was the CG crowd work. The production team had motion capture performances with specific actions for our sequence. We were able to build a library of just the right parts and then art-direct them into the film. Our sequence had a little bit of everything, matte painting, CG FX, crowds, element work and stunt enhancement.”
The Little Mermaid surfaces from the deep blue for live-action on land, but not without blending in merfolk and classic Disney animated undersea characters: Scuttle, Sebastian and Flounder. Characters built by Framestore. (Image courtesy of Walt Disney Studios).
Rodeo FX completed 237 VFX shots for The Little Mermaid with Graeme Marshall and Ashley Bellm both serving as Rodeo FX Visual Effects Producers on the film. “We were only one of multiple vendors,” say Marshall and Bellm with one voice. “As on most projects, we interacted mainly with the client-side VFX team, helmed by VFX Supervisor Tim Burke, and VFX Producer Leslie Lerman. Their team was an absolute delight to work with. Although we did receive notes from Rob [director Rob Marshall], our main point of contact was the studio VFX team. Rodeo was initially brought on board to take on some overflow character work from another studio. All of the merfolk shots were pretty challenging, there was a lot of plate reconstruction and integration to be done. Our most difficult shot was in the closing scene of the film when Ariel’s family and community join her on the beach to send her off on her adventures with Prince Eric. The shots with Scuttle, Sebastian and Flounder were also challenging as the character assets – built by our friends at Framestore – were shared across multiple vendors, and we had to ensure continuity not only in their appearance, but in their overall demeanor and performance.”
Rodeo FX recreated Place de L’Étoile in Paris, one of the busiest locations in the world, for John Wick: Chapter 4. The John Wick franchise is known for its stylish, choreographed action sequences and gunfights.(Photo: Murray Close. Courtesy of Lionsgate)
Wētā FX designed, built and animated Cokie and her two cubs for Cocaine Bear. (Image courtesy of Universal Pictures)
ILM’s VFX team worked closely with Production Designer James Clyne and the art department to develop the rich design framework of The Creator. (Images courtesy of 20th Century Studios)
Indiana Jones and the Dial of Destiny. (Image courtesy of Lucasfilm Ltd)
One of the most highly anticipated films of the year was Christopher Nolan’s Oppenheimer. The combined effects departments created over 200 shots and only half of those needed post work in VFX. Production VFX Supervisor Andrew Jackson was the first person to read the Oppenheimer script after Producer Emma Thomas. “Chris told me before I read the script that he wanted to avoid computer-generated effects,” Jackson says. “He thought if we could shoot it practically, it would fit better with the language and feel of the film. His approach to effects is very similar to mine in that we don’t see a clear divide between VFX and SFX, and believe that if something can be based on filmed elements it will always bring more richness and depth to the work. After my initial discussions with Chris, I spent the first three months of the project in SFX Supervisor Scott Fisher’s workshop, developing and testing dozens of simulations and effects. For the duration of the shoot, we ran a small VFX IMAX film unit, which compiled an extensive library of filmed elements. The final shots ranged from using the raw elements as shot, through to complex composites of multiple filmed elements led by VFX Supervisor Giacomo Mineo and the team at DNEG, the film’s sole VFX partner.
Barbie will likely be in contention for Best Production Design, but the film’s visual effects should not be overlooked. (Images courtesy of Warner Bros.)
Guardians of the Galaxy Vol. 3. (Images courtesy of Marvel Studios)
“Each shot presented its own set of challenges as the script describes thoughts and ideas rather than specific visual images,” Jackson continues. “This was both exciting and challenging as we searched for solutions we could build and shoot that were both driven by the story and visually engaging. Combined with the set of creative rules like only using real elements shot on film, this meant that we had to dig deeper to find solutions that were often more interesting than if there had been no limits. The one sequence that was the most challenging was the Trinity test itself. Unlike the other effects scenes, this one needed to replicate the original test but still be made only using filmed elements. It was a huge design and compositing exercise, involving retiming and combining multiple high-speed explosion and ground detail elements. The result is a truly unique cinematic experience.”
Real locations and a preference for practical effects ground Blue Beetle in a family-friendly everyday sense of reality that offers superhero VFX on a down-to-earth scale. (Image courtesy of Warner Bros.)
Oppenheimer. (Image courtesy of DNEG and Universal Pictures)
MPC and Wētā FX were the lead studios on Transformers: Rise of the Beasts, and the number of visual effects shots ended up in the 1,800-1,830 range. “[Director] Steven Caple Jr. and I met in pre-production when there was only a script. He’d been gathering mood material and came in with a good idea of the world he wanted. It was a more grounded, gritty and distressed look he was after,” says MPC VFX Supervisor Gary Brozenich. “We discussed a heavier patina for the robots in general and wanted to link the look of their aging to the places they inhabited. The Autobots are city dwellers and the Maximals are jungle-dwelling – we should feel the environment in their shell. Both should have a different quality. Unicron and its interior carried the weight of introducing the franchise’s ultimate villain, one that is ingrained in the lore and the minds of a huge fan base. We wanted to make sure we were true to the original structural design in its planetary form.”
Matt Aitken was Wētā FX Visual Effects Supervisor on the film. “Our work on the show was all complex with character animation and FX simulations in almost every shot. The transformation shots were particularly challenging; we set up a dedicated transformation team comprising specialists from animation, rigging and models to handle the specifics of those, and some of the transformation shots were in progress throughout our time working on the movie. The most difficult transformation sequence was probably Mirage transforming into an exosuit around Noah as he slowly stands up. We kept Noah’s face but most of the time his body, clothing and hair has been replaced to allow the articulating suit pieces to neatly form around him. That was the last shot we delivered on the show!” Wētā FX also provided the bulk of effects for Cocaine Bear. “Our work on Cocaine Bear focused on the furry, drug-fueled lead, Cokie, a CG black bear that goes on a rampage after stumbling on abandoned cocaine in the wilderness,” notes VFX Supervisor Robin Hollander.
This year, audiences also saw Brie Larson reprise her role as Captain Marvel in The Marvels, which undoubtedly will be a contender at the Academy Awards, while DC’s Blue Beetle could be an outside pick. This year also marked the return of John Wick with John Wick: Chapter 4, an excellent addition to the franchise. Barbie will certainly be in contention for Best Production Design. The film’s visual effects are also worth special mention. Whichever film wins the award for Best Visual Effects, it has been an incredible year for film VFX.
London
VES London is the UK branch of the global Visual Effects Society, a non-profit, professional, honorary society dedicated to the promotion and education of the art.
We achieve these goals through events that showcase local talent and unite industry professionals, as well as foster communication with the wider community.
For our members and their guests, we run private screenings of new film releases throughout the year. We also organize networking and educational events to strengthen our Society.
For non-members and prospective members we have a few open events, including our networking nights and online panels.
If you are not yet a VES member, please apply here or follow us on social media to learn about upcoming events and come meet us.
Become a member to vote in the coveted VES Awards and have access to our Member Assistance Program where you will find tons of offers and discounts as well as one-on-one financial, legal and mental health advise by Lifeworks.
Here are some of the benefits VES members in London have access to:
Studio screenings of current box office releases at MPC in Wardour Street.
Regular networking events such as pub nights, summer and winter parties as well as membership drive events.
Educational events online and in-person and discussion panels.
Access to the Peer-to-peer Mentorship Program where you can be both a mentor and a mentee.
Free subscription to VFX Voice magazine, the number one publication in our industry which you will receive by post (valued at $70)
Online subscription to Variety Magazine (valued at $79)
Online subscription to Animation Magazine (valued at $85)
Free standard subscription to Netflix (valued at £132)
15% discount at fxphd.com (valued at $130)
Access to the Luminaries Interviews, Q&A VFX Professionals series, and our growing library of content.
VES Awards Nomination event where we get together to review the work submitted by studios “for your consideration” and create a short-list for all members world-wide to vote from.
A few weeks after the nomination event, you will shape the history of our industry by voting online in the VES Awards to select the final winners.
We proudly offer a Member Assistance Program through Lifeworks where you can find legal advice, financial advice and mental health support and counselling through chat or telephone 24/7.
Discounts to hundreds of stores, services and gyms through Telus Lifeworks.
For questions or if you would like to help us increase our benefits, please volunteer by contacting the co-chairs at chair@ves.london
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DUNE: PART TWO
MPC’s security requires that all guests’ names match their photo ID for admission, so please RSVP below with each guest’s name. Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, March 12, 2024 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
The London section is very excited to invite you to the VP DAY – Virtual Productionday at Mo-sys London. Mo-sys is a world-wide recognised manufacturer of virtual production solutions, motion capture, virtual production training, camera tracking, image robotics and remote production.
It is going to be a terrific day and a rare hands-on opportunity to test a Virtual Production set yourself and fire any technical questions to the amazing Mo-sys technicians !
This is the program of the day:
– Mo-sys presentation + VES membership drive – Cost-efficient Hybrid Virtual Production Workflow – MoCap demonstration [without a suit or markers] – Gaussian Splat – a live demo showing 3D scene capture & editing
The event is happening by Mo-sys HQ where everyone will also have the opportunity to hang around their fantastic lab where all their technology was born as well as the Virtual Production Academy.
If you need any further info on the event and location please get in touch at events@ves.london.
This event is open to VES members +2 !! VES members, please type your name as Guest1.
How to get there:
The facility has a nice parking lot, however guests are encouraged to use public transport where possible – Please look at this funny video below for directions from North Greenwich ! (thanks to Morden Wolf Studio)
The 22nd Annual VES Awards season is underway, and it’s going to be more exciting than ever! Nomination Event to be held worldwide on Saturday, January 13, 2024.
This year we will have virtual and in-person Nomination Events. Current VES members can apply to judge on ANY in-person event that you can travel to or or ANY virtual panel in ANY time zone. This is the must-attend event of the awards season. You will see exclusive behind-the-scenes clips of the most striking visual imagery of 2023, and you’ll enjoy the single best networking opportunity of the year! Don’t miss your chance to meet the best and brightest in the VFX field, catch up with old friends, and learn about new VFX techniques. Plus, you’ll have the satisfaction of helping to decide the best work to be presented to our colleagues in the industry and the press, as well as fans across the globe.
The Nomination Event is an all-day event and judges will receive details about specific times closer to the event. Please apply to a specific in-person location, or a particular time zone of a virtual panel (view the Region Map for the time zone that best fits your schedule). Please submit your Judge Application early to make this year’s VES Awards Nomination Event successful.
-The 22nd Annual VES Awards Committee
JUDGE APPLICATIONS ARE CLOSED please contact cassidy@vesglobal.org with any questions
VES Members and Their Guests are Invited to a Screening of Netflix’s REBEL MOON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Thursday, January 11, 2024 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ AQUAMAN AND THE LOST KINGDOM
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, January 9, 2024 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Apple TV+’s and Sony Pictures’ NAPOLEON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, December 5, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Animation Studios’ WISH
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, November 28, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Motion Pictures’ THE MARVELS
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, November 14, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FIVE NIGHTS AT FREDDY’S
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, October 31, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Apple TV+’s KILLERS OF THE FLOWER MOON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, October 24, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Thursday, October 12, 2023 at 2:00PM (BST) & 3:00PM (CEST)
Mark your Calendars! The Visual Effects Society and TELUS Health (formerly Lifeworks) will present an overview of the services offered as part of the FREE VES Member Assistance Program. Don’t miss this chance to find out about the mental health, fitness, legal, financial, online resources, and more that are part of this amazing program. Don’t miss learning about all of these phenomenal benefits specifically for VES members throughout Europe and the UK!
VES Members and Their Guests are Invited to a Screening of 20th Century Studios’ THE CREATOR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP) Tuesday, October 3, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of 20th Century Studios’ A HAUNTING IN VENICE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, September 21, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE NUN II
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, September 19, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE EQUALIZER 3
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, September 9, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ GRAN TURISMO
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, August 29, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of MGM Studios’ LANDSCAPE WITH INVISIBLE HAND
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, August 24, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Ready to take the leap, switch up your career, and join the VFX industry? Or thinking of leaving VFX? Join our Online Panel “Career Change in VFX”, the first in a new series of talks about ‘Life in VFX’.
Thursday August 17th
7:30pm (London)
Discover insights and experiences from our fantastic panellists who’ve conquered the career change journey. This panel will provide you with guidance and inspiration for your next steps.
Brought to you by VES London, our speakers are:
🔹 Alexandra Papavramidi – Founder L♡VJOY, Full time Certified Pilates Instructor
🔹Andy Middleton – Senior/LeadTexture Artist, DNEG
🔹Codie Wilson – Animation Production Supervisor – DNEG Animation
🔹Rico Dober – Professor for Technical Direction, Technische Hochschule Ostwestfalen-Lippe
🔹Marieke Franzen – CEO, Futurity GmbH
🔹Hannah Rechowicz – Freelance Texture TD
Don’t miss out. Secure your spot now! VES members use the Zoom registration link below to save your spot.
Non-members register your interest here: https://tinyurl.com/vfx-life-panel (You will be sent a link within 72 hours if spaces are still available).
VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TEENAGE MUTANT NINJA TURTLES – MUTANT MAYHEM
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, August 10, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ HAUNTED MANSION
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, August 8, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ BARBIE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP Below (VES members must login in order to sign up) Tuesday, August 1, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ OPPENHEIMER
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP Below (VES members must login in order to sign up) Tuesday, July 25, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL (Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Click here to RSVP Tuesday, July 18, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and their +1 get ready! We’re happy to announce that the VES London section will be holding our annual Summer Party on Thursday 6th July 7-11pm.
Join us for tasty burgers and drinks, and embark on a 9-hole crazy golf extravaganza. You’ll have the chance to compete for bragging rights (and maybe a trophy!).
Our party is being held courtesy of our friends from Chaos, the creators of V-Ray. Special thanks to them for hosting us. We look forward to playing some tee-riffic golf together.
All London members must LOGIN TO RSVP and will be notified if more tickets become available based on venue capacity.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ INDIANA JONES AND THE DIAL OF DESTINY
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, July 4, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE FLASH
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 27, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ELEMENTAL
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 20, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: RISE OF THE BEASTS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 13, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: ACROSS THE SPIDER-VERSE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 6, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE LITTLE MERMAID
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 30, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FAST X
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 23, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ GUARDIANS OF THE GALAXY, VOL. 3
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 9, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ BIG GEORGE FOREMAN: THE MIRACULOUS STORY OF THE ONCE AND FUTURE HEAVYWEIGHT CHAMPION OF THE WORLD
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 2, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE POPE’S EXORCIST
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, April 20, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ RENFIELD
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, April 18, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SUPER MARIO BROS. MOVIE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, April 13, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Lionsgate’s JOHN WICK: CHAPTER 4
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, April 11, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Studios’ COCAINE BEAR
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, February 28, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, February 21, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and One (1) Guest are Invited to an Opening Weekend Dolby Vision 3D HFR Dolby Atmos Screening of Walt Disney Pictures’ and 20th Century Studios’ AVATAR: THE WAY OF WATER followed by a live interactive Q&A with the Filmmakers
Masks or face coverings are recommended, but not required. Please observe social distancing whenever possible.
