VES Media Contact

Naomi Goldman
NLG Communications


VES Chair, Jeffrey A. Okun Speaks On: What, And Who, Are Visual Effects Anyway?
July 14, 2010

What, and who, are visual effects anyway? Chatting with Jeffrey Okun, Part 1


Jeff Kleiser to be honored in Spain
June 12, 2009

WILLIAMSTOWN, MA, June 12/Designer/Director Jeff Kleiser will be honored with the “Special Award for a Distinguished Professional Career in Animation/VFX” at the Mundo Digitales Festival in A Caruna, Spain this summer ( 


Steven Spielberg/Michael Bay At The VES Awards - Video
February 29, 2008

VES Honors Steven Spielberg with the Life Time Achievement Award. Michael Bay was on hand to add his support along with many of Mr. Spielberg's friends and colleagues.

Visual Effects Society Honors Bungie
February 11, 2008

The Visual Effects Society honored Bungie with an award for the "Best Real Time Visuals in a Video Game" earlier this week...

'Transformers' tops VES nods
February 8, 2008

"Transformers" on Sunday won four Visual Effects Society Awards, including the top prize for outstanding visual effects in a visual effects-driven film.

It was a big night for Industrial Light + Magic, which was the lead visual effects house on "Transformers" as well as "Pirates of the Caribbean: At World's End," which collected two trophies. Meanwhile, Pixar Animation Studios' animated feature "Ratatouille" continued to earn accolades with three VES wins.

Both "Transformers" and "Pirates" are nominated for the Academy Award in the visual effects category this year. The third nominee, "The Golden Compass," failed to collect a VES nod during the ceremony at Hollywood & Highland.

In four of the past five years, the winner of the VES' top prize went on to win the Oscar in that category. The exception was in 2004, when the VES honored "Harry Potter and the Prisoner of Azkaban" and the Academy recognized "Spider-Man 2."

In addition to the top award, "Transformers" won trophies for single visual effect of the year, for its desert highway sequence; models and miniatures; and compositing. Collecting the top prize were Scott Farrar, Shari Hanson, Russell Earl and Scott Benza.


'Pirates' plunders visual f/x awards
February 12, 2007

"Pirates of the Caribbean: Dead Man's Chest" raided the Visual Effects Society Awards Sunday night and sailed off with six wins, including the two top awards: outstanding visual effects in a visual-effects-driven picture and single visual effect of the year.

The box office blockbuster, with effects by Industrial Light & Magic,entered the night with the most nominations, and won every category for which it was nominated. Other wins for "Pirates" were animated character in a live-action motion picture (for pic's villain, Davy Jones); created environment in a live-action motion picture; models and miniatures in a motion picture; and compositing in a motion picture.

"Flags of Our Fathers," from Digital Domain, took honors for supporting visual effects in a motion picture. In the special effects category, in a battle of brothers, "Casino Royale" and Chris Corbould beat out "Superman Returns" and Neil Corbould.

Presenter John Landis told the aud that when he started in movies, exploitation pics were often pretty good until the monster or spaceship showed up. "Today," he said, "you see absolutely amazing (VFX) work. The difference is the movies are shit."

On the television side, "Battlestar Galactica" took two kudos, for visual effects in a broadcast series and models and miniatures in a broadcast program. "ER" took honors for supporting visual effects for its episode "Scoop and Run."

Dead Man’s Chest Goes Six for Six at VES Awards
February 12, 2007

Disney’s PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST was the big winner for Industrial Light & Magic at the 5th Annual VES Awards, winning in all six categories for which it was nominated, including Outstanding Visual Effects, Saturday night (Feb. 11, 2007) at the Kodak Grand Ballroom in Hollywood.

“There was some amazing ‘snap, crackle and pop’ effects work on display last night,” said Eric Roth, exec director of the VES. “This past year --with technological and artistic advances aplenty -- the ‘did you see that?’ bar was set higher than ever and this year’s crop of visual effects winners cleared it with room to spare.”

Pirates Sweeps VES Awards
February 12, 2007

As expected, Disney’s Pirates of the Caribbean: Dead Man’s Chest plundered a lot of gold at the Visual Effects Society’s 5th annual VES Awards. Held Sunday night at the Kodak Theater Ballroom in Hollywood, the event saw George Lucas present the lifetime achievement award to pioneering effects genius Dennis Muren, whose credits with ILM include the Star Wars movies, Dragonslayer, Jurassic Park, The Hulk and War of the Worlds.

