If you’ve noticed that a raft of animated films, shows and visual effects projects have been toying with more hand-crafted effects animation lately, you’re not alone. There’s somewhat of a trend right now to go ‘old school’ on these big projects with what are often anime-inspired animated effects, away from being completely photorealistic. New – and even old – tools have been enabling more painterly approaches to elements such as explosions, lightning, laser fire, smears, speed lines, dust, trails and stylized 2D and 3D effects. Here, artists on several recent projects break down their work in this area.
Imageworks explores the finer FX details
With Spider-Man: Into the Spider-Verse, Sony Pictures Imageworks jumped head-first into a hand-drawn look approach, clearly inspired by the comic books. Many aspects combined for the hand-crafted feel, from line work on the characters, to speed lines, and also for elements such as explosions. In the final act of the film, these explosions were mostly hand-drawn elements crafted first by a 2D artist, as Imageworks FX Supervisor Pav Grochola outlines.
A final explosion shot by Sony Pictures Imageworks from Spider-Man: Into the Spider-Verse. (Image courtesy of Sony Pictures)
The hand-drawn explosion element. (Image courtesy of Sony Pictures)
The explosion element is brought into Houdini. (Image courtesy of Sony Pictures)
A frame from The Mitchells vs. The Machines where Imageworks continued using stylized techniques for the 3D-animated film. (Image courtesy of Sony Pictures)
“We would take in those hand-drawn elements and place them in Houdini on cards. That was combined with very carefully artistically-directed procedural rays that would augment and live within those cards. The 2D elements were split out into tones of color – a smoke tone, a smoke layer and a hotter layer. On top of that we had particles and debris played on 2s, so there were a lot of tricks that we used to try to make things look as convincingly hand-created as possible, including in compositing.”
“What we’re really doing here is ‘designing’ explosions,” Grochola notes. “That’s where 2D artists are really good. That’s what they do! They start from scratch with a piece of paper – from nothing – and they design it, whereas sometimes we are used to simulating things and not really knowing what the simulation did.”
“What we’re really doing here [on Spider-Man: Into the Spider-Verse] is ‘designing’ explosions. That’s where 2D artists are really good. That’s what they do! They start from scratch with a piece of paper – from nothing – and they design it, whereas sometimes we are used to simulating things and not really knowing what the simulation did.”
—Pav Grochola, FX Supervisor
Then, on The Mitchells vs. the Machines, Imageworks’ brief was to make the film look more like an illustrative novel. For instance, here explosions would begin with partial pyro simulations. Grochola says, “We advected particles through this basic pyro sim. These particles would become camera facing cards with brush stroke textures. This gave us a great base that looked illustrated, but also had the motion and color of the underlying simulation. The 2D artists would finally draw on top of this to further enhance the hand-drawn look.”
Going cute-chunky
Pixar’s Turning Red contains several hand-drawn-effects animation moments that follow what Production Designer Rona Liu had instilled as a “cute-chunky with a soft, lush color palette” for the film, according to FX artist Carl Kaphan. “This was the first Pixar movie, to my knowledge, that had a sketch artist – Lead Animator Rob Thompson – as a dedicated member of the effects team for the entire duration of production. Rob provided draw-overs, timing tests and concept art for much of the effects work across the film.”
One fantastical shot, dubbed ‘Men Man Mountain,’ sees the main character summon her teen idols. Pixar utilized a more hand-drawn feel to the final magical effects look. “The graphical elements and timing of the giant pink poof were roughed out with straight-ahead animation,” Kaphan explains, “with the drawings then brought into Houdini and converted into 3D geometry to be used for interactive lighting on the characters and environments and to help place the giant poof cloud in time and space. The hand-drawn images were also brought into Nuke where shot lighter Molly Meyer applied treatment to add a lustrous glow as well as adding a field of stylized stars.”
‘Panda poof’ effects in the film also took on 2D characteristics while leveraging Houdini effects sims. “To attain a dissipation that mimicked traditional animation,” Kaphan says, “we relied on subdividing the cloud shapes over time instead of decreasing the opacity. To get the timing to feel right, we ended up applying a modified power law distribution to vary the amount of time before each individual poof subdivides. To enhance the read of an appealing silhouette we often cheated the velocities to the camera plane. To add complexity, we used a combination of fluid simulated and hand-sculpted velocity fields to enhance the motion. Jordan Rempel, our Lighting Supervisor, assisted early on by applying multi-scattering approximation to the poofs in RenderMan which added a beautifully luminous glow.”
“[Turning Red] was the first Pixar movie, to my knowledge, that had a sketch artist – Lead Animator Rob Thompson – as a dedicated member of the effects team for the entire duration of production. Rob provided draw-overs, timing tests and concept art for much of the effects work across the film.”
—Carl Kaphan, FX Artist
A homage to the illustrative source
For The Bad Guys, based on the illustrated storybooks, DreamWorks Animation deliberately set out to mimic the hand-drawn imperfections and simplification of the scenes and characters. “One of our goals with visuals was to make all of our effects look like they were 100% 2D animated,” Visual Effects Supervisor Matt Baer advises. Baer notes that a sprite library broken down into sub-components in Houdini was developed for the film. “We also developed particle sim techniques that would be rendered in two-tones, so when we merged them together with the sprites, the audience, hopefully, couldn’t tell the difference where the sprite started and where the simulation began.”
Baer also notes that the requirements of The Bad Guys brought in new workflows, “ones that essentially allowed us to do 2D animation in a 3D application and take advantage of the scalability of the 3D application,” something DreamWorks had not ventured into in a major way at that point. A proprietary tool called Doodle helped achieve the desired look.
“It let us draw in screen space and position the Doodle geometry in 3D space,” Head of Look Jeff Budsberg says. “You could render those doodles directly as an impact or a liquid, you could render it in two-tone, or you could use that drawing to drive a 3D simulation. Even the lighting department was doing some of this sprite work for graphic camera flashes or speed lines encroaching on the frame or on a camera pan. We built these systems that could be interchanged between the departments, and the crux behind everything was all hand-drawn lines.”
A storyboard from the ‘panda poof’ sequence in Turning Red. (Image courtesy of Disney/Pixar)
Early concept art for the shot. (Image courtesy of Disney/Pixar)
A layout frame where the Pixar team make framing and lens choices. (Image courtesy of Disney/Pixar)
FX pass using proprietary software developed for the particular pink-smoke look called ‘pink vapor clouds.’ (Image courtesy of Disney/Pixar)
The final rendered shot. (Image courtesy of Disney/Pixar)
Pipelining 2d effects animation
Fortiche’s animated series Arcane made waves recently with its blending of graphic 2D and 3D styles. To help enable a 2D sensibility to be incorporated into what were often 3D scenes, the studio needed to adapt its existing pipeline for 2D work so that several tools were more closely integrated.
The Crimson Paw reveal scene in The Bad Guys made extensive use of stylized 2D animation combined with 3D. (Image courtesy of DreamWorks Animation)
Hand-drawn imperfections and simplification of the scenes and characters were key aspects of the production of The Bad Guys. (Image courtesy of DreamWorks Anima-tion)
Explosion effects in the film’s third act were realized with multiple techniques on top of simulations. (Image courtesy of DreamWorks Animation)
“One of the biggest challenges,” describes tool developer/TD Marion Debrick, “was to integrate Adobe software and TVPaint in our pipeline which previously only focused on 3D workflows. I had to find a way for our project manager, developed with the Python programming language, to communicate with all the 2D software which did not interpret Python. To achieve that, I built CEP (Common Extensibility Platform) tools that allowed for a user-friendly interface in the software and gave an easy control to the artist.
“We created tooling around incorporating the hand-drawn effects into the engine. This allowed artists to play with the placement of the effects, when they start, and how fast or slow they are. This type of creative freedom really allowed us to elevate not only the 2D workflow, but allowed the animation department to play a greater role in the process of the shot.”
—Dustin Warnock, Creative Director, The Third Floor
“I also had to re-create an Adobe extension manager specific to our pipeline so the artists could easily update their tools after new features are added,” Debrick says. “After the import/export tools were working, I was able to create some other fun tools to help the artists in their drawings for Arcane, such as buttons to clone adjustment layers on multiple layers or blend RGB colors with a linear gamma and a lasso to draw a shape that’s automatically filled.”
The character Jinx in Arcane, featuring a mix of 3D and 2D animation by Fortiche. (Image courtesy of Netflix)
Fortiche needed to develop new 2D and 3D workflows in order to animate Arcane. (Image courtesy of Netflix)
Stylized effects animation for real-time
Animated content being made with game engines – an area on the rise – has also seen a rise in the stylized look and feel of effects for real-time. Director Hasraf ‘HaZ’ Dulull’s animated anime-inspired feature Rift, for example, is currently being made predominantly in Unreal Engine. “When it came to the FX, we created specific shader materials in Unreal Engine to give it that anime look,” Dulull says. “For most of the shots, we used 2D effects libraries, and then in After Effects we combined them to create the desired effect, before rendering them out as PNG with alphas, layering them in DaVinci Resolve, using Fusion FX to help create things like trails and glow effects on top of the EXR final pixel frames from Unreal Engine.”
Dulull adds, “We also took a lot of the 2D elements we created of explosions, smoke and debris hits, and put those on cards as animated textures in Unreal Engine, making them self-emissive to ensure they had their own lighting channel so that they were independent from the main scene lighting. In some instances, we utilized Unreal Engine’s post-processing effects to heighten some of the flatten diffuse look of the stylized FX and lighting as well as the edge lines.”
A frame from Rift in which 2D elements are combined with Unreal Engine renders. (Image courtesy Hasraf ‘HaZ’ Dulull)
2D elements of explosions, smoke and debris hits were put on cards as animated textures in Unreal Engine. (Image courtesy Hasraf ‘HaZ’ Dulull)
Several animation practitioners have found that their 2D animation skills and assets are heavily sought after in the traditional 3D animation and now real-time space. Brent Forrest, who hails from his own outfit called Forrest Schlage and is also a technical director at Marza Animation Planet Inc., highlights this via his effects packs. Faced with the challenge of making large-scale expressive water effects for a real-time production, Forrest’s team developed a ShapeMeshing system. “It was decided early on that we would use pre-designed elements instead of costly simulations – much the same as we would if we were doing a Flash show. Of course, you can’t just plop 2D elements into a 3D scene. Things get complicated when you incorporate transparency, reflections and objects that cast shadows.”
Forrest continues, “No two assets are made the same way, and it takes a combination of modules to create a usable 3D rig, but they all start with a hand-drawn design. The products of the ShapeMeshing system can be seen in [the animated short film] The Peak by Marza, Like and Follow, made by Tobias Schlage and myself, Miskatonic and UltraDuck made by Arcana Studio, and an upcoming Marza production that will have its world premiere at SIGGRAPH this year.”
To help launch its animation division, The Third Floor made a stylized animated short called Skytribe. (Image courtesy of The Third Floor)
The Third Floor’s animation approach relies on real-time rendering tools inside Unreal Engine. (Image courtesy of The Third Floor)
Meanwhile, visualization studio The Third Floor has also embraced Unreal Engine for its launch of a new animation group and a suite of tools based on custom visualization tools that sit on top of Unreal. To launch the animation venture, The Third Floor made a short called Skytribe. “We wanted to find that balance and blend between the 2D and 3D world,” The Third Floor’s Creative Director Dustin Warnock says. “There were a multitude of approaches we took throughout all the departments that tip the hat to traditional 2D processes. We never wanted to over composite them or blend them too far with the 3D plates. It was important to have the elements remaining inherently flat and two dimensional. We embraced the offsets, varying the timing, and pushing and pulling the elements to strike that balance.”
Warnock adds, “We created tooling around incorporating the hand-drawn effects into the engine. This allowed artists to play with the placement of the effects, when they start, and how fast or slow they are. This type of creative freedom really allowed us to elevate not only the 2D workflow, but allowed the animation department to play a greater role in the process of the shot.”
Brent Forrest’s ShapeMeshing system utilizes 2D elements to make 3D sculpts. (Im-age courtesy of Brent Forrest)
The ShapeMeshing approach allows for things like water-splash elements to be turned into 3D elements in real-time. (Image courtesy of Brent Forrest)
Going for a stylized look
Alongside this explosion in hand-drawn effects animation is an equally large push towards stylization in the final rendering. Often referred to as Stylized Rendering or Non-Photorealistic Rendering (NPR), this approach can be seen in films such as Spider-Man:Into the Spider-Verse and The Mitchells vs. the Machines, the latter of which Lollipop Shaders Founder and Shading Architect Christos Obretenov collaborated on with Sony Pictures Imageworks.
“[Working on Lovecraft Country] was the first time I kept the animation fully at 6K, because I liked the really fine line I could get at that resolution. HD gives a pretty ratty line when you draw on the Cintique, but 6K lets you get a nice variety of electrical bolts working – thick, thin and the occasional big glow when the shape is strong enough and looks nice.”
—Kevin Blank, Visual Effects Supervisor
Hand-drawn effects animation in VFX: still alive and still electric
Some of the hand-drawn lightning or electricity effects animation in projects such as Big Trouble in Little China, Ghostbusters II and Babylon 5 are unforgettable. It turns out that VFX artist Kevin Kutchaver worked on each of those projects, to name a few, and still gets called upon to craft much-desired hand-drawn effects animation to this day, albeit with digital tools. For example, on Lovecraft Country, Visual Effects Supervisor Kevin Blank entrusted Kutchaver to render some electrical energy sparks in a hand-drawn fashion. It was a task he handled mostly in Photoshop. “That was the first time I kept the animation fully at 6K, because I liked the really fine line I could get at that resolution,” Kutchaver advises. “HD gives a pretty ratty line when you draw on the Cintique, but 6K lets you get a nice variety of electrical bolts working – thick, thin and the occasional big glow when the shape is strong enough and looks nice.
