Percy Jackson and The Olympians is the story of the 12-year-old demigod Percy Jackson and his quest across America to prevent a war between the Olympian Gods. When the story begins, Percy believes he is just an ordinary kid, although, admittedly, an ordinary kid who sees unusual things sometimes.
But that all changes at the end of episode one of the Disney+ series. All at once, Percy Jackson discovers that everything he suspected, and more, is true. That discovery takes the form of an angry nine-foot-tall minotaur.
“It coincides with Walker [Scobell, who plays Percy] understanding that the things he’s seen in his young life that he always attributed to mental illness are not that,” says Erik Henry, Senior Visual Effects Supervisor on the show. “It’s a device to catapult you into the world you’re about to inhabit.”
It is a game-changing moment for Percy, for the audience, and for the show itself.
But that all changes at the end of episode one of the Disney+ series. All at once, Percy Jackson discovers that everything he suspected, and more, is true. That discovery takes the form of an angry nine-foot-tall minotaur.
“It coincides with Walker [Scobell, who plays Percy] understanding that the things he’s seen in his young life that he always attributed to mental illness are not that,” says Erik Henry, Senior Visual Effects Supervisor on the show. “It’s a device to catapult you into the world you’re about to inhabit.”
It is a game-changing moment for Percy, for the audience, and for the show itself.
- 12/5/2023
- by Alec Bojalad
- Den of Geek
He wasn’t on the speakers’ list, but Percy Jackson & The Olympians creator Rick Riordan staged a surprise last-minute walk-on Sunday at New York Comic Con with his wife, Becky Riordan.
The couple closed out a jam-packed panel for the upcoming Disney+ adaptation of author Riordan’s beloved, modern-day-mythological fantasy novels about a boy who learns he is the half-human son of the sea god Poseidon.
“Let’s go to Camp Half-Blood and play capture the flag,” a smiling Riordan said from the stage, introducing the last of three exclusive sneak-peak clips from the series, which premieres December 20.
A capacity Comic Con audience — many already in orange and black Camp Half-Blood t-shirts handed out at the door — cheered inside the mammoth exhibition hall at Manhattan’s Javits Center. Then came a five-minute reel showing Percy, played by Walker Scobell, in a crucial early test of his fighting skills at the sleep-away camp for young demigods-in-training.
The couple closed out a jam-packed panel for the upcoming Disney+ adaptation of author Riordan’s beloved, modern-day-mythological fantasy novels about a boy who learns he is the half-human son of the sea god Poseidon.
“Let’s go to Camp Half-Blood and play capture the flag,” a smiling Riordan said from the stage, introducing the last of three exclusive sneak-peak clips from the series, which premieres December 20.
A capacity Comic Con audience — many already in orange and black Camp Half-Blood t-shirts handed out at the door — cheered inside the mammoth exhibition hall at Manhattan’s Javits Center. Then came a five-minute reel showing Percy, played by Walker Scobell, in a crucial early test of his fighting skills at the sleep-away camp for young demigods-in-training.
- 10/15/2023
- by Sean Piccoli
- Deadline Film + TV
James Cameron’s “Avatar: The Way of Water” leads the feature competition at the 21st Annual Ves Awards.
The film earned a total of 14 Ves Awards nominations, setting a new record for record nominations for a feature film. The original “Avatar” was the previous record holder when it received 11 nominations at the 8th Annual Ves Awards held in 2010.
“Guillermo Del Toro’s Pinocchio” received six nominations in the animation category making it the top animated contender.
Ves members selected nominees in 25 categories at 27 in-person and virtual nomination events conducted worldwide. The winners will be announced on Feb. 15 at the Beverly Hilton Hotel in Los Angeles.
This year marks the presentation of the first Ves Emerging Technology Award, which celebrates the creators of the technology behind the visuals and honors the inventors of a novel and uniquely innovative tool, device, software or methodology of outstanding value to the art and science of visual effects,...
The film earned a total of 14 Ves Awards nominations, setting a new record for record nominations for a feature film. The original “Avatar” was the previous record holder when it received 11 nominations at the 8th Annual Ves Awards held in 2010.
“Guillermo Del Toro’s Pinocchio” received six nominations in the animation category making it the top animated contender.
Ves members selected nominees in 25 categories at 27 in-person and virtual nomination events conducted worldwide. The winners will be announced on Feb. 15 at the Beverly Hilton Hotel in Los Angeles.
This year marks the presentation of the first Ves Emerging Technology Award, which celebrates the creators of the technology behind the visuals and honors the inventors of a novel and uniquely innovative tool, device, software or methodology of outstanding value to the art and science of visual effects,...
- 1/17/2023
- by Jazz Tangcay
- Variety Film + TV
In the Apple TV+ series “Invasion,” mankind is faced with an alien attack. But instead of an invasion, the show looks at the psychological aspect and follows five characters around the world.
Visual effects were still needed even if the series focused on the trauma aspect. VFX supervisor Erik Henry says the team delivered more than 1,440 shots for the first season, which included an astro- naut sequence, creating an alien race and their ships. But due to Covid, one sequence almost didn’t happen — until VFX stepped in.
In one episode, Hinata, played by Rinko Kikuchi, wakes up in her spacesuit surrounded by what appears to be deep space. She hears something indistinguishable, but in space, how is that possible? She struggles to see where the sound is coming from and discovers a far-off white speck, swimming toward it as if in a dream. Henry says Covid-19 restrictions meant Kikuchi...