VES exec director Eric Roth started the festivities with an address that underscored the importance of the visual effects industry. He noted that 16 of the 20 top-grossing movies in cinema history have been effects films, but remarked, “Business is not the big story tonight. Artistry is the big story.” He said vfx artists were once regarded at “technological mercenaries,” but are taking their rightful place as the modern-day equivalent of Leonardo DaVinci.

VES Chair Jeff Okun echoed Roth’s remarks, noting that he often asks himself, “Why are we getting this respect?” He explains, “We have magic, we have power and a lot of people love us because we have this power, and a lot of people hate us because of it.” He went on to ask,” Why have we become the Jules Vernes of our day? Because something in society only happens because somebody imagines it. We are stretching what is possible and creating the future for not only our children but our kids, but our kids’ kids.”

The second installment in the Pirates of the Caribbean franchise won in every category in which it was nominated, taking a total of six awards. Wins include Outstanding Animated Character in a Live-Action Motion Picture (Davy Jones), Best Single Visual Effect of the Year (Flying Dutchman sequence), and Outstanding Visual Effects in a Visual Effects-Driven Motion Picture ILM’s John Knoll, Jill Brooks, Hal Hickel and Charlie Gibson accepted the evening’s top award.

Pirates also took the award for Outstanding Compositing in a Motion Picuture, a category presented by Pixar’s Andrew Stanton, who directed A Bug’s Life and Finding Nemo, and is currently attached to direct the studio’s adaptation of Edgar Rice Burroughs’ John Carter of Mars. Stanton remarked on how ironic it was that he was presenting the award since they don’t do much compositing at Pixar, but noted that the effects industry won’t find bigger fans than the 900 “geeks” he works with at Pixar. “For all the time you spend trying to figure out how to do it, we spend even more time trying to figure out how you did it,” he commented.

In introducing Dennis Muren, George Lucas referred to him as “the heart and soul of our organization,” adding, “Dennis is a really great human being. I have never once seen him yell at anybody in an industry that is prone to yelling.” Muren returned the compliment, asking, “Without George, where would we all be?” He went on to encourage the effects artists in the audience to never rest on their laurels. “Take what you think you can do and top that,” he said. “Keep thinking about it and try to come up with interesting new combinations. As soon as we finish a show, I assume [what we’ve done] is obsolete.”

Muren, who has received 15 Oscar nominations to date, said real-time effects technology is the future of the industry and that he and ILM are busy working on bringing that immediacy to the creative process so that film directors can be more involved in the effects stage of production. He also revealed that he is working with Pixar on some sort of project aimed at creating synthesis between animation and visual effects, but wouldn’t comment further on the matter. Muren is also finishing a book he’s writing for vfx artists, and he tells us it will encourage up-and-coming talents to draw knowledge and inspiration from the world around them rather than just studying films. “People today are copying Jurassic Park, but we were copying elephants,” he remarks.

We asked Muren why 1995’s Jurassic Park has held up so well even though CG technology has advanced so much in the 12 years since the ground-breaking film came out. “I think we took more time on shots,” he said. “We didn’t take shortcuts and the schedules are much tighter these days.” He also remarked on the fact that the number of effects shots in the original Jurassic Park is conservative by today’s standards. “There’s no economy anymore. There’s this feeling that if you throw more effects into it, it’s going to be better film. I don’t think so.” Outside of the work done by ILM, Muren tells us he has really been impressed with the effects in the recent releases Children of Men and Charlotte’s Web.

We cornered George Lucas to ask him how the CG-animated Star Wars: Clone Wars television series was coming along but he would only offer, “It looks Fantastic.” He had a bit more to say about the role of the visual effects artist in creating something new for audiences that are bombarded with pixel trickery on a daily basis. “Effects artists are hired to do a job,” he said. “A writer doesn’t set out to top everything he’s ever done. The only ones who have the power to say, ‘lets create something new’ are the studios, and that’s not a high priority for them. Special effects are simply used in telling a story.”

Lending some much-needed irreverence to the affair was film director John Landis, who recalled running into Dennis Muren once at the BAFTAs, the U.K’s equivalent of the Academy Awards. “I was presenting an award with Princess Anne and she didn’t look at me once,” he recalled. “I just wanted to grab her ass.” He went on to note that schlock producer Jack H. Harris put up money to help him finish his first film, Schlock, as well as Muren’s first feature, Equinox, and John Carpenter’s debut flick, Dark Star. “We all got screwed by the same guy!,” he said later.

