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• Creating New Worlds and Breaking Barriers for the Next Generation January 18,2022

  

  Growing up outside of Washington, DC, Chris White was fascinated with film and TV that transported him to fantasy worlds, alternative realities or worlds of the future. A VES Award-winning and Academy Award-nominated visual effects supervisor, Chris has created compelling digital environments, characters and effects for some of the most significant VFX films of recent times, including the complex Goblin Caverns environment for The Hobbit: An Unexpected Journey and the photorealistic chimpanzees, orangutans and gorillas that were the stars of Rise of the Planet of the Apes. He is committed to student outreach and building the pipeline for future practitioners as an active member of InclusionFX, which supports and amplifies underrepresented voices in features, television and games.

  

  Chris White, Visual Effects Supervisor/Weta Digital

  As mentors once opened educational doors for me, I feel responsible as a senior artist to give back to the next generation. Working through programs with InclusionFX and Weta Digital, we have opportunities to provide guidance through mentorship, review portfolios and give career advice, hearkening back to what I wish I knew early on. It’s a win-win as we get the rich benefit of students’ enthusiasm and fresh ideas. The visual effects and animation industry needs greater representation, and I’ve seen first-hand how exposure and encouragement have a real impact. We need many voices, talents, history and perspectives to create the worlds of film and television, representing us all.

  Keep pushing forward towards your goals. My gateway to visual effects was a testament to persistence and a kind of accidental pathway. I applied for an internship at ILM multiple times while I was in graduate school and was finally accepted on my fourth try. That pursuit gave me my jumpstart creating vortexes and particle systems on Twister. Writing code for digital tornadoes was a perfect blend of my computer science and arts background. And I was on my way.

  Priorities make diversity, equity and inclusion happen. We need to go back to the university level to build our talent pool and break the barriers that limit advancement and demystify our field, including giving students exposure to the full spectrum of technical and creative jobs that are available. Some believe this is a dream job – it is not a dream job. It is completely accessible and can be a profitable, stable, long-term career. And it’s on us to forge solutions that encourage young visionaries to pursue this career path and get the word out.

  As a senior artist, I feel responsible to give back to the next generation.

  -Chris White, Visual Effects Supervisor, Weta Digital

  When a person sees themselves reflected in future or fantasy space, those worlds become possible. Anything becomes possible. The TV and film worlds I experienced in my youth rarely featured Black characters. I didn’t see myself or my culture reflected in those frames. I am optimistic about the directors and creatives galvanizing the industry today, and I am confident that my son will see himself in the worlds to come on the screen.

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• WEAVING THE INTRICATE WEB OF VFX SPUN BY HIGH-FLYING SPIDER-MAN: NO WAY HOME January 11,2022

  By TREVOR HOGG

  Images courtesy of Marvel Studios.

  

  A new black and gold Spider-Man suit channels Eldritch magic.

  On June 5, 1962, teenage angst accidentally combined with a radioactive arachnoid in a story published in Amazing Fantasy #15 by Stan Lee and Steve Ditko. Since then, there have been various incarnations of Spider-Man living in different dimensions, but the original one resides in New York City on Earth-616. Swinging from the comic-book page into the live-action domain, the Web Slinger first appeared on the children television show The Electric Company, with the mask and tights being donned by puppeteer and dancer Danny Seagren. Hollywood came knocking when Marvel sold the film rights to Cannon Films in 1985, and six years later James Cameron (The Terminator) submitted a 57-page scriptment. However, the ambition was undermined not by the Sinister Six but the financial collapse of the studio.

  

  Multiverse chaos ensues when Peter Parker (Tom Holland) asks Doctor Strange (Benedict Cumberbatch) to turn back time and interrupts the spell.

  Subsequently, Marvel licensed the film rights to Columbia Pictures in 1999, paving the way for Sam Raimi (Army of Darkness) and Tobey Maguire to create a trilogy, with Spider-Man 2 (2004) often being listed as one of the greatest comic book adaptations. In 2012, the franchise was relaunched as The Amazing Spider-Man with Marc Webb (500 Days of Summer) and Andrew Garfield collaborating on a pair of installments. A dramatic shift occurred as the Marvel Cinematic Universe became a box-office juggernaut worthy of Thanos, and a deal was brokered between Marvel Studios and Sony Pictures Entertainment for Tom Holland to make his MCU debut as Peter Parker in Captain America: Civil War (2016) as well as a solo venture under the direction of Jon Watts (Cop Car).

  

  Jamie Foxx returns as Electro to cause some multiverse havoc.

  “The concept art, previs and postvis has been essential when tackling a project like Spider-Man: No Way Home. We rely on such items as the initial stage to begin the digital builds, which can be quite time consuming. … [S]ince the assets from previous movies had been created years ago, most of these previous assets were used as a reference guide. Also, various visual effects elements associated with specific characters had to be re-developed, and some took on a different look per creative direction.”

  —Chris Waegner, Visual Effects Supervisor, Sony Pictures Imageworks

  Spider-Man: No Way Home concludes the MCU trilogy that features Spider-Man: Homecoming (2017) and Spider-Man: Far From Home (2019). The entire Hollywood cinematic history of the Wall Crawler becomes part of the storyline thanks to some ill-advised timeline tampering that unleashes the multiverse, thereby allowing the three big screen iterations of the franchise to merge into one blockbuster event. Unlike his reckless egocentric mentor, Tony Stark, the considerate and self-esteem-hampered Peter Parker had no intentions of revealing his secret to the world, but the right to do so was taken away from him when special effects artist turned villain Quentin Beck aka Mysterio frames the high schooler for his murder and reveals the true identity of Spider-Man.

  

  One of the best performances in Spider-Man: No Way Home is Willem Dafoe reviving his role as the Green Goblin.

  

  Adding to the quota of villains are Electro (Jamie Foxx), Sandman (Thomas Haden Church) and Lizard (Rhys Ifans).

  

  

  Unlike Spider-Man 2, which relied on mechanical arms being puppeteered for Dr. Otto Octavius (Alfred Molina), Spider-Man: No Way Home made use of CG.

  A tabloid maelstrom worthy of the British Royal Family is unleashed, leading to Parker’s every move being the subject of public scrutiny and, in the process, making his friends and family targets of retribution from his growing list of enemies. Wishing his secret had never been revealed, Parker seeks out someone with the same curiosity and willingness to put aside caution as Stark, master of the mystic arts Doctor Strange. The challenge and perilous risk of turning back time is irresistible to Strange, and has second thoughts about his request and disrupts the spell. As a result, separate dimensions collide together bringing forth a multiverse where the multiple variations of the same person can co-exist within the same space.

  Someone with a unique perspective on the project is Sony Pictures Imageworks Visual Effects Supervisor Chris Waegner (Men in Black: International) who partnered with Marvel Studios Visual Effects Supervisor Kelly Port (Beauty and the Beast), as well as with Digital Domain, Framestore, Luma Pictures, Crafty Apes, MR. X, Cinesite, Gradient FX, Folks VFX, SSVFX, MARZ and Perception to produce 2,400 shots. Waegner was an uncredited technical adviser on Spider-Man, a lead character setup artist on Spider-Man 2, CG Supervisor on The Amazing Spider-Man and The Amazing Spider-Man 2, and Digital Effects Supervisor on Spider-Man: Homecoming. Comments Waegner, “The opportunity of having worked with three great directors and their creative teams on all cinematic franchises has been a wonderful experience. It has given me a wealth of knowledge that I’ve brought with me to the latest instalment depicting the multiverse in Spider-Man: No Way Home.”

  “Fortunately, some of these concepts [in the new film] had been explored and visually developed within previous films, creating a visual language that fans can relate to. These previous films have become a great source that we were able to build upon. Often times, this requires new workflows, techniques and specific software development to ensure we meet the creative demands of the creative team.”

  —Chris Waegner, Visual Effects Supervisor, Sony Pictures Imageworks

  Like Webb, Jon Watts made a name for himself as an indie filmmaker with the crime thriller Cop Car (2015), revolving around two 10-years-olds taking an abandoned cop car for a joyride only to be pursued by a sheriff looking for the missing vehicle. Marvel Studios has gotten in the habit of choosing those with a proven indie track record rather than established Hollywood directors. One theory for this is that Marvel Studios can exert more control over the production, while others suggest that it has to do with the ability for indie filmmakers to develop empathetic characters which are what immerse audience members in the storyline, not the visual effects spectacles. “Jon Watts is very passionate about the story he’s telling and his characters,” notes Waegner. “He’s collaborative and at times will even act out specific actions he feels are important for these characters.” Watts has collaborated through the trilogy with The LEGO Batman Movie screenwriters Chris McKenna and Erik Sommers, twice with Special Effects Supervisor Daniel Sudick (Ant-Man and the Wasp), and welcomed Production Designer Darren Gilford (The King’s Man) and Cinematographer Mauro Fiore (X-Men: Dark Phoenix) into the fold.

  An overseer of the overall aesthetic of the MCU since Iron Man (2008) is Ryan Meinerding, Head of Visual Development, Marvel Studios. Upwards of 200 to 300 designs can be done for a character in the MCU before settling on the final version. “One of the fun parts of my job is the notion of knowing that the Iron Man suit could mean something different in the next movie, and figuring out how to make the character design a storytelling opportunity. Sometimes the storytelling is not that important, like the notion of Tony Stark’s armor getting more advanced. However, in other occasions, Captain America is wearing a shield outfit instead of a Captain America costume because he has left behind some of the patriotism that had been part of his previous looks.”

  

  

  

  The web slinging and crawling techniques for Spider-Man get more refined with each film.

  “The characters themselves all have their own unique style of VFX associated with their abilities. Since this franchise spans across many years, VFX styles for specific characters had to be reinvented, and in some cases refined/changed in order to craft a look toward Jon’s vision. Dr Otto Octavious had a small team associated just to him in order to resurrect the same visual demands with our modern software and pipeline. It was important to the filmmakers and fans that he literally matched to the previous movie.”

  —Chris Waegner, Visual Effects Supervisor, Sony Pictures Imageworks

  

  

  

  Doctor Strange (Benedict Cumberbatch) unleashes the Astral Form of Spider-Man (Tom Holland), which is when the soul exists outside of the body in a parallel dimension.

  The Iron Spider Suit makes an appearance featuring a red, blue and gold color palette as well as the high-tech mechanical iron spider arms and nanobots that result in a quick suit transformation. “The concept art, previs and postvis has been essential when tackling a project like Spider-Man: No Way Home,” remarks Waegner. “We rely on such items as the initial stage to begin the digital builds, which can be quite time consuming.” For the most part, adds Waegner, the visual effects created for the previous films were not leveraged, as the technology is constantly evolving. “In some cases, yes, but since the assets from previous movies had been created years ago, most of these previous assets were used as a reference guide. Also, various visual effects elements associated with specific characters had to be re-developed, and some took on a different look per creative direction.”

  Magic and the multiverse had their own unique technical challenges. “Concepts like the multiverse require quite a bit of visual research on many levels,” states Waegner. “It’s very important to create something the audience can relate to and is visually fresh. Hours have been spent going through visual media, which can be scientifically-based art concepts and found media, to help create images that are special to the show.” Adding an element of surrealism is the Astral Form, Eldritch magic, portals and Mandelbroting associated with Doctor Strange, leading to the various dimensional versions of the train sequence taking place at the same time. “Fortunately,” says Waegner, “some of these concepts had been explored and visually developed within previous films, creating a visual language that fans can relate to. These previous films have become a great source that we were able to build upon.” Most films requiring high-concept, intense visual effects will need development. “Often times,” Waegner observes, “this requires new workflows, techniques and specific software development to ensure we meet the creative demands of the creative team.

  “Sony Picture Imageworks completed approximately 600 shots and many digital assets, with a production time of 10 months,” continues Waegner. “The digital scope of this show is quite vast. We shared many of our digital assets and several were shared with us. Modern software and technology have allowed the ‘shared asset’ concept to work much smoother these days between different VFX facilities.”

  A major part of the visual effects centers around the supernatural powers. “The characters themselves all have their own unique style of VFX associated with their abilities,” states Waegner. “Since this franchise spans across many years, VFX styles for specific characters had to be reinvented, and in some cases refined/changed in order to craft a look toward Jon’s vision.” Digital effects have come such a long way that the practical arms which were puppeteered during the making of Spider-Man 2 for Doc Ock are now a CG creation, and de-aging has become a standard practice for the MCU. Says Waegner, “Dr.  Otto Octavious had a small team associated just to him in order to resurrect the same visual demands with our modern software and pipeline. It was important to the filmmakers and fans that he literally matched to the previous movie.”

  “Having worked on all the previous films, our web slinging and crawling techniques seem to get more refined with each film. In this case some small refinements were implemented achieving the same great results. The efficiencies in this area allowed the team to focus on other needs for the show.”

  —Chris Waegner, Visual Effects Supervisor, Sony Pictures Imageworks

  There can be no Spider-Man without web shootings, webbing and gravity-defying action. “Having worked on all the previous films, our web slinging and crawling techniques seem to get more refined with each film,” notes Waegner. “In this case some small refinements were implemented achieving the same great results. The efficiencies in this area allowed the team to focus on other needs for the show.”

  If Spider-Man: No Way Home can channel the critical and box-office success of Spider-Man: Into the Spider-Verse, one can expect more multiverse scenarios populating the MCU, as it will literally allow for different dimensions of characters to be explored which will result in unlimited storytelling possibilities. “On a show like this,” says Waegner, “the biggest challenge is to always meet the visual needs of our director and the adoring fans. There’s such a deep rich history with these characters and their individual stories throughout the entire franchise. It’s our responsibility to raise the bar and set a new standard for the franchise.”

  

  

  

  

  2,400 visual effects shots were produced with the magic and the multiverse creating their own set of creative and technical challenges.
• THE VFX OSCAR – FOR IMAGERY TRANSCENDING A TIME OF TURBULENCE January 10,2022

   By TREVOR HOGG 

  

  Special effects team lead Gerd Nefzer created 300 palm leaves that were later engulfed in flames for a brief scene in Dune. (Image courtesy of Warner Bros. Pictures)

  

  The only James Bond outings to receive Oscar nominations for Best Visual Effects were Thunderball and Moonraker, with No Time to Die looking to add to the total. (Image courtesy of EON Productions, United Artists Releasing and Metro Goldwyn Mayer Studios)

  An action adventure about rival fishermen was the first to be acknowledged for outstanding achievement in creating Special Photographic and Sound Effects. The legacy started by Spawn of the North (1938) at the 10th Academy Awards would later see the two different crafts be given their own separate categories with Emil Kosa Jr. receiving the Best Special Visual Effects Award for Cleopatra at the 36th Academy Awards. A sign of what was to come occurred in 1979 when five rather than the usual three nominees vied for the renamed Best Visual Effects Award with two being the first installments of major cinematic franchises: Alien (the winner) and Star Trek: The Motion Picture. Five nominees became the standard when Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb took center stage at the Kodak Theatre for Inception. 

  The past three winners First Man (2018), 1917 (2019) and Tenet (2020) have been rewarded for their ability to seamlessly blend practical and digital effects rather than being pure CG spectacle. As for what to expect at the 94th Academy Awards on March 27, 2022 predictions have been complicated by theatrical release dates being like moving targets with an expected nominee Top Gun: Maverick being jettisoned to 2022 while Venom: Let There be Carnage was moved up a couple of weeks. The only certainty is uncertainty. So here, after consulting a number of industry experts to get even a faint pulse of what might happen when the nominees are announced on February 8 are the best guesses for best effects.

  One has to wonder what would have happened if Ridley Scott had not left the original production of Dune for family reasons and been replaced by David Lynch. But then Blade Runner would not have come into existence. Serving as a bridge between ‘what if’ and what actually happened is Denis Villeneuve, who directed the sequel Blade Runner 2049, which went on to win the Oscar for Best Visual Effects in 2017, and got to make his teenage aspiration of re-directing Dune a reality. The story revolves around a spice with supernatural properties, blue-eyed desert inhabitants, giant sandworms, insectoid vehicles, a manipulative galactic empire and a messiah.

  

  Jason Reitman follows in the paranormal footsteps of his father, Ivan Reitman, in bringing Ghostbusters: Afterlife to the big screen. (Image courtesy of Columbia Pictures) 

  There is a possibility that only covering half of the first book, as well as aspects of the narrative making their way into Star Wars, might work against the production. However, the term ‘visionary’ is not used haphazardly when describing Villeneuve, who is able to create epic worlds that do not overshadow the trials and tribulations of the characters. His emphasis on naturalism, which is built upon real locations and sets that are digitally augmented, will avoid the campy and outdated effects that plagued Lynch, and pave the way to Oscar glory for a second time. 

  What are going to be the contenders that could possibly usurp House Atreides? Marvel Studios has made a heroic effort with the Phase 4 release of Shang-Chi and the Legend of the Ten Rings and Eternals. Marvel Studios President and COO Kevin Feige has a developed reputation for what are seen to be risky projects that turn out to be box office gold with the prime example being Guardians of the Galaxy, which received one of the 10 Oscar nominations for the MCU when it comes to visual effects; however, the comic book empire that Stan Lee, Jack Kirby and Steve Ditko built has yet to see that translated into a win. Shang-Chi features Destin Daniel Cretton utilizing the crowd-pleasing bar-brawling of Captain America with the iconic Vibranium shield replaced by magical bracelets.

  The fight choreography is elevated by paying homage to the death-defying Hong Kong action films that pride themselves on showmanship. Much has been said about the bus and scaffolding fights that embody the mischievous spirit and determination of Jackie Chan, which is a welcomed addition to the MCU. As for Eternals, Chloé Zhao follows the Villeneuve philosophy of naturalism and the avoidance of vibrant, saturated colors. She is essentially dealing with celestial beings echoing the Gods of Olympus, with the major exception being that their view of the world comes from ground-level rather than a mountaintop.

  Also, banking on the popularity of comic book adaptations is Sony Pictures which has partnered with Marvel Studios on Spider-Man: No Way Home (2018) and gone solo with Venom: Let There be Carnage.

  

  Not surprisingly, epic visuals were created for the rematch between iconic kaiju in Godzilla vs. Kong. (Image courtesy of Warner Bros. Pictures) 

   

  

  Jungle Cruise channels the African Queen via Pirates of the Caribbean, which was also inspired by a theme park ride. (Image courtesy of Walt Disney Studios) 

  

  By taking cues from Hong Kong martial arts films, the fight sequences in Shang-Chi and the Legend of the Ten Rings rise above what has been seen before in the MCU. (Image courtesy of Marvel Studios) 

  

  Doctor Strange brings some of his magic to Spider-Man: No Way Home, such as summoning the astral form of Peter Parker. (Image courtesy of Sony Pictures)

   

  

  Symbiotes reign supreme with serial killer Cletus Kasady making a pact with the main adversary in Venom: Let There Be Carnage. (Image courtesy of Columbia Pictures) 

   

  

  A dream becomes a reality as Steven Spielberg finally gets to make a musical with his remake of West Side Story. (Image courtesy of 20^th Century Studios and Walt Disney Studios) 

  For the sheer fun factor and nostalgia appeal, the edge has to be given to the quick-witted Web Slinger from New York City. If Jon Watts can capture even half of the innovative and narrative craftmanship exhibited in the Oscar-winning Spider-Man: Into the Spider-Verse, that will go a long way to satisfying the masses and Academy voters. Just the thought of the various cinematic incarnations of Peter Parker and his adversaries appearing together for the first time is enough to spark giggles of glee, but is also a recipe for utter disaster like Spider-Man 3 which was riddled with the ‘way too many characters’ syndrome despite being directed Sam Raimi. 

  For the adult crowd craving an R rating rather than a PG13, have no fear as the symbiote that debuted in Spider-Man 3 has gained enough popularity to warrant the Venom sequel directed by Andy Serkis. The true act of wizardry has been the ability to create the Dr. Jekyll and Mr. Hyde dynamic without obscuring the performance of Tom Hardy as a mild-mannered investigative journalist having to share his body with an aggressive and perpetually hungry alien parasite. Undoubtedly, the blood and gore factor will be upped as a serial killer portrayed by Woody Harrelson gets infected and fully embraces the opportunity to greatly increase his sociopathic mayhem. 

  Godzilla vs. Kong, Jungle Cruise and The Suicide Squad would make an interesting threesome battle. The safe bet would be Adam Wingard’s rematch between the iconic Kaiju that became a cultural institution in Japan and later to the entire world. Interestingly, the original King Kong (1933) sparked the discussion about establishing a visual effects award with producer David O. Selznick petitioning the Academy Board of Governors to recognize the groundbreaking work of animator Willis O’Brien. It is a testimony to how far the digital technology has matured that a project like this required no major pipeline overhaul and the artists could focus more on crafting the performances of the creatures. Jungle Cruise by Spanish director Jaume Collet-Serra takes place in an African Queen setting and mixes together the Oscar-winning effects of Life of Pi and Pirates of the Caribbean: Dead Man’s Chest by bringing to life a photorealistic leopard and living-dead buccaneers. When it comes to The Suicide Squad, what is there not to love about Sylvester Stallone voicing a giant shark that is an aquatic manifestation of Rocky Balboa with a much lower IQ and treats his opponents as edible snacks? James Gunn has done a great job in the past of integrating CG characters into the principal cast, in particular a monosyllabic anthropomorphic tree. 

  Considering the harsh critical reaction to the two sequels, it is hard to imagine Lana Wachowski returning to the franchise that launched her blockbuster career, unlike her sister Lilly who decided to take the blue pill this time around. The Matrix was lauded with an Oscar, while Reloaded (2003) and Revolutions (2003) were not even nominated despite being a training ground for a lot of the top visual effects talent in the industry today. The Matrix Resurrections brings Neo and Trinity back to life by having Keanu Reeves and Carrie-Ann Moss return to their signature roles. The storytelling ambitions of the Wachowskis always go way beyond the realm of what is physically possible, which means that Reeves and Moss will be surrounded and supported by boundary-pushing technology.

  

  James Gunn is no stranger when it comes to incorporating CG characters into the principal cast, such as the monosyllabic King Shark voiced by Sylvester Stallone in The Suicide Squad. (Image courtesy of Warner Bros.)