Visual effects were still needed even if the series focused on the trauma aspect. VFX supervisor Erik Henry says the team delivered more than 1,440 shots for the first season, which included an astro- naut sequence, creating an alien race and their ships. But due to Covid, one sequence almost didn’t happen — until VFX stepped in.
In one episode, Hinata, played by Rinko Kikuchi, wakes up in her spacesuit surrounded by what appears to be deep space. She hears something indistinguishable, but in space, how is that possible? She struggles to see where the sound is coming from and discovers a far-off white speck, swimming toward it as if in a dream. Henry says Covid-19 restrictions meant Kikuchi...
- 6/6/2022
- by Jazz Tangcay
- Variety Film + TV
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
On Watchmen, VFX supervisor Erik Henry was presented with a project of incredible ambition and scale, finding in the series the opportunity to bring myriad worlds and time periods to life, while offering a fresh take on an iconic comic book world.
Based on a DC Comics series created by Alan Moore and Dave Gibbons, Damon Lindelof’s drama takes place in an alternate version of the 20th century, in which vigilantes—once celebrated as heroes—have been outlawed, due to their violent methods of extracting justice. In this version of America, episodes of racial violence erupt in Tulsa, Oklahoma, as yellow-masked police officers face off with a white supremacist group known as the Seventh Kavalry.
A two-time Emmy winner, Henry found Watchmen to be quite the page-turner, as well as a project that allowed for ample experimentation. “As a visual effects supervisor, you get these moments where it’s like,...
Based on a DC Comics series created by Alan Moore and Dave Gibbons, Damon Lindelof’s drama takes place in an alternate version of the 20th century, in which vigilantes—once celebrated as heroes—have been outlawed, due to their violent methods of extracting justice. In this version of America, episodes of racial violence erupt in Tulsa, Oklahoma, as yellow-masked police officers face off with a white supremacist group known as the Seventh Kavalry.
A two-time Emmy winner, Henry found Watchmen to be quite the page-turner, as well as a project that allowed for ample experimentation. “As a visual effects supervisor, you get these moments where it’s like,...
- 8/26/2020
- by Matt Grobar
- Deadline Film + TV
Thanks to “Game of Thrones,” there’s no longer a gap in visual effects quality between high-end features and episodic TV, despite disparities in budgets and schedules. The HBO landmark fantasy-drama set the standard early in its run, winning seven Emmys for bone-crunching battles and medieval world building, and the industry stepped up and has continued raising the bar ever since.
It’s an efficient, global workforce that keeps improving and adjusting, especially during the lockdown, when it was forced to work even more remotely in post-production. Just look at the stunning work among this season’s Emmy contenders: “The Mandalorian,” “Watchmen,” “Westworld,” “Stranger Things,” “The Dark Crystal: Age of Resistance,” “Altered Carbon,” “Lost in Space,” and “Cosmos: Possible Worlds.”
“One of the keys now in our industry is to keep pushing the limits of what we are doing,” said Martin Pelletier, VFX supervisor for RodeoFX, who oversaw the complex...
It’s an efficient, global workforce that keeps improving and adjusting, especially during the lockdown, when it was forced to work even more remotely in post-production. Just look at the stunning work among this season’s Emmy contenders: “The Mandalorian,” “Watchmen,” “Westworld,” “Stranger Things,” “The Dark Crystal: Age of Resistance,” “Altered Carbon,” “Lost in Space,” and “Cosmos: Possible Worlds.”
“One of the keys now in our industry is to keep pushing the limits of what we are doing,” said Martin Pelletier, VFX supervisor for RodeoFX, who oversaw the complex...
- 7/13/2020
- by Bill Desowitz
- Indiewire
In re-imagining HBO’s “Watchmen” series as a present-day sequel to the graphic novel about a race war tied to the Tulsa massacre, two of the biggest VFX challenges were how to create the reflective mask for Looking Glass (played by Tim Blake Nelson) along with the crucial look for the glowing blue Doctor Manhattan (Yahya Abdul-Mateen II). In fact, many will be surprised to learn that the mask for the Tulsa detective was all-cg, while the quantum-based superhero was a creative hybrid of different techniques.
But it took a lot of brainstorming and experimentation to please showrunner Damon Lindelof, who conceived of the mirror mask and wanted a less fantastical-looking Doctor Manhattan than his onscreen predecessor (Billy Crudup in Zack Snyder’s 2009 “Watchmen” feature).
“Damon came in and said, ‘I want this guy’s mask to be a mirror,’ and we all wondered if there was some fabric,” said...
But it took a lot of brainstorming and experimentation to please showrunner Damon Lindelof, who conceived of the mirror mask and wanted a less fantastical-looking Doctor Manhattan than his onscreen predecessor (Billy Crudup in Zack Snyder’s 2009 “Watchmen” feature).
“Damon came in and said, ‘I want this guy’s mask to be a mirror,’ and we all wondered if there was some fabric,” said...