Kevin Kutchaver’s hand-drawn, electric-effects animation for an episode of Lovecraft Country. (Image courtesy of HBO)
“The Umbrella Academy Co-Producer and Visual Effects Supervisor Everett Burrell also contacted me about some character animation for an episode with the animated character, Mr. Briefcase. My wife, Kathy Zielinski, designed and animated the character on the Cintique in Toon Boom Harmony, with clean-up and paint actually done again in Toon Boom by my two daughters. It was a great family project!”
In particular, on Mitchells, Obretenov “worked with the team at Imageworks in developing custom shaders in Open Shading Language (OSL) for their artists to use on the line work and dynamic watercolor illustrative lighting.” He is also Lead Developer on RenderMan’s Stylized Looks, working with Pixar’s RenderMan team.
“Lollipop,” Obretenov says, “tends to contribute during a look/visual development stage to match the client’s concept art over animated shots with custom tools and workflows. If there is a match where our tools and workflows are hitting the concept art over animated sequences, we go onto the next stage where the studio uses the tools for the duration of the project and we support them in finalizing their look of the picture across the entire project.”
RenderMan’s Stylized Looks was used to render this frame. (Image courtesy of Christos Obretenov)
The only practical element built for the Spiderhead facility was the entranceway.
Convicts willing to volunteer as medical test subjects get reduced sentences, but in the process begin to question the reality of their emotions in Netflix thriller Spiderhead, directed by Joseph Kosinski and starring Chris Hemsworth, Miles Teller, Jurnee Smollett, Mark Paguio and Tess Haubrich. Method Studios, led by VFX Supervisor Dominic Hellier, created 160 shots under the production supervision of Ryan Tudhope, who collaborated with Kosinski on Top Gun: Maverick.
Composites were done for monitors in the control room.
“Spiderhead was a great opportunity and suited my skill set really well,” Hellier notes, citing “the integration of our CG building and some nice effects work with the car crash. Also, Joe coming off of Top Gun: Maverick had come from a place of real photo-reality integration, and this [approach] was paramount with this [film]. Coming from a compositing standpoint, we were able to work backwards from the plates we were given that were shot beautifully up in the Whitsundays [Whitsunday Islands along the coast of Queensland, Australia]. It was a great experience working across the different departments, having come from the end of the pipeline and discussing how things might end up in compositing, and pre-empting any issues.”
“Joe [director Joseph Kosinski], coming off of Top Gun: Maverick, had come from a place of real photo-reality integration, and this was paramount with this [film]. Coming from a compositing standpoint, we were able to work backwards from the plates we were given that were shot beautifully up in the Whitsundays [Whitsunday Islands along the coast of Queensland, Australia]. It was a great experience working across the different departments, having come from the end of the pipeline and discussing how things might end up in compositing, and pre-empting any issues.”
—Dominic Hellier, VFX Supervisor, Method Studios
A thorough booklet of the design of the Spiderhead facility was provided to Method Studios that included not just its structure but also the interior fit-out.
Kosinski has a strong design aesthetic. “Before we came onto the project, in terms of the Melbourne studio, there was a great production design process with Jeremy Hindle and specifically about the Spiderhead facility,” reveals Hellier, who iterated the most on the weathering of the prison that has existed for 50 years, to make sure that the size and scale were reading correctly. “They also engaged an architect, Adam Spychala, who has done a lot of 3D renderings of Brutalist buildings that he has designed himself, that had caught Joe’s eye. There was a thorough booklet of the design of the facility, not just of its structure but also the interior fit-out. By the time we came onto the project to build the production model, there was a lot of great reference from them about the look and what they were chasing. As an extension of that, Ryan [Tudhope] had a great idea of what the priorities were for the visual effects, in terms of texturing of the building, the reality of the concrete and making that feel tactile, and where to invest our time on such a big asset build.” Initially, the new aspect was the fairly shot production schedule. “Then we had a hiatus and came back,” Hellier adds. “We finished the majority of our work in the first part of the project, particularly the facility shots. It was about getting the texture asset team, look development and lighting running concurrently so we could get shots through to get the asset approved.”
“We did some of the psychedelic treatments when Jeff [Miles Teller] and Abnesti [Chris Hemsworth] are under the influence of the drugs being tested. For the most part, it was chromatic aberration treatments and lens flares additions. That was a fun process to look develop with Joe, who had a particular idea and wanted to keep it in the realm of optical effects and not go too far out. There is a shot at the end when Abnesti is flying his plane under the influence of these drugs and we had to do these sundog effects shown from his point of view.”
—Dominic Hellier, VFX Supervisor, Method Studios
Weathering had to be incorporated into the texturing of the Spiderhead facility, as it is supposed to have been around for 50 years.
The float plane approaching the Spiderhead facility at the start of the film was a 3D build.
“We did a 3D build for the float plane that you see approaching the facility at the start of the film,” Hellier explains. “However, a lot of the flying shots are practical. Anytime the plane is parked at the front of the facility under the overhang, we did a CG build there to shadow catch for that and did the same for the speedboat that is out front.” Previs provided a guide to the desired silhouettes cast by Spiderhead, such as for the dock scenes that were actually shot at a dam in Queensland. “They had a few blockers and things, but nothing that really had the scale of what we were putting in there in terms of the facility and blocking the sunlight. There was problem-solving for that shadow casting and integrating that stuff into the structure of the facility. Thankfully, for the most part, the characters were in shadow, as there was a blocker on the day that helped. Also, things like color temperature of the water between the dam and what you would see in the Whitsundays, this beautiful blue ocean; those sorts of differences and subtle grading [were needed] for integration.”
“One thing that was different between the concept art and the location was man-placed boulders surrounding the facility. It was like a big, almost human-built island, whereas the islands at Whitsunday are volcanic rock. It was a lot of fine-detail, coral-looking formations in the rock there that didn’t transition well into the Brutalist design of the building. We also did a build of surrounding rock formations on top of the scan as if they were placed there to support this facility when it was built. Also, some in the shallows of the water.”
—Dominic Hellier, VFX Supervisor, Method Studios
Actor Miles Teller was practically shot rolling in front of the camera during the car crash scene.
A partial tree stump rig was constructed, so the rest had to be CG extended along with the flames.
Whitsunday Island was partially LiDAR scanned. “One thing that was different between the concept art and the location was man-placed boulders surrounding the facility,” Hellier states. “It was like a big, almost human-built island, whereas the islands at Whitsunday are volcanic rock. It was a lot of fine-detail, coral-looking formations in the rock there that didn’t transition well into the Brutalist design of the building. We also did a build of surrounding rock formations on top of the scan as if they were placed there to support this facility when it was built. Also, some in the shallows of the water. There is a shot at the start of the film of Chris Hemsworth walking in, captured from above, looking down on him. We’re looking into the water, so we had some boulders placed under there to help with the integration.Also, off of the back of the building is a lot of vegetation.”
An important part of the environmental integration was properly casting shadows to reflect the presence of the Spiderhead facility.
Whitsunday Island was partially LiDAR scanned.
A car crashes into a tree and explodes. “That was a stunt rig tree stump that the car ran into, so we had a full tree build for that and had to integrate our explosion within the tree, going up through the branches, and distributing that, smoke and interactive lighting into the scene,” Hellier reveals. There was a practical explosion. Continues Hellier, “With the half stump, it didn’t interact with anything as it went up. We gave ourselves a CG version of that explosion with deep renders, and then had our CG tree in there, and could interweave the fire within the tree.” There is a shot where Miles Teller’s character flies out through the windshield, comes tumbling across the grass and rests right at the camera. “We had one plate where the car hits the stump and another plate with Miles in the foreground as he lands flat on his chest. We had to build that animation that got us from point A to B. We would simulate a car crashing and put a rag-doll digital double that picked up the velocity of that crash and tumbled away. That informed our final animation, and we had to tweak that so it ended up landing in his final resting place.”
Method Studios, led by VFX Supervisor Dominic Hellier, created 160 shots for Spiderhead.
“We had one plate where the car hits the stump and another plate with [actor] Miles [Teller] in the foreground as he lands flat on his chest. We had to build that animation that got us from point A to B. We would simulate a car crashing and put a rag-doll digital double that picked up the velocity of that crash and tumbled away. That informed our final animation, and we had to tweak that so it ended up landing in his final resting place.”
—Dominic Hellier, VFX Supervisor, Method Studios
The dock was actually shot at a dam.
Chris Hemsworth portrays Steve Abnesti, who is in charge of the Spiderhead Penitentiary and Research Facility, where he attempts to influence inmate behaviors with experimental drugs.
Other work included security footage of the boats and blood augmentation for the car-crash death of Emma (BeBe Bettencourt). “There were effects simulations of the blood hitting the window and running down,” Hellier remarks. “Very gruesome stuff. We also did some environment extensions outside of Spiderhead. Anytime we are looking out of Abnesti’s [Chris Hemsworth] window, or outside through the front with the islands and water, was us doing environment extensions. It was all matte painting photography stitches.” Not everything had to be photorealistic. Comments Hellier, “We did some of the psychedelic treatments when Jeff [Miles Teller] and Abnesti are under the influence of the drugs being tested. For the most part, it was chromatic aberration treatments and lens flares additions. That was a fun process to look develop with Joe, who had a particular idea and wanted to keep it in the realm of optical effects and not go too far out. There is a shot at the end when Abnesti is flying his plane under the influence of these drugs and we had to do these sundog effects shown from his point of view.”
Battered teenage Groot was made slightly taller and beefier with chips, charring and dirt.
Among the army of visual effects vendors working for Marvel Studios Visual Effects Supervisor Jake Morrison for Thor: Love and Thunder was Framestore, which was responsible for the opening scene featuring the Guardians of the Galaxy, Thor and Korg taking part in the Indigarr battle, a crystal temple and giant goats. “The battle has a Mad Max intergalactic feel to it,” notes Framestore Visual Effects Supervisor Matt Twyford. “Indigarr was an alien planet, and you had to be made immediately aware this was not happening on Earth. That’s why we had the monstrous stones, strange galactic objects in the sky, and is a blue, dusty, sandy environment with a warm grade over the top. It was shot at ILM’s StageCraft volume down in Australia.”
Initially executing the destruction of the crystal city was viewed to be the biggest challenge, but even with it being redesigned the rendering went smoothly.
“The battle has a Mad Max intergalactic feel to it. Indigarr was an alien planet and you had to be made immediately aware this was not happening on Earth. That’s why we had the monstrous stones, strange galactic objects in the sky, and is a blue, dusty, sandy environment with a warm grade over the top. It was shot at ILM’s StageCraft volume down in Australia.”
There were positive and negatives working with StageCraft. “We ingested the environment from ILM and dropped in all of the battle action,” Twyford explains. “You have all of the actors and extras in the environment, so they are naturally working with it. The lighting was an identical match. But because it was a 3D environment projected onto a curved screen and there are time delays, you can’t do 3D tracking. On the complicated shots, we used the assets from ILM and re-rendered through our track camera where we based it on the set rather than the volume. On other shots, we were doing enhancements, and that was done with simple one-point tracks in compositing. otherwise you would get strange distortions in geometry.”
Visual references for the battlefield were World War I trenches and stumps of burnt trees as well as the graphic black smokestacks from the Gulf War.
Booskans are fighting the native Indigarrians. “We added energy weapons and hover bikes, which are not things you can relate to on Earth,” Twyford states. “The [rowdy, aggressive] Booskans are anthropomorphic like people, but we adjusted the proportions of their legs and arms.” The creature designs for the Booskans were provided to Framestore. “Their headpieces were created, and a few prosthetics were put on the arms and legs,” Twyford describes. “They had four or five different variations. We then recreated digital-double versions of the main bad guy and four hero guys. Then we had a whole raft of crowd variance as well. Because the prosthetic heads were fixed and solid, we rebuilt their faces so they could emote, scream and even talk.”
“We ingested the environment from ILM and dropped in all of the battle action. You have all of the actors and extras in the environment, so they are naturally working with it. The lighting was an identical match. But because it was a 3D environment projected onto a curved screen and there are time delays, you can’t do 3D tracking. On the complicated shots, we used the assets from ILM and re-rendered through our track camera where we based it on the set rather than the volume.”
Multiple designs were created for the submissive Indigarrians, which had prosthetic ears and noses. “Originally, the Indigarrians were much more alien and had insectoid eyes,” Twyford reveals. “However, they needed to fit with the performances, especially of the king. We went with a light touch where we made sure that the blue of the skin was clean, added a tiny bit of alien texture to it, and did some work on iris in the eyes. We made sure that they didn’t look like painted people, but you still got the 100% performance, which was driven by great piece of acting.”
Vehicles like hover bikes driven by the Booskans helped the viewer to immediately realize that the battle is taking place on an alien environment.
Most of the explosions are CG. “We had reference from the anime feature Akira for the smoke and explosions,” Twyford remarks. “It was a graphic, almost gamey look. There was also reference from World War I of trenches and stumps of burnt trees. As well as from the Gulf War where there was this graphic black, solid smokestacks. It made the environment feel quite surreal. We rendered a whole batch of explosions, smokestacks and bullet squibs in 3D, and half were rendered shot by shot, and the other half we used as generic elements for the compositing team to place when and where they needed.”
The Indigarr environment was shot at ILM’s StageCraft volume in Australia, with Framestore adding in the battle elements.
