***Please join us for a special edition of VFX Pros: Home Edition this Thursday, July 9th at 5pm PST -- Learn How to Spot and Shift Gender, Race & LGBTQI Bias
We naturally assign people into various social categories by traits, such as age, gender, race, and role. And some of our implicit or unconscious thinking includes stereotypes, which are traits that we associate with a category - and that can lead to discrimination if we are not careful.
How is Hollywood doing? What does that matter? And how do we make the unconscious conscious and change it?
Filmmaker and Nancy Malone Director of Inclusion Initiatives at the American Film Institute Tessa Blake will provide an incisive presentation on how to spot bias and how to change it, providing tangible ways that organizations, people and productions can make small changes that will make a big difference toward greater equity.
Tessa Blake is an award-winning filmmaker and television director (VERONICA MARS, RIVERDALE, BLACKLIST, A MILLION LITTLE THINGS). An AFI Directing Workshop for Women alumna, Tessa’s films have premiered at Cannes and SXSW, have won awards at Nantucket Film Festival and the Human Rights Watch Film Festival, have been honored by the Academy, and released theatrically. As Director of the AFI Directing Workshop for Women, Tessa innovated dynamic programs to advance equality in the industry. Now serving as the Nancy Malone Director of Inclusion Initiatives at AFI, Tessa continues that work, finding meaningful opportunities for diverse alumni, and working with industry partners toward sustained change.
The Summer issue of #VFXVoice is now live at VFXvoice.com!
In this issue, we go deep on the explosion of TV/streaming content, with a look at the VFX bidding process and profiles on HBO's Westworld and The Plot Against America, CBS All Access' Star Trek: Picard and Netflix' Lost in Space, Season 2. Heading to the big screen, we take a ridealong to Motherless Brooklyn's Penn Station. We get animated, delving into Ghost In The Shell's anime revival and Amazon.com's HYBRID. Catch our special profiles with
Magnopus Co-Founder and CEO Ben Grossmann and VFX Supervisor Jake Morrison, known for his stellar work in the Marvel Studios Cinematic Universe. In our tech & tools section, we look at new approaches in TV VFX, trends in gaming, VR/AR and the 5G revolution. And we continue to shine a light on our regional sections, with our story on Visual Effects Society - French Section in the City of Lights. Read on, VFXers!!
Have plans tomorrow afternoon?! Get ready for our next episode of VFX Pros: Home Edition on THURSDAY, JUNE 25TH at 3:30 PM (Pacific) -- a dynamic conversation on Retooling Your Career with a panel of seasoned recruitment pros.
What are the best tips on refreshing your image? How can you leverage your network to secure that next great position, amp up your marketable education and target your search? How can you get a leg up to move your CV and reel to the top of the pile? This session will give you hands-on advice and insider perspective from the studio and independent recruiting mindset to help you succeed on your career journey.
Our stellar panel includes -
-VES Board member and VP of Animation Recruitment at Nickelodeon Camille Eden
-Industrial Light & Magic Recruitment Consultant Lara Hopkins, whose experience spans four continents
-VES Board member and recruiter for BLT Recruiting, Inc. Susan Thurmond O’Neal
Check out Part 3 in our special #VFXVoice feature on how visual effects studios have taken on the challenge of COVID-19 and implemented remote working -- next up with Industrial Light & Magic, MR X and Cinesite.
The sold-out event attracted more than a thousand visual effects and animation artists, dozens of nominees and members of the film, television, commercial and video game industries. During the evening, filmmaker Steven Spielberg received the VES Lifetime Achievement Award in recognition of his contribution to the art and science of visual effects.
“The work we celebrated tonight is a testament to the crucial role the talent, knowledge and experience visual effects artists play in the storytelling process. Because visual effects “geeks’ are at the cutting edge of technology, they are also at the cutting edge of entertainment as well,” says Eric Roth, VES Executive Director.
Lifetime Achievement Award Steven Spielberg Awarded for significant and lasting contributions to the art and science of the visual effects industry by way of vision, artistry, invention and innovation.
Below is the complete list of Winners and Nominees for the 6th Annual VES Awards. A sortable list for ALL years of VES Award winners / nominees can be found on the Previous VES Awards page. All archival viewing materials are cleared for viewing by logged-in VES members behind the VES website firewall. For more information, please review the VES Awards Rules & Procedures, Section 14: Ownership & Clearances here.
Please click on the category to reveal the nominees and winners
This award is to honor the overall achievement of the visual effects within a live action motion picture where the visual effects are a visible, essential, and integral part of the story and play a principal and active role in the motion picture. A rule of thumb for defining whether a motion picture would be considered effects-driven would be to ask if the story could be told without the active participation of the VFX (including Special Effects). On the whole, the VFX in an effects-driven film would be easily identifiable by the viewing public and professionals working in the VFX field. Fully animated films are not eligible in this category.
I Am Legend
Pirates of the Caribbean: At World´s End
The Golden Compass
This award is to honor the overall achievement of the visual effects within a live action motion picture where the visual effects play a supporting, minor or background role in the telling of the story. Supporting visual effects, when taken as a whole, may help create the setting, environment, or mood of an entire film, but are generally intended to be subtle or invisible to the lay viewer. They do not consist of a significant number of CG characters, science fiction or fantasy elements, and other highly visible effects that one would expect to see in a visual effects-driven or “tent pole” film.
