In this special #VFXVoice series, visual effects and post-production studios share how they’ve adjusted to remote production during the coronavirus crisis. First up are FotoKem in Burbank, SPINVFX in Toronto and Atlanta, and Jellyfish Pictures in the U.K. Read on...
PAID POST: Interested in learning more about how to use DaVinci Resolve for VFX? Check out this video from Blackmagic Design about DaVinci Resolve Studio’s Fusion page, including how to composite images, track objects, blend and merge layers, pull keys, work with 2D text, and use the paint tools.
PAID POST: Is your company prepared to work remotely? Read the guide from Signiant “7 Must-Haves for Remote Work in M&E: Key considerations for accessing large media assets.”
Unlike other industries, in M&E it’s not that simple to just “take your work home with you.” Learn about the key considerations you should keep in mind while implementing a strategy that supports the unique conditions of a distributed media workforce.
Getting to a final shot or sequence in visual effects takes a lot of steps; one not often discussed is the concept of ‘breaking down the plate' - when a VFX studio receives a locked or edited sequence, or plates, from production, to start work on. We got the inside scoop on how that worked on Marvel’s Avengers: Endgame from Weta Digital Animation Supervisor Sidney Kombo-Kintombo - in our latest #VFXVoice Web exclusive.
**And if you want to hear more from Sidney, watch our fantastic interview, part of our Ask Me Anything: VFX Pros Tell All webcast series -- https://vimeo.com/406034001
A high-tech genius fakes his death and wears a suit that makes him appear to be invisible as he terrorizes his former lover in The Invisible Man. We went inside the VFX of this modern-day parable in our latest #VFXVoice Web exclusive!
The extraordinary breadth and diversity of the awards were matched only by the extraordinary talent displayed at the 4th Annual VES Awards. It was an eye-popping, visual effects treat equivalent to a triple ice cream sundae with a dozen exotic toppings capped off with the biggest cherry ever.
Showcasing the best work in visual effects for this past year, and honoring John Lasseter with the George Melies Award for Pioneering & Artistic Excellence and Jim Morrison with the VES Board of Directors Award.
Georges Méliès Award John Lasseter Awarded for pioneering significant and lasting contributions to the art and science of the visual effects industry by way of artistry, invention and groundbreaking work.
BOD Award Jim Morris Presented with deepest gratitude and appreciation by the members of the VES and its Board of Directors.
Below is the complete list of Winners and Nominees for the 4th Annual VES Awards. A sortable list for ALL years of VES Award winners / nominees can be found on the Previous VES Awards page. All archival viewing materials are cleared for viewing by logged-in VES members behind the VES website firewall. For more information, please review the VES Awards Rules & Procedures, Section 14: Ownership & Clearances here.
Please click on the category to reveal the nominees and winners
This award is to honor the overall achievement of the visual effects within a live action motion picture where the visual effects are a visible, essential, and integral part of the story and play a principal and active role in the motion picture. A rule of thumb for defining whether a motion picture would be considered effects-driven would be to ask if the story could be
told without the active participation of the VFX (including Special Effects). On the whole, the VFX in an effects-driven film would be easily identifiable by the viewing public and professionals working in the VFX field.
Fully animated films are not eligible in this category.
Harry Potter and the Goblet of Fire
Star Wars: Episode 3 – Revenge of the Sith
The Chronicles of Narnia
This award is to honor the overall achievement of the visual effects within a single episode of an effects-driven miniseries, made-for-television movie or special that was broadcast and delivered via over-the-air, pay/basic cable, or satellite transmissions to homes. A rule of thumb for defining whether a program would be considered effects-driven would be to ask if the story could be told without the active participation of the VFX (including Special Effects).
Superbowl XXXIX: Open
Chris Del Conte
Walking With Monsters(Winner)
This award is to honor the achievement of the visual effects within a single episode of a series where the visual effects are a visible, essential, and integral part of the story and play a principal and active role in the show. A rule of thumb for defining whether a series would be considered effects-driven would be to ask if the story could be told without the active participation of the VFX (including Special Effects)
Invasion – Origin of Species
Smallville – Commencement
This award is to honor the overall achievement of the visual effects that play a supporting or background role within a single episode of a broadcast series, miniseries, made-for-television movie, or special wherein the visual effects are not necessarily essential to the telling of the story in the way that the effects of an effects-driven broadcast program are. Supporting visual effects, when taken as a whole, may help create the setting, environment, or mood of an entire program, and are generally intended to be invisible to the lay viewer. They do not consist of a significant number of CG characters, science fiction or fantasy elements, and other highly visible effects that one would expect to see in a visual effectsdriven broadcast program.
Alias – The Index
Jonathan Spencer Levy
Lost-Exodus Part 2(Winner)
The award is to honor the overall achievement of the visual effects within an entire Special Venue project. Special Venues are defined as installations specifically set up to project large-format films (e.g. IMAX or OMNIMAX theaters), theme park theaters that may include a motion-based ride, museums, World Fairs, and similar venues.
To be eligible, a Special Venue project must have been exhibited publicly:
In a commercial venue for a paid admission, which may include the general admission to a theme park or special venue theater;
For a minimum period of one week on a regular daily schedule; and
Premiered in the current awards year in a Special Venue theater as defined above.
The following are not eligible in this category, regardless of the material’s original capture format:
Special purpose events such as trade shows and conventions;
Video material generally referred to as “pre-show” material;
Repurposed films, i.e. projects initially intended for the theatrical market but which have been blown up for exhibition in large-format Special Venue theaters;
Projects that were created as conventional 2D theatrical presentations but have been repurposed to stereographic 3D;
Any 2D or stereographic 3D feature motion picture that either premiered first, or simultaneously, in any regular movie theater or in any broadcast medium;
Any project that runs for an equal or greater amount of time in any regular movie theater or in any broadcast medium; and
Movies intended for simultaneous distribution in both Special Venue and normal movie theaters. The intent of this category is to honor those projects made specifically for the Special Venue market.
Curse of Darkcastle…The Ride!
Deepo´s 3-D Underwater Wondershow
Chris Del Conte
Magnificent Desolation: Walking on the Moon(Winner)