“The [rowdy, aggressive] Booskans are anthropomorphic like people, but we adjusted the proportions of their legs and arms. Their headpieces were created, and a few prosthetics were put on the arms and legs. They had four or five different variations. We then recreated digital-double versions of the main bad guy and four hero guys. Then we had a whole raft of crowd variance as well. Because the prosthetic heads were fixed and solid, we rebuilt their faces so they could emote, scream and even talk.”
Producing the crystal temple, which the Indigarrians are defending from the Booskans, was originally viewed as the biggest challenge. “It’s huge,” Twyford notes. “600 meters high. We needed to collapse it, and when you put a complicated simulation and essentially crystal through the renderer, things are going to explode. But it actually worked quickly. Although it did get a massive redesign, most of the dynamics setup in look development transferred to new design quickly. A lot of time was spent on modeling because it was a high-resolution model. For the collapse, we went to our effects guys who, within two or three goes, nailed it. We got feedback from the director and [Marvel Studio President of Physical, Post Production, VFX and Animation] Victoria Alonso, who wanted to play more of the comedic value, so we added in a few more twisted bits left over.”
Making a cameo appearance are the Guardians of the Galaxy. “They’re like old friends because I’ve worked on Guardians of the Galaxy Vol. 1 and Vol. 2,” Twyford reflects. “I know them inside out as to what they require in terms of visual effects. I love Groot and Rocket. We were reusing a lot of basic assets and adding new costumes. Effectively, Groot is the teenager that you see in Avengers: Endgame, but he is slightly taller and bulkier. As we come across him in the middle of a battle, he is quite a bit battered. Groot is chipped, charred, dirty and frustrated because they wanted a holiday and are not getting one!”
Korg went through a redesign which allowed for his rocks to flex more without viewers noticing.
Thor’s rock creature sidekick Korg was altered. “Originally, he was rocks moving against each other,” explains Twyford. “Then there was a YouTube skit done with Deadpool, which had a slightly different technique, and the director found that to be more interesting. It wasn’t absolutely solid rocks moving around. We came up with new way to do facial expressions where the rocks flexed, but you don’t see them do it. That allowed us to open up a whole new level of performance for Korg.”
“We had reference from the anime feature Akira for the smoke and explosions. It was a graphic, almost gamey look. There was also reference from World War I of trenches and stumps of burnt trees. As well as from the Gulf War where there was this graphic black, solid smokestacks. It made the environment feel quite surreal. We rendered a whole batch of explosions, smokestacks and bullet squibs in 3D, and half were rendered shot by shot, and the other half we used as generic elements for the compositing team to place when and where they needed.”
Great fun was had in visually developing the giant goats. “They were based on a real goat design and are literally two to three times bigger and a lot beefier,” Twyford states. “The heads were built as maquettes, and in our minds we assigned characteristics to them. One is more suave and sophisticated like James Bond, and the other is more Dumb and Dumber and happy-go-lucky.” Despite having to hand over the goats to other vendors, working on Thor: Love and Thunder was not a chore. “[Director] Taika Waititi wanted people to enjoy the movie, and we enjoyed making it. You could see that everyone was having a bit of fun and adding a bit of a laugh in along the way.”
Images courtesy of Universal Pictures and Monkeypaw Productions.
The creature unfolds like origami and moves with the efficiency of a jellyfish.
Being conventional when it comes to the horror genre is something that does not apply to filmmaker Jordan Peele (Get Out) even when presented with his biggest budget to date for Nope. The title is the appropriate answer for the viewers left confused by the first trailer which suggested that the characters were threatened by some sort of malevolent environmental force. The observation is partially correct as the turmoil is caused by a UFO creature that is able to channel the wind, but the visual effects work that total 700 long shots also consists of extensive sky replacements, day-for-night photography and a rampaging chimpanzee.
Different types of digital clouds were rendered.
“When Jordan was writing the script, he had a framework for the story and what he wanted that UFO alien to be. Jordan wanted to figure out some of the visuals to help inform the staging of the story and how to play the horror element of our creature and UFO. … We did six months of shot design to figure out how do we make a flying saucer that is classic and simple as well as being a living and breathing creature of the wind. The whole movie happens in the clouds.”
—Guillaume Rocheron, Production Visual Effects Supervisor
“I was one of the first to start on Nope with Jordan Peele,” explains Production Visual Effects Supervisor Guillaume Rocheron (1917), who collaborated with sole vendor MPC. “When Jordan was writing the script, he had a framework for the story and what he wanted that UFO alien to be. Jordan wanted to figure out some of the visuals to help inform the staging of the story and how to play the horror element of our creature and UFO. It’s a movie about spectacle and the addiction to spectacle. Our characters are trying to film and document the sighting of a UFO and it turns into a much darker and complicated story for them. We did six months of shot design to figure out how do we make a flying saucer that is classic and simple as well as being a living and breathing creature of the wind. The whole movie happens in the clouds.”
Horses and helicopters do not go well together, so separate passes were created, beginning with the plate, a helicopter acting as a wind machine, digital effects and final composite.
Conveying size and scale was complicated by the minimalistic creature design. “Its structure unfolds like an origami and becomes a giant creature that is floating in the wind like a giant sail and skirt,” Rocheron explains. “All of that with extremely minimal details on everything. However, in visual effects we like textural details, things that inform scale to help us make things look photoreal. A flying saucer is 240 feet wide, which is like the size of fairly large airplane, so how do you convey scale, how do you make it photoreal, how do you literally make a white disk photoreal and integrate it into photography? It was a big challenge for us on the film.” To get some practical environmental interaction, a helicopter was utilized and subsequently digitally augmented. Rocheron adds, “We did a lot of large-scale dust simulations because dust is your visual cue to understand that the wind is blowing in this direction or the wind is being dragged by the saucer.”
“Its structure unfolds like an origami and becomes a giant creature that is floating in the wind like a giant sail and skirt. All of that with extremely minimal details on everything. However, in visual effects we like textural details, things that inform scale to help us make things look photoreal. A flying saucer is 240 feet wide, which is like the size of fairly large airplane, so how do you convey scale, how do you make it photoreal, how do you literally make a white disk photoreal and integrate it into photography? It was a big challenge for us…”
—Guillaume Rocheron, Production Visual Effects Supervisor
The nighttime footage was day-for-night with a color film camera synced with an infrared digital camera.
Every shot had CG skies. “Nope is about something hiding in the sky,” Rocheron remarks. “We had to completely create, art direct and light digital clouds. You traditionally do sky replacements because you want the skies to be prettier and look a certain way, whereas for us it was literally our playground. From the previs stage we created setups in Houdini that would give us sky boxes made of geometry that would describe the shape of the clouds so that the clouds could always drift in the direction of the wind. We could keyframe that and animate our saucer hiding and moving through the clouds. It was a huge design exercise to get the clouds throughout the whole movie.” Principal photography took place in California which is very sunny. Rocheron notes, “We said, ‘Our actors are always going to be somehow in between clouds, so they’re always going to get the sunlight.’ In every shot we put the drifting shadows of the clouds on the terrain so to connect the sky and ground.”
Gordy is was an entirely CG creature that goes on a rampage.
“Because all of the encounters happen in that valley at nighttime and cameras don’t see a lot at night. … The only way to do this is day-for-night, where you shoot during the day and in post you try to give it a night look. … We created a new rig where we took a Panavision 65mm film camera and mounted it on a 3D rig with an ARRI ALEXA 65 digital camera that was infrared. Infrared footage gives you perfectly black skies. By match moving the infrared and color film footage we were able to extract depth passes and modulate the visibility. We shot plates at night of a house in the distance and comped those house lights into our day-for-night shots.”
—Guillaume Rocheron, Production Visual Effects Supervisor
Only three shots had greenscreen. “We were going to do all [shots] on location in natural light,” Rocheron states. “Literally, I embraced the blue sky as our bluescreens where we key the blue sky and did a lot of rotoscope to get our actors in and make sure that everything is fitting in. MPC developed an app on the iPad with Unreal Engine that was mapped to the IMAX lenses, and we would go to the virtual viewfinder and we could literally see not only static things but the whole previs on it. We could follow the saucer in the sky that was tracked to the actual location. We looked at it with [Cinematographer] Hoyte van Hoytema [Dunkirk] and Jordan, and said, ‘This is where it is. This is the lensing that works.’ It was trying to stay nimble and embrace the fact that it’s a movie that wants to feel that you didn’t shoot it on the set. It was shot on location and there are imperfections that come with it.”
The props were made 30% bigger so that Terry Notary was at the right proportion to portray Gordy and interact with the surroundings.
“Nope is about something hiding in the sky. We had to completely create, art direct and light digital clouds. You traditionally do sky replacements because you want the skies to be prettier and look a certain way, whereas for us it was literally our playground.”
—Guillaume Rocheron, Production Visual Effects Supervisor
All of the nighttime scenes were shot day-for-night. “Because all of the encounters happen in that valley at nighttime and cameras don’t see a lot at night,” explains Rocheron explains, “you have to put lights to see something. One thing that we realized when scouting at night in that big valley is if you turned all of the lights off, the human eye actually sees in the night. The only way to do this is day-for-night, where you shoot during the day and in post you try to give it a night look. The cool thing is that it was a great collaboration with Hoyte. We were like, ‘What if we try to synchronize an infrared and film camera together.’ We created a new rig where we took a Panavision 65mm film camera and mounted it on a 3D rig with an ARRI ALEXA 65 digital camera that was infrared. Infrared footage gives you perfectly black skies.” The film footage provided the color information. “By match moving the infrared and color film footage we were able to extract depth passes and modulate the visibility,” he says, adding that certain nighttime cues had to be incorporated. “We shot plates at night of a house in the distance and comped those house lights into our day-for-night shots.”
The minimalistic design of the creature made it difficult to integrate into the plate photography.
Not everything takes place in the skies, as there is a flashback scene of a chimp named Gordy killing people on a television production set. “We made a full-frame photoreal chimp and filmed the whole scene from the point of view of our character, who is hiding under a table and sees the whole scene through a double layered semi-transparent silk tablecloth that diffuses the light and creates obscure things,” Rocheron states. “Terry Notary performed Gordy and gave us amazing performances. We didn’t do mocap per se. We had five witness cameras around the set to document his movements. I took the decision to not put him entirely in the full cap suits. I wanted him to have the clothing that our chimp has and the blood on his face because it was trying to play to the horror and how our chimp interacts with its environment. We did a false perspective set where the props that were in the foreground were 30% bigger. The little girl that is hiding behind the sofa is 6′ foot 2” stuntwoman. We created that overscale environment so that Terry would be the right size for being a chimp and then replaced him with our chimp, but we would get all of the interaction with the set.”
Symmetry rules the blindingly bright hallways of Severance that take Mark Scout (Adam Scott) and Lumon workers to and from offices. The set had several long corridors, then the VFX team extended them and made them even more narrow, symmetrical and endless.
On her first day on the job at mysterious Lumon Industries, Helly Riggs (Britt Lower) undergoes the “severance” procedure, which involves placing an implant in her brain to bifurcate her memories. From then on, her office self remembers nothing of her non-work life, and her outside self knows nothing of her experiences on the job. She is effectively split into two versions of herself, the “innie” and the “outie,” in a twisted kind of work-life balance in the Apple TV+ series Severance.
Executing a zolly (zoom + dolly) shot of Mark in the elevator. The elevators are the site of the “innie/outie” transformation entering or leaving work, in which the workers’ faces reflect the switching of selves.
The darkly comic sci-fi mystery has generated critical acclaim and been renewed for a second season. Dan Erickson created the show, which Ben Stiller (six episodes) and Aoife McArdle (three episodes) directed. Stiller and DP Jessica Lee Gagné “had a very specific look in mind to fit the story,” according to Visual Effects Supervisor Vadim Turchin. The story’s retro-futurist work setting is mostly stark and striking, with influences from modernist architect-designer Eero Saarinen and filmmaker Jacques Tati. To help achieve that vision, MPC’s visual effects team extended interiors, altered exteriors and provided many invisible effects.
Seth Milchick (Tramell Tillman), a supervisor, takes Britt’s photo. The room is sparse, even bare, as are other offices at Lumon.
“When we were filming in New York, Bell Labs came up as an option for us. I thought it was defunct, but someone had restored it and they let us use it. It was designed by Eero Saarinen, it’s in New Jersey, and it’s just amazing. A lot was inspired by him. It was the same vibe, the same landscape, and feeling. The exterior is mind-blowing. Of course, the [Lumon] interior is on a stage, but we design it in this same vein – grand, eerie, but beautiful.”
—Jeremy Hindle, Production Designer
Mark Scout (Adam Scott) and Helly Riggs (Britt Lower) face each other before a vast expanse of astroturf-green carpet and lowered, patterned, symmetrical ceilings. Both interior and exterior shots filtered influences of architect/designer Eero Saarinen and filmmaker Jacques Tati.
Irving Bailiff (John Turturro) in Lumon’s waiting room, which is furnished with green-leather-upholstered seats and decorated with fake green plants. Using an off-putting green as a foundational color was meant to convey elements of envy, illness, pastures and life itself – all mixed together.