  

  David Lowery deserves credit for re-imagining an Arthurian legend on an independent budget that features a talking fox, walking giants and a defiant tree adversary in The Green Knight. (Image courtesy of A24)

   

  

  Defying their AI overlords, Neo and Trinity resurface once again in The Matrix Resurrections. (Image courtesy of Warner Bros. Pictures) 

  Another franchise revival has become a family affair as Jason Reitman follows in the footsteps of his father, Ivan Reitman, with the release of Ghostbusters: Afterlife. Homages have been woven into visuals with miniature rather than skyscraper-sized Stay Puft Marshmallow Men making an appearance along with Slimer, an ominous thunderstorm, and the station wagon emblazoned with the Ghostbusters logo. Despite the supernatural premise, both Reitmans use visual effects to heighten the dramatic and comedic situations that reveal something about their characters. 

  Visual effects are not only found in the action and science fiction genres as they assisted Steven Spielberg in fulfilling his ambition of shooting a musical with his remake of the West Side Story; the closest for him previously was the opening sequence in Indiana Jones and the Temple of Doom (1984). There will be no digital doubles or massive explosions to be simulated, but expect invisible environmental work to get the necessary size and scope that will enhance the already gorgeous cinematography by Janusz Kaminski.

  For the outlier that might surprise everybody, David Lowery took the time during the pandemic lockdown to re-edit The Green Knight and added another 60 visual effects shots. The work consists of a talking fox, a tree-like adversary, wandering giants and fantastical landscapes done with an indie budget. That in itself is a major feat worth celebrating. 

• HOW INTERNAL ART DEPARTMENTS HELP TO SHAPE THE VFX STORY January 10,2022

   By IAN FAILES

  

   A Framestore concept frame for Blade Runner 2049. (Image courtesy of Framestore. Copyright © 2017 Warner Bros. Pictures) 

  We regularly hear about the incredible artistry inside visual effects studios to pull off final shots. But a key step in the VFX component not always discussed is the intricate concept, design and visualization processes carried out within visual effects studios, which often helps shape the particular story being told. 

  In this roundtable discussion, representatives from Framestore, ILM, Pixomondo, Scanline VFX, Technicolor Creative Studios, TRIXTER and Weta Digital break down their role in this story-shaping process, especially within their internal art departments.

   

  THE PROCESS BEGINS

  Daniel Matthews, Concept Artist, TRIXTER: “We will get our very first brief via our internal supervisor on a project, who distills a short, open ‘TL;DR’ version of what’s been discussed with the client. This minimal brief helps us to keep our creativity totally free-flowing, and allows us to cast the widest net possible for ideas. It gives us the freedom to mess up – which is a fantastic thing as an artist – and get bad ideas out of our system. It allows us to brainstorm and build on each other’s ideas as a team. At this stage, ‘happy little accidents’ can happen which often work their way into the final result.”

  Mujia Liao, Head of Virtual Art Department/Art Director, Pixomondo Toronto: “Generally, we create mood boards, sketches, illustrations and key art frames that describe a particular moment in the show to help drive the direction for other departments to follow. Aside from creating designs from scratch, we collaborate closely with the asset department. We create paint-overs on renders for quick design changes, mocking up texture/color variations, as well as provide reference photography to help the asset team look dev the character/creature/environment.”

  

  Mujia Liao carried out matte painting work on a hollow-like planet in Star Trek Discovery. (Image courtesy of Pixomondo. Copyright © 2020 CBS Television Studios) 

  James Clyne, Senior Visual Effects Art Director, ILM: “I don’t think there is a part of the production pipeline that ILM’s art department doesn’t touch. The department is involved in ‘blue sky’ conceptual designs, working directly with the director or with the production designer, sometimes just with the studio. Then we’re involved in everything from character design to vehicle design, prop design, environments and creatures. I think VFX has also allowed filmmakers to make some of the design decisions a little later because we can actually tackle some of those design decisions in post-production like we couldn’t before.” 

  Martin Macrae, Head of Art Department, Framestore: “As well as designing for projects internally, we’re also able to work independently on projects that don’t necessarily come through the company’s VFX team. Another part of what we do is to help directors put a pitch package together for studio presentations to help get a film greenlit. This will involve discussions with the director to try and establish their vision for the film, taking extracts from early drafts of the script, if there’s one ready, and creating concept art for film beats that evoke the right look and feel for key scenes in the story.” 

  Leandre Lagrange, Art Director, Technicolor Creative Studios: “We often get pulled in for greenlighting a project. At that point there is no VFX involved at all. Either we’re being reached out to by studios or we already have a VFX supervisor attached to the project who invites us to create images as a pitch to do the final shots. There are lots of different roles we play.” 

  

  A ship and plan design illustration crafted by Scanline VFX for Midway. (Image courtesy of Scanline VFX. Copyright © 2019 Lionsgate Ltd.)

   

  

  A scene from Prometheus in which the art and the final matte painting work melded into one. (Image courtesy of Technicolor Creative Studios. Copyright © 2012 20th Century Fox) 

  

  Rodan emerges from a volcano in a concept piece by Technicolor Creative Studios. (Image courtesy of Technicolor Creative Studios. Copyright © 2019 Warner Bros. Pictures) 

  

  TRIXTER crafted its artwork over Black Widow plate photography. (Image courtesy of TRIXTER. Copyright © 2021 Marvel) 

   

  

  The final reveal, in TRIXTER concept form, for this Black Widow scene. (Image courtesy of TRIXTER. Copyright © 2021 Marvel) 

  Jelmer Boskma, Visual Effects Supervisor and Art Director, Scanline VFX: “There have been projects where we were involved early enough to help establish the look and influence the shoot in a way that complemented our ideas and designs wonderfully. Obviously, this is particularly beneficial to us as we can ensure the lighting and general shot setups will translate well later in post. Just as common, though, is for our design services to be requested at a later stage during production. It’s not uncommon for a director to have a change of heart with regards to a certain design, or to find the production’s art department to have simply ran out of time to fully flesh out an idea.” 

  Sidney Kombo-Kintombo, Animation Supervisor, Weta Digital: “I’m an animation supervisor, but I do lots of previs as well now. It’s even sometimes previs at the end, in the post-production process. It can be previs, postvis and shots all melded into one thing. For example, Marvel always comes up a very strong concept of what they want – ‘Let’s have a dogfight in a canyon.’ They’ll have super-strong art development. But then the missing link is the connection between that strong concept design art and the thrill of the visual. It’s basically taking the strong concept that already exists and adding all the little elements that make that concept visually as interesting as it can be.” 

  TOOLS OF THE TRADE 

  James Clyne, ILM: “There are many applications that we use. I would say Photoshop is probably the most dominant, but there’s a lot of 3D applications from Maya to Modo that people are using every day. The strength lies in not just being really good at one thing, but being pretty proficient at not only 2D drawing, but 3D model modelling as well, and being able to do rapid sketching, all the way up to doing photorealistic environments.” 

  Martin Macrae, Framestore: “It’s a very organic process, every project is done in its own unique way with no set ways to get things done. Artists can use whatever means they need to get an idea out, be it a pencil sketch or a 3D sketch – it doesn’t really matter what tools they use. Concept artists need to be flexible in the way they work as the creative idea is the most important thing to get out, so they have access to any software they need to use. When it comes to software the trend now seems to be Photoshop and Blender, but, again, anything goes.”

  

  ILM’s James Clyne designed this bomber for Star Wars: The Last Jedi. (Image courtesy of ILM. Copyright © 2017 Lucasfilm Ltd.)

  

  For Spider-Man: Far From Home, Scanline helped establish the smokey look of Mysterio’s suit. (Image courtesy of Scanline VFX. Copyright © 2019 Sony Pictures)

   

  

  The futuristic, and heavily polluted, Las Vegas in Blade Runner 2049 as imagined by Framestore. (Image courtesy of Framestore. Copyright © 2017 Warner Bros. Pictures) 

  Daniel Matthews, TRIXTER: “Some of my colleagues like to explore 3D with Blender or ZBrush, or even using 3D fractals like Mandelbulbs as a base for their concept art. However, I prefer to start out with free-flow using Photoshop and sketches, which sometimes allows happy accidents to occur. If I want to explore 3D, it’s usually with cool software called 3D Coat.”

  Jelmer Boskma, Scanline VFX: “Some artists are more comfortable working in 3D and are able to provide high quality iterations in a highly economic manner that way. Others rely more on their traditional drawing and painting skills to communicate ideas. Certain tasks call for a specific approach, but, in general, whatever gets the job done well in a quick and organized manner wins. Whether that is through painting in Photoshop, sculpting in ZBrush, photo-bashing, a rough 3D render, a mock-up in SketchUp, or most commonly a combination of all of the above.”

  Leandre Lagrange, Technicolor: “We do create a lot of FX simulations with 3D tools such as Blender and Vectron to give us a base to work from. With painting skills and photo-manipulations, there’s quite a lot that you can do for concepting those. It’s preferable not to have a Houdini artist go into it on their own and start shooting in the dark because it’s very time consuming and it’s so heavy. The idea is we’re giving them a look and feel and some direction, and then they can work with that. As it goes on, they can create more and more accurate FX simulations based on the images that we create. We have a close relationship with VFX artists for that type of complex FX work.”

  

  Digital matte painting by Mujia Liao for the jawa camp in an episode of The Mandalorian. (Image courtesy of Pixomondo. Copyright © 2019 Lucasfilm Ltd.) 

  

  Concept by Mujia Liao for Midway. (Image courtesy of Pixomondo. Copyright © 2019 Lionsgate Ltd.) 

  
  

  

  A development frame by Framestore for Pan. (Image courtesy of Framestore. Copyright © 2015 Warner Bros. Pictures) 

  Sidney Kombo-Kintombo, Weta Digital: “I storyboard a lot. I always try to have a really quick visual sketch of what I’m after. So Photoshop is a big part of it, just like any concept artist will do. But right after that it’s straight into Maya [for previs or postvis]. The best way to make sure that you’re not going to hit any hiccups is to make sure that you are doing this in the software package that will be used ultimately for the shots.” 

  KEY PROJECTS, KEY CHALLENGES 

  Daniel Matthews, TRIXTER: “The photostatic veil in Black Widow stayed in the refinement stage for a long time. As they say, 20% of the work takes 80% of the time. We had a rough idea of the look we were aiming for, but of course we wanted to make something new, exciting and as good as possible. The idea was to make this mask look like one of those peel-off self-care masks, with the ability to make the wearer look like someone else entirely. There was also the matter of finding the right shapes. In the end, we settled for the hexagon pattern, which fans say is a shape that features heavily in the Marvel Universe. We definitely get it – hexagons look great, have a futuristic tech-y feel and fit together neatly.” 

  Jelmer Boskma, Scanline VFX: “We worked on designs for Mysterio’s smokey FX appearance in Spider-Man: Far From Home. We provided concept illustrations in which we tried to capture the look and feel of the effect as much as possible within the constraints of a still image. For FX like these, illustrations only provide part of the solution. Much of the final design is based on the motion, timing and behavior of the simulation. We find that approaching design challenges like this from multiple angles is essential to finding the answer for a director. As a general principle, we like to instill as much real-world reference and logic into any design to give the idea a grounding in reality.” 

  

  A sunken boat dining room concept by Scanline VFX for Miss Peregrine’s Home for Peculiar Children. (Image courtesy of Scanline VFX. Copyright © 2016 20th Century Fox) 

  

  An ILM concept for one of the conquistador characters in Jungle Cruise. (Image courtesy of ILM. Copyright © 2021 Walt Disney Pictures) 

  Sidney Kombo-Kintombo, Weta Digital: “On the canyon chase in The Falcon and the Winter Soldier, we tried to see what we could change in the original design of the canyon to make that a more thrilling experience. The first thing I do is go to dogfight reference – Star Wars comes to mind, and Japanese anime. We say, ‘How can we make this interesting?’ I try to come up with the idea for the sequence first and then the environment that makes that idea shine. We rebuilt the canyon from scratch. We did that in the animation department. Usually, the build comes out of modeling and layout, but here it was more a rough model of blocks of rocks done in the animation stage. Animation then passed it back to modeling who adjusted it. It’s a different way of creating the same type of work.” 

  Leandre Lagrange, Technicolor: “For Prometheus, some of our pieces of artwork were actually concepted by an artist who had a digital matte painting (DMP) background. So, they would actually end up being projected and used in the final VFX shots in the film. Then on Godzilla: King of the Monsters, for example, we worked on an image of Rodan emerging from a volcano. For that we used a design that was already done by Amalgamated Dynamics. We used their design and then built on top of that to make an image. That was more about making a key frame.” 

  Mujia Liao, Pixomondo: “On The Mandalorian, we worked on several environments on the planet of Arvala-7, a very barren, desert-like planet covered in wet mud, home to creatures like the iconic Blurrgs. I turned to what I knew best and ended up matte painting the looks we needed for approval. We looked closely at a large number of deserts and found some good images of Atacama Desert after rainfall, although none really provided us with the level of detail we needed. Our CG Supervisor, Winrik Haentjens, then came across this area in Toronto’s Scarborough Bluffs with snow that was just starting to melt, creating these streams that flowed across a muddy surface, giving us some beautiful natural-looking erosion shapes. We took lots of photos of that area and created photogrammetry of the details, and that became the foundation to the closeup areas of Arvala.” 

  

  Martin Macrae,
  Head of Art Department,
  Framestore

   

  

  Jelmer Boskma, Visual Effects Supervisor/Art Director, Scanline VFX

   

  

  Sidney Kombo-Kintombo, Animation Supervisor, Weta Digital

  

  Mujia Liao, Head of Virtual Art Department/Art Director, Pixomondo Toronto

   

  

  Leandre Lagrange, Head of Art Department, Technicolor Creative Studios

   

  

  Daniel Matthews, Concept Artist, TRIXTER

   

  

  James Clyne, Senior Visual Effects Art Director, ILM

  A New Dawn in the VFX Art Department

  The rise of virtual production has introduced many chang- es to the way visual effects studios operate. LED volume and stage work in particular require some of the final pixel VFX shot work to be carried out upfront – before shooting – rather than traditionally in post.

  This means that some production companies and visual effects studios have now launched virtual art departments, or VADs. For example, Weta Digital established a VAD-like department out of work on Avatar and Tintin, with a formal VAD on The BFG, while Lucasfilm and ILM ramped up a VAD with The Mandalorian. Other studios such as Pixomondo have followed suit.

  “With the same emphasis in visual development and pre-production, the VAD focuses on not only design but creation of real-time assets from initial lookdev to produc- tion-ready models and environments for virtual production,” details Mujia Liao, Head of Virtual Art Department/Art Director at Pixomondo Toronto.

  “We process practical scans and create custom assets to block out initial environments, allowing our clients to do virtual scouts and pre-light early on. In addition to the pre- liminary environment build, the VAD will also supply close to final key visuals by over-painting and hand-off design packages including photographic references and mood boards. This design package and early environment build sets a solid foundation for our virtual production and VFXteams to take further into fully realized worlds.”

  Martin Macrae, Framestore: “Blade Runner 2049 was a definite highlight for all of us. For Vegas, we worked initially from designs coming from the production designer and Syd Mead sketches, and working closely with VFX we set to work designing everything from large buildings right down to street-level details, also designing the spinner drone that flew over the city – everything was thought out. We generated hundreds of sketches, paintings and 3D models, all with the purpose to help finalize a look for this sequence so the Montreal team could generate the final shots. As an art department we worked on Blade Runner for over a year and loved every second of it!” 

  James Clyne, ILM: “On The Last Jedi we had to design this bomber. We were asking ourselves, what is a Star Wars bomber? How does that work in space? I started developing something that had a vertical bomb bay rather than a typical horizontal one. The director, Rian Johnson, said, ‘I like the idea, but you’re going to have to really show me that it works.’ So we went back to the drawing board and did drawings and models of it. It was story driving the design rather than the design driving the story. Through discussions and weeks and weeks building out what this could be, it became what you saw in the movie, which was amazing.” 
• LYNWEN BRENNAN: KEEPING LUCASFILM AT THE FOREFRONT OF ENTERTAINMENT January 10,2022

  By TREVOR HOGG

  Images courtesy of Lynwen Brennan and Lucasfilm.

  

  Lynwen Brennan, Executive Vice President & General Manager, Lucasfilm.

   Looking at the responsibilities of Lucasfilm Executive Vice President & General Manager Lynwen Brennan, which involves overseeing Lucasfilm, ILM and Skywalker Sound, one could imagine her head spinning around in bewilderment, but via Zoom she has a ready smile and good sense of humor. “Sometimes it does feel like that! I have an amazing team that helps to keep me on track.”

  San Francisco is half a world away from Tenby, Wales where Brennan was the youngest of three born to two school teachers. “It’s as far away from Heathrow Airport as you could possibly get on that island. Everybody knows everybody. My childhood was spent either in the harbor, on the beach or on a boat. My dad was a larger-than-life personality. I got my drive and values of being respectful and interested in other people from him. My mum was definitely the organizer and her work ethic is a thing to behold even now at the age of 84.”

  Music rather than movies had a big influence on the family. “My sister and niece are music teachers,” states Brennan, who is an Honorary Fellow of the Royal Welsh College of Music and Drama. “Those experiences of playing in orchestras and being involved in a team at such an early age, having those social experiences and having that self-motivation to do your part and practice were hugely important. I play the piano every day. It was the first instrument that I learned. I played the violin and viola in the orchestra, which I still play but not well.” Tenby had one cinema that has since closed down. “I was a [Girl Guide] Brownie when my father took us to see Jaws. Bear in mind I was in a coastal town and spent my whole life on a boat. I was terrified to go into the sea or to even have a bath for ages afterwards! That was the first one I remember going to see. Watching movies became a social thing with friends. When there was a good movie on terrestrial TV, we would get together to watch it. When we were able to get VHS tapes, I watched E.T. the Extra-Terrestrial and Grease over and over again. Then I got into wanting to actually understand more about movies and what I should be watching, like Casablanca and Citizen Kane.”

  Her career path to the movie industry was paved by accidents. “I did biology and geography at the University of London and specialized more on the ecology side,” remarks Brennan. “I was interested in the history behind human behavior and how that leads to either sustainable land use practices or environmental damage. I had intended to take a year off after university and return to do a Masters or PhD or go into law.

  

  Brennan with ILM leadership team Hal Hickel and John Knoll posing with the Oscars and VES Awards won by ILM.

  The week after I graduated, I went to a local theme park with some friends and fell off of a rollercoaster. It took me about a year to learn how to walk again. In that time my brother, who had been working in broadcast television graphics, had an idea to do some software for film visual effects. He was thinking about setting up Parallax Software and asked me if I would help him. There were only five us in the beginning. I was doing everything from hiring people, payroll, customer support, marketing, public relations, office management to sales. About nine months later, we went to our first tradeshow and Doug Smythe at ILM was looking for the type of paint and roto software that we had created, called Matador. ILM was our first customer and Jurassic Park was the first film that they used it on. I remember sitting in the theater, seeing that Brontosaurus walk onto the screen, and thinking, ‘This is what I’m going to do, and I’m going to work at ILM one day.’” 

  Parallax Software was sold to Avid Technology in 1995. “I stayed there for two years and was then asked to work for Alias Wavefront for a period of time,” recalls Brennan. “Cliff Plumer, who had worked at Parallax with us, was at ILM and called me about an entry level job and asked if I wanted to assist them to gear up for Star Wars: Episode I – The Phantom Menace. I thought, ‘I’ll do that for six months and then go back to the U.K.’ That was 22 years ago and I’m still here. Much has and hasn’t changed, which is the way we like it at ILM. I started as a Technical Area Leader for the Computer Graphics Technical Directors. A lot of the time then was hiring artists and figuring out how to scale the crewing systems that we had to handle multiple shows at one time. As things began consolidating, growing and requiring efficiency within the way that we ran the computer graphics side of things, I organically absorbed new responsibilities. I worked my way through the entire pipeline. Eventually, while I was on maternity leave, Chrissie England told me that she was intending to retire and would like me to take on the presidency [of ILM]. I would have a nice ramp in to learn the ropes from her, and she was generous with her contacts and training me on how to work with clients to get their visions on the screen.” 

  A radical shift had to be made to the business model of ILM as global tax incentives as high as 40% became important in attracting clients. “We grew our Singapore office, pivoted away from games and animation, and focused that team on full pipeline visual effects,” explains Brennan. “This was right around the time of the acquisition by Disney, and George Lucas brought Kathleen Kennedy in.

  

  Brennan with the Marvel Studios leadership team of
  Victoria Alonso, Peyton Reed, Kevin Feige and Joe Russo.

  

   Brennan is interviewed by Andi Gutierrez of The Star Wars Show during the 2019 “Star Wars Celebration” in Chicago. 

  

  The Tech Building of Skywalker Sound, located at Skywalker Ranch in Lucas Valley, near Nicasio, California.

  

  The Perfect Storm was a project that nearly brought ILM to its knees. 

  

  The advancements in digital effects have come along way from Star Wars, which was entirely optical, to Star Wars: The Rise of Skywalker, which features CG spaceships. 

  We were going to make movies again, and wherever shooting was taking place we had to make sure that ILM had a studio there. We expanded into London, Vancouver and more recently to Sydney. That was a huge shift from a management perspective to figure out how do you scale as a global company and keep the DNA that is ILM, but also allow those studios to have a unique character. How do you share work across shots, sequences or shows between studios in different time zones? Also, how do we keep our San Francisco studio feeling energized that its not their jobs going away, and when we’re saying that we are committed to staying in California, we really mean it. San Francisco is as big now as it was then. The part that hasn’t changed is the spirit of loving impossible things, and we’ll figure it out together. John Knoll always says, ‘A good idea is always a good idea no matter where it comes from.’ That is the mantra of ILM. I love that constant striving to push the envelope and to do better. There is never a sense that we know it all, and you can sit back and rest on your laurels.” 

  “Everybody in visual effects knows that it is not an easy business to run and stay profitable,” observes Brennan. “You have to have a clear vision of what is your North Star. We want to be putting images on the screen that delight audiences and enthuse our clients. We want to be delivering to our directors things that are even better than what they had already imagined. We also want to be looking for work that isn’t just what we’ve done over and over again. We do 15 projects at one time right now, so not everything is something that we haven’t done before, but there is probably an element of it in everything that we do. I will often say when we have taken on something that is hard and the financials are looking scary, ‘Remember why we took it on.’ You’re looking ahead of what you’re going to need, what the problems are, trying to solve them in advance, and you move things around in the company as you need to.