Backstage, Landis recalled presenting an animation award to a young Cal Arts student by the name of John Lasseter. He says the film was a hand-drawn predecessor to the short Luxo Jr., and that he was so taken by the film that he asked Lasseter for an animation cel, which he has to this day. When asked if he would ever make an animated film himself, the director of Animal House and The Blues Brothers said he actually directed 26 minutes of an animated feature in the early 1990s. The name of the film was The 8th Voyage of Sinbad and it was being made by a Finnish producer who ended up disappearing with the money the Finish government put up for the production. “We had 38 Mexican and Brazilian animators working in North Hollywood and we had spent about a half a million dollars when the Sheriff came and padlocked the studio,” he recalled. “Then when Disney’s Aladdin came out a few years later, the main villain had the same name as ours, Jaffar, and there were so many other similarities.”

A big award winner on the television side was SCI FI Channel’s Battlestar Galactica, which took the prize for Outstanding Visual Effects in a Broadcast Series and was also recognized for its models and miniatures. Meanwhile, Weta Digital’s work on the “Snowball” ad for the Travelers insurance company garnered a win for compositing, as well as the award for Outstanding Visual Effects in a Commercial. That Geico gecko also got some love as the spot titled “Chat” won for Outstanding Animated Character in a Live-Action Broadcast Program, Commercial or Music Video.

The award for Outstanding Animated Character in an Animated Motion Picture was presented to comedian Larry the Cable Guy and the folks at Pixar who worked on the character “Mater” in Cars. Mike Krummhoefener, Tom Sanocki and Nancy Kato worked together to bring the popular character to the screen. 

Feeney honored with Gordon E. Sawyer award
February 11, 2007

The film biz's tech community saluted an important environmental initiative and heard the promise of major changes to come Saturday night at the Academy's Scientific and Technical Awards at the Beverly Wilshire. Maggie Gyllenhaal hosted, and the thesp struggled with the technical jargon and her too-weak contact lenses but won over the crowd anyway, finishing up by saying "I suspect this is a joke you sci-tech guys play on an unsuspecting actress." Ray Feeney, a much-honored visual effects and technology specialist who took home the sole Oscar statuette of the evening, the Gordon E. Sawyer award, told the gathering that now that most post-production has gone digital, the next step is digital production.


LA’s Egyptian Theatre hosts Festival of VFX
June 6, 2006

Fango got the exclusive lowdown from publicist Ellen Pasternack on the 8th Annual Festival of Visual Effects, to be held July 6-8 at Hollywood’s Egyptian Theatre (

6712 Hollywood Boulevard
). The three-day Visual Effects Society extravaganza, set to feature workshops and discussions led by some of the industry’s leading artists (including Academy Award winners Dennis Muren, John Myhre and Robert Skotak), will focus on “cutting-edge technological advances, historical achievements, strategic planning and forecasting for the future of visual effects in film, television, and animation.” Festival plans also include the transformation of the Egyptian’s famed courtyard into a “Festival Courtyard,” which will host VFX and entertainment-industry vendors, special displays, raffles and a Hospitality Tent.

Fulfilling a Boyhood Dream of Making Gore for Fun and Profit
April 23, 2006

Inside his shop of horrors, not far from three naked, bloated bodies propped against the wall, Todd Masters proudly displays his latest creation: an impaled head.

For a scene in the upcoming horror flick "Snakes on a Plane," Masters and his colleagues have rigged the silicone head with a giant syringe that will pump a blood-like corn syrup mixture through the ear canal.

When a frantic woman, fleeing a crate full of deadly coral snakes, tramples on the head of a fellow passenger, her high heel pierces his eardrum.

"This is what we get into this business for," Masters says, poking his finger to show the path of the stiletto heel. "The crazier the better."

When it comes to creating gruesome physical effects — as opposed to those created on a computer screen — few have an edge on MastersFX, the company Masters founded two decades ago.

An Insider’s Look at the Animation Industry with the VES Honoree and Animation Pioneer.
April 1, 2006

As John Lasseter stepped to the podium to accept the Georges Méliès Award for Pioneering and Artistic Excellence from the Visual Effects Society in February, he couldn't resist reflecting on his initial steps through the Walt Disney company — steps that launched him to this point in his career. He explained to the crowd, “[Disney had been] the place I dreamed of working my entire life … but when I got there, it was a little disappointing in that it felt like they were doing the same thing over and over — it had all reached a plateau.”