On her first Lumon morning, Helly wakes to find herself splayed out on a conference table, with no memory of who she is or how she got there. The filmmakers considered that the birth of her innie self. To begin this existence, she watches a video of herself from some time earlier, agreeing to participate in the severance program. She is told she can elect to leave, which she chooses, but then finds she’s utterly unable to exit the building until the close of work. In the meantime, she is kept under constant surveillance on the job. In a sense, the Lumon office is like a heavily monitored playground for her new self and others. In the Macrodata Refinement (MDR) department, she meets her fellow workers Mark Scout (Adam Scott), Dylan George (Zack Cherry) and Irving Bailiff (John Turturro), who work in cubicles clustered in the center of an 80 ft. x 40 ft. office with bare white walls and deep green carpeting. The windowless room has low ceilings that contribute to the claustrophobia. Trapped together, the workers sit in front of vintage computers and sort numbers into files to no discernable end. Treated like children, they receive silly incentives like “waffle parties.” They live and breathe work because, as innies, that’s all there is. At the end of the workday, they enter an elevator that transforms them into their outside selves through some invisible means. Gradually, while inside, the four workers get curious about their captivity and their “outie” lives. They venture deeper into the building, seeking to uncover the secrets of Lumon, including what it is they and the company actually do.
MPC’s VFX team extended interiors and backgrounds, altered exteriors and provided invisible effects, always adherring to the show’s relentless symmetry. In the foreground are Irving Bailiff (John Turturro), Helly (Britt Lower) and Mark Scout (Adam Scott).
Production Designer Jeremy Hindle says that he and Gagné “had the same ideas about making Severance visually interesting, about pushing the boundaries a little. I wanted it to be playful, and in my look book I actually referenced the movie Playtime, a 1960s movie by Jacques Tati. Their art department was strange and interesting.”
“[VFX artists helped the art department] with creating symmetry in different sets, which otherwise would be impossible to achieve practically, especially when it comes to the interior lobby of Lumon. We put a lot of effort in finding subtle ways to add that symmetry, going for almost surreal.”
—Vadim Turchin, Visual Effects Supervisor
Patricia Arquette as Mark’s boss Harmony Cobel in her office at Lumon, which is eerie and beautiful, like many of the show’s settings.
Serendipitously, the modernist Bell Labs Holmdel Complex (a famed research facility now redeveloped as Bell Works) would contribute to the look sought by the filmmakers. Hindle continues, “When we were filming in New York, Bell Labs came up as an option for us. I thought it was defunct, but someone had restored it and they let us use it. It was designed by Eero Saarinen, it’s in New Jersey, and it’s just amazing. A lot was inspired by him. It was the same vibe, the same landscape, and feeling. The exterior is mind-blowing. Of course, the [Lumon] interior is on a stage, but we design it in this same vein – grand, eerie, but beautiful.”
The Bell Labs exterior served as that of Lumen Industries, with some exterior matte-painting work. “That is a wonderful location, but unfortunately for the story, it had too many residential details, as well as the asymmetrical nature of landscaping, Turchin remarks. “We reshaped the traffic flow, mirrored the ponds on both sides of the building, created symmetrical tree lines, and filled the parking lots with cars that matched the tone of the story.” In other VFX for the Bell complex, “we heavily reworked a lot of the lighting for the exterior of Lumon. Ben and Jessica wanted cooler tones for the parking lot and the building, so we replaced a good portion of it with CG lights,” Turchin adds.
Helly Riggs (Britt Lower) wakes up on a conference table in a windowless, green-carpeted boardroom, her memory erased, following what the filmmakers call the “birth” of her “innie self.”
The MDR (Macrodata Refinement) department team, left, runs into Burt Goodman (Christopher Walken), second from right, head of the Optics and Design department, in the maze-like network of corridors at Lumon Industries.
Other outside scenes featured the corporate duplex residences of Scout and next-door neighbor Mrs. Selvig, played by Patricia Arquette, who also plays his boss Harmony Cobel inside (she has not undergone severance). The scenes were supposed to be taking place during winter in Nyack, New York. The invisible VFX work there included “snow, snow, snow. Lots of it,” Turchin says. “Shooting in late March forced us to add a significant amount of snow and wet downs.” For the inside scenes, the VFX artists also helped the art department “with creating symmetry in different sets, which otherwise would be impossible to achieve practically,” Turchin comments, “especially when it comes to the interior lobby of Lumon.” Indeed, the visuals of Severance have a rather relentless symmetry. He adds, “We put a lot of effort in finding subtle ways to add that symmetry, going for almost surreal.”
Mark Scout (Adam Scott), Dylan George (Zack Cherry), Irving Bailiff (John Turturro) and Helly Riggs (Britt Lower) are filmed in a confrontation with Supervisor Milchick (Tramell Tillman).
Workstations, where the four core “innies” work at sorting numbers into files to no discernable end, are clustered in the middle of the office and outfitted with round, retro computers. The cubicles are surrounded by the ever-present bare white walls and green carpeting, drenched in fluorescent light, with no windows, and a low ceiling to suggest both a playground and a claustrophobic menace.
Inside Lumon, the maze of hallways between rooms is confusing and seems endless. Even though the office corridors occupied three soundstages, visual effects were called upon to stretch them out and to make it all one consistent space. Turchin explains, “As amazing as the set was, there were definitely shots where we had to add extensions, creating more complexity.”
One particularly creepy Lumon area explored by the office workers is called the Perpetuity Wing, an odd, cult-like shrine to company founder Keir Eagan that includes a replica of his childhood home. “The set was meant to feel like a replica of the actual location, housed in a museum-like setting. We found a great spot along the Hudson and then built an exterior portion to represent a museum space, encompassing the real location. The DP did a great job of lighting that exterior location to make it feel as if it was lit by interior lighting, and really helped us with integration,” Turchin says.
“The [Perpetuity Wing] set was meant to feel like a replica of the actual location [of the founder’s childhood home], housed in a museum-like setting. We found a great spot along the Hudson and then built an exterior portion to represent a museum space, encompassing the real location. The DP did a great job of lighting that exterior location to make it feel as if it was lit by interior lighting, and really helped us with integration.”
—Vadim Turchin, Visual Effects Supervisor
The eerie Perpetuity Wing has a replica of the childhood house of Lumon founder Keir Eagan (to the right), housed in a museum-like setting, completed with VFX. The exterior of the Lumon building was shot at an existing modernist mid-century building, the Bell Labs Holmdel Complex in New Jersey.
Other scenes required visible VFX work, such as the “reintegration” scene with former worker Petey (Yul Vasquez), who had undergone severance and now has fused his memories back together, resulting in a scene where he’s whipping back and forth between two places. Turchin explains, “It’s an interesting one. A huge credit has to go to the editorial team to create the right feel, as well as [VFX Producer and Supervisor] Ashley Bernes, who did an amazing job of pre-planning and supervising a lot of those moments. Since we had to shoot on multiple locations, it was essential that the lighting and camera positions were consistent. The camera department took highly detailed notes, so we were able to match scenes really well.”
Another challenge was Irving’s hallucination of dripping and spreading black paint. Turchin recalls, “We shot a lot of practical materials for that but, in the end, we replaced them with full CG simulations. It was fun working on it and getting the right balance of character and realism. I cannot wait to see if we get to make it even grander in Season 2.”
One of the silly incentives that workers receive at Lumon are “waffle parties.” Helly and Seth party in a sterile, symmetrical office, on a dance floor of green carpet.
The elevators are the site of the innie/outie transformation entering or leaving work, in which the workers’ faces reflect the switching of selves. Turchin notes, “We had to do a few adjustments. Besides standard stabilization, we often had to take out unwanted motions. We also re-timed the background in order to help the performance to stand out, slowing it down or speeding it up, enhancing the zolly effect.”
“I would say the greatest challenge was making sure not to do too much. [Executive Producer/director Ben Stiller] had a very clear vision of what he wanted, and subtlety was so important to him. We constantly asked, ‘How do we complement and support the story without the VFX calling attention to itself?’ I hope we succeeded.”
—Vadim Turchin, Visual Effects Supervisor
A motion-controlled zolly (zoom + dolly) move was used for most of the elevator innie/outtie transitions. Turchin notes, “Jessica really loved the flexibility to be able to operate the camera while still being motion-controlled. It definitely made the zolly process much easier.”
Executive Producer/director Ben Stiller had a specific look in mind that fit the story’s stark, retro-futurist work setting.
Turchin also gives kudos to Compositing Supervisor David Piombino, VFX Producer Nicole Melius, Managing Director Angela Lupo and “the entire [MPC] Bangalore team, who made most of this possible.” The series was shot with Sony Venice digital cameras with custom lenses.
Turchin concludes, “I would say the greatest challenge was making sure not to do too much. Ben had a very clear vision of what he wanted, and subtlety was so important to him. We constantly asked, ‘How do we complement and support the story without the VFX calling attention to itself?’ I hope we succeeded.”
The most significant thing introduced during the story creation process was the idea that the part of the body where Uta is touched would turn back into bubbles.
After building a reputation for working on Death Note and Attack on Titan, which involve the deadly abuse of supernatural forces, Japanese filmmaker Tetsuro Araki was seeking a different creative challenge in the world of anime; he began with a drawing of the aquatic faerie-tale character created by Hans Christian Andersen in the foreground and a devastated Tokyo in the background. “If you look at concept art for The Little Mermaid, the composition of the final animation is basically the same,” Araki reveals. “Perhaps it would have been better to go with images that didn’t show her face, but I think it would have ultimately resulted in the same composition. I wanted to avoid the unnecessary impact created by her face and the strong impression it leaves.” Bubble takes place in Tokyo where a mysterious natural phenomenon that counters the laws of physics has turned the abandoned city into a playground for parkour team battles.
The use of 2D animation meant that there was more creative freedom with the lighting compared to 3D.
“Perhaps it would have been better to go with images that didn’t show her face, but I think it would have ultimately resulted in the same composition. I wanted to avoid the unnecessary impact created by her face and the strong impression it leaves.”
—Tetsuro Araki, Director
Director Tetsuro Araki wanted to explore the beauty of dilapidation in his depiction of post-apocalyptic Tokyo.
“For the action sequences, Mr. Wada [Executive Producer Jouji Wada] and his team had a condition from the beginning that the project should make use of Wit Studio’s action animators. I knew that as long as the film had a lot of action scenes, there would always be places I could use the skills I’d acquired up to that point.”
—Tetsuro Araki, Director
“The combination of The Little Mermaid and parkour came about when I approached producer Genki Kawamura with multiple ideas, and he mixed and matched some of them together,” Araki states. “I think this resulted in the creation of more attention-grabbing hooks. It was an exciting experience, as creating an action film that was simultaneously a love story was a new challenge for us.” Upon falling into the gravity-bending sea, parkour star Hibiki is saved by an otherworldly young woman whom he subsequently names Uta. “From the beginning, creating a coming-of-age love story, which we’d never done before, felt like a massive challenge for us,” Araki observes. “After giving it a go, we realized that when somebody who specializes in action works on a love story, the results would often resemble ‘romance action’ scenes. I feel it was very worthwhile though, and we were able to create something truly unique and interesting.”
Araki tried to incorporate the traditional vivid look of Japanese anime while also incorporating realistic layouts.
Bubble is a combination of 2D and 3D animation. “I believe this film showcases and builds on everything we have done in creating the hybrid 3D CG and 2D animation that we specialized in during the production of Attack on Titan,” Araki remarks. “If this were a fully 3D CG film, we would have needed to calculate the correct lighting, which would have been very difficult. But for 2D animation, since they are drawings, you can place the light wherever you’d like, so it wasn’t that big of an issue. It was just a matter of whether or not we thought it looked beautiful. For this film, we used a process for coloring and lighting called color scripting. We had Mizutamari Higashi do the color scripts for important scenes so we could ensure they turned out beautiful. I had never used anyone from that section on my previous projects, so it was new for me. But it was definitely effective.” Executive Producer Jouji Wada had a specific request. “For the action sequences, Mr. Wada and his team had a condition from the beginning that the project should make use of Wit Studio’s action animators. I knew that as long as the film had a lot of action scenes, there would always be places I could use the skills I’d acquired up to that point.”
“From the beginning, creating a coming-of-age love story, which we’d never done before, felt like a massive challenge for us. After giving it a go, we realized that when somebody who specializes in action works on a love story, the results would often resemble ‘romance action’ scenes. I feel it was very worthwhile though, and we were able to create something truly unique and interesting.”
—Tetsuro Araki, Director
Color scripting was essential in making sure that the lighting and colors combined to make beautiful imagery.
Animatics were critical in developing the narrative structure for the Netflix production. “We created the animatics using a program called Storyboard Pro,” Akari explains. “We actually learned the techniques from overseas animators. Director Makoto Shinkai was the first director in Japan to utilize it and show both myself and other Japanese filmmakers that it could be used. When Your Name came out in 2016, everyone realized that it was something they had to learn to use and began adopting it themselves. The advantage of the program is that you can simulate the viewing experience for your team and change the storyboards based on hard-to-follow sections and feedback. This wasn’t possible with conventional flipbook storyboards, and it was difficult to get proper feedback from everyone. Reviewing with animatics is an effective method for improving scenes, so I had already been using them on previous projects, but I significantly improved my accuracy by using them again this time.”
Serving as the main adversaries in the competition known as Tokyo Battlekour are the Undertakers who cheat using technology.
“I think the attraction is in the shock of seeing a familiar cityscape in ruins. I was also very interested in the beauty of dilapidation. However, for this film, I often told the staff not to portray the world as a dystopian one. From the main characters’ perspective, it’s a utopia. … There’s a tendency to immediately draw a dystopia as an unpleasant place, but based on my description, I got [the art team] to depict it as a lovely and beautiful place instead.”
