When a young bride becomes an unexpected offering to a dragon, both the creature and the royal family that betrayed her get more than what they bargained for as she has no intention of carrying on the sacrificial tradition. This is the premise for the Netflix production of Damsel directed by Juan Carlos Fresnadillo (Intruders) and starring Millie Bobby Brown, Ray Winstone, Nick Robinson, Shohreh Aghdashloo, Angela Bassett and Robin Wright. Dividing the visual effects work for the dark fantasy feature were supervisors Nigel Denton-Howes and Nicholas Brooks. “I came in at the beginning of post-production to help bring the dragon along because my background is doing creature stuff,” Denton-Howes states. “The original supervisor was more of an environments person.”
The notes of Production Designer Patrick Tatopoulos regarding the wings of the dragon.
Responsible for the production design was Patrick Tatopoulos. who has made a name for himself as a creature designer. “Patrick was brought back as well in post, which is unusual,” Denton-Howes notes. “I managed to get him to work with the artists at One of Us, and I finished off the look development and all of the details that are needed to make [the dragon] look real when you get into the shots.” The desire was not to go for a lizard-inspired dragon like Game of Thrones. “Our dragon is much closer to a panther, which is why when we brought her into the environments and caves, she is just as comfortable running around the caves as she is flying around them. Whereas your stereotypical dragon is lumbering on the ground and graceful in the air,” Denton-Howes explains. Tatopoulos’ designs for the dragon were refined with the original version having a strong graphical orange line going down the flanks and back of the neck. “We followed the line to the spine and tail. That allows her to stand out in the caves. But the whole textural approach is that she is part of this environment and is supposed to blend in,” Denton-Howes says.
Great attention was spent by Production Designer Patrick Tatopoulos to get the dragon anatomically correct, such as the hip bones.
“Our dragon is much closer to a panther, which is why when we brought her into the environments and caves, she is just as comfortable running around the caves as she is flying around them. Whereas your stereotypical dragon is lumbering on the ground and graceful in the air.”
—Nigel Denton-Howes, Visual Effects Supervisor
Getting the fire simulations correct was a major responsibility for One of Us, which handled the dragon and was aided by on-set lighting.
Shohreh Aghdashloo provides the voice of the dragon. “There are certain sounds that are awkward for a mouth that big and a muzzle that long to make,” Denton-Howes remarks. “There is some lip sync, and we’re using the jaw a lot, but a lot of the motion and mechanics were actually done with the neck. When she inhales, the neck plates open, and it compresses like bellows when she exhales. We added a shiver to the neck plates to correspond to her emotional state. When she is confident, there is very little flutter in them and when she gets angry, they vibrate like crazy. That informed the sound design.” Something unusual for Denton-Howes was getting an opportunity to work directly with the sound design team. “We did a bunch of loops back and forth of animation and sound tests until we got a final dialogue sound that was going to work.”
The neck plates were utilized to help make it believable that the dragon could speak as well as convey the emotional state.
The dragon was modeled on a panther, meaning that it was equally comfortable moving on the ground and flying.
Environments were enhanced to get a proper interaction with the dragon. “A lot of the environments are CG, but on the sets that were built we added all of the rocks and debris on top of them because they were actually bare,” Denton-Howes says. “When the dragon is walking, she can kick stones, and everything extended in the background is CG. When she is interacting with characters, like when one of the guards gets grabbed, it’s a takeover into an all-CG character. For some of them, the whole shot is CG. When we’re interacting with Millie, like when the dragon’s hand is on her neck, on set there were interactive elements such as claws that could press down to allow her to feel some of it. Then we also bent her skin in 2D to add indentations, and, in the dragon, there was some modeling to push in the pads of the thumbs and fingers to make them squishy so you can feel that the two are really touching each other.” Each cave was distinct. “One had stalactites and stalagmites. The main action area has giant columns and looks like a cathedral. Then there is the crystal cave that Millie climbs up. It’s done so you don’t feel as if you’re in the same place all of the time.”
Each cave was treated as a different environment.
“A lot of the motion and mechanics were actually done with the neck. When she inhales, the neck plates open, and it compresses like bellows when she exhales. We added a shiver to the neck plates to correspond to her emotional state. When she is confident, there is very little flutter in them, and when she gets angry, they vibrate like crazy. That informed the sound design. We did a bunch of loops back and forth of animation and sound tests until we got a final dialogue sound that was going to work.”
—Nigel Denton-Howes, Visual Effects Supervisor
The task for visual effects was to refine the details for the dragon.
Light continuity was the biggest issue for when Elodie (Millie Bobby Brown) is tossed into a crevasse that leads to the caves inhabited by the dragon. “You were starting at one place and knew what was going to be at the bottom,” Denton-Howes describes. “They were totally different stages and sets, and you’re telling a story of moving through space with bespoke shots where no two shots are the same, so you’re not reusing anything other than the digital double.” Assisting the cave lighting were glow worms. “Glow worms don’t have magical healing properties, but they actually exist. The bluish white light was part of the production design, and Larry Fong (Kong: Skull Island), our DP, ran with that. Throughout the whole thing we were trying to be photographic. When Millie falls down and has the pomander, it goes to black and slowly comes back into lighting. The idea is that your eyes are adjusting to the dark. We were trying to find photographic reasons for there to be light, and glow worms were one of them. Even in the main caves, it was a tricky lighting scenario on the set because Larry didn’t have a lot of choice of how he lit because the stages were small.”
Modern-day elements like cruise ships had to be painted out.
“Castles are like digital people where everybody knows what they look like, so you know when it’s not quite right. We did a lot of work on that, balancing fantasy with realistic. Initially, [director] Juan Carlos [Fresnadillo] wanted the castle to be clean and beautiful. but when you do that it doesn’t look real. You need to grunge the castle up and allow it to have a couple of centuries of weathering, but it’s still beautiful and magnificent.”
—Nigel Denton-Howes, Visual Effects Supervisor
Because of an actual drought, the colors in the plate photography had to be enhanced by Rodeo FX to make Aurea appear lush.
Primary vendors for the 1,202 visual effects were One of Us, who was responsible for the dragon, Rodeo FX, who did a lot of environments and glow worms, Pixomondo, who handled the dragon, dragon lair, the opening and end sequences, and Important Looking Pirates, who created the harbor environment and Elodie’s homeland. Other contributions came from The Yard VFX, Rising Sun Pictures, Rebel Unit, Atomic Arts, Primary VFX, NetFX and TPO VFX. “Later in reshoots, we added the opening scenes of Elodie’s homeland as visual contrast, as well as for storytelling reasons,” Denton-Howes states. “When you get into Aurea, it needs to look realistic but really lush and beautiful. In the grade, [director] Juan Carlos Fresnadillo pushed it into gold and warmed things up even further, which is a subtle change.”
Looming over the castle is the Stone Mountain, which was inspired by the tooth of a cat.
“When we’re interacting with Millie [Bobby Brown], like when the dragon’s hand is on her neck, on set there were interactive elements such as claws that could press down to allow her to feel some of it. Then we also bent her skin in 2D to add indentations, and, in the dragon, there was some modeling to push in the pads of the thumbs and fingers to make them squishy so you can feel that the two are really touching each other.”
—Nigel Denton-Howes, Visual Effects Supervisor
Weathering had to be added to the castle to make it appear more believable.
Atmospherics were pivotal in obscuring the Dragon Gate to the point that the viewer would not be sure if a real dragon was staring right at them.
A lighting source in the caves are glow worms that have been given healing properties.
Rodeo FX had to replicate a partial set for the crystal cave so it would be appear to be a mountainous climb for Elodie.
As for the Stone Mountains that loom over the castle, the feline anatomy was an inspiration, thereby tying the ominous natural landmark with the design of the dragon. “If you were to zoom out, the main mountain is analogous to a tooth of a cat, and for the lower mountains, you could put a jaw of a cat there,” Denton-Howes reveals. “The base of the castle is real in close-up shots extended up, and for most shots it’s entirely CG. That was time-consuming to do. Castles are like digital people where everybody knows what they look like, so you know when it’s not quite right. We did a lot of work on that, balancing fantasy with realistic. Initially, Juan Carlos wanted the castle to be clean and beautiful, but when you do that it doesn’t look real. You need to grunge the castle up and allow it to have a couple of centuries of weathering, but it’s still beautiful and magnificent.”
The newest addition to the Greater Las Vegas skyline is the 366-foot-tall Sphere. Its exosphere, the exterior shell of Sphere, has 580,000 square feet of LED panels that morph into all types of images. Sphere’s images range from a giant eyeball and leaf-like color bursts to an architectural lattice and a vivid moon. The Rockettes’ kicking and dancing also fill the Sphere and seem particularly well-suited to light up a Las Vegas night. (Photos courtesy of Sphere Entertainment)
On the outskirts of the Las Vegas Strip, a 366-foot-tall eyeball gazes out at the urban landscape. The traffic-stopping orb, simply named Sphere, has an exosphere of 580,000 square feet of LED panels that morph into the moon, an immense pumpkin, vast fireworks and much more.
While the exterior of Sphere is now an imposing part of the Greater Vegas skyline, its interior is an immersive, scaled-up entertainment destination with seats for 17,600+. Films, concerts and events are displayed on the largest high-resolution LED screen in the world, an arena-sized canvas for live action and visual effects.
The wraparound 16K x 16K resolution interior display is 240 feet tall, covers 160,000 square feet and is comprised of 64,000 LED tiles manufactured by Montreal-based SACO Technologies. The audio system, powered by Berlin’s Holoplot, uses 3D audio beam-forming technology and wave-field synthesis. Sphere Entertainment’s $2.3 billion project was designed by global architectural design firm Populous.
Sphere Entertainment developed bespoke technology for the outsized format, including its Big Sky 18K x 18K, 120 fps camera system. The Sphere Studios division’s main Burbank campus is dedicated to production and post-production of visuals and mixing of immersive audio for Sphere and houses Big Dome, a 28,000-square-foot, 100-foot-high geodesic dome that is a quarter-sized version of Sphere, for content screening.
The rock band U2 inaugurated Sphere with a five-month-plus residency for “U2: UV Achtung Baby Live at Sphere,” and showed off the venue’s vast creative possibilities for live shows. Director Darren Aronofsky’s immersive 50-minute film Postcard from Earth, which debuted soon after U2’s launch, tells the story of our planet seen from the future. Postcard used the Big Sky camera as well as Sphere’s 4D technologies, including an infrasound haptic system to simulate the rumbles of thunder or a rocket launch and sensory effects like breezes and scents.
Nevada’s most endangered species crowd Sphere’s interior in Es Devlin’s “Nevada Ark” for U2’s show. (Photo: Es Devlin. Courtesy of disguise and U2)
“At its best, cinema is an immersive medium that transports the audience out of their regular life, whether that’s into fantasy and escapism, another place and time or another person’s subjective experience. The Sphere is an attempt to dial up that immersion,” Aronofsky wrote in a press release.
Soon after Sphere’s opening, Autodesk and Marvel Studios teamed up to create an ad celebrating the former’s software and The Marvels film for an Autodesk customer event in Las Vegas. The Mill helped with the VFX, utilizing the Autodesk tools Maya and Arnold. The segment featured a gigantic Goose the flerken (a cat-like creature that transforms into a monstrous alien) on the exterior of Sphere, another massive visual certain to draw attention for miles around.
7thSense provides Sphere’s in-house media servers, processing and distribution systems utilized fully on Postcard from Earth. They are the venue’s main playback system. For “U2:UV,” the visuals were coordinated by Treatment Studio and powered at Sphere by a disguise playback system.
U2ATSPHERE
Brandon Kraemer served as a Technical Director for Treatment Studio on the “U2:UV” residency at Sphere. He comments, “The unique thing that Sphere brings to the concert experience is a sense of immersion. Given that it’s a spherical image format and covers much of your field of view – and it’s taller than the Statue of Liberty on the inside – means it becomes an instant spectacle, and if you leverage that for all its uniqueness, you can’t help but blow audiences’ minds.”
Kraemer recalls, “Willie Williams [U2 Creative Director and Co-Founder of London-based Treatment Studio] contacted me in September of 2022 about the project. That was very early on in the process. Early creative was being discussed then, but just as importantly we started to embark on just how we were going to technically pull this off.”
Kraemer continues, “The majority of the visuals were designed by the artists at Treatment under the creative direction of Williams and Producer Lizzie Pocock. However, there were other collaborators on key pieces as well. Khatsho Orfali, David Isetta and their team from Industrial Light & Magic created an amazing cityscape that deconstructs itself for U2’s new song ‘Atomic City.’ And, he adds, “Marco Brambilla and his team at The Mill in Paris created a unique world for ‘Even Better Than the Real Thing,’ a dense psychedelic collage.”
The newest addition to the Greater Las Vegas skyline is the 366-foot-tall Sphere. Its exosphere, the exterior shell of Sphere, has 580,000 square feet of LED panels that morph into all types of images. Sphere’s images range from a giant eyeball and leaf-like color bursts to an architectural lattice and a vivid moon. The Rockettes’ kicking and dancing also fill the Sphere and seem particularly well-suited to light up a Las Vegas night. (Photos courtesy of Sphere Entertainment)
To capture large-scale, ultra-high-resolution imagery, Sphere Entertainment’s Burbank-based unit, Sphere Studios, developed the 18K x 18K, 120fps Big Sky camera system, used in spectacular fashion by Darren Aronofsky’s Postcard from Earth. (Photo courtesy of Sphere Entertainment)
A massive cross of light is a simple but powerful visual at this scale, part of the band’s “U2: UV Achtung Baby Live at Sphere” residency. (Photo Kevin Mazur. Courtesy of disguise and U2)
There were numerous technical challenges and quite a few diplomatic challenges as well, and these two areas often overlapped. Kraemer explains, “Opening a building and working in a construction site while stepping through rehearsal programming is quite a feat. My hats off to U2’s legendary Production Manager, Jake Berry, for keeping the whole operation moving forward in the face of what were, at times, some serious headwinds. Getting content rendered on that screen has lots of challenges along the way, and we were also very fortunate to have the support of disguise and their [GX 3] servers as the backbone of the playback system. We couldn’t have produced the show we did without their support.” In addition, the show utilized a custom stage, based on a turntable design by Brian Eno, and covered by Yes Tech and ROE panels.
U2’s reaction was very positive, according to Kraemer. “The band put a lot of trust in the teams that Willie Williams put together, and they were pretty blown away by it all.”
DISGUISE
Peter Kirkup, disguise’s Solutions and Innovation Director, recalls, “We first became involved in Sphere through [U2’s Technical Director and Video Director] Stefaan ‘Smasher’ Desmedt. Together with Smasher, disguise has been working on U2 shows for decades, so it was a perfect fit.”
Kirkup adds, “Disguise’s software and hardware powered the visuals that were displayed on Sphere’s wraparound LED screen during the U2 show. First, our Designer software was used to help previsualize and edit the visual content – all brought together by the creative minds at Treatment Studio, including Brandon Kraemer and Lizzie Pocock as well as Willie Williams.”
Disguise’s Designer software allowed the creative team to previs their visuals on a computer with the help of a 3D digital twin of the Sphere stage. “This real-time 3D stage simulator meant ideas could be communicated more clearly and quickly to get everyone on the same page,” Kirkup notes. “Designer also helped the team to sequence the visuals into a timeline of beats and bars – and import audio to lock visuals to the beat. This helped create snappy, rhythmic edits and some extra looping segments that could be pulled in on the fly in case the band decided to do an extra riff on the day of the show.”
Kirkup continues, “Once the visuals were complete, our software split and distributed the 16K video into sections. We were working with one contiguous LED screen but still needed to split the video into sections because of the sheer volume of content involved. We were playing real-time Notch effects and pre-rendered NotchLC content at 60fps across the Sphere’s 256,000,000 pixel, 16K x 16K interior canvas.
“Finally, our GX 3 media servers enabled all individual pieces to be perfectly in sync throughout the show,” Kirkup says. “This technology also allowed us to composite layers of video together in real time. For example, the video feed of the band that cinematic cameras were capturing during the show could be composited into our LED visuals from the Designer software. Each server was also upgraded with a 30-terabyte hard drive, so we had local storage machines for playout and 100GB networking back to the content store for file transfers and media management.”
Kirkup adds, “We furthered our Single Large Canvas workflows, which enable content to be broken up into pieces and distributed across a cluster of machines – essential work to make a project like this come to life. We also introduced some custom color pipeline work for Sphere, adapting our standard color pipeline to match the unique characteristics of the in-house LED system.” Adds Kirkup. “A big challenge was handling such a large volume of content across 256,000,000 pixels – in real time. There were 18,000 people watching the show, and they all had their camera phones ready to broadcast to even more people, so we really had to make sure the show went well.”
Kirkup remarks, “Bono mentioned this during the show, but I believe the most important thing about Sphere is that for the first time, a venue of this scale is being created with musicians in mind. In the past, musicians needed to squeeze into sporting arenas or stadiums that weren’t created for music – they may have had tiny screens or the wrong acoustics. With Sphere, that’s all changed. For real-time graphics and VFX artists, that’s a big trend to watch for in 2024 and beyond. I expect to see more venues designed specifically to highlight 3D visuals. With that, more VFX artists and studios will be pulled in to develop not only movie and TV effects – but incredible visuals for live events, too. The two industries will start to blur.”
7THSENSE
7thSense – a creative software and technology company based in Sussex, England – put together the Sphere in-house playback system and provides hardware for media serving, pixel processing and show control. “Building a first-of-its-kind venue like Sphere brought with it a significant number of challenges that the 7thSense team was keen to dig their collective fingers into,” explains Richard Brown, CTO of 7thSense.
Brown notes, “Managing exceptionally large canvases of playback, generative and live media as a single harmonious system is of utmost importance in a venue of this scale, and it is a workflow and underpinning technology we have been working on for quite some time. With a 16K x 16K canvas size, Sphere placed a priority on accelerating the development of the tools for media playback, multi-node rendering of generative assets and live compositing from multiple ST 2110 streams, as well as for pre-visualizing the show without having access to the full system. Because time in the venue is an incredibly rare commodity, anything that can be done ‘offline’ helps to make the time in the venue more productive.”
The visuals for U2’s “Atomic City,” with VFX work by ILM, includes a stunning deconstruction of Las Vegas going back in time. (Photo: Rich Fury. Courtesy of disguise and U2)
The desert landscape around Las Vegas became a backdrop for U2’s “Atomic City.” (Photo: Rich Fury. Courtesy of disguise and U2)
Marco Brambilla’s dense psychedelic collage “King Size,” put together with the help of the Mill in Paris, is an ode to Elvis Presley that accompanies the U2 song “Even Better than the Real Thing.” (Photo: Rich Fury. Courtesy of disguise and U2)
The interior display of Sphere is 240 feet tall and covers 160,000 square feet with LED panels from SACO Technologies. (Photo: Rich Fury/Ross Andrew Stewart. Courtesy of disguise and U2)
The interior display of Sphere can create huge individual displays for any performer, and the venue uses 3D audio beam-forming technology and wave field synthesis for an appropriately big and precise sound. (Photo courtesy of disguise and U2)
The huge $2.3 billion Sphere has altered the Greater Las Vegas skyline and become an entertainment destination, celebrating its launch in September 2023 with the “U2: UV Achtung Baby Live at Sphere” residency. (Photo courtesy of Sphere Entertainment)
Brown adds, “High-speed streaming of uncompressed media from Network Attached Storage (NAS) is something we have been wanting to do for a long time, but the technology was not sufficiently advanced to support the bandwidth and timely delivery of data until very recently. Fortunately, the use case for this technology aligned very much with the desired workflow at Sphere, giving us the chance to really dig into what could be an industry-changing technology for media production and presentation systems.”
Brown continues, “Managing synchronized media playback across dozens of servers is one thing, but making it straightforward for a show programmer to build the show that spans dozens of servers is quite another. 7thSense developed an Asset Logistics workflow that simplifies what actual movie frames each server streams from the NAS based on representative meta-media used for programming the show timeline.”
Brown explains, “Each server is configured with what section of the dome it is responsible for playing back, and this information, coupled with the name of the movie from the timeline, is used to determine the file path on the NAS that each media server uses to access the appropriate movie frames. This workflow reduces user error and makes timeline programming significantly faster than managing individual movies per server.”
Brown comments that Sphere is the first entertainment venue of its kind when it comes to the size and resolution of the media being presented to an audience. He says, “It is imperative that all media players, generative engines and pixel processors are working in absolute synchronization, or the illusion of immersion is lost for the audience. Worse than that, image tearing or jitter, could cause the audience to become ill because of the immersive nature of the media plane. Everywhere you look, you are surrounded by the media.”
In addition, Brown notes, “Not only is it our first major application of ST 2110, it just happens to be the largest ST 2110 network in an entertainment venue on the planet!” 7thSense has been in the world of immersive presentations in planetaria, domed theaters, museums and theme park attractions since going into business nearly 20 years ago. But what has been created at Sphere is something new, a destination live-event venue, and the technology far surpasses what has been built to date. This hybrid type of entertainment has the potential to create its own category of immersive live show experience. It’s exciting to be part of the team building it from the ground up.”
“I think it’s an experience like no other,” Treatment Studio’s Kraemer says about Sphere. “It was a thrilling experience to be part of the first creative team to produce an amazing show there.
I think ‘U2:UV’ will be a very tough act to follow, but I think there is a tremendous opportunity to give an audience something that is impossible in a stadium or arena show, and I look forward to seeing how this all evolves.”
Snoop Dogg at Astro Project motion capture studio in Santa Monica for his “Crip Ya Enthusiasm” music video utilizing the Vicon system and StretchSense gloves. (Image courtesy of Vicon and Astro Project, LLC)
Motion capture, performance capture and volumetric video technologies are rapidly advancing, incorporating AI and ML to a greater extent and focusing on enhancing realism, precision and accessibility. Peter Rabel, Technical Product Manager at Digital Domain, comments, “The trend towards real-time capabilities has become prominent, allowing for immediate feedback and integration into virtual environments, video games and live events. As we integrate artificial intelligence and machine learning as tools to enhance these functions’ capabilities further, it will enable automated analysis and capture of movements in real-time, which will help save time on the process, leading to cost savings. It’s essential for us to stay updated on recent developments and industry trends to understand the current trajectory of these capture technologies as technology continues to evolve so we can better serve our clients.”
VICON:MARKERLESS
Vicon made a splash in 2023 with its Los Angeles SIGGRAPH announcement of the debut of its machine learning (ML) powered markerless mocap. The news came after some three years of research and development focusing on the integration of ML and AI into markerless motion capture at Vicon’s R&D facility in Oxford, U.K. Vicon collaborated on the technology with Artanim, the Swiss research institute that specializes in motion capture, and Dreamscape Immersive, the VR experience and tech company.