  

  A scene from Star Wars: Episode I – The Phantom Menace. Brennan’s first job at ILM was as a Technical Area Leader for the Computer Graphics Technical Directors. 

  

  Brennan joined ILM as Star Wars: Episode I – The Phantom Menace was about to begin production. 

   

  

  The gamble of relying on StageCraft paid off for the production of The Mandalorian. 

  We have amazing producers who are making sure that we are focusing the resources on where the problems are going to be. Also try to minimize the amount of time that you waste. If we have a full pipeline, there is a lot of leeway in terms of efficiency. If you don’t have a full pipeline, then you lose money very quickly over the year.”

  Brennan is fascinated by the Music and Sound Design Lab that Skywalker Sound does in partnership with the Sundance Institute. “One of the things I love about Skywalker Sound is when they take a scene and do different takes on the audio, whether that be different editing or mix or music, and how you feel differently depending on what the sound choices are made; it brings to the forefront how important sound is. Lucasfilm’s films and series are places where sound have shone, and have been celebrated and noticed by the general audience.” Skywalker Sound works on 200 projects each year. “Some of the tools have changed and the ability to work remotely as freelancers. Not everything has to be done on a big mix stage; that has enabled some expansion and democratization of the sound industry. But when you go to Skywalker Sound there is so much that hasn’t changed. It is so much about collaboration and experimentation.”

  Everything is done holistically from the storytelling to business decisions. “We think about what stories we are going to tell on all of these different platforms,” remarks Brennan. “Assets from ILM, our console games and ILMxLAB live in a central platform so there is a playbox that we can work with. Utilizing game and real-time technology, whether that would be Unreal Engine in combination with our own real-time engine Helios, we use the best tool for the job. Because virtual production demands for us to push the envelope in terms of the visual fidelity and the interactivity that is needed to move the camera and manipulate in real-time, it has helped us to be able to think beyond that and how entertainment might evolve.

  

  The Jedi known as F summons the Force in Star Wars: Visions episode “The Village Bride,” animated by Kinema Citrus. 

  

  Brennan is responsible for marketing the various franchises of Lucasfilm, which includes establishing a creative partnership with anime studios to produce Star Wars: Visions. 

  “I’m excited about where the future could go,” she continues. “Having various platforms to tell nuanced and targeted stories for different audiences and genres opens up the playfield so widely. Then also our job is to be good stewards of that so that we open it up in a thoughtful way. There is variety, but it’s not confusing, overwhelming or too much. The quality always has to stay high, which is Kathleen Kennedy’s mantra. The fact that we also have Skywalker Sound, ILM and ILMxLAB means that we have this creative community within Lucasfilm that we can bring to bear for our directors.”

  

  Grogu becoming the breakout star on The Mandalorian was immensely satisfying for Brennan. 

  

  A huge moment for Brennan was the production of Star Wars: The Force Awakens. 

  Several career highlights stand out for different reasons. “I still remember that moment of walking through the door,” recalls Brennan. “Of my years at ILM, the projects that I remember are the ones which were really hard because we were doing something new and difficult. The Perfect Storm nearly brought us to our knees! You come out of that with this amazing sense of commandry. Star Wars: The Force Awakens was definitely a huge moment to be part of. The Mandalorian was another one of those moments. When we went all in on StageCraft, we didn’t know if it was going to work. Then to see how the series was embraced. Seeing Dave Filoni do live-action directing was a wonderful highlight as well. Even the decisions around Grogu, where we were part of a secret and couldn’t wait for the audience to see him. He went so beyond what we had hoped. There are so many highlights. I’ve been incredibly lucky with my career and the people I work with.” 

• CAPTURING A COLOSSAL CLOSE ENCOUNTER OF THE LUNAR KIND IN MOONFALL January 10,2022

   By TREVOR HOGG

   Images courtesy of Lionsgate and Centropolis Entertainment. 

  

   Director Roland Emmerich on the set of Moonfall. (Photo: Reiner Bajo/Lionsgate)

   Whether it be an alien invasion in Independence Day, a raging Kaiju in Godzilla or the environmental catastrophe of The Day After Tomorrow, German filmmaker Roland Emmerich has gained a reputation of being able to destroy the world in creative ways. The cinematic tradition is carried over into Moonfall where a mysterious force knocks our lunar neighbor out of orbit and on a collision course with Earth. It is up to NASA executive Jo Fowler (Halle Berry), astronaut Brian Harper (Patrick Wilson) and conspiracy theorist K.C. Houseman (John Bradley) to save the day, and in the process of doing so they make a surprising cosmic discovery. Reuniting the team behind Midway, which includes Production Designer Kirk M. Petruccelli (The Space Between Us), Visual Effects Supervisor Peter G. Travers (Guardians of the Galaxy) and Special Effects Supervisor Guillaume Murray (Crisis), Emmerich has crafted a $140-million independently-funded action-adventure with a cerebral twist.

  A different global disaster occurred during pre-production in Montreal as the pandemic caused the project to temporarily shutdown. “When I prepared the movie, I had 74 days to shoot, but then I had to figure out what to cut out to be able to afford the COVID-19 costs of $6.5 million,” states Emmerich. “For an independent film, you can’t go to a bank and ask for more money. I ended up with 61 shooting days. There were no compromises. I just shot faster.”

  Re-igniting the public imagination and interest in outer space is the emergence of space tourism. “NASA read the script and supported us,” says Emmerich. “It took us three or four years to get the script right because it’s such an out-there story and we needed to give it some reality. 

  

   The Endeavour space shuttle encounters debris as it approaches the surface of the Moon. 

  I read a book called Who Built the Moon? by Christopher Knight and Alan Butler, and thought, ‘Maybe there’s a movie here.’ We made our own series. If you only do a story about the Moon falling down to Earth, that is a disaster movie. We wanted to do something deeper and more exciting than that.” 

  Even though Moonfall has been described by Emmerich as being a mix of 2012 and Independence Day, a cinematic classic from Stanley Kubrick casts a long shadow. “2001: A Space Odyssey is a seminal movie because it was not only a science fiction film, but also about the origins of life. In that perspective, Moonfall is closely connected to 2001,” Emmerich comments. “I knew by 2022 that nobody would go to the Moon. We figured that the space shuttles would get pulled out of a museum and, within a crazy time schedule, be put back together and sent up there. We thought about what problems that they could have, and that was a cool factor to make this realistic.” The spectacle has to be balanced with the human aspect, he observes. “The biggest problem for any movie that has spectacle is figuring out how much character can you infuse and how much character do people want to have? I’ve been battling with this all of my life! You try to be true to the characters, and we got good actors involved like Halle Berry, Patrick Wilson, Donald Sutherland, Michael Peña and John Bradley. Halle would say, ‘I wouldn’t say that line.’ Then you have discussions about it, and most of the time something better comes out of it. The cast worked with us to make this real.” 

  “Moonfall has 1,700 visual effects shots. You have to plan exactly what you want to do, because visual effects companies are already working on these shots while you’re shooting the movie. It is like a dance, but because I’ve been doing this for 40 years I’ve gotten good at it.” 

  —Roland Emmerich, Director 

  

   The Endeavour space shuttle docks at the International Space Station. 

  “If you only do a story about the Moon falling down to Earth, that is a disaster movie. We wanted to do something deeper and more exciting than that.” 

  —Roland Emmerich, Director 

  

  

  

  

  As part of the emergency response the space shuttle is recommissioned and retrofitted. 

  Sets had to be redesigned to accommodate COVID-19 protocols dealing with social distancing. “For instance, in the spacecraft, the chairs had to be four feet away from each other, whereas normally I would have them tighter together,” states Petruccelli. “Roland set into motion every nuance and dynamic that had to be enacted. 135 sets were built on six stages at Grandé Studios in Montreal as well as on a couple of filler stages at MELS Studios. Four to five sets were shot each day. Every set was specifically crafted with the visual effects team in mind. Roland thinks far beyond the physical structure. It all has to integrate with the post-production process. He is masterful at that.” Parts of Colorado had to be recreated onstage because location shooting was minimal. “We had to come in and know when we could use one section of the stage, move it to another section, and rotate pieces of it away to create another set,” says Petruccelli. “There were dedicated stages to space travel that were clean environments. We had to rebuild several locations in Los Angeles, including the planetarium, because everything was so dependent on atmospherics that would occur with the visual effects.” 

  Designs were based on reality and physics. “Roland loves the fact that truth and reality set us apart from pure fantasy and sci-fi,” remarks Petruccelli. “Things that occur in space are in a vacuum, while things on Earth are being manipulated by the forces that the Moon bears if this [catastrophic event] should happen.” Sets had to be designed to accommodate the physics, he says. “If you’re in a motel in Santa Monica, we had to be west-facing because the water would be coastal. We had to calculate how the water would impact the set, and integrate the volume of water with a bigger event. We talked to experts at NASA about what was the actual load capacity of the space shuttle.” A museum in Florida supplied an original space shuttle cockpit. “We made it usable for us to do the weightless scenes,” enthuses Emmerich. “That was some of the most complicated stuff that we did in the whole movie, because when you sit in a tight set interesting decisions have to be made on how to do it.” 

  The shooting methodology has evolved for Emmerich. “I’m not doing much floor effects anymore because I know later in visual effects you can do them much better,” he says. “For example, if you have snow flurries I only shoot with wind and leave the rest to visual effects.” Special effects still have an on-set presence. “Roland has clear ideas about how he wants to do things and make them work on-set and onscreen,” states Guillaume Murray. “That gives us the right tools to polish those mechanical effects for him. It has to be quick, efficient and easy to re-set. Most of the rigs that we do are modeled in 3D. The printing aspect will be used for prop building. CNC machines are utilized for all of the mechanical parts.” Motion control systems assisted with the zero gravity effects, Murray adds. “We built a robot and used motion control that allowed us to puppeteer actors or stunt people in the shot, and do it in a way where we didn’t need to stop and program every move on set. 

  “The Moon being out of alignment created the need for a lot of mechanical effects for the scenes on Earth,” continues Murray. “We had lots of people, cars and tents flying in every direction. There were a lot of body shells to avoid the cables that would cross faces. The majority of the practical elements were captured during the shoot.” Two space vehicles were fabricated with the art department, Murray adds. “Those set pieces were placed on tilt rigs so we could bring them up to 45 degrees for take-off scenes, and there were shaky motors to get everything shaking inside. The largest rig that we built was a tsunami. We had a 45-foot-high tip tank with two tanks each containing 3,200 gallons of water that could be dumped into a ramp right into the hotel lobby and wipe out whoever was there.” 

  

  DNEG and Framestore looked after space while Earth was handled by Scanline VFX and Pixomondo.

  “Roland loves the fact that truth and reality set us apart from pure fantasy and sci-fi. Things that occur in space are in a vacuum, while things on Earth are being manipulated by the forces that the Moon bears if this should happen.”

  —Kirk M. Petruccelli, Production Designer 

  

  Brian Harper (Patrick Wilson) stands before a misplaced Chrysler Building from New York City.

  Three different color palettes were devised with Earth being organic, while space was chromatic and clean and the Moon colorless. “I was responsible for every digital asset that would be later used in post, so the creation of the post-production was happening far earlier in pre-production than you would imagine,” explains Petruccelli, who did 3D modeling in Maya. “The previsualization was so detailed that it was almost photoreal. You could understand what Roland was going to do and how best to tell the story. Every set was digitally created for visual effects, and then we isolated from it what had to be physically constructed to meet the needs of where Roland wanted to go.” Previs was created for every visual effects sequence. “My previs crew, visual effects supervisor and I talked about the purpose of the scene, how to build the environment and what’s happening, and then I set cameras,” explains Emmerich. “Once in a while it works. If it doesn’t work, we change it. It’s a tedious process that takes four to five months. Moonfall has 1,700 visual effects shots. You have to plan exactly what you want to do, because visual effects companies are already working on these shots while you’re shooting the movie. It is like a dance, but because I’ve been doing this for 40 years I’ve gotten good at it.” 

  As with the principal photography, the entire visual effects work was done in Montreal with Peter G. Travers supervising the contributions of DNEG, Framestore, Pixomondo and Scanline VFX. “You could make an easy argument that Montreal is the new hub for visual effects,” says Travers. “Considering the work that we needed and the amount people at certain facilities, Framestore and DNEG became ideal choices to add to Scanline and Pixomondo, which have longstanding relationships with Roland.” 

  

  Destruction, fires and looting occur around the Griffith Observatory in Los Angeles.

  

  Brian Harper (Patrick Wilson) is surrounded by a mysterious force that caused the Moon to fall towards Earth.

  

  In order to accommodate costs of the COVID protocols Roland Emmerich shot the entire project in 61 days rather than the originally planned-for 74. 

  DNEG and Framestore looked after space, while Earth was handled by Scanline VFX and Pixomondo. “There were clear lines. Two vendors never worked on the same shot, but assets were shared with the space shuttle being the biggest one.” Travers enjoys being able to research a different subject matter for each movie that he works on. “For this one, I learned every aspect about the Moon. There was an important process that happened in the beginning with Roland. The Moon falling towards the Earth is fantastical; however, what I ended up doing was building a physics simulation in Maya based on the question, ‘If the Moon gains more mass, could we get it to fall with actual physics?’ And we were able to do it.” 

  Maya is an actual physics simulator. “I built an accurate version of the Moon orbiting the Earth based on Newtonian physics,” explains Travers. “I constructed different virtual cameras showing the same simulation. Then I started messing with the physics of the Moon to see if I could get it to fall. Roland had certain requests, like having the Moon crash into the Earth in three weeks, which in essence is a design factor that got built into the simulation. What we discovered is that it’s not a perfect spiral orbit but elliptical. It was fascinating to learn what the Moon could do under these conditions. In rare instances when the Moon would be so close, you would be pulled 2Gs of gravity sideways while you’re being pulled down. There is a key sequence where the gravity is extremely unusual. This simulation ended up being our physics bible, but within that there is a certain wiggle room. But generally speaking, this was scary enough. We were also using my different cameras for actual moon size throughout the movie.” 

  LED panels were rigged on cranes and were constantly configured around the windows of the spacecrafts. “It got challenging because Roland wanted to shoot a master shot,” remarks Travers. “It just happened that outside there would be 10 significant events going on while these pages of dialogue were going on. We had to prep ahead of time content that would be done in Maya and be fed into the LED panels; then we would be cueing them editorially. Sometimes we were fed directly into Maya if the camera needed to be changed. There is a scene when one of the crafts is rotating quickly, so we had to have the sun rotating rapidly. We ran the sun across the LED panels. We were constantly figuring out ways to use these panels for lighting, and in some rare instances they would directly show up in camera.” The biggest design challenge was the Moon, states Travers. “I can’t [for spoiler reasons] reveal what aspect of it. It’s the best part of the movie. There is a sense of wonder. Of course, none of this is possible without Roland because he goes to places and shows us things that we have never seen before. That’s literally why we go to the theaters to watch a popcorn movie. This is what Moonfall has.” 
• VES TURNS 25: A CONVERSATION WITH VES EXECUTIVE DIRECTOR ERIC ROTH January 10,2022

   By NAOMI GOLDMAN

  

  Eric Roth

  Visual Effects Society Executive Director Eric Roth has had a front row seat to the dynamic global VFX industry and a major role in the Society’s growth, serving at the helm of the organization’s staff for 18 years. VFX Voice sat down with Roth to get his perspectives as the Society celebrates its 25^th Anniversary. 

   

  What stands out for you as key achievements in the evolution of the Society?

  On one level, it’s the tangible elements and events that have become synonymous with the Society – our award-winning VFX Voice magazine, three editions of the VES Handbook of Visual Effects, developing extraordinary VES Awards shows, our VES Honors Program and Hall of Fame, and our volunteer Committees who do important work for our organization. But on a broader sense, it’s the continuing healthy growth of the organization in terms of membership and reach. When I assumed this role, we were about 750 people, mostly situated in California; now we have more than 4,000 members in over 40 countries and 14 Sections worldwide. We are a vibrant organization that truly embodies a great sense of worldwide community for our profession. That is what I’m most proud of. 

  

  VES Awards Show host Patton Oswalt and VES Executive Director Eric Roth meet up for their annual on-stage banter.

  One of the goals of the organization is to raise the profile, recognition and respect level of the visual effects industry – how are we doing in meeting those marks?

  This pursuit has been one of the most dramatic efforts during my tenure. Right now, I think there is a common understanding across all sectors of entertainment that the industry’s biggest star is visual effects, which is reflected in the size of every show’s budget and what fans want to see. Hit after hit owes so much to the amazing artists who consistently deliver remarkable effects and imagery and make the impossible… possible. And as we keep forging ahead into streaming platforms and the demand for content is exploding, the future for VFX is seemingly limitless.

  Tell us about the leadership of the VES Board over the years. 

  A huge blessing of my tenure has been working with our volunteer leaders serving on the Board in all capacities, and certainly the six people who have held the title of Chair – each of them singularly remarkable leaders. We strive to focus on issues of importance at the intersection of art, technology and business. The passion, knowledge and determination of these leaders to ensure the Society progresses have been essential as we work to represent the industry, the VFX craft and our membership. 

  At almost two decades as Executive Director, what does your VES legacy look like?

  There are specific projects I want to see to fruition, and creating a VFX Digital Museum is at the top of my list. From interviews with luminaries to techniques and VFX props to befores/afters on awards submissions and our own rich history – I want to make sure these assets are preserved and available to our members and the rest of the world in a fun, accessible way. I also want to continue providing valuable benefits to support our members in their professional and personal lives, and our new Member Assistance Program providing health and lifestyle support 24/7 is the kind of programming I want to keep fostering. Ultimately, I’m now most interested in those projects that will stand the test of time so that my successors 30 years from now will look back and feel they have a strong foundation for the work and goals they want to achieve.

  How has the VES innovated during the protracted pandemic?

  With heads of the tech revolution and early adopters among our ranks, our industry pivoted quickly to tell stories in new and creative ways. And the Society shifted almost immediately into producing a wealth of online content, with dozens of dynamic webcasts and virtual events including a digital spin on the VES Awards. It was important that we maintain our traditions, while pushing the envelope of the pandemic’s constraints. The lessons we have learned to adapt and stay resilient have been invaluable.

  We’re also coming up on the 20th Annual VES Awards. What is the magic of this annual event?

  The VES Awards is a huge point of pride for me and my producing partner in crime Jeff Okun, as well as the VES Awards Committee, who work year-round to refine the Rules and Procedures that govern the Awards. The magic is the excitement and energy of the crowd. Every year, quieting the ballroom to start the show is a major feat, because people are so excited to be together, if only for one night. When I walk through the crowd and look at the audience from atop the stage, I feel like I am home with family.

  What are some moments that stand out from these star-studded VES Awards?

  So many. That time I flubbed Ridley Scott’s name and (then Fox Studios Chair) Jim Gianopulos stood up in the ballroom and called me out, mid-speech. Wafting in and out of greenroom conclaves between Jimmy Kimmel and Mark Hamill. Watching intimate moments, like Roger Corman swapping stories backstage with VES Board Chairs Jeff Okun and Mike Chambers. My annual shtick with our wonderful and sharp-tongued perennial host, Patton Oswalt. And moments that change our course, like when Steven Spielberg took the stage and passionately urged us to honor the next generation of artists. And by the following year, the VES-Autodesk Student Award was born. I’m grateful for every moment.

  Can you share any closing thoughts?

  The number one biggest strength and pleasure is working with extraordinary staff and passionate volunteer leaders as we serve our Board and Sections. We would never be able to pay for the caliber of award-winning artists and innovators who are on this journey with us, simply because they believe in who we are and what we do. I’ve been in the catbird’s seat for 18 years, and I’m the luckiest guy in the industry.

  

• REFLECTIONS: VES BOARD CHAIRS ON 25 YEARS OF DRAMATIC EVOLUTION January 10,2022

   By NAOMI GOLDMAN 

  

   VES Chairs group Zoom shot. Clockwise from left: Jim Morris, VES; Carl Rosendahl; Jeffrey A. Okun, VES; Jeff Barnes; Mike Chambers, VES; Lisa Cooke; and Eric Roth, with roundtable anchor Naomi Goldman. 

   From its ambitious inception in late 1996 with a few hundred members in Los Angeles to a flourishing global honorary society with more than 4,000 members in over 40 countries, the Visual Effects Society is proud to celebrate its milestone 25th Anniversary and the exemplary VFX community whose contributions have made the Society what it is today. As the entertainment industry’s only organization representing the full breadth of visual effects practitioners, the VES has built a rich legacy by advancing the arts, science and application of visual effects, improving the welfare of its members, celebrating VFX excellence and serving as a resource to the ever-changing global marketplace. 

   The Society has demonstrated its commitment to elevating the craft of visual effects and its practitioners in numerous ways, including: 

  • Giving birth to a tight-knit global community and 14 diverse VES Sections – Australia, Bay Area, France, Georgia, Germany, India, London, Los Angeles, Montreal, New York, New Zealand, Toronto, Vancouver and Washington; 

  • Publishing three editions of the industry’s go-to VFX reference, The VES Handbook of Visual Effects, and launching its award-winning print and digital magazine VFX Voice; 

  • Establishing the VES Hall of Fame and VES Honors program to recognize exceptional contributions to the Society and VFX community; 

  • Developing valuable programming that educates, inspires and uplifts, including a wealth of virtual content featuring the VFX Pros: Home Edition and VES-Autodesk Ask Me Anything: VFX Pros Tell All webcast series; 

  • Hosting the VFX industry’s must-attend Annual VES Awards, which recognizes outstanding VFX talent and fosters the next generation of filmmakers; 

  • And finding new ways to support and invest in our members, with mentoring, skills building, educational and health and wellness resources.

  VES CHAIRS, ASSEMBLE!

  Six distinguished professionals have served as VES Board Chair over the past 25 years, shepherding the VES’s impressive roster of programs and initiatives in conjunction with staff and Section managers. VFX Voice gathered all the chairs, with VES Executive Director Eric Roth, to share some reflections and insights. This small club of esteemed volunteer VES leaders includes: Jim Morris, VES – President, Pixar Animation Studios (and Founding VES Chair); Carl Rosendahl – Distinguished Professor of Practice and Director of the Entertainment Technology Center’s Silicon Valley campus; Jeffrey A. Okun, VES – renowned visual effects supervisor; Jeff Barnes – Executive Vice President, Creative Development, Light Field Lab; Mike Chambers, VES – acclaimed visual effects producer and consultant; and Lisa Cooke – animation and VFX producer.