—Tetsuro Araki, Director
Araki has his own unique interpretation of a post-apocalyptic Tokyo. “I think the attraction is in the shock of seeing a familiar cityscape in ruins,” he says. “I was also very interested in the beauty of dilapidation. However, for this film, I often told the staff not to portray the world as a dystopian one. From the main characters’ perspective, it’s a utopia. I would also say to the art team that the world outside the bubble was stifling for the characters and that their world should be depicted as a utopia so the visuals would convey their feelings of happiness. There’s a tendency to immediately draw a dystopia as an unpleasant place, but based on my description, I got them to depict it as a lovely and beautiful place instead.” Despite the fantasy aspect, the characters and story had to have an element of reality. “I tried to incorporate the traditional vivid look of Japanese anime while also incorporating realistic layouts. I think my style falls somewhere between realistic and comic book,” Araki adds.
Clouds, bubbles and debris populate the frame but were art directed to prevent them from being distracting.
One of the reasons Wit Studio was chosen is the ability of their animators to handle action sequences.
“The most significant thing we introduced during the story creation process was the idea of something that would collapse when you touched it,” Araki notes. “It would have been difficult to make it into a film without this element. This idea was suggested by Ms. Kawaguchi, a member of Wit Studio, and I am very grateful to her for this. There was a big difference with and without this concept in place.” Uta and Hibiki share a sad farewell. “I put a lot of thought into the spiral motif and how I could make the scene less sad,” Araki comments. “Uta says at the end that she won’t be lonely because they will meet again in a few decades or a few hundred million years, but Hibiki is both amazed and astonished at the scale of her statement. At that moment, you feel the difference between the scale of the universe and ordinary humans. I included spirals as I wanted the audience to feel Uta’s statement of meeting again decades from now.”
A number of CG cars were created, such as the Alfa Romeo.
Every movie that gets made is a miracle as so many elements need to come together logistically, budgetarily, artistically and narratively over a period of a couple of years before it can be presented to audiences. There are moments when artistic ambitions are able to rise above the societal and economical obstacles to create a seminal classic like Francis Ford Coppola was able to achieve with The Godfather. The Offer, which consists of 10 episodes streaming on Paramount+, recounts the trials and tribulations of producer Albert S. Ruddy to cinematically adapt the pulpy gangster best-selling novel by Mario Puzo. The biographical drama miniseries created by Michael Tolkin (Ray Donovan) and guided by showrunner Nikki Toscano (Hunters) relied on Visual Effects Supervisor John Mangia (The Queen’s Gambit) to transform the Paramount Studios backlot and Universal Studios in Los Angeles into early 1970s New York City.
“The key to being able to pull that off [building a believable New York City on an L.A. backlot] was doing the research and having those early discussions with the production designer and showrunner, making sure that we had a clear target of what we were achieving and making sure that all of our vendors were on the same page. The Offer did not have the budget for the schedule to do something twice.”
—John Mangia, Visual Effects Supervisor
Bluescreen assisted with scenes that had wet downs.
The bulk of the environment work occurred in Episode 106 when the principal photography of The Godfather is portrayed.
“I started on the show in May of 2021 and during shooting we had a couple of COVID-19 related shutdowns which created some scheduling issues and caused us to strategize and rethink a couple of things, but the impact was not terrible, especially because we were shooting on studio backlots which are much more controlled environments,” Mangia notes. “It was challenging to find and secure vendors because we were looking for ones that were invested in what we were making. It’s a show about how The Godfather got made, and when it’s an incredibly beloved film like that, you have to put the love into it and make sure that everything is true to the film. We’re recreating some of these famous sets from that film, and we were looking at all of the small details trying to get them right.”
Outpost VFX, Mavericks VFX, CBS VFX, Epic Shepherd and Basilic Fly Studio created 800 visual effects shots for the 10 episodes. “We had 10 weeks of post per episode, but it was all overlapping,” Mangia explains. “We were block shooting, so we were prepping, shooting and in post concurrently.” The bulk of the visual effects occur in the middle of the season when the actual shooting of The Godfather is recreated. “They’re out on Fifth Avenue or in Harlem or the Bronx, and you have all of this environment work in these scenes,” Mangia outlines.
“For some reason, out here [in L.A.] it’s bluer, and having lived in both places I know this. When we were working on our environment and set extension work, sometimes we would modify the amount of cloud coverage and how blue the sky was in certain scenes. It was something we were sensitive to and conscious of because it’s one of those subtle things that people might not think about. That’s one of those unique things about Los Angeles that we wanted to feel different in the New York City shots.”
—John Mangia, Visual Effects Supervisor
“Episode 106 was our biggest one as it had 30% of our set extensions shots for the entire season, which was a tremendous amount of work. Almost all of those set extensions had to be CG because of the fluidity of the camera moves. By the end of it, we were delivering an episode every other week.” The development process was driven by visuals. “Visual effects vendors working on specific scenes would provide a concept still of that environment, which could be shown to the showrunner and get the creative signoff,” he says. “Sometimes it was ‘Fifth Avenue is Fifth Avenue,’ and we had to make it look like it was in The Godfather. Other times it was getting the right vibe.”
Plate photography was conducted in Sicily, but not in New York City. “The visual effects team shot thousands of photographs of neighborhoods, like Columbus Circle, Mulberry Street and Carroll Gardens,” Mangia remarks. “It was important especially for me as I’m originally from New York City and of Italian-American heritage, that if we’re making a show about The Godfather set in New York City it has to have that authenticity, otherwise my great-grandfather is going be rolling over in his grave! We did source a lot of the designs of the buildings, textures, grunge and patina that is on everything in New York City. There is nothing clean in New York City.” New York City has changed a great deal since the early 1970s. Mangia explains, “That was part of the reason why it didn’t make sense to shoot the show there, because some of the locations that we were depicting either don’t exist anymore or don’t look anything like they used to. We looked through photo and video archives of New York City, old tax survey photos, and we were collaborating with the art department the entire time to get the aesthetic right.”
The visual effects team shot thousands of photographs of neighborhoods like Columbus Circle.
New York City has changed a great deal since the early 1970s, so the decision was made to transform the Paramount Studios backlot in Los Angeles.
Actual set plans from The Godfather were sourced by the art department led by Production Designer Laurence Bennett (Billions). “They were able to rebuild the Don’s office based on the original blueprints of Louis Restaurant where Michael Corleone shoots Virgil Sollozzo and [NYPD Captain] Mark McCluskey was redone completely from scratch,” Mangia reveals. “But some of the other things, like Best & Co., which is a department store that is no longer on Fifth Avenue, we had built on the backlot, and we were able to do some previs to work out how to fit the building by taking over the top of it and extending it by three or four display windows. We also had to build St. Patrick’s Cathedral, Saks Fifth Avenue and Cartier Building. All of these landmark buildings on Fifth Avenue would be there and are actually in The Godfather. We built all of that including the period cars and people walking around. We shot photo reference of 170 extras in period clothing to create the crowds in various shots, and we also did a bunch of bluescreen plate photography for crowd elements for scenes in Columbus Circle where there is a crowd chanting, waving signs and yelling. Some shots such as the aerial of Columbus Circle were fully CG.”
“The visual effects team shot thousands of photographs of neighborhoods, like Columbus Circle, Mulberry Street and Carroll Gardens. It was important especially for me as I’m originally from New York City and of Italian-American heritage, that if we’re making a show about The Godfather set in New York City it has to have that authenticity, otherwise my great-grandfather is going be rolling over in his grave!”
—John Mangia, Visual Effects Supervisor
A personal favorite for VFX Supervisor John Mangia is the opening shot of Mulberry Street and seeing New York City.
“That [the changes in New York City since the 1970s] was part of the reason why it didn’t make sense to shoot the show there, because some of the locations that we were depicting either don’t exist anymore or don’t look anything like they used to. We looked through photo and video archives of New York City, old tax survey photos, and we were collaborating with the art department the entire time to get the aesthetic right.”
—John Mangia, Visual Effects Supervisor
“Something that was helpful was our vendors all had similar cloud pipelines which allowed us not to double down on certain kinds of assets,” Mangia remarks. “We did share assets. Mavericks VFX built all of the cars except for the CG Alfa Romeo in Episode 109. Outpost VFX built a crowd asset.” Virtual production was not a viable option. “We had a lot of exterior shots and the LED panels are not bright enough to have the right dynamic range,” Mangia adds. Bluescreen assisted with scenes that had wet downs. “What that required was reflecting our environment work into the puddles on the street, which was quite a bit of extra compositing,” Mangia notes. “But as soon as you put something like that in shot, the viewer is more likely to believe because it’s what you expect to see. On my end, it was making sure that the bluescreens were tall enough that we didn’t have to do an extra roto and paintwork. If the bluescreens were high enough, the reflection would be entirely bluescreen and it would be easier to key. It’s an interesting conversation to have because sometimes you’ll get a unit production manager or line producer asking, ‘What is the reason the bluescreen is so large?’ And you need to explain that it has to be that big because of the environment that’s going there.”
The visual effects team looked through photo and video archives of New York City, and old tax survey photos, and collaborated with the art department to get the aesthetic right for landmarks such as the Brooklyn Bridge.
The former Lincoln Medical Center was recreated, as it served as the location for where Michael Corelone attempts to prevent the second assassination attempt on his father.
“We also had to build St. Patrick’s Cathedral, Saks Fifth Avenue and Cartier Building. All of these landmark buildings on Fifth Avenue would be there and are actually in The Godfather. We built all of that including the period cars and people walking around. We shot photo reference of 170 extras in period clothing to create the crowds in various shots, and we also did a bunch of bluescreen plate photography for crowd elements for scenes in Columbus Circle where there is a crowd chanting, waving signs and yelling. Some shots such as the aerial of Columbus Circle were fully CG.”
—John Mangia, Visual Effects Supervisor
Special effects compensated for the climate differences between Los Angeles and New York City. “Special Effects Supervisor Blumes Tracy [Made for Love] and his team created snow from 180 tons of chipped ice, had snow blowers, fans, falling snow, and dusting greens with snow,” Mangia states. “Then we had some other scenes that involve the mafia and some violence like gunplay and people getting shot, so there were squibs, and maybe later in post, visual effects would enhance it for timing. It’s always great to get that stuff in-camera. We also had a big shootout scene in Episode 106 in Harlem where a couple of the mob guys go and shoot up Nicky Barnes’ club. The special effects team placed 500 squibs on this building that were all blowing as these guys are shooting with shotguns and rifles, that visual effects ended up going in and doing a little bit of augmentation primarily due to editorial adjustments that were made.”
Plate photography was conducted in Sicily for settings such as Castello degli Schiavi.
The sky in Los Angeles looks quite different from sky in New York City. “For some reason, out here [in L.A.] it’s bluer, and having lived in both places I know this,” Mangia states. “When we were working on our environment and set extension work, sometimes we would modify the amount of crowd coverage and how blue the sky was in certain scenes. It was something we were sensitive to and conscious of because it’s one of those subtle things that people might not think about. That’s one of those unique things about Los Angeles that we wanted to feel different in the New York City shots.” The biggest challenge was how to make a believable 1970s New York City with just a couple of streets on Los Angeles backlots. Mangia observes, “The key to being able to pull that off was doing the research and having those early discussions with the production designer and showrunner, making sure that we had a clear target of what we were achieving and making sure that all of our vendors were on the same page. The Offer did not have the budget for the schedule to do something twice.” All of Episode 106 was challenging. Concludes Mangia, “I love the opening shot of show with the camera booming down on Mulberry Street and seeing New York City. It sets the mood and tone as well as brings the audience into it. There are so many great shots and scenes in The Offer.”
Images courtesy of Digital Domain and Marvel Studios.
Digital Domain had to come up with how effects simulations would work and look to show what happens when two universes collide with each other.
Living up to its title is Doctor Strange in the Multiverse of Madness, where filmmaker Sam Raimi (Spider-Man) infuses his horror sensibilities into the Marvel Cinematic Universe for the sequel that stars Benedict Cumberbatch, Elizabeth Olsen, Rachel McAdams, Chiwetel Ejiofor and Benedict Wong. Digital Domain was hired by Marvel Studios Visual Effects Supervisor Janek Sirrs (The Matrix) for a 100 shots that consist of the aftermath of two universes colliding with each other, a Sinister Universe version of the Sanctum Sanctorum, and the revelation of a hex conjured by Wanda and the attempt to capture her in the Mirror Universe. “For this show, it was a standard pipeline,” Digital Domain Visual Effects Supervisor Joel Behrens states. “We didn’t have to go outside of using our typical tools. We did V-Ray for lighting and rendering, Houdini for our effects, Nuke for compositing and Maya for asset builds.”
“We had the ground level of buildings built as set pieces and dressed accordingly per universe, and then they would do a LiDAR scan of that. We would get the geometry from the LiDAR data, build out the actual extensions based off the ground-level buildings and maintain that architectural look that was already established with the ground level, and run our destruction simulation, which in this case was a pseudo anti-gravity destruction.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
Filmmaker Sam Raimi brings his signature comedic spin on the horror genre to the MCU with the release of Doctor Strange in the Multiverse of Madness.
High-resolution digital doubles of Wanda and Doctor Strange were created by Digital Domain and shared with other vendors.
The Mirror Trap proved to be the most challenging look to develop and required 20 other versions of Wanda to appear in the various reflections.
On his way to find the Sinister Sanctum Sanctorum inhabited by the antagonistic and alternative version of himself, Doctor Strange (Benedict Cumberbatch) and Christine Palmer (Rachel McAdams) traverse through two different realities of New York City that have collided together and are ripping each other apart. “There were a lot of effects simulations and visual design that needed to happen to come up with that look,” Behrens reveals. “On a backlot location in London, there was a basic intersection and street that you see multiple times throughout the movie in various universes. We had the ground level of buildings built as set pieces and dressed accordingly per universe, and then they would do a LiDAR scan of that. We would get the geometry from the LiDAR data, build out the actual extensions based off the ground-level buildings and maintain that architectural look that was already established with the ground level, and run our destruction simulation, which in this case was a pseudo anti-gravity destruction.”