“The ability to capture motion without markers while maintaining industry-leading accuracy and precision is an incredibly complex feat,” says Mark Finch, Vicon’s Chief Technology Officer. “After an initial research phase, we have focused on developing the world-class markerless capture algorithms, robust real-time tracking, labeling and solving needed to make this innovation a reality. It was our first step towards future product launches, which will culminate in a first-of-its-kind platform for markerless motion capture.”
On the mocap set of She-Hulk: Attorney at Law with diode suit and Digital Domain’s Charlatan “face-swapping” system. (Photo: Chuck Zlotnick. Courtesy of Marvel Studios)
Finch continues, “What we demonstrated at SIGGRAPH was markerless recognition of the human form – using prototype cameras, software and algorithms – to track six people, with their full body solved in real-time, in a VR experience. This completely the need for participants to wear heavy gear with motion capture markers. As a result, the VR experience is more seamless and believable as the motion capture technology is largely invisible and non-invasive.” Finch adds, “Of the technology we showcased, Sylvain Chagué, Co-Founder and CTO of Artanim and Dreamscape, said, ‘Achieving best-in-class virtual body ownership and immersion in VR requires both accurate tracking and very low latency. We spent substantial R&D effort evaluating the computational performance of ML-based tracking algorithms, implementing and fine-tuning the multi-modal tracking solution, as well as taking the best from the full-body markerless motion capture and VR headset tracking capabilities.’ ”
ROKOKO VISION
Based in Copenhagen, Rokoko had two major announcements on the product front in the last year, “First, with Rokoko Vision, our vision AI solution that allows for suit-less motion capture from any camera. We released the first iteration mainly to get to know the space and gather insights from early use of the product,” CEO and Founder Jakob Balslev comments. “It’s becoming increasingly clear to us what the users need, and we are excited to release more updates on that front.
Rokoko’s Coil Pro is the company’s recent innovation in motion capture hardware, featuring no drift and no occlusion through a fusion of EMF and IMU capture. (Image courtesy of Rokoko)
OptiTrack’s Primex 120 and Primex 120W cameras offer the company’s longest camera-to-marker range for Passive and Active markers. OptiTrack accuracy with more range enables very large tracking volumes for a wide variety of training and simulation scenarios, extreme ground or aerial robotic facilities and larger cinematic virtual production studios. (Image courtesy of OptiTrack)
OptiTrack’s Primex cameras quickly identify and track Passive and Active markers. (Image courtesy of OptiTrack)
He adds, “Second, we unveiled our Coil Pro – the biggest innovation we’ve ever done on the hardware side – and, in my eyes, probably the biggest innovation ever in motion capture. Through a fusion of EMF and IMU capture, the Coil Pro unlocks the holy grail of motion capture: No drift and no occlusion. With drift-free global position over time and no need for line of sight from optical solutions, the Coil Pro is the best of both worlds of mocap [IMU and optical]. The underlying platform, named Volta Tracking Technology, fuses EMF and IMU and will be at the core of all our motion capture hardware solutions going forward.”
DIGITALDOMAIN:CHARLATAN
Digital Domain is further developing its machine learning neural rendering software Charlatan (sometimes referred to as a face-swapping tool). “Acknowledging the expense and time associated with traditional methods, including our top-tier Masquerade [facial capture] system, we developed Charlatan to introduce efficiency and affordability,” Rabel comments. “Several years ago, Charlatan was created using machine learning techniques. This innovative approach involves utilizing real photography of an individual’s face and applying enhancements, seamlessly transferring it to another person’s face, or even manipulating discrete aspects such as aging or de-aging. Recently, we have been developing Charlatan 3D, which evolves this technology to produce full 3D geometry from this process but at a lower cost and simpler capture conditions than Masquerade. In essence, Charlatan represents a significant stride towards streamlining the creation of lifelike digital humans with unparalleled realism.”
OPTITRACK:NEWCAMERAS
OptiTrack provides tracking solutions that vary in use, including AAA game studios, medical labs, and consumer and prosumer budget solutions. In November the firm announced its three most advanced motion capture cameras; the PrimeX 120, PrimeX 120W and SlimX 120. “With higher resolution and increased field of view, these new additions enable larger tracking areas for a wider variety of training and simulation scenarios and larger cinematic virtual production studios,” says Anthony Lazzaro, Senior Director of Software at OptiTrack. All three cameras, which are designed and manufactured at OptiTrack’s headquarters in Corvallis, Oregon, feature their highest-yet resolution, 12 megapixels. With the PrimeX 120, customers benefit from a standard 24mm lens while the PrimeX 120W comes with an 18mm lens with a wider field of view. [And] we have 24mm or 18mm wide lens options available with the Slim X 120.”
Lazzaro continues, “We also released a more informative and intuitive version of our mocap software, which is now compatible with all OptiTrack mocap cameras. Motive 3.1 is aimed at simplifying high-quality, low-latency performance motion tracking, offering users easy-to-use presets and labeling for tracked items that deliver the best possible motion data while saving time and eliminating extra steps. Customers also have greater visibility into possible issues and can automatically resolve against the harshest of tracking environments.”
STRETCHSENSE:MOCAPGLOVES
Founded in Auckland in 2012, StretchSense took on the mission to build the world’s best stretchable sensors for comfortably measuring the human body. “Building on top of our sensor technology, in 2019 we pivoted the business to focus on motion capture gloves for AAA studios, indie studios, streamers, VR/AR, live shows and more,” explains StretchSense Co-Founder and VP Partnerships & New Markets Benjamin O’Brien.
“Our Studio Gloves are incredibly unobtrusive, with a less than 1mm thick sensor layer on top of breathable athletic fabric, and a small transmitting module,” O’Brien says. “This is more than just a comfort and style thing though; it means that our gloves don’t get in your way, and you can continue to type, use a mouse, hold a prop, use your phone or just get a pizza from the door. Once you start to think about mixed-reality applications, this becomes even more critical, as our gloves allow you to switch seamlessly between interacting with virtual spaces and the real world.”
O’Brien adds, “Our mission is to democratize motion capture, allowing independent content creators and streamers to create incredible and immersive stories and experiences. To achieve this, we have a long-term goal of getting our gloves down to a true consumer price point, which will really open up the space. At $795, we think our latest StretchSense Studio Glove is the biggest step the industry has ever taken towards this goal; less than two years ago, something with similar performance would have cost well over $5,000.”
ARCTURUSANDVOLUMETRICVIDEO
Based in Beverly Hills, Arcturus Studios was founded in 2016 by veterans of DreamWorks, YouTube, Autodesk, Netflix and other notable companies. “Together, they saw the potential for volumetric video and decided to work together to steer its development,” recalls Piotr Uzarowicz, Head of Partnerships and Marketing at Arcturus. “That led to the creation of the HoloSuite tools, consisting of HoloEdit – a tool that can edit the 3D performances of performers recorded with volumetric video – and HoloStream, software that can compress a completed volumetric video file and stream it to any 2D or 3D device, even if the broadband signal is unstable. Together, HoloSuite has helped make it possible to use volumetric video for everything from e-commerce to AR projects to virtual production and more.”
Uzarowicz continues, “Arcturus took over Microsoft’s Mixed Reality Capture Studios (MRCS) business [in 2023], including the development of that capture system – the most sophisticated in the world – as well as the rights to maintain and supply MRCS licenses to studios around the world. That has put Arcturus in a unique position where it is now developing for all stages of volumetric video, from the capture and editing all the way to the final distribution.”
“One of our goals has always been to make volumetric video more accessible. We’re looking at new ways to make it easier to capture volumetric videos using fewer cameras, including the use of AI and machine learning. With the MRCS technology and our licensees, we are working with some of the best and most creative content creators in the world to find where the technology can evolve and improve the production experience,” comments Uzarowicz. “We just released a new video codec called Accelerated Volumetric Video (AVV) that makes it possible to add more volumetric characters to a digital environment. With the MRCS technology, the quality of a captured performance is better than ever. Volumetric video is constantly evolving,” he adds.
OptiTrack’s Motive 3.1 advanced motion capture software can be paired with any of OptiTrack’s motion capture cameras, including the premium PrimeX, Slim or low-cost Flex series. Motive 3.1 also offers trained markersets, enhanced sensor fusion and pre-defined settings. (Image courtesy of OptiTrack)
StretchSense makes motion capture gloves for major and indie studios, streamers, VR/AR and live shows. (Image courtesy of StretchSense)
StretchSense’s mocap gloves are unobtrusive, with a less than 1mm-thick sensor layer on top of breathable athletic fabric and a small transmitting module. StretchSense’s $795 Studio Glove is a step toward the company’s goal of getting its gloves down to a true consumer price point. (Image courtesy of StretchSense)
“The trend towards real-time capabilities has become prominent, allowing for immediate feedback and integration into virtual environments, video games and live events. As we integrate artificial intelligence and machine learning as tools to enhance these functions’ capabilities further, it will enable automated analysis and capture of movements in real-time, which will help save time on the process, leading to cost savings.”
—Peter Rabel, Technical Product Manager, Digital Domain
Arcturus took over Microsoft’s Mixed Reality Capture Studios (MRCS) business in 2023, including development of the capture system, as well as rights to maintain and supply MRCS licenses to studios worldwide. Arcturus also now develops for all stages of volumetric video. (Image courtesy of Arcturus)
Arcturus’s HoloSuite tools consist of HoloEdit – a tool that can edit the 3D performances of performers recorded with volumetric video – and HoloStream, software that can compress a completed volumetric video file and stream it to any 2D or 3D device, even if the broadband signal is unstable. With HoloSuite it’s possible to use volumetric video for e-commerce, AR projects and virtual production. (Image courtesy of Arcturus)
MOVEAI
Move AI has announced the official release of a single-camera motion capture app, Move One, the company revealed in late November. “The app is now available to animators and creditors looking to bring realistic human motion to their 3D characters,” said the company. “Move AI makes it easy to capture and create 3D animations.”
AI/ML
“Arcturus is currently experimenting with AI and machine learning in several ways. From the moment we were founded, one of our main goals has always been to make volumetric video more accessible, and AI can help us do that in a few different ways,” Uzarowicz comments. “Among other things, one of the areas we are currently focusing on in our R&D is using AI to help us capture the same level of quality – or better – we can currently capture but use fewer cameras. One of the things that makes our MRCS technology the best in the world is the software that converts the multiple captured recordings into a single 3D file. With AI, we hope to improve that process.” Regarding AI/ML, O’Brien says, “We are seeing many companies using motion capture to create their own proprietary databases for training or tuning generative AI models, and we are looking at how we can lean into this. Finally, we are ourselves constantly investing in machine learning to improve the data quality [of ] our products.”
“Given our experience with machine learning, we see Gen AI as a tool like any other in our toolbox, enabling us to create artistically pleasing results efficiently in support of the story,” Digital Domains’s Rabel says. “We have found that the combination of powerful tools, such as machine learning and AI, with our artists’ creative talent produces the photorealistic, relatable, believable and lifelike performances we are striving for. We feel the nuances of an actor’s performance in combination with our AI and machine learning toolsets are critical to achieving photorealistic results that can captivate an audience and cross the uncanny valley.”
Lazzaro comments, “OptiTrack already uses ML algorithms to derive optimal solutions for things like continuous calibration and trained markersets. Continuous calibration takes existing visible objects in a scene, i.e. markers, and uses that data to determine how to make small adjustments to fix calibration issues related to bumps, heat or human error. Trained markersets allow you to feed marker data into an algorithm to make a model that can track objects that were previously not trackable, such as trampolines, jump ropes and other non-rigid objects. Lazzaro adds, “Advances in AI and ML will continue to shape the way that objects are tracked in the future.” Rokoko’s Balslev notes, “AI/ML will fundamentally change the motion capture space. Text-to-motion tools are emerging and maturing and will eventually completely disrupt the stock space for online marketplaces and libraries. These tools will however not be able to replace any custom mocap that requires acting and specific timing.”
Our mission is to democratize motion capture, allowing independent content creators and streamers to create incredible and immersive stories and experiences. To achieve this, we have a long-term goal of getting our gloves down to a true consumer price point, which will really open up the space. At $795, we think our latest StretchSense Studio Glove is the biggest step the industry has ever taken towards this goal; less than two years ago, something with similar performance would have cost
well over $5,000.”
—Benjamin O’Brien, Co-Founder and
VP Partnerships & New Markets, StretchSense
Move AI offers a single-camera motion capture app, Move One, for animators looking to bring realistic human motion to their 3D characters, making it easy to capture and create 3D animations. (Images courtesy of Move AI)
VR AND MOCAP
“We [Vicon and Dreamscape Immersive] are together mapping out just how far markerless mocap can go in providing a more true-to-life adventure than any other immersive VR experience by allowing for more free-flowing movement and exploration with even less user gear,” Vicon’s Finch comments. “Dreamscape has said it has long awaited the time when markerless could break from concept and into product, where the technology could support the precision required to realize its amazing potential. We’re testing that potential together now.” Finch adds, “Seeing people’s initial reactions to VR when they’re fully immersed is remarkable. The fantasy-reality line blurs, the more freedom you have in a VR space, which is reduced when a user is tethered and they feel the pull of the cable or know they’re wearing a backpack.” He continues, “There’s also the customer experience element that’s a central driver in all of this. People’s experience with markerless is a big wow moment. Markerless is going to lead to more magic – more wow.”
Lazzaro explains, “Mocap is used in all sorts of VR and AR applications. Typically, home systems use what is called inside-out tracking to have a head-mounted display [HMD] track the world around a user. This works great for HMD and controller tracking, but can’t be used to see other people wearing HMDs. OptiTrack uses an approach called outside-in tracking where we track the HMD, controllers and props using external cameras. This allows users to build location-based VR experiences in which multiple people can go through an experience together or engineers can work on designs in VR as a group.”
OUTLOOK
“We think these markets [motion capture, performance capture and volumetric video] will all be changed with the continued increase in accessibility,” comments StretchSense’s O’Brien. You can now do full-body mocap for less than the cost of a new iPhone, and basic volumetric capture can now be had for free on that same iPhone. This means different things for different markets: On a major AAA studio, you are going to see mocap happening on all of the people all of the time, and also on more ambitious projects that have more animated content than ever before. For independent creators, the financial costs of getting into mocap are dropping away so more people can join the space. Finally, there are millions of streamers worldwide who are getting new ways to connect with their community and make money while doing so by stepping into virtual worlds.”
“Mocap has a bright future in a variety of markets,” OptiTrack’s Lazzaro says. “This includes but is not limited to movies, video games, medical applications, robotics, measurement and VR. Mocap techniques are also becoming more commonplace with V-Tubers and other prosumer applications.”
A major visual effects undertaking was constructing the environment and crowd at Tsinghua University watching the torture of intellectuals during the Chinese Cultural Revolution.
A computational conundrum occurs when the motion of three celestial bodies mutually influences each other’s gravitation pull. This serves as the premise for the science fiction series 3 Body Problem by novelist/series writer Liu Cixin, where an alien race living on an environmentally unstable planet caught between a trio of suns sets in motion a plan to invade Earth with the assistance of human conspirators. Adapting the novels for Netflix is Game of Thrones duo, David Benioff and D.B. Weiss, along with True Blood veteran Alexander Woo. The first season of 3 Body Problem encompasses eight episodes that feature major visual effects spanning environment builds, a multi-dimensional supercomputer compressed into a proton, a sliced and diced oil tanker, characters being rehydrated/dehydrated and a virtual reality game that literally feels real. The epic scope of the project required the creation of 2,000 shots by Scanline VFX, Pixomondo, BUF, Image Engine, Screen Scene and El Ranchito. An in-house team took care of additional cleanups, which ranged from a character blinking too much to having to paint out an unwanted background element.
Previs was an indispensable tool. “It’s a complete game-changer being able to do everything in Unreal Engine,” Visual Effects Supervisor Stefen Fangmeier states. “We did nearly no storyboarding. It was essentially camerawork. The funny thing was they were trying to get me to use a camera controller, and I said, ‘No. I’m a curve guy.’ I set a keyframe here and a keyframe there and interpolate. I even reanimated characters, which you can do in Unreal Engine in the most elegant way. You can take a couple of big performances and mix them together; it’s a fantastic tool. We worked with NVIZ in London who would prep all of these scenes, do the animation, then I would go shoot and light it; that was a great joy for me, being interactive. What was so interesting about 3 Body Problem was there is an incredible variety of work.”
Vedette Lim as Vera Ye in one of the many environments given the desired scope and vastness through digital set extensions.
A unique cinematic moment involves an oil tanker being sliced by nanowires as part of an elaborate trap to capture a hard drive belonging to a cult that supports the San-Ti invading Earth. “People get sliced every 50 cm, which we did mostly with digital doubles and a few practically built hallways and interior buildings. When you slice something that heavy vertically at 50 cm increments, the weight of what’s above it keeps it in place until the bow hits the shoreline. The dish on top of it collapses into the Panama Canal, which we created as a full CG environment,” Fangmeier states.
Opening the series is a massive crowd gathering at Tsinghua University during the Chinese Cultural Revolution to watch the torture of intellectuals, and because of the controversial nature of the subject matter shooting in Beijing was not an option. “Ultimately, we built the environment from photography and then took some liberties,” Visual Effects Producer Steve Kullback describes. “We wanted it to be realistic, but how big is the quad? What did the buildings actually look like? I don’t think anybody is tracking it quite that precisely, but what we ended up with is having 100,000 screaming students in front of us, and that was all shot quite virtually with a stage set that was built out and extended. It was an array of bluescreens on Manitous that were set up to move around and reposition behind 150 extras.” Crowd tiling was minimal. “We did one shot, which was a poor artist’s motion control. The director wanted a shot where the camera is pushing out towards the stage over the crowd, so what we did was start in the foreground pushing over it, repeat the move pushing over it and move everyone up. We put the pieces together, and it worked quite well. We didn’t have a motion control crane, just a 50-foot Technocrane and a good team that was able to repeat their moves nicely,” Kullback says.
Bai Mulin (Yang Hewen) sits alongside Young Ye Wenjie (Zine Tseng) who makes a fateful first contact with the San-Ti, which sets their invasion plans in motion.
A radar dish test at Red Coast Base kills a flock of birds that were entirely CG.
Sophon (Sea Shimooka) is an avatar in a VR game created by the San-Ti to illustrate the destructive environmental impact of living next to three suns.
The reflective quality of the VR headset meant that extensive photogrammetry had to be taken so each set piece could be reconstructed digitally.
One of the major environments simulated in the VR game is the observation deck of the Pleasure Dome constructed by Kublai Khan.
Another key environment build was the Red Coast Base where astrophysics prodigy Ye Wenjie makes first contact with the San-Ti in the 1960s, which sparks an invasion conspiracy. “For Red Coast Base, we had part of an observation base in Spain that was on a mountaintop, and it was a windy day with no rain, so we had some nice sunsets and great clouds,” Visual Effects Supervisor Rainer Gombos remarks. “Some of the buildings didn’t match what we wanted, and the main building was missing the large radar dish. We only had the base built for that. We had some concepts from the art department for how the extensions should work, and then we did additional concept work once we had the specific shots and knew how the sequence would play out.” The years leading up to the present day have not been kind to the Chinese national defense facility. “The roofs have collapsed, so we had to design that. It had to look like winter and cold when it was actually a hot spring day with lots of insects flying around, which had to be painted out. There is a sequence where the radar dish is being used for some test, and birds are flying from the forest and get confused by what is happening, fly close to the dish and die. There were a lot of full CG shots there and CG birds that had to be added. Also, one of the characters revisits the base to commit suicide, so we had to introduce a digital cliff that allowed her to walk up to the side of the dish and look over,” Gombos adds.
30 million Mongol soldiers appear in front of the Pleasure Dome before being lifted into the air because of the gravitational pull of the three suns.
Simulating what life is like on Trisolaris is a virtual reality experience developed by the San-Ti that demonstrates the global catastrophes caused by living in close proximity to three suns. “It was described as a simple arid desert landscape,” Fangmeier explains. “The more unique aspect of that was a certain lighting change. One sun, small and in the distance, was rising, and then suddenly that goes away and it’s night again. Having the light on the actors move that quickly was tricky to achieve on set. We decided along with Jonathan Freeman, the DP for Episodes 101 and 102, to shoot that in a LED stage with a bunch of sand on the ground where we could animate hot spots and the colors of the panels even though we were going to replace all of that in CG.” Being in the realm of VR meant that the destruction could be fantastical, such as 30 million Mongol soldiers being lifted in the air because gravity no longer exists, or witnessing the entire landscape engulfed by a sea of lava. Fangmeier explains, “Then, we have some pseudoscience, like going inside of a particle accelerator. The San-Ti have sent these two supercomputers the size of a proton to stop the progress of human technology, so when they arrive 400 years later [Trisolaris is over three light years from Earth], we won’t be able to easily destroy their fleet. The proton [referred to as a sophon] unfolds into this giant two-dimensional sphere that then gets etched with computer circuitry. We talked a lot about going from 10 dimensions down to two and then going back to a 10-dimensional object. It’s stuff where you go, ‘That’s what it said in the book and script. But how do you visualize that?’”
The VR game created by the San-Ti is so sophisticated that it stimulates the five senses of users such as Jin Cheng (Jess Hong).
The VR game setting allowed for a more hyper-real visual language and the ability to defy physics, like when Sophon (Sea Shimooka) talks with Jin Cheng (Jess Hong) and Jack Rooney (John Bradley) in Episode 103.
The Follower (Eve Ridley) and Sophon (Sea Shimooka) are San-Ti appearing in human form to make it easier for VR users from Earth to relate to them.
Eiza González portrays Auggie Salazar, a member of the Oxford Five, which attempts to foil the invasion plans of the San-Ti.
Cinematographer Jonathan Freeman made use of complex and specific lighting panels for the VR setting shots to emulate what it would be like surrounded by three suns.
To preserve their species until the chaotic era gives way to a stable one, the San-Ti have a specific methodology that involves dehydrating and rehydrating their bodies. “It happens in two places and provided us with unique challenges and creative opportunities,” Kullback observes. “The first time we see it is when the rolled-up dehydrated bodies are being tossed into the water by the army to bring our characters back to life. The rolled-up bodies that get rehydrated were a prop that was designed by the prosthetics artists and looked quite beautiful. We go underwater and see the roll land and begin to unfold. The camera is below it and the sun is above the water, so you have these beautiful caustics and an opportunity for all kinds of subsurface scattering and light effects that make the image magical and ethereal and support the birthing process that it’s meant to represent. At the end of the experience, you have a beautiful nude woman who comes to the surface. Then, you find there are other nude folks who have been rebirthed. We shot in a tank at Pinewood to have the underwater shots and the shots of the woman, who is the final realization of this rebirthing. For the elements of the roll landing in the water, we did shoot one for real, but ultimately that was CG. Then the environment above the surface was fully CG. But then you go to the virtual reality game where Jin Cheng is walking with the Emperor and the Follower, and a chaotic era suddenly comes upon us, and there is no room to hide behind a rock from the immense forces of the sun getting ready to melt everybody. The Follower lies down on the ground in a vast desert with the pyramid off in the distance and has to dehydrate. That one presented a bit more of a challenge because you didn’t have the opportunity to travel around her and have these beautiful caustics. We heavily researched the footage of things dehydrating, like fruit left in the sun rotting, to try to get a look that was like how the body would deflate when it was completely sapped of water.”