Effects-driven films may not enter their “invisible” effects in this category, and animated films are not eligible.
Blades of Glory
The Kite Runner
We Own The Night
This award is to honor the overall achievement of the visual effects within a single episode of an effects-driven miniseries, made-for-television movie or special that was broadcast and delivered via over-the-air, pay/basic cable, or satellite transmissions to homes. A rule of thumb for defining whether a program would be considered effects-driven would be to ask if the story could be told without the active participation of the VFX (including Special Effects).
Battlestar Gallactica: Razor(Winner)
Ben 10: Race Against Time – VFX Compilation
Doctor Who Christmas Special 2007- Voyage of the Damned
Race To Mars: Getting To Mars
Tin Man: Night One
This award is to honor the achievement of the visual effects within a single episode of a series where the visual effects are a visible, essential, and integral part of the story and play a principal and active role in the show. A rule of thumb for defining whether a series would be considered effects-driven would be to ask if the story could be told without the active participation of the VFX (including Special Effects)
Battlestar Galactica – Episode 316 – Maelstrom
Michael J. Davidson
Doctor Who – The Last of the Time Lords – Series 3 – Episode 13
Fight For Life – Episode 4(Winner)
HEROES – Episode 208 – Four Months Ago
This award is to honor the overall achievement of the visual effects that play a supporting or background role within a single episode of a broadcast series, miniseries, made-for-television movie, or special wherein the visual effects are not necessarily essential to the telling of the story in the way that the effects of an effects-driven broadcast program are. Supporting visual effects, when taken as a whole, may help create the setting, environment, or mood of an entire program, and are generally intended to be invisible to the lay viewer. They do not consist of a significant number of CG characters, science fiction or fantasy elements, and other highly visible effects that one would expect to see in a visual effectsdriven broadcast program.
Drive – Episode 101 – The Starting Line – Driving Sequence
Raoul Yorke Bolognini
Grey´s Anatomy – Walk on Water – Ferryboat Crash
Marie Antoinette – Miniseries
Pushing Daisies – Pilot Episode
Toni Pace Carstensen
Rome 2 – Episode 6 – Philipi(Winner)
The award is to honor the overall achievement of the visual effects within an entire Special Venue project. Special Venues are defined as installations specifically set up to project large-format films (e.g. IMAX or OMNIMAX theaters), theme park theaters that may include a motion-based ride, museums, World Fairs, and similar venues.
To be eligible, a Special Venue project must have been exhibited publicly:
In a commercial venue for a paid admission, which may include the general admission to a theme park or special venue theater;
For a minimum period of one week on a regular daily schedule; and
Premiered in the current awards year in a Special Venue theater as defined above.
The following are not eligible in this category, regardless of the material’s original capture format:
Special purpose events such as trade shows and conventions;
Video material generally referred to as “pre-show” material;
Repurposed films, i.e. projects initially intended for the theatrical market but which have been blown up for exhibition in large-format Special Venue theaters;
Projects that were created as conventional 2D theatrical presentations but have been repurposed to stereographic 3D;
Any 2D or stereographic 3D feature motion picture that either premiered first, or simultaneously, in any regular movie theater or in any broadcast medium;
Any project that runs for an equal or greater amount of time in any regular movie theater or in any broadcast medium; and
Movies intended for simultaneous distribution in both Special Venue and normal movie theaters. The intent of this category is to honor those projects made specifically for the Special Venue market.
Dinosaurs – Giants of Patagonia – 38_011
Monsters Inc. Laugh Floor – Show Edit
This award is to honor the overall achievement of a single created environment in a live action motion picture that best creates an illusion of setting for the story being told. Created environments are defined as either completely artificial environments, or the enhancement of an existing practical set or location through the addition of elements not present during photography. The environment may occur more than once in the project and under different conditions, but must be the same environment, created by the exact same team.
This category judges not only the techniques for creating the environment, but also their integration with any practical plate photography. Before & Afters must show the integration of the multiple elements used to create the environment.
Stereo extractions of environments that do not contain any other significant enhancements or fully animated productions are not eligible in this category. For practical purposes, the environment should be a single setting within the story, and not, for example, all locations within an entire city.
Harry Potter and the Order of the Phoenix – The Hall Of Prophecy
I Am Legend – Times Square Hunt
Pirates of the Caribbean – At World´s End – The Maelstrom(Winner)
Frank Losasso Petterson
Rush Hour 3
Sweeney Todd – The Old Bailey
Zodiac – Washington and Cherry
This award is to honor outstanding achievement in compositing multiple elements into a final visual effect shot or group of shots in a live action feature motion picture. This category is for a body of work created for a single motion picture by an individual artist or team of artists.
Multiple entries from the same project are eligible provided the compositing teams are 100% different and the shots being submitted are completelydifferent. Title sequences are eligible as long as:
They are submitted in textless form in order not to conflict with any other awards rule; and
They are part of the storytelling and are not a specially designed separate animated title sequence in a live action project.
Animated films are not eligible in this category.
Harry Potter and the Order Of The Phoenix – Hall of Prophecy and Comp Shots
I Am Legend – Seaport Evacuation
Pirates of the Caribbean: At World´s End
Pirates of the Caribbean: At World´s End – Death Of Beckett
The Water Horse: Legend of the Deep – Crusoe