  Morris: The origin story: In the late ’90s, all of the studios were rolling into VFX and there was tremendous momentum, but we often felt like second-class citizens. The timing felt right to teach the industry about what we do, improve our standing and find a form for honoring the contributors to our industry. Building relationships among artists and practitioners was essential to our business, and so there was great support and acceptance to share our experiences and elevate our craft. Bringing VFX to the forefront and being part of the VES’s genesis – and this esteemed group – is a great point of pride for me.

  Rosendahl: In taking the mantle from Jim, who helped realize the foundational vision for the Society, I focused on building the infrastructure… the processes and procedures that would help us mature from our infancy into a stable and sustainable organization. I was tasked with heading our recruiting committee, which ultimately brought on Eric Roth as Executive Director. Now 18 years in his tenure, I see hiring Eric as one of my biggest accomplishments. 

  Okun: The Awards show was really Jim’s baby… and it was a journey getting to that first show, with 350 people at the Skirball Center, to where we are today. Little known fact: we crowd-sourced the design of the award itself. One of our members came up with the Georges Méliès moon face idea, and here’s what’s unique – the back of the award is the back of a set with chicken wire and the whole thing lights up. Our award won an award for awards! What’s most gratifying is walking into the room on Awards Show night and seeing the mass of people who are genuinely excited to be there in celebration of their peers as we honor every vertical we can think of. And on serving as VES Chair – it’s a life-changer, and Jim and Carl were absolute lifelines.

  Morris: I’m so glad we’ve had the opportunity to honor some of our pioneers in our early years of the show, like Lynwood Dunn and Ray Harryhausen. I have vivid memories of us then coming together to lobby the Mayor of Hollywood to get Ray a star on the Hollywood Walk of Fame. Our show continues to be that beacon where VFX talent get their deserved moment in the spotlight. I’m so excited to attend our 20^th Awards show this year – it gives me goosebumps! 

  

   VES Founders Award recipient Toni Pace Carstensen and the late Bill Taylor at the 2019 VES Honors Celebration. 

  

  Zoe Saldana presents the Visionary Award to JJ Abrams at the 13th Annual VES Awards.

  

   Inaugural VES Chair Jim Morris presides over the 1st Annual VES Awards. 

  

  Jimmy Kimmel and legendary filmmaker Roger Corman backstage at the 17th Annual VES Awards.

  

  Steve Carell presents at the 17th Annual VES Awards.

  

  Acclaimed filmmaker Ava DuVernay with VES Summit Chair Rita Cahill at the 2017 Summit.

  Chambers: That rally around Ray Harryhausen is actually what inspired the Hall of Fame. While we had the Awards Show in place to honor our contemporaries, so many formative people that had passed on needed to be remembered. A lot of things came to fruition under my watch: the Hall of Fame, launching VFX Voice magazine, and certainly an explosion of global expansion, but everything was a team effort and built on what came before. What guided me when I came into this role was our mission and how could I help us continue to foster education and build recognition for the practitioners all across the industry. Over time, we have evolved into a more inclusive organization. COVID was a left turn, and yet we have been supportive and resilient during the pandemic, so adept at creating remarkable virtual programming and finding ways to keep us all tethered across the globe. We keep getting better, and that’s testament to all of our volunteer leaders and every one of our members. 

  Barnes: I love being around creative people, and the Society is the pinnacle when it comes to conveying outstanding professionals and using our collective resources to advance our work. When I came on as Chair, I was feeling a sense of responsibility in hiring people for my company and growing a business, and I was aiming to set some precedent and considerations that might help protect them and enhance their professional life. Providing that kind of value was and is really important to me, and I’m proud of the work not only as board member and Chair, but also as a member. 

  Cooke: Mike, yours were very big shoes to fill. Essentially, I inherited a beautiful, well-built house, but I didn’t have to build the house. The support among this special group who know what’s possible and how to make things happen has been invaluable. I’m proud to be the first woman in this role, and I’m committed to lifting up our future leaders so that I’m not the last. 

  Chambers: Our determination to outreach to all corners of the globe and to all of the disciplines across the VFX spectrum has definitely yielded us a very rich, talented membership, and that commitment to diversity will continue to be a driving force of the organization. And bottom line, more than just recognizing and honoring our history, we are actually making history for our industry… and we’re documenting it to create a powerful legacy that will endure. 

  Barnes: From the time that I joined to where the Society is today, it’s mind-blowing. We set out to raise the credibility and respect level of the visual effects community and shine a spotlight on the excellence of the artists and practitioners. And the extent to which that has happened is undeniable. Membership continues to skyrocket, and our magazine and awards show are acclaimed… and so our ability to have an influence gives us a great platform to keep innovating. 

  Okun: It’s the VES that draws the passion and respect out of people and invests it back into the Society and our industry. I may be biased, but the VES is the gold standard. The volunteerism that fuels our work, at every level, is amazing, and the new voices and new talents who are stepping up to help shape our future encourage me. 

  

  VFX legends Dennis Murren, Bob Burns, Phil Tippett, Doug Trumbull, John Knoll, Syd Mead and Ed Catmull at the 2017 VES Summit and Honors Celebration.

  

  Lifetime Achievement Award honoree Sir Ridley Scott with Kate Mara at the 14th Annual VES Awards.

  

  Visionary Award recipient Victoria Alonso beams at the 15th Annual VES Awards.

  Rosendahl: The VES has played a vital role as an industry convener, providing forums for education and skills development, and in prompting conversations around the complexities of our rapidly evolving global marketplace. We have the aptitude to keep focused on how the industry adapts and innovates and can help shape that landscape, while we build capacity among our members to foster their success. 

  Cooke: When I took on this role, I wanted to delve into who the Sections are, so I’ve been on a global Zoom tour, listening in to keep building a sense of community that is a true reflection of our diverse industry. So much work is going on across the organization that fills me with pride and optimism. I’m enthusiastic about our Education Committee in developing programs to mentor young women and people of color and bring them into visual effects. That effort will only enhance our field for future generations. I’m proud that we will be introducing a Technology Award into the Awards program and of the work of our Archives Committee in capturing and preserving interviews with our VFX pioneers and luminaries. And I’m immensely gratified by the work of our Health and Wellbeing Committee, which has developed amazing resources to support our members, personally and professionally, including our new Member Assistance Program available to our members worldwide 24/7. These are the investments and benefits that make being a part of the Society so meaningful.

  Okun: When VFX took the leap on the shoulders of the greats in the ’50s/’60s/’70s and the team on Star Wars – the rubber band that kicked us into orbit – that’s when the magic of VFX became a community of magicians. I begged to join the Society when it was formed, because that’s where the dark arts convened to share the real stories – and still do. We are pivotal to every aspect of the entertainment industry, and there is not a single image that we don’t touch. Our ongoing work to command the respect equal to our contributions is vital and makes a huge difference.

  Morris: The esprit de corps, the camaraderie, the authentic sense of community at the center of everything we do, is why we have accomplished so much together our first 25 years… and here’s to the next 25!

• VES Member Tribute January 10,2022

   2022 VES MEMBERS 

   Our 25th anniversary issue would not be complete without celebrating our members from around the world. 

  You are our greatest strength and source of pride – so take a bow! 

  Argentina 

  Alejandro Iturmendi 

  Pablo Izaguirre 

  Australia 

  Ben Andersen 

  Jordan Bartlett 

  Jason Bath 

  Dan Bethell 

  Jason Billington 

  Kunal Biswas 

  Marten Blumen 

  Timothy Bond 

  James Bourne 

  Andrew Brown 

  Paul Buckley 

  Paul Butterworth 

  Stuart Cadzow 

  Kevin Campbell 

  Kiersten Casey 

  Fiona Chilton 

  Naeem Chudawala 

  Tony Clark 

  Andrew Clarke 

  Rob Coleman 

  Ian Cope 

  Fiona Crawford 

  Felix Crawshaw 

  Tim Crosbie 

  Kurt Debens 

  Domenic Di Giorgio 

  Zoe Diamond 

  Tyson Donnelly 

  Sigi Eimutis 

  Dean Elliott 

  Tyrone Estephan 

  Ian Failes 

  Stefan Gillard 

  Victor Glushchenko 

  Alexander Goodwin 

  Markus Graf 

  Robert Grbevski 

  Jonathan Hairman 

  Daniel Heckenberg 

  Sam Hodge 

  Lara Hopkins 

  Greg Howe-Davies 

  Benjamin Hudson 

  Julian Hutchens 

  Timothy Jeffs 

  Samuel Jensen 

  Ingrid Johnston 

  Bhautik Joshi 

  Gregory Jowle 

  Stephen King 

  Ryan Kirby 

  Paul Kirwan 

  Jamal Knight 

  Haris Kruskic 

  Alan Lam 

  Samuel Loxton 

  Linda Luong 

  Mathew Mackereth 

  Alex Meddick 

  Kirsteen Millar 

  Jay Miller 

  Naomi Mitchell 

  Bryn Morrow 

  Arwen Munro 

  Zareh Nalbandian 

  Kulathu House 

  Nandakumar Payan 

  Gregory Ng 

  Gregory O’Connor 

  Pawel Olas 

  Martin Orlowski 

  Christophe Pacaud 

  Premamurti Paetsch 

  Andrew Palmer 

  Adrian Paul 

  Nick Pitt-Owen 

  Dominik Platen 

  Anthony Poriazis 

  Justin Porter 

  Jeremy Pronk 

  Jason Quintana 

  Shane Rabey 

  Benjamin Rayner 

  Will Reichelt 

  Gabriel Reichle 

  Robbie Reid 

  Andrew Ritchie 

  Simon Rosenthal 

  Ray Ruawhare 

  Johannes Saam 

  Malte Sarnes 

  Mike Seymour 

  Dilen Shah 

  Ben Simons 

  Chris Spry 

  Alastair Stephen 

  Grant Street 

  Phillip Stuart-Jones 

  Jonathon Sumner 

  Aditya Talwar 

  Jo Ann Tan 

  Eleni Taylor 

  Lewis Taylor 

  Sharon Taylor 

  Arthur Terzis 

  Daniel Thomson 

  Anders Thönell 

  Ryan Trippensee 

  Noah Vice 

  Nina Walsh 

  Andreas Wanda 

  Marcus Wells 

  Stuart White 

  Bree Whitford Smith 

  Guido Wolter 

  Chris Young 

  Jennie Zeiher 

  Austria 

  Katharina Kessler 

  Martin Stegmayer 

  Valentin Struklec 

  Rainer Zoettl 

  Belgium 

  Michel Denis 

  Sander Jansen 

  Pascal Loef 

  Brazil 

  Eduardo Amodio 

  Alceu Baptistao, Jr. 

  Alexandre Cruz 

  Tomas Egger 

  Teisson Froes 

  Diogo Girondi 

  Raoni Nery 

  Thiago Pires 

  Rick Ramos 

  Eduardo Schaal 

  Marcelo Siqueira 

  Bulgaria 

  Ivan Grozev 

  Martin Naydenski 

  Canada 

  Charles Abou Aad 

  Michael Adkisson 

  Illia Afanasiev 

  Anton Agerbo 

  Prashant Agrawal 

  Nicolas Aithadi 

  Vladislav Akhtyrskiy 

  Christine Albers 

  Neishaw Ali 

  Alexandre Allain 

  Christopher Anciaume 

  Geoffrey Anderson 

  Kristen Anderson 

  Stuart Ansley 

  Roy C Anthony 

  Marina Antunes 

  Richard Arroyo 

  Arundi Asregadoo 

  Felipe Assumpcao 

  Greg Astles 

  Jarrod Avalos 

  Mostafa Badran 

  Fabricio Baessa 

  Larry Bafia 

  Sandra Balej 

  Michael Baloun 

  Berj Bannayan 

  Rob Bannister 

  Cristin Barghiel 

  Craig Barr 

  Francois Beaudry 

  Ron Bedard 

  Anders Beer 

  Greg Behrens 

  Jo Ann Belen 

  Frank Belina 

  Dennis Berardi 

  Danny Bergeron 

  Richard Bergeron 

  Laurence Berkani 

  Stefan Bernscherer 

  Romain Besnard 

  Melissa Best 

  Sucheta Bhatawadekar 

  Paul Binney 

  David Bitton 

  Thomas Blacklock 

  Duncan Blackman 

  Lucian Boicu 

  Landon Bootsma 

  Gaelle Bossis 

  Nicholas Boughen 

  Aharon Bourland 

  Eric Bourque 

  Gavin Boyle 

  Phil Brennan 

  Ian Britton 

  Andre Brizard 

  Scott Broad 

  Shaun Brown 

  Kevin Browne 

  Alan Bucior 

  Ayo Burgess 

  David Burgess 

  Greg Butler 

  John Cameron 

  Daniel Camp 

  Jeffrey Campbell 

  Zacary Campbell 

  Daniel Canfora 

  Dan Carnegie 

  Bradley Caruk 

  Marie Castrie 

  Trevor Cawood 

  Kevin Chandoo 

  Fred Chapman 

  Tavia Charlton 

  Matthieu Chatelier 

  Eve Chauvet 

  Nicolas Chevallier 

  Alan Chuck 

  Marko Chulev 

  Ovidiu Cinazan 

  Karen Clarke 

  Ryan Clarke 

  Eric Clement 

  James Cochrane 

  Sarah Coffyn 

  Tony Como 

  Cyril Conforti 

  Brian Connor 

  Chris Cook 

  John Cook 

  Shane Cook 

  Spencer Cook 

  James Cooper 

  Kerry Corlett 

  Sebastien Corne 

  Jacinthe Cote 

  Marc Côté 

  Pierre Couture 

  Mario Couturier 

  Daniel Cox 

  Louis Craig 

  Jan Cramer 

  Darren Cranford 

  Bret Culp 

  Martyn Culpitt 

  Colin Cunningham 

  Glenn Curry 

  Mark Curtis 

  Andrew Cuthbert 

  Rory Cutler 

  Laurence Cymet 

  Joe D’Amato 

  Nikolas D’Andrade 

  Frank D’Iorio 

  Cesar Dacol, Jr. 

  Marie-Cecile Dahan 

  Etienne Daigle 

  Johanna Damato 

  Kim Davidson 

  Michael Davidson 

  Colin Davies 

  Felipe Luiz de Andrade 

  Anthony De Chellis 

  Natalia De la Garza 

  Juan de Santiago 

  Thierry Delattre 

  Joel Delle-Vergin 

  Stanley Dellimore 

  Nicolas Delval 

  Peter Denomme 

  Mehul Desai 

  Thierry Dezarmenien 

  Theo Diamantis 

  Jeremy Dineen 

  Jean-Luc Dinsdale 

  Ben Dishart 

  Thai Son Doan 

  Eric Doiron 

  Peter Dominik 

  Jason Dowdeswell 

  Brett Dowler 

  Christopher Downs 

  Hank Driskill 

  Nicolas Dumay 

  Francois Dumoulin 

  Shawn Dunn 

  Charlene Eberle 

  Michelle Eisenreich 

  Mark Elendt 

  Filipp Elizarov 

  Mahmoud Ellithy 

  Nicolas Elsig 

  Eddie Englander 

  Eric Ennis 

  Jack Evans, Jr. 

  Pascal Favron 

  Jean-Francois Ferland 

  Maxime Ferland 

  Daniel Finnegan 

  Stacy Fish 

  Jean-Pierre Flayeux 

  Niall Flinn 

  Julien Forest 

  Jenny Foster 

  Carlos Fraiha 

  Natasha Francis 

  Warren Franklin, VES 

  Fortunato Frattasio 

  TJ Galda 

  Rosie Galvin 

  Eric Gambini 

  Himanshu Gandhi 

  Wei Gao 

  Steve Garrad 

  William Garrett 

  Duolin Ge 

  Brent George 

  Eric Gervais-Despres 

  Kunal Ghosh Dastider 

  Michael Gibson 

  Raymond Gieringer 

  Dave Giles 

  Laurent Gillet 

  Michael Goldfarb 

  Patricia Gomes 

  Claudio Gonzalez 

  Marcus Goodwin 

  Dhruv Govil 

  Michelle Grady

  Gavin Graham

  Clint Green

  Derek Grime

  Larry Gritz

  Lars Groeger

  Tyson Groth

  Luke Groves

  Chloe Grysole

  Eric Guaglione

  Diego Guerrero

  Jan Habib

  Robert Habros

  Robin Hackl

  Winrik Haentjens

  Marc Hall

  Bill Halliday

  Noah Hamdan

  Matthew Hanger

  Trey Harrell

  Jessica Harris

  Chris Harvey

  Geoffrey Harvey

  Leann Harvey

  Oliver Hearsey

  Christopher Hebert

  Shawn Hillier

  Cristian Hinz

  Dennis Hoffman

  Noel Hoffman

  Ronald Honn

  Noel Hooper

  Kristian Howald

  Roberto Hradec

  Jo Hughes

  Colin Hui

  Terry Hutcheson

  Chrismac Hwang

  Sho Igarashi

  Brett Ineson

  Ludovic Iochem

  John Iskandar

  Vanessa Jacobsen

  Ruheene Jaura

  Colleen Jenkinson

  Vivian Jim

  Sheena Johnson

  Laura Jones

  Phil Jones

  Yann Jouannic

  Marc Joubert-Nederveen

  Steve Jubinville

  Gregory Juby

  Luc Julien

  Dushyant Kashyap

  Joseph Kasparian

  Chris Kazmier

  Scott Keating

  Tyler Kehl

  Michael Kennedy

  Tony Kenny

  Alexander Kew

  Cindy Khoo

  Gyuri Kiss

  Andrew Klein

  Duffy Knox

  Douglas Koch

  Patrick Kolodziejski

  Carsten Kolve

  Arek Komorowski

  Dmytro Korolov

  Marshall Krasser

  Mat Krentz

  Ryan Kuba

  Bartek Kujbida

  Mike Kwan

  Melanie La Rue

  Laurent Laban

  Mohamed Ghouse Labbai

  Pierre-Luc Labbee

  Benoit Ladouceur

  Guillaume Laferrière

  Jeff Lait

  Francois Lambert

  Alberto Landeros

  Isabelle Langlois

  Wendy Lanning

  Amanda Lariviere

  Shandy Lashley

  Niña Laureles

  Warren Lawtey

  Emilien Lazaron

  Tony Lazarowich

  Daniel Leatherdale

  Daniel Leduc

  Mai-Ling Lee

  Marine Lelievre

  Matt Leonard

  Rudy Leti

  Bruno Leveque

  Brenda Levert

  Jacques Levesque

  Meng Li

  Todd Liddiard

  Martin Lipmann

  William Lipsmeyer II

  Frederick Lissau

  Kevin Little

  Noah Lockwood

  Jeremie Lodomez

  Nathan Loofbourrow

  Marc Lougee

  Blaine Lougheed

  Shannan Louis

  Micael Luis Kobeh

  Andreas Maaninka

  Chris MacLean

  George Macri

  Allan Magled

  Robin Mangat

  Jeannette Manifold

  John Mariella

  Simon Marinof

  Ricardo Marmolejo Garcia

  Richard Martin

  John Mather

  Praveen Mathew

  Seth Maury

  James May

  Kate McFadden

  David McGhie

  Nigel McGrath

  Raymond McMillan

  Sarah McMurdo

  Laird McMurray

  Perrine Michel

  Virginia Mielke

  Abel Milanes

  Curt Miller

  Jacob Miller

  Marta Mintenko

  Alberto Montanes

  Carlos Monzon

  Sebastien Moreau

  Louis Morin

  Dave Morley

  Ben Mossman

  Nancy Mott Basi

  Cynthia Mourou

  Didier Muanza

  Gayle Munro

  Michel Murdock

  Alexander Naud

  Jonathan Nelson

  Christine Neumann

  James Nicholl

  Ken Nielsen

  Paul Nightingale

  Chad Nixon

  Nicolas Noel

  Peter Nofz

  Annie Normandin

  Andre Nugroho

  Sabrina Nunes

  Philip Nussbaumer

  Sean O’Connor

  Steven O’Connor

  Marianne O’Reilly

  Eddy Okba

  David Olivares

  David Oliver

  Stephen Oliver

  Mihaela Orzea

  Scott Palleiko

  Christian Paradis

  James Paradis

  Sehwi Park

  Michael Parker

  Anthony Paterson

  Bhakti Patwardhan

  Don Paul

  Addison Pauli

  Gillian Pearson

  Gregory Peczinka

  Martin Pelletier

  Stephanie Pennington

  Eric Pepin

  Aymeric Perceval

  Jonathan Piche-Delorme

  Sergio Pinto

  Sylvain Plourde

  Darren Poe

  Vincent Poitras

  James Porter

  Akie Prapas

  Kristin Pratt

  James B. Price

  Aitor Prieto

  Sly Provencher

  Vicki Pui

  Toni Pykalaniemi

  Maickel Quinet

  Sebastien Racine

  Mahmoud Rahnama

  Jeff Ranasinghe

  Kenton Rannie

  Pierre Raymond

  Mathieu Raynault

  Julia Reck

  Brian Reid

  Dominic Remane

  Laurent Reynaud

  Guy Riessen

  Chris Ritvo

  Eric Robinson

  Rogelio Rodriguez

  Mario Rokicki

  Tom Rolfe

  Andrew Rosen

  David Rosenbaum

  Justine Rosette-Nelligan

  Marc A. Rousseau

  Jean-Paul Rovela

  Susan Rowe

  Norbert Ruf

  Mark Ryan

  Kody Sabourin

  Paul Saint-Hilaire

  Erick Salazar

  Paul Salvini

  David Sanchez

  Anthony Santoro

  Atsushi Sato

  Mark Savela

  Ronald Saw

  Ozen Sayidof

  Brandon Schaafsma

  Jakob Schmidt

  Francois Schneider

  Matt Schofield

  Brett Schroeder

  Sean Schur

  Sebastian Schutt

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  Timothy Smith

  Oleg Smykalov

  Jordan Soles

  Vib Soundrarajah

  Frederic St. Arnaud

  Harrison Stark

  Mark Stasiuk

  Darryl Stawychny

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  Kenneth Stewart

  Jelena Stojanovic

  Tamara Stone

  Boyan Stoyanov

  Florian Strobl

  Lee Sullivan

  Prapanch Swamy

  Sarah Swick

  Glenn Sylvester

  Sebastian Sylwan, VES

  Fernando Talavera

  Kenny Tam

  Paolo Tamburrino

  Anthony Tan

  Dann Tarmy

  Brendan Taylor

  Edward Taylor

  Christa Tazzeo Morson

  Fausto Tejeda

  Sebastien Terme

  Benoit Terminet Schuppon

  Kieran Tether

  Steven Tether

  Sylvain Thibodeau

  Melinka Thompson-Godoy

  Daniele Tosti

  Benoit Touchette

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  Jerry Tung

  Tom Turnbull

  Dennis Turner

  Ben Unsworth

  Chris van Dyck

  Ryan van Steenburgh

  Jayme Vandusen

  Jessy Veilleux

  Andres Vitale

  Frank Vitz

  Stephen Wagner

  Cameron Waldbauer

  Andrew Walker

  Ross Wallis

  Shawn Walsh

  Xiaoming Wang

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  Andrea Weidlich

  Aaron Weintraub

  Larry Weiss

  Tyler Weiss

  Jeff Wells

  Craig Wentworth

  Joel Whist

  David Whiteson

  Bob Wiatr

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  Sean Wicks

  Lee Wilson

  David Windhorst, Jr.

