The Creator won big at the 22nd annual Visual Effects Society Awards Wednesday night.
The awards were handed out during a ceremony, hosted by actor-comedian Jay Pharoah, at the Beverly Hilton in Los Angeles.
The Creator took home five awards in the feature competition, including outstanding visual effects in a photoreal feature. The Last of Us was also a top winner in the series categories, scoring four awards, and Spider-Man: Across the Spider-Verse led the animation competition with four wins.
Other winners of the night included Guardians of the Galaxy Vol. 3, Oppenheimer, Nyad, The Mandalorian and The Flash.
It was previously announced that producer Joyce Cox, who produced VFX on movies including Avatar and The Dark Knight, received the Society’s Lifetime Achievement Award during the ceremony.
Actor-producer-director William Shatner was also previously revealed as the recipient of the award for Creative Excellence in “recognition of his valuable contributions...
The awards were handed out during a ceremony, hosted by actor-comedian Jay Pharoah, at the Beverly Hilton in Los Angeles.
The Creator took home five awards in the feature competition, including outstanding visual effects in a photoreal feature. The Last of Us was also a top winner in the series categories, scoring four awards, and Spider-Man: Across the Spider-Verse led the animation competition with four wins.
Other winners of the night included Guardians of the Galaxy Vol. 3, Oppenheimer, Nyad, The Mandalorian and The Flash.
It was previously announced that producer Joyce Cox, who produced VFX on movies including Avatar and The Dark Knight, received the Society’s Lifetime Achievement Award during the ceremony.
Actor-producer-director William Shatner was also previously revealed as the recipient of the award for Creative Excellence in “recognition of his valuable contributions...
- 2/22/2024
- by Carly Thomas
- The Hollywood Reporter - Movie News
Gareth Edwards’ “The Creator” was the big winner at the 22nd Visual Effects Society Awards (held February 21 at the Beverly Hilton Hotel). The AI-themed, sci-fi actioner earned five awards, including the top photoreal feature VFX prize. The other awards were for modeling (Nomad), created environment (Floating Village), effects simulations, and compositing & lighting (Bar).
“The Creator” utilized an innovative streamlining process in post, in which Ilm designed and placed the naturalistic VFX over the actors playing AI simulants and the photographic plates as set extensions. This made the $80 million indie look like a $200 million blockbuster, with director Edwards shooting the entire film guerilla-style in 80 locations throughout Southeast Asia as the primary camera operator with a small crew and natural light.
Meanwhile, “Spider-Man: Across the Spider-Verse,” the animated feature Oscar favorite (snubbed by the Academy’s VFX branch), took home four awards, including the top animated VFX prize. Sony Pictures Imageworks innovated...
“The Creator” utilized an innovative streamlining process in post, in which Ilm designed and placed the naturalistic VFX over the actors playing AI simulants and the photographic plates as set extensions. This made the $80 million indie look like a $200 million blockbuster, with director Edwards shooting the entire film guerilla-style in 80 locations throughout Southeast Asia as the primary camera operator with a small crew and natural light.
Meanwhile, “Spider-Man: Across the Spider-Verse,” the animated feature Oscar favorite (snubbed by the Academy’s VFX branch), took home four awards, including the top animated VFX prize. Sony Pictures Imageworks innovated...
- 2/22/2024
- by Bill Desowitz
- Indiewire
As had been generally expected, Gareth Edwards’ futuristic sci-fi film “The Creator” proved to be the favorite among visual effects practitioners. The film topped the feature competition at the 22nd Visual Effects Society Awards, claiming five wins including one in the leading category for outstanding VFX in a photoreal feature.
Wednesday night at the Beverly Hilton, it also won the categories for created environment, model, compositing and lighting and effects simulations. Also, in the feature competition, “Guardians of the Galaxy Vol. 3” collected two awards for the digital character (the emotive Rocket) and virtual cinematography. “Oppenheimer” grabbed the trophy for practical effects, and “Nyad” took home the award for supporting VFX. Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” was the big winner among the animated features, collecting four awards.
“The Creator,” whose VFX was led by Industrial Light + Magic, and Guardians 3, whose work was shared by roughly 10 VFX companies,...
Wednesday night at the Beverly Hilton, it also won the categories for created environment, model, compositing and lighting and effects simulations. Also, in the feature competition, “Guardians of the Galaxy Vol. 3” collected two awards for the digital character (the emotive Rocket) and virtual cinematography. “Oppenheimer” grabbed the trophy for practical effects, and “Nyad” took home the award for supporting VFX. Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” was the big winner among the animated features, collecting four awards.
“The Creator,” whose VFX was led by Industrial Light + Magic, and Guardians 3, whose work was shared by roughly 10 VFX companies,...
- 2/22/2024
- by Carolyn Giardina and Diego Ramos Bechara
- Variety Film + TV
“Oppenheimer,” “Spider-Man: Across the Spider-Verse” and “The Last of Us” are among the nominees for the Visual Effects Society (Ves) Awards.
Gareth Edwards’ “The Creator” leads the feature film field with seven nominations. “Spider-Man: Across the Spider-Verse” is the top animated contender with seven nominations and 24-time Emmy-nominated drama “The Last of Us” leads the episodic field with six nominations.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” Ves chair Kim Davidson said. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of our nominees.”
The Ves is a global honorary society dedicated to “advancing the arts, sciences and applications of visual effects and to upholding...
Gareth Edwards’ “The Creator” leads the feature film field with seven nominations. “Spider-Man: Across the Spider-Verse” is the top animated contender with seven nominations and 24-time Emmy-nominated drama “The Last of Us” leads the episodic field with six nominations.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” Ves chair Kim Davidson said. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of our nominees.”
The Ves is a global honorary society dedicated to “advancing the arts, sciences and applications of visual effects and to upholding...
- 1/16/2024
- by Diego Ramos Bechara
- Variety Film + TV
The Visual Effects Society has composited the nominees for its 22nd annual Ves Awards, which will be handed out next month. Disney’s The Creator and Sony’s Spider-Man: Across the Spider-Verse lead the field with seven noms apiece, and HBO’s The Last of Us tops TV with six. See the full list below.
The annual Ves Awards will be handed out during the group’s 22nd annual ceremony February 21 at the Beverly Hilton. They recognize outstanding visual effects artistry and innovation in 25 categories spanning features, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” said Kim Davidson, newly elected Ves Chair. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation.
The annual Ves Awards will be handed out during the group’s 22nd annual ceremony February 21 at the Beverly Hilton. They recognize outstanding visual effects artistry and innovation in 25 categories spanning features, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” said Kim Davidson, newly elected Ves Chair. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation.
- 1/16/2024
- by Erik Pedersen
- Deadline Film + TV
The Spider-Society has webbed in a few honors. The Visual Effects Society has announced their nominations for the 22nd annual Ves Awards, with “Spider-Man: Across the Spider-Verse” leading the pack.
Held every winter, the Ves Awards honor the best achievements in visual effects artistry over the previous calendar year, with VFX professionals in film, television, video games, and commercials receiving recognition. Nominees in 25 categories are selected by Ves members through a process of 39 in-person and virtual nomination events, held worldwide and conducted during a 36-hour period. A minimum of three judging panels review each submission for the awards, looking at “Before and Afters” for each prospective nominee. Ves judging panels this year included members of the society from 25 different countries.
“Spider-Man: Across the Spider-Verse” was the top animated film to receive nominations this year, gaining seven nominations including Outstanding Effects in an Animated Feature and specific nods for modeling, character animation,...
Held every winter, the Ves Awards honor the best achievements in visual effects artistry over the previous calendar year, with VFX professionals in film, television, video games, and commercials receiving recognition. Nominees in 25 categories are selected by Ves members through a process of 39 in-person and virtual nomination events, held worldwide and conducted during a 36-hour period. A minimum of three judging panels review each submission for the awards, looking at “Before and Afters” for each prospective nominee. Ves judging panels this year included members of the society from 25 different countries.
“Spider-Man: Across the Spider-Verse” was the top animated film to receive nominations this year, gaining seven nominations including Outstanding Effects in an Animated Feature and specific nods for modeling, character animation,...
- 1/16/2024
- by Wilson Chapman
- Indiewire
Star Wars Celebration is a place where the makers of the magic are given their proper due, and the effects wizards behind "The Mandalorian" and "Book of Boba Fett" are no exception. On Saturday at the show, following up the Mando+ extravaganza, the stage was turned over to the crew behind the scenes.