Panelists will include VES Lifetime Achievement Award-winning Director-Writer-Producer-Editor James Cameron, Oscar winning Producer Jon Landau, Executive Producer, VES Award-winning Visual Effects Supervisor at Wētā FX Richard Baneham, VES Georges Méliès Award-winning Senior Visual Effects Supervisor at Wētā FX JoeLetteri, VES, Wētā Visual Effects Producer Lena Scanlan, VES Award-winning Head of FX at Wētā FX JohnathanNixon and VES Award-winning Animation Supervisor at Wētā FX Eric Reynolds, moderated by VES Chair Lisa Cooke. (All panelists’ participation based on availability.)
RSVP are closed
Saturday, December 17, 2022 at 7:00PM (Please arrive early to allow time for check-in)
Dolby Laboratories Europe Limited
4–6 Soho Square, London W1D 3PZ
(Closest tube station, Tottenham Court Road)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESAVATAR2, in your tweet.)
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Searchlight Pictures’ THE MENU
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, December 1, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Animation Studios’ STRANGE WORLD
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, November 29, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE FABELMANS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, November 22, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, November 17, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ BLACK ADAM
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Wednesday, November 9, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ TICKET TO PARADISE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, October 25, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN ENDS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, October 18, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, September 27, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Vertical Entertainment’s MEDIEVAL
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Thursday, September 22, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ BEAST
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Thursday, August 25, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ BULLET TRAIN
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, August 9, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Advance Screening of Universal Pictures’ NOPE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 26, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ WHERE THE CRAWDADS SING
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 19, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: LOVE AND THUNDER
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 12, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s MINIONS: THE RISE OF GRU
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 5, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ ELVIS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, June 28, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ LIGHTYEAR
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, June 21, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Advance Screening of Netflix’s THE SEA BEAST followed by a Q&A with the filmmakers. Panelists will include Writer / Producer / Director Chris Williams and Voice Actor Zaris-Angel Hator
Please RSVP to the following e-mail: filmawardsuk@netflixevents.com (be sure to give your full name and those of your guests) Sunday, June 19, 2022 at 11:00AM Soho Hotel
4 Richmond Mews, London W1D 3DH
(Closest tube station, Tottenham Court Road)
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JURASSIC WORLD DOMINION
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Wednesday, June 15, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, May 10, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ MORBIUS.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, April 26, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, April 19, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMBULANCE.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, April 12, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to an Opening Weekend Screening of Universal Pictures’ and DreamWorks Animation’s THE BAD GUYS.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, April 2, 2022 at 2:00PM
***VES members please register your name in the “Attendee 1″ field***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL (Closest tube station, Tottenham Court Road)
VES Members and Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: NO WAY HOME.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, January 18, 2022 at 7:00PM
***VES members please register your name in the “Attendee 1″ field***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Guests are Invited to a Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, January 11, 2022 at 7:00PM
***VES members please register your name in the “Attendee 1″ field***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
We are back are more excited than ever to be hosting our first live event in a very long time and it’s at none other than the glorious Canal Museum in central London. Make sure to RSVP to this event as it’s going to be the Christmas party to end all Christmas parties. There will be DJs, dancing, drink, canapés and most importantly… canal boats, there might even be a special Whiskey bar that pop-ups near the end of the evening.
This is a ticketed event and you must RSVP to attend!
Last entry is at 11pm
(Members must be logged in to RSVP)
VES Members and Their Guests are Invited to a Screening of United Artists’ and Universal Pictures’ NO TIME TO DIE. MPC safety guidelines require all attendees must wear masks while moving around the building and they recommend that masks be worn whilst seated in the theater.
Please RSVP below (VES members must login to RSVP and see venue information)
Tuesday, October 19, 2021 at 7:00PM
***VES members please register your name in the “Attendee 1″ field***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
This trans-Atlantic ‘Speed Networking’ event is hosted by the VES LA section for an opportunity to meet people in LA, UK, France and Germany. You could make 5+ new global connections in the VES in just one hour!
Saturday 24th July 2021 10am PST / 6pm GMT / 7pm CET
Guest Speaker: Andrew Schlussel from Framestore, Amy Backwell from Industrial Light & Magic, Mark Flanagan from Epic Games, and Ben Radcliffe of Unity Technologies
Masterclass starts on 15.01.2021, AT 17:30 GMT
CAVE Academy Masterclasses in collaboration with VES London are back on this week, where we’ll be kicking things off with a panel discussion on the State of the Industry and Future Skills for 2021.
2020 was a year like no other: WFH, the rise of virtual production, real-time workflows, the list goes on and on. How we approach and tackle VFX and animation is changing, and at a pace like we’ve never experienced before. With 2021, what can we expect from the industry and what skills would be most beneficial for artists to hone?
For this discussion, we have Andrew Schlussel from Framestore, Amy Backwell from Industrial Light & Magic, Mark Flanagan from Epic Games, and Ben Radcliffe of Unity Technologies joining me to discuss how we can best prepare for the needs of the VFX and animation industry in this changing and challenging landscape.
To join the session, you can follow the link below, and if you have any questions you’d like put forward to the panel, please do send them in this direction: info@caveacademy.com
What is XR? It’s shorthand for a related set of new technologies that are changing the way we interact with the world and with each other: Virtual Reality, Augmented Reality, and Mixed Reality. To understand XR, you need to understand the technologies that enable it. If you understand the available technologies, how they are used, and what their future holds, you’ll be well equipped to deal with XR as it rapidly evolves and converges. This Thursday in partnership with VES & CAVE Academy I will be giving an overview XR in unity and showing you how easy it is to get started.
Guest Speaker: Ben Radcliffe Masterclass December 10, 2020, AT 20:00
Guest Speaker: Ben Radcliffe
Masterclass starts on 12.11.2020, AT 20:00 GMT
Create real-time projects without writing a single line of code! This session covers the fundamentals of Bolt, a visual scripting solution now available in all Unity plans. Learn how to configure and leverage Bolt for your Film, Animation, and XR projects, create basic interactions, use quick-start templates, and more.
Guest Speaker: Ben Radcliffe
Masterclass starts on
14.10.2020, AT 20:00 BST
Abstract
Interested in creating realtime effects in Unity such as fire, smoke, or sci-fi holograms? You can author configurable, reusable next-generation effects, ranging from simple to complex without writing any code. VFX Graph handles millions of particles on the GPU. Here’s your chance to get hands-on with the real-time VFX topics covered in this masterclass.
Guest Speaker: Chris Musselwhite
Masterclass starts on
01.10.2020, AT 20:00 BST
Treehouse digital has created their own in-house solution to virtual production using the Unreal game engine. During this master class we are going to discuss why they went the route of virtual production, how they were able to achieve this with a minimal budget and how this changed their typical production constraints.
Chris is an award-winning, BAFTA and AMPAS qualifying Producer who secured distribution in over thirty territories for his first feature film, after it was screened at Cannes Film Festival (2007). Chris is responsible for coordinating every production, managing budgets and maintaining international relationships.
Guest Speakers: Daniel Gilligan, Jahirul Amin
Masterclass starts on
08.10.2020, AT 20:00 BST
Abstract
During this masterclass, we’ll explore what type of data is captured onset for the purposes of VFX, and how the data is then used in post-production. This will include looking at texture, look dev reference, and data wrangling tasks.
Guest Speaker: Ben Radcliffe
Masterclass starts on 17.09.2020, AT 20:00 BST
As a storyteller, you want to immerse people in a world of your own making. As an artist, you want to experiment and play, and you need the tools to execute on your vision, quickly and flexibly. In this masterclass, you’ll learn how it’s done – from previsualization to environment creation, set dressing, cinematography, lighting, and post-processing. We’ll even cover visual effects, audio, and final rendering. This masterclass is designed to empower storytellers and artists like you with all the foundational Unity skills you need to tell your own stories.
Guest Speaker: Ace Ruele
Masterclass starts on 10.09.2020, AT 20:00 BST
CAVE Academy and VES London are very happy to have motion performance expert, Ace Ruele, join us to discuss his process to bring characters to life.
During this masterclass, Ace will discuss topics such as creating the back story and the psychology of your character, the importance of understanding the anatomy and physiology of your character. He will then move on to studying reference, adding your own spin and then finally becoming and embodying the character.
Whether you are an actor, mocap performer, animator or a rigging artist, this session will dig deep to pull out your inner creature.
Technicolor PULSE is a software solution for centralised and collaborative content management, storage and delivery from anywhere in the world. It has been used on over 100 shows around the world, with over 10PB of data stored worldwide and over 3bn frames rendered in VFX and DI Pulls and returns.
Recent PULSE Credits: The Old Guard, Brave New World, Avenue 5, His Dark Materials, Midway, Greyhound
Join us on Thursday 27th August at 4:00pm (BST) for an engaging presentation, demo, panel discussion and Q&A on PULSE features and benefits for your next production.
Speakers
Jeremy Stapleton, Global Head of Software, Technicolor
Jason T. Morrow, Senior Producer, Front End Services, Technicolor
Simon Frame, VFX Producer
Cristi Stoica, VFX Editor
Agenda
An introduction to PULSE – Jason T. Morrow
PULSE Demo – Jeremy Stapleton
Panel Discussion with Simon Frame and Cristi Stoica
Face the FACS When: Thu Jul 30, 2020 08:00pm to 09:00pm BST
Guest Speaker: Melinda Ozel
Abstract
Melinda specializes in the art and science of facial expressions. Using the Facial Action Coding System (FACS) as a descriptive device, she teaches artists, engineers, and researchers how to build and break down facial movements and emotions.
She’s passionate about sharing her knowledge, mitigating false face news, and giving people the tools they need to create or track salient expressions. Her expertise applies to any level of realism and stylization as well as any type of face – from human to creature or object.
On the tech side, she’s been working on real-time face tracking since 2016 for applications such as expression tracking for avatar puppeteering and emotion detection technology.
CAVE Academy and VES London are very happy to have Hasraf ‘HaZ’ Dulull – the director of feature films The Beyond and 2036 Origin Unknown, and the Disney series – Fast Layne, join us to discuss his process to bringing to life his latest animated project, Battlesuit. HaZ will cover how he created the project with Unreal Engine and how real-time workflows are changing the landscape of filmmaking and storytelling from a Director’s point of view, and he will start the session by discussing how he made the transition from VFX to feature film & TV directing.
Working from actor scan data is now a common task in the VFX and gaming industry. In this masterclass, Jan Jinda will give you a quick but complete tour on how to go from a rough scan to a clean production-ready model.
Jan will first cover prepping the model and scan alignment by wrapping a base mesh to the scan data. He’ll then continue to make model tweaks to bring the geometry to a ready state for texturing and rigging. He’ll also cover testing the model with a series of FACS expression shapes to ensure it is fit for deformation and animation.
Creating a production-ready model from a scan may seem easy, but without a solid workflow in place, it can be tricky to get right. Join us for this ‘digi-double’ workflow fly-through where you’ll be able to see industry techniques at play, and worthy tips and tricks to help push your assets to the next level.
CAVE Academy are extremely excited to have Chun Chun Yang join us to run a masterclass on photoreal texturing. Observation, analysis and execution are pivotal to creating an asset that both captures the essence and looks the part. In this session, Chun Chun will discuss her approach to texturing and demonstrate some of the tools and techniques she employs on a regular basis to create believable assets.
For more information on Chun Chun and to see her amazing work and tutorials, make sure to check out her website.
Unity is quickly becoming one of the most valuable tools for creators who want to build short films, episodic animated series, and cut-scenes or trailers for other CG content. Whether you’re a director, animator, technical artist, cinematographer, or general Unity enthusiast looking to dig into Unity’s film workflows, this talk will provide the core fundamentals of Unity for Media & Entertainment with an overview of upcoming features, enhancements, packages, templates, and integrations.
Unity, the world’s leading real-time engine, is used to create half of the world’s games. Unity’s flexible real-time tools offer incredible possibilities for filmmakers, and creators across industries and applications in 2D, 3D, VR, and AR
Guest Speaker: Benjamin Radcliffe
Ben is a Media and Entertainment Technology Evangelist for Unity Technologies with 20 years experience in CG Feature Animation, Television Animation, and VFX working across the globe in North America, Asia, and Europe for a variety of high-end studios. Previous studios include Dreamworks Animation, Sony Pictures Imageworks, Disney Feature Animation, MPC, and Industrial Light and Magic.
Prior to joining Unity, Ben spent the past 3 years working at ILM London as a Lighting Supervisor on Transformers 5, Avengers: Infinity War, and most recently Avengers: End Game. In his role at Unity, Ben is working with technical decision makers and influencers within key VFX and Animation Studios throughout the UK and the rest of Europe to advance the art and science of visual effects and animation through the use of real-time technology.
Join us for a live discussion around remote working in the VFX and Animation industry entitled Working From Home: Past, Present and Future.
Brought to you by VES London and Cave Academy, this panel discussion will consider how the industry is continuing to operate despite the obvious setbacks during the current Covid-19 crisis, and how companies have been able to tackle remote working for small, medium and large scale projects.
VES London and CAVE Academy are very excited to have Mac Moore, CEO of Conductor Technologies join us to discuss the history of cloud in VFX and how COVID-19 is impacting the industry’s adoption. Mac will also be giving a run-down and demonstration of the Conductor toolkit, and showing how studios are leveraging this technology as we quickly migrate to a new world of remote workflows.
In conjunction with CAVE Academy, the VES is happy to announce our first in a series of master classes.
A hands-on approach to writing a basic camera shader for the Arnold renderer. In this session, Zeno Pelgrims will be showing you the fundamentals of writing a c++ Arnold plugin. He will also introduce you to lens theory, which will allow you to start writing your own camera shaders. The session will take place on Monday the 27th April, 20:00 GMT and will be hosted by Ross Baxter.
Framestore have been ever so kind as to include us with an invite to their deep learning talk on Covid-19. It is being hosted on Zoom this Thursday and is open to all VES members worldwide. Please find the link to the zoom invite below (you must be logged in to see it).