  Philipp Wolf

  Bruce Woloshyn

  Sarah Wormsbecher

  Aaron Wright

  Bruno Xiberras

  Mavis Xu

  Gustavo Yamin

  Ryan Yee

  Clement Yip

  Christopher Young

  Keri Young

  Jeffrey Zablotny

  Christopher Lee Zammit

  Timothy Zhao

  Li Zhu

  Ken Zorniak

  Chile 

  Tomas Roca

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  Ashwin Agrawal

  Chunlin Mi

  Wei Song

  Paul Yun Zhong

  Colombia 

  Andrea Espinal

  Catherine Florez

  Andres Hernandez Ospina

  Brayan Linares Nossa

  Czech Republic 

  Sridharan Kaliyamoorthy

  Denmark 

  Thomas Dyg

  Nick Thye

  Finland 

  Maya Kylmamaa

  Scott Liedtka

  Sami Nikki

  France 

  Aurelia Abate

  Chadi Abo

  Nasser Abo

  Alexandre Ada

  Renata Azambuja

  Frank Baradat

  Harry Bardak

  Beatrice Bauwens

  Xavier Bec

  Malica Benjemia

  Leon Berelle

  Stephane Bidault

  Yann Blondel

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  Tony Botella

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  Laurent Brett

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  Franck Lambertz

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  Quentin Martin

  Julien Martins

  Camille Mirey

  Julien Mokrani

  Sandrine Moniez

  Antoine Moulineau 

  Aude Nguyen Ngoc 

  Bernard Nicolas 

  Xavier Nicolas 

  Alexis Oblet 

  Lolet Ong 

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  Franck Petitta 

  Emmanuel Pichereau 

  Stephane Pivron 

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  Luc Pourrinet 

  Nicolas Rey 

  Milo Riccarand 

  Denis Scolan 

  James Sénade 

  Antonin Seydoux 

  Eric Texier 

  Cat Thelia 

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  Luke Titley 

  Edouard Valton 

  Nathalie Vancauwenberghe 

  Alexis Vieil 

  Milan Voukassovitch 

  Germany 

  Jan Adamczyk 

  Christian Arlt 

  Katrin Arndt 

  Pablo Bach 

  Matthias Backmann 

  Sebastian Badea 

  Andrea Block 

  Moritz Bock 

  Kirstin Boettcher 

  Marcelo Bortolini 

  Heiko Burkardsmaier 

  Benjamin Burr 

  Patrick Busse 

  Christina Caspers-Romer 

  Cristiano Cesolari 

  Christopher Chaber 

  Sabrina Christoforidis 

  Alessandro Cioffi 

  Michael Coldewey 

  Philipp Danner 

  Mauricio de Oliveira 

  Markus Degen 

  Kay Delventhal 

  Ernest Dios Viaplana 

  Rico Dober 

  Michael Dohne 

  Tobias Dommer 

  Manuel Dongowski 

  Jimmy Duda 

  Sebastian Elsner 

  Volker Engel 

  Timm Engelkamp 

  Marco Erbrich 

  Francesco Faranna 

  Imke Fehrmann 

  Caroline Fetzer 

  Jan Fiedler 

  Markus Fischmann 

  Haggi Floeser-Krey 

  Kai-Florian Franke 

  Urs Franzen 

  Tonio Freitag 

  Sinje Gebauer 

  Florian Gellinger 

  Andreas Giesen 

  Joern Grosshans 

  Michael Habenicht 

  Thomas Haegele 

  Timo Hanczuk 

  Christoph Hasche 

  Eberhard Hasche 

  Jasmin Hasel 

  Dietrich Hasse 

  Volker Heisterberg 

  Volker Helzle 

  Mathias Herbster 

  Martin Herzberg 

  Annika Hirsch 

  Falk Hofmann 

  Oliver Hohn 

  Michael Honisch 

  Michael Honsel 

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  Radoslaw Jamrog 

  Zoran Kazic 

  Thilo Kienle 

  Niels Kleinheinz 

  Jonas Kluger 

  Thomas Knop 

  Constantin Konradt 

  Tanja Krampfert 

  Philipp Kratzer 

  Jesse Kretschmer 

  Patrick Kreuser 

  Michael Landgrebe 

  Johanna Lange 

  Vincent Langer 

  Michael Lankes 

  Sebastian Lauer 

  Nicolas Leu 

  Sebastian Leutner 

  Mei Lee Lim 

  Ivan Lima 

  Thomas Loeder 

  Julian Lojek 

  Tim Luecker 

  Aaron Luk 

  Axel Mahler 

  Igor Majdandzic 

  Christoph Malessa 

  Oliver Markowski 

  Gus Martinez 

  Natalie Meffert 

  Sebastian Meszmann 

  Johannes Mewes 

  Marco Meyer 

  Michael Mielke 

  Tobias Moenninger 

  Wilhelm Molderings 

  Rolf Muetze 

  Benedikt Niemann 

  Sebastian Nozon 

  Simon Ohler 

  Sven Pannicke 

  Stephen Parsons 

  Enrico Perei 

  Roland Petrizza 

  Frank Petzold 

  Jan Piccart 

  Robert Pinnow 

  Nina Pries 

  Christian Pundschus 

  Franzisca Puppe 

  Daniel Rath 

  Leslie Renaud 

  Dennis Rettkowski 

  Simon Richter 

  Martin Rosenkranz 

  Marcus Ruhmke 

  Nicola Russi 

  David Salamon 

  Sven Sauer 

  Marlies Schacherl 

  Stephan Schaefholz 

  Lisa Schmölzer 

  Abraham Schneider 

  Erik Schneider 

  Rolf Schneider 

  Timo Schnitt 

  Rayk Schroeder 

  Dominique Schuchmann 

  Oliver Schulz 

  Tobias Schwarz 

  Jeremie Sebban 

  Olaf Skrzipczyk 

  Christopher Smallfield 

  Julia Smola 

  Jan Stoltz 

  Julia Strack 

  Markus Strehl 

  Jonas Stuckenbrock 

  Tom Tiller 

  Markus Trautmann 

  Dominik Trimborn 

  Nicolai Tuma 

  Joerg Unterberg 

  Agon Ushaku 

  Ute Vollmann 

  Matthias Waesch 

  Mortimer Warlimont 

  Jonathan Weber 

  Helena Wegmann 

  Holger Weiss 

  Simon Weisse 

  Holger Wenzl 

  Philipp Wibisono 

  Ruth Wiegand 

  Benita Winckler 

  Carsten Woithe 

  Kai Wolter 

  Michael Wortmann 

  Daniel Yuhlmann 

  Fuat Yüksel 

  Farhad Yusufi 

  Dominik Zimmerle 

  Greece 

  Savvas Karampalasis 

  Hong Kong 

  iMan Javaherypour 

  Hungary 

  Gergely Takacs 

  Iceland 

  Matthías Bjarnason 

  India 

  Pranay Agarwal 

  Abir Aich 

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  Bejoy Arputharaj 

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  Abhishek Choudhary 

  Yashaswi Ram D.N 

  Sarang Deshpande 

  Philippe Gluckman 

  Ankit Gokani 

  Michael Grobe 

  Kartik Gurunathan 

  Haresh Hingorani 

  Natalie Jadhav 

  Aby John 

  Pradeep John 

  Sandeep Kamal 

  Kareem KH 

  Aslam Khader Hayath 

  Suresh Kondareddy 

  Abhishek Krishnan 

  Ashish Kulkarni 

  Prakash Kumararajan 

  Tim McGovern 

  Anish Mulani 

  Balaji Muppalla 

  Suresh Pandi 

  Priyan Parab 

  Kamal Pasupuleti 

  Rutul Patel 

  Murali Manohar 

  Reddy Penubadi 

  Balakrishnan Rajarathinam 

  Srinivasan S. 

