***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.
Lifetime Achievement Award Kathleen Kennedy
Frank Marshall Awarded for significant and lasting contributions to the art and science of the visual effects industry by way of vision, artistry, invention and innovation.
Georges Méliès Award Phil Tippett Awarded for pioneering significant and lasting contributions to the art and science of the visual effects industry by way of artistry, invention and groundbreaking work.
Visual Effects Society – Visual Effects and Story 411 Production asks honorees at the VES Awards what motivates their creativity when developing effects.
Steven Spielberg Introduces VES Student Award Steven Spielberg thanks Autodesk and the Visual Effects Society for making the VES student award a reality, and congratulates the students for their outstanding work.
Below is the complete list of Winners and Nominees for the 8th Annual VES Awards. A sortable list for ALL years of VES Award winners / nominees can be found on the Previous VES Awards page. All archival viewing materials are cleared for viewing by logged-in VES members behind the VES website firewall. For more information, please review the VES Awards Rules & Procedures, Section 14: Ownership & Clearances here.
Please click on the category to reveal the nominees and winners
This award is to honor the overall achievement of the visual effects within a live action motion picture where the visual effects are a visible, essential, and integral part of the story and play a principal and active role in the motion picture. A rule of thumb for defining whether a motion picture would be considered effects-driven would be to ask if the story could be
told without the active participation of the VFX (including Special Effects). On the whole, the VFX in an effects-driven film would be easily identifiable by the viewing public and professionals working in the VFX field.
Fully animated films are not eligible in this category.
Hellboy 2 – The Golden Army
Michael J. Wassel
Adrian de Wet
The Curious Case of Benjamin Button(Winner)
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.
Synecdoche, New York
Richard R. Hoover
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).
Dr. Who – The Next Doctor – Cyber King
Generation Kill – Episode 2
John Adams – Join Or Die(Winner)
Erik Henry Robert Stromberg
KnightRider – Prometheus
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 Gallactica Season Four – BSG Space Battle(Winner)
Ghost Whisperer – Ghost In The Machine
Arthur J. Codron
Heroes – The Second Coming
Sarah Connor Chronicles – Episode 108
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.
Fringe – Episode 101 – Pilot(Winner)
Jericho – Episode 7 – Patriots & Tyrants
Life – Frozen Solid
Pushing Daisies – The Legend of Merle McQuoddy
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.
Grand Canyon Adventure – River At Risk – Main Title Sequence(Winner)
This award is to honor the overall achievement of the animation within an entire animated motion picture. The animation may be created by traditional cel animation, computer animation, and/or stop motion, as long as it meets the definitions of Animation and Animated Project as stated in the Appendix of this Rules & Procedures. The vocal performance of characters may be taken into consideration along with the visual qualities in evaluating the overall effectiveness of the animation.Title sequences are not eligible in this category.
Bolt – The Chase
Kung Fu Panda – Everybody was Kung Fu Fighting: The Animation of Kung Fu Panda
This award is to honor the overall achievement in a single animated character in a live action motion picture. The character may have been created by any technique or combination of techniques, including animatronics, as long as it meets the definition of Animation as stated in the Glossary of these Rules & Procedures.
Title sequences are not eligible in this category.
Hellboy II The Golden Army – Elemental Sequence
The Curious Case of Benjamin Button – Benjamin Button(Winner)
Tom St. Amand
The Spiderwick Chronicles – Hogsqueal
This award is to honor the overall achievement in a single animated character in an animated motion picture. The character may have been created by any technique or combination of techniques, including animatronics, as long as it meets the definition of Animation as stated in the Glossary.
Title sequences are not eligible in this category.
BOLT – Various Sequences – Bolt
Renato Dos Anjos
Wayne Unten Jr.
BOLT – Various Sequences – Rhino
Kung Fu Panda – This Kung Fu Stuff is Hard Work- The Animation of Po
Wall-E – Wall-E and Eve Truck Sequence(Winner)
This award is to honor the overall achievement of a single created environment in a live action broadcast program that best creates an illusion of setting for the story being told. Created environments are defined as either completely artificial environments, or the enhancement of an existing practical set location through the addition of elements not present during photography. The environment may occur more than once in the project and under different conditions, but must be the same environment, created by the exact same team.
This category judges not only the techniques for creating the environment, but also their integration with any practical plate photography. Before & Afters must show the integration of the multiple elements used to create the environment.
Stereo extractions of environments that do not contain any other significant enhancements, or fully animated productions, are not eligible in this category. For practical purposes, the environment should be a single setting within the story, and not, for example, all locations within an entire city.
Adams – Join or Die – Episode 1 – The Boston Harbor(Winner)
AUDI – Living Room – Living Room
Heroes – Tokyo
Wrigley’s – Fruit Shredder
This award is to honor the overall achievement of the effects animation within an entire animated motion picture. Effects animation constitutes any dynamic elements that are not characters, set pieces, or what would be considered a matte painting or background. These effects may include water, splashes, smoke, fire, other naturally occurring elements including dust and other particulates, as well as those animated using procedural techniques or dynamic simulations. The effects may or may not be photorealistic and they may interact with, or be part of the characters, set elements and matte paintings with which they coexist.
BOLT – Various Sequences
Madagascar Escape 2 Africa – Effects in Africa
WALL-E – Effects in WALL-E(Winner)
Keith Daniel Klohn
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.
Iron Man – Head Under Display – HUD Compositing
Quantum Of Solace – Sienna Chase and Fight Sequence
The Chronicles of Narnia, Prince Caspian
The Curious Case of Benjamin Button – Benjamin Comes Together(Winner)
This award is to honor outstanding achievement in compositing multiple elements into a final visual effect shot or group of shots in a single live action episode of a broadcast program or commercial. This category is for a body of work created for a single broadcast episode by an individual artist or team of artists. Multiple sequences may be entered from the same episode or series provided the compositing teams are 100% different and the shots being submitted are completely different.
Animated programs or main title sequences are not eligible in this category.
Coke – It’s Mine – Balloons