Vanity Fair writer Anthony Breznican hosted the panel and brought out Janet Lewin (the manager of Industrial Light & Magic), Richard Bluff (VFX supervisor on "The Mandalorian"), Bonnie Wild and Matthew Wood (from Skywalker Sound), John Rosengrant (from Legacy Effects), and one of the puppeteers for Baby Yoda aka...
The post Star Wars Celebration: Behind the Scenes of The Mandalorian and Book of Boba Fett appeared first on /Film.
Vanity Fair writer Anthony Breznican hosted the panel and brought out Janet Lewin (the manager of Industrial Light & Magic), Richard Bluff (VFX supervisor on "The Mandalorian"), Bonnie Wild and Matthew Wood (from Skywalker Sound), John Rosengrant (from Legacy Effects), and one of the puppeteers for Baby Yoda aka...
The post Star Wars Celebration: Behind the Scenes of The Mandalorian and Book of Boba Fett appeared first on /Film.
- 5/28/2022
- by Bryan Young
- Slash Film
“The Mandalorian” is widely considered to be one of the best “Star Wars” projects that Disney has produced since acquiring Lucasfilm in 2012. The show’s episodic storytelling and Western-influenced world-building have been a huge hit with longtime fans of the franchise, leading Disney to indicate that the bulk of its future “Star Wars” plans is in the television space.
But the team behind the hit show was not always so sure.
In an interview with Vanity Fair, Industrial Light and Magic department head Richard Bluff spoke about the difficulty of designing convincing effects within the show’s budget. He ultimately settled on a technology called The Volume, which allowed the team to digitally recreate real-world settings on virtual backdrops. The result was that Mandalorians could be filmed running around locations that the team had scouted without ever having to leave a soundstage.
The technology was promising, but the team still...
But the team behind the hit show was not always so sure.
In an interview with Vanity Fair, Industrial Light and Magic department head Richard Bluff spoke about the difficulty of designing convincing effects within the show’s budget. He ultimately settled on a technology called The Volume, which allowed the team to digitally recreate real-world settings on virtual backdrops. The result was that Mandalorians could be filmed running around locations that the team had scouted without ever having to leave a soundstage.
The technology was promising, but the team still...
- 5/21/2022
- by Christian Zilko
- Indiewire
The best-kept secret of “The Mandalorian” Season 2 was Mark Hamill’s surprise cameo in the finale as a young Luke Skywalker, who offers to complete baby Grogu’s training in The Force. Yet how Hamill was de-aged has been kept under wraps until this week’s episode of “Disney Gallery: Star Wars: The Mandalorian” on Disney+.
However, Industrial Light & Magic VFX supervisor, Richard Bluff, took a deeper dive into the de-aging process with IndieWire.
“We knew we had to be faithful to the look of [Luke Skywalker] around the time of ‘Return of the Jedi,’ which was the last movie we saw him at that age,” Bluff said. “And that was the look we had to reproduce. So it was important to [showrunner] Jon Favreau and [executive producer] Dave Filoni that we bring Mark Hamill in to perform there on set [at Manhattan Beach Studios in L.A.], dressed in costume [by costume designer Shawna Trpcic], and using him in every way possible — not only...
However, Industrial Light & Magic VFX supervisor, Richard Bluff, took a deeper dive into the de-aging process with IndieWire.
“We knew we had to be faithful to the look of [Luke Skywalker] around the time of ‘Return of the Jedi,’ which was the last movie we saw him at that age,” Bluff said. “And that was the look we had to reproduce. So it was important to [showrunner] Jon Favreau and [executive producer] Dave Filoni that we bring Mark Hamill in to perform there on set [at Manhattan Beach Studios in L.A.], dressed in costume [by costume designer Shawna Trpcic], and using him in every way possible — not only...
- 8/27/2021
- by Bill Desowitz
- Indiewire
It’s been nearly a year since The Mandalorian’s second season finale used the Force to floor the collective fandom with Luke Skywalker’s surprise, age-erased cameo. Yet, the afterglow of the moment remains widely resplendent due to the sheer shock value; a response facilitated by the ability of insiders to keep the Disney property’s stunning state secret. Now, the full extent of the sneaky endeavor has been uncovered, revealing how the return of Star Wars’ first and most famous hero was obscured by an intriguing Jedi substitute: Plo Koon.
It should come as no big surprise that, in an era of leaked concepts and trailers, the words “Luke” and/or “Skywalker,” were strictly forbidden to use during production of The Mandalorian‘s second season, due to the enormous magnitude of The secret that needed to be kept in a difficult marathon fashion across the frame’s entire 8-episode run.
It should come as no big surprise that, in an era of leaked concepts and trailers, the words “Luke” and/or “Skywalker,” were strictly forbidden to use during production of The Mandalorian‘s second season, due to the enormous magnitude of The secret that needed to be kept in a difficult marathon fashion across the frame’s entire 8-episode run.
- 8/25/2021
- by Joseph Baxter
- Den of Geek
The Mandalorian (Disney+)
For season two of The Mandalorian, production relied heavily on an updated version of VFX house Industrial Light & Magic’s Stagecraft virtual production system, which involved projecting environments onto an LED wall on the stage.
Take, for example, forest planet Corvus, inspired not just by Dave Filoni’s script but by the environment in which he wrote it. “We were going through the wildfires in Northern California,” relates VFX supervisor Richard Bluff, whose work on the Disney+ series won a VFX Emmy a year ago. “What became apparent when we were going through that horrific time ...
For season two of The Mandalorian, production relied heavily on an updated version of VFX house Industrial Light & Magic’s Stagecraft virtual production system, which involved projecting environments onto an LED wall on the stage.
Take, for example, forest planet Corvus, inspired not just by Dave Filoni’s script but by the environment in which he wrote it. “We were going through the wildfires in Northern California,” relates VFX supervisor Richard Bluff, whose work on the Disney+ series won a VFX Emmy a year ago. “What became apparent when we were going through that horrific time ...
- 8/24/2021
- The Hollywood Reporter - Movie News
The Mandalorian (Disney+)
For season two of The Mandalorian, production relied heavily on an updated version of VFX house Industrial Light & Magic’s Stagecraft virtual production system, which involved projecting environments onto an LED wall on the stage.
Take, for example, forest planet Corvus, inspired not just by Dave Filoni’s script but by the environment in which he wrote it. “We were going through the wildfires in Northern California,” relates VFX supervisor Richard Bluff, whose work on the Disney+ series won a VFX Emmy a year ago. “What became apparent when we were going through that horrific time ...
For season two of The Mandalorian, production relied heavily on an updated version of VFX house Industrial Light & Magic’s Stagecraft virtual production system, which involved projecting environments onto an LED wall on the stage.
Take, for example, forest planet Corvus, inspired not just by Dave Filoni’s script but by the environment in which he wrote it. “We were going through the wildfires in Northern California,” relates VFX supervisor Richard Bluff, whose work on the Disney+ series won a VFX Emmy a year ago. “What became apparent when we were going through that horrific time ...
- 8/24/2021
- The Hollywood Reporter - Film + TV
Visual effects supervisor Richard Bluff and production designers Andrew L. Jones and Doug Chiang discuss the making of season two of Lucasfilm’s Disney+ series The Mandalorian in a new episode of The Hollywood Reporter‘s Behind the Screen podcast.
The Star Wars series earned a remarkable 24 Emmy nominations this season, including nominations for its production design and visual effects. Bluff and Jones won Emmys a year ago for these crafts.
Visual effects and production design veteran Doug Chiang is a 1993 Oscar winner, for the VFX in Death Becomes Her.
In this episode, the trio discuss the making of season 2, including use ...
The Star Wars series earned a remarkable 24 Emmy nominations this season, including nominations for its production design and visual effects. Bluff and Jones won Emmys a year ago for these crafts.
Visual effects and production design veteran Doug Chiang is a 1993 Oscar winner, for the VFX in Death Becomes Her.
In this episode, the trio discuss the making of season 2, including use ...
- 7/29/2021
- The Hollywood Reporter - Film + TV
Visual effects supervisor Richard Bluff and production designers Andrew L. Jones and Doug Chiang discuss the making of season two of Lucasfilm’s Disney+ series The Mandalorian in a new episode of The Hollywood Reporter‘s Behind the Screen podcast.
The Star Wars series earned a remarkable 24 Emmy nominations this season, including nominations for its production design and visual effects. Bluff and Jones won Emmys a year ago for these crafts.