  Pinto Sasi Kumar 

  Vijay Selvam 

  Parth Shah 

  Sachin Shrestha 

  G. Shruti 

  BasanntRaj Singh 

  Akhauri P Sinha 

  Bhavik Sukhadia 

  Pawan Tetu 

  Srinivas Mohan Vadlamudi 

  Pankaj Verma 

  Keitan Yadav 

  Ireland 

  Ed Bruce 

  Fred Burdy 

  Kev Cahill 

  Lisa Kelly 

  Paul Timpson 

  Italy 

  Rosario Barbera 

  Gaia Bussolati 

  Pierre D’oncieu 

  Nicola Danese 

  Maurizio Giglioli 

  Federico Gnoli 

  Francesco Grisi 

  Davide Luchetti 

  Andrea Piersanti 

  Luca Gabriele Rossetti 

  Franco Valenziano 

  Vanessa Velasquez 

  Japan 

  Takahiko Akiyama 

  Ken Anjyo 

  Michael Arias 

  Makoto Chiba 

  Nobutaka Doki 

  Noriko Gotoh 

  Kimiyuki Hashimoto 

  So Hashimoto 

  Nobuhiko Hayashi 

  Masa Inakage 

  Toshio Ishibashi 

  Norio ISHII 

  Masaaki Kamada 

  Masato Kanezawa 

  Toshiyuki Kimura 

  Megumi Kondo 

  Takayuki Masuo 

  Koji Matsunaga 

  Yuetsu Murakami 

  Koichi Nobuta 

  Koichi Noguchi 

  Koji Nozaki 

  Junya Okabe 

  Hiroyuki Seshita 

  Kiyoko Shibuya 

  Shuzo Shiota 

  Ichiro Tanaka 

  Taku Wakisaka 

  Satoshi Yamaguchi 

  Yasuharu Yoshizawa 

  Takafumi Yuki 

  Kenya 

  Yvonne Muinde 

  Mexico 

  Jose Carlos Garcia de Letona Velasco 

  Raúl Pano 

  Adrian Pierral 

  Cesar Romero 

  Netherlands 

  Aleksandar Djordjevic 

  Caroline Garrett 

  David Goubitz 

  Ewoud Heidanus 

  Roy Hoes 

  Chris Kiser 

  Gillian Mackie 

  Kyle Obley 

  Belén Palos López 

  Hans van Helden 

  New Zealand 

  Gino Acevedo 

  Richard Addison-Wood 

  Gerardo Aguilera 

  Matt Aitken 

  Kris Andrews 

  Michael Bain 

  Hamish Beachman 

  Adam Bradley 

  Scott Brisbane 

  Robert Byrne 

  David Caeiro-Cebrian 

  Cedric Canlas 

  Jung Min Chang 

  Sophie Cherry 

  Andrea Christie 

  Emma Clifton Perry 

  David Conley 

  Rachel Copp 

  Tommaso Corona 

  Marion Davey 

  Jason Desjarlais 

  Paul Dickson 

  Jeffrey Dillinger 

  Amy Dilworth 

  Neil Dodgson 

  Gregory Ducatel 

  Douglas Easterly 

  Kevin Estey 

  Florian Fernandez 

  Alex Funke 

  Jason Galeon 

  Benjamin Goldberg 

  Dave Gouge 

  Rebs Guarina 

  Alex Gurevich 

  Leon Gurevitch 

  Geoff Hadfield 

  Markus Hagemeier 

  Oliver Heinrich 

  Quentin Hema 

  Kay Hoddy 

  Teijo Holzer 

  Joseph Howes 

  Paul Jenness 

  Miae Kang 

  Balazs Kiss 

  Matthias Klein 

  Jerry Kung 

  Ju Hee Kwon 

  Mathias Larserud 

  Lorenzo Lavatelli 

  Phillip Leonhardt 

  Joe Letteri, VES 

  Lance Lones 

  Jacob Luamanuvae 

  David Luke 

  Ross McWhannell 

  Jessica Millar 

  Sangita Mistry 

  Dora Morolli 

  Matthew Muntean 

  Alfred Murrle 

  Mark Nettleton 

  Teni Noravian 

  Alex Nowotny 

  James Ogle 

  Alex Ortoll 

  Daniel Ostrov 

  Helen Paul 

  Mike Perry 

  Dana Peters 

  Dave Preciado 

  Henk Prins 

  Cesar Quijada 

  Ula Rademeyer 

  Paul Raeburn 

  Mark Richardson 

  Philippe Roberge 

  Kevin Romond 

  Justin Rotolo 

  Frank Rueter 

  Christoph Salzmann 

  Steven Saunders 

  Caterina Schiffers 

  Marc Aurel Schnabel 

  Paolo Selva 

  Thrain Shadbolt 

  Tomoko Shin 

  Cameron Smith 

  Jason Smith 

  Eva Snyder 

  Jacob Stephens 

  Francois Sugny 

  Giuseppe Tagliavini 

  Hirofumi Takeda 

  Anne Taunga 

  Andrew Taylor 

  Richard Taylor 

  Sandy Coco Taylor 

  Richard Thwaites 

  Geoff Tobin 

  Rachael Trillo 

  Edward Twiss 

  Jonas Ulrich 

  James van der Reyden 

  Rocky Vanoost 

  Beck Veitch 

  Dylen Velasquez 

  Eric Vidal 

  Sean Walker 

  Faye Walkington 

  Ben Warner 

  Imery Watson 

  R. Christopher White 

  Tobias Wiesner 

  Lisa Jane Wild 

  Nicholas Wilson 

  Erik Winquist 

  Dennis Yoo 

  Norway 

  Tor Andreassen 

  Rami Hage 

  Arne Kaupang

  Morten Moen

  Karim Sahai

  Otto Thorbjornsen

  Poland 

  Mateusz Wojt

  Portugal 

  Qian Han

  Russia 

  Dmitry Tokoyakov

  Arman Yahin

  Serbia 

  Petar Jovovic

  Milovan Mladenovic

  Singapore 

  Siau Yene Ang

  Sam Bassett

  Aleksei Chernogorod

  Dayne Cowan

  Nicolas Delbecq

  Josiane Fradette

  Nihal Friedel

  Thibault Gauriau

  Samir Hoon

  Mark Hopkins

  Natapon

  Huangsakuncharoen

  Barry Kane

  Simran Khalsa

  Goran Kocov

  Michal Kriukow

  Frederick LeMaster

  Barry Lim

  Yi Ma

  Dipesh V. Palan

  Phil Pham

  Khalid Ali Qureshi

  Zhiyang Rong

  Rakesh Roopavataram

  Suhit Saha

  Gunther Schatz

  Betty Shaw

  Piotr Skiejka

  Nigel Sumner

  Shawn Sun Shiyu

  Lionel Taillens

  She Fong Yap

  Jeen Yee

  Pedram Ziaei

  Slovakia 

  Vladimir Valovic

  South Africa 

  Jonathan Alenskas

  Paul Kalil

  Wicus Labuschagne

  Bradley Stilwell

  Douw van Niekerk

  South Korea 

  Jia Kim

  Youngsam Suh

  Spain 

  Felix Berges

  Astrid Busser-Casas

  Pascal Chappuis

  Antonio Chumillas Fraj

  Pau Costa Moeller

  Isaac de la Pompa

  Yusef El Khadir

  David Gacituaga

  Miguel Garcia-Villaraco

  Tripp Hudson

  Eduardo Iglesias

  Silvia Montes

  Juan Manuel Nogales

  Javier Pacin

  Oscar Perea Marcos

  Ferran Piquer

  Angel Rico

  Jose Rossi

  Gabriel Roy

  Guillaume Ruegg

  Juan Luis Sanchez

  Carlos Trijueque

  Javier Urosas Torres

  Celine Velasco

  Alex Villagrasa

  Hidetaka Yosumi

  Sweden 

  Dane Bettis

  Mans Bjorklund

  Todd Daugherty

  Jonas Ekman

  Lukas Fabian

  Jonny Gu

  Niklas Jacobson

  Fredrik Limsater

  Markus Manninen

  Xuan Prada

  Jonas Skoog

  David Wahlberg

  Switzerland 

  Matthias Buehler

  Vincent Frei

  Martin Prazak

  Stephan Schweizer

  Taiwan 

  Benjamin Cheung

  Howard Shih

  Roy Yang

  Thailand 

  Brynley Cadman

  Peter Kim

  Paolo Moscatelli

  United Arab Emirates 

  Husni Hawash

  United Kingdom 

  Ian Abbott

  Evrim Akyilmaz

  Marcus Alexander

  Itamar Aloni

  Jahirul Amin

  Jarrod Anderson

  Robert Andrews

  Des Anwar

  Phil Attfield

  Matthew Badham

  Stefano Bagnoli

  Priyanka Balasubramanian

  Keith Barton

  Cedric Battude

  Sara Bennett

  Hal Bertram

  Angus Bickerton

  Mark Boorer

  Jelmer Boskma

  Zakaria Boumediane

  Richard Briscoe

  Darren Brooker

  Danielle Brooks

  Jason Brown

  Adam Buckner

  Mark Bullimore

  Murray Butler

  Julia Caram

  Bernard Carbin

  Helen Carr

  Nicolas Casanova

  Klaudija Cermak

  Charmaine Chan

  Michael Cheung

  Peter Chiang

  Stefano Cieri

  Will Cohen

  Jon Collins

  Chris Corbould

  Neil Corbould, VES

  David Cordon

  Jean-Nicolas Costa

  Hal Couzens

  Ciaran Crowley

  Barney Curnow

  Marco D’Ambros

  Lee Danskin

  Russell Darling

  Neil Davies

  Robert Davies

  Michael Dawson

  Claudia Dehmel

  Gianluca Dentici

  Craig Dibble

  Justin Dobies

  Thomas Doehlen

  Harriet Donington

  Markus Drayss

  Julien Ducenne

  Mike Duffy

  Danny Duke

  Hasraf Dulull

  Ben Duncan

  Dadi Einarsson

  Harry Ellard

  Michael Ellis

  Georg Engebakken

  Peter Eszenyi

  TJ Falls

  Andrew Feery

  Andreas Feix

  Andrew Fensom

  Tim Field

  Kelly Fischer

  Anna Ford

  Nicolas Galan

  Wendy Garfinkle

  Clement Gharini

  Mauro Giacomazzo

  Terry Glass

  Meetal Gokul

  Joshua Gotto

  Alex Grau

  Emily Greeley

  Johnny Grilo

  John Grotelueschen

  Hugo Guerra

  Meg Guidon

  Alexander Gunn

  Jesper Gyllstad

  Derek Haase

  Alexis Haggar

  Kirstin Hall

  Jason Halverson

  Raphael Hamm

  David Harris

  William Harrower

  Ben Haworth

  Andy Hayes

  David Head

  Karsten Hecker

  Barrie Hemsley

  William Heslop

  Drew Hess

  Grant Hewlett

  Martin Hobbs

  Mark Hodgkins

  Christian Hogue

  Jon Hollis

  Thomas Horton

  Ian House

  Timo Huber

  Jack Hughes

  Gemma Humphries

  Antony Hunt

  Emma Ibbetson

  Doug Ikeler

  Andrew Jackson

  Robert Janda

  Matt Johnson

  Christopher Johnston

  Aleksandar Jovanovic

  Igor Jovanovic

  Guillaume Julien

  Allar Kaasik

  Matthew Kasmir

  Gregory Keech

  Tim Keene

  Stephen Kennedy

  Kristof Kiraly

  Abigail Klimaszewska

  Lev Kolobov

  Andreas Krein

  Wendy Laybourn

  Claudia Lechen

  Dan Lemmon

  Philippe Leprince

  Jean-Francois Leroux

  Francisco Lima

  Lara Lom

  Charlotte Loughnane

  Brooke Lyndon-Stanford

  Hugh Macdonald

  Greg Maguire

  Jay Mallet

  Christian Manz

  Jan Maroske

  Rudy Massar

  Rachel Matchett

  Anthony McCaffery

  Lauren McCallum

  Jonathan McFall

  Mike McGee

  Adam McInnes

  Duncan McWilliam

  Clare Melia

  Christophe Meslin

  Dennis Michelson

  Tony Micilotta

  Luca Mignardi

  Milos Milosevic

  Anthony John Mitchell

  Helen Moody

  Michael Morehouse

  Giuseppe Motta

  Dan Neal

  David Nolan

  Clare Norman

  Paul Norris

  Jean Claude Nouchy

  Roma O’Connor

  Artemis Oikonomopoulou

  Christopher Page

  Prashanth Pandurangaiah

  Zissis Papatzikis

  Naz Parkar

  Cecile Peltier

  Rachael Penfold

  Gina Pentassuglia

  Victor Perez

  Matthew Perrin

  Mikael Pettersen

  Rob Pieké

  Ariele Podreider Lenzi

  Pietro Ponti

  Christian Poullay

  Sirio Quintavalle

  Benjamin Radcliffe

  Soren Ragsdale

  Jonathan Rawlinson

  Julia Reinhard

  Simon Richardson

  John Richardson, VES

  Jim Riche

  Hannes Ricklefs

  Neil Robinson

  Roni Rodrigues

  Jesus Rodriguez

  Andrea Rosa

  Valentina Rosselli

  Christoph Roth

  Gavin Round

  Paul Round

  Adam Rowland

  Reece Sanders

  Robin Saxen

  Andrew Schlussel

  Eduardo Schmidek

  Michele Sciolette

  Alexander Seaman

  Pilar Seijo

  Kevin Shepherd

  Mark Sherwood

  Priya Short

  Rodrigo Silva

  Rupert Smith

  Cameron Smither

  Mark Spevick

  Davi Stein

  Andrew Stevens

  Paul Stirling

  Natalie Stopford

  He Sun

  Stefan Susemihl

  Jeff Sutherland

  Laraib Tasneem

  Melissa Taylor

  Marios Theodosi

  Amy Thomas

  Michael Thompson

  Lee Tibbetts

  Matthew Tinsley

  Roger Tortosa Aras

  David Townsend

  Sanju Travis

  Dominic Tuohy

  Michael Turoff

  Matthew Twyford

  Richard Van Den Bergh

  Henry Vera

  Fiona Walkinshaw

  Carl Walters

  Pieter Warmington

  Martin Waters

  David Watkins

  Martin Weaver

  Alex Webb

  Jonathan Westley

  James Whitlam

  Chelsea Whittet

  Tom Whittington

  Hayley Williams

  Angus Wilson

  Salvador Zalvidea

  Michael Zannetou

  Adrien Zeppieri

  United States 

  Heather Abels

  Mimi Abers

  Daniel Abramovici

  Allyson Abrams

  Brett Achorn

  Kenneth Ackerman

  Pedro Acosta

  Brian Adams

  Sharon Adcock

  Brian Adler

  Balu Adsumilli

  Ivy Agregan

  Sandra Aguilar

  Bjorn Ahlstedt

  Dan Akers

  Matt Akey

  Todd Akita

  Fred Aldeschulte

  David Alexander

  Jon Alexander

  Zachary Alexander

  Candice Alger

  Saham Ali

  Kat Alioshin

  Gianni Aliotti

  Graham Allan

  Nigel Allan

  Stuart Allan

  Eric Allard

  David Allen

  Domenic Allen

  Isa Alsup

  David Altenau

  Joe Alter

  Jen Alvares

  Torey Alvarez

  Jonathan Alvord

  Jason Ambler

  Jessica Ambrose

  Paul Ambrosiussen

  Paul Amer

  Ronald Ames

  Sean Amlaner

  Noah Amrani

  Joan Anastas

  Lycee Anaya

  Csilla Andersen

  Kirsten Andersen

  Brian Anderson

  James Anderson

  John Anderson

  Scott Anderson

  Peter Anderson, VES, ASC

  David Andrade

  Ricardo Andrade

  Brian Andrews

  Baptiste Andrieux

  Fatima Anes

  Alexis Angelidis

  Cinzia Angelini

  Timothy Angulo

  Bernardo Antoniazzi

  Anthony Apodaca

  Doug Appleton

  William Arance

  Salvador Arditti

  Andre Arevalo 

  Steve Arguello 

  Sam Arguez 

  Steven Argula 

  Ricardo Ariza 

  Andy Arkin 

  Barry Armour 

  Brent Armstrong 

  Chris Armstrong 

  Austen Armus 

  Tansal Arnas 

  Joakim Arnesson 

  Alastor Arnold 

  Sabrina Arnold 

  Carol Ashley 

  Andrew Ashton 

  Matt Ashton 

  Dave Asling 

  Jeff Atherton 

  James Atkinson 

  Elvis Au 

  Nicholas Augello 

  David Aughenbaugh 

  Kevin AuYoung 

  Jesse Averna 

  Patrice Avery 

  Adam Avitabile 

  Steve Avoujageli 

  Ozgur Aydogdu 

  Gregg Azzopardi 

  Andrew Babick 

  Colleen Bachman 

  Michael Backauskas 

  Sang-Jin Bae 

  Yoon Sun Bae 

  John Baer 

  Vince Baertsoen 

  Navid Bagherzadeh 

  Kevin Baillie 

  John Bair 

  Christopher Baird 

  Katharine Baird 

  Suzanne Baird 

  Donald Baker 

  Heather Baker 

  Reid Baker 

  Richard Baker 

  Edwin Bakker 

  Girish Balakrishnan 

  Adrian Balanon 

  James Baldanzi 

  Alessandro Baldasseroni 

  Tony Baldridge 

  Justin Ball 

  William Ball 

  Scott Ballard 

  William Ballew 

  Christopher Balog 

  Randall Balsmeyer 

  Pete Bandstra 

  Victor Banks, Jr. 

  Steve Bannerman 

  Johnathan Banta 

  Marco Baratto 

  Eric Barba 

  Laura Barbera 

  Anthony Barcelo 

  David Barclay 

  Andra Bard 

  Tom Bardwell 

  Eran Barnea 

  Jeff Barnes 

  Marla Barrett 

  Pharoah Barrett 

  Krystyna Barron 

  Craig Barron, VES 

  Tanner Bartlett 

  Yuri Bartoli 

  Alec Bartsch 

  Lynn Basas 

  Rodney Basham 

  Nicholas Bates 

  Addison Bath 

  Allen Battino 

  Christopher Batty 

  Joseph Bauer 

  Michael Baula 

  Carol Bauman 

  Brenda Baumgarten 

  Ines Baumgartner 

  Rick Baumgartner 

  Greg Baxter 

  Jamie Baxter 

  David Beavis 

  Aaron Beck 

  Mat Beck 

  Stephen Beck 

  Billy Becket 

  Joseph Beckley 

  Dion Beebe 

  David Beedon 

  William Beemer, Jr. 

  Chris Beers 

  David Bees 

  Tehmina Beg 

  Babak Beheshti 

  Joseph Bell 

  Shaun Bell 

  Zachary Bell 

  Christopher Bellaci 

  Thomas Bellissimo 

  Michael Belzer 

  Jeffrey Benedict 

  Steven Benjamin 

  Glen Bennett 

  Richard Bennett 

  Brian Berberich 

  Dimitre Berberov 

  Matthew Berenty 

  Lee Berger 

  Nathalie Bergeron 

  Daniel Berkowitz 

  Janet Berlin 

  Bari Jo Berman 

  Eric Bermender 

  Joaquin Berndt 

  Andreas Berner 

  Ashley Bernes 

  Jim Berney 

  David Bernkopf 

  Lisa Beroud 

  Paul Berry 

  Thomas Bertino 

  John Andrew Berton 

  Tim Best 

  Mikael Betru 

  Ashley Bettini 

  Jason Bidwell 

  Christopher Biggs 

  Wayne Billheimer 

  Derek Bird 

  Justin Bisceglio 

  Ken Bishop 

  Donald Bitters III 

  Loren Bivens 

  Jourdan Biziou 

  Alfonso Blaas 

  Matthew Blackwell 

  Allen Blaisdell 

  Debra Blanchard Knight 

  Cathy Blanco 

  Tranel Bland 

  Kevin Blank 

  Steven Blasini 

  Sandro Blattner 

  Robert Blau 

  Laurie Blavin 

  Ian Blewitt 

  Jonathan Bliss 

  Michael Bliss 

  Jeremy Bloch 

  Kent Blocher 

  George Bloom 

  Casi Blume 

  Andrew Bly 

  Rod Bogart 

  Tom Boland 

  Cosmas Paul Bolger Jr. 

  Joyce Boll 

  Jean Bolte 

  Austin Bonang 

  Eddie Bonin 

  Josh Book 

  Steven Booth 

  Roger Borelli 

  Randall Bosh 

  David Bossert 

  Erin Bosworth 

  Lydia Bottegoni 

  Alan Boucek 

  Christian Boudman 

  Brigitte Bourque 

  Maria Bowen 

  Stephen Bowline 

  Virginia Bowman 

  Tatjana Bozinovski 

  Kirstin Bradfield 

  Susan Bradley 

  Monique Bradshaw 

  Colin Brady 

  Wil Braithwaite 

  Timothy Brakensiek 

  Matthew Bramante 

  Julie Brame 

  Justin Brandstater 

  Jake Braver 

  Brian Brecht 

  Rob Bredow 

  Christoph Bregler 

  Thomas Bremer 

  Elliott Brennan 

  Gregory Brentin 

  Brooke Breton, VES 

  Eric Brevig 

  Thomas Briggs 

  Maria Brill 

  Kathryn Brillhart 

  Daniel Brimer 

  A.J. Briones 

  Vincent Brisebois 

  Matt Britton 

  Nigel Broad 

  Toby Brockhurst 

  Billy Brooks 

  Seth Brower 

  Corey Brown 

  Cynthia Brown 

  Jeremy Brown 

  Susan Brown 

  Judith Brownbill 

  Daniel Browne 

  Max Bruce 

  Armin Bruderlin 

  Dhyana Brummel 

  Eric Bruneau 

  Matthew Brunner 

  Eric Bruno 

  Tom Bruno Jr 

  Marc Bryant 

  Alexandra Bryman 

  Bruce Buckley 

  Karyn Buczek Monschein 

  Brian Budak 

  Chad Buehler 

  Peter Bullis 

  David Bullock 

  Kelly Bumbarger 

  Culley Bunker 

  John Bunt 

  Brian Buongiorno 

  James Buongiorno 

  Duncan Burbidge 

  Sonja Burchard 

  Bryan Burger 

  Everett Burrell 

  Cathy Burrow 

  Chrysta Burton 

  Erika Burton 

  Glenn Burton 

  Justin Burton 

  Rob Burton 

  Jay Busch 

  Sebastian Butenberg 

  Corey Butler 

  Naidu Buyyala 

  Prashant Buyyala 

  Mark Byers 

  Eban Byrne 

  Joey Cade 

  Rita Cahill 

  Bryon Caldwell 

  Jimmy Calhoun 

  Diane Caliva 

  Roberto Calvo 

  Jean Baptiste Cambier 

  Gordon Cameron 

  Andy Campbell 

  Colin Campbell 

  Glenn Campbell 

  Howard Campbell 

  Susan Campbell 

  Fiona Campbell Westgate 

  Alexandre Cancado 

  Daniel Candela 

  Casey Cannon 

  Nick Cannon 

  Tom Capizzi 

  James Carbonetti, Jr. 

  Deborah Carlson 

  Kelly Carlton 

  Ozzie Carmona 

  Carrie Carnevale 

  Eric Carney 

  Steven Caron 

  Renato Carone 

  Charlotte Carr 

  Lauren Carr 

  Tim Carras 

  David Carriker 

  David Carson 

  Toni Pace Carstensen 

  Mark Casey 

  Mei-Ming Casino 

  Jeffery Casper 

  Christian Castaneda 

  Oliver Castle 

  Marisa Castro 

  Edwin Catmull, VES 

  Craig Caton-Largent 

  Korey Cauchon 

  Robert Cavaleri 

  Sarah Cave 

  Daniel Cayer 

  Bernard Ceguerra 

  Camille Cellucci 

  Stephane Ceretti 

  Fabrice Ceugniet 

  Lawrence Chai 

  John Chalfant 

  Nick Chamberlain 

  Jessica Chamberlin 

  Mike Chambers, VES 

  Rick Champagne 

  Alan Chan 

  Elle Chan 

  Andy Chang 

  Can Chang 

  Kai Chang 

  TC Chang 

  Richard Chapelle, ACS 

  Christopher Chapman 

  Gordon Chapman 

  Kaycee Chapman 

  William Chapman 

  Laurent Charbonnel 

  Francois Chardavoine 

  Yolanda Charlo Rodriguez 

  Kathy Chasen-Hay 

  Kintan Chauhan 

  Parker Chehak 

  Alan Chen 

  Belinda Chen 

  Jason Chen 

  Jerome Chen 

  Jerry Chen 

  Max Chen 

  Tun-en Chen 

  Yongji Chen 

  Greg Cheng 

  Alexey Cheprakov 

  John Cherniack 

  Peter Chesloff 

  Simon Cheung 

  Michael Chiado 

  Yuheng “Danka” Chiang 

  Jeremy Chinn 

  Stephen Chiu 

  Steve Cho 

  Jean Choi 

  Jim Choumas 

  Amy Christensen 

  Eric Christensen 

  Tim Christensen 

  Mark Christiansen 

  Christopher Christman 

  Alan Chu 

  Kelvin Chu 

  Marc Chu 

  Junyoung Chung 

  Leslie Chung 

  Paul Churchill 

  Suzanne Cipolletti 

  Peter Claes 

  Sam Claitor 

  Blair Clark 

  Lucy Clark 

  Richard Clark 

  Trent Claus 

  Charles Clavadetscher 

  Terry Clotiaux 

  Kay Cloud 

  Sarah Coatts 

  Seth Cobb 

  Dan Cobbett 

  Arthur Codron 

  Kyle Cody 

  Franklin Cofod 

  Daniel Cohen 

  Julien Cohen Bengio 

  Webster Colcord 

  David Cole 

  Zachary Cole 

  Robert Coleman 

  Joan Collins 

  Michael Collins 

  Charles Collyer 

  Max Colt 

  Aaron Conover 

  Patrick Conran 

  Casey Conroy 

  Jeremy Constantine 

  Kevin Constantine 

  Michael Conte 

  Caitlin Content 

  Walt Conti 

  Lisa Cooke 

  Matthew Cooke 

  Sibille Cooney 

  Chris Cooper 

  Doug Cooper 

  Jacqueline Cooper 

  Krystal Cooper 

  Allen Corcorran 

  Michael Cordova 

  Johnathon Cormier 

  David Cornelius 

  Laura Cosner 

  Ryan Coster 

  Glenn Cote 

  Glenn Cotter 

  James Coulter 

  Scott Coulter 

  Erik Courtney 

  Diego Coutinho de Souza 

  Daniel Coutinho Ferreira 

  Dan Cox 

  Joyce Cox, VES 

  Bruce Coy 

  Karl Coyner 

  Ronald Crabb 

  Timothy Crabtree 

  Nicolas Cragnolino 

  Doug Cram 

  Craig Crawford 

  Robert Cribbett 

  Jonathan Cronk 

  Derek Crosby 

  Janelle Croshaw 

  Peter Crosman 

  Kristofer Cross 

  Judith Crow 

  Chris Cruse 

  Alvin Cruz 

  Ana Marie Cruz 

  Tiffany Cullum 

  Gregory Culp 

  Chris Cundey 

  James Cunliffe 

  Michael Cunningham 

  Sean Curran 

  Gail Currey 

  Daniel Curry, VES 

  Kevin Cushing 

  Karen Czukerberg 

  Anthony D’Agostino 

  Beth D’Amato 

  Rodney Da Costa 

  Nick da Silva 

  Thomas Dadras 

  Amanda Dague 

  Jayesh Dalal 

  Tristan Dalley 

  Frank Daponte 

  John Daro 

  Sanjay Das 

  Patrick Davenport 

  Art David 

  Lorelei David

  Alan Davidson

  Andy Davis

  Anthony Davis

  Cory Davis

  Denise Davis

  Dennis Davis

  Fon Davis

  Gary Davis

  Joel Davis

  Jonathan Davis

  Matthew Davis

  Susan Davis

  Mohammed Davoudian

  Anton Dawson

  Christopher Dawson

  Ian Dawson

  Erik-Jan de Boer

  Rodrigo de la Parra

  Lindy De Quattro

  Mark de Sousa

  Diana De Vries

  Adrian de Wet

  Aladino Debert

  Paul Debevec, VES

  Norman DeCarlo

  Tyler Deck

  John Decker

  Sébastien Deguy

  Joshua DeHerrera

  Eric Deinzer

  Francisco DeJesus

  Matthew DeJohn

  Ante Dekovic

  Chris Del Conte

  Doug Delaney

  Vic DeLeon

  Ruy Delgado

  Frank DeLise

  Steve Dellerson

  Tara DeMarco

  Lawson Deming

  Jean-Marc Demmer

  Debbie Denise

  Marie Denoga

  Shannon Deoul

  Dariush Derakhshani

  Eric Deren

  Caleb Deschanel

  Fefo Desouza

  Remi Dessinges

  Natasha Devaud

  Sean Devereaux

  David Dewaik

  Rob Di Figlia

  Juan Diaz

  Sharon Diaz

  Joseph DiCesare

  Andrew Diefenbach

  Carsten Dietz

  Luciano DiGeronimo

  Daniel Dimian

  Victor DiMichina

  Catherine Dinh

  Eran Dinur

  Luke DiTommaso

  Daren Dochterman

  Laura Dohrmann

  Brian Doman

  Timothy Donlevy

  Ryan Donoghue

  Ali Donovan

  Jeff Doran

  Jonathan Dorfman

  Jason Doss

  Antoine Douadi

  Kathryn Dougan

  Scott Dougherty

  Scott Douwes

  Crystal Dowd

  Jon Doyle

  Loring Doyle

  David Dozoretz

  Alexander Dracott

  Linda Drake

  Miller Drake

  David Dranitzke

  Matthew Dravitzki

  Steve Drew

  Wilfred Driscoll

  Andrey Drogobetski

  Kristen Drosinos

  Mary Alice Drumm

  David Drzewiecki

  Olivier Dubard

  Mark Dubeau

  Steven Dubin

  Benoit Dubuc

  Robert Ducey

  Sheena Duggal

  Rose Duignan

  Haarm-Pieter Duiker

  Rama Dunayevich

  Renee Dunlop

  Bill Dunphy

  Simon Paul Dunsdon

  Lauryl Duplechan

  Art Durinski

  Michiko Suzuki Durinski

  Eric Durst

  Christopher Dusendschon

  Randal Dutra

  Pauline Duvall

  Animesh Dwivedi

  Adam Ealovega

  Tim Eaton

  Jody Echegaray

  Rony Edde

  Selwyn Eddy III

  Camille Eden

  Hagop Edjourian

  Richard Edlund, VES

  Cliff Edson

  Christopher Edwards

  Mark Edwards

  Robert Edwards

  Sam Edwards

  Chad Eikhoff

  Sarah Eim

  Joel Einhorn

  Michelle Eisley

  Monique Eissing

  Mohamad El Ali

  Kevin Elam

  Thomas Elder-Groebe

  Judy Elkins

  Harrison Ellenshaw, VES

  Erin Elliott

  Jennifer Emberly

  Jason Embury

  Steve Emerson

  Mark Empey

  Eric Enderton

  Chris Endicott

  Jeffrey Engel

  Wayne England

  Tim Enstice

  Daniel Enstrom

  Doug Epps

  Colin Epstein

  Jonathan Erland, VES

  David Eschrich

  Thomas Esmeralda

  Tyler Esselstrom

  Fish Essenfeld

  Kent Estep

  Jud Estes

  Robert Evans

  Christopher Evart

  Mark Everson

  Edwin Fabian

  Sean Faden

  Steve Fagerquist

  Reza Fakharieh

  Sean Falcon

  Brad Falk

  Garrett Fallin

  Yun-po Fan

  Gabi Fang

  Saeed Faridzadeh

  Nathan Fariss

  Alison Farmer

  Mark Farquhar

  S. Scott Farrar

  Scott Farrar

  Mark Fattibene

  Stephen Fedasz, IV

  Ronald Fedkiw

  Ray Feeney, VES

  David Fein

  Danielle Feinberg

  Christine Felman

  Mitchell Ferm

  Adam Ferrall-Nunge

  Henrik Fett

  Katie Fico

  Paul Fiebiger

  Charles Finance

  Gregory Finch

  Michael Fink, VES

  Chad Finnerty

  Johnny Fisk

  Ken Fisk

  George Fitz

  Eve Fizzinoglia

  Laurie Flamholtz

  Patrick Flanagan

  Dadrian Flavors

  Alex Fleming

  Albert Florencio Da Costa

  Rocco Florimonte

  Brian Flynn

  Heather Flynn

  Tyler Foell

  David Fogg

  Michael Sean Foley

  Blair Foord

  Barbara Ford

  Bryan Fordney

  Christopher Foreman

  Mark O Forker

  Charlotta Forssman

  Crys Forsyth-Smith

  Tim Fortenberry

  Rebecca Forth

  Nathalie Fortunel

  Jaime Fortuno-Lavin

  Gabriel Foster

  Daniel Fotheringham

  Christian Foucher

  Andrew Fowler

  Deborah Fowler

  Deborah Fox

  John Fragomeni

  Alejandro Franceschi

  Joseph Francis

  Mark Franco

  Ronald Frankel

  Bruce Franklin

  David Franklin

  Dave Franks

  Aidan Fraser

  Lee Fraser

  Russell Frazier

  Sabina Fredenburg

  Lori Freitag

  Mark Freund

  Corey Frew

  Jacob Frey

  Richard Friedlander

  Bradley Friedman

  Haskell Friedman

  Layne Friedman

  Mark Friedman

  Joel Friesch

  Michael Fu

  SuAnne Fu

  Regaye Fulcher

  Jack Fulmer

  Christopher Fung

  Dave Funston

  Krzysztof Fus

  Graham L Fyffe

  Max Gabl

  Billy Gabor

  Vicki Gabor

  Paul Gaboury

  Vijoy Gaddipati

  Gil Gagnon

  Joshua Galbincea

  Chris Gallagher

  Philip Galler

  Darnie Galloway

  Diego Galtieri

  Mark Galvin

  Shannon Gans

  Christina Garberson

  Fifer Garbesi

  Andy Garcia

  Anthony Garcia

  Jorge Garcia Castro

  Frederick Gardner

  W. Jacob Gardner

  Joe Gareri

  Kirk Garfield

  Diego Garzon

  Michael Gates

  Mitchell Gates

  Dawn Gates Wells

  Philippe Gaulier

  Steve Gawley

  Bridget Gaynor

  Jack Geckler

  Brian Gee

  Willi Geiger

  Sara Geimer

  Robby Geis

  Mark Gelfuso

  Sari Gennis

  Paul Gentry

  Clinton George

  William Georgiou

  Tau Gerber

  Brian Gernand

  Howard Gersh

  Allan Gersten

  Addy Ghani

  Adam Ghering

  Christopher Ghio

  Paul Giacoppo

  Angela Giannoni-DeWilde

  Charles Gibson

  David Gidali

  Ray Gilberti

  Brent Gilmartin

  David Ginsberg

  Diana Giorgiutti

  Piotr Glabinski

  Cyrus Gladstone

  Frank Gladstone

  Noah Glasoe

  Andrew Gleeson

  Rick Glenn

  Barry Goch

  Bryan Godwin

  David Godwin

  Katie Godwin

  Tolga Goktekin

  Evan Goldberg

  Steve Goldberg

  Marian Golden

  Daniel Goldman

  Tami Goldsmith

  Paula Goldstein

  Rainer Gombos

  Alejandro Gomez

  Jose Luis Gomez Diaz

  Nathalie Gonthier

  Christian Gonzales

  Claudio Gonzalez

  Manuel Gonzalez

  Roy L Goode

  Demian Gordon

  Scott Gordon

  Tom Gorey

  Zareh Gorjian

  James Gorman

  Ned Gorman

  Joanna Goslicka

  Holly Gosnell

  Christian Gossett

  David Gottlieb

  Dylan Gottlieb

  Jason Gottlieb

  Jonathan Gourley

  Stephane Grabli

  Christina Graff

  Paul Graff

  Adrian Graham

  Justin Graham

  Lee Gramling

  Rick Grandy

  Darin Grant

  Victor Grant

  Matthew Gratzner

  Vicky Gray-Clark

  Jeff Grebe

  Brian Green

  Colin Green

  Dirk Greene

  Helen Greene

  Eric Greenlief

  Gavin Greenwalt

  Daniel Gregoire

  Douglas Gregory

  Michael Gregory

  Eric Grenaudier

  Paul Griffin

  Robin Griffin

  Matthew Griffith

  Annemarie Griggs

  Bryan Grill

  Paul Grimshaw

  William Groebe

  Greg Groenekamp

  Edward T. Grogan

  Julie Groll

  John Gross

  Scott Gross

  Joseph Grossberg

  Ben Grossmann

  Dave Grove

  Yvonne Grzenkowicz

  Kim Guedin

  Patrick Guenette

  Ivan Guerrero

  Matthew Guerrero

  Miguel Guerrero

  Indira Guerrieri

  Catherine Gulácsy von Gulács

  Divya Gupta

  Alex Guri

  Donn Gurule

  Glen Gustafson

  Ian Guthrie

  Roger Guyett

  Jean-Denis Haas

  Adam Habib

  Jennifer Hachigian

  Nathan Hackett

  Christopher Hagerthy

  Mary Beth Haggerty DeLoura

  Adam Hall

  Alexis Hall

  Betsy Hall

  Joseph Hall

  Martin Hall

  Paris Hall

  James Markham Hall Jr.