Lasseter said his search for something more began that very day. He quickly realized the potential role computer animation might play in achieving that goal after being impressed by some tests for Disney's Tron. He realized his friend and future business partner Ed Catmull felt the same way, and off they went — first moving on to the seminal creative laboratory at Lucas Film, and then launching Pixar.

Prior to accepting his VES Award, John Lasseter discusses the state of the animation industry with Millimeter Senior Editor Michael Goldman.
Photo: Tony Donaldson/

His comments were particularly ironic, coming on the heels of the announcement that soon he would be taking over as Chief Creative Officer at the Walt Disney animation studios following the merger of Pixar with Disney. Now, as his industry honored him, Lasseter stood poised achieve his goal of bringing “something more” back to Disney. “We started this vision of taking artists and computer scientists and having them work side by side in collaboration,” he explained. “That is the foundation that made Pixar.”

As the VES fete proceeded, and Lasseter was showered by good-humored accolades, largely from the voice actors he has directed over the years in Pixar films, the elite of the visual effects industry in attendance clearly understood they were paying homage to a man who had played a crucial role in fundamentally altering the tools, techniques, and financial health of their industry. Indeed, although he rejected some of the more hyperbolic accolades of the evening (When described as the next Walt Disney, he said, “I have a hard enough time being John Lasseter.”), and repeatedly insisted that Catmull deserved much of the credit for his success (“The guy practically invented computer graphics,” he says.), Lasseter grudgingly accepted the mantle of “pioneer” on Pixar's behalf when he sat down for an exclusive interview with Millimeter shortly before receiving his award.

“On one level, when you are called upon to get an award like this, it's later in your career, and in that sense, this seems kind of weird because I still feel like I'm at the beginning of my career,” he says. “But the feeling of being a pioneer is something that has been with us from the beginning at Pixar. Working with Ed Catmull, working with Dennis Muren early on [at pre-Pixar Lucas Film] — back then, everyone was breaking new ground. That's part of what people live for at Pixar. They get asked to figure out how to do things, and then they do it. We live for those challenges. But, I'll tell you, being a pioneer at Pixar is tremendously hard work.”

John Lasseter and actress Bonnie Hunt celebrate his George Méliès Award. Hunt led a parade of actors to the podium to praise Lasseter, who directed Pixar’s newest film, Cars.
Photo: Alberto Rodriguez © Berliner Studio/BEImages

Now, Lasseter plans to bring that work ethic, as well as what he calls “the Pixar culture,” to Disney's animation program. More specifics than that — such as what Disney's 2D moviemaking plans might be, the future of the Toy Story franchise, and what role he might play in those projects — were off limits, since details of the Pixar-Disney merger were not yet finalized at press time. “The one thing I can say about Disney is there are so many amazing talented artists over there, and it will be real nice to get to work with them,” Lasseter says. He did, however, talk extensively about his views and concerns regarding the direction of the animation industry overall.

Lasseter first noted the fact that, as a longtime animator, he was receiving his honor from a visual effects organization. He calls this part of the blurring of the line between visual effects and animation in the feature film world.

“Especially this year,” he adds, “when you see the amazing work of [Star Wars: Episode III — Revenge of the Sith] or when you look at King Kong — tell me that's not animation,” he says. “Specifically, that kind of personality in Kong — that's character animation. [In a live-action movie], they call that a special effect, but it's also great animation, great personality in that big ape. The only difference is that they are combining it with live action. The only other real difference is that animation for visual effects usually tends to want to look like it was photographed with a real camera, so that the audience can sit there and think the whole thing is real. In a Pixar film, from the very beginning, we have always wanted to make sure the audience knows that this is not a real world, that these are cartoons. The audience understands that, but then, within that world, what they see is believable. For our films, I always use the word ‘believable,’ not ‘realistic.’ But the skills and requirements for doing animation and visual effects are very similar.”

Those Unglamorous Issues

In seeing Pixar crank out huge volumes of computer animation in the last decade, however, Lasseter remains concerned about an issue he first discussed with Millimeter back in November 1998 (see for the full story), as he was co-directing A Bug's Life with Andrew Stanton. That concern: how best to preserve and archive reams of digital data created during production of a CG film. In 1998, he said, “Companies that don't address these issues will eventually bid farewell to old data.”

Eight years later, he says that some companies have done just that, and he is therefore still worried about the archival issue. Furthermore, he says he expects Disney, Pixar, and the rest of the industry will need to be concerned with it for many years to come.