Being able to digitally reconstruct sets and locations was made even more important by having a highly reflective VR headset. “The reflective headset required some photogrammetry type work while you were shooting because it was often in smaller places, and there’s some crew, all of the lighting equipment, and everything is dressed in one direction,” Gombos remarks. “You had to capture that three-dimensionally because as production turned around, you needed it for the paint-out from the other direction. We had HDRI panorama photography of that, but then we also had good spatial information about the room and how that would connect to the shot lighting we would do. We wanted to be precise, and on top of that, we often did a special reconstruction shoot after we were done. I would come in for a few hours and do the photography and LiDAR required for locations. These assets were created on the fly, so we had them to review our work but also to send off to the vendors, and they were using them in post. The 3D assets were helpful in quality-controlling the work and a good tool for orienting our teams. I could have this little 3D representation of the set and share and discuss that with the DP or director. I would say, ‘If they are here, it’s going to look like this.’ It wasn’t theoretical but quite precise.”
“One thing that was a bit different for me was that I did a lot of the concept work,” Gombos observes. “I enjoyed doing that for set extensions that then Stefen and the visual effects vendor working with him would execute.” Fangmeier is intrigued by what the viewer reaction will be beyond hardcore sci-fi fans of the books. “It’s not your typical sci-fi where you spend a lot of time in outer space or meet aliens, and it’s not an alien invasion per se. It’s the first season, so it’s fairly mellow and highbrow. It’s deals with concepts other than the stuff that people are usually used to when they watch sci-fi. I’m curious what the mainstream viewer will think about that.”
There is a core mandate no matter the project for Kullback. “If we are able to help tell the story visually in areas where you can’t photograph something, then that’s our dimension. We’re never creating eye candy for the sake of eye candy. We work hard to have everything that we do fit into the greater whole and to do it in a seamless and attractive way. And, most importantly, in a way that communicates and moves the story forward and realizes the vision of the filmmakers.”
With the release of “Self,” a cautionary tale about the desire to please and be accepted by others, Searit Huluf got an opportunity to showcase her filmmaking talents as part of the Pixar SparkShort program. The project was partly inspired by her parents trying to adjust to life in America after immigrating from Ethiopia, which, at the time, was ravaged by civil war.
“My mom and dad separated, so it was just my mom looking after me. I had a lot more independence because she was working a lot. I mainly stayed in the east side of Los Angeles, which became my playground. It wasn’t until I got to UCLA that I started to explore more of Los Angeles, in particular the west side, which felt like being in a different country because everything is so clean, and there were a lot more shops.”
An opportunity presented itself to visit Ethiopia right before the coronavirus pandemic paralyzed international travel. “It was our first mother/daughter trip, and I had forgotten what it was like to be under my mom again,” Huluf recalls. “While in Ethiopia, my mother was cautious because the capital of Addis Ababa is not where my people are from, which is the Tigray region. It wasn’t until we got to Mekelew where my mom’s side of the family lives that we got to relax and meet people.” Huluf watched her aunts make coffee called ‘buna’ from scratch. “After roasting the coffee, they take it to everyone to smell to say thanks before grinding. Then you have to hand-grind the roasted coffee with a mortar and pestle. My friends and I made it every day. It was so much fun.”
Participating in sports was not an affordable option growing up, so Huluf consumed a heavy dose of anime consisting of Sailor Moon, Naruto, One Piece and Bleach. What was made available to her in high school was the ability to take community college classes on computer coding and engineering through STEM [Science Technology Engineering and Mathematics] programming. “I did a website competition inside of which there was a film competition, so I did a live-action short with all of the seniors in my group, and afterward I was like, ‘I want to go to art school.’” The art school in question was the UCLA School of Theater, Film and Television where she studied screenwriting and stop-motion animation. “I was trying to figure out what is the closest I could get to animation but not have to draw, and it was stop-motion; that was the happy medium because I do love live-action and animation. My schooling was live-action, but a lot of my internships were animation; that’s how I divided it up.”
Internships included Cartoon Network and DreamWorks Animation, then Pixar came to UCLA. “I kept in contact with the recruiter and started at Pixar as an intern in production management while making films on the side,” Huluf remarks. “I am also big in the employee resource groups within Pixar. I spearheaded the first celebration of Black History Month at Pixar and decided to make a documentary where Black Pixar employees talk about what it is like to be Black in America. The 19th Amendment documentary came about because I cared about people voting for the 2020 elections. It was a way to promote Pixar fans to go out and vote by having Pixar women talk about why they should do it and the complicated history of the 19th Amendment. Documentaries are scary because you go in with what’s there and make the story in the editing room. That was a lot of fun, and I gained more confidence to be a filmmaker, and I switched back to making narrative films.”
Soul was the first high-profile project at Pixar for Searit Huluf.
“I got to work with Tippett Studio, which I love! … There’s that Pixar comfort where everybody knows each other or someone adjacent. But these were complete strangers, and there was a big age gap between us. A little bit of me was going, ‘Are they not going to respect me?’ And it was the exact opposite. They were so loving and caring.”
—Searit Huluf, Writer and Director of “Self”
Critiquing, not writing, is where Huluf excels. “I went to a talk where a writer said that you have to wear different hats when you’re writing. When you’re wearing the writing hat, you’re writing all of your thoughts and ideas. Once you’re done writing, you put on the critique hat, and that’s where you start editing what you wrote. Is this actually good? Is it going to help your story? Is your structure right? You can’t wear both hats at the same time. I think a lot about that when I write. What is also great is that I went to UCLA and did screenwriting. I’m still in touch with all my screenwriting friends, and everyone is still writing. It’s nice to write something and the next week we do a writing session together and talk about the things that we’re writing.” Two individuals standout for their guidance, she says. “I still keep in touch with my UCLA professor, Kris Young, and am part of the Women in Animation mentorship program; [director] Mark Osborne is my mentor. It’s nice talking with him. He did Kung Fu Panda and The Little Prince. Mark is doing everything I want to do with my life! He’s doing live-action and animation. In this mentorship program, other women are working on their own projects. One Saturday we have it with him and the other Saturday is just us. That has been great.”
“Self” was inspired by Searit Huluf desiring to gain social acceptance as well as by the struggles her parents faced immigrating to America from Ethiopia.
“Self” marks the first time since WALL-E that live-action elements have been integrated with computer animation by Pixar.
Soul afforded Huluf the opportunity to work with one of her role models, writer/director Kemp Powers, who co-directed Soul.
Spearheading the first celebration of Black History Month at Pixar, Huluf went on to serve as a cultural consultant on Soul.
Searit Huluf helped to facilitate brainstorming sessions to make sure that there was cultural authenticity to the story, character designs and animation for Soul.
“[Director] Mark [Osbourne] is doing everything I want to do with my life! He’s doing live-action and animation. In this mentorship program, other women are working on their own projects. One Saturday we have it with him and the other Saturday is just us. That has been great.”
—Searit Huluf, Writer and Director of “Self”
Huluf has a support network at Pixar. “Luckily for me, I’m not the first Black shorts director at Pixar. Aphton Corbin made “Twenty Something,” so it‘s nice to be able to talk to her about it. Michael Yates did the Win or Lose streaming [series for Disney+], and I keep regular contact with Kemp Powers. It’s nice to talk to people who are in your arena. Personally, too, that’s why I do both live-action and animation, because there’s something about both mediums that gives me motivation and hope.”
Like Mark Osborne with The Little Prince, Huluf was able to combine computer animation and stop-motion to make “Self,” where the protagonist is a wooden puppet surrounded by environments and metallic characters created digitally. “I got to work with Tippett Studio, which I love! I studied stop-motion at UCLA, so I know what the process looks like, but I have never done it in a professional setting, and I’m not the animator; other people are doing this who have worked on James and the Giant Peach and The Nightmare Before Christmas. There’s that Pixar comfort where everybody knows each other or someone adjacent. But these were complete strangers, and there was a big age gap between us. A little bit of me was going, ‘Are they not going to respect me?’ And it was the exact opposite. They were so loving and caring. I still text with them.”
“I spearheaded the first celebration of Black History Month at Pixar and decided to make a documentary where Black Pixar employees talk about what it is like to be Black in America. The 19th Amendment documentary came about because I cared about people voting for the 2020 elections. It was a way to promote Pixar fans to go out and vote by having Pixar women talk about why they should do it and the complicated history of the 19th Amendment.”
—Searit Huluf, Writer and Director of “Self”
Going through various characters designs for the character of Self.
A significant lesson was learned when making “Self.” “I did a lot of my independent films by myself, and this time I had people who are paid and wanted to be involved,” Huluf notes. “Working with the animators was one of the most insightful moments for me. I would film myself and say, ‘How about we do this?’ They would be like, ‘We could do that, but how about this?’ And it was so much better. In the beginning, I was very precious about it and slowly realized, ‘They know what this film is and what needs to be told, too.’ It was a learning curve for me.” The transition to feature directing is more likely to first occur in live-action rather than animation. “That’s primarily because the stakes are higher in animation than a live-action film. This is purely based on budgets.”
A comparison of Self with one of the female Goldies.
A personal joy for Huluf was being able to design the costume for Self.
“When I think about filmmakers I look up to, I see that they start with smaller indie features. Barry Jenkins is a perfect example. Moonlight was only a couple of million dollars, and then he made a higher-ground film If Beale Street Could Talk. I want to start small and slowly build myself up. The big jump for me now is to do a feature. Luckily for me, I’m not too intimidated to do it. It’s more about when someone will give me the chance. I do believe in my ideas and storytelling capabilities. Right now, I’m writing and seeing how things go. I look forward to people watching ‘Self’ and being able to talk to them about it because that’s something new for me.”
Tippett Studio Senior Art Director and Lead Puppeteer Mark Dubeau explains the puppet design to Searit Huluf.
The hair of Self was the hardest aspect to get right. It was inspired by the hairstyle of Searit Huluf.
A dream come true for Huluf was being able to collaborate with Tippett Studio on “Self.”
Showcasing the detailed eyeballs for the stop-motion puppet crafted by Tippett Studio.
Pixar SparkShorts Build “Self” Esteem for Emerging Filmmakers
Treading a path blazed by WALL-E where live-action footage was incorporated into the storytelling, the Pixar SparkShort “Self,” conceived by Searit Huluf, revolves around a wooden stop-motion puppet desperate to be accepted into a society of metallic beings.
“For me, it was, ‘I really want to do stop-motion. I want to visually see something alive onscreen that you can see the handprint of a human touching it,” Huluf states. “I wanted the story to be the reason it had to be stop-motion.”
A central theme is the personal cost of gaining social acceptance. “I will play this game in my head of hiding parts of myself so I can conform and be part of the group,” Huluf explains. “That’s how I visualized Self as she literally rips herself apart to be like everyone else. The other aspect is my mom immigrated to America from Ethiopia, and I wanted to talk about how immigrants are usually not seen or heard. I wanted Self to feel like she is Ethiopian, so she has natural wood that has been carved by a masterful craftsman. There is something nice about her being so natural herself but wanting to be something so shiny, plastic and fake. There is something visually beautiful about that. Another layer on top is that she is even animated differently. Self is stop-motion, so she’s animated on 2s and 3s versus the CG Goldies, which are on 1s and are so slick when they move. Self is poppy and jumpy at points when she tries to talk and interact with them.”
Excitement and fear were felt when working out the logistics for the project. “I was excited about doing something so different and unique, but at the same time I had no idea of how you properly schedule out and manage a stop-motion film,” remarks Eric Rosales, Producer of “Self.” “I was like, ‘Alright, let’s learn this on the fly.’ You’re taking this whole new element and trying to fit pieces into our puzzle and take their puzzle pieces and put them all together.” The other puzzle pieces belonged to Tippett Studio which constructed, animated and shot the stop-motion puppet. Rosales says, “It was a breath of fresh air in the sense that you get to see how other studios approach their scheduling, decision-making and problem-solving. It was exciting for us to learn from them as much as they were learning from us, and learn how to take the different aspects of the stop-motion process and incorporate it into our pipeline. And vice versa, how we would handle something and transfer that information back over to Tippett. We did a lot of back and forth with them and shared a lot of thoughts.”
Complimenting and informing the design of the physical puppet was the digital version. “We had a digital puppet that Pixar was able to move around in the computer and act out what they wanted the puppet to do. That informed us in terms of how we needed to build the puppet to be able to effectively move in those ways,” states Mark Dubeau, Senior Art Director and Lead Puppeteer at Tippett Studio. “There is a lot you can do digitally that you can’t do with a puppet, and so we knew probably that we would have to build about three or four puppets to be able to do that number of shots.” Nine different faces were constructed to express panic, sadness, happiness and anger.
For a long time, the digital double of Self was a placeholder for 19 shots that utilized stop-motion animation. “But as things progressed, we turned off our character as she is now being added in the comp,” states Nathan Fariss, Visual Effects Supervisor of “Self.” “The amount of color tweaking and general polish that was happening in comp, and even the color grading steps in post, were much more than any of our other projects because we needed to match a photographic element to our CG world and vice versa.”
“Self” Producer Eric Rosales and Huluf examine the various pieces that go into making a stop-motion puppet.
Various body parts and variations had to be created by Tippett Studio to give the stop-motion puppet the correct range of physicality and emotion.
Previs and layout dictated the shot design for the stop-motion scenes. “We had a first lighting pass that was already done and even before Tippett started lighting everything up,” Rosales remarks. “We sent members of our lighting team over there to do the last bits of tweaking. Searit acted out every single shot that Tippett was going to do. She did it in her living room by herself. To sell the foot contact, Tippett ended up building a concrete slab out of Styrofoam so we were able to see Self physically walking on top of something.”
Self makes a wish upon a falling star that enables her to exchange wooden body parts with metallic ones. “I usually talk about what the character is feeling at the moment,” Huluf states. “The way we talked about that scene of her jumping off of the roof, I wanted to show how she goes from, ‘Oh, cool these body pieces are falling from the sky,’ to slowly becoming more obsessive in finding them. That face is the last piece for her. ‘I’m going to finally belong.’ A lot of people do a lot of crazy things to belong. In Self’s case she’ll rip herself apart to be like everyone. Self-jumping off of the roof is the climax of the film because it’s her craziness and obsessiveness all wrapped into one as she falls into darkness. We had a lot of conversations about how she snaps out of it, and for me, your face is who you are. As she steps on her own face, it snaps her back into reality and makes her realize and go, ‘Oh, my God! Why did I do this?’”
The cityscape did not have to be heavily detailed. “We ended up settling up a look that was a flat color or a gradient so it felt like there was a little bit of life in the city and things were lit up,” Fariss reveals. “There were other people present in the buildings, but it didn’t necessarily draw the audience into the lives that are going on in the buildings around there. The cities were mostly hand-built. There wasn’t enough scope to warrant going a procedural route to put the cities together, so they were hand-dressed, and there was a lot of shot-by-shot scooting some buildings around to get a more pleasing composition.”
More problematic was getting the hair right for the puppet. States Dubeau, “Once we figured out what urethane to use then we did all of the hair. However, we found out it was too heavy for the head. We had to go back and make two pieces of hair that go down and frame either side of her face. Those were made out of that material and painted. We hollow-cast the ones on the back, which had a wire that went into the head, and then you could move those pieces around, but you couldn’t bend them. The ones in front could swing and twist. It totally worked. Now you got the sense of this light, fluffy hair that was bouncing around on her head.”
“Self” was an educational experience. “One of the things that we learned from Lisa Cooke [Stop-Motion Producer] at Tippett is you end up saving your time in your shot production,” Rosales notes. “It’s all of the pre-production and building where you’re going to spend the bulk of your money. There was a lesson in patience for us because with CG we can take everything up to the last minute and say, ‘I want to make this or that change.’ But here we needed to zero in and know what we’ve got going on. Once the animators get their hands on the puppet and start doing the shots, the first couple of shots take a little bit of time. After that handful of shots, they get a feel for the character, movement and puppet, and it starts moving quickly. Then we were able to get our team on, and they were able to start learning their cadence as well. It started becoming a nice little machine that we were putting together.”
Searit appreciated the collaborative spirit that made the stop-motion short possible. “I’m approving things at Tippett and going back to Pixar to approve all of the CG shots multiple times a week. We had a lot of people who were big fans of ‘Self’ and helped us while they were on other shows or even on vacation or working on the weekend because they were so passionate. I’m grateful that Jim Morris [President of Pixar] let me have this opportunity to make a stop-motion film, which has never been done before at Pixar.”
Actor Hiroyuki Sanada had a key role in making sure that period-accurate Japanese was spoken by the characters.
Inspired by the power struggle in feudal Japan that led to the rise of Tokugawa Ieyasu to Shōgun and his relationship with English sailor William Adams, who became a key advisor, James Clavell authored the seminal historical fiction novel Shōgun, adapted into a classic NBC miniseries starring Richard Chamberlain and Toshiro Mifune. Forty-four years later, the story has been revisited by FX and Hulu as a limited 10-episode production under the creative guidance of Justin Marks and Rachel Kondo.
“What we felt made Shōgun interesting today would be to tell more of an E.T. the Extra-Terrestrial story of an outsider who has shown up in the world that we let the audience inhabit,” states Justin Marks, Creator, Executive Producer and Showrunner. “We worked with our producers and star, Hiroyuki Sanada, as well as Eriko Miyagawa [Producer], to use their expertise to craft the dialogue in the right kind of Japanese.”
Regarding depicting the Sengoku Period, compromises had to be made. “There will always be a gap between accuracy and authenticity, which means negotiating which spaces are necessary to keep distance and which ones you need to close the gap,” states Creator and Executive Producer Rachel Kondo. “We were constantly defining and redefining what we’re trying to be authentic to. Are we trying to be authentic to a time or people or specific place?” Originally, the plan was to shoot in Japan, but the [COVID-19] pandemic caused British Columbia to become the stand-in for the island nation. “Very little cleanup was required relative to what it would be in Japan where you would be removing power lines all day just to get something to look natural, and then you want to plus it to the premise of the story,” Marks says. “With Michael Cliett [Visual Effects Supervisor and Visual Effects Producer], we worked out a system that would keep us flexible in post-production with what we would call a high and low appetite version of a shot; that element of protection was for storytelling reasons but largely for budget reasons. Then, what it allowed us to do was to say, ‘This is a show about landscapes,’ and on some level, we have broad landscapes and what we called ‘landscapes of detail,’ such as close-ups of tatami mats because they were shot with macro lenses.”
Anna Sawai felt completely in the role of Toda Mariko when the Christian cross was hung around her neck.
Osaka was the most straightforward of the three cities to develop because extensive reference material exists from 1600 and the general topography has not changed. “Ajiro was a gorgeous little cove on the waterfront, but the area itself wasn’t quite large enough to create a whole village. So, we had to make a mental jump to say that the upper village is where the samurai class live and the lower village was where the much poorer fishing folk live,” Production Designer Helen Jarvis explains. “We ended up using two different locations and then knit them together in a few establishing shots. Edo [modern-day Tokyo] was the city that Yoshii Toranaga [cinematic persona of Tokugawa] was actually in the process of developing and building at the time. We saved a portion of the waterfront Osaka set and didn’t fully develop it until much later in the series knowing that we had to create two city blocks that were in the process of being built. One of our set designers did a preliminary model of the shape of the city and how the castle might relate to the city; that ended up being much more in Michael Cliett’s hands. He had people scanning the buildings that we had and we had various other 3D files of buildings that we would like to see represented, like temples.”
Kashigi Yabushige attempting to rescue Vasco Rodrigues from drowning was a challenge to assemble for Editor Maria Gonzales.
Exterior garden shots of Osaka Palace were captured inside of Mammoth Studios, requiring soundstage ceilings to be turned into CG skies. “There was a lot of fake bounce light as if the set was lit by the sky rather than sunshine,” reveals Christopher Ross, Cinematographer, Episodes 101 and 102. “We would light the garden as if it was an exterior and then each of the sets would not only have direct light from whatever lighting rig, but they also had borrowed light from the gardens themselves. The way to create chaos in the imagery was to allow the sun to splash across the garden at times then let that borrowed light from the splash of sun push itself into the environment. Thanks to the art department, all of the ceilings were painted wood paneling, and we could raise and open each of them. Each ceiling had a soft box, so for the interiors there was a soft-colored bounce fill light that we could utilize should we need to.” A complicated cinematic moment was executed onboard the galleon, which gets hit by a huge wave. “You start on deck, end up below deck then return to the top deck, all within the space of a two-and-half-minute sequence. It required a lot of pre-planning and collaboration between the departments and in total unison with the performers on the day, getting the camera to track with one character, change allegiance and track with a different character, and track with yet another. It forced everybody to be very collaborative. It was great that we could pull that sequence off, and it looks epic.”
Originally, the plan was to shoot in Japan, but the COVID-19 pandemic caused principal photography to take place throughout British Columbia.
Contributing to the collaborative spirit was Special Effects Supervisor Cameron Waldbauer. “You take the boat sequence, for example. We’re dumping water on a ship that is on a gimbal, and Lauro David Chartrand-DelValle [Stunt Coordinator] has guys going off the side of the boat, and we’re rehearsing that and putting that together. Then, Michael Cliett takes that, puts it out into an open ocean, and it looks seamless in the end,” Waldbauer says. Storyboards were provided early on. “We would do tests of things and make things that we wanted to do. We would almost go backward so they would get the information from those tests and put that into the storyboards that were presented to everybody else,” Waldbauer adds. Shōgun offered an opportunity to return to old-school special effects. “I’ve done several superhero movies with lots of greenscreen and stage work, and that wasn’t what this was. This was interesting for me and the crew to work outside for the next seven months. Now you’re dealing with all of the weather and elements, and you’re working on a show that doesn’t have the time to come back to do it later. You deal with what’s happening on the day. We did get the weather that we wanted for the most part. The desire to get everything in-camera meant incorporating effects rigs into sets and hiding them on location. We have tried to match what would actually happen on the day and what would happen at the time. A sword hits a person in 2024 the same way as it did in 1600. However, you need to make sure to get the look that the director wants out of it dramatically, instead of having to adhere to what it used to look like,” Waldbauer explains.
Hiroyuki Sanada portrays Yoshii Toranaga, who author James Cavell based on Tokugawa Ieyasu, founder of the last shogunate in Japan.
