Category 16: Outstanding Virtual Cinematography in a CG Project
This award is to honor the outstanding use of motion picture camera and lighting techniques in a CG project and recognizes the collaboration among traditional cinematographers and visual effects artists. The project itself may be entirely computer-generated (ie. animated/real-time) or photographed, but the shots being submitted must be mostly or fully CG. The Before & Afters must focus on the cinematography and also include the contributions of previs, mocap, layout and lighting.
The Cinematographer for the project should be included in the entry provided he or she contributed significantly to the virtual production shots being submitted.
Photoreal or Animated Features intended for Theatrical Release; or
A single Episode of a Photoreal or Animated, Visual-Effects-Driven Series, Mini-Series, Movie, or Special, intended for Broadcast or Streaming; or
Photoreal or Animated Commercials or Commercial Short Films, intended for Theatrical, Broadcast or Streaming; or
Special Venue Projects; or
Video Games or other interactive projects created with a Real-Time Engine
January 1 to December 31, 2019
A Feature is a theatrically distributed movie of 40 or more minutes. A Feature must have been exhibited publicly in a commercial theater, for a paid admission, for a minimum period of one (1) week, and on a regular daily schedule. If a movie meets these requirements and is also broadcast or streamed it may not enter as an Episode. Movies without a theatrical run and which are broadcast or streamed only are considered Episodes, not Features, for the purposes of these Awards.
An Episode is a catch-all term for these Awards which means any project that was produced specifically to be delivered to viewers via over-the-air, pay or basic cable, satellite transmission, or streamed over the Internet. Episodes must have been available for broadcast at least once, or for sale, streaming, or download to the general public for at least one week. Programs that consist of repurposed material, or are alternate “Special Edition” cuts of a program that was also broadcast or shown in theaters, are not eligible.
Unless otherwise noted in the specific category description, the following project types fall under this heading:
- Series: Multiple episodes (minimum three, except for series canceled before completing three episodes) in which theme, storyline and main characters are presented under the same title and have continuity of production supervision. Visual effects produced solely for a main title sequence are not eligible, nor are clip shows, year-enders, “best-ofs” and anniversary specials that repurpose material that aired previously.
- Movie: A non-episodic program created specifically for broadcast on television, pay/basic cable, or satellite channel or streaming on the Internet.
- Miniseries: A limited-run program of at least two episodes, but less than the current standard series season, which may be a serialized drama or anthology program with stories based on a particular theme. For the purposes of these Awards, only a single episode may be submitted for consideration. Submissions combining episodes are not allowed.
- Specials: A one-time piece of entertainment programming, not including commercials, which is promoted and advertised as a “Special” but not a “Special Presentation” of an ongoing series.
- Pilots: Considered to be regular episodic programs for the purposes of these awards.
A commercial is a piece whose primary purpose is to promote a product or a message. It may be of any length, but it may not be a project designed to make money in its own right. For instance, a fictional short film which prominently features a for-sale car and is distributed for free to promote the car “virally” is allowable, but a feature film featuring a toy line but which requires a purchase of the film itself (in any medium) in order to pay for its production is not eligible. Commercials must have been broadcast a minimum of one (1) time on a channel available to the general public or in a public theater, or streamed for (1) week within the year of eligibility.
Real-Time Projects are defined as projects that are generated through a CG rendering engine at the same time the audience experiences them. Pre-rendered projects, such as “cinematics”, are not eligible – all projects must be demonstrably interactive at the time of the real-time render. However, projects played back to audiences after a real-time render is captured are eligible. Elements may be CG, photographically captured, or both, but photographic elements must be projected on to CG surfaces within the project to qualify. For instance, a simple spherical camera one can pan through but not otherwise control is not eligible, but an interactive project created in a game engine with some camera elements would be. One way to demonstrate the real-time nature of the Project is by including an fps frame rate counter in the Before & Afters. The frame rate should not drop below a point that detracts from the presentation. If the real-time nature of the submission is called into question, the submitter must be able to prove the real-time nature of the rendering by demonstrating interactivity of the scene live to the VES Awards Committee. Real-Time Projects must have been released for the first time to the general public within the calendar year of the Awards. Demonstration and pre-release products are not-eligible for an Award.