- 7/3/2020
- by Bill Desowitz
- Indiewire
Last night, the 17th annual Visual Effects Society Awards were held. The gala represented a moment to honor some of the types of films that don’t usually get cited during the precursor season. Mostly, it’s an opportunity to see which movie or movies are the frontrunners in the Best Visual Effects category at the Oscars. Even beyond the Academy Awards, it’s just a perfect time to honor the craftsmen and craftswomen who do the sort of work that’s too often overlooked. So, even though the Academy voters are looking at this for one specific reason, there’s multiple reasons to take interest in the Ves results from yesterday. Below you can see all of the Ves victors, though leading the way was Avengers: Infinity War and Spider-Man: Into the Spider-Verse, with four wins each. The former actually took the top honor of the night, which is...
- 2/6/2019
- by Joey Magidson
- Hollywoodnews.com
Ves Awards 2019: ‘Avengers: Infinity War’ and ‘Spider-Man: Into the Spider-Verse’ Win Top VFX Prizes
Marvel’s “Avengers: Infinity War” was the big VFX winner at the 17th annual Ves Awards Tuesday at the Beverly Hilton, grabbing four prizes, including photoreal feature. And Sony’s animated Oscar favorite, “Spider-Man: Into the Spider-Verse,” also scored four awards, including animated feature.
While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.
“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.
On the TV side,...
While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.
“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.
On the TV side,...
- 2/6/2019
- by Bill Desowitz
- Indiewire
It was a great night for Marvel at the 17th annual Visual Effects Society Awards on Tuesday night. The comic book publisher’s wares led the film fields, with “Avengers: Infinity War” and “Spider-Man: Into the Spider-Verse” nabbing four wins apiece.
“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”
“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.
On the television side, Netflix’s “Lost in Space” dominated with four wins as well.
“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...
“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”
“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.
On the television side, Netflix’s “Lost in Space” dominated with four wins as well.
“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...
- 2/6/2019
- by Kristopher Tapley
- Variety Film + TV
The 17th annual Ves Awards are being handed out tonight at the Beverly Hilton in Los Angeles, and Deadline will be live-blogging the affair and updating the winners list live. Patton Oswalt is hosting the Visual Effects Society’s gala, which celebrates the best VFX artistry and innovation in film, animation, TV, commercials and video games across 24 categories.
The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.
The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.
- 2/6/2019
- by Erik Pedersen
- Deadline Film + TV
The Visual Effects Society announced nominees for the organization’s 17th annual awards on Tuesday.
Leading the way in the film and TV fields, respectively, were Marvel’s “Avengers: Infinity War” and Netflix’s “Lost in Space.” Each picked up six nominations. Pixar’s “Incredibles 2” received the most nominations among animated feature contenders with five.
“Ready Player One” also landed five nominations, while “Jurassic World: Fallen Kingdom,” “Solo: A Star Wars Story,” and “Welcome to Marwen” each earned three. “Christopher Robin” and “First Man” picked up a pair apiece, while “Ant Man and the Wasp” landed one. Those films joined “Avengers: Infinity War” on the Academy’s list of 10 semifinalists for the category, each of which displayed their wares at the organization’s annual Visual Effects Bake-Off on Jan. 5.
Notably, Marvel’s “Black Panther” and Disney’s “Mary Poppins Returns” — the final two films on the Academy’s bake-off...
Leading the way in the film and TV fields, respectively, were Marvel’s “Avengers: Infinity War” and Netflix’s “Lost in Space.” Each picked up six nominations. Pixar’s “Incredibles 2” received the most nominations among animated feature contenders with five.
“Ready Player One” also landed five nominations, while “Jurassic World: Fallen Kingdom,” “Solo: A Star Wars Story,” and “Welcome to Marwen” each earned three. “Christopher Robin” and “First Man” picked up a pair apiece, while “Ant Man and the Wasp” landed one. Those films joined “Avengers: Infinity War” on the Academy’s list of 10 semifinalists for the category, each of which displayed their wares at the organization’s annual Visual Effects Bake-Off on Jan. 5.
Notably, Marvel’s “Black Panther” and Disney’s “Mary Poppins Returns” — the final two films on the Academy’s bake-off...
- 1/15/2019
- by Kristopher Tapley
- Variety Film + TV
The Visual Effects Society has revealed nominations for the 17th annual Ves Awards, which will recognize the best VFX artistry and innovation in film, animation, TV, commercials and video games.
Disney/Marvel’s Avengers: Infinity Wars and Netflix’s Lost In Space lead the film and TV categories this year with six nominations, respectively. Disney/Pixar’s Incredibles 2 tops the animation field with five noms.
Winners will be announced during a ceremony February 5 at the Beverly Hilton hosted by Patton Oswalt. Also at the gala, the annual Ves Visionary Award will be presented to Westworld‘s Jonathan Nolan, while the Ves Award for Creative Excellence will be presented to Game of Thrones masterminds David Benioff and D.B. Weiss.
Here are the nominees announced Tuesday in 24 categories:
Outstanding Visual Effects in a Photoreal Feature
Avengers: Infinity War
Daniel DeLeeuw
Jen Underdahl
Kelly Port
Matt Aitken
Daniel Sudick
Christopher Robin
Chris Lawrence...
Disney/Marvel’s Avengers: Infinity Wars and Netflix’s Lost In Space lead the film and TV categories this year with six nominations, respectively. Disney/Pixar’s Incredibles 2 tops the animation field with five noms.
Winners will be announced during a ceremony February 5 at the Beverly Hilton hosted by Patton Oswalt. Also at the gala, the annual Ves Visionary Award will be presented to Westworld‘s Jonathan Nolan, while the Ves Award for Creative Excellence will be presented to Game of Thrones masterminds David Benioff and D.B. Weiss.