Serving as a translator between Yoshii Toranaga and John Blackthorne is Toda Mariko (based on Akechi Tama), portrayed by Anna Sawai. “For Shōgun, there wasn’t that much acting with visual effects,” Sawai notes. “It was more, we have an amazing set, and on top of that when they go in on a wider shot, they’ll be able to see through visual effects what Japan looks like. There is an ambush scene, which was supposed to be arrows flying and, obviously, they weren’t going to do that, so we had to pretend they were coming at us. For the ship scenes, I would have to look out into blackness because we were shooting that at night and visualize it being a beautiful ocean. It’s difficult when they zoom into my face, and you’re thinking about, ‘I’m visualizing this, but I’m actually seeing a camera thrown right in my face!’ Those things are hard, but it’s part of our job that we use our imagination.” Two years were spent training at Takase Dojo prior to production. “Then on Shōgun,” Sawai continues, “I found out that I had to do the naginata fighting, which is a completely different thing because now you’re working with something that is super long and hard to control because it’s heavy, which it should be because if it’s light it’s not going to show that you’re actually fighting.” Performing stunts is not a problem for Sawai. “I love it! I love it so much! I feel lucky that when Lash [Lauro David Chartrand-DelValle] saw me fighting, he was like, ‘Let’s try to use as much of you as we can, and other times we will go with Darlene Pineda [who did an amazing job as my stunt double].’”
The opening of the series was altered to have the Erasmus appear like a ghost ship during a vicious storm.
Osaka was the most straightforward city to construct because extensive reference material exists from 1600.
“We didn’t have a lot of previs for this show, which is unusual considering the scope of it,” observes Maria Gonzales, Editor, Episodes 101, 104, 107, 110. “We did have some storyboards and used those when we could. I stayed in touch with Michael Cliett as much as possible because he was my go-to in terms of understanding the potential for some of these shots. You try to put the thing together in the way that makes the most sense, and some of it we had to pick up later on once we met with the directors and talked with Michael. Sometimes, he was able to send me artwork that helped guide us in a certain direction.” Temp visual effects were created within the Avid Media Composer by the editorial team. Gonzales adds, “I did the pilot episode where there was a huge storm and some of those big reveals of Osaka. Our guys decided to pull in as many shots as they could to give an idea what the real scope of the scene was going to be.” The cliffside rescue of a drowning Vasco Rodrigues was a mindbender to assemble. Gonzales explains. “I had some of the close-ups and wider shots. I had no idea of what this was going to look like and what the height of the cliff really was. My first assembly was very different from what you saw in the final. Once Michael and Justin came to the cutting room, we were able to finesse it and get it to what you see today. But it was with Michael’s help that I was able to finally see what this was supposed to be. It’s like, ‘No. No. No. These guys are supposed to be way up and Kashigi Yabushige is supposed to be falling way down.’”
Three different locations were involved in creating the scene mentioned above. “We were on a six-foot-high set piece in a field of grass in Coquitlam, B.C.,” reveals Michael Cliett, Visual Effects Supervisor and Visual Effects Producer. “Everything on the top of the cliff was shot on that set piece. Every time you looked over the top, that was all CG water, coastline and Rodrigues. We did another set piece that was on the side of the cliff when Yabushige was repelling down. We shot all of the profile shots and him hanging from the top down on a vertical cliff piece in our backlot over where we had the Osaka set ready as well. Then we had the gulch where the water was out on a 60-foot tank special effects setup with the rocks. We were praying for the right weather and light at all three locations because each of them was outside.” Another dramatic water moment is when the Portuguese carrack known as the Black Ship attempts to prevent Toranaga from leaving the harbor of Osaka. “The galley was stationary, but we did put the Black Ship on 150 feet of track. We got the Black Ship from Peter Pan & Wendy that had just finished shooting here, chopped it up and made our own design. It’s roughly one-eighth of the ship. We did have some motion where it appeared that the ships were jostling for position. We shot a bunch of footage, but at the end of the day we weren’t quite sure how we were going to fill in the gaps, what the ships would be doing, what shots we needed of the ships that were going to be all visual effects and how that story was going to come together. ILP and I cut things together differently and tried to fill in those gaps. Over two months in the summer of 2022, we finally had it working with a bunch of greyshade postvis.”
Three different locations were assembled together for when Kashigi Yabushige descends a cliff to rescue a shipwrecked Vasco Rodrigues.
Over the 10 episodes, 2,900 shots were created by SSVFX, Important Looking Pirates, Goodbye Kansas Studios, Refuge VFX, Barnstorm VFX, Pixelloid Studios and Render Imagination, while Melody Mead joined the project as a Visual Effects Associate Producer, allowing Cliett to focus more on supervision side of the visual effects work. “At the beginning of Episode 105, Toranaga is arriving with his 100,000-person army, which was 99% digital, as we rise up and move past him,” Cliett remarks. “The Japanese have a way of moving and walking, so we did do a number of motion capture shoots with Japanese soldiers and instilled a lot of that into the digital versions of them.” Toranaga’s army establishes a base camp on an encampment that subsequently gets destroyed by a massive earthquake. “This is why we had to put mountains surrounding the training fields, because there are huge landslides that come down which bury the army, and we had to make it on the magnitude where we could sell that 75,000 people died,” Cliett notes. FX Networks Chairman John Landgraf raised a narrative question when trying to lock the pilot episode about how the Erasmus, the Dutch ship piloted by Blackthorne, gets to Ajiro. Cliett explains, “I said to Justin, ‘Why don’t we look into having the ship being towed in? The samurai are running about 50 skiffs, but the villagers are doing all of the work. Then, we can fly past the ship into Ajiro, which you get to see for the first time.’ Justin loved it. Then, John Landgraf loved it. I ended up taking a second unit out, directing that plate and doing that whole shot. It’s one of my favorite shots of the series.”
The prevailing question for Aaron Eaton in regard to holograms is how to make something that does not exist look like something that could be captured by a camera, such as this one featured in Avengers: Endgame. (Image courtesy of Cantina Creative and Marvel Studios)
When the final credits roll, it becomes quite clear that you literally need an army of talented individuals spanning a wide variety of professions to make a film or television production a reality. To take a more micro perspective, one can look at the visual effects section where hundreds upon hundreds of names are listed for each of the vendors, and then it truly sinks in – the number of unsung heroes who have contributed their time and talents far from the public spotlight. This lack of awareness also happens within the visual effects industry as generalists have given way to specialists who are more insulated from the contributions of their colleagues in other departments. In an effort to rectify the situation, a number of visual effects companies were asked to put forward candidates deserving of recognition for their exemplary professionalism and skillset. Think of those listed below as just a small sampling of people and occupations that are pivotal in making the visual spectacle and invisible transformation possible.
Aaron Eaton, VFX Supervisor, Cantina Creative
I like that I’m not specialized because I would hate to be doing one single thing all day long! I’m happy to have found Cantina Creative where I can still be a generalist even today. You don’t just work on a shot for an hour, send it off to somebody and never see it again. I’m able to work on something, and it can be very much my own, and you’re involved with it through all of the stages; that has been cool. Compositing is definitely my favorite. It’s that final creative push of bringing something extra to a shot that makes it sit in there and look awesome.
Holograms are a lot trickier than it seems because you’re working on something that doesn’t exist. How do you make the hologram absolutely believable as if it’s something you could film with a camera? There are numerous things that it takes to make the hologram feel integrated into the shot. It has a lot to do with mimicking everything that the camera is doing, with lots of depth in the element, textural elements, noise, grain and glitches. All kinds of subtle features that could come with all of these holograms because a hologram may not be perfection. You have to think about the technology that is projecting or creating the hologram and all of the aspects of how it would actually work.
Understanding composition and cinematography was important to Cameron Widen when doing the layout of the exterior train shots for Season 3 of Snowpiercer. (Image courtesy of Image Engine Design and TNT)
“As workflows and techniques are ever-evolving, for me, it is more important to be on top of the questions that often do not change. How do I stay efficient so that I can be creative? How do I continue to be inspired and to inspire? How do I stay proud of my work?”
—Jason Martin, Layout Artist, ILP
Alan Puah, Head of Systems, Territory Studio
Systems is responsible for some of the most critical parts of the pipeline, things like the storage, network and render farm, which form the backbone of the infrastructure in a visual effects studio. Sometimes the existing infrastructure will dictate how the pipeline works, but often it works the other way around, and we’ll need to upgrade and adapt things to support how a project pipeline is structured.
Creating CGI places some of the highest demands on the technology used, so it’s important to make sure that you’re keeping up with new technology. There is probably more happening now than at any other time as advancements in machine learning and how the exponential growth in computing power impacts our industry. But there’s also been some reversal in trends. For example, in some cases utilizing the cloud hasn’t been the best fit, so there’s been a migration back to on-premise for various reasons that include saving costs or maintaining more control over data and security.
Cameron Ward produced previs for the Black Panther: Wakanda Forever sequence of Namora leading a squad of Taloncail to take out the sonic emitter on the Royal Sea Leopard. (Image courtesy of Digital Domain and Marvel Studios)
Technical animation had to be created by Jason Martin for Lost in Space Season 2 to support the effects needed for destruction shots. (Image courtesy of ILP and Netflix)
Jeremie Lodomez believes that compositing is vital to seamlessly blend CG, animation and live-action footage, which was the case for the Heroes of the Horn reveal in Season 2 of The Wheel of Time. (Image courtesy of Framestore and Prime Video)
It was the book The Art of The Lord of the Rings that made Jeremy Melton want to be involved with world-building for shows such as The Orville: New Horizons. (Image courtesy of FuseFX and Hulu)
For Maike Fiene, it’s important not to be too precious about visualization, as the needs of a production like Jingle Jangle: A Christmas Journey will evolve over time. (Image courtesy of Framestore and Netflix)
Alicia Carvalho, Senior Rigger, DNEG
I broadly describe my job to people who aren’t in VFX as “putting in the control structures so that animators can animate. “Coming mostly from feature animation, TV and game cinematics, working in a visual effects pipeline has been a really interesting experience, especially when you’re working on rigs where the end result has to match a plate. You have another layer of restrictions of what can move and in what way compared to the relatively free rein you have in Feature when the bounds of what you can do are based on the needs/imagination of an animator.
With machine learning and the move towards game engine integration, it’s going to be more important for artists to hold onto their foundational skills. In general, I’ve noticed a promising trend among companies discussing and wanting to move more female colleagues into supervisory or lead roles, but there doesn’t seem to be enough mentorship support once those positions are filled. There’s definitely always room to improve.
CameronWard,PrevisualizationArtist,DigitalDomain
I was on Black Panther: Wakanda Forever, and there were some beautiful renders of the boat as the hydro bombs kept coming and explode beneath it. We had a little time so we could dial it in and make it look great before delivering it to the client, but that’s not always the case. It depends on the project and what the client requires because sometimes they’re only looking for rough. However, sometimes lighting and composition can sell a shot.
Years ago, I was on The Fate of the Furious, and we went to get scans of the city. We were laying out the streets and the heights of the buildings. We got a Dodge Challenger and mounted a camera on its hood. When the day came for shooting, they weren’t paying craft services for four days’ worth of shoots, but for one because they got it all in a day. There’s that aspect as well. You’re cutting down the cost of an actual day of production because you already know your camera angle, focal length, how high you want the camera off the ground and how fast it will be going.
Cameron Widen, Layout, Image Engine
The word ‘layout’ means a different thing for every studio – and often with every person you speak with in a studio. Layout in feature animation is wrapped up a whole lot more in previs-type tasks, like figuring out camera angles and composition. In visual effects, most of the time we’re working with plates that have been shot, so there are not a lot of choices to be made by us in that regard. That said, in almost every project there will be some full CG shots that don’t have associated photography with them, and that’s where we get to flex our creative muscles and use our composition and cinematography skills. Recently, we’ve been getting a push to give our layout versions and presentation that we send for review a much nicer look than what I’m typically used to doing. My preference is to send grayshaded renders for review because then people will be commenting on composition, speed of the camera and camera framing. If our layout versions look too nice and polished then we will start getting visual effects supervisors or other people who will see an issue with a texture map or some shading that we have no control over, and they will fixate on that and won’t make any comment on the layout part.
Meliza Fermin created a futuristic Brooklyn Bridge for The Orville. (Image courtesy of FuseFX and Hulu)
As a workflow supervisor, Michael Billette spends time informing the various departments at Image Engine how to best utilize the pipeline when working on projects like Bloodshot. (Image courtesy of Image Engine Design and Columbia Pictures/Sony)
Concept art of Lucifer’s Palace door by Niklas Wallén for the Season 1 of The Sandman. (Image courtesy of ILP and Netflix)
During pre-production and through post on The Marvels, Patrick Haskew provided visualization that was used to help convey a whole crew being swallowed up by Flerkens. (Image courtesy of The Third Floor and Marvel Studios)
A large part of the job for Sam Keehan is providing the necessary support so that artists can concentrate on their job and produce the best results for clients like Marvel Studios on Ant-Man and the Wasp: Quantumania. (Image courtesy of Territory Studio and Marvel Studios)
Turntables are indispensable when submitting textures for review to make sure that the final image has the right reflectivity and surface deformation, such as when working on Shang-Chi and the Legend of the Ten Rings. (Image courtesy of Digital Domain and Marvel Studios)
GeorgeSears,HeadofVirtualProduction, The Imaginarium Studios
Essentially, my job is to look after all of the real-time technologies on our stage, and that’s everything from basic characters to in-camera effects to LED walls. We also tend to get involved with pre-production looking at assets, the things that we will be driving live and what the director wants to achieve. Then we put together a bunch of real-time technologies that we have at our disposal for that project. I essentially see the job as a tie-in with the animation, mocap and visual effects for films, video games, television, AR and the web. We use Unreal Engine 5 to stream all of our live motion-capture data onto, and that’s where we’ll do the live characters and virtual cameras to support the director. The main reason we do this is that the client can go away on the day, have signed off shots, know exactly what they’re doing and bringing into post-production and, depending on the workflow, sometimes walk away with a real-time edit. They can go into post-production confident that they’ve got everything, and generally it saves a bunch of money and time in the decision-making process. Also, I oversee our pipeline and head a R&D team.
JasonMartin,LayoutArtist,ILP
As workflows and techniques are ever-evolving, for me, it is more important to be on top of the questions that often do not change. How do I stay efficient so that I can be creative? How do I continue to be inspired and to inspire? How do I stay proud of my work? [One of the most complex tasks] would be something we call “Technical Animation” that I did on Lost in Space S1 and S2 to support effects on the destruction task where large environments or spacecrafts collapse or get destroyed. I would supply a semi-detailed version of the event to effect, made with various methods in Maya, like keyframe animation, rigid simulation, cloth simulation or deformation, that talented effects artists would enhance, develop or add to. This workflow enabled us to maintain a high level of artistic control on small-sized teams often consisting of me plus one to two persons, but the sheer amount made it complex.
Jeremie Lodomez, Global Head of 2D – Film & Episodic, Framestore
Compositing plays a vital role in the visual effects pipeline, seamlessly blending elements such as CG, animations and live-action footage in the final output. It enhances realism and supports storytelling by ensuring all elements are consistent in lighting, perspective, and color. My aspiration is for compositors to perform rapid iterations within their software. For instance, tweaking a CG environment without getting entangled in lengthy interdepartmental revisions. This approach would enable swift creative iterations, with the potential to integrate these fixes into later stages of the pipeline. The rise of technologies like USD and Unreal Engine heralds a future where compositors could emerge as more dynamic players in the field, evolving into Image Composition Artists. The fact that audiences are unable to discern our visual effects work speaks volumes about the quality and realism we achieve.
I saw The Art of The Lord of the Rings when it came out, and my mind was blown. I said, ‘That’s what I want to do.’ As an art director supervisor, I try to encourage everyone to be an artist, be the best that they can, and encourage them to go in the direction that they want to go. Not pigeonhole someone or make them do something that they don’t want to do. But at the same time there is the corporate side of making sure that the budgets and all of the rules are being followed, that we’re doing everything that we’re supposed to do. It’s wild. I was never trained in it. I worked into the position by experience. You have to be open, especially with the advent of AI using Blender or ZBrush, whatever helps the artist to get to where they need to be to create the best possible image. That’s one thing I want to encourage. Instead of, ‘This is how it’s done,’ let’s open it up.
Thomas Mouraille believes that the term ‘Environment/Generalist’ is better than ‘Matte Painter’ as it more accurately describes the work done for shots of the gulag in Black Widow. (Image courtesy of Wētā FX and Marvel Studios)
Thomas Mouraille makes use of 3D software, such as Maya, ZBrush and Substance combined with 2D elements created in Photoshop, to produce matte paintings for The Eternals. (Image courtesy of Wētā FX and Marvel Studios)
When creating technology for the big screen, one has to keep in mind how it would actually work, which was the case for Aaron Eaton when working on Black Adam. (Image courtesy of Cantina Creative and Warner Bros. Pictures)
When working with plate photography. Cameron Widen has a lot less creative freedom for layout than when dealing with full CG shots, as reflected in The Book of Boba Fett. (Image courtesy of Image Engine Design and Lucasfilm Ltd.)
There are constant questions that Jason Martin is always trying to answer, such as how to stay efficient in order to be creative when working on an image of Sundari in Season 3 of The Mandalorian. (Image courtesy of ILP and Lucasfilm Ltd.)
Being an art department supervisor means that Jeremey Melton also has to be conscious of budgetary restrictions when working on The Orville: New Horizons. (Image courtesy of FuseFX and Hulu)
Katie Corr, Lead Facial Animator and Facial Capture Technical Director, The Imaginarium Studios
It’s quite fun working with a lot of different clients because you’ve got some realistic projects that use metahumans, and that’s one of our pipelines. Then you have stylized projects that are cartoony, and I get to have a bit more freedom with that. My job begins from onstage with capture, and that means taking care of the actors, making sure that the client is happy, and capturing the date so that the post team can make sure that they get a good result on their tracking. Then, we move on and start tracking through one of our pipelines. From there we take it onto their provided rig and do final cleanup to their specs that they have been asked for depending on the game, movie, TV show or ad. Anything you can think of, we’ve attempted! The more time you spend on it, the higher quality it becomes. It’s quite a subjective area. You try to nail down little nuances like nose flares or when someone is breathing or little eye twitches. The fun part of the job is you get to hear the request from the client, then challenge yourself, find ways around it and maintain their expectations.
Maike Fiene, Visualization Supervisor, Framestore
Visualization being the first step to showing the interaction with the CG elements, it is essential to accept that there will be changes to the work as it develops, and you need to be able to adapt and cannot be too precious about it. It is also rewarding as you get to shape the interaction of fun and sweet character moments. This is a very fast-paced environment and requires a general skillset of: understanding of practical filming techniques; being able to interpret storyboards and scripts; general overview and intention of the sequence you are working on (tone, timing, what purpose does this sequence have in the film? What is the director trying to communicate?); general understanding of cinematography (staging, lighting, composition); and all-round technical troubleshooting skills.
In postvis, we’re often collaborating with the finals teams as they might have developed assets further or are developing character animations, and we try to incorporate as much of that as possible to stay true to the final look of the project. This gives the director a chance to shape his vision of the edits at an early stage and test out ideas, and it gives the finals teams a solid foundation to start from.
MelizaFermin,LeadDigitalMattePainter and Sr. Compositor
As a matte painter, you’re in the beginning of the process, and I prefer that because you have more time, it’s a lot more creative, and you’re choosing more of the elements that are going to be used. Our clients say, ‘I want New York in the 1960s.’ You have to create that, but I’m the one who chooses all of the photographic elements to put together so it works in that environment. You have some creative input. Some studios have me do the matte painting and comp it, or I have worked where I was strictly a matte painter and hand it off to the compositor. The nice thing about having both is I know the problems compositors are going to run into; I have already prepped the matte painting so it does work, and they don’t have to come back to me. Compositing is more technical than creative. Sometimes there’s no time to go back to CG or matte painting, so you have to find fast ways to fix it. You’re a problem-solver.
MichaelBillette,WorkflowSupervisor, Image Engine Design, Inc.
We’re constantly talking to every department about the challenges of their day-to-day job, and we think about how things can be improved and how can they utilize the parts of the pipeline we have already developed they might not be aware of or understand how it could be applied. We do a lot of trying to teach people how to use the tools. Then we also think about how can we improve upon our processes and keep things in sync. We can only do so much as a support department, and it’s not necessarily fast enough for what people need on the floor. Often times, if artists are developing their own workflows or tools, things get very fragmented very fast. Each person tries to do their own solution and can go down different roads. We try to keep things in line because it’s a lot easier for the technical teams to develop when they don’t have all of these parallel processes to work on. They can create some core features and make sure they can support the other workflows that are needed.
NiklasWallén,ConceptArtist,ILP
You need to have your fundamentals as a concept artist and some design rules that you can always apply that will make it look better. But sometimes I get given things and go, ‘I don’t see the problem here.’ When I began at ILP, my mentor, Martin Bergquist, told me, ‘Your job is to check out the art direction and documents from the client and what they had in mind from the start, be good with that and create a design rule book. But then you take those design rules and have fun with them.’ If you have these design rules in yourself always, it’s easy to spot when something is wrong with an image. Whether it’s The Mandalorian or The Sandman that have totally different shape languages, I can tell quickly if this is out of line because there’s usually someone who has built the stuff, has been with it for a long while, and maybe they have put themselves into a rabbit hole and forgotten what the shape language is. It’s my job to go in and say, ‘That will work better if I did this.’
Visualization helps build the foundation of what you see on the silver screen. Because you can iterate quickly and work closely with many collaborators – including the VFX Supervisor – from day one on the production, the process is invaluable in helping develop the look of the visuals as it relates to telling a believable [shootable] story. We are also able to provide and use technical visualization and virtual production tools that help connect what’s visualized to shots and equipment on set, and ensure that work and plans from pre-production carry through and can be built upon through post.
The industry is always trying to figure out how to make film and television cheaper and faster, and we are at the forefront of that endeavor. But, at the end of the day, the relationships built with the directors, producers and VFX supervisors are at the heart of the process. Technology will always change, but it all starts from an idea to tell a story audiences will love. We are in that room and help represent that storytelling vision.
PatrickSmith,HeadofVisualization,MPC
Visualization has grown out of its infancy and is starting to get into its teenage punk-rock years. With the advent of all the tools and real-time technology that is coming to the forefront with virtual production, visualization is certainly a key component of that evolving filmmaking pipeline, and it shines a spotlight on everything that we’re doing. It’s taken off like wildfire. Everybody and their brother have a visualization studio now, and every visual effects house is folding a visualization department into the front-end of their pipeline. The easiest way of understanding visualization is likening it to sculpture. Imagine starting with a giant slab of marble and saying, ‘We’re going to sculpt the Statue of David.’ And everybody is wondering, ‘What does that look like?’ What you’re doing is helping to develop and shape what the visual aesthetic of that actually looks like. You can consider previs to be your rough draft, go and shoot, and then finalizing what that draft is so you are setting up your finals team for success on the back-end of that.