So much about Covid-19 is still unknown, even after months of astonishing global research. In this informal talk, I’ll describe how the open source deep learning community is trying to help answer the urgent need for fast, accurate, inexpensive Covid-19 population screening in mobile, urgent and primary care settings. I’ll discuss designs for a deep convolutional neural network (CNN) for Covid-19 detection, but also I hope to show that each move forward with the deep learning tools we’re making bumps headlong into broad, unanswered questions. Specifically, I’ll suggest the unexpected importance of the effort towards serological tests for those without symptoms, identifying individuals who have developed an immune response by overcoming a Covid-19 infection.
Kevin Cain Bio:
Aiming to cross-pollinate computer vision with traditional archaeological techniques, Kevin Cain heads the non-profit organization INSIGHT based in California. Kevin has also founded technology companies including Photon Factory, Smart Picture Technologies, and most recently plexus3D. Kevin has organized digital cultural heritage projects in collaboration with the American Research Center in Egypt Egyptian Antiquities Project (Cairo), the Egyptian Antiquities Dept. of the British Museum (London), the Metropolitan Museum’s Egyptian Art Dept. (New York), and the American Museum of Natural History (New York), the Louvre Museum in Paris and the Smithsonian Museums in Washington D.C. Kevin launched and directed the MFA Department of Computer Art at the Academy of Art University in San Francisco.
RED, VES and Framestore invite you to an exceptional workshop at Framestore with very special guest Dan Duran, post-production and workflow specialist at RED Digital Cinema from Hollywood, California. This resolutely technical workshop aims to deepen the knowledge of cinematographers, but also of DITs, colorists and post-production supervisors on the internal functioning of IPP2, its colorimetry and workflows using the RED Monstro sensor. Dan will also present the latest updates and insights to from RED and answer any questions offered by attendees. The event will also include a demo and hands on experience with RED’s latest cameras.
You must RSVP to attend this event, please login to do so.
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
Any active VES member who can travel to one of the cities listed below may participate.
This is your chance to determine who will ultimately walk up to the podium on January 29, 2020, to collect a coveted VES Award. A single vote may make the difference between being nominated… or not… and that vote could be yours!
Past participants know that this is the must-attend event of the awards season. Not only will you view some of the most amazing visual imagery of 2019, you’ll get to see exclusive behind-the-scenes footage while participating in the single best networking opportunity of the year. It’s a chance to see old friends, meet the best and brightest in the visual effects field, and learn new techniques that you can apply to your own craft. All of that, plus the satisfaction of knowing that you have participated in choosing what will ultimately be the Nominations announced to the press for the 18th Annual VES Awards.
Judges who register to participate will receive information about specific times and locations from their local section representatives once their applications are received. If you are ready to make a difference, please submit your Panel Judge Application BELOW. Make sure you check the box indicating which of the Nomination Event locations you are applying for.
The Nomination Event is a full-day event held on Saturday, January 4, 2020 around the globe. Nominees will be announced on Monday, January 6, 2020. We look forward to receiving your Judge Application to make this year’s Nomination Event a success!
VES Members and Their Guests in London are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER followed by a live interactive Q&A with the Filmmakers.
Panelists will include Director J.J. Abrams as well as Visual Effects Supervisors Roger Guyett and Patrick Tubach, moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
In addition to the broadcast Q&A from Los Angeles, we are honored to have VES, Emmy and Academy Award-nominated Special Effects Supervisor Dominic Tuohy as well as Oscar-winning Creature Effects Supervisor Neal Scanlan on hand to introduce the screening and to answer questions after the live interactive Q&A.
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, December 21, 2019 at 7:00PM
Tis’ the season for the VES London Christmas Party!
VES London is very happy to be hosting a Christmas celebration at the wonderful upstairs bar at the Porterhouse in Covent Garden called the Dingle Whiskey bar. There will be music, drink, merriment, dancing, delicious christmas treats and lots of whiskey. Please remember to RSVP for the event and bring a guest or two along for the fun.
If you would like to sign up for this event, please log in.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DOCTOR SLEEP Please RSVP below (VES members must login to sign up.) Tuesday, November 19, 2019 at 7:00PM (DATE CHANGE)
London VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s FORD V FERRARI followed by a live interactive Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Olivier Dumont, Visual Effects Producer Kathy Siegel and Special Effects Supervisor Mark R. Byers. (All panelists’ participation based on availability.)
Please RSVP Below (VES members must login to RSVP and see venue information) Saturday, November 16, 2019 at 7:00PM
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ and 20th Century Fox’s TERMINATOR: DARK FATE Please RSVP below (VES members must login to sign up.) Tuesday, November 12, 2019 at 7:00PM
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE GOLDFINCH
Please RSVP below (VES members must login to sign up.) Tuesday, October 1, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ IT CHAPTER TWO
Please RSVP below (VES members must login to sign up.) Tuesday, September 10, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Joining Gray on the film are Academy Award®-nominated cinematographer Hoyte Van Hoytema (DUNKIRK), production designer Kevin Thompson (who previously designed Gray’s films THE YARDS and LITTLE ODESSA), editors John Axelrad, ACE(THE LOST CITY OF Z, THE IMMIGRANT) and Lee Haugen (THE LOST CITY OF Z), music supervisors Randall Poster (INSURGENT) and George Drakoulias (DETROIT) and two-time Academy Award®-winning costume designer Albert Wolsky (BUGSY, ALL THAT JAZZ).
This invitation is non-transferable, and seats will be allocated on a first come, first served basis. You will receive a reply in a timely fashion.
A sci-fi thriller set in the future, AD ASTRA stars Brad Pitt as an elite astronaut who travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos.
Directed by James Gray (THE LOST CITY OF Z, THE IMMIGRANT), from a screenplay by Gray and Ethan Gross (“Fringe”), AD ASTRA also stars Academy Award® winner Tommy Lee Jones (JUST GETTING STARTED, JASON BOURNE), Academy Award® nominee Ruth Negga (LOVING); Liv Tyler (THE LORD OF THE RINGS, ARMAGEDDON) and Donald Sutherland (THE HUNGER GAMES).
The film was produced by Plan B Entertainment’s Academy Award®-winning principals Brad Pitt, Dede Gardner and Jeremy Kleiner (VICE, MOONLIGHT, 12 YEARS A SLAVE, THE BIG SHORT) along with Anthony Katagas (THE LOST CITY OF Z, 12 YEARS A SLAVE), RT Features’ Rodrigo Teixeira (CALL ME BY YOUR NAME) and New Regency Pictures’ Arnon Milchan (GONE GIRL). Mark Butan, Lourenço Sant’Anna, Sophie Mas, Yu Dong, Jeffrey Chan, Anthony Mosawi, Paul Conway, Yariv Milchan and Michael Schaefer serve as executive producers.
TWENTIETH CENTURY FOX and REGENCY ENTERPRISES Present In Association With BONA FILM GROUP A NEW REGENCY / PLAN B ENTERTAINMENT / KEEP YOUR HEAD / RT FEATURES / MadRiver PICTURES Production. A JAMES GRAY Film. BRAD PITT “AD ASTRA” TOMMY LEE JONES; RUTH NEGGA; LIV TYLER; and DONALD SUTHERLAND; Costume Designer ALBERT WOLSKY; Music by MAX RICHTER; Music Supervisors RANDALL POSTER and GEORGE DRAKOULIAS; Film Editors JOHN AXELRAD, ACE, LEE HAUGEN; Production Designer KEVIN THOMPSON; Director of Photography HOYTE VAN HOYTEMA, ASC, FSF, NSC; Executive Producers MARC BUTAN, Lourenço Sant’Anna, SOPHIE MAS; YU DONG, JEFFREY CHAN, ANTHONY MOSAWI, PAUL CONWAY; Produced By BRAD PITT, DEDE GARDNER, p.g.a., JEREMY KLEINER, p.g.a., JAMES GRAY, p.g.a., ANTHONY KATAGAS, p.g.a., RODRIGO TEIXEIRA, p.g.a., ARNON MILCHAN; Written by JAMES GRAY & ETHAN GROSS; Directed by JAMES GRAY.
VES Members and Their Guests are Invited to a Screening of Millenium Films’ ANGEL HAS FALLEN
Please RSVP below (VES members must login to sign up.) Wednesday, August 28, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ GOOD BOYS
Please RSVP below (VES members must login to sign up.) Tuesday, August 20, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
This film is GB-15 for strong crude sexual content, drug and alcohol material, and language throughout – all involving tweens.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below (VES members must login to sign up.) Wednesday, August 14, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FAST & FURIOUS PRESENTS: HOBBS & SHAW
Please RSVP below (VES members must login to sign up.) Tuesday, August 13, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We are very pleased to announce this month’s pub night is being hosted on the roof top terrace at the Carpenter’s Arms in Fitzrovia. This is all due in part to the generosity of Unity as our official pub sponsor for the rest of the 2019 season!
So come on down to enjoy some drinks and snacks all courtesy of the wonderful people at Unity and to learn more about our new sponsor or just to catch up with old colleagues and friends, hope to see you there! Everyone is welcome!
We are very pleased to announce the official screening of Criminal Audition July 30th 2019 with Q&A from the film makers. Please join us on this evening for a very special event that will include the film, Q&A and drinks reception afterwards. Criminal Audition is a truely an indepdent film with VFX and British root, it includes writer and star Luke Kaile (NVisible) and executive producer Jeff Clifford (ex Double Negative), this film truly has it’s roots in the London VFX scene.
There will be drinks and Q&A to follow with Luke Kaile (Writer and Actor), Sam Gridley (director), Richard Osborne (DOP), Jamie Wood (VFX supe) and Janis Balodis (sound).
Already the official selection of Fright Fest, it is being touted as darkly funny, claustrophobic Midnight Movie to laugh, wince and gasp at. Check out the newly released trailer for yourself, https://www.youtube.com/watch?v=EDOY6oGso6I.
We are very pleased to announce the official screening of Criminal Audition July 30th 2019 with Q&A from the film makers. Please join us on this evening for a very special event that will include the film, Q&A and drinks reception afterwards. Criminal Audition is a truely an indepdent film with VFX and British root, it includes writer and star Luke Kaile (NVisible) and executive producer Jeff Clifford (ex Double Negative), this film truly has it’s roots in the London VFX scene.
There will be drinks and Q&A to follow with Luke Kaile (Writer and Actor), Sam Gridley (director), Richard Osborne (DOP), Jamie Wood (VFX supe) and Janis Balodis (sound).
Already the official selection of Fright Fest, it is being touted as darkly funny, claustrophobic Midnight Movie to laugh, wince and gasp at. Check out the newly released trailer for yourself, https://www.youtube.com/watch?v=EDOY6oGso6I.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE LION KINGfollowed by a live interactive Q&A with the Filmmakers
Panelists will include Director Jon Favreau, Visual Effects Supervisor Rob Legato, and Cinematographer Caleb Deschanel, ASC, moderated by Michael Fink, VES. (All panelists’ participation based on availability.)
Please RSVP Below (VES members must login to sign up.)
(Drinks reception sponsored by Unity from 5:00PM to 7:00PM) Saturday, July 27, 2019
*Drinks reception from 5:00PM to 7:00PM Screening begins at 7:00PM followed by live interactive Q&A
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLIONKING, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
*Drinks reception before the screening sponsored by:
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE LION KINGfollowed by a live interactive Q&A with the Filmmakers
Panelists will include Director Jon Favreau, Visual Effects Supervisor Rob Legato, and Cinematographer Caleb Deschanel, ASC, moderated by Michael Fink, VES. (All panelists’ participation based on availability.)
Please RSVP Below (VES members must login to sign up.)
(Drinks reception sponsored by Unity from 5:00PM to 7:00PM) Saturday, July 27, 2019
*Drinks reception from 5:00PM to 7:00PM Screening begins at 7:00PM followed by live interactive Q&A
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLIONKING, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
*Drinks reception before the screening sponsored by:
VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME
Please RSVP below (VES members must login to sign up.) Tuesday, July 9, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to an Opening Weekend 3DScreening ofDisney•Pixar’s TOY STORY 4
Please RSVP below.
Saturday, June 22, 2019 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Focus Features’ THE DEAD DON’T DIE
Please RSVP below (VES members must login to sign up.) Tuesday, June 18, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below.
Saturday, June 15, 2019 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES London is proud to present the screening of the independent British film Criminal Audition and Q&A with writer and director Samuel Gridley, writer and actor Luke Kaile, director of photography Richard Osborne and Visual Effects Supervisor Jamie Woods (panel is subject to their availability).
Synopsis: An ex-lawyer and his team run an underworld service, providing fake criminals to take on other people’s crimes. But a new dangerous client turns their world upside down as they face lies, deceit and murder over the course of one night.
June 12th – doors open 7:00PM (CEST) and there will be beer and pizza!
ZOOM stream starts at 7:30PM (CEST)
Masterclass starts at 8:00PM (CEST)
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The VES invites you to our 3rd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on June 12th 7:00PM at multiple locations and will also be streamed via ZOOM.
RSVP for your specific location on the appropriate event pages please:
Efficient facial rigging tools for emotionally believable digital humans
presented by Volker Helzle – Head of Research & Development at Filmakademie
Live from Munich Using Machine-learning to classify a VFXElements Library
presented by Jonas Kluger – Pipeline TD at ARRI
Live from Berlin Camera Technology: Sensors, Noise Properties, and Raw Processing
presented by Charles Poynton, PhD
We are overbooking to compensate for no-shows.
Seating is limited and will be available on a first come, first served basis.
An RSVP does not guarantee seating.
VES-Members and their registered guests only (except for Ludwigsburg and Cologne). No admission without registration – also at the streaming locations!
The event will also be recorded for everyone who can’t make it.
The event will be streamed live from (and to) Berlin, Munich, Stuttgart and Ludwigsburg. For the first time we also provide direct access to the ZOOM stream for ALL VES MEMBERS around the world!
VES Germany is a proud Partner of the FMX Conference in Stuttgart.
VES London is proud to present the screening of the independent British film Criminal Audition and Q&A with writer and director Samuel Gridley, writer and actor Luke Kaile, director of photography Richard Osborne and Visual Effects Supervisor Jamie Woods (panel is subject to their availability).
Synopsis: An ex-lawyer and his team run an underworld service, providing fake criminals to take on other people’s crimes. But a new dangerous client turns their world upside down as they face lies, deceit and murder over the course of one night.
VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below (VES members must login to sign up.) Tuesday, June 11, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below.