Visual effects and production design veteran Doug Chiang is a 1993 Oscar winner, for the VFX in Death Becomes Her.
In this episode, the trio discuss the making of season 2, including use ...
The Star Wars series earned a remarkable 24 Emmy nominations this season, including nominations for its production design and visual effects. Bluff and Jones won Emmys a year ago for these crafts.
Visual effects and production design veteran Doug Chiang is a 1993 Oscar winner, for the VFX in Death Becomes Her.
In this episode, the trio discuss the making of season 2, including use ...
- 7/29/2021
- The Hollywood Reporter - Movie News
This story about “The Mandalorian” first appeared in the Comedy & Drama Series issue of TheWrap’s awards magazine.
The second season of Disney+’s The Mandalorian debuted in the fall of 2020 in the throes of a worldwide pandemic and an unprecedented presidential election. But it still managed to be one of the biggest TV sensations of the year, providing loyal fans some clarity on burning questions: Will Mando take off his helmet ever again? What is Baby Yoda’s real name? Will any Jedi make key appearances?
The eight-episode season opened firing on all cylinders with “The Marshal,” an aspect-ratio-bending mini-adventure written and directed by creator Jon Favreau, employing a grand set piece that sits among the Star Wars franchise’s most ambitious eye-poppers: a tense standoff in which the Mandalorian, Din Djarin (Pedro Pascal), agrees to help town marshal Cobb Vanth (Timothy Olyphant) get rid of a livestock-destroying cave...
The second season of Disney+’s The Mandalorian debuted in the fall of 2020 in the throes of a worldwide pandemic and an unprecedented presidential election. But it still managed to be one of the biggest TV sensations of the year, providing loyal fans some clarity on burning questions: Will Mando take off his helmet ever again? What is Baby Yoda’s real name? Will any Jedi make key appearances?
The eight-episode season opened firing on all cylinders with “The Marshal,” an aspect-ratio-bending mini-adventure written and directed by creator Jon Favreau, employing a grand set piece that sits among the Star Wars franchise’s most ambitious eye-poppers: a tense standoff in which the Mandalorian, Din Djarin (Pedro Pascal), agrees to help town marshal Cobb Vanth (Timothy Olyphant) get rid of a livestock-destroying cave...
- 6/21/2021
- by Jason Clark
- The Wrap
Jon Favreau’s “The Mandalorian” returned for Season 2 on Disney+, boasting new and improved virtual production innovations, while introducing creatures such as the menacing Krayt Dragon and ice spiders. The tech highlight, though, was the launch of StageCraft 2.0, the virtual production game changer from Industrial Light & Magic. Offering a new in-house render engine called Helios, the immersive LED wall digital backlot at Manhattan Beach Studios in L.A. generated cooler-looking digital environments in real-time, and continued the illusion of being on location with interactive lighting and perspective-accurate camera tracking.
“Helios gave us higher resolution and more image fidelity,” said Ilm VFX supervisor Richard Bluff. “The assets that were going into the environments could not only be rendered in real-time on the wall, but could also be easily rendered in any one of our render engines that we use in post-production. This allowed a lot of flexibility on the back end.
“Helios gave us higher resolution and more image fidelity,” said Ilm VFX supervisor Richard Bluff. “The assets that were going into the environments could not only be rendered in real-time on the wall, but could also be easily rendered in any one of our render engines that we use in post-production. This allowed a lot of flexibility on the back end.
- 6/11/2021
- by Bill Desowitz
- Indiewire
Peter Jackson received lifetime achievement award.
George Clooney’s Netflix sci-fi The Midnight Sky has won the top award at Tuesday night’s (April 6) 19th Annual Visual Effects Society Awards.
The Oscar-nominated feature earned prizes for Outstanding Visual Effects in a Photoreal Feature and Outstanding Model in a Photoreal or Animated Project for the shuttle Aether.
Netflix stablemate Mank won for Outstanding Supporting Visual Effects in a Photoreal Feature.
Pixar’s Soul was honoured in five categories including Outstanding Visual Effects in an Animated Feature, and Outstanding Animated Character in an Animated Feature for the rigorous afterlife accountant Terry.
In the TV categories,...
George Clooney’s Netflix sci-fi The Midnight Sky has won the top award at Tuesday night’s (April 6) 19th Annual Visual Effects Society Awards.
The Oscar-nominated feature earned prizes for Outstanding Visual Effects in a Photoreal Feature and Outstanding Model in a Photoreal or Animated Project for the shuttle Aether.
Netflix stablemate Mank won for Outstanding Supporting Visual Effects in a Photoreal Feature.
Pixar’s Soul was honoured in five categories including Outstanding Visual Effects in an Animated Feature, and Outstanding Animated Character in an Animated Feature for the rigorous afterlife accountant Terry.
In the TV categories,...
- 4/7/2021
- by Jeremy Kay
- ScreenDaily
“The Midnight Sky” and “Soul” were the big film winners at the 19th annual Ves Awards, which were presented on Tuesday night by the Visual Effects Society.
George Clooney’s cautionary sci-fi drama “The Midnight Sky” won two awards, including Outstanding Visual Effects in a Photoreal Feature, the Ves category that most closely corresponds to the Academy Award for Best Visual Effects. Winners in the category have gone on to win the Oscar 10 times in the past 18 years, but the last film to do so was “The Jungle Book” in 2017.
The Pixar film “Soul,” which was shortlisted but not nominated for the VFX Oscar, won five awards, the most of any film or television program. In addition to Outstanding Visual Effects in an Animated Feature, it won for its animated character, created environment, effects simulation and virtual cinematography.
“Project Power” also won two awards, while additional film prizes went to “Mank,...
George Clooney’s cautionary sci-fi drama “The Midnight Sky” won two awards, including Outstanding Visual Effects in a Photoreal Feature, the Ves category that most closely corresponds to the Academy Award for Best Visual Effects. Winners in the category have gone on to win the Oscar 10 times in the past 18 years, but the last film to do so was “The Jungle Book” in 2017.
The Pixar film “Soul,” which was shortlisted but not nominated for the VFX Oscar, won five awards, the most of any film or television program. In addition to Outstanding Visual Effects in an Animated Feature, it won for its animated character, created environment, effects simulation and virtual cinematography.
“Project Power” also won two awards, while additional film prizes went to “Mank,...
- 4/7/2021
- by Steve Pond
- The Wrap
George Clooney’s existential sci-fi drama, “The Midnight” Sky,” moved a step closer in the VFX Oscar race Tuesday, taking top honors at the 19th annual Ves Awards. The Netflix film (with VFX by Framestore) also earned the model award for the Aether spacecraft. Strangely, though, the unforgettable Ballet of Blood scene, containing simulated zero-g and remarkable liquid simulation, wasn’t even nominated, yet this highlight could prove decisive if “The Midnight Sky” wins the Oscar.
But that’s a big if in this wide open race that also includes Christopher Nolan’s time-inverted “Tenet” (which is finally available on the Academy’s online voting portal) and dark horse “Love and Monsters,” with its terrific array of Ray Harryhausen-like creatures. In the last four years, the Ves has only aligned with the Academy once (for “The Jungle Book”). Then again, the Ves nod could be enough to put “The Midnight Sky...
But that’s a big if in this wide open race that also includes Christopher Nolan’s time-inverted “Tenet” (which is finally available on the Academy’s online voting portal) and dark horse “Love and Monsters,” with its terrific array of Ray Harryhausen-like creatures. In the last four years, the Ves has only aligned with the Academy once (for “The Jungle Book”). Then again, the Ves nod could be enough to put “The Midnight Sky...
- 4/7/2021
- by Bill Desowitz
- Indiewire
Updated with full list of winners: George Clooney’s Netflix sci-fi thriller The Midnight Sky, Disney/Pixar’s animated Soul and the Disney+ Star Wars spinoff series The Mandalorian were the marquee winners Tuesday at the 19th annual Ves Awards.
The Visual Effects Society’s annual celebration, which honors the year’s best in film, animation, TV, commercials and video games, was hosted as per usual by Patton Oswalt (and his green monster alter ego) and was presented virtually because of the pandemic.
The well-constructed and engaging show (leave it to the VFX crews to pull that off during the Year of the Zoom Ceremony) included honorary awards presented to Peter Jackson, who received the Ves Lifetime Achievement Award presented by his Lotr star Cate Blanchett and featuring a tribute with Andy Serkis, Naomi Watts, Elijah Wood, Ian McKellen, James Cameron and Gollum himself in one of several bits of...