Here are the nominees announced Tuesday in 24 categories:
Outstanding Visual Effects in a Photoreal Feature
Avengers: Infinity War
Daniel DeLeeuw
Jen Underdahl
Kelly Port
Matt Aitken
Daniel Sudick
Christopher Robin
Chris Lawrence...
- 1/15/2019
- by Patrick Hipes
- Deadline Film + TV
While “Avengers: Infinity War” topped the 17th annual Ves Awards (to be held February 5th at the Beverly Hilton Hotel) with six nominations, “Black Panther,” Marvel’s other Oscar frontrunner, was shut out. And Damien Chazelle’s acclaimed “First Man,” another frontrunner, was included in the supporting category as a result of its invisible VFX. Disney’s “Mary Poppins Returns,” meanwhile, was also snubbed.
However, joining “Infinity War” in the top VFX category were a surprising list: “Ready Player One” (with five nominations), “Solo: A Star Wars Story,” “Christopher Robin” and “Welcome to Marwen.” Joining “First Man” for supporting VFX were “12 Strong,” Bird Box,” “Bohemian Rhapsody,” and “Outlaw King”.
In animation, Pixar’s “Incredibles 2” was the big winner with five nominations, followed by Sony’s “Spider-Man: Into the Spider-Verse” and Disney’s “Ralph Breaks the Internet” with four. They were joined by Illumination’s “The Grinch” and Wes Anderson’s “Isle of Dogs.
However, joining “Infinity War” in the top VFX category were a surprising list: “Ready Player One” (with five nominations), “Solo: A Star Wars Story,” “Christopher Robin” and “Welcome to Marwen.” Joining “First Man” for supporting VFX were “12 Strong,” Bird Box,” “Bohemian Rhapsody,” and “Outlaw King”.
In animation, Pixar’s “Incredibles 2” was the big winner with five nominations, followed by Sony’s “Spider-Man: Into the Spider-Verse” and Disney’s “Ralph Breaks the Internet” with four. They were joined by Illumination’s “The Grinch” and Wes Anderson’s “Isle of Dogs.
- 1/15/2019
- by Bill Desowitz
- Indiewire
The Television Academy’s board of governors has voted vice chairman Frank Scherma to become its new chairman and CEO, a post he will take over from the outgoing Hayma Washington. The election was held Thursday night at a board meeting at which the TV Academy’s annual officer elections were also held.
Scherma, the president of RadicalMedia whose producer credits include music documentaries, Errol Morris’ The Fog of War, Broadway’s Shrek the Musical and IFC TV’s Stan Against Evil, was the lone candidate to step forward by the deadline when Washington said in October he would not seek a second term. Washington was the first African-American leader in the organization’s 70-year history.
The incoming chairman will serve a two-year term beginning January 1, 2019. Additional incoming officers elected Thursday include Steve Venezia, Vice Chair; Tim Gibbons, Second Vice Chair; Sharon Lieblein, Secretary; Allison Binder, Treasurer; and Mitch Waldow,...
Scherma, the president of RadicalMedia whose producer credits include music documentaries, Errol Morris’ The Fog of War, Broadway’s Shrek the Musical and IFC TV’s Stan Against Evil, was the lone candidate to step forward by the deadline when Washington said in October he would not seek a second term. Washington was the first African-American leader in the organization’s 70-year history.
The incoming chairman will serve a two-year term beginning January 1, 2019. Additional incoming officers elected Thursday include Steve Venezia, Vice Chair; Tim Gibbons, Second Vice Chair; Sharon Lieblein, Secretary; Allison Binder, Treasurer; and Mitch Waldow,...
- 11/16/2018
- by Patrick Hipes
- Deadline Film + TV
“War for the Planet of the Apes” from Weta Digital could well be on its way to the elusive VFX Oscar after winning four Ves trophies Tuesday night at the Beverly Hilton (including the top feature prize). Christopher Nolan’s “Dunkirk” won for supporting VFX, Pixar’s “Coco” earned four awards (including VFX for animation), and “Game of Thrones” took home five awards (including VFX for TV).
The “Apes” finale, directed by Matt Reeves, benefited from a Shakespearean performance from Andy Serkis as Caesar, with Weta working its wizardry in much harsher conditions for the performance-captured animation. Not surprisingly, “Apes” additionally won for Caesar, the effects simulations for the thrilling avalanche, and compositing. However, although both “Rise” and “Dawn” captured Ves prizes, neither won the Oscar, so “War” is not a certainty in its race with “Blade Runner 2049.”
Speaking of which, Denis Villeneuve’s “Blade Runner” sequel won two...
The “Apes” finale, directed by Matt Reeves, benefited from a Shakespearean performance from Andy Serkis as Caesar, with Weta working its wizardry in much harsher conditions for the performance-captured animation. Not surprisingly, “Apes” additionally won for Caesar, the effects simulations for the thrilling avalanche, and compositing. However, although both “Rise” and “Dawn” captured Ves prizes, neither won the Oscar, so “War” is not a certainty in its race with “Blade Runner 2049.”
Speaking of which, Denis Villeneuve’s “Blade Runner” sequel won two...