A Special Venue Project is defined by the location at which the material is shown. Special Venues are locations such as theme parks, large-format theaters, museums, galleries, outdoor sites, or live theatres, but not standard movie theaters, homes, or personal viewing devices. Projects must be specifically created for that venue; repurposed projects do not qualify. One-time projects (e.g., opening/closing ceremonies at the Olympics) are eligible in this category, as are Virtual Reality projects for Special Venues. Demonstration, pre-release, or trade show projects are not eligible for the VES Awards. Special Venue Virtual Reality projects must use custom equipment and cannot use readily available consumer gear. Special Venue Projects may be Photoreal or Animated, interactive or linear, and 2D or 3D; but the Work to Be Considered and Before & Afters must be submitted as 2D, linear, and with the correct specifications.
Photoreal is synonymous to live action, the intent being that the images should appear to have been photographed in the real world, even if the actual subjects are fantastical and do not exist in the real world.
Animated refers to a project where the filmmakers have purposely chosen a look clearly distinct from photorealism for the benefit of the storytelling. The Awards consider animation to be a genre that is independent of the process by which it is created. Therefore the project may be created with traditional animation crafts, modern digital techniques, or live action photography that has been manipulated such that it does not look photoreal. The submitters choose whether to place a project in either a Photoreal/Live Action category or Animation based on their own vision for the project, much as other awards may ask a submitter to choose Comedy or Drama.
Title sequences are eligible as long as they are submitted in textless form, and they are part of the storytelling and are not a specially designed separate title sequence. Motion graphics and logos are not eligible in this category.
WHO IS ELIGIBLE?
Slot 1: open to any significant virtual cinematography contributor
Slot 2: open to any significant virtual cinematography contributor
Slot 3: open to any significant virtual cinematography contributor
Slot 4: open to any significant virtual cinematography contributor
Slot 5: empty
A maximum of four (4) individuals, including Miniature/Physical Models artists, who personally contributed significantly to the creation of the Work to Be Considered, may be named in any one Specific Arts entry.
All individuals submitted must be directly involved with the work being considered in the entry and must have contributed to the artistry being considered for the Award. For example, animators, riggers, modelers, texture artists, or even actors would be an important part of an animated character entry, but environment or effects simulation artists would probably not. The Awards Committee reserves the right to question whether an artist contributed directly to the work being considered.
The Cinematographer for the project should be included in the entry provided he or she contributed significantly to the virtual production for the shots being submitted.
The normal eligibility rules for Specific Arts notwithstanding, overall VFX Supervisors are specifically deemed to be eligible to enter in this Category provided that a petition is submitted in their behalf by an authorized representative of the production in which the Supervisor’s direct and significant contribution to the virtual cinematography of the entry is described in detail.
Facility (in-house) VFX Supervisors who wish to enter must submit a petition along with the entry in which they provide verifiable details of their significant, personal hands-on work on the Work to Be Considered that was over and above their normal supervisory duties.
Animation Producers, VFX Producers, Executive Producers or facility managers are NOT eligible.
Entrant Names; Entrant Substitutions
List entrants in the order in which they should appear in any announcements or publicity. Make sure the names are spelled correctly. Select your nominees carefully. Submitters should consider qualified artists who no longer work at the facility.
If you find that you need to make an entrant name substitution, go to https://vesawards.sohonet.com and log onto the original online submission form using the username and password issued at the time of submission. Make the desired name change and click “Submit” to complete the change.
No substitutions will be allowed after the nomination event.
If there is valid reason to question the eligibility of an entrant, the VES Awards Committee reserves the right to investigate the situation and take appropriate action. For more information on name substitutions, consult the VES Awards Policies, Section 11, Changes in Entrants and Challenges to Nominations.
Submission Forms and Submission Numbers
You must fill out a Submission Form online (https://vesawards.sohonet.com) and obtain a Submission Number to be in the Awards. Print out the completed form, have it signed, and mail, fax, or scan and e-mail it to the VES office. Mailed submission forms must be postmarked by November 30. Faxed or emailed submission forms must arrive at the VES office by the deadline.