  Lindsay Hallett

  Craig Halperin

  Yasser Hamed

  Mark Hammel

  H Haden Hammond

  Justin Hammond

  Johnny Han

  June Han

  Michael Sean Hannon

  John Kieran Hanrahan

  John Hansen

  Eric Hanson

  Jonathan Hanzelka

  Satoshi Harada

  Heidrun Haraldsdottir

  Jonathan Harb

  Michael Harbour

  Robert Harbour

  Mark Hardin

  Alex Harding

  David Hare

  Joe Harkins

  Brandon Harr

  Tim Harrington

  Lucien Harriot

  Bruce Harris

  Robb Hart

  John Hartigan

  Jane Hartwell

  Lamarcus Harvey

  Todd Harvey

  Sho Hasegawa

  Patrick Haskew

  Gregory Hauptner

  Marty Havran

  Jack Haye

  Bob Hayes

  Brad Hayes

  Daniel Hayes

  John Hayes

  Joshua Haynie

  Christel Hazard

  Kimberly Hazel

  Kimberly Headstrom

  Chris Healer

  Janet Healy

  John Heller 

  Sabine Heller 

  Edward Helmers 

  John Helms 

  Ronald Henderson 

  Steve Hendricks 

  Andy Hendrickson 

  Joe Henke 

  Alex Henning 

  Heino Henning 

  Micah Henrie 

  Erik Henry 

  Linda Henry 

  Marla Henshaw 

  Kevin Herjono 

  Veronica Hernandez 

  Derek Herr 

  Nicole Herr 

  Daniel Herrera 

  Andrew Hertzog 

  Christophe Hery 

  Karen Heston 

  Warwick Hewett 

  Brent Heyning 

  Halden Hickel 

  Brad Hiebert 

  Nicholas Hiegel 

  Sherif Higazy 

  Andreas Hikel 

  Jason Hill 

  Paul Hill 

  Paul L. Hill 

  Stephen Hill 

  Phillip Hillenbrand, Jr. 

  Jimmie Hillin, Jr. 

  Rory Hinnen 

  Yoshiko Hirata 

  Evan Hirschberg 

  Sherry Hitch 

  Elizabeth Hitt 

  Wensen Ho 

  Robin Hobart 

  Shiloh Hobel 

  Noel Hocquet 

  Naty Hoffman 

  Phillip Hoffman 

  Deron Hoffmeyer 

  Michael Hofstein 

  Pam Hogarth 

  Larry Hoki 

  Richard Hollander, VES 

  Sharon Smith Holley 

  Darin Hollings 

  Kevin Hollon 

  Aaron Holly 

  Christopher Holmes 

  John Holmes 

  Shaina Holmes 

  Jason Holt 

  Petra Holtorf 

  Andrew Honacker 

  Richard Honig 

  Eloisa Honrada 

  Carl Hooper 

  Fred Hooper 

  Michael Hoover 

  Benjamin Hopkins 

  Jill Hopper 

  Brian Horn 

  Steven Hornby 

  Patrick Horne 

  David Horsley 

  Oliver Hotz 

  Brian Houlihan 

  James Hourihan 

  Robert House 

  Sean House 

  Beverly Houwing 

  Adam Howard 

  Angie Howard 

  Beth Howe 

  Don Howe 

  Barry Howell 

  Bernice Howes 

  Jason Howey 

  Lubomir Hristov 

  Chung-Pu Hsiao 

  Emily Hsu 

  Ting-Jung Hsu 

  Chia-Chi Hu 

  Jean Huang 

  Shyh-Chyuan Huang 

  Steven Hubbard 

  Michael Huber 

  Geoff Hudson 

  Kevin Hudson 

  Dorne Huebler 

  Eric Huelsman 

  Charlotte Huggins 

  Harley Huggins II 

  Katherine Hughes 

  John Huikku 

  David Hulin 

  Shawn Hull 

  Carlo Hume 

  Chris Hummel 

  Derald Hunt 

  Jeremy Hunt 

  Jill Hunt 

  Jennifer Hunt-Halper 

  Nathaniel Hunter 

  Patrick Hurd 

  Kelsey Hurley 

  Maura Hurley 

  Bob Hurrie 

  Jessica Hurst 

  Mo Husseini 

  David Hutchins 

  Thomas Hutchinson 

  Jan Huybrechs 

  Roger Huynh 

  Stephen Hwan 

  Joel Hynek 

  Diana Ibanez 

  Jay Ignaszewski 

  Wataru Ikeda 

  Iki Ikram 

  Nick Ilyin 

  Ashwin Inamdar 

  Michael Inchalik 

  Chris Ingersoll 

  Angelica Inguanzo 

  Hitoshi Inoue 

  Katherine Ipjian 

  Ruth Irvine-Hauer 

  Todd Isroelit 

  Victoria Itow-Tsering 

  Carlos Iturriaga 

  Anthony Max Ivins 

  Christophe Ivins, MFA 

  John Jack 

  Mark Jackels 

  Gary Jackemuk 

  Christopher Jackson 

  Kenneth Jackson 

  Linda Jackson 

  Michael Jackson 

  Michael L. Jackson 

  Leigh Jacob 

  Evan Jacobs 

  Tim Jacobsen 

  Alexis Jacobson 

  Joni Jacobson 

  Tara Marie Jacobson 

  Terence Jacobson 

  Anthony Jacques 

  Josh Jaggars 

  Hetal Jain 

  Clark James 

  John Jamieson 

  Yoojin Jang 

  Kathleen Janus 

  R. Patrick Jarvis 

  Pierre Jasmin 

  Jeffrey Jasper 

  Jaime Jasso 

  Daniel Jeannette 

  Michael Jedlicka 

  Helen Jen 

  Nathaniel Jencks 

  Eric Jennings 

  Gareth Jensen 

  Arthur Jeppe 

  Pol Jeremias-Vila 

  Harley Jessup 

  Jimmy Jewell 

  Luc Job 

  George Joblove 

  Christopher Johnson 

  Douglas Johnson 

  Hilery Johnson 

  Jeff Johnson 

  Kristin Johnson 

  Matthew Johnson 

  Matthew Johnson 

  Michael B Johnson 

  Nicholas Johnson 

  Ronald Johnson 

  Ty Johnson 

  David Johnson, VES 

  Jason Johnston 

  Andrew Jones 

  Benjamin Jones 

  Bruce Jones 

  Christopher Jones 

  Ed Jones 

  Justin Jones 

  Oliver Jones 

  Scott Jones 

  Walt Jones 

  Lori Joseph 

  Norman Joseph 

  Karin Joy 

  Chris Juen 

  Burt Julio 

  Corey Just 

  Shannon Justison 

  Mike Jutan 

  Noah Kagan 

  Jesselee Kahaloa 

  Florian Kainz 

  Lindsey Kaiser 

  John Kalaigian 

  Laurie Kallsen-George 

  Steven Kaminsky 

  Michael Kanfer 

  Shyam Kannapurakkaran 

  Bonnie Kanner 

  Paul Kanyuk 

  Matthew Kapfhammer 

  Jeffrey Kaplan 

  Jonathan Karafin 

  Nitant Karnik 

  Michael Kaschalk 

  Jeff Kasunic 

  Michelle Kater 

  Eryn Katz 

  Louis Katz 

  Dan Kaufman 

  Andras Kavalecz 

  Douglas Kay 

  Brian Keane 

  Heather Keister 

  Michael Keith 

  Daniel Keller 

  Matt Kelly 

  Paddy Kelly 

  Shawn Kelly 

  Kolby Kember 

  Matthew Kemper 

  Jeremy Kendall 

  Tom Kendall 

  Michael Kennen 

  Blaine Kennison 

  Bill Kent 

  Rachael Kent 

  Lee Kerley 

  Isaac Kerlow 

  Richard Kerris 

  Scott Kersavage 

  Duncan Key 

  Alexander Khalyavin 

  Kshitij Khanna 

  Timur Khodzhaev 

  Richard Kidd 

  Scott Kilburn 

  Alex Kim 

  Brian Kim 

  Da Suel Kim 

  Danny S. Kim 

  Deke Kincaid 

  Michel Kinfoussia 

  Jeanmarie King 

  Todd King 

  Bradley Kinley 

  Asuka Kinney 

  Colton Kirkegaard 

  Amber Kirsch 

  Brent Kirsten 

  Scott Kirvan 

  Michael Kirylo 

  Tommy Kiser 

  Whitney Kitchen 

  Perry Kivolowitz 

  Jeff Kleiser 

  Randal Kleiser 

  Laurel Klick 

  Michael Kliewer 

  Martin Kline 

  Henry Kline II 

  Keith Klohn 

  Daniel Klug 

  Angus Kneale 

  James Knight 

  Jonathan Knight 

  John Knoll 

  Hael Kobayashi 

  Mach Kobayashi 

  Mark Kochinski 

  Jacqueline Koehler 

  Matt Koehler 

  Pauline Koh 

  Mari Kohn 

  Ken Kokka 

  Mark Kolpack 

  Alyssa Koncelik-Diemer 

  Steven Kosakura 

  Stephan Kosinski 

  Adam Kowalski 

  Gene Kozicki 

  Maggie Kraisamutr 

  Daniel Kramer 

  Markus Kranzler 

  George Krauter 

  Heath Kraynak 

  John Kreidman 

  Nicki Kreitzman 

  Gautham Krishnamurti 

  Paul Krist 

  James Kristoff 

  Mike Krohn 

  Bill Kroyer 

  Randall Krueger 

  Dana Krupinski 

  Bridgitte C Krupke 

  Daniel Kruse 

  Christian Kubsch 

  Eva-Maria Kuehlmann 

  Yorie Kumalasari 

  Vishishth Kumar 

  Frances Kumashiro 

  Kevin Kunze 

  Lincoln Kupchak 

  Markus Kurtz 

  Matt Kuruc 

  Yasumasa Kutami 

  Kevin Kutchaver 

  Matt Kutcher 

  Matthew J. Kutcher 

  Thilo Kuther 

  Tomash Kuzmytskyi 

  Helen Kwok 

  Kelly L’Estrange 

  Jaime Labelle 

  Henry LaBounta 

  Josh LaBrot 

  Shauna Lacoste 

  Vinnie LaCour 

  Adam LaGattuta 

  Kelly Lake 

  Randy Lake 

  Martin LaLand Romero 

  Ben Lam 

  Kenny Lam 

  Martin Lam 

  Paul Lambert 

  Christopher Lance 

  Hayden Landis 

  Cleve Landsberg 

  Ryan Laney 

  Cameron Langs 

  Lee Lanier 

  Lorne Lanning 

  Jeroen Lapre 

  Evan Larson 

  Kenneth Larson 

  Lisa Lassek 

  David Latt 

  Theresa Latzko 

  Alexander Laurant 

  Gary Laurie 

  Peter Lauritson 

  Matthew Lausch 

  Kim Lavery, VES 

  Jennifer Law-Stump 

  Michael Lawler 

  Aaron Lawn 

  David Lawson 

  Joseph Lawson 

  Kurt Lawson 

  Martin Lazaro 

  Phi Le 

  Tram Le-Jones 

  Alison Leaf 

  Demetrius Leal 

  Ryan Leasher 

  David Lebensfeld 

  Michael Lebensfeld 

  Scott Leberecht 

  Andre LeBlanc 

  Sophie Leclerc 

  Derek Ledbetter 

  Chris LeDoux 

  Mark LeDoux 

  Austin Lee 

  Don Lee 

  Gong Myung Lee 

  Han-Chin Lee 

  Herman Lee 

  Hyun-min Lee 

  Jang Lee 

  Jax Lee 

  Jenn Lee 

  Lawrence Lee 

  Matthew Lee 

  Woei Lee 

  Robert Legato 

  Mike Lehman 

  Marcus Lehto 

  Kira Lehtomaki 

  Eric Leidenroth 

  Craig Leigh 

  Michael Leitmann 

  Alex Lemke 

  David Lenihan 

  Michael Leone 

  John Leonti 

  John LePore 

  Leslie Lerman 

  Vlad Leschinski 

  Michael Lester 

  Deven Letendre 

  Victor Leung 

  Jim Leuper 

  Ahavatyah ‘Votch’ Levi 

  John Levin 

  Eric Levin-Hatz 

  Dave Levine 

  Adam Levy 

  Didier Levy 

  Mickey Levy 

  Stewart Lew 

  Janice Lew-Bastian 

  Alex Lewis 

  Beren Lewis 

  Joe Lewis 

  Rachelle Lewis 

  Andrew Lewitin 

  Suzanne Lezotte 

  Mark LHeureux 

  Linghao Li 

  Millie Li 

  Nan Li 

  Mark Lieberman 

  Gregory Liegey, Jr. 

  Brice Liesveld 

  Erik Liles 

  Alisha Lim 

  Nelson Lim 

  Neil Lim Sang 

  Daniel Lima 

  Richard Lima 

  Andy Lin 

  Cindy Lin 

  Jason Lin 

  Kevin Lin 

  Kuan Lin 

  Yi-chao Lin-Chiang 

  Torbjorn Lindback 

  Bryanna Lindsey 

  Van Ling, VES 

  Kevin Lingenfelser 

  Randy Link 

  Shawn Lipowski 

  Lenny Lipton 

  Robert Liscombe 

  Randy Little 

  Benjamin Liu

  Francis Liu

  Tingting Liu

  Ying Liu

  Michael Liv

  Laura Livingstone

  Victoria Livingstone

  James Livolsi

  Michelle Lloyd-Samson

  Daniel Lobl

  John Locke

  Carl Loeffler

  Michael Logan

  Jack London

  Hal Long

  Julie Long

  Sam Longoria

  Patrick Longstreth

  Benjamin Looram

  Dan Lopez

  Michael Lorrain

  Bill Lorton

  Andrew Loschin

  Julia Lou

  George Loucas

  Justin Louis

  Conan Low

  Stuart Lowder

  Daniel Lowenberg

  Bob Lowery

  Wei “Victor” Lu

  Doug Luberts

  Nick Lucas

  Alberto Ludena

  Stephen Lumley

  Viktor Lundqvist

  Alison Luong

  Boris Lutsiuk

  Lap Luu

  Dean Lyon

  Skye Lyons

  Wanchun Ma

  Daniel Maas

  Don MacBain

  Morgan MacCuish

  Andrew MacDonald

  Euan Macdonald

  Martha Mack

  Ross Mackenzie

  Sean Mackenzie

  Kim Mackey

  Michael Macklin

  Alastair Macleod

  Dawn Macleod

  Jason MacLeod

  Douglas MacMillan

  Timothy MacMillan

  John Madden

  Carol Madrigal

  Jessica Madsen (Bakke)

  Siddhartha Maganti

  Anthony Magliocco

  Luca Magnanini

  Cecil Magpuri

  Thomas Mahoney

  Cristiane Maia

  Marco Maldera

  Marco Maldonado

  Michael Maley

  Namit Malhotra

  Lee Malone

  Yarin Manes

  John Mangia

  Ajoy Mani

  Samuel Maniscalco

  Jeff Mann

  Dev Mannemela

  Benoit Mannequin

  Arnon Manor

  Rune Mansson

  Michele Maples

  Francine Marchetti

  Mark Marcin

  Sharon Marcussen

  Kevin Margo

  Nick Mariana

  Anthony Marigliano

  Sarah Marikar

  Jose Marin

  Ian Markiewicz

  Alan Markowitz

  Harrison Marks

  Andrea Marotti

  Ed Marsh

  Carol Marshall

  Gary Marshall

  Gray Marshall

  Tia Marshall

  Bettina Martin

  Christopher Martin

  Douglas Martin

  Thomas Martinek

  Andres Martinez

  Maya Martinez Smith

  Steve Martino

  Patrick Marty

  Ken Maruyama

  Stu Maschwitz

  Wendy Mashburn

  Sergii Mashevskyi

  Fumi Mashimo

  Albert Mason

  Terrence Masson

  Todd Masters

  Giuseppe Mattiolo

  Matthew Maude

  Will Maurer

  Olivier Maury

  Peter Mavromates

  Kevin May

  Steve May

  Dale Mayeda

  Bjørn Mayer

  Phillip Mayer

  Vinessa Mayer

  Kenneth Mayfield

  Jacob Maymudes

  Andre Mazzone

  Rich McBride

  Ian McCamey

  Vicky McCann

  James McCarter

  Omar McClendon

  Omar McClinton

  Aaron McComas

  John McConnell

  Barbara McCullough

  Scott McCullough

  Matthew McDonald

  Petra McElvenny

  Randy McEntee

  Sarah McGee

  John McGinley

  Scott McGinley

  Kevin McGowan

  Sarah McGrail

  Emma McGuinness

  Nathan McGuinness

  Mark McGuire

  Robert McInnis

  John McIntosh

  Mare McIntosh

  Ray McIntyre Jr.