Sam Keehan, Creative Director, Territory Studio
The most important thing about being a creative director has always been to try as often as I can – whether that be when we’re resourcing projects or hiring people – to surround myself with people who are better than me. There will be particular skills that people will be way better at than me. We can talk, and they can go and enjoy the thing that they’re really good at and come up with interesting stuff. I will be able to sit back and say, ‘Yes. That’s exactly what I was thinking.’ The inherent difficulty is if you’ve got multiple people across multiple jobs. You want to make sure that everyone is getting the best work out, but the only people getting the best work out are the ones getting enough support. For my job, in particular, it feels like a lot of it is facilitation and making sure that people have the support they need to just concentrate on the job that has to get finished.
StuartAnsley,LeadTextureArtist,DigitalDomain
The way I describe being a texture painter is to imagine if you went to a toy model shop, got a figurine or car and have to paint colors and details onto them. Sometimes there is metallic stuff or shiny things and you have to decide what color something is going to be, how reflective it is going to be and how dirty it is going to be. We put in all of those little details. In order to be good at the job, you have to have an eye for color, composition and detail. You have to see the little things. I get into trouble when sometimes I have conversations with people and I zone out and my eyes glaze over. It’s because I’m looking at their forehead pores or the way their eyes wrinkle. My wife will always call me out! Whenever submitting our work for review, we always view it in a turntable so the object itself is turning and the lights are turning around it as well, because it’s so important the way the light scrapes across the surface so that you’re getting the right reflectivity and surface deformation.
Thomas Mouraille, Lead Matte Painter, Wētā FX
In a nutshell, we could group the software we use in three categories. We use the first group for creating 3D assets, the second for assembling scenes and the third for creating and adjusting 2D content. We create 3D elements using software such as Maya, ZBrush, Substance and Mari, as well as Houdini and Gaea for terrain. The scene assembly process is done within Clarisse iFX and Houdini. The 2D elements are created and adjusted using Photoshop and Nuke. When required, we use specific software such as Terragen, Reality Capture or Unreal Engine for bespoke tasks.
The matte painting step represents around 10% to 20% of the entire work we actually produce on a show. The bulk of the work is now done using 3D packages. “Environment/Generalist” would be a more correct name to define what we do. The tools evolve quickly, and the current AI breakthrough will likely bring new tools to our toolbox soon. It is already happening with software like Photoshop and Nuke, which have some AI-driven tools. The real-time engines are also being incorporated into the visual effects industry as a solution to render final pixel. It is something we keep a close eye on, and are slowly integrating in our pipeline.
All photos by Danny Moloshok, Al Seib and Josh Lefkowitz.
Captions list all members of each Award-winning team even if some members were not present or out of frame. For more Show photos and a complete list of nominees and winners of the 22nd Annual VES Awards, visit vesglobal.org.
Nearly 1,200 guests from around the globe gathered at The Beverly Hilton for the 22nd Annual VES Awards.
Actor-comedian Jay Pharoah led the evening as the VES Awards show host.
VES Executive Director Nancy Ward welcomed guests and nominees.
The Visual Effects Society held the 22nd Annual VES Awards, the prestigious yearly celebration that recognizes outstanding visual effects artistry and innovation in film, animation, television, commercials, video games and special venues, with generous support from our premier sponsor AMD.
Comedian and master impressionist Jay Pharoah served as host of the capacity crowd gala as nearly 1,200 guests gathered at The Beverly Hilton hotel in Los Angeles on February 21st to celebrate VFX talent in 25 awards categories.
TheCreator was named the photoreal feature winner, garnering five awards. Spider-Man: Across the Spider-Verse was named top animated film, winning four awards. The Last of Us was named best photoreal episode, winning four awards. Coca-Cola topped the commercial field. There was a historic tie in the Outstanding Visual Effects in a Special Venue Project category with honors going to both Rembrandt Immersive Artwork and Postcard From Earth.
Award-winning actor-producer Seth MacFarlane presented the VES Award for Creative Excellence to legendary actor-director William Shatner. Award-winning VFX Supervisor Richard Hollander, VES presented the VES Lifetime Achievement Award to pioneering VFX Producer Joyce Cox, VES. Award presenters included: The Creator director Gareth Edwards; actors Ernie Hudson, Fortune Feimster, Katee Sackhoff, Andrea Savage and Kiersey Clemons; and Leona Frank, Autodesk’s Director of Media & Entertainment Marketing, presented the VES-Autodesk Student Award.
VES Chair Kim Davidson kicked off the evening by presenting several VES Awards categories.
The Award for Outstanding Visual Effects in a Photoreal Feature went to The Creator and the team of Jay Cooper, Julian Levi, Ian Comley, Charmaine Chan and Neil Corbould, VES.
The Award for Outstanding Visual Effects in a Photoreal Episode went to The Last of Us; Season 1; Infected and the team of Alex Wang, Sean Nowlan, Stephen James, Simon Jung and Joel Whist.
The Award for Outstanding Supporting Visual Effects in a Photoreal Episode went to Winning Time: The Rise of the Lakers Dynasty; Season 2; BEAT LA and the team of Raymond McIntyre Jr., Victor DiMichina, Javier Menéndez Platas and Damien Stantina.
The Award for Outstanding Visual Effects in an Animated Feature went to Spider-Man: Across the Spider-Verse and the team of Alan Hawkins, Christian Hejnal, Michael Lasker and Matt Hausman.
The Award for Outstanding Supporting Visual Effects in a Photoreal Feature went to Nyad and the team of Jake Braver, Fiona Campbell Westgate, R. Christopher White and Mohsen Mousavi.
Actor Ernie Hudson accepted the Award for Outstanding Visual Effects in a Real-Time Project on behalf of Alan Wake 2 and the team of Janne Pulkkinen, Johannes Richter, Daniel Konczyk and Damian Olechowski.
The Award for Outstanding Compositing & Lighting in a Commercial went to Coca-Cola; Masterpiece and the team of Ryan Knowles, Greg McKneally, Taran Spear, and Jordan Dunstall.
The Creator director Gareth Edwards cheered on the nominees.
Guests enjoyed the festive cocktail reception, thanks to generous support from Premier Sponsor AMD.
The Award for Outstanding Visual Effects in a Special Venue Project was a TIE and was awarded to both Postcard From Earth and the team of Aruna Inversin, Eric Wilson, Corey Turner and William George (pictured); as well as Rembrandt Immersive Artwork and the team of Andrew McNamara, Sebastian Read, Andrew Kinnear and Sam Matthews (not pictured).
The Award for Outstanding Animated Character in a Photoreal Feature went to Guardians of the Galaxy Vol. 3;Rocket and the team of Nathan McConnel, Andrea De Martis, Antony Magdalinidis and Rachel Williams.
The all-volunteer VES Awards Committee celebrated the success of the 22nd Annual VES Awards Show (Stephen Chiu, Daniel Rosen, Rob Blau, Olun Riley, David “DJ” Johnson, Kathryn Brillhart, Martin Rushworth, Sarah McGee, Den Serras, Lopsie Schwartz, Reid Paul, Sarah McGrail Michael Ramirez, Eric Greenlief, Scott Kilburn).
The Award for Outstanding Animated Character in an Animated Feature went to Spider-Man: Across the Spider-Verse; Spot and the team of Christopher Mangnall, Craig Feifarek, Humberto Rosa and Nideep Varghese.
The Award for Outstanding Created Environment in a Photoreal Feature went to The Creator; Floating Village and the team of John Seru, Guy Williams, Vincent Techer and Timothée
Leona Frank, Director of Media & Entertainment Marketing, Autodesk, presented the VES Autodesk Student Award.
The Award for Outstanding Animated Character in an Episode, Commercial, Game Cinematic or Real-Time Project went to The Last of Us; Endure and Survive;Bloater and the team of Gino Acevedo, Max Telfer, Dennis Yoo and Fabio Leporelli.
The Award for Outstanding Created Environment in an Animated Feature went to Spider-Man: Across the Spider-Verse; Mumbattan City and the team of Taehyun Park, YJ Lee, Pepe Orozco and Kelly Han.
Comedian/ Actress Fortune Feimster brought the laughs to The Beverly Hilton.
Actress Andrea Savage (Tulsa King) presented several Award categories.
Academy Award-winning Senior VFX Producer, Richard Hollander, VES introduced VES Lifetime Achievement Award recipient Joyce Cox, VES.
The Award for Outstanding Virtual Cinematography in a CG Project went to Guardians of the Galaxy Vol. 3 and the team of Joanna Davison, Cheyana Wilkinson, Michael Cozens and Jason Desjarlais.
The Award for Outstanding Created Environment in an Episode, Commercial, Game Cinematic or Real-Time Project went to The Last of Us: Post-Outbreak Boston and the team of Melaina Mace, Adrien Lambert, Juan Carlos Barquet and Christopher Anciaume.
Joyce Cox, VES received the VES Lifetime Achievement Award.
The Award for Outstanding Model in a Photoreal or Animated Project went to The Creator; Nomad and the team of Oliver Kane, Mat Monro, Florence Green and Serban Ungureanu.
The Award for Outstanding Effects Simulations in a Photoreal Feature went to The Creator and the team of Ludovic Ramisandraina, Raul Essig, Mathieu Chardonnet and Lewis Taylor.
The Award for Outstanding Effects Simulations in an Episode, Commercial, Game Cinematic or Real-Time Project went to The Mandalorian; Season 3; Lake Monster Attack Water and the team of Travis Harkleroad, Florian Witzel, Rick Hankins and Aron Bonar.
The Award for Outstanding Effects Simulations in an Animated Feature went to Spider-Man: Across the Spider-Verse and the team of Pav Grochola, Filippo Maccari, Naoki Kato and Nicola Finizio.
The Award for Outstanding Compositing & Lighting in a Feature went to The Creator; Bar and the team of Phil Prates, Min Kim, Nisarg Suthar and Toshiko Miura.
The Award for Outstanding Compositing & Lighting in an Episode went to The Last of Us; Endure and Survive; Infected Horde Battle and the team of Matthew Lumb, Ben Roberts, Ben Campbell and Quentin Hema.
The Award for Outstanding Compositing & Lighting in a Commercial went to Coca-Cola; Masterpiece and the team of Ryan Knowles, Greg McKneally, Taran Spear, and Jordan Dunstall.
The Award for Outstanding Special (Practical) Effects in a Photoreal Project went to Oppenheimer and the team of Scott Fisher, James Rollins and Mario Vanillo.
The Award for Outstanding Visual Effects in a Student Project (Award Sponsored by Autodesk) was awarded to Silhouette and the team of Alexis Lafuente, Antoni Nicolaï, Chloé Stricher, Elliot Dreuille (with Baptiste Gueusguin).
Actress Kiersey Clemons (Monarch: Legacy of Monsters) joined the show as a presenter.
The VES Emerging Technology Award was awarded to The Flash; Volumetric Capture and the team of Stephan Trojansky, Thomas Ganshorn, Oliver Pilarski and Lukas Lepicovsky.
Seth MacFarlane, award-winning Actor and Creator of Family Guy and The Orville, prepared to present William Shatner with the VES Award for Creative Excellence.
Board Chair Kim Davidson with Lifetime Achievement Award recipient Joyce Cox, VES, VFX Producer Richard Hollander, VES and Executive Director Nancy Ward.
The Creator director Gareth Edwards met up on the red carpet with Takashi Yamazaki, Godzilla Minus One director and VFX Supervisor.
James Knight, left, Global Director, Media & Entertainment Visual Effects, AMD, with director Gareth Edwards.
Friends William Shatner and Seth MacFarlane enjoyed a moment together backstage.
Acclaimed Actor, Director and Producer William Shatner received the VES Award for Creative Excellence.
Actress Katee Sackhoff (The Mandalorian) congratulated all the nominees and winners.
The VES Award for Outstanding Visual Effects in a Photoreal Feature went to The Creator, which garnered five VES Awards including Outstanding Created Environment in a Photoreal Feature (Floating Village), Outstanding Model in a Photoreal or Animated Project (Nomad), Outstanding Effects Simulations in a Photoreal Feature and Outstanding Compositing & Lighting in a Feature (Bar). (Photos courtesy of Walt Disney Studios)
SPIDER-MAN: ACROSS THE SPIDER-VERSE
Outstanding Visual Effects in an Animated Feature went to Spider-Man: Across the Spider-Verse, which won four VES Awards including Outstanding Animated Character in an Animated Feature (Spot), Outstanding Created Environment in an Animated Feature (Mumbattan City) and Outstanding Effects Simulations in an Animated Feature. (Photos courtesy of Columbia Pictures/Sony)
THE LAST OF US
Outstanding Visual Effects in a Photoreal Episode went to The Last of Us; Season 1; Infected, which won four VES Awards including Outstanding Animated Character in an Episode, Commercial, Game Cinematic or Real-Time Project (Endure and Survive; Bloater), Outstanding Created Environment in an Episode, Commercial or Real-Time Project (Post-Outbreak Boston) and Outstanding Compositing & Lighting in an Episode (Endure and Survive; Infected Horde Battle). (Photos courtesy of HBO)
Toronto-based Herne Hill Media worked on Guillermo del Toro’s Cabinet of Curiosities soon after the firm opened its doors in Toronto. (Image courtesy of Herne Hill Media and Netflix)
Powered by studios in Vancouver, Toronto and Montreal, Canada continues to grow and evolve as a major hub of the global VFX industry. Tax incentives, immigration policy, quality of life, excellent VFX and animation schools and beneficial time zones have all contributed to Canada’s prominence in global VFX. Moreover, a consistent number of Hollywood productions are lensed there, confirming Canada’s reputation as a world-class source of talent and innovation.
“Canada has always been a leader in the industry from the early days of the National Film Board to companies like Alias (now Maya) and SideFX, who have defined the founding principles of VFX and animation,” says Dave Sauro, Partner and Executive Producer at Herne Hill Media, a Toronto studio founded in 2021. “Canada has become a center of excellence not just for VFX, but also for film production in its entirety. Whatever is scripted, we can bring it to life.” Herne Hill worked on Guillermo del Toro’s Cabinet of Curiosities soon after the firm opened its doors. Sauro notes, “We are currently in various states of post-production on a few different projects, including In the Lost Lands, which is an adaptation of a George R.R. Martin short story directed by Paul W.S. Anderson.” The firm is also finalizing Lee Daniels’ The Deliverance and The First Omen.
On the other hand, perhaps Canada’s VFX success “has got something to do with the long, cold, dark winters?” asks Shawn Walsh, Visual Effects Executive Producer, General Manager & Cinesite Group Chief Operating Officer VFX at Image Engine. Founded in Vancouver in 1995, Image Engine merged with Cinesite in 2015. “When you spend a good deal of time indoors following your passions, that creates a kind of fertile ground for the focus, creativity, technical knowledge and innovation that high-end visual effects require. It seems to me that Canadians have never been shy [about] a little hard work either! Canadians have had a strong presence in Hollywood, animation and visual effects for a very long time.”
In recent years, Image Engine has worked on a healthy mixture of high-end series like GameofThrones, TheMandalorian, 3Body Problem and Lost in Space as well as the Fantastic Beasts films, Mulan and District 9, Elysium and CHAPPiE for director Neill Blomkamp, and Zero Dark Thirty for director Kathryn Bigelow.
COMPUTERANIMATION
“Canada has always been a front-runner when it comes to computer animation. Maya, and Softimage before Maya, began in Canada. Canadians filled many of the earliest positions because we were more familiar with the software and skills needed for those early films and TV shows,” says Scott Thompson, CEO and Co-Founder of Think Tank Training Centre in Vancouver. “That legacy helped Canadian schools better address the positions made available at studios that have settled north of the border.”
SideFX, co-founded in Toronto in 1987 by current President Kim Davidson, used its software, PRISMS, to lay the groundwork for Houdini. SideFX technology has been recognized by the Academy of Motion Picture Arts and Sciences five times for Houdini and its breakthrough procedural-based technology. Numerous VFX studios working on Oscar-winning and/or blockbuster films have used the software.
With its flagship product Houdini, SideFX has been a key driver in the growth and innovation of the Canadian VFX industry, particularly in Toronto,” comments Christopher Hebert, SideFX Senior Director of Marketing. The company’s work “has led to significant advancements in VFX and animation, making Houdini a staple in many studios and pushing the boundaries of visual effects capabilities. This influence extends to job creation and talent development, with SideFX employing a significant portion of its workforce in Canada. Their contribution to the software development ecosystem – as well as initiatives like the Houdini Internship Program – not only supports the local economy but also ensures a high level of VFX expertise within the country, fostering a robust and skilled VFX workforce.”
Also in Canada, Alias Research launched in Toronto in 1983 and Softimage in Montreal in 1986, eventually resulting, after various acquisitions and mergers, in (Autodesk) Maya, the award-winning, widely-used 3D model and animation software. In 2003, Alias was given an Academy Award for Technical Achievement for the development of Maya software.
Image Engine Design in Vancouver has been a key contributor to the Netflix series 3 Body Problem. (Image courtesy of Netflix)
Recent projects for Montreal-based Raynault VFX include Secret Invasion Season 2 for Disney+ as well as Percy Jackson and the Olympians, All the Light We Cannot See, White Noise and Fantastic Beasts: The Secrets of Dumbledore. (Image courtesy of Raynault VFX and Disney+)
MARZ in Toronto contributed VFX to Moon Knight as well as WandaVision, Ant-Man and the Wasp: Quantumania, Spider-Man: No Way Home, Wednesday, Stranger Things and the Percy Jackson series. (Photo: Gabor Kotschy. Courtesy of Marvel Studios)
Canada’s early animation and VFX software legacy and long history with Hollywood have helped Canadian film and VFX schools, like the Think Tank Training Centre in Vancouver, consistently address the need for talent to fill available positions at studios. (Image courtesy of Think Tank Centre)
When new computer animation tools arrived, Canada’s art schools began “modifying their classical curriculums by adopting tech,” explains Lon Molnar, Co-Founder of MARZ, a VFX studio that launched in Toronto in 2018. “In the early days, Sheridan College outside of Toronto became a world-renowned leader for animation due to its talented faculty. In the ’90s, schools like Vancouver Film School built a reputation for training traditional and computer animation while cranking out amazing talent – and still do. The Canadian Government along with certain territories jumped on board and supported the industry with various incentives. Filmmaking in Canada as a stand-in for various locations grew while solid investment in soundstages in centers like Vancouver, Toronto and Montreal followed the demand.
Add all this up and eventually you have a vibrant industry with a reputation to deliver.” MARZ contributed VFX to projects such as WandaVision, Moon Knight, Ant-Man and the Wasp: Quantumania, Spider-Man: No Way Home, Wednesday, Stranger Things and the Percy Jackson series.
“[I]t’s hard to imagine a more multicultural, multinational visual effects company than a Canadian one. Canada has always been a tremendous draw for immigration, and the visual effects industry has been a strong contributor to that story. It seems like Canada has found the right soupy mixture of various factors that have created an environment that supports the talent that’s so crucial to visual effects work. The job now is to continue to grow that talent base through continuing immigration, creative and technical development opportunities and strong industry leadership.”
The acceleration of the visual effects industry in Canada over the last 25 years or so can also be attributed to “gradual factors such as the introduction of tax incentives in the late 1990s, strategic investments in education and the establishment of high-quality studios in cities like Vancouver and Montreal,” says Valérie Clément, VFX Producer for Raynault Visual Effects. In addition, Clément observes, “The boom in film and TV production in Canada has significantly boosted the exposure and vigor of the VFX and animation industry at large by creating increased demand for services, ensuring a steady flow of projects, fostering collaboration opportunities, contributing to the economy, driving talent development, gaining global recognition and spurring technological advancements.”
Clément points out, “Of course, the government incentives – generous tax credits, for example – played a huge role. There is also the skilled workforce, the strong infrastructure with more and more visual effects studios located mainly in Montreal, Vancouver and Toronto.” Clement’s firm, Raynault VFX, was founded in Montreal in 2011 by industry legend Mathieu Raynault, He surrounded himself with a small, select team of artists and grew the studio into a full-service VFX facility. Some 2022-2023 projects have included Percy Jackson and the Olympians, All the Light We Cannot See, White Noise, His Dark Materials, Season 3, Thor: Love & Thunder, Fantastic Beasts: The Secrets of Dumbledore, The Old Man and Invasion. Clément also emphasizes the advantage of Canada’s time zones compared to those of Hollywood. There is a limited or non-existent time difference, such as Vancouver sharing the same time zone as California as opposed to London being eight hours later.
Ryan Stasyshyn, Managing Director of Toronto-based Mavericks VFX, cites these reasons for Canada’s VFX success: generous tax incentives and rebates offered by various provinces, a skilled workforce, strong government support, a favorable exchange rate (vs. USD) and, as Clement notes, a significant amount of physical production taking place in Canada. Recent high-profile projects for Mavericks VFX are JohnWick:Chapter4,TheHandmaid’sTale, Fargo,FellowTravelers,TheOffer,Don’tWorryDarling,TheBoys, The Expanse and Halo.
Recent high-profile projects for Toronto-based Mavericks VFX include John Wick: Chapter 4 as well as Fargo, Fellow Travelers, The Offer, Don’t Worry Darling, The Boys, The Expanse and Halo. (Image courtesy of Lionsgate)
Toronto-based Mavericks VFX contributed VFX to the Hulu series The Handmaid’s Tale. (Image courtesy of Hulu)
TIPPINGPOINT–VANCOUVER
Walsh notes, “I think a key turning point in Vancouver’s history as a hub for high-end visual effects work was when Image Engine completed our work for Neill Blomkamp’s District 9 at more or less the same time that [Vancouver-based] The Embassy did some stunning work for Marvel’s first Iron Man and MPC created some solid work for Watchmen. I think this was around 2008-2009. This was the first time that Vancouver visual effects studios, broadly speaking, were really producing work that was the equal of any location, any company in the world. In fact, District 9 was the only project to beat Avatar in any category at the VES Awards that year! The town really grew from that point on. We were on the map, as they say. Since then, Vancouver has gone from strength to strength and has continued to lead the Canadian scene.”
LIFEPERKS
There are many advantages to living in the three major Canadian cities. In Toronto, Stasyshyn notes, “We have a vibrant cultural scene that’s extremely diverse. It’s also a very welcoming city with lots to explore and do.” Clément notes, “[Artists] also have access to all the perks of working and living in Canada: good quality of life, high living standards and a safe environment with the emphasis on a healthy work-life balance.”