Plates were shot in Iceland, while portions of the grand staircase and foyer were practically built for the Sinister Sanctum Sanctorum.
“You can’t have it [the set of destroyed buildings] drifting away too quickly. Otherwise your buildings are gone by the end of the shot. It was finding that balance of how to keep interesting motion up there, along with these large, smoky, viscus-liquid tendrils that pull away from the buildings as well as the pieces of debris. Then, on top of that you’ve got the incursion from the other universe colliding and floating through space, whether in real-time or in a slightly slow-motion fashion to heighten the interest of the motion.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
Animation and motion tests were conducted for the debris. “You can’t have it drifting away too quickly. Otherwise your buildings are gone by the end of the shot,” Behrens remarks. “It was finding that balance of how to keep interesting motion up there, along with these large, smoky, viscus-liquid tendrils that pull away from the buildings as well as the pieces of debris. Then, on top of that you’ve got the incursion from the other universe colliding and floating through space, whether in real-time or in a slightly slow-motion fashion to heighten the interest of the motion.” As with all of movies by Sam Ramai, a certain automobile is seen floating in the background. “Some of the floating objects like the Oldsmobile Delta 88 were hung off of a large crane arm on wires to have them slightly spinning and drifting through a scene,” Behrens remarks. “It was taking a look at that and matching it. Sam and Janek wanted everything to have a hyper-real, more than slightly slower than real-time look in this universe from the incursion. We tended to go with a heavier slow-motion, high-frame-rate-shutter look for these elements like the Brooklyn Bridge or the subway that is crashing through the ground behind them or the Empire State Building.”
Plate photography was shot in Iceland of the black sand beaches to create an otherworldly feel for the Sinister Sanctum Sanctorum.
A car that cameos in the films of Sam Raimi is an Oldsmobile Delta 88.
Different iconic landmarks appear in the Sinister Universe, such as the Brooklyn Bridge in a Victorian Steampunk Gothic style sliding through the ocean.
The Sinister Sanctum Sanctorum was treated as if it was a haunted house.
A haunted house aesthetic was given to the original model of the Sanctum Sanctorum to create the Sinister Universe version. “We didn’t modify the silhouette or the shape of the building, but changed the materials it was made out of, such as using large, weathered pieces of stone that had large cracks in them,” Behrens states. “We had vines that went up the side, and it looked like it had been a 16th century mausoleum that has seen a lot of age and wear over time.” The building is slowly being pulled apart by a massive dark void. “You have this large chunk in the upper right-hand corner that is slowly pulling rocks apart from the construction along with these sinewy, inky tendrils that come off of it,” Behrens adds. “Then, once you go inside the Sanctum there is some weird universe stuff going on. Inside the foyer you’ve got the Grand Staircase, and behind it is this odd otherworldly beach where the surf is rolling up and [there’s] a gigantic, red ominous moon.” Plates were shot in Iceland, while on set Cumberbatch walked on a mirror that had some actual sand on it. “It was a fairly complex simulation to tie in with the surf edge as waves break on the beach,” Behrens says, “and we had these tributaries around the staircase that we wanted water to pool in so Doctor Strange would walk through the water. They played him dry for wet, so we also had to try to make his boots look like that they were getting wet from the water he is walking through.”
“[O]nce you go inside the Sanctum there is some weird universe stuff going on. Inside the foyer you’ve got the Grand Staircase, and behind it is this odd otherworldly beach where the surf is rolling up and [there’s] a gigantic, red ominous moon. … It was a fairly complex simulation to tie in with the surf edge as waves break on the beach, and we had these tributaries around the staircase that we wanted water to pool in so Doctor Strange would walk through the water. They played him dry for wet, so we also had to try to make his boots look like that they were getting wet from the water he is walking through.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
Doctor Strange encounters Wanda in an orchard that is an illusion, disguising a darker reality that builds upon the Marvel Studios television series WandaVision. “WandaVision had that digitized, almost pixelated television look for the hex as it got dropped and revealed what was actually happening in the world,” Behrens notes. “For this one they wanted it to be more natural and organic. We decided to tie it more into her smoky red magic and the dark hole magic. The idea of this wall of her magic that reveals the universe was tricky because we didn’t want it to be like a simplified wipe-away or dissolve. We had this swirling stuff that, as it wiped over certain branches of the trees, the smoke would cling and almost pull away, so you got this interaction between the wall and the objects that it intersects with as it was revealing that.” The trees appear significantly different in the post-hex world. Comments Behrens, “They went from a fairly normal, healthy trees to these twisted, decayed trees.” Practical trees were constructed around the actors, with the rest being a digital set extension. “We struggled with drifting fog that didn’t look too much like smoke because they didn’t want it to feel like a burnt-out forest that the characters were standing in,” Behrens says. “There is a lot of talking back forth in that scene. We ended up doing background extensions and atmospheric simulations as well as the CG dark hole.”
“Some of the floating objects like the Oldsmobile Delta 88 were hung off of a large crane arm on wires to have them slightly spinning and drifting through a scene. … [Director] Sam [Raimi] and [Marvel Visual Effects Supervisor] Janek [Sirrs] wanted everything to have a hyper-real, more than slightly slower than real-time look in this universe from the incursion. We tended to go with a heavier slow-motion, high-frame-rate-shutter look for these elements like the Brooklyn Bridge or the subway that is crashing through the ground behind them or the Empire State Building.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
A swap gas-like fog that has a pinkish-orange color drifts around the trees.
A portion of the post-hex orchard was practically built around the characters.
It was important to avoid the real orchard appearing as a forest ravaged by a wildfire.
In order to imprison Wanda in the Mirror Universe, Doctor Strange conjures a Mirror Trap. “There were all sorts of permutations, such as being glassier, but we went for it being more mirror-like and reflecting a digital environment as well as a digital-double version of our actress,” Behrens explains. “When shooting the footage on greenscreen for Wanda, we had a few witness cameras for some of those reflections; however, because these mirror pieces were at different angles and magnifications of her, we ended up using a digital double for quite a bit of that.” The decision was to have a lot less distortion in the mirror images. “We needed to see clearly what is happening with Wanda,” Behrens explains. “We had spikes built out of this mirrored glass as well so you could see her reflections, in which we used a combination of both digital-double and plate reflections. It was tricky coming up with the look because you didn’t want it to feel like a flat chrome surface. So we were trying to put imperfections on the front glass, smudges, a bit of dust and dirt, scratches, small cracks, things that were grounded in reality, because the initial passes did not look good when they were strictly a purely reflective material. It looked incredibly CG. It’s always about those imperfections and realism that you can add to those pieces that hopefully fit it in there and make it feel realistic.”
A shot taken from the pilot episode outside the Fortress of Solitude.
A creative partnership and friendship forged 28 years ago at MGM has Visual Effects Supervisor John Gajdecki (Stargate: Atlantis) and Visual Effects Producer Matthew Gore (Battlestar Galactica) working together again on the second season of The CW production Superman & Lois. Co-creator and showrunner Todd Helbing (The Flash) has produced a unique spin on the superhero genre where at the heart of the story are the family struggles of Clark Kent (Tyler Hoechlin), Lois Lane (Elizabeth Tulloch) and their twin sons (Jordan Elsass, Alex Garfin) who have inherited the patriarchal supernatural abilities.
“We know that the artists are good and the art is built into the people. This team manages the process so tightly that we can deliver shots without panic two days before they’re on TV.”
—John Gajdecki, Visual Effects Supervisor
Superman & Lois is a testament to logistical prowess of the visual effects team that manages without panicking to deliver shots two days before they are on television.
Even though Superman & Lois is spun off of Supergirl, the look of the series is uniquely its own.
Superman (Tyler Hoechlin) must not only fly, he must fly through elements such as smoke, fog, clouds and dust. Bigger ambitions resulted in a 25% increase in visual effects shots in Season 2.
A major part of the visual language are Cooke Xtal Xpress lenses, which were emulated in the visual effects shots.
It was important to be able to produce feature-quality visual effects shots within a television schedule.
Water was poured onto Tyler Hoechlin when shooting the scene where Superman rescues a submarine in Episode 201. The submarine was created in Maya, with Houdini water and lots of clouds and smoke from the stock library added in Nuke.
The Kent family farmhouse is dilapidated and the barn has burned down in the Bizarro World version. Even though there are assets and locations that carried over from Season 1, modifications still had to be made.
A particular expression comes to mind for Gajdecki when describing how the show operates. “You hear people saying, ‘Armchair generals talk strategy, but the pros talk logistics.’ ‘Can we get the weapons to the front? Will there be food for the soldiers when they get there?’ We know that the artists are good and the art is built into the people,” Gajdecki states. “This team manages the process so tightly that we can deliver shots without panic two days before they’re on TV.”
“At the beginning of the season, we said that we wanted to take this up another level and try to get as close to feature quality as we could, knowing our limitations. But every time Superman does something, there is usually a CG component to it that adds to the schedule and budget issues. John mentioned to me that he had an in-house team on Project Blue Book, and so we proposed that. The in-house team has shined and been great in helping us to get this on the air.”
—Matthew Gore, Visual Effects Producer
Necessity led to a creative solution for Season 2 of Superman & Lois. “We have a tight network schedule, so it’s tough to try to do what we’re trying to do,” Gore notes. “At the beginning of the season, we said that we wanted to take this up another level and try to get as close to feature quality as we could, knowing our limitations. But every time Superman does something, there is usually a CG component to it that adds to the schedule and budget issues. John mentioned to me that he had an in-house team on Project Blue Book, and so we proposed that. The in-house team has shined and been great in helping us to get this on the air.”
15 different vendors worked on Season 2, including Zoic Studios, Refuge VFX, Boxel Studios, Frame Lab Studios, Barnstorm VFX, Tribal Imaging, Od Studios and Lux VFX.
The more shots were broken up over multiple vendors, the more often they would come back to the in-house team as the final 2D. “I see us as the final line of digital defense,” Gajdecki remarks. “Everything comes in and we do the comps, and we’ll put that photographic pass on it to make sure that the lens flares feel right and that the camera move looks like it fits between the shot, before and after, and the contrast, smoke and dust levels are matching. When Superman flies in and comes to a stop, something else has to keep going otherwise it doesn’t feel right. With some artists it is hard to explain why that’s wrong. We came up with the term energy transfer and suddenly people went, ‘Okay, I see it now.’”
“I see us [the in-house team] as the final line of digital defense. Everything comes in and we do the comps, and we’ll put that photographic pass on it to make sure that the lens flares feel right and that the camera move looks like it fits between the shot, before and after, and the contrast, smoke and dust levels are matching. When Superman flies in and comes to a stop, something else has to keep going otherwise it doesn’t feel right. With some artists it is hard to explain why that’s wrong. We came up with the term energy transfer and suddenly people went, ‘Okay, I see it now.’”
—John Gajdecki, Visual Effects Supervisor
There is mutual cooperation between the different departments which allows for seamless integration between practical and CG elements.
Tyler Hoechlin was put through the deepfake process to apply Bizarro’s face. Deepfake technology was critical in being able to create the Bizzaro version of Superman.
Bigger ambitions have meant that the visual effects count increased from 2,300 to 2,500 shots for Season 1, to an additional 25% for Season 2. Also expanded are the number of vendors, which can be a many as 15 depending on their availability. Among the contributors are Zoic Studios, Refuge VFX, Boxel Studios, Frame Lab Studios, Barnstorm VFX, Tribal Imaging, Od Studios and Lux VFX. “We have an honest relationship with our vendors,” Gore notes. “In my conversations with them, are you available and can you do this work? They’ll tell you flat-out. It won’t be like the shop that wants to take the work and figure it out. They’ll say, ‘We don’t have these artists available for those weeks, but we have these who are available.’ We’re constantly trying to fill what somebody can do.” Even though there are assets and locations that carried over from Season 1, modifications still had to be made. “The [Kent family] farmhouse ended up in Bizarro World, so even though the farmhouse didn’t change between seasons, there was a whole new farmhouse and barn,” reveals Gajdecki. “The barn has burned down and the farmhouse is dilapidated.”
Villainous Ally’s acolytes prepare to travel through the portal to Earth Bizarre in a greenscreen plate of the actors on the dressed studio floor. The portal was created in Houdini and comped in Nuke with smoke elements.
A greenscreen plate of Superman and Tal-Rho on the volcano’s edge. The Maya model of the interior of the volcano was comped with Houdini lava, live-action volcano splashes and lots of smoke and embers to produce the final shot.
“There is stuff that we can’t talk about for the series finale that might come as a text from Todd Helbing with a photo that says, ‘We’re going to do this,’” Gore comments. “We went, ‘Okay. Cool. Let’s figure out how.’ A lot of times Todd will give us a heads up that something big is out there, so we can at least start thinking about it even if we don’t get a full outline or a script yet. At least we know conceptually this is something that we have to try to fit into the schedule.”
“Anything that we need we get. When we shoot greenscreens, the line producer says, ‘It’s Gadjecki Rules.’ They light it for us and get the exposures and interactive light that we need. Our shots look good even though we have little time because we shoot the pieces so well and production is behind us.”
—John Gajdecki, Visual Effects Supervisor
Gajdecki has a particular philosophy towards visual effects. “Every shot that we do has to look like that the art department directed it and the camera operators operated the camera. We are sensitive to the inputs from the other departments to make sure that we put in the same chaos that would be in a real shot.” The cooperation is mutual, he says. “Anything that we need we get. When we shoot greenscreens, the line producer says, ‘It’s Gadjecki Rules.’ They light it for us and get the exposures and interactive light that we need. Our shots look good even though we have little time because we shoot the pieces so well and production is behind us.”