Saturday, June 8, 2019 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS
Please RSVP below (VES members must login to sign up.) Thursday, June 6, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below (VES members must login to sign up.) Wednesday, June 5, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We will be hosting an unofficial pub night at the Nellie Dean on Wednesday the 29th of May, what does unofficial mean? We haven’t officially booked the pub, that’s all, expect the great fun as usual with a bit more random people.
We’re almost half way through 2019 and our new members have just been announced so we’ve decided to celebrate the addition of 21 new members with some drinks courtesy of the VES London board. All current and new members (until supplies run out) will be eligible for a round of drinks, so please join us this last Wednesday of the month for what is sure to be great times. And remember, everyone is welcome so if you’re new to the VFX industry or a seasoned vetereran thinking about joining the VES please feel to drop by and chat with our current board.
We will be hosting an unofficial pub night at the Nellie Dean on Wednesday the 29th of May, what does unofficial mean? We haven’t officially booked the pub, that’s all, expect the great fun as usual with a bit more random people.
We’re almost half way through 2019 and our new members have just been announced so we’ve decided to celebrate the addition of 21 new members with some drinks courtesy of the VES London board. All current and new members (until supplies run out) will be eligible for a round of drinks, so please join us this last Wednesday of the month for what is sure to be great times. And remember, everyone is welcome so if you’re new to the VFX industry or a seasoned vetereran thinking about joining the VES please feel to drop by and chat with our current board.
VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s POKEMON: DETECTIVE PIKACHU
Please RSVP below (VES members must login to sign up.) Tuesday, May 14, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME
Please RSVP below.
Tuesday, April 30, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
After last month’s hiatus we are back with our monthly pub night at our usual venue and time, the last Wednesday of the month in the upstairs function room at the Ship Fitzrovia. Come one, come all to talk some vfx, enjoy some drink and have a laugh with your peers. Hopefully see you there!
After last month’s hiatus we are back with our monthly pub night at our usual venue and time, the last Wednesday of the month in the upstairs function room at the Ship Fitzrovia. Come one, come all to talk some vfx, enjoy some drink and have a laugh with your peers. Hopefully see you there!
VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ MISSING LINK
Please RSVP below (VES members must login to sign up.) Thursday, April 18, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below (VES members must login to sign up.) Tuesday, April 16, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below (VES members must login to sign up.) Tuesday, April 2, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN MARVEL followed by a Q&A with the Filmmakers.Panelists will include Directors Anna Boden and Ryan Fleck as well as Additional Visual Effects Supervisor Janelle Croshaw Ralla, moderated by Bill Taylor, VES, ASC. (Panelists will be announced as they are confirmed.)
Please RSVP below.
Sunday, March 10, 2019 at 6:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESCAPTAINMARVEL, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Join us for the second VES London Pub Night of 2019!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Ship Fitzrovia to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Ship allows outside food to be eaten at the pub so feel free to order in or bring some take away with you.
Join us for the second VES London Pub Night of 2019!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Ship Fitzrovia to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Ship allows outside food to be eaten at the pub so feel free to order in or bring some take away with you.
London VES Members and Their Guests are Invited to a 3D Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD followed by a live interactive Q&A with Director Dean DeBlois, Producer Brad Lewis, Visual Effects Supervisor Dave Walvood, Head of Character Animation Simon Otto and Head of Effects Li-Ming ‘Lawrence’ Lee moderated by Director Bill Kroyer. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Saturday, February 23, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESDRAGON, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below (VES members must login to sign up.) Wednesday, February 20, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Netflix’s ROMA
Please RSVP below (VES members must login to sign up.) Tuesday, February 19, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Netflix’s ROMA
Please RSVP below (VES members must login to sign up.) Tuesday, February 19, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGO MOVIE 2: THE SECOND PART
Please RSVP below (VES members must login to sign up.) Tuesday, February 12, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We are happy to announce that the ship is happy to host us again in 2019 and our first pub night is coming up this week. Please join us for drinks and some great VFX talk with your peers. We’ll also be picking up the bar tab for anyone indulging in dry January, that means any non-alcoholic drinks are on us. It’s also a great opportunity to be introduced into your new VES London board members, so come on down anytime after 7pm to the Ship Ftizrovia.
We are happy to announce that the ship is happy to host us again in 2019 and our first pub night is coming up this week. Please join us for drinks and some great VFX talk with your peers. We’ll also be picking up the bar tab for anyone indulging in dry January, that means any non-alcoholic drinks are on us. It’s also a great opportunity to be introduced into your new VES London board members, so come on down anytime after 7pm to the Ship Ftizrovia.
VES Members and Their Guests are Invited to a 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below (VES members must login to sign up.) Friday, December 21, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Pre-Release Screening of Universal Pictures’ MORTAL ENGINES followed by a Q&A with Visual Effects Supervisor Ken McGaugh, Animation Supervisor Dennis Yoo, Visual Effects Supervisor Luke Millar and Visual Effects Supervisor Kevin Smith moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Sunday, December 2, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMORTALENGINES, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Netflix’s MOWGLI followed by a Q&A with Director Andy Serkis, Animation Supervisor Max Solomon and Members of the Visual Effects Team T.B.A. moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Saturday, December 1, 2018 at 7:00PM
The May Fair Hotel Screening Room Stratton St, Mayfair, London W1J 8LT
(Closest tube station, Bond Street) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMOWGLI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Netflix’s MOWGLI followed by a Q&A with Director Andy Serkis, Animation Supervisor Max Solomon and Members of the Visual Effects Team T.B.A. moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Saturday, December 1, 2018 at 7:00PM
The May Fair Hotel Screening Room Stratton St, Mayfair, London W1J 8LT
(Closest tube station, Bond Street) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMOWGLI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s the final pub night of the year so come one come all and enjoy a pint or refreshment, say hi to your boardmembers and enjoy some great VFX chat. All new members will enjoy their first pint free when they present their VES Membership card to a board member. We will also be relvealing the location of our Christmas party so hopefully see you all there and remember, everyone is welcome!
It’s the final pub night of the year so come one come all and enjoy a pint or refreshment, say hi to your boardmembers and enjoy some great VFX chat. All new members will enjoy their first pint free when they present their VES Membership card to a board member. We will also be relvealing the location of our Christmas party so hopefully see you all there and remember, everyone is welcome!
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DR. SEUSS’ THE GRINCH
Please RSVP below (VES members must login to sign up.) Tuesday, November 27, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ OVERLORD
Please RSVP below (VES members must login to sign up.) Tuesday, November 20, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Pre-Release Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET followed by a Q&A with Visual Effects Supervisor Scott Kersavage, Character Look Development Supervisor Michelle Robinson and Head of Effects Animation Cesar Velazquezmoderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Saturday, November 17, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESRALPH, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below (VES members must login to sign up.) Tuesday, November 13, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE NUTCRACKER AND THE FOUR REALMS
Please RSVP below (VES members must login to sign up.)
Saturday, November 10, 2018 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below (VES members must login to sign up.) Tuesday, November 6, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s the last pub night of the year and it’s definitely going to be a spooky one! Come one, come all to the Ship on Wednesday October 24th for what sure to be a ghoulish affair. All the regulars will be there including the Mummy, the Werewolf and of course Dracula! No need to RSVP and remember that everyone is welcome to join!
It’s the last pub night of the year and it’s definitely going to be a spooky one! Come one, come all to the Ship on Wednesday October 24th for what sure to be a ghoulish affair. All the regulars will be there including the Mummy, the Werewolf and of course Dracula! No need to RSVP and remember that everyone is welcome to join!
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN
Please RSVP below (VES members must login to sign up.) Tuesday, October 23, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER followed by a live interactive Q&A with Writer/Director Ryan Coogler, Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Craig Hammack, Additional Visual Effects Supervisor Jesse James Chisholm and Special Effects Supervisor Dan Sudick moderated by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Saturday, October 20, 2018 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWAKANDA4EVER, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below (VES members must login to sign up.) Tuesday, October 16, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ VENOM
Please RSVP below (VES members must login to sign up.) Tuesday, October 9, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The VES sections from Germany, London and Paris present
VES MEGABRAIN Masterclass Vol.2
September 27th – 6:30PM at
DNEG
160 Great Portland Street, London
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The VES invites you to our 2nd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show breakdowns and reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on September 27th 6:30PM at DNEG, 160 Great Portland Street, London (and be simulcast to & from RISE Visual Effects Studios in Germany, and Paris).
This event is kindly supported by
and
Topics will be:
From the VES Germany
Extend Nuke’s Interface and functionality using PySide
presented by Falk Hofmann – Head of 2D at Pixomondo
From the VES Paris Photogrammetry and PBR Surface scanning
presented by Paul Parneix – CEO at scanbox.xyz
From the VES London
A Managed Approach to AOV Manipulation
presented by Greg Keech – Lead R&D Developer at DNEG
A JIT Expression Language for Fast Manipulation of VDB Points and Volumes
presented by Nick Avramoussis – DNEG
We are overbooking to compensate for no-shows.
Seating is limited and will be available on a first come, first served basis.
An RSVP does not guarantee seating.
VES-Members and their registered guests first, everyone else second. No admission without registration – also at the streaming locations!
The event will also be recorded for everyone who can’t make it.
The event will be streamed live from (and to) London, Paris, Berlin, Munich, Cologne and Stuttgart.
RSVP for your specific location on the appropriate event pages please:
Fall is in the air, membership drive has successfully completed and we’re nearing the end of the month which can only mean one thing! It’s time for the monthly installment of the Visual Effects Society London’s pub night. Please feel free to drop by anytime between 7pm and closing time, so hopefully see you there!
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below (VES members must login to sign up.) Tuesday, September 25, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below (VES members must login to sign up.) Tuesday, September 18, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Come on down to the London VES Pub Night and Membership Drive.
This is a great chance to catch up with colleagues, old friends or come make some new ones!
If you are a VES member or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
All members and their guest or those who apply that night will get their first drink free*, so come on down!
The next membership application cutoff date is September 15th. – Apply HERE
VES Members and Their Guests are Invited to a Screening of STX Entertainment’s THE HAPPYTIME MURDERS
This film is GB-15, and is not intended for children. Click here to watch the trailer.
Please RSVP below (VES members must login to sign up.) Tuesday, August 28, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below (VES members must login to sign up.) Wednesday, August 15, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below (VES members must login to sign up.) Tuesday, July 31, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below (VES members must login to sign up.)
Tuesday, July 24, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP
Please RSVP below (VES members must login to sign up.)
Tuesday, July 17, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below (VES members must login to sign up.)
Tuesday, July 10, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Sony Pictures’ and Lionsgate UK’s SICARIO: DAY OF THE SOLDADO
Please RSVP below (VES members must login to sign up.)
Tuesday, July 3, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a Special Fathers’ Day 3D Screening of Universal Pictures’ and Amblin Entertainment’s JURASSIC WORLD: FALLEN KINGDOM followed by a Q&A with Director J.A. Bayona, ILM Visual Effects Supervisor David Vickery, ILM Animation Director Jance Rubinchik and ILM Visual Effects Supervisor Alex Wuttke with moderation by VES London Section Secretary Gavin Graham (All panelists’ participation based on availability.)
Please RSVP below Sunday, June 17, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
London VES Members and Their Families are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below (VES members must login to sign up.)
Saturday, June 16, 2018 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
With the final days in May rapidly approaching, this can mean only one thing, VES London pub night is here! This is sure to be special evening indeed and there are many reasons to celebrate as the gracious folk from RISE VFX have kindly agreed to sponsor our night and pick up the bar tab! This means drinks will be gratis for all VES members. But do not worry if you aren’t, as signing up for the pub night e-mail list will also entitle you to some freebies. So come one, come all to what is sure to be a very boisterous and fun event. No RSVP required, just join us in the function room upstairs with all your VFX peers.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY
Please RSVP below (VES members must login to sign up.)
Tuesday, May 29, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Focus Features’ TULLY
Please RSVP below (VES members must login to sign up.)
Tuesday, May 8, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR followed by a Live Interactive Q&A with Visual Effects Producers Jen Underdahl and Lisa Marra, Weta Digital Visual Effects Supervisor Matt Aitken, Industrial Light + Magic Visual Effects Supervisor Russell Earl and Digital Domain Visual Effects Supervisor Kelly Port with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Sunday, May 6, 2018 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESINFINITYWAR, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
And as we start to near the end of the Month it can only mean one thing, VES Pub Night is upon us. The Ship Fitzrovia has been gracious enough to host us again in their incredible upstairs function room (http://www.theshipfitzrovia.com/function-room.html). Each pub night keeps getting busier so we’re hoping for an even larger turnout then last month. Come enjoy a glass of wine, beer or other beverage of your choosing with your fellow VES members and industry peers. Remember, you’re also welcome to bring or order your own food to the pub as well and everyone is welcome so please feel free to drop by and say hello.
Your London VES Board
Location: The Ship Fitzrovia – 134 New Cavendish Street, Fitzrovia, London, W1W 6YB Time: 7:00pm – late Date: 25/04/18
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below (VES members must login to sign up.)
Tuesday, April 10, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE followed by a Q&A with Co-Producer and Visual Effects Producer Jennifer Meislohn, ILM Visual Effects Supervisor Grady Cofer, Digital Domain Visual Effects Supervisor Matthew Butler and Digital Domain Previsualization Supervisor Scott Meadows as well as Digital Domain Virtual Production Supervisor Gary Roberts, moderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Saturday, April 7, 2018 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESRPO, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below (VES members must login to sign up.)
Thursday, March 29, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Come one, come all to another fantastical Pub night hosted in the amazing upstairs function room at the Ship Fitzrovia! We’re expecting better weather this time around so will hopefully see some more friendly faces. We has a blast last time so want to keep the good times rolling and for those of you not in the know, please be aware that The Ship allows outside food, so if you’re hungry, you’re more then welcome to bring food or order it there.
London VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME followed by a Live Interactive Q&A with Visual Effects Supervisor Rich McBride and Previs Supervisor Chris Batty with moderation by VES Board member Lisa Cooke.
Please RSVP below Saturday, March 17, 2018 at 7:00PM Walt Disney Studios Motion Pictures UK
3 Queen Caroline Street, London, W6 9PE Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWRINKLE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ and Netflix’s ANNHILATION
Please RSVP below (VES members must login to sign up.)
Tuesday, March 13, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
You are cordially invited to the first pub night of the year and spring membership drive for the London section.
