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!
Filmmakers, producers and guests joined more than a thousand attendees from the visual effects industry for the sold-out gala which honored and James Cameron with the VES Lifetime Achievement Award and and Dr. Ed Catmull with the Georges Méliès Award for Pioneering.
and Avatar was the evening’s big winner taking home six awards including Outstanding Visual Effects in a Visual Effects Driven Motion Picture. The animated feature film and Up was honored with three awards including Outstanding Animation in an Animated Feature Motion Picture. The 2010 VES Awards premiered on Friday, March 5, 2010 on REELZCHANNEL.
Lifetime Achievement Award James Cameron Awarded for significant and lasting contributions to the art and science of the visual effects industry by way of vision, artistry, invention and innovation.
Georges Méliès Award Ed Catmull 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.
James Cameron’s Lifetime Achievement Award Speech James Cameron receives the Lifetime Achievement Awards at the 8th Annual VES Awards.
Steven Spielberg Introduces VES Student Award Steven Spielberg thanks Autodesk and the Visual Effects Society for making the VES student award a reality, and congratulates the students for their outstanding work.
Below is the complete list of Winners and Nominees for the 8th 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.
Transformers – Revenge of The Fallen
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.
Angels & Demons
Mark O. Forker
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).
Alice – Night 2
Ben 10: Alien Swarm – Montage
Disney Prep and Landing – Gadgets, Globes, and other Garish Gizmos(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).
Battlestar Galactica season 4 – Ep. 421 “Daybreak”(Winner)
Defying Gravity – Pilot
Fringe – Ep. 206 “Earthling”
Stargate Universe – Air
V – Pilot
Johnathan R. Banta
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.
CSI Crime Scene Investigation – Ep. 1001 “Opening Sequence”(Winner)
Flash Forward – No More Good Days
Jonathan Spencer Levy
Kings – Ep. 001 “Goliath”
Krupp-Eine Deutsche Familie – Krupp
Lost – The Incident Part 1 & 2
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.
Beyond All Boundaries – Multi-plane Visual Effects
Susan Beth Smith
Dance Of The Dragons – Eastern(Winner)
This award is to honor the overall achievement of the animation within an entire animated motion picture. The animation may be created by traditional cel animation, computer animation, and/or stop motion, as long as it meets the definitions of Animation and Animated Project as stated in the Appendix of this Rules & Procedures. The vocal performance of characters may be taken into consideration along with the visual qualities in evaluating the overall effectiveness of the animation.Title sequences are not eligible in this category.
Cloudy With a Chance Of Meatballs
Ice Age – Dawn Of The Dinosaurs
This award is to honor the overall achievement in a single animated character in a live action motion picture. The character may have been created by any technique or combination of techniques, including animatronics, as long as it meets the definition of Animation as stated in the Glossary of these Rules & Procedures.
Title sequences are not eligible in this category.
Avatar – Neytiri(Winner)
Andrew R. Jones
District 9 – Christopher Johnson
G-Force – Bucky
Watchmen – Doctor Manhattan
This award is to honor the overall achievement in a single animated character in an animated motion picture. The character may have been created by any technique or combination of techniques, including animatronics, as long as it meets the definition of Animation as stated in the Glossary.
Title sequences are not eligible in this category.
Coraline – ‘Coraline’
Ice Age – Dawn Of The Dinosaurs – Buck
Peter de Seve
Monsters Vs. Aliens – B.O.B.
UP – Carl – “No Dad Scene”(Winner)
This award is to honor the overall achievement in a single animated character in a broadcast program or commercial. The character may have been created by any technique or combination of techniques, including animatronics, as long as it meets the definition of Animation as stated in the Glossary. The character may or may not be photorealistic.
Title sequences are not eligible in this category.
AMF – The Caterpillar(Winner)
Disney Prep and Landing – Wayn
Leo Sanchez Barbosa
This award is to honor the overall achievement of the pre-rendered visual effects within a Video Game Trailer. Game Trailers are defined as unique visual material created for the purpose of promoting an upcoming game release. To be eligible, the material in the Game Trailer must be pre-rendered and created for a promotional event, conference, in-store display or web distribution. The submission for this category must consist entirely of material from the Game Trailer as it was originally released.
Multiple entries from the same game title will only be allowed if the entries are from different Game Trailers and the submitting teams are entirely different, including the overall VFX Supervisor and overall VFX Producer.
The following are not eligible for this category:
Game Trailers that share any pre-rendered material with a video game currently
released in stores or that contain re-purposed shots from previous trailers;
Game Trailers that contain real-time material from the game itself that totals more than 25% of the total running time of the Submission Length, not including Before & Afters; and
Animated commercials that originate as Broadcast material.
HALO 3 – ODST – The Life(Winner)
Star Wars – The Old Republic
This award is to honor the overall achievement of real-time game engine-rendered visual effects within a video game for any game console, PC, or “next generation” platform. Submitted material may be any one, or combination of, the following:
Recorded real-time Game Play; and/or
A real-time game engine-rendered Cinematic that appears as part of the game.
Real-time is defined as predominantly 30 or greater frames per second NTSC and ATSC (US) HD video, or predominantly 25 or greater frames per second PAL and DVB (International) HD depending upon country of origination. Any imagery or action that does not meet this criterion is ineligible even if it was rendered in the game engine or in software. Any longer-than-real-time frames that are rendered in the game engine, later resized and/or reloaded, then played back in real-time from pre-rendered frames are ineligible as well.
Trailers or promos for games are not eligible in this category.
Call Of Duty – Modern Warfare 2 – Gulag Extraction(Winner)
Fight Night Round 4 – Gameplay
Need For Speed Shift – World Sequence
Uncharted 2 – Among Thieves
This award is to honor the overall achievement of a single created environment in a live action broadcast program 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 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.
AMC Theaters / Coke – Magic Chairs
Assassins Creed – Lineage – Ep. 1 “Duke of Milan Assassination”
Flash Forward – Pilot “Freeway Overpass”
V – Pilot “Atrium and Ship Interiors”(Winner)
This award is to honor the overall achievement of the effects animation within an entire animated motion picture. Effects animation constitutes any dynamic elements that are not characters, set pieces, or what would be considered a matte painting or background. These effects may include water, splashes, smoke, fire, other naturally occurring elements including dust and other particulates, as well as those animated using procedural techniques or dynamic simulations. The effects may or may not be photorealistic and they may interact with, or be part of the characters, set elements and matte paintings with which they coexist.
Cloudy With a Chance Of Meatballs
John Allan Armstrong
Richard Kent Burton
Monsters Vs. Aliens
Alain De Hoe
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.
Avatar – End Battle
Sherlock Holmes – Wharf Explosion Sequence
This award is to honor outstanding achievement in compositing multiple elements into a final visual effect shot or group of shots in a single live action episode of a broadcast program or commercial. This category is for a body of work created for a single broadcast episode by an individual artist or team of artists. Multiple sequences may be entered from the same episode or series provided the compositing teams are 100% different and the shots being submitted are completely different.
Animated programs or main title sequences are not eligible in this category.
CSI Crime Scene Investigation – Ep. 1001 Opening Sequence(Winner)
Kerry LowLow “Mouse” – Overall
Pepsi – The Flight of the Penguin
Porsche – Family Tree