The Visual Effects Society’s annual celebration, which honors the year’s best in film, animation, TV, commercials and video games, was hosted as per usual by Patton Oswalt (and his green monster alter ego) and was presented virtually because of the pandemic.
The well-constructed and engaging show (leave it to the VFX crews to pull that off during the Year of the Zoom Ceremony) included honorary awards presented to Peter Jackson, who received the Ves Lifetime Achievement Award presented by his Lotr star Cate Blanchett and featuring a tribute with Andy Serkis, Naomi Watts, Elijah Wood, Ian McKellen, James Cameron and Gollum himself in one of several bits of...
- 4/7/2021
- by Patrick Hipes
- Deadline Film + TV
Pixar’s “Soul,” George Clooney’s “The Midnight Sky” and “The Mandalorian” led the winners at the 19th annual Visual Effects Society (Ves) Awards.
Comedian Patton Oswalt served as host for the 10th time for the virtual ceremony which celebrated the art of visual effects across 25 categories.
“Soul” was named top animated film, winning five awards. “The Mandalorian” was named best photoreal episode and garnered three awards, and “The Midnight Sky” was named the photoreal feature winner, garnering two awards.
Sacha Baron Cohen presented the Ves Award for Creative Excellence to acclaimed visual effects supervisor, second unit director and director of photography Robert Legato, ASC. Cate Blanchett presented the Ves Lifetime Achievement Award to Peter Jackson. The “Lord of the Rings” filmmaker was lauded in a virtual tribute that featured Andy Serkis, Naomi Watts, Elijah Wood, Sir Ian McKellen, James Cameron and Gollum.
Full List of Winners:
Outstanding Visual Effects...
Comedian Patton Oswalt served as host for the 10th time for the virtual ceremony which celebrated the art of visual effects across 25 categories.
“Soul” was named top animated film, winning five awards. “The Mandalorian” was named best photoreal episode and garnered three awards, and “The Midnight Sky” was named the photoreal feature winner, garnering two awards.
Sacha Baron Cohen presented the Ves Award for Creative Excellence to acclaimed visual effects supervisor, second unit director and director of photography Robert Legato, ASC. Cate Blanchett presented the Ves Lifetime Achievement Award to Peter Jackson. The “Lord of the Rings” filmmaker was lauded in a virtual tribute that featured Andy Serkis, Naomi Watts, Elijah Wood, Sir Ian McKellen, James Cameron and Gollum.
Full List of Winners:
Outstanding Visual Effects...
- 4/7/2021
- by Jazz Tangcay
- Variety Film + TV
It’s truly a measure of the pandemic that the 19th annual Ves Awards (to be held virtually on April 6) was dominated by Disney+’s “The Mandalorian” with 13 nominations (topped by photoreal episode). Like the Oscar shortlist, there was an absence of big budget, VFX-intensive studio films. But, truth be told, Season 2 of Jon Favreau’s engaging “Star Wars” bounty hunter series offered the industry’s most innovative tech (wrapped around Industrial Light & Magic’s improved StageCraft virtual production system).
Pixar’s “Soul” was the top animation contender with five nominations, while the feature competition was split between “Project Power,” the Netflix superhero film, Robert Zemeckis’ “The Witches” (which streamed on HBO Max), and Disney’s live-action “Mulan” (which streamed on Disney+), each garnering three nominations.
Joining “Project Power” and “The Witches” in the top photoreal feature category were Netflix’s “Jingle Jangle: A Christmas Journey” and “The Midnight Sky...
Pixar’s “Soul” was the top animation contender with five nominations, while the feature competition was split between “Project Power,” the Netflix superhero film, Robert Zemeckis’ “The Witches” (which streamed on HBO Max), and Disney’s live-action “Mulan” (which streamed on Disney+), each garnering three nominations.
Joining “Project Power” and “The Witches” in the top photoreal feature category were Netflix’s “Jingle Jangle: A Christmas Journey” and “The Midnight Sky...
- 3/2/2021
- by Bill Desowitz
- Indiewire
The nominations for the 19th Annual Visual Effects Society Awards have been announced with “The Mandalorian” and “Soul” leading.
“The Mandalorian” leads with 13 nominations including outstanding visual effects in a photoreal episode. “Soul” was next with five nominations, followed by “The Witches” and “Project Power.”
The Ves awards will be handed out in a virtual ceremony and will stream worldwide on April 6.
“Traditions find a way to persist,” said Lisa Cooke, Ves Board Chair. “With vision and a lot of hard work, we are proud to host our annual celebration of the artistry, ingenuity and passion of visual effects practitioners around the world – virtually. We are seeing best in class work that elevates the art of storytelling and engages the audience in new and innovative ways. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of all our nominees!
“The Mandalorian” leads with 13 nominations including outstanding visual effects in a photoreal episode. “Soul” was next with five nominations, followed by “The Witches” and “Project Power.”
The Ves awards will be handed out in a virtual ceremony and will stream worldwide on April 6.
“Traditions find a way to persist,” said Lisa Cooke, Ves Board Chair. “With vision and a lot of hard work, we are proud to host our annual celebration of the artistry, ingenuity and passion of visual effects practitioners around the world – virtually. We are seeing best in class work that elevates the art of storytelling and engages the audience in new and innovative ways. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of all our nominees!
- 3/2/2021
- by Jazz Tangcay
- Variety Film + TV
The Visual Effects Society today announced the nominees for its 19th annual Ves Awards, which recognize VFX artistry in 25 categories spanning film, TV, animation, commercials and video games. Winners will be announced during a virtual ceremony on Tuesday, April 6.
Disney+’s The Mandalorian leads all TV shows and films with 13 noms, and Disney/Pixar’s animated Soul tops the film side with five. Project Power and The Witches tied for second among movies with three noms apiece in a decidedly strange year for VFX-heavy projects.
Vying for the Visual Effects in a Photoreal Feature prize are Jingle Jangle: A Christmas Journey, The Midnight Sky, Project Power, Tenet and The Witches. The films up for
Supporting Visual Effects in a Photoreal Feature are Da 5 Bloods, Extraction, Mank, News of the World and Welcome to Chechnya.
Soul will battle it out for the Visual Effects in an Animated Feature trophy against fellow Pixar pic Onward,...
Disney+’s The Mandalorian leads all TV shows and films with 13 noms, and Disney/Pixar’s animated Soul tops the film side with five. Project Power and The Witches tied for second among movies with three noms apiece in a decidedly strange year for VFX-heavy projects.
Vying for the Visual Effects in a Photoreal Feature prize are Jingle Jangle: A Christmas Journey, The Midnight Sky, Project Power, Tenet and The Witches. The films up for
Supporting Visual Effects in a Photoreal Feature are Da 5 Bloods, Extraction, Mank, News of the World and Welcome to Chechnya.
Soul will battle it out for the Visual Effects in an Animated Feature trophy against fellow Pixar pic Onward,...
- 3/2/2021
- by Erik Pedersen
- Deadline Film + TV
Boba Fett’s Slave I is among the coolest ships in the Star Wars canon. Originally designed by The Empire Strikes Back art director Nilo Rodis-Jamero, he explained in interviews that the craft’s unique look was based on a radar dish. In-universe, it’s a modified Firespray-31 attack craft that was stolen by Jango Fett and kitted out with all manner of advanced weaponry. After Jango’s death, it was passed down to Boba and played a major role in The Mandalorian‘s second season, becoming the gang’s main ride after the Razor Crest was destroyed.
But there’s long been a big question about the ship and how it functions. Slave I flies vertically and lands horizontally and we’ve seen that the pilot is sitting up when flying. So, when it lands, is the inside of the ship now on its side? Attack of the Clones...
But there’s long been a big question about the ship and how it functions. Slave I flies vertically and lands horizontally and we’ve seen that the pilot is sitting up when flying. So, when it lands, is the inside of the ship now on its side? Attack of the Clones...
- 12/29/2020
- by David James
- We Got This Covered
Baby Yoda aka The Child is not just a pop culture phenomenon, but now also a major awards winner: “The Mandalorian,” which put its brand-new streamer Disney Plus squarely on the Emmys’ map this year with 15 overall nominations, picked up its first statues at the Creative Arts ceremony on Wednesday night.
“The Mandalorian” picked up special visual effects, sound editing, sound mixing, production design and cinematography awards during the third of five nights designed to hand out the 72nd Annual artisans’ awards (also the first night in which scripted categories made an appearance). These five awards see the “Star Wars” universe-set drama leading the pack for the most awards from voters for the year.