With it being early into the new year we’ve decided to start things off with a new pub. The Ship Fitzrovia has graciously accepted to host us in their magnificent upstairs function room that even has it’s own bar!!! (http://www.theshipfitzrovia.com/function-room.html)
Please come one, come all to meet up with your members of the London VES board to have any questions or quandaries about the VES answered. Please bring along all eligible artists interested in joining the VES or anyone who just enjoys a fun night out.
We look forward to seeing you next Wednesday at our first monthly pub night event of 2018.
Location: The Ship Fitzrovia – 134 New Cavendish Street, Fitzrovia, London, W1W 6YB Time: 7:00pm – late Date: 28/02/18
London VES Members and Their Families are Invited to a Screening of Studio Canal’s and Aardman Animation’s EARLY MAN
Please RSVP below (VES members must login to sign up.)
Saturday, February 24, 2018 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below (VES members must login to sign up.)
Tuesday, February 20, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ ONLY THE BRAVE
Please RSVP below (VES members must login to sign up.)
Wednesday, January 31, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI plus a live interactive Q&A.
Panelists will include Writer/Director Rian Johnson, ILM San Francisco Visual Effects Supervisor Eddie Pasquarello, ILM Vancouver Visual Effects Supervisor Dan Seddon, Cinematographer Steve Yedlin, ASC and Editor Bob Ducsay with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.) Sunday, December 17, 2017 at 8:00PM
Dolby’s Soho Square Screening Room
4-6 Soho Square, London W1D 3PZ
(Closest tube station: Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLASTJEDI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below (VES members must login to sign up.)
Tuesday, December 5, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below (VES members must login to sign up.)
Tuesday, November 28, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guest are Invited to a Screening of Columbia Pictures ATTRACTION followed by a Q&A session with Arman Yahin (CEO Main Road Post). Plus complimentary wine and popcorn
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guest are Invited to a Screening of Columbia Pictures ATTRACTION followed by a Q&A session with Arman Yahin (CEO Main Road Post). Plus complimentary wine and popcorn
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
MPC would like to extend an invitation to London VES Members and Their Guests to attend a Family Screening of Universal Pictures and Illumination Entertainment’s Sing!
Please RSVP below (VES members must login to sign up.)
Saturday, November 18, 2017 at 11:00AM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
Seating is limited and will be available on a first come, first served basis (preference will be given to MPC employees). An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s MURDER ON THE ORIENT EXPRESS
Please RSVP below (VES members must login to sign up.)
Tuesday, November 14, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below (VES members must login to sign up.)
Tuesday, November 7, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ SUBURBICON
Please RSVP below (VES members must login to sign up.)
Tuesday, October 31, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This month, we’re back to our usual last Wednesday of the month for another London VES Pub Night!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie Dean serves gourmet award-winning pies from Pieminister! We’ll have dining tables reserved upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE SNOWMAN
Please RSVP below (VES members must login to sign up.)
Tuesday, October 24, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ BLADE RUNNER 2049
Please RSVP below (VES members must login to sign up.)
Tuesday, October 17, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMERICAN MADE
Please RSVP below (VES members must login to sign up.)
Tuesday, October 10, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s KINGSMEN: THE GOLDEN CIRCLE
Please RSVP below (VES members must login to sign up.)
Tuesday, October 3, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This month’s Pub Night will be on a THURSDAY due to a prior booking at the Nellie Dean pub. So make note of that!!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie Dean serves gourmet award-winning pies from Pieminister! We’ll have dining tables reserved upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of Focus Features’ VICTORIA & ABDUL
Please RSVP below (VES members must login to sign up.)
Tuesday, September 26, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MOTHER!
Please RSVP below (VES members must login to sign up.)
Tuesday, September 19, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
As the last Wednesday of the month is approaching, we’re welcoming you to join us for another London VES Pub Night!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie Dean serves gourmet award-winning pies from Pieminister! We’ll have dining tables reserved upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of The Weinstein Company’s WIND RIVER
Please RSVP below (VES members must login to sign up.)
Tuesday, August 8, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Focus Features’ ATOMIC BLONDE
Please RSVP below (VES members must login to sign up.)
Tuesday, August 1, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The last Wednesday of the month approaches and it’s time once again for the VES London PubNight!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The VES London PubNight
Wednesday, 26 July 2017 7 pm ’til late
London VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s WAR FOR THE PLANET OF THE APES, plus a live interactive Q&A with the filmmakers.
Panelists will include Senior Visual Effects Supervisor Joe Letteri and Director Matt Reeves with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Saturday, July 15, 2017 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWARFORTHEPLANET, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below (VES members must login to sign up.)
Tuesday, July 11, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below (VES members must login to sign up.)
Saturday, July 1, 2017 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below (VES members must login to sign up.)
Tuesday, June 27, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below (VES members must login to sign up.)
Saturday, June 24, 2017 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ THE MUMMY
Please RSVP below (VES members must login to sign up.)
Tuesday, June 13, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below (VES members must login to sign up.)
Tuesday, June 6, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES
Please RSVP below (VES members must login to sign up.)
Tuesday, May 30, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below (VES members must login to sign up.)
Tuesday, May 23, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below (VES members must login to sign up.)
Tuesday, May 16, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below (VES members must login to sign up.)
Tuesday, May 9, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below (VES members must login to sign up.)
Tuesday, April 18, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below (VES members must login to sign up.)
Tuesday, April 4, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Lionsgate’s POWER RANGERS
Please RSVP below (VES members must login to sign up.)
Thursday, March 30, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KONG: SKULL ISLAND
Please RSVP below (VES members must login to sign up.)
Tuesday, March 14, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s LOGAN
Please RSVP below (VES members must login to sign up.)
Tuesday, March 7, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
In the second of Double Negative’s exclusive ‘Behind The Screens’ events, Dneg’s senior crew on Fantastic Beasts and Where to Find Them will be giving an exclusive presentation on their work on the show to invited guests from the VFX community. Presentation will be followed by Q&A and drinks reception with the team.
The event takes place at their London studios on Great Portland St tomorrow night.
THE VFX FESTIVAL is back for 2017 and is bigger, better and bolder, than ever before. Presented by Escape Studios, part of Pearson College London, The VFX Festival 2017, is run in London from 7 th – 9 th February 2017, in association with arts and cultural venue, Rich Mix. Whether you are passionate about VFX, animation, games or motion graphics, The VFX Festival 2017 truly offers something for everyone. This year, the festival aims to explore the crossover between these specialisms and the creative industries as a whole. As the gap closes between new and old technologies, the 2017 festival will focus on how all elements intersect, whilst in keeping with new and existing trends.
At the heart of the festival will be a series of discussions and demonstrations from the leading VFX, Gaming and Animation companies, as particular attention is paid to VR, AR and other media-sharing tech, and analyse how this informs the skillset required for the next generation of VFX practitioners.
Headliners include Framestore, MPC, Double Negative, ILM, and One Of Us, presenting work from such projects as Star Wars, Star Trek: Beyond, and Fantastic Beasts and Where To Find Them.
This year it will run throughout the day on Saturday 7th January (exact timings to be confirmed), at Molinare – 34 Foubert’s Place, London, W1F 7PX.
We usually run two sessions, morning and afternoon, serving a hot lunch in between. Late afternoon, when we have finished the judging, we usually raise a glass and toast our fantastic sponsors – Molinare and Sohonet. Some people then stay for a chat at the bar over a drink, discussing the work seen.
Those who have been before know that it’s a great day – an opportunity to view and judge the world’s best film, television and commercials visual effects along with your peers. It’s also a great way for you to support your local section.
Join us for a special Christmas Pub Night at the Nellie Dean!
For the last time this year, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar.
We will have a bar tab for VES Members, but everyone is welcome to join!
Don’t miss our popular Killer darts game. The winner goes home with a nice bottle of single malt whisky!
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister. We’ll have dining tables set up upstairs for those who wish to partake.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s ROGUE ONE: A STAR WARS STORY plus a Q&A.
Panelists will include Executive Producer and Visual Effects Supervisor John Knoll and Animation Supervisor Hal Hickel with moderation by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP at the link below (VES members must login to view the link.) Sunday, December 18, 2016 at 8:00PM
Dolby’s Soho Square Screening Room
4-6 Soho Square, London W1D 3PZ
(Closest tube station: Tottenham Court Road) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESROGUEONE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Pre-Release Screening of Columbia Pictures’ PASSENGERS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Pete Dionne, Co-Producer Greg Baxter, Film Editor Maryann Brandon and Production Designer Guy Hendrix Dyas with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP at the link below (VES members must login to view the link.)
Saturday, December 17, 2016 at 8:00PM
Sony Pictures Entertainment Screening Room 25 Golden Square, Soho, London W1F 9LU
(Closest tube station, Piccadilly Circus) Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESPASSENGERS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The end of November is approaching, and it’s time for another VES London Pub Night!
As always, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar.
Don’t miss our popular Killer darts game. The winner goes home with a nice bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister. We’ll have dining tables set up upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP at the link below (VES members must login to view the link.)
Tuesday, November 29, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES VR Event is an evening conference and exhibition focused on Augmented and Virtual Reality and its impact in VFX and entertainment industry.
Great networking opportunities, attendees will have access to visionary speakers and case-study led content. Hear from inspirational speakers and thought-provoking panel discussions from key players redefining the boundaries for technology.
We are proud to bring inspirational speakers from across the globe.
Speakers will include Hammerhead VR’s Yush Kalia, Virtually’s Alexander Cohen, Head of Developer Services at Sony Computer Kish Hirani, Filmmaker at VISYON Ammar Haj Ahmad, AV Reality Founder & CEO Humphrey Hardwicke, and Rewind’s Solomon Rogers.
A Limited Number of VES Members in London are Invited to a “Behind the Screens” Presentation and Drinks Reception on STAR TREK BEYOND with CG Supervisor Rick Leary
Please RSVP at the link below (VES members must login to view the link.)
Thursday, November 24, 2016 at 7:00PM
(Doors open at 6:30PM, Presentation at 7:00PM, Drinks reception at 8:30PM)
DNeg London 160 Great Portland Street, London W1W 5QA
(Closest tube station, Great Portland Street) Click here for a map
Events are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE
Please RSVP at the link below
Tuesday, November 22, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please call +44 20 7292 8350 to RSVP(be sure to specify the date, time and location of the screening you’d like to attend) Friday, November 18, 2016 at 7:00PM
Charlotte Street Hotel 15-17 Charlotte St, Fitzrovia, London W1T 1RJ (Closest tube station, Goodge Street) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating. Click here for more studio screenings.
London VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ INFERNO
Please RSVP at the link below
Tuesday, November 1, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in Ireland are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN followed by a Q&A with Visual Effects Supervisor Frazer Churchill
Please RSVP at the link below
Saturday, October 22, 2016 at 6:00PM (There will be an introduction with food and drinks beginning at 5:15PM.)
Cineworld Dublin The Parnell Centre, Parnell St, Dublin 1, Ireland Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN followed by a Q&A with the Visual Effects Team
Panelists will include Visual Effects Supervisor Frazer Churchill, Visual Effects Producer Hal Couzens and Special Effects Supervisors Neil Corbould and Hayley Williams with moderation by VES Board member and London Section Chair Brooke Lyndon-Stanford. (All panelists’ participation based on availability.)
Please RSVP at the link below
Tuesday, October 18, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Focus Features’ and LAIKA’s KUBO AND THE TWO STRINGS
Please RSVP at the link below
Friday, October 14, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE MAGNIFICENT SEVEN
Please RSVP at the link below
Tuesday, October 4, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The end of September is approaching, and it’s time for another VES London Pub Night! We’ve had to play with the schedule a little, so this month only, we’re doing it on a Thursday!
As always, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar.
Don’t miss our popular Killer darts game. The winner goes home with a nice bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister. We’ll have dining tables set up upstairs for those who wish to partake.
VES Members and Their Guests in London are Invited to a Pre-Release Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON, plus a live interactive Q&A with the filmmakers.
Panelists will include Director Peter Berg, Special Effects Supervisors Burt Dalton and Matt Kutcher and Lead Post-Vis Artist at ILM Keith Johnson with moderation by VES Board member Dan Schrecker. (All panelists’ participation based on availability.)
Please RSVP below Saturday, September 24, 2016 at 8:00PM
Curzon Mayfair Cinema 38 Curzon St, London W1J 7TY Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in New York) immediately following the screening. (be sure to include the hashtag, #VESDEEPWATERHORIZON, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:
On April 20th, 2010, one of the world’s largest man-made disasters occurred on the Deepwater Horizon in the Gulf of Mexico. Directed by Peter Berg (LONE SURVIVOR), this story honors the brave men and women whose heroism would save many on board, and change everyone’s lives forever. Click here to watch the trailer
London VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SAUSAGE PARTY
Please RSVP at the link below
Tuesday, September 6, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES London members are invited to London ACM Siggraph’s Tech Talks 2016
London ACM SIGGRAPH is organising the second annual TECHTALKS in association with Double Negative, sponsored by Autodesk.
This is a two-day conference designed as a post-SIGGRAPH 2016 Conference recap for London.
The Talks will take place at the “Princess Anne Theatre” at BAFTA 195 Piccadilly Street, while the “David-Lean Room” will be hosting recruitment and exhibitor booths.
VES London members are invited to London ACM Siggraph’s Tech Talks 2016
London ACM SIGGRAPH is organising the second annual TECHTALKS in association with Double Negative, sponsored by Autodesk.
This is a two-day conference designed as a post-SIGGRAPH 2016 Conference recap for London.
The Talks will take place at the “Princess Anne Theatre” at BAFTA 195 Piccadilly Street, while the “David-Lean Room” will be hosting recruitment and exhibitor booths.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JASON BOURNE
Please RSVP below
(RSVPs close at 5:00PM on Thursday, August 11) Monday, August 15, 2016 at 6:30PM
NBC/Universal Screening Room
(Closest tube station: Tottenham Court Road)
1 Central St. Giles, St. Giles High Street, London, WC2H 8NU Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP at the link below
Tuesday, August 9, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s ICE AGE: COLLISION COURSE
Click here to RSVP
Monday, August 8, 2016 at 7:00PM
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ STAR TREK BEYOND
Please RSVP at the link below
Monday, August 1, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
VES members login to RSVP below Friday, July 1, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
VES members login to RSVP below Friday, July 1, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP at the link below
Tuesday, June 7, 2016 at 7:15PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP at the link below
Tuesday, June 7, 2016 at 7:15PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
VES members login to RSVP below Tuesday, May 17, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK followed by a Q&A with MPC’s Visual Effects Supervisor Adam Valdez.