Sauro also points to the opportunity to live and work in different parts of Canada. “Vancouver, Toronto and Montreal are all important VFX hubs in the Canadian market, and each offer something different from a lifestyle perspective. Whether it’s the great outdoors of Vancouver, the big city living of Toronto or the European feel of Montreal with its excellent restaurants, each can allow you to not only earn a living doing what you love, but also live in a city that best fits your interests outside of work,” he explains.
In addition to Guillermo del Toro’s Cabinet of Curiosities, Toronto-based Herne Hill Media is involved in In the Lost Lands, which is an adaptation of a George R.R. Martin short story directed by Paul W.S. Anderson, as well as Lee Daniels’ The Deliverance and The First Omen. (Image courtesy of Herne Hill Media and Netflix)
MARZ in Toronto provided VFX for Spider-Man: No Way Home. (Photo: Matt Kennedy. Courtesy of Marvel Studios)
Image Engine Design in Vancouver has worked on the Fantastic Beasts films, including Secrets of Dumbledore, and high-end series such as Game of Thrones, The Mandalorian, 3 Body Problem and Lost in Space. (Image courtesy of Warner Bros. Pictures)
Image Engine Design in Vancouver provided VFX for Venom: Let There Be Carnage. (Image courtesy of Columbia Pictures/Sony and Marvel Studios)
Image Engine Design provided VFX for 3BodyProblem. (Image courtesy of Netflix)
Montreal-based Raynault VFX contributed to FX Network series TheOldMan. (Image courtesy of Raynault VFX and FX Network)
BENEFITS&SUPPORT
In addition, “Employment standards in visual effects companies across Canada are generally very high,” Walsh notes. Wages are generally on par with anywhere in the world that’s doing equivalent levels of quality of execution. Aspects like healthcare and benefits again are on par or above those offered in other visual effects hubs around the world. And there’s a broadly diversified industry with many different companies in terms of shapes, sizes and focuses. [For artists], Canada represents a prime location to consider plying your trade.”
“Canada has a government that understands the importance of supporting the arts,” Sauro says. Part of that help comes in support for non-Canadians studying and working in VFX. Walsh notes that Canada “is a relatively open country that supports companies towards their immigration needs.” Aline Ngo, Image Engine recruiter, notes the importance of “facilitating the retention of skilled talent in Canada.” She says that enabling the stays of visual effects graduates with a government visa help is key. One path is “the possibility of getting a three-year post-graduate work permit after graduating.”
INCENTIVES
“Government support has played a pivotal role in Montreal’s VFX industry success,” Clément comments. “Generous tax incentives and subsidies attract studios, fostering growth. Investment in infrastructure and education ensures top-notch facilities and a skilled talent pool. In essence, government backing has been instrumental in shaping Montreal into a VFX pole.”
Walsh comments, “There’s great local support for the industry in the three main cities where the majority of the visual effects work transpires – Vancouver, Montreal and Toronto. Labor-based tax credit regimes certainly don’t hurt when attracting the client base, but without the talent to execute the work, no amount of tax credit will matter.” Likewise, Sauro affirms, “We can’t ignore the obvious benefits tax credits play, both at a provincial and federal level, in attracting studios and producers to Canada, but that alone is not enough.”
“When you look at the post-secondary institutions in this country, we’re fortunate to have some of the best for VFX, animation and design: OCAD University, Sheridan College,
Humber College, Vancouver Film School, etc. It’s an embarrassment of riches.”
—Dave Sauro, Partner and Executive Producer, Herne Hill Media
SCHOOLS
VFX and animation schools have also helped build the industry. Sauro comments, “When you look at the post-secondary institutions in this country, we’re fortunate to have some of the best for VFX, animation and design: OCAD University, Sheridan College, Humber College, Vancouver Film School, etc. It’s an embarrassment of riches.”
Stasyshyn points to Seneca College, Sheridan College and Vancouver Film School (VFS) as some of the top VFX and animation schools in Canada. “These schools have played a crucial role in shaping the skills of the Canadian VFX workforce. Their programs often include hands-on training, industry connections, networking events and exposure to some of the latest technologies.”
For SideFX, “The proximity to top-tier educational institutions – like the University of Waterloo and the University of Toronto, renowned for their software development and graphics labs, and colleges like Sheridan College, known for its CG education – ensures a steady stream of skilled graduates and potential innovations in VFX technology,” says Hebert. Clément adds, “In Montreal, the VFX talent pool has expanded through esteemed educational institutions like NAD [The School of Digital Arts, Animation and Design] providing industry-relevant education. The establishment of major VFX studios has also significantly expanded career opportunities for local artists.”
Noteworthy Canadian VFX/animation schools also include public schools Emily Carr University of Art and Design, Langara College, British Columbia Institute of Technology (BCIT) and Capilano University and private institutions like Lost Boys School of Visual Effects, Think Tank and Vancouver Film School (VFS), according to Ngo.
“Government support has played a pivotal role in Montreal’s VFX industry success. Generous tax incentives and subsidies attract studios, fostering growth. Investment in infrastructure and education ensures top-notch facilities and a skilled talent pool. In essence, government backing has been instrumental in shaping
“With a focus on story and problem-solving, we have been serving our industry with students who are prepared for an adaptable career in VFX,” says Colin Giles, Head of the School for Animation & VFX at Vancouver Film School. “Given the rapid changes in techniques and technology, we continue to upgrade our facilities and curriculum to not only stay in tune with current methodologies, but prepare our students on why these changes can enchant their storytelling and help them find their artistic voice.” Thompson remarks, “Canadian-based studios have a substantial piece of the VFX pie, so students are very close geographically to their first VFX job. These studios also give Canadian schools access to instructors and mentors that are working on the biggest VFX films and TV shows being made. At Think Tank, we are continually polling the industry to better understand the software, workflows and demands of the FX industry.”
Vancouver Film School continues to upgrade its facilities and curriculum to stay in tune with current methodologies and better prepare students for the evolving industry. (Image courtesy of Vanouver Film School)
Think Tank Training Centre in Vancouver is among the wealth of animation and VFX schools in Canada developing a steady stream of creative and technical talent that keeps the industry growing. (Image courtesy of Think Tank Centre)
Canadian VFX/animation schools work hard to stay in demand and stay in touch with the VFX companies. Lost Boys Co-Founder and Director Ria Ambrose Benard comments, “We were the first school to teach Houdini for FX and Katana for lighting. This helped our students stay ahead of the curve and in demand when the industry was growing. The FX program and the lighting program were designed at a request from the studios in the industry years ago.” Giles notes, “The growing talent pool is being fueled by high school interest, and international students are attracted to animation schools across Canada. This has allowed the VFX industry to tap into deep tax credits and build a sustainable nationwide industry. In addition, like VFS, we are able to bring in top instructors and mentors from the expanding VFX footprint.”
Walsh continues, “Bringing visual effects work north seems to have been a natural progression. Initially, many of us left home to work abroad because that’s what you had to do to experience working on the visual effects shots that captivated our attention. However, there was a turning point around the late 2000s when many of us returned home and brought our new-found friends from around the world with us! Since then, it’s hard to imagine a more multicultural, multinational visual effects company than a Canadian one. Canada has always been a tremendous draw for immigration, and the visual effects industry has been a strong contributor to that story. It seems like Canada has found the right soupy mixture of various factors that have created an environment that supports the talent that’s so crucial to visual effects work. The job now is to continue to grow that talent base through continuing immigration, creative and technical development opportunities and strong industry leadership.”
VFXSTUDIOS
Other notable Canadian VFX/animation firms include Spin VFX (Toronto), Rocket Science VFX (Toronto), Rodeo FX (Montréal, Québec City, Toronto), Soho VFX (Toronto), Guru Studio (Toronto), Folks VFX (Toronto), Zoic Studios (Vancouver), The Embassy (Vancouver), Hybridge Ubisoft (Montréal), Artifex Animation Studios (Montréal) and Alchemy 24 (Montréal).
Branches of foreign VFX and animation companies have also contributed to Canada’s growth in visual effects. Vancouver has outposts of Wētā FX, ILM, Framestore, DNEG, Pixomondo, Sony ImageWorks, Walt Disney Animation Studios, Digital Domain, Crafty Apes VFX, FuseFX, Scanline VFX (owned by Netflix), Ghost VFX, Luma Pictures, Clear Angle Studios, Animal Logic, CoSA VFX, Barnstorm VFX and Ingenuity Studios, among others.
Montréal branches include Framestore, DNEG, Pixomondo, Sony ImageWorks, MPC (Technicolor), Mikros Animation (Technicolor), Digital Domain, Mathematic Studio, Crafty Apes, Folks VFX (Fuse Group), Outpost VFX and Scanline VFX. Toronto facilities include DNEG, Tippett Studio and Ghost VFX, among others.
Avant tout, et au nom de l’ensemble du conseil d’administration du chapitre VES Montréal nous espérons, que vous êtes tous en bonne santé et en sécurité dans ce contexte particulièrement difficile.
De plus, nous avons effectué des recherches et constitué une liste de ressources spécifiques, pour vous faciliter la vie au quotidien (vous la trouverez plus bas).
Alors, pour aider l'industrie des effets visuels du chapitre Montréal à se rapprocher, nous avons mis en place un serveur Discord, auquel vous pouvez vous joindre ici: https://discord.gg/crc66xD.
Ressources gouvernementales
Informations générales de l’Organisation Mondiale de la Santé (FR)
Informations générales du Gouvernement du Canada (FR)
Informations générales du Gouvernement du Québec (FR)
Informations générales de la ville de Montréal (FR)
Ressources financières
Plan d'intervention économique du Canada pour répondre à la COVID-19 (FR)
Crash Course propose de multiples cours allant de l’astronomie à l’anatomie via YouTube (EN)
Le programme d'alphabétisation des enfants de la Fondation SAG-AFTRA diffuse des vidéos mettant en vedette des acteurs célèbres lisant des livres pour enfants (EN)
#SAVEWITHSTORIES offre aussi des vidéos mettant en vedette des acteurs célèbres lisant des livres pour enfants (EN)
Audible: livres audios gratuits pour les enfants (EN)
Divertissement
Netflix Party vous permet d'assister à une soirée cinéma à distance (EN)
2020 TCM Classic Film Festival: Edition familiale (EN)
Mail Chimp propose les courts métrages de SXSW 2020 (EN)
We hope you are all healthy and safe during these unprecedented and troubling times. As we all try our best to navigate through our days, balancing family and work obligations, we have rounded up some resources to help those in need and tips to keep you and your family connected and informed.
Additionally, to help the visual effects industry in Montreal to grow closer together we have set up a Discord server for you to join: https://discord.gg/crc66xD.
Government Resources
General Information from the World Health Organisation (EN/FR)
General information from the Canadian Government (EN/FR)
General information from the Quebec Government (EN/FR)
General information from the City of Montreal (EN/FR)
VES Members and Their Guests are Invited to an Opening Weekend Screening of Universal Pictures’ MONKEY MAN
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, April 6, 2024 at 2:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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’ GHOSTBUSTERS: FROZEN EMPIRE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, March 30, 2024 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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’ DUNE: PART TWO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, March 9, 2024 at 1:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Les membres de la section VES Montréal organisent un événement Pubnight.
Développons notre communauté et reconnaissons les personnes talentueuses.
Les membres de VES sont invités et encouragés à amener jusqu’à deux non-membres à notre événement Pubnight.
Rencontrons tous ces talents et discutons de ce que VES peut offrir en termes de réseautage, de formation continue et de communauté, y compris des projections et d’autres événements sociaux.
Le 27 février de 19h00 à 21h00.
Où : 1738 St Denis – Petit Bangkok
_________________________________________________________________________________________________________________________________________
VES Montreal Section membership drive Pubnight event.
Let’s grow our community and recognize talented people.
VES members are invited and incouraged to bring up to two non members to our Pubnight event.
Let’s meet all that talent and have a talk about what VES can offer in terms of networking, continued education and community, including screenings and other social events.
When the 27th Feb from 7:00 to 9:00 PM.
Where: 1738 St Denis – Little Bangkok
VES Montreal is thrilled to invite its members to a private viewing of the 22nd VES Awards ceremony LIVE from Los Angeles, in collaboration with Rodeo FX.
Wednesday, February 21, 9:00 PM EST until (very) late! The webcast begins at 10:30 PM EST (7:30 PM PST)
Rodeo FX Montreal 99 Prince Street, 2nd floor
A selection of wines, beers, non-alcoholic options, and snacks will be provided courtesy of Rodeo FX and VES Montreal.
The event is open to VES Montreal members only.
Log In for the Eventbrite link
———————————–
Les 22e prix annuels VES chez Rodeo FX
VES Montréal est ravi d’inviter ses membres à un visionnement privé de la cérémonie des 22e Prix VES en direct de Los Angeles, en collaboration avec Rodeo FX.
Mercredi, 21 février, 21h HNE jusqu’à (très) tard ! La webdiffusion débute à 22:30 HNE (19:30 HNP).
Rodeo FX Montréal 99, rue Prince, 2e étage
Une sélection de vins, bières, options sans alcool, et grignotines vous seront offerts gracieusement par Rodeo FX et VES Montréal.
L’événement est réservé aux membres VES Montréal seulement.
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 Toho Studios’ GODZILLA MINUS ONE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, December 9, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 sign up)
Saturday, October 28, 2023 at 11:00AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Join us for the VES Montreal Mental Wellbeing Workshop—a transformational experience tailored to your world.
Our goals are clear:
Uncover Impact: Understand how industry challenges affect your mental health
Solutions at Hand: Leave with actionable strategies for mental wellness.
Self-Care, Reimagined: Integrate meaningful self-care practices into your life.
Work-Life Harmony: Learn the art of balancing creativity and personal life.
Stress Resilience: Master stress management techniques for industry pressures.
This workshop is not just theoretical; it’s experiential. Dive into stressors, explore stress management techniques, and create a work-life balance that fortifies your mental health.
Your creativity deserves to flourish, but so do you. Reserve your spot and redefine what it means to be a VFX artist—in work and in life.
Elevate your wellbeing with us.
The event starts at 7:10 pm SHARP doors open at 7 pm
Event is hosted at U.N.I Gym at 1750 St. Patrick
Wednesday, October 11, 2023 at 12:00PM (PDT) & 3:00PM (EDT)
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 Canada and the United States!
VES Members and Their Guests are Invited to a Screening of 20th Century Studios’ A HAUNTING IN VENICE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, September 23, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 Montreal Fall Cocktail Bash Hosted by Autodesk
Date: [ Thursday 21 September ] Time: [ Door opens at 6:00pm ] Location: Autodesk HQ, Montreal
Dear Esteemed VES Members,
In the whirlwind of our ever changing industry the time has come to come together.
We invite you to partake in an evening that promises to be nothing short of exceptional, the Annual VES Montreal Fall Cocktail— kindly hosted by Autodesk.
Here’s What Awaits:
Guests: Extend this invitation to not just one, but TWO of your non VES member friends. Let us broaden our horizons and share in the collective knowledge that defines our association.
Food: Indulge in an assortment of culinary delights, artfully curated and presented by none other than the renowned Schwartz’s Deli of Montreal. We’ve also ensured a delightful vegan option to cater to diverse palates.
Beverage Selection: We will be offering Wine and Beer alongside non-alcoholic beverages this evening
Engaging Discourse: Anticipate an evening infused with meaningful networking opportunities and captivating dialogues. Reconnect with old acquaintances, forge new alliances, and immerse yourself in the evolving spirit of innovation.
This gathering presents a unique occasion to partake in the industry’s ever-evolving discourse, networking in a casual social setting – and some time away from the screens that fill our everyday lives.
Join us for the Annual VES Montreal Fall Cocktail, an event that embodies the spirit of our industry and our shared commitment to excellence.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE EQUALIZER 3
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, September 9, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Monday, August 28, 2023 at 9:00PM Cinéma Moderne
5150 Saint-Laurent Montréal, QC, H2T 1R8 Click here for a map.
***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
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Monday, July 31, 2023 at 9:00PM Cinéma Moderne
5150 Saint-Laurent Montréal, QC, H2T 1R8 Click here for a map.
***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’ INDIANA JONES AND THE DIAL OF DESTINY
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Monday, Junly 3, 2023 at 9:00PM Cinéma Moderne
5150 Saint-Laurent Montréal, QC, H2T 1R8 Click here for a map.
***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 Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ELEMENTAL
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, June 24, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: ACROSS THE SPIDER-VERSE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, June 10, 2023 at 11:00AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ THE LITTLE MERMAID
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, May 27, 2023 at 11:00AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Universal Pictures’ FAST X
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, May 20, 2023 at 11:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Universal Pictures’ RENFIELD
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, April 15, 2023 at 11:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Universal Pictures’ and Illumination Entertainment’s THE SUPER MARIO BROS. MOVIE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, April 8, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to a Screening of Universal Pictures’ COCAINE BEAR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, March 11, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Collecte de membres de la section VES Montréal Événement Pubnight.
Faisons grandir notre communauté et reconnaissons les personnes talentueuses.
Les membres VES sont invités et encouragés à amener jusqu’à deux non-membres à notre événement Pubnight.
Rencontrons tous ces talents et discutons de ce que VES peut offrir en termes de réseautage, de formation continue et de communauté, y compris des projections et d’autres événements sociaux.
VES Montreal Section membership drive Pubnight event.
Let’s grow our community and recognize talented people.
VES members are invited and incouraged to bring up to two non members to our Pubnight event.
Let’s meet all that talent and have a talk about what VES can offer in terms of networking, continued education and community, including screenings and other social events.
VES Members and up to Four (4) Guests are Invited to an Opening Weekend Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, February 18, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to a Screening of Searchlight Pictures’ THE MENU
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, December 10, 2022 at 11:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to Four (4) Guests are Invited to a Screening of Walt Disney Animation Studios’ STRANGE WORLD
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, December 3, 2022 at 10:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
WHERE REALTIME TECHNOLOGY REVOLUTIONIZES VISUAL STORYTELLING and will be hosted at MELS, By AMD, Nvidia, Foundry and MELS.
This is an open for all event, but due to the security we need every name in on the list.
If your name is not on the list you dont get it.
This means that you cant book for your friends on the eventbride, the non ves members you would like to join, will have to signup themselfs.
The VES MEMBER NUMBER field on the eventbride is also not madetory, but if you are a member I suggest you add it.
There will be busses going from Square Victoria, starting with the first pick up at 6:30pm until the end of the event.
WHERE REALTIME TECHNOLOGY REVOLUTIONIZES VISUAL STORYTELLING et sera hébergé au MELS, par AMD, Nvidia, Foundry et MELS.
Ce sera une soirée avec un couple d’orateurs, – ceux-ci seront annoncés bientôt
Après les exposés et les présentations, il y aura un mixer
Il s’agit d’un événement ouvert à tous, mais pour des raisons de sécurité, nous avons besoin de tous les noms sur la liste.
Si votre nom n’est pas sur la liste, vous ne l’aurez pas.
Cela signifie que vous ne pouvez pas réserver pour vos amis sur l’eventbride, les membres non ves que vous souhaitez rejoindre devront s’inscrire eux-mêmes.
Le champ VES MEMBER NUMBER sur l’eventbride n’est pas non plus obligatoire, mais si vous êtes membre, je vous suggère de l’ajouter.
Il y aura des bus partant du Square Victoria, à partir du premier ramassage à 18h30 jusqu’à la fin de l’événement.
diffusion en direct lorsque l’événement est en cours – https://fb.me/e/39VssmwXb
Presenters / Présentatrices
Marieke van Neutigem
Title: Pipeline Supervisor
Company: DNEG
Bio:
Marieke van Neutigem is a Pipeline Supervisor at DNEG Animation.
Graduating with a degree in game development she joined the industry in the rigging department at Trixter, working on projects including “Captain Marvel”, before joining the pipeline team at DNEG Animation.Marieke is currently supervising on “Nimona”, her previous projects include “Entergalactic”, “Ron’s Gone Wrong”, and the short film “Mr. Spam Gets a New Hat” produced using Unreal Engine.
Damien Fagnou
Title: Vice President of Omniverse Engineering
Company: NVIDIA
Bio:
Damien Fagnou is currently vice president of Omniverse engineering at NVIDIA, working in the NVIDIA Omniverse group focused on its Developer Platform, where he brings together his expertise in software and VFX production to help build the Omniverse Kit Application platform. Before that, Damien was the senior vice president of technology for Technicolor, where he oversaw technology and software strategy for the VFX group, including MPC Film, for which he was the CTO for many years, working directly on the Oscar-winning films “The Jungle Book” and “1917.” During that time MPC also created the VFX for the groundbreaking “Lion King” remake. With almost 20 years of experience in VFX, many-time GTC contributor Damien looks forward to contributing to the future of graphics software at NVIDIA, built around compute, raytracing, and AI.
Marc Petit
Title: VP and General Manager, Unreal Engine at Epic Games
Company: Epic Games
Bio:
Marc Petit is VP and general manager of Unreal Engine at Epic Games, where he oversees growth across markets using real-time technology, including architecture, engineering and construction (AEC); automotive and manufacturing; computer and video games; education; media and entertainment (M&E); product design and visualization; and simulation and training.
Prior to joining Epic Games in mid-2016, Marc was a partner and Entrepreneur-In-Residence at XPND Capital, a Montreal-based investment fund where he co-founded and launched Taxelco, a sustainable urban transportation company. Between 2002 and 2013, Marc ran Autodesk’s Media & Entertainment business unit steering development and marketing of the industry’s leading 3D animation and VFX software products. Marc started his career at TDI in 1988, and joined Softimage in 1991 where he ran 3D Products and oversaw the design and development of Softimage XSI.
Mathieu Mazerolle
Title: Director of Product – New Technology
Company: Foundry
Bio:
Mathieu Mazerolle has over 25 years of engineering and product experience in the VFX, cloud and gaming industries. He is currently the Director of Product, New Technology, at Foundry. With a 20-year heritage and a portfolio of award-winning products, Foundry advances the art and technology of visual experience. Prior to Foundry, Mathieu has worked for Amazon Web Services, Electronic Arts, Autodesk, Digital Domain, and Ubisoft.
James Knight
Title: Global Media & Entertainment/VFX Director
Company: AMD
Bio:
James Knight is the Global Director of Media and Entertainment at AMD (Advanced Micro Devices). He leads a team that supervises alliances with video streaming, VFX, virtual production, and post-production computing applications. Knight and his team also work directly with the worlds most prominent media brands, studios, and content streaming platforms. Knights work spans two decades in production, post-production, visual effects, and virtual production.
He is a member of the Visual Effects Society (VES), a member of the British Academy of Los Angeles (BAFTA), where he served on the board from 2010-2016, and a member of the Academy of Motion Picture Arts and Sciences (AMPAS).