- 2/14/2018
- by Bill Desowitz
- Indiewire
Announcing the nominees for their 16th annual Ves Awards, the Visual Effects Society brought welcome news for Denis Villeneuve’s “Blade Runner 2049” and Matt Reeves’s “War for the Planet of the Apes,” each up for seven statuettes. “Despicable Me 3” is the most-nominated animated film of the year (5), while the most-honored title overall is “Game of Thrones” (11).
The 21-year-old organization consists of 3,400-plus members in 35 nations. Each year, it recognizes visual effects innovators in film, animation, television, commercials, and video games.
In 2017, Disney’s “The Jungle Book” remake claimed five Ves trophies, more than any other feature (nominations leader “Rogue One: A Star Wars Story” was shutout). It’s director-producer, Jon Favreau, will receive this year’s Lifetime Achievement Award; Weta Digital director and four-time Oscar winner Joe Letteri will accept the Georges Méliès Award, named for the late French illusionist and filmmaker. Letteri is also a nominee...
The 21-year-old organization consists of 3,400-plus members in 35 nations. Each year, it recognizes visual effects innovators in film, animation, television, commercials, and video games.
In 2017, Disney’s “The Jungle Book” remake claimed five Ves trophies, more than any other feature (nominations leader “Rogue One: A Star Wars Story” was shutout). It’s director-producer, Jon Favreau, will receive this year’s Lifetime Achievement Award; Weta Digital director and four-time Oscar winner Joe Letteri will accept the Georges Méliès Award, named for the late French illusionist and filmmaker. Letteri is also a nominee...
- 1/16/2018
- by Jenna Marotta
- Indiewire
Last night, the Visual Effects Society handed out their awards at their annual gathering. It was mainly a good night for The Jungle Book, which took the top prize, known as Outstanding Visual Effects in a Photoreal Feature. It beat back Doctor Strange, Fantastic Beasts and Where to Find Them, Miss Peregrine’s Home For Peculiar Children, and Rogue One: A Star Wars Story, while at the Academy Awards, it’ll be up against Deepwater Horizon, Doctor Strange, Kubo and the Two Strings, and Rogue One: A Star Wars Story. It was an expected win, but one that was eagerly awaited to try and figure out the Oscar category of Best Visual Effects. The Jungle Book ended up with five prizes in total, easily besting the rest of the bunch. As mentioned above, this top award ties directly into the Visual Effects category at the Oscars. Nine out of the...
- 2/8/2017
- by Joey Magidson
- Hollywoodnews.com
“The Jungle Book” is on its way to VFX Oscar gold after getting five Ves nods Tuesday night at the Beverly Hilton. “Rogue One,” the “Star Wars” standalone, however, came away empty-handed after receiving seven nominations.
Innovative Disney hybrid “The Jungle Book” won for outstanding feature, King Louie’s animated performance, virtual cinematography, effects simulations, and compositing.
Laika’s Oscar-nominated “Kubo and the Two Strings” earned VFX animation props, “Deepwater Horizon” took supporting VFX and model work for Industrial Light & Magic, and “Game of Thrones: Battle of the Bastards” continued its TV dominance.
Disney’s “Moana” grabbed two animation awards (created environment and simulations), Pixar won for Hank’s animated performance, and Marvel’s “Doctor Strange” won for its New York City environment
The Ves Visionary Award went to Victoria Alonso, producer and Marvel Studios Evp of physical production. Five-time Oscar winner Ken Ralston (“Return of the Jedi” and “Who Framed Roger Rabbit?...
Innovative Disney hybrid “The Jungle Book” won for outstanding feature, King Louie’s animated performance, virtual cinematography, effects simulations, and compositing.
Laika’s Oscar-nominated “Kubo and the Two Strings” earned VFX animation props, “Deepwater Horizon” took supporting VFX and model work for Industrial Light & Magic, and “Game of Thrones: Battle of the Bastards” continued its TV dominance.
Disney’s “Moana” grabbed two animation awards (created environment and simulations), Pixar won for Hank’s animated performance, and Marvel’s “Doctor Strange” won for its New York City environment
The Ves Visionary Award went to Victoria Alonso, producer and Marvel Studios Evp of physical production. Five-time Oscar winner Ken Ralston (“Return of the Jedi” and “Who Framed Roger Rabbit?...
- 2/8/2017
- by Bill Desowitz
- Indiewire
HBO’s “Game of Thrones” is once again the VFX frontrunner. The episode “Battle of the Bastards” created a spectacular crescendo for Season 6, bringing to a head the heated feud between Jon Snow (Kit Harrington) and his army of Wildlings, and the Boltons, led by nemesis Ramsay Bolton (Iwan Rheon).
Led by production VFX supervisor Joseph Bauer and the team at Australia-based Iloura, they used Akira Kurosawa’s “Ran” and other classic battle movies for inspiration. Historical reference informed army formation and tactics, and the body pile concept came from both Roman and Civil War accounts. The Pov stayed with Snow to relentlessly keep us inside the action.
Iloura raised its photoreal game with 400 audacious shots featuring 3,000-strong armies, a hybrid of real and CG people and animals and massive crowd simulations, as well as hundreds of flying body parts, blood, weapons, mud, smoke, fire and mist.
For realistic-looking horse and rider animation,...