HBO’s “Watchmen” and VH1’s “RuPaul’s Drag Race” have racked up the second-most awards thus far, with four apiece. “Watchmen” scored their statues all on this third night, while “Drag Race’s” wins were announced on Monday,...
“The Mandalorian” picked up special visual effects, sound editing, sound mixing, production design and cinematography awards during the third of five nights designed to hand out the 72nd Annual artisans’ awards (also the first night in which scripted categories made an appearance). These five awards see the “Star Wars” universe-set drama leading the pack for the most awards from voters for the year.
HBO’s “Watchmen” and VH1’s “RuPaul’s Drag Race” have racked up the second-most awards thus far, with four apiece. “Watchmen” scored their statues all on this third night, while “Drag Race’s” wins were announced on Monday,...
- 9/16/2020
- by Danielle Turchiano
- Variety Film + TV
The Mandalorian won the Emmy for outstanding special visual effects on Wednesday, succeeding HBO’s juggernaut Game of Thrones, which won the category a remarkable six times.
The first season of Jon Favreau’s Disney+ series, with VFX led by Lucasfilm’s Industrial Light & Magic, involved a range of techniques from a new virtual production processes to a puppet for the adorable Baby Yoda.
The Emmy went to Richard Bluff, VFX supervisor; Jason Porter, VFX supervisor; Abbigail Keller, VFX producer; Hayden Jones, VFX supervisor; Hal Hickel, animation supervisor; Roy Cancino, special effects supervisor; John Rosengrant, supervisor; Enrico Damm, environment supervisor; and Landis ...
The first season of Jon Favreau’s Disney+ series, with VFX led by Lucasfilm’s Industrial Light & Magic, involved a range of techniques from a new virtual production processes to a puppet for the adorable Baby Yoda.
The Emmy went to Richard Bluff, VFX supervisor; Jason Porter, VFX supervisor; Abbigail Keller, VFX producer; Hayden Jones, VFX supervisor; Hal Hickel, animation supervisor; Roy Cancino, special effects supervisor; John Rosengrant, supervisor; Enrico Damm, environment supervisor; and Landis ...
- 9/16/2020
- The Hollywood Reporter - Movie News
The Mandalorian won the Emmy for outstanding special visual effects on Wednesday, succeeding HBO’s juggernaut Game of Thrones, which won the category a remarkable six times.
The first season of Jon Favreau’s Disney+ series, with VFX led by Lucasfilm’s Industrial Light & Magic, involved a range of techniques from a new virtual production processes to a puppet for the adorable Baby Yoda.
The Emmy went to Richard Bluff, VFX supervisor; Jason Porter, VFX supervisor; Abbigail Keller, VFX producer; Hayden Jones, VFX supervisor; Hal Hickel, animation supervisor; Roy Cancino, special effects supervisor; John Rosengrant, supervisor; Enrico Damm, environment supervisor; and Landis ...
The first season of Jon Favreau’s Disney+ series, with VFX led by Lucasfilm’s Industrial Light & Magic, involved a range of techniques from a new virtual production processes to a puppet for the adorable Baby Yoda.
The Emmy went to Richard Bluff, VFX supervisor; Jason Porter, VFX supervisor; Abbigail Keller, VFX producer; Hayden Jones, VFX supervisor; Hal Hickel, animation supervisor; Roy Cancino, special effects supervisor; John Rosengrant, supervisor; Enrico Damm, environment supervisor; and Landis ...
- 9/16/2020
- The Hollywood Reporter - Film + TV
For better or worse, Baby Yoda is without a doubt the most popular cast member of Disney’s hit show The Mandalorian. Whether you love him for his cuteness or despise him for the overwhelming attention he’s received online because of it, his influence seemingly knows no bounds. As iconic as the design is, however, VFX artists actually struggled quite a bit to settle on his look.
In an interview with The Hollywood Reporter, The Mandalorian effects supervisor Richard Bluff discussed the development nightmare that was Baby Yoda. As a lead character of the series without a preexisting design, Baby Yoda’s look was pivotal to determining the success of the show overall. Fortunately for Bluff and his team at Industrial Light and Magic, they found an appearance that works.
According to Bluff, the Ilm team brainstormed a number of different designs before finally picking a winner. One of...
In an interview with The Hollywood Reporter, The Mandalorian effects supervisor Richard Bluff discussed the development nightmare that was Baby Yoda. As a lead character of the series without a preexisting design, Baby Yoda’s look was pivotal to determining the success of the show overall. Fortunately for Bluff and his team at Industrial Light and Magic, they found an appearance that works.
According to Bluff, the Ilm team brainstormed a number of different designs before finally picking a winner. One of...
- 7/16/2020
- by Tim Brinkhof
- We Got This Covered
There’s been so much mythology surrounding “The Mandalorian’s” Baby Yoda (The Child), thanks to co-star Werner Herzog’s outspoken support of the puppet, that it’s hard to determine what’s practical or CG about its performance. The truth is, the 50-year-old, 16-inch infant companion to bounty hunter Mando (Pedro Pascal) was always intended to be a hybrid character, though the original plan was to lean more heavily on animation whenever possible.
That is, until creator Jon Favreau and the rest of the team witnessed the full extent of the puppet’s charm and capabilities early on during the shooting of Season 1. “Initially, the puppet was going to be in a supporting role, and it was going to be a CG character,” said John Rosengrant, co-founder and special effects supervisor at Legacy Effects.
“We did a proof of concept three weeks before shooting, and even once we started shooting,...
That is, until creator Jon Favreau and the rest of the team witnessed the full extent of the puppet’s charm and capabilities early on during the shooting of Season 1. “Initially, the puppet was going to be in a supporting role, and it was going to be a CG character,” said John Rosengrant, co-founder and special effects supervisor at Legacy Effects.
“We did a proof of concept three weeks before shooting, and even once we started shooting,...
- 7/10/2020
- by Bill Desowitz
- Indiewire
If viewers were asked to point to the single most popular and influential TV character to emerge last year, it would have to be the Child, more casually referred to as Baby Yoda. The adorable animatronic puppet was introduced to the world in Season 1 of Disney Plus’ “The Mandalorian” and was solidified as a “Star Wars” universe legend in the second episode when the titular Mandalorian (Pedro Pascal) was fighting with the ferocious Mudhorn in a squelchy, slippery mud pit. Mando tries every trick in his book to defeat the fearsome beast, including firing his flamethrower and using his grappling hook, but to no avail. The Mudhorn makes its final charge at the mercenary when suddenly it finds itself lifted off the ground by the Child, who is demonstrating his abilities using the Force for the first time, sending fans around the globe into fits of excitement.
Rick Famuyiwa
Director
“Going into it,...
Rick Famuyiwa
Director
“Going into it,...
- 7/8/2020
- by Will Thorne
- Variety Film + TV
“I think Season 1 really only scratched the surface of what was possible. We keep talking with Jon [Favreau] and [production designer] Andrew Jones about what could be possible with this technology, and it’s very exciting. We certainly have not reached our limits, even after shooting Season 2.” — Richard Bluff
To craft an epic space Western on a TV budget, The Mandalorian eschewed location shoots and instead crafted a digital exterior volume on a soundstage.
The volume, made up of 2,200 Led screens in a 20x70ft circle, projected environments crafted from plates and digital assets, on Epic Games’ Unreal Engine 4.
The video game engine, married with high resolution environment scans, had advanced far enough to project photorealistic worlds in real-time.
The nascent StageCraft technology relies on age-old principles of rear projection and camera perspective, given a cutting-edge, modern twist.
The many Led panels were bright enough to offer ambient lighting to the scenes being...
To craft an epic space Western on a TV budget, The Mandalorian eschewed location shoots and instead crafted a digital exterior volume on a soundstage.
The volume, made up of 2,200 Led screens in a 20x70ft circle, projected environments crafted from plates and digital assets, on Epic Games’ Unreal Engine 4.
The video game engine, married with high resolution environment scans, had advanced far enough to project photorealistic worlds in real-time.
The nascent StageCraft technology relies on age-old principles of rear projection and camera perspective, given a cutting-edge, modern twist.
The many Led panels were bright enough to offer ambient lighting to the scenes being...