“We had an incident [while creating the 10-year anniversary DVD for Toy Story] not long ago,” he recalls. “We did not want to create the DVD from film negative. Instead, we wanted to take it from the direct digital data, which is the way we have been doing it since A Bug's Life. So we went to all our backup tapes and found that, for some of them, there were technical problems, and [for] about 30 percent of the movie, we did not have the frames. It was not backed up properly. Therefore, we had to resurrect it by essentially doing digital archeology. We resurrected the operating system we used in that time, 1995, and got the files that way — the animation files, shader files, lighting files, and all that stuff, and then, we had to re-render all those shots. It was really challenging, but we had to do it to have a [pristine] digital copy of the movie.

“It's something we have to think about looking ahead because digital operating systems change, and it's the issue of backward compatibility versus moving forward. To make truly tremendous advances, you don't want to be weighed down by backward compatibility. But, as soon as you do that, you make all your [old digital content] obsolete. For some time, we've had what we call our digital backlot where, basically, every model we ever built for any of our films, theoretically, we can bring back again. But the problem is, any time that we try to do that, we are at a new level of our operating system, so we have to go back and do something to translate it all up to the new level. That's a huge challenge for our industry. Everyone working in the digital medium is dealing with this digital obsolescence issue. Basically, it doesn't take long before your digital files become completely obsolete. We are very concerned about this, and we are trying to [find ways to] preserve high-resolution digital information of each of our films for future formats.”

Lasseter adds that this problem can never be completely solved in the sense that each facility and studio, and each project, for that matter, has different requirements, meaning there can never be industry standards for the size, resolution, format, and nature of digital files used in CG films.

“At Pixar, we write our own software, and no one can do that for us,” he explains. “Everybody might use [Alias] Maya, but we all have special plug-ins and special ways we do things. Every place is different, and every project is different. Even at Pixar — the style of the imagery required for what [director] Brad Bird wanted for The Incredibles was a simple comic book style; whereas, in Cars [the upcoming Pixar film directed by Lasseter], the level of detail is about 100 times more than anything we have ever done, because this story required it. The story takes place on an old highway — Route 66. We needed things to look like they had been there a long time. Things age. Paint is peeling. There are cracks in the asphalt; grass is growing between the cracks. That's what I call the ‘patina.’ At Pixar, the patina is really important, and in this movie, it was really challenging. That means we have to keep our technology cutting-edge, and make it do something different than what we had done before.”

In his 1998 chat with Millimeter, Lasseter also expressed impatience over the then slow rollout of digital cinema for consistent and pristine exhibition of his films to the moviegoing public. Eight years later, that impatience has not abated.

“In 1998, the quality of the release prints on Bug's Life were horrible, quite frankly,” Lasseter says. “The color was different than what we created at Pixar. Since then, I think the labs, fearing their world was slipping away from them, have stepped up and created much higher-quality release prints nowadays. It's unbelievable, really, the difference. They are much better, which is good because it has been extremely slow getting digital cinema into theaters. But I really want to know that someone sitting in a digital theater in Iowa, in a city that generally does not get ‘A’ quality 35mm prints, will see, three weeks after my film comes out, a pristine version of my movie, without any scratches, without hair in the gate, without jumping frames or any of that.

“I understand the reasons it has taken so long — the cost of the projectors, how to share the costs, and the fact that there have been no real standards until recently. But I think [the industry] has gotten over that stage. There will be both 4K and 2K projectors, and the standards will work for both, and the cost is coming down now. They are figuring out distribution better because of all that, and so I do think you will now see an acceleration of more and more digital theaters happening.”

Lasseter takes over Disney's animation empire at a time in which smaller studios are cropping up and attempting to produce their own CG fare, often independent of any major-studio financing. While one might think Lasseter would be concerned about such competition, he is, instead, pleased to see growth in an industry he has helped nurture for many years.

“I really want a healthy animation industry,” he says. “If a family goes to a theater and sees an animated film they really love, the next time an animated film comes out, they want to do it again. If they see a lousy movie, the next time an animated film comes out, they might think it's a waste of time and money because they didn't have a good time last time. The same goes for the studios. If their animated films don't do well, they get nervous about committing to the cost of animation and supporting all those people in the studio, and they start to close things down. Then you have all these really talented people out of work, and the studios can't support them, and we suddenly lose all these people from our industry. I don't want that to happen. I want there to be more studios out there. I'd love to see low-budget [CG movies]. There are lots of weekends in a year, and you never have two animated films opening the same weekend, and it's extremely rare for two animated films to compete directly against one another. So I don't think of [those independent studios] as competitors. It's much better for all of us if we all do well.”