Richard Cormier
Title: Vice President Digital Creative Services/Executive Producer – Virtual production
Company: MELS
Robert Magee
Title: Senior Product Marketing Manager
Company: SideFX
Bio:
Robert Magee is a Senior Product Marketing Manager at SideFX who has been working with Houdini for over 20 years. He has created lots of learning material and demos designed to help artists understand how going procedural with Houdini can benefit their work
Moderator
Philipp Wolf
Title: Co-Chair
Company: VES Montreal
Bio:
Philipp Wolf (He/Him) is Executive-In-Charge, Corporate Strategy at DNEG based in Montreal with an impressive line of projects spanning more than a decade. His recent projects include Denis Villeneuve’s ‘Dune’ and Rian Johnson’s ‘Glass Onion: A Knives Out Mystery’.An active force in the industry, Philipp is a Member of the VES Board of Directors as well as Co-Chair of the VES Montreal Section and Co-Chair of the VES Health & Wellbeing committee. He is also Co-Chair of the Animation and VFX committee at the Producers Guild of America, a Board Member of Access: VFX Montreal and Counselor of the RealTime Conference.
VES Members and up to Four (4) Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN ENDS
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Sunday, October 23, 2022 at 10:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Click Here to RSVP
Montreal’s Annual Fall Cocktail Celebration Hosted by Autodesk
Montreal’s Annuel Fall Cocktail Accueilli Par Autodesk Thursday, October 13, 2022 at 7:00PM Jeudi, 13 Octobre, 2022 á 7:00PM
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.
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.
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 for 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.
Afin d’empêcher la propagation du COVID-19, nous vous demandons, à vous ou à vos invités, de ne pas assister aux événements VES si vous présentez des symptômes ou si vous avez été exposé au virus.
Les événements sont surréservés pour compenser les non-présentations. Les places sont limitées et seront disponibles selon le principe du premier arrivé, premier servi. Un RSVP ne garantit pas une place assise.
En vous inscrivant à cette projection/événement sur place et en personne parrainé par la VES (Visual Effects Society), vous acceptez volontairement tous les risques inhérents potentiels associés à la COVID-19. VES ne peut être tenu responsable des conséquences pouvant découler dudit risque. Par conséquent, l’inscription à cette projection/événement implique le consentement implicite de vous-même et de votre parti et indemnise et dégage par la présente VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier négatif pouvant résulter de notre participation.
VES Members and up to 4 Guests are Invited to a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, October 1, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 4 Guests are Invited to a Screening of VVS Films’ MEDIEVAL
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, September 17, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.MEDIEVAL
VES Members and up to 4 Guests are Invited to an Opening Weekend Screening of Universal Pictures’ BEAST
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, August 27, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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
The live online panel will include Academy Award nominated Director Jeff Fowler, Producer Toby Ascher, VES Award and Academy Award nominated Visual Effects Supervisor Ged Wright and Co-Producer, Lead Designer at Blur Studios and Storyboard Supervisor Tyson Hesse, moderated by VES Montreal Board Member Frederick Lissau. The discussion will delve into the making of the Visual Effects of Paramount Pictures hit sequel, SONIC THE HEDGEHOG 2 which has grossed over $400 Million worldwide.
La face cachée des effets visuels de SONIC THE HEDGEHOG 2
Frederick Lissau, membre du Conseil d’administration de VES Montréal, se penchera sur la suite à succès de Paramount Pictures SONIC THE HEDGEHOG 2, et la production de ses effets visuels, qui a rapporté plus de 400 millions de dollars dans le monde.
Nos invités spéciaux comprennent le réalisateur du film – Jeff Fowler ; le producteur – Toby Ascher, le superviseur des effets visuels – Ged Wright, et le co-producteur – Tyson Hesse.
VES Members and up to 4 Guests are Invited to an Opening Weekend Screening of Sony Pictures’ BULLET TRAIN
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, August 6, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 4 Guests are Invited to an Opening Weekend Screening of Universal Pictures’ NOPE
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, July 23, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 4 Guests are Invited to an Opening Weekend 3D Screening of Sony Pictures’ WHERE THE CRAWDADS SING
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, July 16, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 4 Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: LOVE AND THUNDER
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, July 9, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 4 Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios LIGHTYEAR
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, June 25, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 4 Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD DOMINION
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, June 18, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Les membres du VES sont invites a l’évènement CAFÉ – Conférence, Animation, FX et Expertise du mardi 7 juin au mercredi 8 juin.
Vous pouvez bénéficier d’une reduction en entrant le code sur les liens sous dessous
Voici le lien pour la réduction de 50% pour 50 billets :
50 billets à 50% pour billets-conférences (Virtuels, réguliers et étudiants) Code : CAFE-LDR-CONF-VY5TS URL : www.eventbrite.ca/e/332066207967/?discount=CAFE-LDR-CONF-VY5TS
Pour rappel, je te mets aussi le lien de la réduction de 25% ci-après :
Code 25% de rabais sur tous les billets (BCTQ) Code : CAFE-BCTQ-25-99IQ5 URL : www.eventbrite.ca/e/332066207967/?discount=CAFE-BCTQ-25-99IQ5
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The VES member are invited to the CAFÉ – Conférence, Animation, FX et Expertise from Tuesday June 7th to Wednesday June 8th.
You can benefit from a reduction by entering the code on the links below
Here is the link for the 50% discount for 50 tickets:
50 tickets at 50% off for conference tickets (virtual, regular and student)
As a reminder, I also put the link of the 25% discount below: Code 25% discount on all tickets (BCTQ)
Code : CAFE-BCTQ-25-99IQ5 URL : www.eventbrite.ca/e/332066207967/?discount=CAFE-BCTQ-25-99IQ5
INVITATION SOIREE RÉSEAUTAGE COCKTAIL INDUSTRIE VFX / ANIMATION vendredi 22 avril 2022 | 19h00 EST | EN PRESENTIEL | NAD University
Marine Lelièvre, VES Montréal, vous invite à une soirée de réseautage VFX-Animation en présentiel au NAD, incluant un panel, un cocktail et une activité spéciale de révision de portfolio en temps réel par son panel d’experts avec François Schneider – Creative Supervisor / ReDefine, David Francois – Digital Compositor Lead / Reel FX, Brent George – Realization Director – Compulsion Games & Co-Founder Agora Community.
Places limitées, soumission de votre portfolio avant le 15 avril.
INVITATION NETWORK EVENT COCKTAIL VFX INDUSTRY Friday April 22, 2022 | 7:00PM EST | IRL | NAD University
Marine Lelievre will be hosting a VFX-Animation networking event in person at NAD university, featuring a cocktail and live portfolio review by her panel of experts with François Schneider – Creative Supervisor / ReDefine, David Francois – Digital Compositor Lead / Reel FX, Brent George – Realization Director – Compulsion Games & Co-Founder Agora Community.
Limited seats, submit your demo reels before April 15.
VES Members and up to 4 Guests are Invited to an Opening Weekend Screening of Warner Bros. Pictures’ FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE. Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, April 16, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Les membres du VES sont invites à rejoindre plusieurs événements et conférences web durant le mois de mars.
Vous trouverez ci-dessous une liste complète ainsi que des les liens.
ANIMATION ROUNDTABLE animé par Fortunato Frattasio avec comme invité le superviseur d’animation de Dneg Bartek Kujbida
Mardi 24 Mars 2022 à 19:00 EDT zoom: https://us02web.zoom.us/j/83279725172
S’il vous plaît RSVP avec une question que vous aimeriez poser aux invités à: montreal@vesglobal.org
VES members are invited to join different events and webinar during the month of March.
Check below for an exhaustive list below.
ANIMATION ROUNDTABLE hosted by Fortunato Frattasio and the guest Dneg animation Supervisor Bartek Kujbida
Thursday March 24 at 7:00PM EDT zoom: https://us02web.zoom.us/j/83279725172
Please RSVP with One question that you would like us at: montreal@vesglobal.org
VES Members and up to 4 Guests are Invited to a Screening of Warner Bros. Pictures’ THE BATMAN. Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, March 12, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Due to Governmental Restrictions the VES Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS has been cancelled.
This screening is cancelled
Saturday, January 8, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand- Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
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.
Join us in celebrating the holidays at our annual VES Mega Party at Don B Comber’s! Special VIP entrance and drinks for VES Members and your guest. Mix and mingle while enjoying live music with DJ Franssu.
Vaccination passport with Photo ID required and all attendees must abide by all COVID 19 requirements.
By signing up for this on-site, in-person 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 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 your participation.
Please Login to RSVP Below VES Members: Please enter your first and last name in the “Attendee 1″ field and your guest(s) as subsequent attendees.
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Le party annuel des Fêtes de VES Montréal est de retour!
Joignez-vous à nous pour célébrer les fêtes lors de notre méga-party VES annuel au bar Don B Comber’s! Entrée VIP et consommations gratuites pour les membres VES et vos invités. Une belle opportunité de réseautage tout en profitant de la musique live avec DJ Franssu.
Passeport de vaccination avec photo d’identité requis. Tous les participants doivent se conformer aux exigences sanitaires de la COVID 19.
En vous inscrivant à cet événement sur place, en personne, parrainé par VES (Visual Effects Society), vous acceptez tous les risques inhérents potentiels associés à la COVID-19. VES ne pourra être tenu responsable des conséquences pouvant découler de ce risque. Par conséquent, l’inscription à cet événement implique votre consentement implicite ainsi que celui de vos invités et par la présente indemnise et dégage VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier défavorable pouvant résulter de votre participation.
Veuillez répondre ci-dessous Membres VES : veuillez entrer votre nom et prénom dans le champ « Participant 1 » et vos invités dans les champs suivants
Nous sommes très heureux de vous inviter à notre premier événement de réseautage en personne de l’année. Nous nous sommes associés à la Microbrasserie 4 Origines.
Jeudi 21 octobre – à partir de 19h30
Microbrasserie 4 Origines
1304, rue Saint-Patrick, Montréal H3K 1A4
Bière : Gratuite jusqu’à épuisement de la note
Nourriture : camion de nourriture de Burly Boys qui sert des sandwichs et des salades, mais vous pouvez également commander dans d’autres restaurants locaux
Musique live : le guitariste Bud Rice se produira à partir de 19h30. ce soir-là
S’il vous plaît RSVP en utilisant le lien suivant, nous avons 50 places disponibles.
Veuillez noter que les membres doivent être inscrits à l’événement sur notre site Web pour pouvoir assister à l’événement et recevoir des tickets boissons.
Afin de prévenir la propagation du COVID-19, nous vous demandons de ne pas assister aux événements VES si vous présentez des symptômes ou si vous avez été exposé au virus.
Les événements sont surbookés pour compenser les non-présentations. Les places sont limitées et seront disponibles selon le principe du premier arrivé, premier servi.
En vous inscrivant à cette projection/événement en personne sur place parrainé par VES (Visual Effects Society), vous acceptez volontiers tous les risques inhérents potentiels associés à COVID-19. VES ne pourra être tenu responsable des conséquences pouvant découler de ce risque. Par conséquent, l’inscription à cette projection / événement implique le consentement implicite de vous-même et de votre parti et par la présente indemnise et dégage VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier négatif pouvant résulter de notre participation.
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We are very excited to invite you to our first in-person networking event of the year. We have teamed up with Microbrasserie 4 Origines.
Thursday October 21st – starting at 7:30 pm
4 Origins microbrewery
1304 Saint-Patrick St., Montreal H3K 1A4
Beer: Free until our tab lasts
Food: Food truck from Burly Boys that serves sandwiches and salads, though you are also welcome to order from other local restaurants
Live music: guitarist Bud Rice will be performing as of 7:30 p.m. that evening
Please RSVP using the following link we have 50 spots available.
Please note that members must be registered for the event on our website to gain to attend the event and receive drink tickets.
In an effort to prevent the spread of COVID-19, we ask that you to not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
The events are overbooked to compensate for no-shows. Space is limited and will be available on a first come, first served basis.
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 up to 3 Guests are Invited to a Screening of United Artists’ NO TIME TO DIE. Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, October 16, 2021 at 1:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand- Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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 up to 3 Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Theater rules and Montreal safety guidelines require that face coverings must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, October 2, 2021 at 2:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand- Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***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.
Fortunato Frattasio présentera le 17 septembre 2021 de 19:00 à 20:30 un événement qui donnera la possibilité aux étudiants de rencontrer et de poser des questions interessantes aux professionnels de l’industrie. Ainsi que de réseauter avec leur pairs et futurs collègues.
Réservez et posez une question a l’invité à: montreal@vesglobal.org
lien Zoom: https://us02web.zoom.us/j/86736716568#success
Fortunato Frattasio will present on September 17, 2021 from 7:00 p.m. to 8:30 p.m. an event that will give students the opportunity to meet and ask interesting questions to industry professionals. As well as to network with their peers and future colleagues.
Book and ask a question to the guest at: montreal@vesglobal.org
lien Zoom: https://us02web.zoom.us/j/86736716568#success
VES Montréal vous invite pour une soirée de réseautage informelle au parc vendredi 30 juillet ! (18:45 – 20:00 Evènement en présentiel)
Nous sommes désormais en zone verte, alors nous aimerions inviter ceux d’entre vous, qui se sentent à l’aise à nous rejoindre au parc le vendredi 30 juillet (18:45 – 20:00), dans le cadre de nos séances de réseautage et de rencontre occasionnelles.
C’est tout simplement une façon de se retrouver enfin et pouvoir échanger à nouveau en présentiel de facon reguliere !
Si vous souhaitez venir, veuillez-vous inscrire à l’adresse suivante : https://www.eventbrite.com/e/ves-montreal-informal-park-gathering-registration-163778599199
Nous avons hâte de vous revoir !
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VES Montreal invites you for an informal networking evening at the park on Friday July 30! (6pm45 – 8pm Face-to-face event)
With our return to a status of being a green zone we’d like to invite those of you who feel comfortable to head out to the park on Friday as part of our ongoing casual networking/meet sessions.
This is simply a way for us to provide a pre-arranged time/place to drop in and say hi to people they might not have seen in a while.
Considérations liées à la COVID-19
Afin de prévenir la propagation du COVID-19, nous vous demandons, à vous ou à vos invités, de ne pas assister aux événements VES si vous présentez des symptômes ou si vous avez été exposé au virus.
Nous respecterons les directives actuelles pour les rassemblements extérieurs (voir https://www.quebec.ca/sante/problemes-de-sante/a-z/coronavirus-2019/systeme-alertes-regionales-et-intervention-graduelle/palier-1-vigilance-zone-verte/ )
En vous inscrivant à cet événement en personne parrainé par VES (Visual Effects Society), vous acceptez volontiers tous les risques inhérents potentiels associés à COVID-19. VES ne pourra être tenu responsable des conséquences pouvant découler de ce risque. Par conséquent, l’inscription à cet événement implique le consentement implicite de moi-même et de mon parti et indemnise et dégage VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier indésirable pouvant résulter de notre participation.
COVID-19 Considerations
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.
We will be complying with current guidelines for outdoor gatherings (see https://www.quebec.ca/en/health/health-issues/a-z/2019-coronavirus/progressive-regional-alert-and-intervention-system/level-1-vigilance-green/ )
By registering for this in-person 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 event infers implied consent of myself and my 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.
Marine Lelievre vous invite à une soirée réseautage spéciale RÉVISION DE PORTFOLIO EN TEMPS RÉEL! Places limitées, inscription et soumission de votre portfolio avant le 5 Juillet 2021 pour obtenir les meilleurs conseils de nos invités.
Marine Lelievre will be hosting a networking event featuring a LIVE VFX PORTFOLIO REVIEW! Limited seats, Register & submit your demo Reels before July 5, 2021 to get our guest experts the best live constructive feedback.
Pour participer à la réunion du conseil, qui est ouverte à tous les membres, ou si vous avez des questions et / ou des suggestions, n’hésitez pas à nous contacter via montreal@vesglobal.org
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To join the board meeting, which is open to all members, or if you have any questions and/or suggestions, please feel free to contact us via montreal@vesglobal.org
CopyCat puts machine learning to work for artists by letting them train customized effects that are limited only by their imagination. Foundry’s release of NukeX 13.0 is the first tool of its kind to unleash machine learning as a flexible extension of the creative process.
Rejoignez Mathieu Mazerolle, directeur des produits pour les nouvelles technologies chez Foundry, pour une discussion sur la vision de Foundry en matière d’apprentissage automatique et sur la manière dont CopyCat aide les flux de travail des artistes. DJ Matias, spécialiste créatif chez Foundry, montrera également des exemples pratiques des possibilités illimitées que CopyCat offre aux artistes et vous apprendra comment créer votre propre réseau de neurones.
Join Mathieu Mazerolle, Director of Product for New Technology at Foundry, for a discussion about Foundry’s vision for machine learning and how CopyCat assists artist workflows. DJ Matias, Creative Specialist at Foundry, will also show practical examples of the limitless possibilities that CopyCat offers artists and teach you how to build your own neural network.
Cette session intéressera particulièrement les directeurs techniques créant des outils et des pipelines pour les studios d’effets visuels, ainsi que les artistes intéressés par les flux de travail assistés par ML pour les effets visuels.
This session will be of particular interest to technical directors building tools and pipelines for visual effects studios, as well as artists interested in ML-assisted workflows for visual effects.
Orateurs/Speakers:
DJ Matias – Creative Specialist
Matthieu Mazerolle – Director of Product – New Technology
Rejoignez-vous à nous pour souhaiter la bienvenue à nos nouveaux membres de la section de Montréal lors de cet événement de réseautage du vendredi.
Join us in welcoming our newest Members to the Montreal Section in this Fridays networking event.
Nous sommes très heureux que les professionnels suivants rejoignent la société :
We are very excited to have the following professionals join the society:
Eve Chauvet
Peter Dominik
Mahmoud Ellithy
Laura Jones
Lee Sullivan
Sebastien Terme
Benoit Terminet Schuppon
Andrea Weidlich
Pour participer à la réunion du conseil, qui est ouverte à tous les membres, ou si vous avez des questions et / ou des suggestions, n’hésitez pas à nous contacter via montreal@vesglobal.org
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To join the board meeting, which is open to all members, or if you have any questions and/or suggestions, please feel free to contact us via montreal@vesglobal.org
Nous sommes heureux de vous inviter à notre Rendez-vous du vendredi 14 mai – 19 h. Rejoignez-nous pour une discussion informelle et du réseautage.
Inscrivez-vous à l’événement: http://bit.ly/VESFridayHangoutMay2021
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We are happy to invite you to our Friday Hangout May 14th – 7pm. Join us for some casual chat and networking.
Register for the event: http://bit.ly/VESFridayHangoutMay2021
Dans la tête des gestionnaires embaucheurs en VFX & Animation… Inside the brain of VFX & Animation hiring managers…
April 20, 2021 – 7:00PM ET (Zoom)
Marine Lelievre, Co-Présidente VES Montréal présentera un panel de conférenciers invités provenant de studios d’effets visuels et d’animation, modéré par Pierre-Luc Labbée, Président de rhum – humans and resource. Les gestionnaires embaucheurs seront interrogés notamment sur leur processus de décision en matière d’embauche, des compétences techniques aux compétences humaines. Une session de questions / réponses à ne pas manquer suivra !
Marine Lelievre, VES Montreal Co-Chair will be hosting a panel of guest speakers from VFX/Animation studios, moderated by Pierre-Luc Labbée, rhum – humans and resource’ President, which will dive deep into their decision-making process when it comes to hiring, from technical to human skills.
Speakers:
*Hosted by Marine Lelievre, Co-Chair VES Montreal
*Moderated by Pierre-Luc Labbée, President Of rhum – humans and resource
*Ted Ty, Global Head of Character Animation at DNEG
*Sonia Marques, Executive Producer at Squeeze animation studio
*Jennifer Fairweather, Executive Producer at DNEG
Production virtuelle 101 et conversation sur écran vert
*English message to follow
Nous sommes heureux de vous inviter à notre premier événement industriel de l’année, la compagnie MELS organise une conversation sur la production virtuelle 101 et sur les écrans verts. 16 mars – 19h.
Inscrivez-vous à l’événement: http://bit.ly/VESMELSVP
Cette évènement est ouvert a tous. Pensez a en parler avec vos colleges.
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Virtual production 101 & Green screen conversation
We are happy to invite you to our first industry event of the year MELS is hosting a Virtual production 101 & Green screen conversation. March 16th – 7pm.
Register for the event: http://bit.ly/VESMELSVP
This event is open to everyone. Consider discussing it with your colleges.
The VES Screening of Warner Bros. Pictures’ TENET in Montreal has Been Cancelled. Due to new governmental restrictions in an effort to prevent the spread of COVID-19, the Cinémathèque Québécoise will be closed for the next 28 days.
RSVPs are closed Saturday, October 10, 2020 at 1:00PM
Le sommet international du jeux vidéo à Montréal vous propose un rabais exclusif ! 25 et 26 septembre et 12 et 13 novembre 2020 (Edition en ligne) (Conférences, recrutement, réseautage, rendez-vous d’affaires…) https://megamigs.com/fr/
MEGAMIGS 2020 100% virtuel | Septembre et novembre | Billets en vente
MEGAMIGS, l’événement numéro un dans le secteur du jeu vidéo au Canada proposera cette année une formule éclatée. Les 25 et 26 septembre 2020 – Formations et carrières – incluant du recrutement de tous les niveaux, du recrutement international et en plus une vitrine de l’écosystème des programmes académiques Les 12 et 13 novembre – Développement des affaires, conférenciers et …
megamigs.com
MEGAMIGS, La seule conférence au Canada depuis plus de 15 ans consacrée à l’ensemble de l’industrie des jeux vidéo. MEGAMIGS 2020 sera une édition toute particulière avec notre format en ligne et diffusée en deux temps, soit les 25 et 26 septembre et les 12 et 13 novembre ! Septembre pour l’axe formations et carrières et novembre quant à lui sera axé sur le développement des affaires et la visibilité médias. Le tout avec une programmation diffusée en direct, une plateforme de réseautage ainsi qu’une variété d’activités sur notre application. Et bien d’autres choses ! L’événement réunit chaque année des centaines de créateurs de jeux vidéo des quatre coins du globe.
Montreal international video game summit exclusive special rebate! Sept. 25-26 & Nov.12-13 2020 (Online edition) (session, careers, networking, B2B plateform…) https://megamigs.com/en/
MEGAMIGS, the number one event in the video game industry in Canada, will offer a new formula this year. September 25 and 26, 2020 – Training and careers – including recruitment at all levels, international recruitment and in addition a showcase of the ecosystem of academic programs November 12 and 13 – Business development, lecturers and …
MEGAMIGS, the only conference in Canada for more than 15 years dedicated to the entire video game industry. MEGAMIGS 2020 will be a very special edition with our online format and will be broadcast in two parts, on September 25-26 and November 12-13! September for the training and careers section and November for the business development and media visibility section. All this with live programming, a networking platform and a variety of activities on our application. And much more! The event brings together hundreds of video game creators from around the world every year.