The term ‘energy transference’ was coined for the scenes where Superman flies in and comes to a stop, to explain why the energy all around that action must continue.
Episode 208 features a portal. Comments Gajdecki, “Upon hearing that there was going to be a portal, we got all of the reference together, numbered all of the references, put it out in front of our executives, got on the Zoom and asked, ‘Todd, is any of this close to what you’re thinking?’ He might have 50 images to look at, and we start to talk about the nature of the portal, what’s the portal doing and the behavior. We go from there and start narrowing down the focus.” Superman gets affected in a dramatic way. “There had to be some component of him getting shredded as he enters it,” Gajdecki adds. “Then we had this whole other thing where once he’s inside there, what does it look like? It goes back to who does what. Our in-house team started a look in Episode 201 where Bizarro is flashing to stuff. We need some cool flash that is supposed to sell that it’s him traveling through the portal. The in-house team was tasked with that. They came up with a look. It evolved to a certain point, and we knew that we wanted it to feel like it had depth to it. That was our other challenge. Todd wanted it to feel that he is breaching something, but we also wanted to sell that there is something behind it, and then he had to shred in there at some point. We didn’t want it to be holes underneath and you see through him. We wanted a substance there, but didn’t want it to be bone and skin because it’s CW.”
Only 10% of the shots don’t have a custom 3D element.
Adding to the shot count was number of deepfakes associated with the character of Bizarro, who is revealed to be an alternative dimension version of Superman. “We let everyone know that the AI approach was not going to be a one-size-fits-all answer to all the Bizarro shots,” Gore explains. “We had numerous discussions with Todd that if a shot was going to ‘break’ the AI, we were going to have to apply more traditional methods to get the sequences to where he wanted them to be. For example, there were a couple shots where we needed to go all CG on Bizarro in order for him to be able to appear in the same shot as Tyler during some of the fight scenes. We massaged the cuts with Todd. Boxel Studio took on all the work that the AI couldn’t do. The in-house team came up with the look for Bizarro’s eyes and then worked with Tribal Imaging in Calgary, Wild Media Entertainment in Toronto/Vancouver, Kalos Studios, Animism Studios and Refuge VFX to make sure no matter who took Bizarro to final, the look for Bizarro’s eyes and makeup was going to be consistent in all the comps across the various episodes. It was also a great learning experience working with this new AI toolset. And to be clear, not every scene in the Bizarro story arc was achieved using AI.
The chase involving the Velociraptors combined plate photography from Malta and Chris Pratt riding a stationary motorbike on a massive rolling road in the U.K.
Prehistoric beasts have had a constant presence in the life of David Vickery, who served as Visual Effects Supervisor on Jurassic World: Fallen Kingdom and Jurassic World: Dominion. “I’m still working on dinosaurs! Not the film ones, but for promotional media, advertisements and public relations related stuff.” Any concerns of repeating himself were alleviated by working with a different director, crew and script. “There are always new challenges.” About 1,450 visual effects shots were created, with ILM being responsible for 1,000 shots while the rest were handled by Lola VFX and Hybride. “[Director] Colin Trevorrow had a one-on-one relationship with the storyboard artist, and those storyboards were handed over to us to create animatics. I worked closely with the previs and postvis teams [provided by Proof].” Collaborating with Production Designer Kevin Jenkins was easy as he is a former art director at ILM. “Kevin clearly understands visual effects and worked a lot in 3D, so he could hand those designs over to us,” Vickery observes. “Because of our previous working relationship, Kevin trusted me to take incomplete designs to ILM and to continue their evolution.”
“There are probably more animatronics in Jurassic World: Dominion than in Fallen Kingdom and Jurassic World combined. … [T]he digital dinosaurs we had were an exact match for the physical animatronic dinosaurs that we had on set. It didn’t matter where they positioned the rig because the range of motion was exactly the same as the range of motion in the digital dinosaur. The goal being to get a plate that gave us practical animatronics that could move and perform on set and be digitally extended without us having to replace it.”
—David Vickery, Visual Effects Supervisor
‘Digital archeology’ was conducted to return the original T-Rex from Jurassic Park to her former glory.
1,450 visual effects shots were created, with ILM being responsible for 1,000 shots while the rest were handled by Lola VFX and Hybride.
An entirely new feather system was constructed in Houdini by ILM to deal with creatures such as the Pyroraptor.
Chris Pratt reprises his role of Owen Grady in Jurassic World: Dominion.
Jurassic World: Dominion was the first Hollywood production to recommence shooting during the pandemic.
Five weeks into principal photography for Jurassic World: Dominion, the pandemic caused a global lockdown. “Nobody knew what was going to happen when COVID-19 hit and we had to start shooting again during the pandemic,” Vickery states. “It was hard to understand how we were going to be able to communicate with each other, because suddenly we had to stay distant, were all wearing masks and couldn’t all cluster around the director’s monitors. We had tech scouts where the DP, John Schwartzman, was still isolating before he was able to come back onto set. We were deploying all sorts of new techniques such as wearing Bolero headsets rather than the usual walkie system.” Travel restrictions caused a few key scenes to be reimagined, such as Velociraptors chasing a motorcycle driven by Owen Grady (Chris Pratt) through the streets of Malta. “We had array photography and LiDAR data from location, which was then projected and manipulated rather than being a fully CG environment. Once we got back in the U.K., Chris rode a stationary motorbike that was placed on a massive rolling road that was 25 feet wide. The bike was rigged so it could weave left and right.”
“There was a cool bit of what I called ‘digital archeology.’ We had 3D SoftImage files but didn’t even have the software. However, we managed to get those NURBS files into Maya and convert them into polygon meshes. We also referenced all of Stan Winston’s photography. It’s a beautiful piece of recreation of that original T-Rex model.”
—David Vickery, Visual Effects Supervisor
A different approach was adopted for Mosasaurus attacking the crab boat. “Our editors scoured through 16 seasons of The Deadliest Catch program, correlated and created an edit from outtakes,” Vickery reveals. “The goal was to use the natural aesthetic of the footage that we had and integrate the CGI elements into it. The crab pod is something that we added in as well as the Mosasaurus and a bunch of spray.” Shifting weather patterns had to be accommodated. “When we were shooting at a lumber yard and had to put two huge Apatosaurus in the background, the whole sequence was shot in the morning in bright sunlight and no snow,” Vickery says. “Then it started snowing at lunchtime and we had to reshoot the entire scene again because the snow was going to change the look of our plates. We had a huge team of effects artists at ILM whose job was adding digital snow and dust.” An entirely new feather system was constructed in Houdini by ILM to deal with creatures such as the Pyroraptor. “It relied on the geometry of the feathers being described as a curve for the quill and a flat piece of polygonal geometry for the feather itself,” Vickery explains. “The feathers had to be able to interact with environmental elements. “On set we had the special effects team with air movers, some snow and atmospheric effects, but we had to recreate the same effect in post to be able to integrate the Pyroraptor.”
When designing dinosaurs the first point of reference is the holotype.
A massive animatronic was constructed for the Giganotosaurus.
There are probably more animatronics in Jurassic World: Dominion than in Fallen Kingdom and Jurassic World combined.
“There was a moment on set where Sam Neill, Laura Dern, Jeff Goldblum, Chris Pratt, Bryce Dallas Howard and DaWanda Wise are with the biggest animatronic that I’ve ever seen in my life. Bringing all of those things together was amazing!”
—David Vickery, Visual Effects Supervisor
There was a close collaboration between the art department, visual effects and creature effects to make sure that there was seamless integration of CG and practical elements.
The goal was to get a plate where the practical animatronics could move and perform on set and be digitally extended without it being replaced.
Production Designer Kevin Jenkins created clay maquettes that were scanned and given to ILM to make sure that the models were anatomically correct before being 3D printed by John Nolan and the creature effects team.
Each instalment of the franchise introduces new dinosaurs. “The Giganotosaurus was a real dinosaur,” Vickery remarks. “You look for the holotype, which is often a partial specimen so scientific that experts have to guess the rest. Some of the dinosaurs look so bizarre, like the Therizinosaurus, which is this huge theropod that is covered in feathers and has one-meter-long baseball bat-like claws on the edge of its fingers.” A massive animatronic was built for the Giganotosaurus. “There are probably more animatronics in Jurassic World: Dominion than in Fallen Kingdom and Jurassic World combined.” Jenkins collaborated with Trevorrow and paleontologist consultant Steve Brusatte to develop concepts that were turned into clay maquettes and then scanned. The scans were given to ILM which made sure the model was anatomically correct before handing them off to John Nolan, the head of the creature effects team, for 3D printing. “This meant that the digital dinosaurs we had were an exact match for the physical animatronic dinosaurs that we had on set,” Vickery notes. The process helped to minimize the amount of CG. “It didn’t matter where they positioned the rig because the range of motion was exactly the same as the range of motion in the digital dinosaur. The goal being to get a plate that gave us practical animatronics that could move and perform on set and be digitally extended without us having to replace it.”
“From a simulation perspective, [with feathers] you’re dealing with a huge amount of geometry that is deforming and moving on a frame-by-frame basis, and is reacting to external forces like the wind, but also to the way that the creature is moving. Creatively, ever since Jurassic Park, fans and paleontologists have been crying out to see feathers on dinosaurs, and we will deliver this time.”
—David Vickery, Visual Effects Supervisor
Restored to her former glory is the T-Rex from Jurassic Park. “There was a cool bit of what I called ‘digital archeology,’” Vickery recalls. “We had 3D SoftImage files but didn’t even have the software. However, we managed to get those NURBS files into Maya and convert them into polygon meshes. We also referenced all of Stan Winston’s photography. It’s a beautiful piece of recreation of that original T-Rex model.”
Feathers proved to be the biggest creative and technical challenge. “From a simulation perspective,” Vickery comments, “you’re dealing with a huge amount of geometry that is deforming and moving on a frame-by-frame basis, and is reacting to external forces like the wind, but also to the way that the creature is moving. Creatively, ever since Jurassic Park, fans and paleontologists have been crying out to see feathers on dinosaurs, and we will deliver this time.”
The on-set special effects team deployed air movers, snow and atmospheric effects so the feathers of the Pyroraptor interacted with environmental elements.
All of Stan Winston’s photography was referenced in the recreation of the original T-Rex model from Jurassic Park.
Seeing the Jurassic Park and Jurassic World franchises come together was a career highlight for Vickery. “There was a moment on set where Sam Neill, Laura Dern, Jeff Goldblum, Chris Pratt, Bryce Dallas Howard and DaWanda Wise are with the biggest animatronic that I’ve ever seen in my life. Bringing all of those things together was amazing!”
The VES Bay Area Section Board of Managers are here to be of service. If you have any information, insights and/or ideas which you believe can help during these trying times, please do not hesitate to reach out at bayareaboard@vesglobal.org.
As containment of the current global pandemic continues and the imperative of social distancing endures, the effects of these measures on our global economy and industry look to be felt for some time.
The VES Bay Area membership is made up of facility employees, freelancers, and small business owners. In our ongoing efforts to facilitate and educate our section we have pooled information for aid in the following areas.
Federal Resources State Resources
Bay Area Resources
California Capital Access Program
Resources for 501(c)3
The California Micro Enterprise Organization (CAMEO) has pooled the above topics and resources into one location which can then route you accordingly.
The CARES Act is the third piece of federal emergency legislation to address the coronavirus pandemic. It was signed into law on March 27, 2020.
Emergency Increase in Unemployment Benefits (Section 2104):
States can increase the weekly benefit that an individual would otherwise qualify for by $600 a week. For example, the maximum California benefit is normally $450 a week; under this program, it will be $1,050 a week ($450 + $600)
Eligible recipients may receive the $600/week boost retroactive to the date their state signed an agreement with the federal government to implement the CARES Act; check with your state’s unemployment agency for details
A temporary 39-week program to provide unemployment benefits to those whose unemployment is related to COVID-19:
Who do not qualify under their state’s regular unemployment insurance program or who have exhausted UI benefits after July 1, 2019 and before the date their state commences this program, and
Who self-certify that they are (1) partially or fully unemployed, or (2) unable and unavailable to work because of any one of the following circumstances:
They have been diagnosed with COVID-19 or have symptoms of it and are seeking diagnosis
A member of their household has been diagnosed with COVID-19
They are providing care for someone diagnosed with COVID-19
They are providing care for a child or other household member who can’t attend school or work because it is closed due to COVID-19
They can’t reach their place of employment due to a COVID-19 quarantine
They have been advised by a health care provider to self-quarantine due to COVID-19
They were scheduled to start employment, but the job no longer exists, or they cannot reach the place of employment due to a COVID-19 public health emergency
They have become the breadwinner for a household because the head of the household has died as a direct result of COVID-19
They had to quit their job as a direct result of COVID-19
Their place of employment is closed as a direct result of the COVID-19 public health emergency;
They are self-employed, seeking part-time employment, or do not have sufficient work history, or otherwise do not qualify for state UI.
The amount available will vary by state. For example, California has set its basic amount at $167 per week, plus the $600 a week boost
This program lasts up to 39 weeks, but the $600/week boost is only available until July 31, 2020
Even if your state is not yet paying PUA benefits, if you are approved, benefits can be retroactive to the date you state signed an agreement to implement the CARES Act; check with your state’s unemployment agency for details
Individuals receiving paid leave, who are teleworking, or who are otherwise employed full-time are not eligible
Individuals who are eligible for unemployment insurance cannot choose PUA; PUA is only for individuals who are not eligible for UI
Each program shall be immediately available to individuals without the normal one week waiting period.