VES members login to RSVP below Tuesday, May 3, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK followed by a Q&A with MPC’s Visual Effects Supervisor Adam Valdez.
VES members login to RSVP below Tuesday, May 3, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner goes home with a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The VES London Pub Night
Wednesday, 27 April 2016
7 pm ’til late
The Nellie Dean
in the private upstairs lounge
89 Dean Street
London W1D 3SU
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner takes home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner goes home with a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The VES London Pub Night
Wednesday, 27 April 2016
7 pm ’til late
The Nellie Dean
in the private upstairs lounge
89 Dean Street
London W1D 3SU
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner takes home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. Last January, winning dartist Janis killed the competition and took home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. Last January, winning dartist Janis killed the competition and took home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The London Section of the Visual Effects Society is delighted to invite you to the inaugural UK Visual Effects Society Awards celebration to recognise exceptional artistry in the fields of visual effects and filmed entertainment.
Acclaimed visual effects supervisor Steve Begg will receive the Vanguard Award for Leadership and the Advancement of Visual Effects in the UK. Distinguished actor Jim Broadbent will receive the Inspiration Award for promoting awareness of visual effects through his body of work. Highlights of the 14th Annual VES Awards held in Los Angeles will also be shown.
To give the event a breath of fresh air, the incredible team at Totally Top Hat are creating a magical fantasy night inspired by films like Labyrinth & The Dark Crystal. Dress is Fantasy Formal taking inspiration from the Labyrinth ballroom scene. Food will involve a uniquely-designed menu befitting our theme for the night. International sensation Inga Liljeström will be providing musical entertainment and our creative performance team will be injecting extra doses of fun, imagination and originality as guests enter and make their way up to the event space.
As you can see this event will be like no other and sure to kick off the UK VES Awards for years to come with an unforgettable and memorable inaugural evening!
Tickets are limited so please purchase ASAP to avoid disappointment!
Please purchase tickets below. (VES members must login in order to access the link.)
How do I get to the Tate Modern? What entrance should I use once I’m there? There are very specific instructions provided by Tate to access this event. Please click here to read.
What is the dress code? This is a formal event, but if you feel inspired, our theme is Fantasy Formal taking inspiration from the Labyrinth ballroom scene.
Is my ticket refundable? Please note all ticket sales are final.
Is my ticket transferable? Please contact us using the link below. We may be able to accommodate.
The London Section of the Visual Effects Society is delighted to invite you to the inaugural UK Visual Effects Society Awards celebration to recognise exceptional artistry in the fields of visual effects and filmed entertainment.
Acclaimed visual effects supervisor Steve Begg will receive the Vanguard Award for Leadership and the Advancement of Visual Effects in the UK. Distinguished actor Jim Broadbent will receive the Inspiration Award for promoting awareness of visual effects through his body of work. Highlights of the 14th Annual VES Awards held in Los Angeles will also be shown.
To give the event a breath of fresh air, the incredible team at Totally Top Hat are creating a magical fantasy night inspired by films like Labyrinth & The Dark Crystal. Dress is Fantasy Formal taking inspiration from the Labyrinth ballroom scene. Food will involve a uniquely-designed menu befitting our theme for the night. International sensation Inga Liljeström will be providing musical entertainment and our creative performance team will be injecting extra doses of fun, imagination and originality as guests enter and make their way up to the event space.
As you can see this event will be like no other and sure to kick off the UK VES Awards for years to come with an unforgettable and memorable inaugural evening!
Tickets are limited so please purchase ASAP to avoid disappointment!
Please purchase tickets below. (VES members must login in order to access the link.)
How do I get to the Tate Modern? What entrance should I use once I’m there? There are very specific instructions provided by Tate to access this event. Please click here to read.
What is the dress code? This is a formal event, but if you feel inspired, our theme is Fantasy Formal taking inspiration from the Labyrinth ballroom scene.
Is my ticket refundable? Please note all ticket sales are final.
Is my ticket transferable? Please contact us using the link below. We may be able to accommodate.
The first ever VES Pub Night in DUBLIN is on Thursday, 10/3 at the South William!
If you’re curious about the VES, or want to mingle with VFX professionals in your area, come meet Irish VES London Board Member Ed Bruce to learn about becoming a member.
The first ever VES Pub Night in DUBLIN is on Thursday, 10/3 at the South William!
If you’re curious about the VES, or want to mingle with VFX professionals in your area, come meet Irish VES London Board Member Ed Bruce to learn about becoming a member.
The Visual Effects Society London Section invites all members and a guest to a screening of award-winning Canadian-British-Irish drama Room, directed by Lenny Abrahamson and written by Emma Donoghue, based on her novel of the same name. The film stars Brie Larson, Jacob Tremblay, Joan Allen, Sean Bridgers, and William H. Macy. Featuring visual effects by Screen Scene, Dublin.
Thursday, 10th March 2016
6:30 pm: Doors and drinks
7:00 pm: Programme starts
The Moving Picture Company
127 Wardour St
London, W1F 0NL
In addition, we’re excited to be showing two short films just before the feature to honour the careers of two actors who sadly passed away recently from cancer: David Bowie and Alan Rickman.
Both feature a compelling visual effects component.
First up is Blackstar (dir. Renck), then Dust (dirs. Ockrent & Russell). Dust will be followed by a live Q&A with the filmmakers.
London VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ZOOLANDER 2
Please RSVP below
Wednesday, March 9, 2016 at 7:00PM
Molinare Screening Room
34 Fouberts Place, London, W1F 7PX Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ZOOLANDER 2
Please RSVP below
Wednesday, March 9, 2016 at 7:00PM
Molinare Screening Room
34 Fouberts Place, London, W1F 7PX Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Click here to RSVP
Monday, March 7, 2016 at 7:00PM
(Join us for drinks from 6:30PM.)
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Click here to RSVP
Monday, March 7, 2016 at 7:00PM
(Join us for drinks from 6:30PM.)
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
With this year’s membership application deadline fast approaching, we would like to invite all VES members and their colleagues to a membership social.
Instead of this month’s Pub Night, we’ll be at The Visual Effects Company on Warren Street. Drinks are on us!
If you have any friends or colleagues with at least five years of experience in the VFX industry, please invite them over. We’ll show what the society is all about and how they can join.
Of course, the VES is defined by you, the members. Even if you’re not bringing anyone along, please do come by and show everyone who we are. It’ll be a great chance to catch up with fellow members, and to meet new people from all areas of the industry.
With this year’s membership application deadline fast approaching, we would like to invite all VES members and their colleagues to a membership social.
Instead of this month’s Pub Night, we’ll be at The Visual Effects Company on Warren Street. Drinks are on us!
If you have any friends or colleagues with at least five years of experience in the VFX industry, please invite them over. We’ll show what the society is all about and how they can join.
Of course, the VES is defined by you, the members. Even if you’re not bringing anyone along, please do come by and show everyone who we are. It’ll be a great chance to catch up with fellow members, and to meet new people from all areas of the industry.
VES Members and a Guest are Invited to a Special Commemorative Screening of Lucasfilm’s, the Jim Henson Company’s and TriStar Pictures’ LABYRINTH followed by a Q&A with the Filmmakers.
Panelists will include Art Director Terry Ackland-Snow, Storyboard Artist Martin Asbury, Matte Photographer Martin Body, Animator Peter Chiang, Rotoscoping Artist Peter Field, Camera Operator Tim Field and Tim Walton with moderation by VES London Board-member Gavin Graham.
Sunday, January 31, 2016 at 3:25PM
Prince Charles Cinema
7 Leicester Place, WC2H 7BY London, United Kingdom Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Special Commemorative Screening of Lucasfilm’s, the Jim Henson Company’s and TriStar Pictures’ LABYRINTH followed by a Q&A with the Filmmakers.
Panelists will include Art Director Terry Ackland-Snow, Storyboard Artist Martin Asbury, Matte Photographer Martin Body, Animator Peter Chiang, Rotoscoping Artist Peter Field, Camera Operator Tim Field and Tim Walton with moderation by VES London Board-member Gavin Graham.
Sunday, January 31, 2016 at 3:25PM
Prince Charles Cinema
7 Leicester Place, WC2H 7BY London, United Kingdom Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
This year, we’re excited to bring back our popular Killer darts game. A bottle of single malt whisky awaits the winner!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
This year, we’re excited to bring back our popular Killer darts game. A bottle of single malt whisky awaits the winner!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
Click here to RSVP Friday, January 22, 2016, drinks at 4:30pm, film at 7:00PM
Cineworld Dublin
The Parnell Centre, Parnell St., Dublin 1, Ireland Click here for a map
A big thank you to our sponsors Autodesk and eurotek, who are generously providing pre-screening drinks and food.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
Click here to RSVP Friday, January 22, 2016, drinks at 4:30pm, film at 7:00PM
Cineworld Dublin
The Parnell Centre, Parnell St., Dublin 1, Ireland Click here for a map
A big thank you to our sponsors Autodesk and eurotek, who are generously providing pre-screening drinks and food.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members And Their Guests Are Invited To A 70mm IMAX Film Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members And Their Guests Are Invited To A 70mm IMAX Film Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We’ve got a magical VES holiday party planned with all the necessary ingredients: food, drinks, decorations, prizes, super surprises and special secrets. We will be returning to the fabulous and unique venue from last year, a Grade I listed Georgian mansion in a very exclusive Central London address. The only thing we’re still missing is you and your guest!
VES Members and Their Guests in London are Invited to a Pre-Release Screening of Disney’s and Pixar’s THE GOOD DINOSAUR followed by a Q&A with Director Peter Sohn and Producer Denise Ream
A Walt Disney Studios Motion Pictures release of a Disney presentation of a Pixar Animation Studios production. Produced by Denise Ream. Executive producers, John Lasseter, Lee Unkrich, Andrew Stanton. Directed by Peter Sohn. Screenplay by Meg LeFauve; story by Peter Sohn, Erik Benson, Meg LeFauve, Kelsey Mann, Bob Peterson; Director of PhotographySharon Calahan, Mahyar Abousaeedi; Editor Stephen Schaffeer; Music by Mychael Danna, Jeff Danna; Character art director, Matt Nolte; Sets art directors, Noah Klocek, Huy Nguyen; Effects supervisor, Jon Reisch; Sound designer, Craig Berkey; supervising sound editor, Shannon Mills; re-recording mixers, Michael Semanick, Tom Johnson; Casting, Kevin Reher, Natalie Lyon.
Voice cast:
Jeffrey Wright, Frances McDormand, Maleah Padilla, Ryan Teeple, Jack McGraw, Marcus Scribner, Raymond Ochoa, Jack Bright, Peter Sohn, Steve Zahn, Mandy Freund, Steven Clay Hunter, A.J. Buckley, Anna Paquin, Sam Elliott, Dave Boat, Carrie Paff, Calum Mackenzie Grant, John Ratzenberger.
VES Members and Their Guests in London are Invited to a Pre-Release Screening of Disney’s and Pixar’s THE GOOD DINOSAUR followed by a Q&A with Director Peter Sohn and Producer Denise Ream
A Walt Disney Studios Motion Pictures release of a Disney presentation of a Pixar Animation Studios production. Produced by Denise Ream. Executive producers, John Lasseter, Lee Unkrich, Andrew Stanton. Directed by Peter Sohn. Screenplay by Meg LeFauve; story by Peter Sohn, Erik Benson, Meg LeFauve, Kelsey Mann, Bob Peterson; Director of PhotographySharon Calahan, Mahyar Abousaeedi; Editor Stephen Schaffeer; Music by Mychael Danna, Jeff Danna; Character art director, Matt Nolte; Sets art directors, Noah Klocek, Huy Nguyen; Effects supervisor, Jon Reisch; Sound designer, Craig Berkey; supervising sound editor, Shannon Mills; re-recording mixers, Michael Semanick, Tom Johnson; Casting, Kevin Reher, Natalie Lyon.
Voice cast:
Jeffrey Wright, Frances McDormand, Maleah Padilla, Ryan Teeple, Jack McGraw, Marcus Scribner, Raymond Ochoa, Jack Bright, Peter Sohn, Steve Zahn, Mandy Freund, Steven Clay Hunter, A.J. Buckley, Anna Paquin, Sam Elliott, Dave Boat, Carrie Paff, Calum Mackenzie Grant, John Ratzenberger.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to an IMAX® 3D Screening of Sony Pictures Releasing UK’s THE WALK, Followed by a Q&A with the Director.
Panelists will include Director Robert Zemeckis. (All panelists’ participation based on availability.)
Click here to RSVP
Thursday, October 1, 2015 at 7:00PM
(Doors open at 6:30PM)
Empire Leicester Square
5-6 Leicester Square, London WC2H 7NA Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Robert Zemeckis
Screenplay by Robert Zemeckis & Christopher Browne
Based on the book “To Reach the Clouds” By Philippe Petit
Produced by Steve Starkey, p.g.a., Robert Zemeckis, p.g.a., Jack Rapke, p.g.a.
Executive Producers Cherylanne Martin, Jacqueline Levine, Ben Waisbren
Director of Photography Dariusz Wolski, ASC
Production Designer Naomi Shohan
Edited by Jeremiah O’Driscoll
Visual Effects Supervisor Kevin Baillie
Music by Alan Silvestri
Sound Designer/Re-recording Mixer Randy Thom
Starring Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale
Synopsis: THE WALK – Twelve people have walked on the moon. Only one has ever, or will ever, walk in the immense void between the World Trade Center towers.
Philippe Petit (Joseph Gordon-Levitt), guided by his real-life mentor, Papa Rudy (Ben Kingsley), is aided by an unlikely band of international recruits, who overcome long odds, betrayals, dissension and countless close calls to conceive and execute their mad plan. Robert Zemeckis, the master director of such marvels as FORREST GUMP, CAST AWAY, BACK TO THE FUTURE, POLAR EXPRESS and FLIGHT, again uses cutting edge technology in the service of an emotional, character-driven story. With innovative photorealistic techniques and IMAX® 3D wizardry, The Walk is genuine big-screen cinema, a chance for moviegoers to viscerally experience the feeling of reaching the clouds.
It is also one of the rare live-action films that is a PG-rated, all-audience entertainment for moviegoers 8 to 80 – and a triumphant true story to boot. It is unlike anything audiences have seen before, a love letter to Paris and New York City in the 1970s, but most of all, to the towers of the World Trade Center.
VES Members and a Guest are Invited to an IMAX® 3D Screening of Sony Pictures Releasing UK’s THE WALK, Followed by a Q&A with the Director.