Despite his CG pedigree, Lasseter emphasizes this hopeful outlook extends to 2D animated films, as well, and ironically, he concedes Pixar's success over the years may have hurt that artform.

“The saddest thing about the success we had at Pixar is that people seem to think that audiences only want to watch 3D computer animation, and are not interested in 2D hand-drawn animation, clay animation, and puppet animation,” he says. “I always felt that 2D animation became the scapegoat for bad storytelling. I mean, you never hear someone who made a bad live-action film say, ‘Well, I'm never going to use that camera again, or that film stock.’ That would be ludicrous. Look at the work of [Japanese director] Hayao Miyazaki [who directed Spirited Away and Howl's Moving Castle]. All three films nominated for the animated film Oscar this year are 2D. … So don't tell me people aren't interested in 2D animation.”

Former Lucas Digital and current Pixar producer Jim Morris, one of the founding members and guiding forces of the Visual Effects Society, is particularly pleased by the growth of the VES and the visual effects industry from the time he agreed to join the organization’s first provisional board several years ago. “I think the past 10 or 15 years have seen dramatic change in the visual effects industry,” he tells Millimeter. “The growth has been explosive. If you take a look at the movies that were released in the last year, it’s hard to find even one that did not have some visual effects or animation in them. And the big studio pictures have a huge amount of fantastic work in them. That’s a pretty fundamental change that has affected the entire cinema industry.”

VES Awards: Digital Rivers Converge
March 5, 2006

VES Awards: Digital Rivers Converge
By Mark London Williams

Visual Thrills
February 21, 2006

Visual Thrills
Hollywood Reporter

John Lasseter honored at 4th Annual VES Awards
February 20, 2006

John Lasseter honored at 4th Annual VES Awards
By Chuck Oberleitner

'War', 'Kong' top visual effects kudos
February 17, 2006

'War', 'Kong' top visual effects kudos
By David S. Cohen

VES' latest special effect: perfect split of top awards
February 16, 2006

VES' latest special effect: perfect split of top awards
By Sheigh Crabtree

Animator, Gorilla and War Top VES Awards
February 15, 2006

Animation’s sweetheart John Lasseter found himself wedged between the vfx giant pics WAR OF THE WORLDS and KING KONG as they all commanded the awards and praise at the 4th Annual VES Awards tonight, (Feb. 15, 2006) at the Hollywood Paladium in Hollywood to a sold-out crowd attending the Visual Effects Society black-tie fete recognizing outstanding visual effects in 20 categories of film, television, commercials, music videos and games. WAR OF THE WORLDS and KING KONG each won in three categories.

Oscar zigs where effects org zags
February 15, 2006

Oscar zigs where effects org zags
ByThomas J. McLean

Ripple Effect: The VES continues to reach out to an increasingly global industry
February 15, 2006

Ripple Effect: The VES continues to reach out to an increasingly global industry.
By Sheigh Crabtree

Movies honored for special effects
January 19, 2006

Many of 2005’s top movies had great special effects. But only one can win the award from the Visual Effects Society.

The nominees include “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe,” “King Kong,” “Star Wars: Episode III -- Revenge of the Sith” and “Harry Potter and the Goblet of Fire.”

The winner will be announced Feb. 15 at the society’s fourth annual awards ceremony.

The Visual Effects Society is a professional organization that strives to promote visual effects in the film industry.

VES Unveils Noms for the 4th VES Awards
January 12, 2006

VES Unveils Noms for the 4th VES Awards


Craft kudos cast wide net
February 9, 2005

Craft kudos cast wide net: Going way beyond Oscar's single trophy, fledgling VES Awards gain stature in f/x biz
ByDaniel Frankel


The Hollywood Reporter- AFI: Warm thanks to Hanks
June 14, 2002

Actor-producer-director Tom Hanks, at amere 45 years old, became the youngest honoree to accept the American Film Industries Life Achievement award as he became the awards 30th recipient Wednesday night. -Jim McConville 

The Hollywood Reporter- Charter re-ups with ABC Family
June 14, 2002

"New york- Call it one small carriage steo for ABC Family The cable network as renewed its cable carriage deal with Charter Communications, signing a multiyear deal that will ensure its carriage through 2006"-Jim Conville