Led by production VFX supervisor Joseph Bauer and the team at Australia-based Iloura, they used Akira Kurosawa’s “Ran” and other classic battle movies for inspiration. Historical reference informed army formation and tactics, and the body pile concept came from both Roman and Civil War accounts. The Pov stayed with Snow to relentlessly keep us inside the action.
Iloura raised its photoreal game with 400 audacious shots featuring 3,000-strong armies, a hybrid of real and CG people and animals and massive crowd simulations, as well as hundreds of flying body parts, blood, weapons, mud, smoke, fire and mist.
For realistic-looking horse and rider animation,...
- 8/19/2016
- by Bill Desowitz
- Indiewire
Starz’s pirate drama “Black Sails” has already won the Emmy, in its first season, for supporting VFX. But the show outdid itself this season, creating a hurricane that took the effects to a new level of craftsmanship. “Black Sails,” the “Treasure Island” prequel created by Jonathan E. Steinberg and Robert Levine (starring Toby Stephens as Captain Flint) featured a breathtaking 18-minute, 250-shot sequence that was also enhanced by the sound editing, which grabbed a nom as well.
CG water was the biggest challenge, creating liquid that was believable yet drove the animation of the ship as an integration of elements. The VFX was mostly done by Digital Domain with assistance from Ilp (additional sails) and Crazy Horse Effects (matte painting).
“We looked at live-action footage of water in storms to study the multiple elements: the swells, the surface turbulence and white spray,” said production VFX supervisor Erik Henry. “Then...
CG water was the biggest challenge, creating liquid that was believable yet drove the animation of the ship as an integration of elements. The VFX was mostly done by Digital Domain with assistance from Ilp (additional sails) and Crazy Horse Effects (matte painting).
“We looked at live-action footage of water in storms to study the multiple elements: the swells, the surface turbulence and white spray,” said production VFX supervisor Erik Henry. “Then...
- 7/29/2016
- by Bill Desowitz
- Indiewire
The Visual Effects Society has announced the nominations for the 13th Annual Ves awards "the prestigious yearly celebration that recognizes outstanding visual effects artistry and innovation in film, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on-the-keys artists who bring this work to life."
Ves members selected the nominees and Laika's "The Boxtrolls," Disney's "Big Hero 6," and Fox's "Dawn of the Planet of the Apes" topped the nominations receiving 5 nods each.
The Visual Effects Society (Ves) is a global professional honorary society and the entertainment industry's only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio executives, supervisors, PR/marketing specialists and producers. Ves. almost 3,000 members in 33 countries worldwide contribute to all areas of entertainment . film, television, commercials, animation, music videos, games and new media. Headquartered in Los Angeles, the Ves has member Sections in Australia, Bay Area (CA), London,...
Ves members selected the nominees and Laika's "The Boxtrolls," Disney's "Big Hero 6," and Fox's "Dawn of the Planet of the Apes" topped the nominations receiving 5 nods each.
The Visual Effects Society (Ves) is a global professional honorary society and the entertainment industry's only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio executives, supervisors, PR/marketing specialists and producers. Ves. almost 3,000 members in 33 countries worldwide contribute to all areas of entertainment . film, television, commercials, animation, music videos, games and new media. Headquartered in Los Angeles, the Ves has member Sections in Australia, Bay Area (CA), London,...
- 1/14/2015
- by Manny
- Manny the Movie Guy
The Visual Effects Society has announced the nominees for its 13th Annual Ves Awards, which recognize outstanding visual effects artistry and innovation in film, animation, television, commercials and video games. Among the nominees — Dawn Of The Planet Of The Apes, Guardians of the Galaxy, Interstellar, Maleficent, The Hobbit: The Battle Of The Five Armies and X-Men: Days Of Future Past – for Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture. The awards will be held February 4 at the Beverly Hilton Hotel. See the complete list below.
Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes
Joe Letteri
Ryan Stafford
Matt Kutcher
Dan Lemmon
Hannah Blanchini
Guardians of the Galaxy
Stephane Ceretti
Susan Pickett
Jonathan Fawkner
Nicolas Aithadi
Paul Corbould
Interstellar
Paul Franklin
Kevin Elam
Ann Podlozny
Andrew Lockley
Scott Fisher
Maleficent
Carey Villegas...
Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes
Joe Letteri
Ryan Stafford
Matt Kutcher
Dan Lemmon
Hannah Blanchini
Guardians of the Galaxy
Stephane Ceretti
Susan Pickett
Jonathan Fawkner
Nicolas Aithadi
Paul Corbould
Interstellar
Paul Franklin
Kevin Elam
Ann Podlozny
Andrew Lockley
Scott Fisher
Maleficent
Carey Villegas...
- 1/13/2015
- by The Deadline Team
- Deadline
"The Curious Case of Benjamin Button" wowed voters at the 7th annual Visual Effects Society Awards! The Brad Pitt-starrer won 4 awards including visual effect in a visual-effects driven motion picture, and best single visual effect of the year.
"Button's" director, David Fincher was honored with the Ves Lifetime Achievement award.
What about "The Dark Knight" and "Wall-e?" Both films took home awards as well! Click Read More to see the complete list of winners.