- Mailing address: 5805 Sepulveda Bl. – Suite 620, Sherman Oaks, CA 91411
- FAX: 818-981-0179
- E-mail: firstname.lastname@example.org
Entry forms must be signed by:
- The person submitting the entry (who may or may not be an entrant); and
- The overall project VFX Supervisor; or
- The overall project VFX Producer.
- In the case of submissions created under the employ of a facility, a member of the facility’s management
The signers acknowledge that all entrants are eligible and agree to follow and be bound by the rules, procedures, and policies of the VES Awards.
In the case of multiple entries from the same submitting organization, instead of signing each individual submission form the overall VFX Supervisor or overall VFX Producer (or the equivalent to these job titles) may submit a single signed letter to the Awards Committee covering all of the award submissions they are authorizing. This letter must include each individual Submission Number for which they are signing. To avoid confusion, this letter should be submitted to the VES office at the same time as the entries it is authorizing.
Please assign one contact person for all your entries. This is the individual (the Submitter) to whom the username and password for uploading your electronic submission will be sent.
This contact person must be available to the Awards Committee during vetting (December through early January) to deal with any potentially disqualifying issues that the Awards Committee may uncover during vetting. He or she should know where to reach everyone named on the submission in case of questions and who can arrange to re-edit a submission if necessary.
HOW MANY ENTRIES MAY BE SUBMITTED FOR THIS PROJECT?
Multiple entries from the same project are eligible provided the artistic teams are 100% different and the footage being submitted is completely different.
If multiple entries are submitted for the same scenes, all submitters will be notified that they must submit one joint entry or risk disqualification of all entries. If a payment has been made on a duplicate entry, the submitter may use that payment towards an entry in a different category.
WHAT SHOULD BE UPLOADED?
Work to Be Considered Length: 1:30 Max.*
Before & Afters Length: 2:00 Max.*
Optional Supporting Material PDF: 1:00 reading time
Submission format: DNxHR LB video: 8-bit 1920 x 1080p 23.98 fps. Audio: Stereo 16-bit 44.1/48KHz embedded uncompressed PCM. No exceptions.
*Not including the length of slates
Your entry is made of two parts:
- The work you are submitting for the judges to view (the Work to Be Considered).
- Descriptive information about how the VFX for the project were created (the Before & Afters material).
Entrants are responsible for their own quality control. The VES accepts no responsibility for viewing materials that do not play properly, are submitted at the wrong resolution or format, or are of inferior quality (see Submission Format, below).
FACILITY IDs: Viewing materials (including Before & Afters), supplemental written materials, or slates may NOT contain the names of facilities, production company logos, logo bugs, or individuals that worked on the project. Entries containing such material will be required to resubmit without identifying marks or they may be disqualified
Work to Be Considered
This is the project material you wish to enter for an award. All Work to Be Considered must be submitted as premiered. Long single shots may be edited down for length by trimming the head or tail of the shot, or lifting one continuous section from the middle. However, you may NOT:
- Change the order of sequences from how they appeared within the project
- Change the order of or edit shots (except very long shots as stated above) within a sequence
- Put different contextual material around the Work to Be Considered other than how it was premiered
- Add fades or dissolves to “smooth” awkward transitions created by cutting down the sequence. However, you may place a few frames of black between segments
- Use sound other than the original sound track as premiered
- Add watermarks to any viewing material
You should provide some contextual material surrounding the Work to Be Considered where it is available. “Contextual Material” is the shots (visual effects or otherwise) immediately preceding or following the work you are submitting. This contextual material shows how the Work to Be Considered fits into the scene, sequence, or project. Contextual Material must be short and solely shown to set up the effects being presented.
Before & Afters
All entries must submit Before & Afters. The Before & Afters material must be unique to this entry and tailored to the category you are entering. Where the special (practical) effects played a major role in the project, the Before & Afters should include footage demonstrating this fact. Before & Afters entered in different categories from the same project must be significantly different from one another and must specifically address the shots and category being submitted. Before & Afters must demonstrate how the work was accomplished through one or more of the following:
- Storyboards Animatics and/or previs
- Raw plates
- Raw elements
- Work-in-progress (developmental progression of shot)
- The finished shot
- Company logos, logo bugs, or individual names identifying who worked on the entry are not permitted. Entries containing such material will be required to resubmit without identifying marks or they may be disqualified.