- 7/6/2020
- by Matt Grobar
- Deadline Film + TV
After making the virtual production leap on “The Lion King” with the help of virtual reality and the real-time game engine, director Jon Favreau took it a step further with Industrial Light & Magic in the making of his Disney+ “Star Wars” series, “The Mandalorian.” The VFX studio created an innovative virtual production workflow called Ilm StageCraft, which allowed the filmmakers to generate complex and exotic digital backdrops in real-time (using Epic’s Unreal game engine) while shooting the eight-episode bounty hunter series at Manhattan Beach Studios in L.A.
“We’ve been experimenting with these technologies on my past projects and were finally able to bring a group together with different perspectives to synergize film and gaming advances and test the limits of real-time, in-camera rendering,” said Favreau in a prepared statement. “We are proud of what was achieved and feel that the system we built was the most efficient...
“We’ve been experimenting with these technologies on my past projects and were finally able to bring a group together with different perspectives to synergize film and gaming advances and test the limits of real-time, in-camera rendering,” said Favreau in a prepared statement. “We are proud of what was achieved and feel that the system we built was the most efficient...
- 2/20/2020
- by Bill Desowitz
- Indiewire
The VFX supervisor for The Mandalorian has recently revealed that the show utilized footage from A New Hope to save budget for some of the bigger moments.
While it’s true that we’re currently in the golden age of television and advancements in special effects technology has made it easier for creators to work on a budget, TV shows still have a long way to catch up with blockbuster films in terms of production values. And as strange as it might sound, this is also the case with a juggernaut such as Disney and The Mandalorian, which was exclusively produced as a launch title for their streaming platform.
That’s why, in an attempt to save money on some of the bigger moments in Jon Favreau’s new show, the crew utilized footage from A New Hope to create some of the locations that the lonesome bounty hunter travels to in the series.
While it’s true that we’re currently in the golden age of television and advancements in special effects technology has made it easier for creators to work on a budget, TV shows still have a long way to catch up with blockbuster films in terms of production values. And as strange as it might sound, this is also the case with a juggernaut such as Disney and The Mandalorian, which was exclusively produced as a launch title for their streaming platform.
That’s why, in an attempt to save money on some of the bigger moments in Jon Favreau’s new show, the crew utilized footage from A New Hope to create some of the locations that the lonesome bounty hunter travels to in the series.
- 2/7/2020
- by Jonathan Wright
- We Got This Covered
Disney’s “The Lion King” was the big VFX winner Wednesday at the 18th annual Ves Awards at the Beverly Hilton, grabbing three prizes. Meanwhile. Martin Scorsese’s “The Irishman” won for supporting VFX and feature compositing.
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
- 1/30/2020
- by Bill Desowitz
- Indiewire
“The Lion King,” the Disney “live-action” remake that is made up almost entirely of computer-generated characters and backgrounds, has won three awards at the Visual Effects Society’s 18th annual Ves Awards, which were handed out Wednesday night in Los Angeles.
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
- 1/30/2020
- by Steve Pond
- The Wrap
Disney dominated the 18th annual Ves Awards with five nominations apiece for Jon Favreau’s frontrunner “The Lion King” and Robert Rodriguez’s surprising “Alita: Battle Angel” (acquired from Fox). Joining them for the top photo-real prize were the Disney-led “Avengers: Endgame” and “Star Wars: The Rise of Skywalker,” along with Ang Lee’s “Gemini Man”. The Ves Awards will be held January 29th at the Beverly Hilton Hotel.
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
Competing for supporting VFX were Martin Scorsese’s “The Irishman”, Sam Mendes’ “1917,” (which stitched together the World War I thriller as one continuous shot and offered various enhancements), James Mangold’s “Ford v Ferrari,” Todd Phillips’ “Joker,” and “The Aeronauts.”
In animation, Disney also fared well, with Pixar’s “Toy Story 4” (which grabbed five nominations) and “Frozen 2.” They were joined by Golden Globe nominee “Missing Link” from Laika, surprise nominee “Klaus” (the innovative 2D feature from Netflix and Spanish director Sergio Pablos), and,...
- 1/7/2020
- by Bill Desowitz
- Indiewire
The Visual Effects Society has unveiled nominations for its 18th annual Ves Awards, which honor VFX work in film, animation, TV, commercials and video games. Winners will be revealed at a ceremony January 29 at the Beverly Hilton.
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
Disney’s CG redo of the The Lion King and 20th Century Fox’s Alita: Battle Angel lead all film nominees with five apiece, joining the top animated nominee Toy Story 4. In TV, Disney+’s Star Wars spinoff The Mandalorian and the final season of HBO’s epic Game of Thrones lead the field with six nominations each.
Along with naming winners in 25 categories, the group’s ceremony later this month includes honoring Martin Scorsese with the Ves Lifetime Achievement Award. The Ves Visionary Award will be given to Roland Emmerich, and the Ves Award for Creative Excellence will be presented to VFX supervisor Sheena Duggal.
Here’s the list of noms:...
- 1/7/2020
- by Patrick Hipes
- Deadline Film + TV
Visual Effects (VFX) artists are spectacular. Their intense discipline for creating seamless digital worlds tricks viewers into believing that what they’re seeing is real. Last night at the 89th Academy Awards, the Oscar for Best Visual Effects went to Robert Legato, Adam Valdez, Andrew R. Jones and Dan Lemmon the VFX team behind “The Jungle Book.”
Read More: 2017 Oscars: Full Winners List
Funny or Die, always with great wit and swift action, wanted to pay “tribute” to a film that got snubbed for a VFX nomination. This year, Funny or Die recognized Kenneth Lonergan’s Best Original Screenplay– and Best Actor–winning “Manchester By the Sea” for its fantastical visual effects. The team was able to craft the world of Manchester so beautifully, it actually looks as if Casey Affleck is there. If you really think about it, the VFX are so good, it’s like there aren’t any at all.
Read More: 2017 Oscars: Full Winners List
Funny or Die, always with great wit and swift action, wanted to pay “tribute” to a film that got snubbed for a VFX nomination. This year, Funny or Die recognized Kenneth Lonergan’s Best Original Screenplay– and Best Actor–winning “Manchester By the Sea” for its fantastical visual effects. The team was able to craft the world of Manchester so beautifully, it actually looks as if Casey Affleck is there. If you really think about it, the VFX are so good, it’s like there aren’t any at all.
- 2/27/2017
- by Kerry Levielle
- Indiewire
Update:
Winners are now indicated. I correctly guessed 11 out of the 24 categories, which is slightly better than last year, when I guessed 10 out of 24.
Previous 02.26.17:
I’ve now seen as many of the nominated films as I will be able to before tonight’s ceremony, and here finally are my educated guesses about who will take home each award — projected winners are Xed at the lefthand side. Keep in mind: those Xes don’t represent whom I think should win Oscars but whom I think will win, based on what little I can grasp about how the Academy thinks. I’ve also noted which nominees I think should win. Kindly note that this is not necessarily my take on who did the best performance/writing/FX/whatever of the year, but whom I think is best among the nominees.
I have not noted a “should win” for the feature documentary category,...
Winners are now indicated. I correctly guessed 11 out of the 24 categories, which is slightly better than last year, when I guessed 10 out of 24.
Previous 02.26.17:
I’ve now seen as many of the nominated films as I will be able to before tonight’s ceremony, and here finally are my educated guesses about who will take home each award — projected winners are Xed at the lefthand side. Keep in mind: those Xes don’t represent whom I think should win Oscars but whom I think will win, based on what little I can grasp about how the Academy thinks. I’ve also noted which nominees I think should win. Kindly note that this is not necessarily my take on who did the best performance/writing/FX/whatever of the year, but whom I think is best among the nominees.
I have not noted a “should win” for the feature documentary category,...
- 2/27/2017
- by MaryAnn Johanson
- www.flickfilosopher.com
Moonlight claimed the top prize at Sunday’s 89th Academy Awards in a dramatic finale.Full list of winnersBEST Motion Picture Of The YEARArrivalFencesHacksaw RidgeHell Or High WaterHidden FiguresLionLa La LandManchester By The SeaMoonlightPERFORMANCE By An Actress In A Leading ROLEIsabelle Huppert, ElleRuth Negga, LovingNatalie Portman, JackieEmma Stone, La La LandMeryl Streep, Florence Foster JenkinsPERFORMANCE By An Actor In A Leading ROLECasey Affleck, Manchester By The SeaDenzel Washington, FencesRyan Gosling, La La LandAndrew Garfield, Hacksaw RidgeViggo Mortensen, Captain FantasticBEST DIRECTORDamien Chazelle, La La LandBarry Jenkins, MoonlightKenneth Lonergan, Manchester By The SeaDenis Villeneuve, ArrivalMel Gibson, Hacksaw RidgeADAPTED SCREENPLAYArrival, Eric HeissererFences, August WilsonHidden Figures, Allison Schroeder and Theodore MelfiLion, Luke DaviesMoonlight, Screenplay by Barry Jenkins; Story by Tarell Alvin McCraneyORIGINAL SCREENPLAYHell Or High Water, Taylor SheridanLa La Land, Damien ChazelleThe Lobster, Yorgos Lanthimos, Efthimis FilippouManchester By The Sea, Kenneth Lonergan20th Century Women, Mike MillsACHIEVEMENT In Music Written For Motion Pictures (Original Song)‘Audition (The Fools Who Dream)’ from...