Visual Effects Winners:
Outstanding Visual Effects in a Visual Effects Driven Motion Picture
"The Curious Case of Benjamin Button"
Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud
Outstanding Supporting Visual Effects in a Motion Picture
"Changeling"
Michael Owens, Geoffrey Hancock, Jinnie Pak, Dennis Hoffman
Outstanding Animation in an Animated Motion Picture
Wall-e
Andrew Stanton, Jim Morris, Lindsey Collins, Nigel Hardwidge
Outstanding Visual Effects in a Broadcast Miniseries, Movie or Special
John Adams . Join or Die
Steve Kullback,...
"Button's" director, David Fincher was honored with the Ves Lifetime Achievement award.
What about "The Dark Knight" and "Wall-e?" Both films took home awards as well! Click Read More to see the complete list of winners.
Visual Effects Winners:
Outstanding Visual Effects in a Visual Effects Driven Motion Picture
"The Curious Case of Benjamin Button"
Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud
Outstanding Supporting Visual Effects in a Motion Picture
"Changeling"
Michael Owens, Geoffrey Hancock, Jinnie Pak, Dennis Hoffman
Outstanding Animation in an Animated Motion Picture
Wall-e
Andrew Stanton, Jim Morris, Lindsey Collins, Nigel Hardwidge
Outstanding Visual Effects in a Broadcast Miniseries, Movie or Special
John Adams . Join or Die
Steve Kullback,...
- 2/22/2009
- by Manny
- Manny the Movie Guy
"The Curious Case of Benjamin Button" took home four nods at the seventh annual Ves Awards, including outstanding visual effects in a visual effects-driven motion picture.
The Visual Effects Society's annual awards dinner, held Saturday night at the Century Plaza Hotel in Los Angeles, doled out three awards each to "The Dark Knight" and "Wall-e."
David Fincher, "Button's" director, presented that film's producers Kathleen Kennedy and Frank Marshall with the Vew Lifetime Achievement Award. Ilm's Dennis Murren presented Phil Tippett with the Georges Melies Award.
A complete list of winners can be found on the next page.
Outstanding Visual Effects in a Visual Effects-Driven Motion Picture
The Curious Case of Benjamin Button
Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud
Outstanding Supporting Visual Effects in a Motion Picture
Changeling
Michael Owens, Geoffrey Hancock, Jinnie Pak, Dennis Hoffman
Outstanding Animation in an Animated Motion Picture
Wall-e
Andrew Stanton, Jim Morris, Lindsey Collins,...
The Visual Effects Society's annual awards dinner, held Saturday night at the Century Plaza Hotel in Los Angeles, doled out three awards each to "The Dark Knight" and "Wall-e."
David Fincher, "Button's" director, presented that film's producers Kathleen Kennedy and Frank Marshall with the Vew Lifetime Achievement Award. Ilm's Dennis Murren presented Phil Tippett with the Georges Melies Award.
A complete list of winners can be found on the next page.
Outstanding Visual Effects in a Visual Effects-Driven Motion Picture
The Curious Case of Benjamin Button
Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud
Outstanding Supporting Visual Effects in a Motion Picture
Changeling
Michael Owens, Geoffrey Hancock, Jinnie Pak, Dennis Hoffman
Outstanding Animation in an Animated Motion Picture
Wall-e
Andrew Stanton, Jim Morris, Lindsey Collins,...
- 2/22/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
With five nominations, "Iron Man" leads the list for the seventh annual Ves Awards, which were chosen Saturday by panels comprised of members of the Visual Effects Society.
The Marvel Studios-produced superhero movie was cited in the categories of visual effects in a visual effects-driven movie, best single visual effect of the year, outstanding animated character in a live-action movie, outstanding models and miniatures in a feature, and outstanding special effects in a movie. The nominees cited for "Iron Man" are Ben Snow, Hal Hickel, Victoria Alonso and John Nelson.
Its competition for the best visual effects in a visual effects-driven movie honor are "The Chronicles of Narnia: Prince Caspian" (Wendy Rogers, Dean Wright, Andrew Fowler, Greg Butler), "The Curious Case of Benjamin Button" (Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud), "Hellboy II: The Golden Army" (Michael J. Wassel, Lucy Killick, Adrian de Wet, Eamonn Butler) and "Cloverfield" (Kevin Blank,...
The Marvel Studios-produced superhero movie was cited in the categories of visual effects in a visual effects-driven movie, best single visual effect of the year, outstanding animated character in a live-action movie, outstanding models and miniatures in a feature, and outstanding special effects in a movie. The nominees cited for "Iron Man" are Ben Snow, Hal Hickel, Victoria Alonso and John Nelson.
Its competition for the best visual effects in a visual effects-driven movie honor are "The Chronicles of Narnia: Prince Caspian" (Wendy Rogers, Dean Wright, Andrew Fowler, Greg Butler), "The Curious Case of Benjamin Button" (Eric Barba, Edson Williams, Nathan McGuinness, Lisa Beroud), "Hellboy II: The Golden Army" (Michael J. Wassel, Lucy Killick, Adrian de Wet, Eamonn Butler) and "Cloverfield" (Kevin Blank,...
- 1/19/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
We've ogled them in "The Fifth Element", laughed at them in "Men in Black" and nuked 'em in "Starship Troopers". Now it's time to get cuddly with them.
So far, 1997 has been the Year of the Aliens in big-budget science-fiction movies, and the aptly titled "Alien Resurrection" checks in with enough slime, gore and scary monster-flick moments to satisfy undemanding audiences. But it's an ugly, animated corpse of a movie stitched together from the other three films in the 20th Century Fox series, even as it follows the direction taken in "Alien3" to its next ghastly stage.