Panelists will include Director Robert Zemeckis. (All panelists’ participation based on availability.)
Click here to RSVP
Thursday, October 1, 2015 at 7:00PM
(Doors open at 6:30PM)
Empire Leicester Square
5-6 Leicester Square, London WC2H 7NA Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Robert Zemeckis
Screenplay by Robert Zemeckis & Christopher Browne
Based on the book “To Reach the Clouds” By Philippe Petit
Produced by Steve Starkey, p.g.a., Robert Zemeckis, p.g.a., Jack Rapke, p.g.a.
Executive Producers Cherylanne Martin, Jacqueline Levine, Ben Waisbren
Director of Photography Dariusz Wolski, ASC
Production Designer Naomi Shohan
Edited by Jeremiah O’Driscoll
Visual Effects Supervisor Kevin Baillie
Music by Alan Silvestri
Sound Designer/Re-recording Mixer Randy Thom
Starring Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale
Synopsis: THE WALK – Twelve people have walked on the moon. Only one has ever, or will ever, walk in the immense void between the World Trade Center towers.
Philippe Petit (Joseph Gordon-Levitt), guided by his real-life mentor, Papa Rudy (Ben Kingsley), is aided by an unlikely band of international recruits, who overcome long odds, betrayals, dissension and countless close calls to conceive and execute their mad plan. Robert Zemeckis, the master director of such marvels as FORREST GUMP, CAST AWAY, BACK TO THE FUTURE, POLAR EXPRESS and FLIGHT, again uses cutting edge technology in the service of an emotional, character-driven story. With innovative photorealistic techniques and IMAX® 3D wizardry, The Walk is genuine big-screen cinema, a chance for moviegoers to viscerally experience the feeling of reaching the clouds.
It is also one of the rare live-action films that is a PG-rated, all-audience entertainment for moviegoers 8 to 80 – and a triumphant true story to boot. It is unlike anything audiences have seen before, a love letter to Paris and New York City in the 1970s, but most of all, to the towers of the World Trade Center.
We’re nearing the end of September, and a perfect time for another VES London Pub Night at the Nellie Dean!
Every month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. Our lovely bartender Gizela will be happy to serve you the Nellie’s entire drinks selection at our private upstairs bar.
As always, this is open to everyone, no need to RSVP, so bring your friends!
The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for optimal pie-eating pleasure.
The VES London Pub Night
Wednesday, 30 September 2015 from 7:00PM ’til late
The Nellie Dean in the private upstairs lounge
89 Dean Street, London W1D 3SU
We’re nearing the end of September, and a perfect time for another VES London Pub Night at the Nellie Dean!
Every month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. Our lovely bartender Gizela will be happy to serve you the Nellie’s entire drinks selection at our private upstairs bar.
As always, this is open to everyone, no need to RSVP, so bring your friends!
The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for optimal pie-eating pleasure.
The VES London Pub Night
Wednesday, 30 September 2015 from 7:00PM ’til late
The Nellie Dean in the private upstairs lounge
89 Dean Street, London W1D 3SU
Friday, 4 September from 6.30PM to 11:00PM at The Visual Effects Company
38a Warren Street, W1T 6AE (Click here for a map.)
Free for members and a guest Free for everyone eligible to join the VES
(minimum 5 years VFX experience)
£10 for everyone else
We’ll be dropping beats and drinking up with our friends at The Visual Effects Company from after work until late. A special shout to Escape Technology and NVIDIA who have helped make this night possible. We hope we’ll see you there!
Friday, 4 September from 6.30PM to 11:00PM at The Visual Effects Company
38a Warren Street, W1T 6AE (Click here for a map.)
Free for members and a guest Free for everyone eligible to join the VES
(minimum 5 years VFX experience)
£10 for everyone else
We’ll be dropping beats and drinking up with our friends at The Visual Effects Company from after work until late. A special shout to Escape Technology and NVIDIA who have helped make this night possible. We hope we’ll see you there!
It’s the last Wednesday of the month and time once again for the VES London Pub Night at the Nellie Dean!Every month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. Our lovely bartender Gizela will be happy to serve you the Nellie’s entire drinks selection at our private upstairs bar.
As always, this is open to everyone, no need to RSVP, so bring your friends!
The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for optimal pie-eating pleasure.
The VES London Pub Night
Wednesday, 26 August 2015 from 7:00PM ’til late
The Nellie Dean in the private upstairs lounge
89 Dean Street, London W1D 3SU
It’s the last Wednesday of the month and time once again for the VES London Pub Night at the Nellie Dean!Every month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. Our lovely bartender Gizela will be happy to serve you the Nellie’s entire drinks selection at our private upstairs bar.
As always, this is open to everyone, no need to RSVP, so bring your friends!
The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for optimal pie-eating pleasure.
The VES London Pub Night
Wednesday, 26 August 2015 from 7:00PM ’til late
The Nellie Dean in the private upstairs lounge
89 Dean Street, London W1D 3SU
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Click here to RSVP
Monday, August 17, 2015 at 7:00PM
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Click here to RSVP
Monday, August 17, 2015 at 7:00PM
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
London VES Members and Guests are Invited to Attend a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Click here to RSVP
Wednesday, July 22, 2015 at 7:30PM
Walt Disney Studios Motion Pictures UK
3 Queen Caroline Street, London, W6 9PE Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and a Guest are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Click here to RSVP
Tuesday, July 21, 2015 at 7:00PM Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and a Guest are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Click here to RSVP
Tuesday, July 21, 2015 at 7:00PM Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD, plus a live interactive Q&A with the visual effects team.
Panelists will include Overall Visual Effects Supervisor Tim Alexander, and Animation Supervisor Glen McIntosh and moderated by VES 2nd Vice Chair Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESJURASSICWORLD, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD, plus a live interactive Q&A with the visual effects team.
Panelists will include Overall Visual Effects Supervisor Tim Alexander, and Animation Supervisor Glen McIntosh and moderated by VES 2nd Vice Chair Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESJURASSICWORLD, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON, plus a live interactive Q&A with the visual effects team
Panelists will include Overall Visual Effects Supervisor Christopher Townsend, Additional Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Ben Snow, ILM Animation Supervisor Marc Chu, Trixter Animation Supervisor Simone Kraus and moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESAVENGERS2, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES London Members and Their Guests are Invited to a Screening of Universal Pictures’ FURIOUS 7
Click here to RSVP Tuesday, April 14, 2015 at 7:00PM
Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES London Members and Their Guests are Invited to a Screening of Universal Pictures’ FURIOUS 7
Click here to RSVP Tuesday, April 14, 2015 at 7:00PM
Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members & Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Click here to RSVP Friday, March 13, 2015 at 6:30PM
Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members & Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Click here to RSVP Friday, March 13, 2015 at 6:30PM
Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
With the membership application deadline fast approaching, we would like to invite all VES members and their colleagues to this year’s Membership Drive.
Instead of this month’s Pub Night, we’ll be rocking it out (but not like at Ministry of Sound) at The Visual Effects Company on Warren Street. Drinks are on us!
If you have any friends or colleagues with at least five years of experience in the VFX industry, please invite them over. We’ll show what the society is all about and how they can join.
Of course, the VES is defined by you, the members. Even if you’re not bringing anyone along, please do come by and show everyone who we are. It’ll be a great chance to catch up with fellow members, and to meet new people from all areas of the industry.
With the membership application deadline fast approaching, we would like to invite all VES members and their colleagues to this year’s Membership Drive.
Instead of this month’s Pub Night, we’ll be rocking it out (but not like at Ministry of Sound) at The Visual Effects Company on Warren Street. Drinks are on us!
If you have any friends or colleagues with at least five years of experience in the VFX industry, please invite them over. We’ll show what the society is all about and how they can join.
Of course, the VES is defined by you, the members. Even if you’re not bringing anyone along, please do come by and show everyone who we are. It’ll be a great chance to catch up with fellow members, and to meet new people from all areas of the industry.
The VES London Section invites all members and their guests to a screening of 20th Century Fox’s
Kingsman: The Secret Service
This Monday the 23rd of February at The Ray Dolby TheatreDoors open and drinks served at 6:30pm,the film starts promptly at 7pm,to be followed by a Q&A with the VFX crew.
Featuring Colin Firth, Samuel L. Jackson, Mark Strong, Taron Egerton and Michael Caine with visual effects from Baseblack, Nvizible, Prime Focus World, Jellyfish Pictures, Panton Creative, Doc & A Soc, Peerless & BUF.
Based upon the acclaimed comic book and directed by Matthew Vaughn (Kick Ass, X-Men First Class), Kingsman: The Secret Service tells the story of a super-secret spy organisation that recruits an unrefined but promising street kid into the agency’s ultra-competitive training program just as a global threat emerges from a twisted tech genius.
Screening room hire and drinks mixer made possible with the generous support of Chaos Group, creators of V-Ray, and Atomic Arts.
It’s getting cold, it’s dark outside and there are twinkling lights all around…
…and no one can hear you scream.
Actually we want to hear you scream and shout and have an absolute blast! We’ve got a magical VES holiday party planned with all the necessary ingredients: food, drinks, decorations, prizes, super surprises and special secrets. The fun will be going down at a unique venue we managed to secure, a Grade I listed Georgian mansion in a very exclusive Central London address. The only thing we’re still missing is you and your guest!
As an added bonus for VES members, before the party you’re invited to a special presentation by Autodesk to build your dream pipeline for commercial post with Flame, Maya and Shotgun. Just tick the box during sign up saying you want to come along and we’ll add you to the guest list.
VES London Members And Their Guests Are Invited To A 3D Pre-Release Screening Of 20th Century Fox’s EXODUS: GODS AND KINGS followed by a Q&A with the filmmakers
Panelists will include Visual Effects Supervisor Peter Chiang and CG Supervisor Rick Leary.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The VES London Section invites all members and their guests to a screening of
Pride
followed by a Q&A with the visual effects supervisor
Wednesday the 3rd of December
Doors and drinks at 6pm for a 7pm start
Molinare
34 Foubert’s Place
London W1F 7PX
Directed by Matthew Warchus and starring Bill Nighy, Imelda Staunton, Dominic West, Paddy Considine, Andrew Scott, George MacKay, Joseph Gilgun & Ben Schnetzer. Visual effects by Nvizible.
Set in the summer of 1984 – Margaret Thatcher is in power and the National Union of Mineworkers (NUM) is on strike. At the Gay Pride March in London, a group of gay and lesbian activists decides to raise money to support the families of the striking miners. But there is a problem. The Union seems embarrassed to receive their support.
But the activists are not deterred. They decide to ignore the Union and go direct to the miners. They identify a mining village in deepest Wales and set off in a mini bus to make their donation in person. And so begins the extraordinary story of two seemingly alien communities who form a surprising and ultimately triumphant partnership.
Ambition
Imagine: with a wasteland as their canvas, a Master and his young Apprentice set about turning rubble into planets and moons, asteroids and comets. They levitate the worlds above their heads, spinning them in orbit around their symbolic Sun.
Tomek Bagiński’s short film Ambition is a collaboration with the European Space Agency to celebrate their pioneer Rosetta mission, an ambitious attempt to put a probe on the surface of a comet.
With visual effects by Platige Image. Screened before the evening’s feature presentation.
London VES Members And Their Guests Are Invited To A 70mm IMAX Film Screening Of Warner Bros. Pictures’ and Paramount Pictures’ INTERSTELLAR followed by a Q&A with Visual Effects Supervisor Paul Franklin moderated by VES London Board member Martin Ciastko.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The VES London Section invites all members and their guests to a screening of
’71
followed by a Q&A with the visual effects crew
The film will be preceded by the BBC music video, God Only Knows, with VFX by The Mill.
Thursday the 13th of November
Doors and drinks at 6pm for a 7pm start
Molinare
34 Foubert’s Place
London W1F 7PX
Directed by Yann Demange and starring Jack O’Connell. Visual effects by Union VFX.
New recruit Private Gary Hook (Jack O’Connell) is unexpectedly deployed to Belfast during The Troubles in 1971. Shortly after arriving his platoon are supporting a routine house search operation which escalates into a terrifying street riot, and during the chaos Hook is accidentally left behind. Unable to tell friend from foe, the raw recruit must survive the night alone and find his way to safety through a disorientating, alien and deadly landscape.
London VES Members And A Guest Are Invited To A 3D Screening Of Warner Bros. Pictures THE LEGO MOVIE followed by a Q&A with directors/writers Phil Lord and Christopher Miller.
Click here to RSVP
Tuesday, November 11, 2014 at 7:00PM
(Doors open at 6:30PM, screening at 7:00PM)
Vue Piccadilly
19 Lower Regent St., London SW1Y 4LR Click here for a map.
Directed by Phil Lord & Christopher Miller, The LEGO® Movie is an original animated film that follows the adventures of Emmet (voice of Chris Pratt), a rules-abiding, perfectly ordinary citizen who is mistakenly identified as “The Special,” the most extraordinary person and the key to saving the world. Drafted into a fellowship of strangers, Emmet embarks on an epic quest to stop the evil tyrant, Lord Business (voice of Will Ferrell), a journey of self-discovery that will require him to summon all of his previously untapped creativity and imagination. The voice cast also includes Elizabeth Banks, Will Arnett, Nick Offerman, Alison Brie and Charlie Day, with Liam Neeson and Morgan Freeman. The screenplay is by Phil Lord & Christopher Miller, from a story by Dan Hageman & Kevin Hageman and Phil Lord & Christopher Miller, based on LEGO construction toys. The film is produced by Dan Lin and Roy Lee.
The VES London Section invites all members and their guests to a screening of
Young Ones
followed by a Q&A with the visual effects crew
Monday the 27th of October
Doors and drinks at 6pm for a 7pm start
Molinare
34 Foubert’s Place
London W1F 7PX
Directed by Jake Paltrow and featuring Michael Shannon, Nicholas Hoult, Elle Fanning, and Kodi Smit-McPhee. Visual effects by Windmill Lane.
Young Ones is a futuristic Western set in a time when water is a scarce commodity and the land is barren. The film focuses on a family’s struggle to survive in this harsh environment. The father, Ernest Holm (Michael Shannon), his loyal son, Jerome (Kodi Smit-McPhee) and his rebellious daughter, Mary (Elle Fanning) live in hope that one day the rains will come again and their crops will grow. However, when Mary’s scheming boyfriend, Flem (Nicholas Hoult), comes on the scene the tale turns to one of murder and revenge.
Please allow a few extra minutes to check in with Molinare reception.