- 2/26/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Sunday’s 89th Academy Awards are underway at the Dolby Theatre in Hollywood.
Barry Jenkins and Tarell Alvin McCraney took to the stage at the Dolby Theatre in a popular adapted screenplay win for Moonlight as the drama earned its second win of the night.
Moments earlier Kenneth Lonergan accepted the original screenplay award for Manchester By The Sea in the film’s first prize. Ben Affleck and Matt Damon – winners of this award for Good Will Hunting 19 years ago – presented the honour to Lonergan. Damon was a producer on the film.
Meryl Streep used her Oscar show platform to pay subtle homage to the unifying power of film when she joined Javier Bardem on stage at the Dolby Theatre to present the cinematography award.
“Truth is hard to reveal,” Streep said, “but when it happens on the movie screen filmgoers no matter where they are from, feel their hearts soar.”
Sweden’s [link...
Barry Jenkins and Tarell Alvin McCraney took to the stage at the Dolby Theatre in a popular adapted screenplay win for Moonlight as the drama earned its second win of the night.
Moments earlier Kenneth Lonergan accepted the original screenplay award for Manchester By The Sea in the film’s first prize. Ben Affleck and Matt Damon – winners of this award for Good Will Hunting 19 years ago – presented the honour to Lonergan. Damon was a producer on the film.
Meryl Streep used her Oscar show platform to pay subtle homage to the unifying power of film when she joined Javier Bardem on stage at the Dolby Theatre to present the cinematography award.
“Truth is hard to reveal,” Streep said, “but when it happens on the movie screen filmgoers no matter where they are from, feel their hearts soar.”
Sweden’s [link...
- 2/26/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
La La Land wins top prize at the ceremony.
La La Land was the big winner at the 2017 Baftas, winning five prizes, including best film, best director (Damien Chazelle) and best actress (Emma Stone).
Casey Affleck won leading actor for Manchester by the Sea, with Dev Patel (Lion) and Viola Davis (Fences) winning supporting actor and actress.
I, Daniel Blake won outstanding British film.
The 2017 Baftas took place on Feb 12 at the Royal Albert Hall and were once again hosted once again by Stephen Fry.
Read: Eight talking points ahead of the BaftasThe full list of winners
Winners in bold.
Best Filmarrival Dan Levine, Shawn Levy, David Linde, Aaron RyderI, Daniel Blake Rebecca O’BrienLA La Land Fred Berger, Jordan Horowitz, Marc PlattMANCHESTER By The Sea Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, Kevin J. WalshMOONLIGHT Dede Gardner, Jeremy Kleiner, Adele RomanskiLEADING Actressamy Adams ArrivalEMILY Blunt The Girl on the TrainEMMA Stone La La LandMERYL Streep...
La La Land was the big winner at the 2017 Baftas, winning five prizes, including best film, best director (Damien Chazelle) and best actress (Emma Stone).
Casey Affleck won leading actor for Manchester by the Sea, with Dev Patel (Lion) and Viola Davis (Fences) winning supporting actor and actress.
I, Daniel Blake won outstanding British film.
The 2017 Baftas took place on Feb 12 at the Royal Albert Hall and were once again hosted once again by Stephen Fry.
Read: Eight talking points ahead of the BaftasThe full list of winners
Winners in bold.
Best Filmarrival Dan Levine, Shawn Levy, David Linde, Aaron RyderI, Daniel Blake Rebecca O’BrienLA La Land Fred Berger, Jordan Horowitz, Marc PlattMANCHESTER By The Sea Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, Kevin J. WalshMOONLIGHT Dede Gardner, Jeremy Kleiner, Adele RomanskiLEADING Actressamy Adams ArrivalEMILY Blunt The Girl on the TrainEMMA Stone La La LandMERYL Streep...
- 2/12/2017
- ScreenDaily
La La Land, Arrival, Nocturnal Animals and I, Daniel Blake among films competing for Bafta glory.
The 2017 Baftas take place on Feb 12 at the Royal Albert Hall and are hosted once again by Stephen Fry.
The show is broadcast on BBC One on a time delay, but Screen will be following the action as it happens from around 6:45Gmt and updating the winners as they are announced, below.
Read: Eight talking points ahead of the BaftasThe nominations
Winners in bold.
Leading Actorandrew Garfield Hacksaw RidgeCASEY Affleck Manchester by the SeaJAKE Gyllenhaal Nocturnal AnimalsRYAN Gosling La La LandVIGGO Mortensen Captain FantasticCINEMATOGRAPHYARRIVAL Bradford YoungHELL Or High Water Giles NuttgensLA La Land Linus SandgrenLION Greig FraserNOCTURNAL Animals Seamus McGarveyORIGINAL Screenplayhell Or High Water Taylor SheridanI, Daniel Blake Paul LavertyLA La Land Damien ChazelleMANCHESTER By The Sea Kenneth LonerganMOONLIGHT Barry JenkinsOutstanding British contribution to cinemaCURZON Cinemassupporting Actoraaron Taylor-johnson Nocturnal AnimalsDEV Patel LionHUGH Grant Florence Foster JenkinsJEFF Bridges Hell or High...
The 2017 Baftas take place on Feb 12 at the Royal Albert Hall and are hosted once again by Stephen Fry.
The show is broadcast on BBC One on a time delay, but Screen will be following the action as it happens from around 6:45Gmt and updating the winners as they are announced, below.
Read: Eight talking points ahead of the BaftasThe nominations
Winners in bold.
Leading Actorandrew Garfield Hacksaw RidgeCASEY Affleck Manchester by the SeaJAKE Gyllenhaal Nocturnal AnimalsRYAN Gosling La La LandVIGGO Mortensen Captain FantasticCINEMATOGRAPHYARRIVAL Bradford YoungHELL Or High Water Giles NuttgensLA La Land Linus SandgrenLION Greig FraserNOCTURNAL Animals Seamus McGarveyORIGINAL Screenplayhell Or High Water Taylor SheridanI, Daniel Blake Paul LavertyLA La Land Damien ChazelleMANCHESTER By The Sea Kenneth LonerganMOONLIGHT Barry JenkinsOutstanding British contribution to cinemaCURZON Cinemassupporting Actoraaron Taylor-johnson Nocturnal AnimalsDEV Patel LionHUGH Grant Florence Foster JenkinsJEFF Bridges Hell or High...
- 2/12/2017
- ScreenDaily
The nominations for the 89th Academy Awards are in and La La Land leads the pack with 14 nominations! I knew La La Land was going to explode at this event, and it's probably going to end up taking home many of the awards is was nominated for. The 14 nominations ties the record with 1997's Titanic and 1950's All About Eve.
Arrival ended up with eight nominations as did Moonlight, while Hacksaw Ridge, Lion, and Manchester by the Sea all got six. Deadpool ended up with zero nominations. I was hoping to see it somewhere on the list, but it looks like all that hype didn't work.
Every film and actor who was nominated for their work deserves to be on this list, so congratulations to them all! There are so many great films and actors to root for, but there can be only one winner in each category.
Jimmy Kimmel...
Arrival ended up with eight nominations as did Moonlight, while Hacksaw Ridge, Lion, and Manchester by the Sea all got six. Deadpool ended up with zero nominations. I was hoping to see it somewhere on the list, but it looks like all that hype didn't work.
Every film and actor who was nominated for their work deserves to be on this list, so congratulations to them all! There are so many great films and actors to root for, but there can be only one winner in each category.
Jimmy Kimmel...
- 1/24/2017
- by Joey Paur
- GeekTyrant
La La Land scores a record-equalling 14 nominations.
The nominations for the 89th annual Academy Awards have been revealed.
The 2017 Academy Awards will be hosted by Jimmy Kimmel on Sunday, February 26.