Not the best in the series, but in some ways the most ambitious, "Alien Resurrection" is a mixed bag of stilted humor, repetitive action and successfully more repulsive encounters with alien-human mutations. Strong awareness should help pump up its Thanksgiving-weekend opening numbers, but the American debut of French director Jean-Pierre Jeunet ("The City of Lost Children") won't substantially outperform the previous "Alien" production, released in 1992.
From pesky leaping babies fresh from their eggs to a large artificially created queen (retrieved from a clone of the series' heroine, who sacrificed her life at the end of the last disappointing installment), "Alien Resurrection" is as cynical about human motives as its predecessors, but it's the most sympathetic toward the killer species regularly butchering franchise lead player Sigourney Weaver's male co-stars.
Maybe die-hard genre followers will embrace the grotesque agenda and the endless grisly attacks, but the whole project is a notch or two lower in the writing department.
Not to worry, fans, there is a repeat of the gut-busting that highlighted the first film and a climactic alien birth scene that tries hard to gross out viewers. Unfortunately, the last frightful surprise is borderline laughable, and one has lost interest even when the alien-infested research ship on which the film is set heads toward Earth.
Looking way out of place and not terribly convincing, but trying her best, Winona Ryder as an odd crew member with a secret is dominated by Weaver in their scenes together and mostly overwhelmed by the production. Weaver, with her sleek body and cool demeanor, is hardly the motherly female action hero she blossomed into in "Aliens", but there's no denying she's in a groove with the character. All the best aspects of the film are hers.
ALIEN RESURRECTION
20th Century Fox
A Brandywine production
Director: Jean-Pierre Jeunet
Screenwriter: Joss Whedon
Based on characters created by: Dan O'Bannon, Ronald Shusett
Producers: Gordon Carroll, David Giler, Walter Hill, Bill Badalato
Director of photography: Darius Khondji
Production designer: Nigel Phelps
Editor: Herve Schneid
Alien effects: Alec Gillis, Tom Woodruff Jr.
Music: John Frizzell
Visual effects supervisors: Pitof Henry,
Erik Henry
Costume designer: Bob Ringwood
Casting: Rick Pagano
Color/stereo
Cast:
Ripley: Sigourney Weaver
Call: Winona Ryder
Johner: Ron Perlman
Elgyn: Michael Wincott
General Perez: Dan Hedaya
Gediman: Brad Dourif
Running time -- 107 minutes
MPAA rating: R...
So far, 1997 has been the Year of the Aliens in big-budget science-fiction movies, and the aptly titled "Alien Resurrection" checks in with enough slime, gore and scary monster-flick moments to satisfy undemanding audiences. But it's an ugly, animated corpse of a movie stitched together from the other three films in the 20th Century Fox series, even as it follows the direction taken in "Alien3" to its next ghastly stage.
Not the best in the series, but in some ways the most ambitious, "Alien Resurrection" is a mixed bag of stilted humor, repetitive action and successfully more repulsive encounters with alien-human mutations. Strong awareness should help pump up its Thanksgiving-weekend opening numbers, but the American debut of French director Jean-Pierre Jeunet ("The City of Lost Children") won't substantially outperform the previous "Alien" production, released in 1992.
From pesky leaping babies fresh from their eggs to a large artificially created queen (retrieved from a clone of the series' heroine, who sacrificed her life at the end of the last disappointing installment), "Alien Resurrection" is as cynical about human motives as its predecessors, but it's the most sympathetic toward the killer species regularly butchering franchise lead player Sigourney Weaver's male co-stars.
Maybe die-hard genre followers will embrace the grotesque agenda and the endless grisly attacks, but the whole project is a notch or two lower in the writing department.
Not to worry, fans, there is a repeat of the gut-busting that highlighted the first film and a climactic alien birth scene that tries hard to gross out viewers. Unfortunately, the last frightful surprise is borderline laughable, and one has lost interest even when the alien-infested research ship on which the film is set heads toward Earth.
Looking way out of place and not terribly convincing, but trying her best, Winona Ryder as an odd crew member with a secret is dominated by Weaver in their scenes together and mostly overwhelmed by the production. Weaver, with her sleek body and cool demeanor, is hardly the motherly female action hero she blossomed into in "Aliens", but there's no denying she's in a groove with the character. All the best aspects of the film are hers.
ALIEN RESURRECTION
20th Century Fox
A Brandywine production
Director: Jean-Pierre Jeunet
Screenwriter: Joss Whedon
Based on characters created by: Dan O'Bannon, Ronald Shusett
Producers: Gordon Carroll, David Giler, Walter Hill, Bill Badalato
Director of photography: Darius Khondji
Production designer: Nigel Phelps
Editor: Herve Schneid
Alien effects: Alec Gillis, Tom Woodruff Jr.
Music: John Frizzell
Visual effects supervisors: Pitof Henry,
Erik Henry
Costume designer: Bob Ringwood
Casting: Rick Pagano
Color/stereo
Cast:
Ripley: Sigourney Weaver
Call: Winona Ryder
Johner: Ron Perlman
Elgyn: Michael Wincott
General Perez: Dan Hedaya
Gediman: Brad Dourif
Running time -- 107 minutes
MPAA rating: R...
- 11/12/1997
- The Hollywood Reporter - Movie News
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