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 sold-out event attracted more than a thousand visual effects and animation artists, dozens of nominees and members of the film, television, commercial and video game industries. During the evening, filmmaker Steven Spielberg received the VES Lifetime Achievement Award in recognition of his contribution to the art and science of visual effects.
“The work we celebrated tonight is a testament to the crucial role the talent, knowledge and experience visual effects artists play in the storytelling process. Because visual effects “geeks’ are at the cutting edge of technology, they are also at the cutting edge of entertainment as well,” says Eric Roth, VES Executive Director.
Lifetime Achievement Award Steven Spielberg Awarded for significant and lasting contributions to the art and science of the visual effects industry by way of vision, artistry, invention and innovation.
Below is the complete list of Winners and Nominees for the 6th 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.
I Am Legend
Pirates of the Caribbean: At World´s End
The Golden Compass
This award is to honor the overall achievement of the visual effects within a live action motion picture where the visual effects play a supporting, minor or background role in the telling of the story. Supporting visual effects, when taken as a whole, may help create the setting, environment, or mood of an entire film, but are generally intended to be subtle or 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 effects-driven or “tent pole” film.
Effects-driven films may not enter their “invisible” effects in this category, and animated films are not eligible.
Blades of Glory
The Kite Runner
We Own The Night
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).
Battlestar Gallactica: Razor(Winner)
Ben 10: Race Against Time – VFX Compilation
Doctor Who Christmas Special 2007- Voyage of the Damned
Race To Mars: Getting To Mars
Tin Man: Night One
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)
Battlestar Galactica – Episode 316 – Maelstrom
Michael J. Davidson
Doctor Who – The Last of the Time Lords – Series 3 – Episode 13
Fight For Life – Episode 4(Winner)
HEROES – Episode 208 – Four Months Ago
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.
Drive – Episode 101 – The Starting Line – Driving Sequence
Raoul Yorke Bolognini
Grey´s Anatomy – Walk on Water – Ferryboat Crash
Marie Antoinette – Miniseries
Pushing Daisies – Pilot Episode
Toni Pace Carstensen
Rome 2 – Episode 6 – Philipi(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.
Dinosaurs – Giants of Patagonia – 38_011
Monsters Inc. Laugh Floor – Show Edit
This award is to honor the overall achievement of a single created environment in a live action motion picture that best creates an illusion of setting for the story being told. Created environments are defined as either completely artificial environments, or the enhancement of an existing practical set or location through the addition of elements not present during photography. The environment may occur more than once in the project and under different conditions, but must be the same environment, created by the exact same team.
This category judges not only the techniques for creating the environment, but also their integration with any practical plate photography. Before & Afters must show the integration of the multiple elements used to create the environment.
Stereo extractions of environments that do not contain any other significant enhancements or fully animated productions are not eligible in this category. For practical purposes, the environment should be a single setting within the story, and not, for example, all locations within an entire city.
Harry Potter and the Order of the Phoenix – The Hall Of Prophecy
I Am Legend – Times Square Hunt
Pirates of the Caribbean – At World´s End – The Maelstrom(Winner)
Frank Losasso Petterson
Rush Hour 3
Sweeney Todd – The Old Bailey
Zodiac – Washington and Cherry
This award is to honor outstanding achievement in compositing multiple elements into a final visual effect shot or group of shots in a live action feature motion picture. This category is for a body of work created for a single motion picture by an individual artist or team of artists.
Multiple entries from the same project are eligible provided the compositing teams are 100% different and the shots being submitted are completelydifferent. Title sequences are eligible as long as:
They are submitted in textless form in order not to conflict with any other awards rule; and
They are part of the storytelling and are not a specially designed separate animated title sequence in a live action project.
Animated films are not eligible in this category.
Harry Potter and the Order Of The Phoenix – Hall of Prophecy and Comp Shots
I Am Legend – Seaport Evacuation
Pirates of the Caribbean: At World´s End
Pirates of the Caribbean: At World´s End – Death Of Beckett
The Water Horse: Legend of the Deep – Crusoe