VES members are invited to join online for the new ACM SIGGRAPH Webinar series on Thursday, May 21 at 2:00 PM (EDT). The panel is about challenges of working from home in VFX.
The VES Montreal Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD has been cancelled. In an effort to prevent the spread of COVID19, all VES Montreal events for the next 30 days are cancelled.
RSVPs are closed Saturday, March 14, 2020 at 12:30PM
VES Montréal invite tous les personnes dans l’industrie VFX à la Mega Party Annuelle au Theatre Plaza va être en feu! Préparez-vous à faire la fête avec les plus remarquables acteurs des effets visuels et de l’animation de MTL.
Voici quelques points importants:
* DJ Franssu en tête d’affiche
* Espace fête de deux étages
* Choisissez votre scène: Piste de danse et / ou regarder par-dessus tout sur la mezzanine
* Cocktail d’entrée pour les premiers arrivées
* Deux bars
* Snacks: Vous pourrez goûter au produit de Uniburgers (option Végétarien est inclus).
* Le populaire photomaton VES
* Prix à gagner!
* Bracelets VIP
Admission générale et options de billets pour membres VES (VIP) consulter l’email envoyé il y a quelques jours.
Quelles sont mes options de transport / stationnement pour aller à l’événement?
Metro Beaubien / Bus / Uber / Street Parking
Que puis-je apporter à l’événement?
collègues, conjoints et amis
Puis-je contacter l’organisateur pour toute question?
Oui, et nous ferons de notre mieux pour vous répondre rapidement
Dois-je apporter mon billet imprimé à l’événement?
Oui, et / ou option numérique sur votre application Eventbrite
Merci aux généreux commanditaires et membres de notre organisation. Venez nous rejoindre pour une soirée amusante!
** S’il vous plaît confirmer votre présence pour cet événement tôt. Le nombre de billet est limité ! **
VES Montreal is inviting you to our annual Mega Party at The Theatre Plaza and it will be pumping! Get ready to party to some of the hottest dance tracks and rubbing shoulders with MTL’s most notable visual effects and animation movers and shakers.
Here are some of the highlights:
* Headlining DJ Franssu who spinning today’s hottest dance music
* Two story party space equipped with state-of-the-art sound and lighting
* Choose your scene: Dance Floor and/or looking over it all with Loft Seating
* Early Cocktail – First 100 Arrivals
* Two Premium Cash Bars
* Snacks: Uniburgers before the raffle so everyone can grab a bite (veggie option included).
* The popular VES Photo Booth
* Prizes to Win!
* VIP Wristbands
General Admission and (VIP) VES Member Ticket Options. Check your previous email wit the General Admission and (VIP) VES Member Ticket Options
FAQ’s:
What are my transportation/parking options for getting to and from the event?
Metro Beaubien / Bus / Uber / Street Parking
What can I bring into the event?
Co-Workers, Spouses and Friends!
Can I contact the organizer with any questions?
Yes, and will do our best to answer in a timely manner
Do I have to bring my printed ticket to the event?
Yes, and/or digital option on your Eventbrite App
Thanks to the generous sponsors and members of our organization. Come join us for a fun filled night!
** Please RSVP for this event early as it will sell out! **
Montreal VES Members and Their Guests are Invited to a 3D Screening ofColumbia Pictures’ MEN IN BLACK: INTERNATIONAL Please RSVP below Wednesday, June 26, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, June 19, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a Pre-Release 3D Screening ofDisney•Pixar’s TOY STORY 4 Please RSVP below Saturday, June 15, 2019 at 2:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening ofWarner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS Please RSVP below Wednesday, June 12, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ ROCKETMAN Please RSVP below Wednesday, June 5, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a Screening of Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN Please RSVP below Wednesday, May 29, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s POKEMON: DETECTIVE PIKACHU Please RSVP below Wednesday, May 15, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME Please RSVP below Wednesday, May 1, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below Wednesday, April 17, 2019 at 8:00PM
Difuze Inc. Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below Wednesday, April 3, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ WONDER PARK
Please RSVP below Tuesday, March 19, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families 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 2:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to an Opening Weekend 3D Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD
Please RSVP below Saturday, February 23, 2019 at 3:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below Wednesday, February 20, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, February 13, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to an Opening Night 3D Screening of Paramount Pictures’ BUMBLEBEE
Please RSVP below Thursday, December 20, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Tuesday, December 18, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families 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 Sunday, December 2, 2018 at 2:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families 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.)
Please RSVP below Saturday, December 1, 2018 at 2:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, November 28, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ OVERLORD
Please RSVP below Wednesday, November 21, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a Pre-Release Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET
Please RSVP below Saturday, November 17, 2018 at 3:30PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below Wednesday, November 14, 2018 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below Wednesday, November 7, 2018 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below Wednesday, October 24, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FIRST MAN
Please RSVP below Wednesday, October 17, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below Wednesday, October 3, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS followed by a Q&A with VFX Supervisor Francois Lambert (Hybride)
Please RSVP below Wednesday, September 26, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE PREDATOR
Please RSVP below Wednesday, September 19, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of STX Entertaiment’s PEPPERMINT
Please RSVP below Wednesday, September 12, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ ALPHA
Please RSVP below Wednesday, August 29, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to an Opening Night Screening of STX Entertainment’s THE HAPPYTIME MURDERS followed by a live interactive Q&A with Director Brian Henson, Actors and Puppeteers Bill Barretta and Drew Massey with Visual Effects Producer Melissa Brockman, Compositing Supervisor Caleb Knueven and CG Supervisor Efram Potelle moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
This film is Rated 18A, and is not intended for children. Click here to watch the trailer.
Please RSVP below Friday, August 24, 2018 at 10:00PM Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #VESHAPPYTIME, 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.
Montreal VES Members and Their Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below Wednesday, August 15, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Wednesday, August 8, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below Wednesday, August 1, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Wednesday, July 25, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, July 18, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below Wednesday, July 11, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SICARIO: DAY OF THE SOLDADO followed by a Q&A with Visual Effects Supervisors Derek Wentworth and Alexandre Lafortune.
Please RSVP below Wednesday, July 4, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Live Interactive 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 2:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 London) immediately following the screening. (be sure to include the hashtag, #VESJURASSIC, 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.
Montreal VES Members and Their Families are Invited to a Special Fathers’ Day Opening Weekend Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below Sunday, June 17, 2018 at 11:00AM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of WME Endeavor’s HOTEL ARTEMIS
Please RSVP below Wednesday, June 13, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a 3D Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY followed by a live interactive Q&A with Overall Visual Effects Supervisor Rob Bredow, ILM Visual Effects Supervisor Pat Tubach, ILM Roto/Paint Supervisor Beth D’Amato and Hybride Visual Effects Supervisor Joseph Kasparian with moderation by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below Sunday, May 27, 2018 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #VESSOLO, 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL 2
Please RSVP below Wednesday, May 23, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Focus Features’ TULLY
Please RSVP below Wednesday, May 9, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families 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 Sunday, May 6, 2018 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below Wednesday, April 11, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE followed by a live interactive 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 Saturday, April 7, 2018 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictires’ PACIFIC RIM UPRISING
Please RSVP below Wednesday, March 28, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s RED SPARROW
Please RSVP below Wednesday, March 14, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below Wednesday, February 21, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ ONLY THE BRAVE
Please RSVP below Wednesday, January 31, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ PADDINGTON 2 followed by a Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Carlos Monzon and Animation Supervisor Laurent Laban, moderated by VES Montreal Section Chair Chloe Grysole. (All panelists’ participation based on availability.)
Please RSVP below Wednesday, January 10, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Sunday, December 17, 2017 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below Wednesday, December 13, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Focus Features’ DARKEST HOUR
Please RSVP below Wednesday, December 6, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below Wednesday, November 29, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s MURDER ON THE ORIENT EXPRESS
Please RSVP below Wednesday, November 15, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Wednesday, November 8, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ SUBURBICON
Please RSVP below Wednesday, November 1, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE SNOWMAN
Please RSVP below Wednesday, October 25, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening & Q&A Sesssion Of Warner Bros. Pictures’ BLADE RUNNER 2049
Richard Hoover, VFX Supervisor (Framestore) will be on hand to answer questions after the screening,
Please RSVP below Wednesday, October 18, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMERICAN MADE
Please RSVP below Wednesday, October 11, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening Of 20th Century Fox’s KINGSMAN: THE GOLDEN CIRCLE
Please RSVP below Wednesday, October 4, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening Of Focus Features’ VICTORIA & ABDUL
Please RSVP below Wednesday, September 27, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening Of Paramount Pictures’ MOTHER!
Please RSVP below Wednesday, September 20, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal est heureux d’annoncer que les membres du VES sont maintenant admissibles à une réduction de 25% sur tous les laissez-passer à la conférence effectsMTL17 les 6 et 7 septembre. Veuillez contacter Marie Gislais pour obtenir votre code promotionnel.
VES Montreal is happy to announce that VES members are now eligible for a 25% discount on all passes to the effectsMTL17 conference on September 6th & 7th. Please contact Marie Gislais to obtain your promo code.
VES Montreal est heureux d’annoncer que les membres du VES sont maintenant admissibles à une réduction de 25% sur tous les laissez-passer à la conférence effetsMTL17 les 6 et 7 septembre. Veuillez contacter Marie Gislais pour obtenir votre code promotionnel.
VES Montreal is happy to announce that VES members are now eligible for a 25% discount on all passes to the effectsMTL17 conference on September 6th & 7th. Please contact Marie Gislais to obtain your promo code.
Members are invited (+1 guest) to our annual Fall Cocktail on September 5th at the offices of Autodesk (10 Duke, Montreal) from 6pm to 9pm. We’re hosting it this year as part of the start of the effects MTL17 conference! This should be our most well attended event yet!
Montreal VES Members and Their Guests are Invited to a Screening of Lionsgate’s and Millennium Films’ THE HITMAN’S BODYGUARD
Please RSVP below Wednesday, August 30, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening Of The Weinstein Company’s WIND RIVER
Please RSVP below Wednesday, August 9, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening Of Focus Features’ ATOMIC BLONDE
Please RSVP below Wednesday, August 2, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of STX Entertainment’s VALERIAN AND THE CITY OF A THOUSAND PLANETS
Please RSVP below Wednesday, July 26, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Saturday, July 15, 2017 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Wednesday, July 12, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below Wednesday, July 5, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below Wednesday, June 28, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below Wednesday, June 21, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ THE MUMMY
Please RSVP below Wednesday, June 14, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below Wednesday, June 7, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, May 31, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s ALIEN: COVENANT2
Please RSVP below Wednesday, May 24, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below Wednesday, May 17, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, May 10, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Pre-Release Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below Wednesday, April 19, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below Wednesday, April 5, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Lionsgate’s POWER RANGERS
Please RSVP below Wednesday, March 29, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’KONG: SKULL ISLAND
Please RSVP below Wednesday, March 15, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s LOGAN
Please RSVP below Wednesday, March 8, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 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 below Sunday, December 18, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
PLEASE ARRIVE BETWEEN 2:15 AND 2:30 TO ALLOW TIME FOR PHOTO OPS WITH SPECIAL VIP GUESTS
THIS will ALSO be FRANK D’IORIO’s (Montreal chair) LAST BIG 2016 QUIZZ GIVEAWAY EXTRAVAGANZA. over 2,000$ in prizes from his own PERSONAL STAR WARS COLLECTION. Prizes will be won in a VERY SPECIAL WAY – HALF BEFORE and HALF AFTER THE Q&A – INCLUDING the FINAL MEMBERS ONLY GRAND PRIZE Valued 700$.
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 below Saturday, December 17, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
VES Members and Their Guests in Montreal are Invited to a Screening of Walt Disney Animation Studios’MOANA
Please RSVP below Wednesday, November 30, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a VIP Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
FOLLOWED BY LIVE in house Q&A with MPC Supervisors
Please RSVP below Wednesday, November 23, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please RSVP below Wednesday, November 16, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE
Please RSVP below Wednesday, November 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a 3D Screening of 20th Century Fox’s and DreamWorks Animation’sTROLLS
Please RSVP below Wednesday, November 2, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a Pre-Release Screening of Columbia Pictures’ INFERNO
Please RSVP below Wednesday, October 26, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a Screening of Warner Bros. Pictures’ THE ACCOUNTANT
Please RSVP below Wednesday, October 19, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN
Please RSVP below Wednesday, October 12, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal are Invited to a Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON
Please RSVP below Wednesday, October 5, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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:
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
VES Members and Their Guests in Montreal are Invited to a Screening of Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below Wednesday, September 28, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Atomic Fiction, Autodesk and Rodeo Visual Effects Company invite you to
Montreal’s Annual Fall Membership Drive cocktail party.
Open to all members and their guests
A great evening to connect with your friends, fellow artists and if you haven’t done so already… the perfect place to find your 2 sponsors.
When you leave the party, you will have everything you need to fill out your membership application to join VES Montreal’s 100+ members.
Free Drinks and Food and cool Door Prizes. Doors open at 6pm.
Autodesk 10 Duke Street.
Thank you to all our sponsors
Cinesite Studios, Mels, Framestore, MPC, Quantum and Scalar
for more information or questions… montreal@vesglobal.org
Please RSVP below Wednesday, August 31, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below Wednesday, August 24, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JASON BOURNE
Please RSVP below Wednesday, August 3, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Pramount Pictures’ STAR TREK BEYOND, plus a Q&A with the visual effects team.
Panelists will include Kelvin Optical Visual Effects Supervisor Stefano Trivelli, Visual Effects Producer Ron Ames, Atomic Fiction Visual Effects Supervisor Ryan Tudhope with moderation by VES Fellow and Founders Award winner Bill Taylor, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 23, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #VESSTARTREK, 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ GHOSTBUSTERS
Please RSVP below Wednesday, July 20, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ THE BFG
Please RSVP below Wednesday, July 13, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Thursday, June 30, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Thursday, June 30, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below **DATE CHANGE**
Wednesday, June 22, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below **DATE CHANGE**
Wednesday, June 22, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Thursday, June 16, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Thursday, June 16, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Thursday, June 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Thursday, June 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Thursday, June 2, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Thursday, June 2, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
Please RSVP below Wednesday, MAy 11, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HUNTSMAN: WINTER’S WAR
Please RSVP below Wednesday, May 4, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below Wednesday, April 27, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below Wednesday, April 27, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ BATMAN V SUPERMAN: DAWN OF JUSTICE
Please RSVP below Wednesday, April 13, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Wednesday, March 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Wednesday, March 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Wednesday, Febuary 17, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Wednesday, Febuary 17, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Thursday, Febuary 4, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Thursday, Febuary 4, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s and Regency Enterprises’ THE REVENANT
with SPECIAL SURPRISE VIP Guests
Please RSVP below Thursday, January 28, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s and Regency Enterprises’ THE REVENANT
with SPECIAL SURPRISE VIP Guests
Please RSVP below Thursday, January 28, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a 3D 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 RSVP below Sunday, January 10, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #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.
Montreal VES Members and Their Families are Invited to a 3D 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 RSVP below Sunday, January 10, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #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.
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
Montreal VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Thursday, November 19, 2015 at 8:00PM Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Thursday, November 19, 2015 at 8:00PM Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Thursday, November 12, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Thursday, November 12, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Thursday, October 29, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Thursday, October 29, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ PAN
Please RSVP below
Thursday, October 22, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ PAN
Please RSVP below
Thursday, October 22, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Thursday, October 1, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Thursday, October 1, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE MAN FROM U.N.C.L.E.
Please RSVP below
Thursday, August 27, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below
Thursday, August 6, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below
Thursday, August 6, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Thursday, July 30, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Thursday, July 30, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below
Thursday, July 23, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’TERMINATOR GENISYS
Please RSVP below
Thursday, July 9, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’TERMINATOR GENISYS
Please RSVP below
Thursday, July 9, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Thursday, June 25, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Thursday, June 25, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below
Thursday, June 18, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below
Thursday, June 18, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Thursday, June 4, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Thursday, June 4, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Thursday, May 28, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Thursday, May 28, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Thursday, May 21, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Thursday, May 21, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 RSVP below
Sunday, May 17, 2015 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #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.
Montreal VES Members and Their Guests are Invited to a Screening of Mongrel Media’s EX MACHINA
Please RSVP below
Thursday, May 7, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Mongrel Media’s EX MACHINA
Please RSVP below
Thursday, May 7, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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 Montreal Members and Their Families are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below Thursday, April 16, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
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 Montreal Members and Their Families are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below Thursday, April 16, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
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 Montreal Members and Their Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below Thursday, March 19, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
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 Montreal Members and Their Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below Thursday, March 19, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
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 Montreal Members And Their Guests Are Invited To A 3D Screening Of Warner Bros. Pictures’ THE HOBBIT: THE BATTLE OF THE FIVE ARMIES
Please RSVP below Thursday, January 8, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
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.
Start your weekend early , mark your calendar… Thursday December 11, 7 pm to 2 am, Our very FIRST – 2014 Year End Mega Party
Theatre de la plaza
http://www.theatreplaza.ca/photos/
6505, rue Saint-Hubert – Montreal, Quebec – H2S 2M6 – 1 block from METRO BEAUBIEN
This is NOT just for VES members but for all VFX professionals, all ranks, from junior artists to production,
to celebrate Montreal’s year in Film, TV and Video Game productions.
There is space for 500 people, so bring your co-workers, friends, come drink and dance the night away.
DJ will divide the night into themes.
7-8 Movie Music, 8-9 70’s Disco – 9-9:30 PRIZE give aways – 9:30-10:30 80’s Hits – 10:30-11:00 90’s Techno and 11 to closing – Today’s current young generation ;p club music
Thanks to Framestore, ILM, HP Canada, Ubisoft, Atomic Fiction, Cinema Du Parc and Scalar – we have cool prizes – over $3500 – to give away too.
If you are a VES member, make sure to bring your card, to be eligible for EXCLUSIVE members only prizes.
If you aren’t a member yet – don’t worry, we have great giveaways for you as well.
If you are a member from out of town, we’d love you to join in the fun too.
No need to RSVP. Just show up. If capacity does exceed 500, there maybe a line up outside to get in.
Come and celebrate the great work done in Montreal for 2014.
See you on the dance floor 🙂
————
Commencez votre week-end de bonheur, a mettre dans vos agendas … Jeudi 11 Décembre, 19 heures-2 heures, notre tout premier – Mega Party VES Fin d’année 2014
Théâtre de la place
http://www.theatreplaza.ca/photos/
6505, rue Saint-Hubert – 1 bloc de METRO BEAUBIEN
Pas seulement pour les membres VES mais pour tous les professionnels VFX, tous les rangs, de juniors à la production,
pour célébrer l’année 2014 VFX de Montréal dans le cinéma, la télévision et les productions de jeux vidéo.
Il ya de l’espace pour 500 personnes, donc amenez vos collègues, amis, venez boire et danser toute la nuit.
DJ diviseras la nuit en thèmes.
7-8 Music Film, 8-9 Années 70 Disco – 9-9: 30 TIRAGE des PRIX – 9: 30-10: 30 hits ’80 – 10: 30-11: 00 Techno ’90 et 11 jusqu’à la fermeture – musique de club d’aujourd’hui pour la jeune génération actuelle 🙂
Grâce à Framestore, ILM, HP Canada, Ubisoft, Atomic Fiction, Cinéma du Parc et Scalar – nous avons des prix cool à donner.
Si vous êtes membre VES, assurez-vous d’apporter votre carte, pour être éligible pour les prix EXCLUSIFS aux membres .
Si vous n’êtes pas encore membre – ne vous inquiétez pas, nous avons de grands cadeaux pour vous aussi.
Si vous êtes membre d’une autre ville, venez prendre un verre avec nous
Pas besoin de RSVP – pointez vous a la porte, si la capacité de 500 est atteinte, risque de faire la queue pour entrer
Venez célébrer le super travail que vous et vos amis avez fait à Montréal en 2014.
Rendez-vous sur la piste de danse 🙂
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.
Montreal VES Members And Their Guests Are Invited To A Screening Of Paramount Pictures’ INTERSTELLAR
Please RSVP below
Thursday, November 20, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 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.
Montreal VES Members And Their Guests Are Invited To A Screening Of Columbia Pictures’ FURY
Please RSVP below
Thursday, October 30, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 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.
Montreal VES Members And Their Guests Are Invited To A 3D Screening Of Marvel Studios And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP below Wednesday, August 6, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 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.
Eight (8) Seats Are Available for Montreal VES Members To Attend the Framestore Crew Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Click here to RSVP
Monday, August 4, 2014 at 8:00PM
(Interested members must RSVP by midnight on August 3)
Scotia Bank Cineplex
977 Rue Sainte-Catherine Ouest Click here for a map
Due to the limited quantity, members only, no guests allowed. If too many people are interested, there will be a draw and you’ll receive a confirmation e-mail if you’re picked.
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.
Montreal VES Members And Their Guests Are Invited To A 3D Screening Of 20th Century Fox’s DAWN OF THE PLANET OF THE APES plus a live interactive Q&A with the filmmakers
Panelists will include Senior Visual Effects Supervisor Joe Letteri, Animation Supervisor Dan Barrett, Motion Capture Supervisor Dejan Momcilovic, CG Supervisor Phillip Leonhardt, and Terry Notary who plays the character of ‘Rocket’.
Please RSVP below Sunday, July 13, 2014 at 5:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 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 Zealand) immediately following the screening. (be sure to include the hashtag, #VESDAWNOFTHEAPES, 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.
Montreal VES Members And Their Guests Are Invited To A 3D Screening Of Paramount Pictures’ TRANSFORMERS: AGE OF EXTINCTION
Please RSVP below Wednesday, July 9, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 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.
Due to the limited quantity, members only, no guests allowed.
If too many people are interested, there will be a draw and you’ll receive a confirmation e-mail if you’re picked.
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 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.
Montreal VES Members & Guests Are Invited To A 3D Screening Of 20th Century Fox’s X-MEN: DAYS OF FUTURE PAST
Click here to RSVP
Wednesday, May 28, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada
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.
Montreal VES Members And Their Guests Are Invited To Attend A 3D Screening Of Walt Disney Pictures’ & Marvel Studios’ CAPTAIN AMERICA: THE WINTER SOLDIER
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 include Visual Effects Producer Josh Jaggars, Visual Effects Supervisor John ‘D.J.’ Des Jardin, and 3D Stereographer Sean Santiago.
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
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, and be sure to include #VESSUPER in your tweet.
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
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 screenings. (be sure to include the hashtag, #vesoblivion, in your tweet.)
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
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
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.
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.
Sunday, December 2, 2012 at 3:00PM
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
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.
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