Screenings may be overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members And A Guest Are Invited To A Screening Of Columbia Pictures’/Sony Pictures Releasing UK’s FURY followed by a Q&A with the Filmmakers
Panelists will include Writer/Director David Ayer and Actors Logan Lerman, Michael Peña, and Jon Bernthal.
Click here to RSVP
(You’ll be notified within 48 hours if they are able to seat you.) Sunday, October 19, 2014 at 5:45PM
(Doors open at 5:15PM, screening at 5:45PM)
Odeon West End Cinema
40 Leicester Square, London WC2H 7LP Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis: April, 1945. As the Allies make their final push in the European Theatre, a battle-hardened army sergeant named Wardaddy (Brad Pitt) commands a Sherman tank and her five-man crew on a deadly mission behind enemy lines. Outnumbered and outgunned, and with a rookie soldier thrust into their platoon, Wardaddy and his men face overwhelming odds in their heroic attempts to strike at the heart of Nazi Germany.
Written and Directed by: David Ayer
Producers: Bill Block, David Ayer, Ethan Smith, John Lesher
Executive producers: Brad Pitt, Sasha Shapiro, Anton Lessine, Alex Ott, Ben Waisbren
Cinematography: Roman Vasyanov
Editors: Dody Dorn, Jay Cassidy
Production designer: Andrew Menzies
Music: Steven Price
Cast: Brad Pitt, Shia LaBeouf, Logan Lerman, Michael Peña, Jon Bernthal,
Jason Isaacs, Scott Eastwood
Columbia Pictures presents in association with QED International and LStar Capital, a QED International / Le Grisbi Productions / Crave Films production, a film by David Ayer, FURY.
Following its screening as the Closing Night gala at the BFI London Film Festival, FURY will open across the UK on October 22.
Click here to watch the trailer.
Cert: 15
Running time: 135 minutes
Take a break from the week’s busy screening schedule and join us at September’s VES London Pub Night!
Every month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and a Killer game of darts. A top shelf bottle of premium spirits awaits the winning dartist!
As always, this is open to everyone, no need to RSVP, so bring your friends!
London VES Members & Guests Are Invited To A Pre-Release Screening Of Embankment Films’ ROBOT OVERLORDS Plus a Q&A with the filmmakers.
Panelists will include Producer Piers Tempest, Visual Effects Supervisor Paddy Eason, Pinewood Pictures’ Steve Christian, Head of Production Andrew Reid, and Technical Director Lee Danskin with moderation by VES London Chair & VES Board member Brooke Lyndon-Stanford.
Click here to RSVP
Tuesday, September 23, 2014 at 7:00PM
(Drinks at 6:00PM, Screening at 7:00PM)
Ham Yard Hotel Theater
One Ham Yard, Soho, London W1D 7DT
(Closest tube station, Piccadilly Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members And A Guest Are Invited To A Screening Of DUET plus a Q&A with Director Glen Keane
Click here to RSVP
Monday, September 22, 2014 at 7:00PM
7:00PM to 8:00PM – Screening, Presentation and Q&A
8:00PM to 9:00PM – Reception
Framestore London
19-23 Wells Street, London W1T 3PQ Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
DUET is animated in its entirety and directed by Glen Keane (former Disney animator and creator of such beloved characters as Ariel, Beast, Aladdin, Pocahontas, Tarzan and Rapunzel), DUET tells the story of Mia and Tosh and how their individual paths in life weave together to create an inspired duet. The unique, interactive nature of the story allows the viewer to seamlessly follow the journey of either of the two characters from birth to adulthood.
DUET is the third in a series of Spotlight Stories, which is a new way of telling stories on mobile devices. The stories blend world-class artistry with innovative rendering and interaction technology for mobile to create a new canvas for the next generation of storytelling. The film offers a glimpse into what’s possible on mobile devices, a rich, modern canvas for creative expression and immersive works of art and technology.
London VES members and their guests are invited to a presentation of cutting-edge technology from the Interactive Geometry Lab at the Swiss Federal Institute for Technology (ETH).
Tangible and Modular Input Device for Character Articulation
Presented by two of the project’s researchers Dr. Daniele Panozzo and Dr. Olga Sorkine-Hornung
Click here to RSVP
Wednesday, September 17, 2014
Drinks at 6:15PM, Presentation at 7:00PM
Double Negative Visual Effects
160 Great Portland Street, London, W1W 5QA Click here for a map.
(Please allow extra time to check in with the reception.)
Colloquially known as the Input Puppet, their device is composed of interchangeable, hot-pluggable parts. Embedded sensors measure the device’s pose at rates suitable for real-time editing and animation.
The project has garnered much attention, with articles in WIRED Magazine and Gizmag. Most recently, the device was featured at Siggraph 2014 in Vancouver.
The team will be on hand to present their work, give a hands-on demo of the device, and answer questions.
Prof. Dr. Olga Sorkine-Hornung earned her BSc in Mathematics and Computer Science, and PhD in Computer Science from Tel Aviv University. She then received the Alexander von Humboldt Foundation Fellowship and spent two years as a postdoc at the Technical University of Berlin.
She is currently an Assistant Professor of Computer Science at ETH Zurich, leading the Interactive Geometry Lab at the Institute of Visual Computing.
Dr. Daniele Panozzo received his bachelor’s and master’s degrees in Computer Science from the University of Genova. His academic career took him to the University of Maryland, and the Courant Institute of Mathematical Sciences at New York University, before completing his PhD at the University of Genova. In 2013, he won the EUROGRAPHICS Annual Award for Best PhD Thesis.
He is currently a senior researcher at ETH Zurich, where he works at the Interactive Geometry Lab.
London VES Members & Guests Are Invited To A 3D Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY Plus a Q&A with Framestore Visual Effects Supervisor Kyle McCulloch.
Click here to RSVP
Thursday, August 21, 2014 at 7:00PM
Framestore
19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
With the heat of summer well and truly upon us, the sultry days can seem to stretch on forever. What better way to pass it than at July’s VES London Pub Night!
Every month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and a Killer game of darts. A top shelf bottle of premium spirits awaits the winning dartist!
As always, this is open to everyone, no need to RSVP, so bring your friends!
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Our friends at Dolby invite VES London Section members to their first Pitching Day, supporting promising filmmakers making their first projects in Dolby Atmos.
Wednesday evening the 16th of July will start off with a highlights reel screening, followed by the filmmakers pitching their projects live and in person to the audience, and conclude with a cocktail & nibbles networking mixer.
Special Guests
Mixing with the crowd will be Brooke Lyndon-Stanford, global VES Board Member, Drew Jones, Chair of the VES London Section along with fellow board members Hitesh Bharadia, Ean Carr, Martin Ciastko and Ronald Siy.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members And A Guest Are Invited To A Screening Of Warner Bros. Pictures’ EDGE OF TOMORROW
Please RSVP below
Monday, June 9, 2014 at 7:00PM
(Doors at 6:00PM. Screening at 7:00PM)
Molinare Screening Room
34 Fouberts Place, London, W1F 7PX Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Panelists will include overall Visual Effects Supervisor Carey Villegas, MPC Visual Effects Supervisor Adam Valdez and Digital Domain Visual Effects Supervisor Kelly Port, and Digital Domain Digital Effects Supervisor Darren Hendler, moderated by VES 2nd Vice Chair Nancy St. John.
Please RSVP Below Sunday, June 8, 2014 at 8:00PM
The Screening Room at MPC
127 Wardour St., Soho, London W1F 0NL
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMALEFICENT, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
2014 is well under way and it’s time for the glorious return of the ever-popular VES Pub Nights!
Every last Wednesday of the month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and your fellow members for some good conversation, a beverage or two, and a Killer game of darts. A bottle of whisky awaits the winning dartist!
As always, this is open to everyone – no need to RSVP, so bring your friends!
VES London Pub Night
Wednesday, 30 April, 2014 from 7:00PM until late
The Duke of York (in the private upstairs lounge)
47 Rathbone St., London W1T 1NW Click here for a map
VES Members In London Are Invited To Attend FROZEN: The Art Of Creating Believable Worlds Presented By Walt Disney Animation Studios
Walt Disney Animation Studios’ VES and Academy Award-winning animated film FROZEN presented epic artistic and technical challenges. Join Mike Giaimo, Art Director, and Mohit Kallianpur, Director of Cinematography and Lighting, for a behind-the-scenes look at the design philosophy and technical challenges of creating a vibrant, believable world.
Monday April 28, 2014 from 7:00PM to 8:30PM
Curzon Soho
99 Shaftesbury Ave., London W1D 5DY Click here for a map
London VES Members & Guests Are Invited To Attend A Screening Of Walt Disney Pictures’ MUPPETS MOST WANTED
Click here to RSVP
Thursday, April 17, 2014 at 7:00PM
Walt Disney Studios Motion Pictures UK
3 Queen Caroline Street, London, W6 9PE Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
2014 is well under way and it’s time for the glorious return of the ever-popular VES Pub Nights!
Every last Wednesday of the month, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and your fellow members for some good conversation, a beverage or two, and a Killer game of darts. A bottle of whisky awaits the winning dartist!
As always, this is open to everyone – no need to RSVP, so bring your friends!
VES London Pub Night
Wednesday, 26 March, 2014 from 7:00PM until late
The Duke of York (in the private upstairs lounge)
47 Rathbone St., London W1T 1NW
London VES Members & Their Guests Are Invited To A Screening Of Universal Pictures’
OBLIVION
With a special introduction by VES Executive Director Eric Roth, plus a recorded Q&A with the visual effects team from Digital Domain and Pixomondo afterward.
Panelists include Visual Effects Supervisors Eric Barba and Björn Mayer, Visual Effects Producer Fiona Westgate, Animation Supervisor Steve Preeg, and CG Supervisor Gavyn Thompson, and will be moderated by VES member Gene Kozicki.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
3 Cranbourn Street, Leicester Square, London WC2H 7AL
Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
With an introduction by VFX Supervisor Joe Letteri plus live interactive Q&A with the VFX team from Weta Digital
Panelists will include Visual Effects Supervisors Eric Saindon & Matt Aitken, Animation Supervisor David Clayton and will be moderated by a VES New Zealand Board-member to be announced.
Saturday, December 15, 2012 at 8:00PM
Deluxe New York
435 Hudson Street, 9th Floor, New York, NY 10014
Click here for a map
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place at Weta Digital in New Zealand) immediately following the North American and Sydney screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Panelists will include VES Award, BAFTA & Oscar® winning Special Effects Supervisor Chris Corbould and BAFTA-nominated Visual Effects Supervisor Steve Begg.
Tuesday, December 11, 2012 at 6:30PM
Apollo Lower Regent Street
19 Regent Street, London SW1Y 4LR
Let us know if you would like to bring a guest. Please only RSVP for this screening if you would like to stay for the Q&A with the Effects Supervisors. Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Vue Cinema, 3 Cranbourn Street, Leicester Square, London WC2H 7AL
Nearest Tube, Leicester Square
Bringing together production and post-production specialists from the worlds of film, broadcast and games with imaging and graphics researchers. CVMP 2012 provides a European forum to discuss the latest research, advances and state-of-the-art industry practices. Delivering content for emerging platforms such as e-cinema, high-resolution home displays and interactive media are necessitating the development of new approaches. The aim of the conference is to demonstrate innovative techniques currently being used in media production and to discuss their future influence on common practice.
Plus live interactive Q&A with VFX Supervisor Bill Westenhofer & key members of the VFX Team.
Panelists will include overall Visual Effects Supervisor Bill Westenhofer, MPC Visual Effects Supervisor Guillaume Rocheron, Digital Supervisor Jason Bayever, and Animation Supervisor Erik de Boer, and will be moderated by VES Board-member Tim McGovern.
Click here to RSVP
Sunday, December 2, 2012 at 8:00PM
The Screening Room at MPC
127 Wardour Street, Soho, London, W1F 0NL
Click here for a map
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place in Los Angeles) immediately following the North American and London screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
London VES Members & Guests Are Invited To
Attend A 3D Screening Of 20th Century Fox’s
PROMETHEUS
Followed by a Q&A with overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Charley Henley Moderated by VES LondonEvents Committee member Jason Halverson.
Nominations will be judged in five cities around the globe: Los Angeles, London, Vancouver, San Francisco (Bay Area) and Sydney. Any active VES member who can travel to one of those cities may participate.
This is your chance to affect who will ultimately walk up to the podium at the 9th Annual show, to collect a coveted VES Award. A single vote may make the difference between being nominated… or not… and that vote could be yours.
Past participants know that this is the must-attend event of the awards season. Not only will you see behind the scenes of the most amazing visual imagery of 2010, but you’ll be participating in the single best networking opportunity of the year. It’s a chance to see old friends, meet the best and brightest in the visual effects field, and learn new techniques that you can apply to your own work. All of that, plus the satisfaction of knowing that our best work will be presented to our colleagues in the industry, the press, and visual effects fans across the globe at the 9th
TWENTIETH CENTURY FOX AND LIGHTSTORM ENTERTAINMENT
Invite VES members to experience
JAMES CAMERON’S
ground-breaking
AVATAR
in 3D
at
THE EMPIRE CINEMA
LEICESTER SQUARE, LONDON, WC2
FRIDAY 11TH December 2009
Doors open 5.30pm
FILM 6.30pm
rsvp: fox@premierpr.com
In anticipation of demand, priority will be given to members requesting single seats.
PLEASE NOTE THAT NO RECORDING DEVICES, INCLUDING MOBILE PHONES, WILL BE PERMITTED INSIDE THE AUDITORIUM; THEY WILL BE HELD BY SECURITY FOR THE DURATION OF THE SCREENING.
Running time: 2hrs 40mins TBC
Cert: 12A TBC
www.avatarmovie.com
Paramount Pictures UK invites you to experience the IMAX version of Michael Bay’s rip-roaring action thriller at a
SPECIAL HALF-TERM SCREENING
SATURDAY 31 OCTOBER
Doors open 9.15 for a 10.00am film start
BFI IMAX
1 Charlie Chaplin Walk
South Bank
Waterloo
London SE1 8XR
Directed by Michael Bay
Starring Shia LaBeouf, Megan Fox, Josh Duhamel, Tyrese Gibson, Kevin Dunn, Julie White,
John Benjamin Hickey, Ramon Rodriguez, Isabel Lucas and John Turturro
In “Transformers: Revenge of the Fallen,” Sam Witwicky (Shia LaBeouf) again joins with the Autobots® against their sworn enemies, the Decepticons®.
Michael Bay directs from a screenplay by Ehren Kruger & Roberto Orci & Alex Kurtzman.
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