Read: Oscars 2017: ‘La La Land’ equals record with 14 nominations
Best Motion Picture of the yearArrivalFencesHacksaw RidgeHell Or High WaterHidden FiguresLionLa La LandManchester By The SeaMoonlightBest DirectorDamien Chazelle, La La LandBarry Jenkins, MoonlightKenneth Lonergan, Manchester By The SeaDenis Villeneuve, ArrivalMel Gibson, Hacksaw RidgePerformance by an actress in a leading roleIsabelle Huppert, ElleRuth Negga, LovingNatalie Portman, JackieEmma Stone, La La LandMeryl Streep, Florence Foster JenkinsPerformance by an actor in a leading roleCasey Affleck, Manchester By The SeaDenzel Washington, FencesRyan Gosling, La La LandAndrew Garfield, Hacksaw RidgeViggo Mortensen, Captain FantasticPerformance by an actress in a supporting roleViola Davis, FencesMichelle Williams, Manchester By the SeaNaomie Harris, MoonlightNicole Kidman, LionOctavia Spencer, Hidden FiguresPerformance by an actor in a supporting roleMahershala Ali, MoonlightJeff Bridges, Hell Or High WaterDev Patel, LionLucas Hedges...
The nominations for the 89th annual Academy Awards have been revealed.
The 2017 Academy Awards will be hosted by Jimmy Kimmel on Sunday, February 26.
Read: Oscars 2017: ‘La La Land’ equals record with 14 nominations
Best Motion Picture of the yearArrivalFencesHacksaw RidgeHell Or High WaterHidden FiguresLionLa La LandManchester By The SeaMoonlightBest DirectorDamien Chazelle, La La LandBarry Jenkins, MoonlightKenneth Lonergan, Manchester By The SeaDenis Villeneuve, ArrivalMel Gibson, Hacksaw RidgePerformance by an actress in a leading roleIsabelle Huppert, ElleRuth Negga, LovingNatalie Portman, JackieEmma Stone, La La LandMeryl Streep, Florence Foster JenkinsPerformance by an actor in a leading roleCasey Affleck, Manchester By The SeaDenzel Washington, FencesRyan Gosling, La La LandAndrew Garfield, Hacksaw RidgeViggo Mortensen, Captain FantasticPerformance by an actress in a supporting roleViola Davis, FencesMichelle Williams, Manchester By the SeaNaomie Harris, MoonlightNicole Kidman, LionOctavia Spencer, Hidden FiguresPerformance by an actor in a supporting roleMahershala Ali, MoonlightJeff Bridges, Hell Or High WaterDev Patel, LionLucas Hedges...
- 1/24/2017
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
The Visual Effects Society announced the nominees for the 15th Annual Ves Awards this morning and “Rogue One: A Star Wars Story” and “Games Of Thrones” dominated the field. The winners will be announced Tuesday, Feb. 7, 2017.
Read More: The 25 Best Films Of 2016
The nominees are as follows:
Outstanding Visual Effects in a Photoreal Feature
“Doctor Strange”
Stephane Ceretti
Susan Pickett
Richard Bluff
Vincent Cirelli
Paul Corbould
“Fantastic Beasts And Where to Find Them”
Christian Manz
Olly Young
Tim Burke
Pablo Grillo
David Watkins
“Miss Peregrine’s Home For Peculiar Children”
Frazer Churchill
Hal Couzens
Andrew Lockley
Jelmer Boskma
Hayley Williams
“Rogue One: A Star Wars Story”
John Knoll
Erin Dusseault
Hal Hickel
Nigel Sumner
Neil Corbould
“The Jungle Book”
Robert Legato
Joyce Cox
Andrew R.
Continue reading ‘Rogue One’ And ‘Game of Thrones’ Dominate The 2017 Ves Awards Nominations at The Playlist.
Read More: The 25 Best Films Of 2016
The nominees are as follows:
Outstanding Visual Effects in a Photoreal Feature
“Doctor Strange”
Stephane Ceretti
Susan Pickett
Richard Bluff
Vincent Cirelli
Paul Corbould
“Fantastic Beasts And Where to Find Them”
Christian Manz
Olly Young
Tim Burke
Pablo Grillo
David Watkins
“Miss Peregrine’s Home For Peculiar Children”
Frazer Churchill
Hal Couzens
Andrew Lockley
Jelmer Boskma
Hayley Williams
“Rogue One: A Star Wars Story”
John Knoll
Erin Dusseault
Hal Hickel
Nigel Sumner
Neil Corbould
“The Jungle Book”
Robert Legato
Joyce Cox
Andrew R.
Continue reading ‘Rogue One’ And ‘Game of Thrones’ Dominate The 2017 Ves Awards Nominations at The Playlist.
- 1/10/2017
- by Gregory Ellwood
- The Playlist
- 1/10/2017
- by Sasha Stone
- AwardsDaily.com
Sophie Turner and Dominic Cooper presented this year’s nominations.Baftas 2017‘La La Land’ leads the way with 11 nominationsBaftas 2017: nominees’ reactionsBaftas 2017: eOne and Lionsgate score record number of nominationsBaftas 2017 analysis: ‘La La Land’ soars, diversity debate simmers
Bafta chair Jane Lush was joined by Sophie Turner and Dominic Cooper to announce the nominations for the Ee British Academy Film Awards in London on January 10 2017.
The awards will take place on Feb 12 at the Royal Albert Hall and will be hosted once again by Stephen Fry. The show will be broadcast on BBC One.
2017 nominationsBEST Filmarrival Dan Levine, Shawn Levy, David Linde, Aaron RyderI, Daniel Blake Rebecca O’BrienLA La Land Fred Berger, Jordan Horowitz, Marc PlattMANCHESTER By The Sea Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, Kevin J. WalshMOONLIGHT Dede Gardner, Jeremy Kleiner, Adele RomanskiOUTSTANDING British Filmamerican Honey Andrea Arnold, Lars Knudsen, Pouya Shahbazian, Jay Van HoyDENIAL Mick Jackson, Gary Foster, [link...
Bafta chair Jane Lush was joined by Sophie Turner and Dominic Cooper to announce the nominations for the Ee British Academy Film Awards in London on January 10 2017.
The awards will take place on Feb 12 at the Royal Albert Hall and will be hosted once again by Stephen Fry. The show will be broadcast on BBC One.
2017 nominationsBEST Filmarrival Dan Levine, Shawn Levy, David Linde, Aaron RyderI, Daniel Blake Rebecca O’BrienLA La Land Fred Berger, Jordan Horowitz, Marc PlattMANCHESTER By The Sea Lauren Beck, Matt Damon, Chris Moore, Kimberly Steward, Kevin J. WalshMOONLIGHT Dede Gardner, Jeremy Kleiner, Adele RomanskiOUTSTANDING British Filmamerican Honey Andrea Arnold, Lars Knudsen, Pouya Shahbazian, Jay Van HoyDENIAL Mick Jackson, Gary Foster, [link...
- 1/10/2017
- ScreenDaily
With “Doctor Strange,” Marvel entered the supernatural realm for the first time, requiring a new set of VFX tricks for Benedict Cumberbatch’s arrogant wizard. They not only found inspiration in “Doctor Strange” comic book artist Steve Ditko’s psychedelic tropes but also Christopher Nolan’s Oscar-winning “Inception” effect of bending and folding buildings.
“It was about creating new worlds and magic, going from simple ring shields to portals opening to other dimensions to entire cities being bent to time going backwards,” VFX production supervisor Stephane Ceretti told IndieWire.
There are three major dimensional worlds — Mirror Dimension, Dark Dimension and Astral Realm — each requiring different looks. And Strange’s introduction was called “Magical Mystery Tour” (with VFX created by Method), a film-within-the-film psychedelic journey, leveraging Ditko’s artwork, for starters, where Strange gets pushed out of his body into worm holes and various kaleidoscopic shapes.
“Charles Wood, the production designer,...
“It was about creating new worlds and magic, going from simple ring shields to portals opening to other dimensions to entire cities being bent to time going backwards,” VFX production supervisor Stephane Ceretti told IndieWire.
There are three major dimensional worlds — Mirror Dimension, Dark Dimension and Astral Realm — each requiring different looks. And Strange’s introduction was called “Magical Mystery Tour” (with VFX created by Method), a film-within-the-film psychedelic journey, leveraging Ditko’s artwork, for starters, where Strange gets pushed out of his body into worm holes and various kaleidoscopic shapes.
“Charles Wood, the production designer,...
- 11/14/2016
- by Bill Desowitz
- Indiewire
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