- Special Venue entries must include video footage of the project from the perspective of the audience.
- Real-Time entries should include video footage demonstrating game assets in their native authoring environment. Overlays showcasing hardware and software performance are also welcomed.
- You may not use the same Before & Afters clip for two different categories, though limited reuse of individual shots is permissible as long as they fit the intent of the category.
Your entry may be disqualified if the Before & Afters material contains any of the following:
- Extraneous material that does not relate directly to the Work to Be Considered
- Shots or sequences that are not shown in the Work to Be Considered except for brief references from external sources, such as YouTube or other films
- Talking heads explaining the work (voice-over narration is acceptable)
Written Supporting Material
Submitters may, at their option, provide a concise written description of how the Work to Be Considered was created. Please submit a PDF file of your written material at the time of submission by uploading the PDF by clicking on “Actions>Upload supplemental material” on the Submission Form. PDFs of nominated entries will be posted on the View & Vote website. Do not send printed copies of written supporting material to the VES.
Guidelines for Written Material:
- Put the Submission Number on every page
- Keep the number of pages to a minimum
- Written material may not include the names of individuals or facilities that directly worked on the visual effects.
- Reprints of magazine or web articles are not allowed
- Please name the PDF file the same as the submission number of your submission (e.g. 01-9999).
All sound used in the Work to Be Considered portion of the entry must be the original sync sound as premiered. Entries may be submitted MOS, but they must be clearly labeled as such on the slate. However, the Before & Afters material may have alternate audio, including relevant commentary. Commentary may not include the names of facilities or individuals that did the work, be self-congratulatory, or otherwise off-topic.
The Head Slate goes at the beginning of each submission, and the Tail Slate goes at the end of each submission. Tail slates will be automatically generated when you create your submission. If revised materials are submitted, you do not need to update the Slate.
Submitting Viewing Materials
Viewing materials must be submitted in electronic form. We will not accept a submission in physical media form.
When you first made your submission you created a unique username and password to use for electronic material submissions. Use the same username and password for all your submissions. But keep in mind that each individual entry will also be given a unique file name that corresponds to only one specific Submission Number.
Submission Format: DNxHD LB 8-bit
As in previous years, the electronic submission format is DNxHD LB 8-bit in a QuickTime wrapper (.mov). Note that the former Avid DNxHD36 codec is now named DNxHD LB 8-bit.
The submission/encoding format is easy to use, and is compatible with all major computing platforms (PC, MAC, Linux). It has been designed to be practical on all but the slowest of Internet connections.
One tool that you can use to create a correct entry is Blackmagic’s DaVinci Resolve, the free version available for PC,Mac, and Linux is sufficient.
All viewing material must follow these guidelines:
- Viewing material need not be submitted in the final grading
- 1920 x 1080p, 23.98 fps DNxHD LB 8-bit video
- Color levels per Rec. 709/BT.709 “video range”
- Video range is where reference black is defined as 8-bit value 16, and reference white is defined as 8-bit value 235.
- Note: all entries will be displayed as above in video range. DO NOT submit materials in full RGB range or they will look incorrect.
- Audio should be stereo, embedded uncompressed PCM 16-bit 44.1/48KHz.
No exceptions to these requirements.
The VES is not responsible for any artifacting present in video files used for online voting that may be caused by interlaced footage.
The entry must be uploaded in two parts:
- The Work to Be Considered (the entry) is one upload; and
- The Before & Afters material is the second upload.
Use the VES slates on both uploads and follow the upload order below in assembling your submission:
Upload No. 1:
WORK TO BE CONSIDERED
|A)||:05||VES HEAD SLATE|
|C)||—||WORK TO BE CONSIDERED MATERIAL|
|E)||:01||VES TAIL SLATE|
Upload No. 2:
BEFORE & AFTERS
|A)||:05||VES HEAD SLATE|
|C)||—||BEFORE & AFTERS MATERIAL|
|E)||:01||VES TAIL SLATE|
Do not combine your uploads. Viewing material deviating from these format specs will not be accepted.