  Rich McKain

  Allan McKay

  Sherry McKenna

  Garrett McKerlie

  Jason McKinley

  Kyle McKisic

  Aaron McLane

  Tim McLaughlin

  Brian McLean

  Marianne McLean

  Sean McLean

  Pat McNeely

  Michael McNeill

  Kevin McTurk

  Arnie Mecham

  Christopher Medley-Pole

  Garrick Meeker

  Michael Melchiorre

  Juan Melgoza

  Nicole Melius

  David Mellor

  Edwardo Mendez

  Joel Mendias

  Abraham Meneu Oset

  Jie Meng

  David Meny

  Tory Mercer 

  Joel Merritt

  Arthur Mesa

  John Mesa

  William Mesa

  Brian Metcalf

  Mischa Meyer

  Robert Meyers

  Pablo Mica

  Ludovick Michaud

  Tadao Mihashi

  Thomas Mikota

  Gavin Miljkovich

  Alvah Miller

  Grant Miller

  James Michael Miller

  Jed Miller

  Julie Miller

  Mark Miller

  Mike Miller

  Paul Miller

  Stephen Miller

  Tim Miller

  Brian Millman

  Corey Milne

  Scott Milne

  Michael Min

  Glo Minaya

  Mark Mine

  William Mings

  Natt Mintrasak

  Craig Mirkin

  Kamal Mistry

  Chris Mitchell

  Justin Mitchell

  Sean Mitchell

  Curt Miyashiro

  Mahito Mizobuchi

  Roger Mocenigo

  Brian Moffet

  Terry Molatore

  Robert Molholm

  Colin Moll

  Pablo Molles

  Ashley Monastra

  Rodney Montague

  Rohini Montenegro

  Brittany Montero

  John Eric Montgomery

  Tim Montgomery

  Ryan Montrucchio

  Christopher Moore

  Douglas Moore

  Mac Moore

  Ronald Moore

  Troy Moore

  Arturo Morales Rangel

  Ivan Moran

  Joey Morelli

  Daniel Moreno

  Michael Morgan

  Jacquelyn Morie

  Lauren Morimoto

  Chris Morley

  Anthony Morrelle

  David Morris

  Katie Morris

  Thaine Morris

  Jim Morris, VES

  Jake Morrison

  Shelly Morrow

  Aaron Mortensen

  Ashley Mortensen

  Raphael Mosley

  Victoria Most

  Michelle Motta

  Peter Moyer

  Kenn Moynihan

  Michael Muir

  Mike Mulholland

  Brian Mullen

  Kevin Mullican

  Craig Mumma

  Gary Mundell

  David Munier

  Steven Muniz

  Dennis Muren, VES

  Brendon Murphy

  K.C. Murphy

  Karen Murphy

  John Murrah

  Ken Museth

  Janet Muswell Hamilton, VES

  Will Muto

  Bud Myrick

  Paul Naas

  Val Nabilskiy

  Naren Naidoo

  Rajesh Naiksatam

  Kenneth Nakada

  Roger Nall

  Jasen Nannini

  Masa Narita

  Erin Nash

  Primo Navidad

  Victor Navone

  Andrew Nawrot

  Patrick Neary

  Michael Necci

  Shawn Neely

  Cameron Neilson

  Kurt Nellis

  Charlotte Nelson

  David Nelson

  Derek Nelson

  Jeremy Nelson

  John Nelson

  John R. Nelson

  Keith Nesson

  Davy Nethercutt

  Maia Neubig

  Glenn Neufeld

  Robert Neuman

  Gigi Ng

  An-Tim Nguyen

  Vinh Nguyen

  Chris Nibley

  Alex Nice

  Doug Nichols

  Jacob Nichols

  Bruce Nicholson

  Gregory Nicholson

  Sam Nicholson

  Wilson Nicholson

  Jesse Nicodemus

  Bob Nicoll

  Vincent Niebla

  Niels Nielsen

  Alex Nijmeh

  Rob Nitsch

  Tonya Noerr

  Mark Noland

  Gary Nolin

  Jonas Norberg

  Nils Norgren

  Dan Novy

  Brian Nugent

  John Nugent

  Tim Nussbaum

  Alison O’Brien

  Michael O’Brien

  Rick O’Connor

  Domhnall O’Donnchadha

  Erik O’Donnell

  Tina O’Hailey

  Danielle O’Hare

  Sam O’Hare

  David O’Neal

  Susan O’Neal

  Kevin O’Neill

  Peter Oberdorfer

  Joseph Oberle

  Anthony Ocampo

  Cyndi Lyn Ochs

  Kyle Odermatt

  Jessica Oehlberg

  Samantha Ofole-Prince

  Viktorija Ogureckaja

  Maggie Oh

  Robert OHaver

  Masayori Oka

  Michael Okuda

  Jeffrey A. Okun, VES

  Brian Oliver

  Michael Oliver

  Mike Oliver

  Marty Ollstein

  Jeff Olm

  Stephen Olmos

  Megan Omi

  James Orara

  Khatsho Orfali

  Andrew Orloff

  Julie Orosz

  Darren Orr

  Leah Orsini

  Andrew Osiow

  Marc Ostroff

  Lawson Owen

  Caleb Owens

  Ira Owens

  Olivier Ozoux

  Harry Paakkonen

  Marlo Pabon

  Brian Pace

  Donald Packer

  Helena Packer

  Kelvin J. Padfield

  Christy Page

  Kevin Page

  Maricel Pagulayan

  Christoper Paizis

  Amy Palladino

  Patrick Palmer

  Sean Palmer

  Paul Palop

  Jean-Francois Panisset

  Francesco Panzieri

  Marco Paolini

  Guy Paquin

  Michael Pardee

  John Parenteau

  Robert Parigi

  Stephen Parish

  Brad Parker

  Brice Parker

  Don Parker

  Jon Parker

  Mackenzie Parker

  Clark Parkhurst

  Alex Parkinson

  David Parmenter

  David Parrish

  David Parsons

  Amol Parulekar

  Eric Pascarelli

  Rocco Passionino

  Ellen Pasternack

  Alex Patanjo

  Mark Patch

  Sanjit Patel

  Betsy Paterson

  Jason Patnode

  Eric Patterson

  Scott Patton

  Reid Paul

  Sarah Paul

  Stephen Paull

  Matt Paulson

  Stephen Pavelski

  Nikita Pavlov

  Carol Payne

  Darwyn Peachey

  Andrew Pearce

  Diane Pearlman

  Michael Pecchia

  Zoe Peck-Eyler

  Andrew Pellicer

  Joel Pennington

  Alessandro Pepe

  Joseph Pepe

  Kimberly Pepe

  Adam Pere

  Loni Peristere

  Chad Perkins

  Miles Perkins

  Rich Pernice

  David Perry

  Todd Perry

  Davide Pesare

  Cristin Pescosolido

  Chad Peter, DGA

  Jon Peters

  Lorne Peterson

  Philip Peterson

  Lori Petrini

  Frank Petterson

  Ernest Petti

  Nathan Phail-Liff

  Christine Phelan

  Michael Phillips

  Sean Phillips

  Paul Pizza Pianezza

  Shaun Piccinino

  Jason Piccioni

  Susan Pickett

  Fred Pienkos 

  Diane Piepol 

  John Pierce 

  Rodolphe Pierre-Louis 

  Jacquelyn Piette 

  Tricia Pifer 

  Joseph Vincent Pike 

  James Pina 

  Joshua Pines 

  Navin Pinto 

  Jakub Pistecky 

  Chelsea Pistono 

  Joseph Pistono 

  Nick Pitera 

  Domi Piturro 

  Maxwell Planck 

  Peter Plevritis 

  Cliff Plumer 

  Jonathan Podwil 

  Ron Pogue 

  Ryan Pohanic 

  Brian Pohl 

  Joy Poirel 

  David Polk 

  Sean Pollack 

  Annie Pomeranz 

  Viacheslav Ponomarev 

  Evan Pontoriero 

  Ellen Poon 

  Mary Poplin 

  Nick Porcino 

  Kevin Porterfield 

  Daniel Post 

  Michael Potts 

  Jean-Christophe Poulain 

  Patrick Poulatian 

  Brad Powell 

  William Powloski 

  Mitch Prater 

  Steven Prawat 

  Alan Precourt 

  Karen Prell 

  Andrew Prescott 

  Robert Presley 

  John Price 

  Kenneth Price 

  Travis Price 

  Alexander Prichard 

  Heather Pritchett 

  Kent Pritchett 

  Todd Prives 

  Ralph Procida 

  Andrew Proctor 

  Tyler Pruitt 

  Mark Prusten 

  Robin Prybil 

  Scott Puckett 

  Douglas Purver II 

  Anne Putnam-Kolbe 

  Gregory Pyros 

  Tian Qiu 

  Philip Quaglino 

  Guillermo Quesada Paez 

  Ryan Quinlan 

  Louis Race 

  John Radulovic 

  Ted Rae 

  Aaron Raff 

  Kevin Rafferty 

  Sanjay Raghavendran 

  Nordin Rahhali 

  Fred Raimondi 

  Justin Raleigh 

  Ken Ralston, VES 

  Michael Ramirez 

  Rick Ramirez 

  Erin Ramos 

  Scott Ramsey 

  Natasha Rand 

  Eliza Randall 

  Ollie Rankin 

  Lance Ranzer 

  Jesse Rapczak 

  Matthew Rappaport 

  Nina Rappaport 

  Nick Rasmussen 

  Frances Ratliff 

  Jason Rau 

  Britni Rauch 

  Ron Rauch 

  John Rauh 

  Sagar Rawal 

  Kelley Ray 

  Michelle Ray 

  Darrel Raymundo 

  Karen Raz 

  Wajid Raza 

  James Razzall 

  Anita Razzano 

  Philippe Rebours 

  Nicholas Recagno 

  Jay Redd 

  Joseph Reese 

  Nolan Reese 

  William Reeves 

  Beat Reichenbach 

  Jon Reisch 

  Aryeh Reisner 

  David Reisner 

  Douglas Renn 

  Mark Renton 

  John Renzulli, III 

  Jeremy Retailleau 

  David Rey 

  Christopher Reyna 

  David Reynolds 

  Eric Reynolds 

  Aaron Rhodes 

  Anthony Riazzi 

  Daniel Rice 

  Michael Rich 

  Gareth Richards 

  Sam Richards 

  Timothy Richards 

  Quinn Richardson 

  Grover Richardson III 

  Evan Ricks 

  James Rider 

  Caprice Ridgeway 

  Damon Riesberg 

  James Riley 

  Olun Riley 

  Jisoo Rim 

  Dante Rinaldi 

  Sergio Rincon 

  Craig Ring 

  Colin Ritchie 

  Edwin Rivera 

  Jaime Riveros 

  Gene Rizzardi 

  Mark Robben 

  Tim Robbins 

  Clarence “Boola” Robello 

  Andrew Roberts 

  Eric Robertson 

  Larry Robertson 

  Stuart Robertson 

  George Robins 

  Andrew Robles 

  Lesley Robson-Foster 

  Guillaume Rocheron 

  Jeff Rochlin 

  Eli Rod 

  Chris Roda 

  Ruben Rodas 

  James Rodgers 

  Francisco Rodriguez 

  Elizabeth Roewe 

  James Rogers 

  Wendy Rogers 

  Izhak Roitman 

  Diego Rojas 

  Alex Romano 

  Sebastian Romero 

  Andy Romine 

  Andrew Rose 

  Mikki Rose 

  Rachel Rose 

  Corey Rosen 

  Dan Rosen 

  Daniel Rosen 

  Steve Rosenbluth 

  Michael Rosenbrock 

  Carl Rosendahl, VES 

  Alan Rosenfeld 

  Eric Rosenfeld 

  Matt Rosenfeld 

  John Rosengrant 

  Jon Rosenthal 

  Mike Rosenthal 

  Derron Ross 

  Phil Ross 

  Michael Ross-Lang 

  Robert Rossello 

  Nicholas Rosselot 

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  Eric Roth 

  Eric B. Roth 

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  Christopher A. Ryan 

  Martin Ryan 

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  William Seneshen 

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• RANDALL WILLIAM COOK: AN OSCAR WINNER’S JOURNEY FROM HARRYHAUSEN TO HOBBITS January 10,2022

   By ADAM EISENBERG

   Photos courtesy of Randall William Cook, except where noted.

  

   Cook and Harryhausen, 2012. Harryhausen passed away in 2013 at the age of 92. In 2019, Cook was made an advisor to the Ray and Diana Harryhausen Foundation.

   When Randall William Cook arrived for his first day on the set of The Lord of the Rings: The Fellowship of the Ring, director Peter Jackson immediately put him to work. Jackson introduced Cook to miniature supervisor Richard Taylor and to the enormous model Taylor and his team had constructed for the towering stone steps of Khazad-Dûm.

  “Peter rushed me through the set and told me I was going to direct the previz animation,” Cook says. “We talked through the sequence with everybody offering opinions, including me. There were lots of ideas thrown out and I couldn’t see how they gelled, so I asked: ‘Do you want me to do what everybody’s been saying?’ ‘No,’ Peter replied. ‘You just do it. This is you.’” 

  From those initial words of encouragement, Cook went on to design one of the most breathtaking action sequences in The Fellowship of the Ring. In the scene, Frodo and company are deep in the dark mines of Moria, fleeing for their lives over stone stairs that are hundreds of feet high. As Orcs launch a barrage of arrows, the ancient steps crack and crumble beneath the Fellowship’s feet, revealing a bottomless chasm below.

  “They gave me a scan of the miniature and little scale puppets of all the Fellowship guys,” Cook explains. “I choreographed the whole sequence from a God’s eye point-of-view and created a very simple presentation that Pete signed off on. Then I blocked out the camera positions, and my team of about four guys and I refined the previz. Pete gave the sequence to a second unit director and told him to copy it exactly and, with the exception of one or two shots, everything in the final film – from the lenses used to the angles to the cutting to the action – was from my previz.”

  The Khazad-Dûm sequence represents just one of the many contributions Cook made as Animation Supervisor on The Lord of the Rings trilogy. It also demonstrates how his cinematic career has served as a bridge between the stop- motion techniques that brought the original King Kong to life and the modern motion capture technology that made possible the hobbit-gone-mad Gollum. Along the way, Cook has won three Academy Awards, but he is most proud of his close friendship with effects master Ray Harryhausen.

  Cook’s success was far from certain in 1975 when he graduated from UCLA’s film school with the dream of becoming an actor and director. His first post-college job was an animation apprenticeship at Disney at a time when cartoon features were in decline and the studio was focused on forgettable live-action comedies. 

  Disney provided an opportunity to interact with great animators, including many of the original Nine Old Men, but Cook’s most high-profile assignment was drawing live-action gags for the Volkswagen and human characters in Herbie Goes to Monte Carlo. It was less than inspiring work, and after a year his apprenticeship was suddenly cut short. 

  “I got fired!” Cook recalls with a laugh. “John Lasseter also spent time in their apprenticeship program, and he tells people, ‘Randy and I were fired because we were too good.’ But truthfully, I wasn’t Disney material, and I knew that going in.”

  Fortunately, the mid-1970s was an exciting time for low-budget science fiction films. Cook quickly landed on his feet doing stop-motion animation for The Crater Lake Monster, Laserblast and The Day Time Ended, alongside other young artists like Jim Danforth, Ken Ralston, VES, Jon Berg, Phil Tippett, VES and David Allen. He also worked for Rob Bottin on Humanoids from the Deep and on John Carpenter’s The Thing. 

  Then came 1981’s Caveman, a prehistoric comedy starring ex-Beatle Ringo Starr and The Spy Who Loved Me’s Barbara Bach. Cook was one of the key animators of comical stop-motion dinosaurs that stole the show, and the movie’s cult success led to a multi-year position at Richard Edlund’s (VES) Boss Films. 

  At Boss, Cook sculpted and animated the stop-motion puppets for the terror dogs in Ghostbusters, and choreographed the performances of the live-action full-scale puppets on set. He also worked on 2010, Fright Night, and Poltergeist II, and was planning to work on the next Boss project, Big Trouble in Little China, when director Tibor Takács approached him with an opportunity he couldn’t refuse – the chance to supervise the effects for The Gate. 

  “Working under Richard Edlund with Steve Johnson and a bunch of other competing talents was great,” Cook says. “But everyone wanted their voices heard and, as a consequence, sang very loudly. Tibor was going to let me do just about whatever I wanted effects-wise, so it wasn’t much of a choice.”

  

  Cook and Ray Harryhausen, 1987.

  

  Cook manipulating the Wolf Lizard puppet from The Day Time Ended (1979).

  

   Cook “standing” in a scene from Caveman (1981) beside the T-Rex puppet he animated. 

  

  Sigourney Weaver pays a visit to Boss Films during the making of Ghostbusters (1984) and views her alter ego, a terror dog. (Photo: Virgil Mirano, Boss Film Studios) 

  

  Ghostbusters effects cameraman Jim Aupperle, right, takes a light reading as Cook adjusts the stop motion terror dog. (Photo: Virgil Mirano, Boss Film Studios) 

  In The Gate, teenagers accidentally open an entrance to Hell in their backyard and find themselves under attack from foot-tall minions and a multi-story-high Demon Lord. To accomplish the illusion of tiny minions, Cook convinced Takács to use forced perspective sets and in-camera tricks that were throwbacks to Disney’s Darby O’Gill and the Little People. 

  “You want to make the audience believe they’re seeing something that’s real,” Cook says, “and even if they know it’s fake – and they have to know it’s fake – they won’t know how the hell you did it. Darby O’Gill was a huge inspiration to me. What makes it magical is when the tiny leprechauns are dancing in front of the big Darby O’Gill, but they’re actually farther away from the camera and he’s closer up. That really confuses your mind because you expect the small guys to look as though they are behind the big guy. 

  “On The Gate, I planned shots with economy in mind,” he adds. “First, I figured if we had guys who were five-and-a-half feet tall playing the tiny minions, the sets could be a bit smaller, and the camera depth of field could be a bit shorter than if we had guys who were six feet. Every inch counts. Second, doing it in forced perspective put much of the budget on the art department. Fortunately, we had a really good art department under Bill Beeton that built four-times-scale brick walls and other set pieces that were gorgeous.” 

  Cook next collaborated with Takács on I, Madman, a horror thriller about a young woman who becomes entranced by a mystery novel she’s reading, only to find herself stalked by the crazed author and a fictional monster from the book. Cook not only supervised the visual effects, but also played the horribly disfigured author modeled after Lon Chaney. 

  Following I, Madman, Cook oversaw the effects for The Gate II, directed a segment of TV’s Life Goes On, and directed and co-wrote the fantasy film Demon in a Bottle. 

  Peter Jackson first contacted Cook in 1992 to do stop-motion work on a film Jackson was planning called Blubberhead. That project never got made, but the two stayed in touch and finally had the chance to work together on The Lord of the Rings. 

  Cook arrived in New Zealand in October 1998 and spent the next five years completing the trilogy. It was challenging, monumental work. His extensive previz work and other duties eventually earned him the title of Animation Supervisor, but he found himself consulted on a lot of sequences that had nothing to do with animation. 

  “For the scene in The Two Towers where Treebeard is first introduced,” he recalls, “Fran [Walsh, producer and screenwriter] originally staged it with the hobbits running from the orcs and, suddenly, two tree-branch hands come down and pull them out of the frame. I said: ‘Why don’t we have the hobbits climb up the tree and look around, not realizing it’s Treebeard’s face? One hobbit has his hand on Treebeard’s nose. He looks back, and Treebeard is already looking at him. The hobbit looks away, does a take, and looks back at him. Treebeard’s head turns, and the hobbit falls off.’ 

  “We did a previz of the scene this way. I wasn’t there when they ran it in the dailies, but according to several people including Pete, Fran turned to Pete and said, ‘What’s this?’ Pete replied with a chuckle, ‘Well, apparently somebody thought they had a better idea than you.’” 

  

  Cook supervised the effects and played the psychotic author Malcolm Brand in I, Madman (1989).

  

  Cook animating a bat puppet for Fright Night (1985). (Photo: Virgil Mirano, Boss Film Studios) 

  On Return of the King, Fran Walsh presented Cook with different problems to solve. “She came to me and said, ‘We want the ring to fall into the lava, and as soon it does Sauron will know the hobbits are trying to destroy the ring. But we want to play Frodo and Sam on the cliff after Gollum falls in with the ring. What do we do?’ I thought about it and said, ‘The ring was forged in high temperature, right? It can float on top of the lava and start to melt, but it doesn’t completely dissolve until you’re ready for it to finish melting.’ 

  “I made a lot of suggestions that had nothing to do with animation,” Cook adds. “Peter and Fran were very generous and willing to collaborate, and I adored them both.”

  Throughout the project, Cook and his team drew inspiration from a variety of sources, although sometimes he didn’t realize an influence until years later. In The Fellowship of the Ring, for example, Gollum appears only briefly in a shot where he is seen mostly in shadow and his hands reach into frame.

  “I came up with that and animated it myself,” Cook explains. “A couple of years ago my daughter Matilda and I were watching Gunga Din, and at the end of the film, Sam Jaffe climbs to the top of the temple. You see the ledge and you see his hands come up, and I suddenly realized: ‘Son of a bitch! I stole that from Sam Jaffe!’ 

  This past December marked the 20th anniversary of the debut of The Fellowship of the Ring. The film arrived in theaters just three months after terrorists crashed airplanes into the World Trade Center and the Pentagon, and the 9/11 tragedy cast a long shadow over the final months of post-production. 

  “Peter and Fran called everybody together that morning,” Cook recalls, “and they were very sympathetic and solicitous to the Americans. Everybody was shocked, of course, but we still had a movie to finish.

  

  Cook standing in as Gollum with Elijah Wood for a practice shot on the Stairs of Cirith Ungol for Lord of the Rings: Fellowship of the Ring (2001). 

  

  Scene from King Kong (2005) with Cook playing one of the pilots who attack Kong atop the Empire State Building. Frank Darabont is his gunner. 

  

  Cook and his Demon Lord creation for The Gate (1987). 

  “One of the last sequences in Fellowship to go into production was the prologue,” he adds. “The motion capture editor, Patrick Runyon, wanted my final approval on a shot of motion capture guys falling off a cliff in a rolling wave of bodies. But the week before I had watched live footage of real people jumping out the windows of the World Trade Center, and it was devastating. So, I said: ‘I trust you. If you think it’s fine, it’s fine, because I can’t look at that now.’” 

  After The Lord of the Rings trilogy, Cook served as a second unit director for Jackson’s remake of King Kong. His duties included directing the first dinosaur attack involving a Ceratops that was cut out of the theatrical release but is included in the extended version. He also directed the flying planes that attack Kong atop the Empire State Building and played one of the pilots – writer/director Frank Darabont was his tail gunner. 

  These days, Cook consults on a variety of projects and is hoping to direct Sinbad and the Sorcerer’s Bride, a fantasy he co-wrote with David Cairns that combines Hitchcockian suspense with the cheekiness of Ernst Lubitsch and the magic of Ray Harryhausen’s The 7th Voyage of Sinbad. 

  Cook saw 7th Voyage when he was seven and instantly fell in love with Harryhausen’s unique stop-motion approach known as Dynamation. Then, when he was 19, he met Harryhausen. 

  “Ray’s mother lived in Los Angeles and her number was in the phone book,” he says. “I called her up to get his address in London, and Ray happened to be visiting at the time. I didn’t have anything to show except for a couple of drawings and a little makeup thing I’d done, but I wanted to meet and get a sense of him because his work meant so much to me. Somewhere along the line Ray saw the work I did for Caveman and other projects, and we became friends.” 

  

  Forced perspective shots from The Gate. A workman falls on the floor and breaks into tiny minions. While the human teenagers appear to be behind the minions, they were actually in the foreground near the camera, perched on a normal-scale set piece suspended 15 feet above a larger-scale set below. 

  

  Cook and motion capture actor Andy Serkis reviewing a scene for The Lord of the Rings: The Two Towers (2002). 

  

  Cook and Jim Rygiel at 2003 Academy Awards where they won an Oscar for Best Visual Effects for Lord of the Rings: The Fellowship of the Ring. Cook won the Academy Award for Best Visual Effects for three consecutive years (2002, 2003 and 2004). 

  Harryhausen’s final film was 1981’s Clash of the Titans. Just 12 years later, Steven Spielberg’s Jurassic Park introduced the world to CGI dinosaurs and, suddenly, Harryhausen’s Dynamation was considered passé. Even so, Cook says the effects master didn’t hold any hard feelings. 

  “CGI is a whole different approach,” he explains. “With stop-motion, blinking eyes require three to six separate rubber lids or a piece of clay that’s put on and sculpted per frame. You wouldn’t have the lashes or the meniscus – you’d just have the blink. With CGI, a character’s blinking eyes can be a wonderful simulation of flesh and muscle and skin and the mucous membrane. And the eyeball – rather than a doll’s eye or an acrylic eye made in your own shop – can be a gelatinous, dilating organ that perfectly simulates the way the eye transmits light and reacts to outside light sources. 

  “By the time CGI had arrived, Ray was a virtuoso in retirement who had no need or desire to learn a new instrument,” Cook adds. “Had Ray been born later I think he would have gotten CGI and created his illusions using a computer. As a boy I loved Ray’s films, but I was not reacting to stop-motion, I was reacting to Ray Harryhausen. I loved his work because of what that particular artist put into his work, and Ray just happened to be using stop-motion as his medium of expression.” 

  Harryhausen passed away in 2013 at the age of 92, and Cook is an advisor to the Ray and Diana Harryhausen Foundation. 

  Looking back on his own career, Cook recalls the night in 2002 when he won his first Academy Award for The Lord of the Rings: The Fellowship of the Ring. After the ceremony, Robert Redford came up to him and asked how it felt to hold an Oscar. 

  “I said, ‘It feels wonderful. But four weeks ago, my boyhood idol, Ray Harryhausen, came down to New Zealand and brought with him the skeleton from The 7th Voyage of Sinbad. I got to hold that, a thrill that has thrown this one into a slight shadow. Holding this Oscar is great, but the skeleton from Sinbad is why I got into the business.’”