File Naming Conventions
Your uploaded submission(s) must be named as follows:
For Part 1: Work to Be Considered
- Entry ID.mov (This is the original project material)
For Part 2: Before & Afters
- Entry ID.beforeandafters.mov (This is your Before & Afters file)
For example: For Submission ID 02-0003, name your files as follows:
- Work to Be Considered: 02-0003.mov
- Before & Afters: 02-0003.beforeandafters.mov
WHAT ARE THE IMPORTANT DATES?
SUBMISSIONS OPEN: Monday, October 10, 2022
DEADLINE FOR SUBMISSIONS: Wednesday, November 30, 2022, 11:59PM PST
You must upload your viewing materials and optional supplemental written material between November 7 and November 30, 2022.
NOTE: Unavailability of personnel to prepare submission materials in time to meet the entry deadline is not a valid reason to be granted a deadline extension.
21st ANNUAL VES AWARDS TIMETABLE
(Dates subject to change)
|Period of Eligibility for Entries||January 1 – December 31|
|Rules & Procedures Posted||August 15|
|Entry Forms Available, Submissions Open——–||October 10|
|Upload Viewing Materials||November 7 – November 30|
|Submission Deadline||November 30, 2022|
|Global Nominating Panels||January 14|
|L.A. Nomination Judging Panels Hold Vote——-||January 14|
|Nominations Announced||January 17|
|On-Line Viewing & Vote (Members Only)||January 23 – February 3|
|21st Annual VES Awards Gala||February 15, 2023|
WHAT ARE THE ENTRY FEES?
The total fee for each entry is $460, regardless of how many individuals are named on the submission or their VES affiliation.
Each VES member is entitled to one personal Submission Voucher that will cover that member’s entry fee for one entry only or that member’s pro-rated portion of one entry if he or she is a part of a team entry.
For purposes of pro-rating, VES vouchers are deemed to have a value of $115 regardless of the category being entered. Therefore, the non-VES entrants must pay the difference between the $460 total entry fee minus the value of the VES vouchers being applied to the entry.
- Example #1: Assume that an entry in category 4 (where a total of five entrants is allowed) is using two vouchers valued at $230. That leaves a balance of $230 to be split among the remaining three entrants for a total value of $460.
- Example #2: Assume that an entry in category 12 (limited to four entrants) is using one voucher only. That leaves a balance of $345 to be split among the remaining three entrants.
Each member may make a voucher by photocopying his or her valid VES membership card and including it with the submission as his or her portion of the entry fee.
Vouchers are non-transferable.
Payment must be received by the VES no later than 5 PM PST, November 30, 2022. Entries are not complete and will not be vetted until payment has been made.
HOW DO I SUBMIT?
Submissions may only be made through this VES Awards website by following the directions below.
- Designate ONE person to be your primary “go to” person for all VES Awards matters. This person is the official Submitter. He or she must sign the Submission Form.
- The submission form will be available starting on or about October 10, 2022 on this site.
- Click on “Submit an Entry” below.
- After clicking “Submit an Entry”, click on “Create New Submission.” Instructions will take you through the complete registration and submission process and will guide you on how to prepare your materials for upload.
- Give each entry a distinct project title (preferably the project’s main title) and entry name on both the entry form and on the slate (e.g., Main Title of Project: Avengers; Name of Clip: Hulk Smashes Loki).
- When you have completed the Submission Form, click ”Submit”. A unique submission number will be automatically issued. At the same time, slates will be automatically generated for your viewing materials.
- One submission per form. Do not combine multiple entries on a single submission form.
- Making a note of the official Submission Number. Do not lose this login information or share it with an unauthorized individual. You will need this information later if you have to make changes to your submission.
- Print or Download your completed entry form, have it signed by the appropriate individuals (electronic signatures are acceptable), upload the completed form to the SoHoNet site, or mail, fax, scan, or email it to the VES office, 5805 Sepulveda Bl., Suite 620, Sherman Oaks, CA 91411, FAX no. 818-981-0179, email address email@example.com, along with your payment. Mailed, faxed, or emailed submission forms must be postmarked or arrive by the deadline, November 30, 2022.
- Entry fees should be paid by using the online credit card authorization form in the section “Submit an Entry”.
- Use the Submission Number in all correspondence relating to your entry.
- Upload your viewing materials in Submission Format: DNxHD 36 (aka DNxHD LB 8-bit), as specified above, no later than Tuesday, November 30, 2022.
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