Important caveat: States must opt-in to these programs. Since the enhanced payments are 100% federally funded, there is no reason for a state to deny these benefits to its residents, but they have option to do so. California and New York have already begun to implement the enhanced benefits.
A one-time tax credit, in the form of a direct payment of $1,200 ($2,400 for those filing jointly) and $500 per dependent child under 17 to all individuals—this benefit begins to phase out at $75,000 ($150,000 for those filing jointly), Those making $99,000 ($198,000 for those filing jointly) or more will not receive a rebate, even if they have dependent children.
Other than the income limitations, the only exclusions from this benefit are estates, trusts, nonresident aliens, and those claimed as a dependent on someone else’s tax return
As part of the Economic Injury Disaster Loan program, small businesses are eligible for emergency grants of up to $10,000 to maintain payroll, provide paid sick leave, pay rent/mortgage, etc.
Small businesses and 501(c)(3)s will also be eligible for loans on a more favorable basis than normal SBA loans
Paycheck Protection Program: Loan proceeds used to keep employees on payroll and pay mortgage/rent mortgage and utilities will be forgiven
Retirement account holders may make coronavirus-related withdrawals of up to $100,000 out of their 401(k)s without penalty
Student Loans (Section 3513):
All student loan and interest payments will be deferred through September 30, 2020 without penalty for federally owned student loans only (note this does not impact private loans, Perkins loans, and loans held by a bank)
Visual Effects Society Bay Area members and their guests are invited to celebrate the last of the summer with the our much beloved tradition of the VES Bay Area Summer BBQ.
We are once again taking over McNears Beach in San Rafael. Come enjoy the sun and sea side breezes with your friends, peers, and fellows section members at this outdoor event.
Saturday 9.10.2022, 12:30 pm to 4:00 pmPDT https://www.parks.marincounty.org/parkspreserves/parks/mcnears-beach
As always, there will be :
Food
Beer & Wine
Lawn Games
Live Music
Photo Ops with our friends from the 501st GGG
Ample Parking (paid for)
Please register below (you must be logged in).
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus. By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a Screening of United Artists Releasing’s THREE THOUSAND YEARS OF LONGING
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Sunday, September 4, 2022 at 5:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to an Opening Weekend Screening of Sony Pictures’ BULLET TRAIN
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, August 6, 2022 at 4:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to an Opening Weekend Screening of Universal Pictures’ NOPE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, July 23, 2022 at 4:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Steve ‘Spaz’ Williams is a pioneer in computer animation, and an iconoclast. His digital dinosaurs of JURASSIC PARK transformed Hollywood in 1993… but an appetite for anarchy and reckless disregard for authority may have cost him the recognition he deserved.
Scott Leberecht began his filmmaking career at Lucasfilm’s Industrial Light & Magic. As a visual effects Art Director, his credits include FLUBBER, SPAWN, and SLEEPY HOLLOW. Attending the American Film Institute, he directed the award-winning films UNDERDOG, NATURAL SELECTION, and MIDNIGHT SON.
Scott’s short documentary LIFE AFTER PI detailed the vibrant history and untimely collapse of RHYTHM & HUES studios, just weeks after winning the 2012 Best Visual Effects Oscar for LIFE OF PI.
EVENT BEGINS AT 2PM PDT |
45 min TALK + Q&A with Director and Special Guests to immediately follow.
VES Members and Up to Four (4) Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: LOVE AND THUNDER
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, July 16, 2022 at 4:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Advance Screening of Netflix’s THE SEA BEAST followed by a Q&A with the filmmakers. Panelists will include Writer / Producer / Director Chris Williams and VFX Supervisor R. Stirling Duguid.
Click here to RSVP (be sure to choose which screening you wish to attend.) Thursday, July 7, 2022 at 7:00PM CGV San Francisco 14
1000 Van Ness Ave., San Francisco, CA 94109
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
stay tuned- we want it to happen, but we need to line up an available venue
Please contact : bayareachair@vesglobal.org with any questions
Steve ‘Spaz’ Williams is a pioneer in computer animation, and an iconoclast. His digital dinosaurs of JURASSIC PARK transformed Hollywood in 1993… but an appetite for anarchy and reckless disregard for authority may have cost him the recognition he deserved.
Scott Leberecht began his filmmaking career at Lucasfilm’s Industrial Light & Magic. As a visual effects Art Director, his credits include FLUBBER, SPAWN, and SLEEPY HOLLOW. Attending the American Film Institute, he directed the award-winning films UNDERDOG, NATURAL SELECTION, and MIDNIGHT SON.
Scott’s short documentary LIFE AFTER PI detailed the vibrant history and untimely collapse of RHYTHM & HUES studios, just weeks after winning the 2012 Best Visual Effects Oscar for LIFE OF PI.
VES Members and Up to Three (3) Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Sunday, May 8, 2022 at 5:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
OSCARS REMOTE WATCH PARTY
The 94th Academy Awards Ceremony – Sunday at 5pm PDT – ABC TV
The Oscars are here! The biggest awards show of the entertainment year. For the majority of us who can’t be there in person – let’s share the moment virtually on a Zoom chat room while we watch the show from the comfort of our home, a friend’s home, or other gathering place.
You can also join the ‘betting pool’ with your picks. The top winner will get a prize of $200, the runner up will get $100! (Generously supported by Advanced Systems Group, LLC)
WHEN:
Sunday, March 27th
5PM – 8:30PM (we’ll start the room at 4:45 for Red Carpet commentary)
ABC TV
ONLINE WITH ZOOM
RSVP for a link to the Zoom chat and to be sent the ballot. If you’re not available to attend, but want to fill out a ballot, please indicate that in your message.
Ballots are due by Saturday, March 26th, by 10pm PDT. We will all be on mute, but come participate in the text chat, and have your cameras on if you’re comfortable to be seen & answer the question : “Who are you wearing?” 😀
TO RSVP:
email to bayareasecretary@vesglobal.org
Please include VES member number.
Visual Effects Society Bay Area Members and their guests are invited to ring in the season with the return of our Annual Holiday Event! Come share drinks, food, and the spirit of the season with your fellow members, friends, and peers.
WHEN
DECEMBER 18, 2021
6:00pm – 9:00pm
WHERE
Le Colonial
20 Cosmos Place
San Francisco, CA 94109
Parking: To Be Determined Check back for details.
RSVP BELOW
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
COMPLIANCE
This event is being held in accordance with CDC, State, and San Francisco Department of Health Guidelines. We ask that all attendees provide proof of completed vaccination and wear a mask indoors when not eating or drinking.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Acceptable proof of full vaccination includes original, copy, or electronic photo of the CDC vaccination card (or similar documentation issued by another foreign governmental jurisdiction); documentation from a healthcare provider; personal digital COVID-19 vaccine record issued by the State of California, personal digital COVID-19 vaccine record issued by another State, local, or foreign governmental jurisdiction; or personal digital COVID-19 vaccine record issued by an approved private company.
You can retrieve your digital verification of vaccination by visiting the State of California’s website under the Digital Vaccine Record section and furnishing the requested information at https://myvaccinerecord.cdph.ca.gov.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees, and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columia Pictures’
GHOSTBUSTERS: AFTERLIFE
Wednesday, December 15, 2021 at 8:00PM
Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
RSVP BELOW (VES member must login to sign up)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
Covid 19 – Compliance
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
This event is being held in accordance with the city of San Francisco Department of Public Health Order C19-07y which currently requires all attendees over the age of 12 to verify that they are fully vaccinated against COVID-19 prior to entering the screening room where a mask must be worn at all times by all patrons.
Acceptable proof of full vaccination includes original, copy, or electronic photo of the CDC vaccination card (or similar documentation issued by another foreign governmental jurisdiction); documentation from a healthcare provider; personal digital COVID-19 vaccine record issued by the State of California, personal digital COVID-19 vaccine record issued by another State, local, or foreign governmental jurisdiction; or personal digital COVID-19 vaccine record issued by an approved private company.
You can retrieve your digital verification of vaccination by visiting State of California’s website under the Digital Vaccine Record section and furnishing the requested information at https://myvaccinerecord.cdph.ca.gov.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Up to Three (3) Guests are Invited to a Pre-Release Screening of Warner Bros. Pictures’
THE MATRIX RESURRECTIONS
Monday, December 13, 2021 at 7:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
RSVP BELOW (VES members must login to RSVP)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
** Please help protect the mysteries inside of the Matrix and do not reveal plot points or twists in your social posts. Do not post any teases in advance. Social: Thursday, December 16 @ 6:30PM (PST), 9:30PM (EST) – Review: Tuesday, December 21 @ 8:00AM (PST), 11:00AM (EST)
Covid 19 – Compliance
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
This event is being held in accordance with the city of San Francisco Department of Public Health Order C19-07y which currently requires all attendees over the age of 12 to verify that they are fully vaccinated against COVID-19 prior to entering the screening room where a mask must be worn at all times by all patrons.
Acceptable proof of full vaccination includes original, copy, or electronic photo of the CDC vaccination card (or similar documentation issued by another foreign governmental jurisdiction); documentation from a healthcare provider; personal digital COVID-19 vaccine record issued by the State of California, personal digital COVID-19 vaccine record issued by another State, local, or foreign governmental jurisdiction; or personal digital COVID-19 vaccine record issued by an approved private company.
You can retrieve your digital verification of vaccination by visiting State of California’s website under the Digital Vaccine Record section and furnishing the requested information at https://myvaccinerecord.cdph.ca.gov.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The Bay Area region has long been one of the most diverse in the nation. The topics of Diversity, Equity and Inclusion remain embedded within many of our daily lives even as throughout the pandemic we have seen these issues come to the forefront of the public’s attention and concern.
But what does it mean?
The VES Bay Area DEI Book Club hopes to explore and help answer that question by sharing literature which will spark engaging, insightful and necessary conversations surrounding social justice and the fundamentals of Diversity, Equity and Inclusion in a space where it is safe to learn.
The goal of the VES DEI Book Club is to create a forum where members of the VES Bay Area can discuss the book and relate their experiences, perspectives and insights in a respectful and inquisitive manner via facilitated discussion.
We know how busy everyone is, so the initial plan is to supply the book selection to members who RSVP in the medium of their choice, while keeping the chapters to be discussed concise. We expect the first meeting of the DEI Book Club to cover a mere 2 – 3 chapters.
Register today to receive the book and join the discussion.
The first meeting of the VES Bay Area DEI book club is at 7:00pm on November 10, 2021 online.
VES Members and Their Guests are Invited to a Screening of
Marvel Studios’ and Walt Disney Pictures’
ETERNALS
WHEN
Sunday, November 7, 2021 at 6:30PM WHERE
Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
RSVP BELOW
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
Covid 19 – Compliance
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
This event is being held in accordance with the city of San Francisco Department of Public Health Order C19-07y which currently requires all attendees over the age of 12 to verify that they are fully vaccinated against COVID-19 prior to entering the screening room where a mask must be worn at all times by all patrons.
Acceptable proof of full vaccination includes original, copy, or electronic photo of the CDC vaccination card (or similar documentation issued by another foreign governmental jurisdiction); documentation from a healthcare provider; personal digital COVID-19 vaccine record issued by the State of California, personal digital COVID-19 vaccine record issued by another State, local, or foreign governmental jurisdiction; or personal digital COVID-19 vaccine record issued by an approved private company.
You can retrieve your digital verification of vaccination by visiting State of California’s website under the Digital Vaccine Record section and furnishing the requested information at https://myvaccinerecord.cdph.ca.gov.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of
Marvel Studios’ and Walt Disney Pictures’
SHANG-CHI AND THE LEGEND OF THE TEN RINGS.
WHEN
Friday, September 10, 2021 at 8:00PM WHERE
Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
RSVP BELOW
***VES Members: Please register your name as “Attendee 1″***
Covid 19 – Compliance
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
This event is being held in accordance with the city of San Francisco Department of Public Health Order C19-07y which currently requires all attendees over the age of 12 to verify that they are fully vaccinated against COVID-19 prior to entering the screening room where a mask must be worn at all times by all patrons.
Acceptable proof of full vaccination includes original, copy, or electronic photo of the CDC vaccination card (or similar documentation issued by another foreign governmental jurisdiction); documentation from a healthcare provider; personal digital COVID-19 vaccine record issued by the State of California, personal digital COVID-19 vaccine record issued by another State, local, or foreign governmental jurisdiction; or personal digital COVID-19 vaccine record issued by an approved private company.
You can retrieve your digital verification of vaccination by visiting State of California’s website under the Digital Vaccine Record section and furnishing the requested information at https://myvaccinerecord.cdph.ca.gov.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Visual Effects Society Bay Area Members and their Guests are invited to celebrate the summer with the return of our community’s long standing tradition, the VES Bay Area Summer BBQ.
We are returning to McNears Beach located in San Rafael. Come enjoy the sun and sea side breezes with your friends, peers and fellows section members at this outdoor event.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Marvel Studios’ and Walt Disney Pictures’ BLACK WIDOW. San Francisco Department of Public Health rules require that anyone who is not fully vaccinated must wear masks or face coverings at all times while in the building.
Please RSVP below (VES members must login to RSVP)
Saturday, July 10, 2021 at 8:00PM Delancey Street Screening Room
600 The Embarcadero, San Francisco, CA 94107
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
The Visual Effects Society Bay Area Section invites you to
SHIFTING GEARS: NEXT LEVEL STORYTELLING
A discussion and networking event.
Building on the enthusiasm of the last two FAANG events, we are excited to broaden our perceptions of VFX career paths, and bring these discussions to the next level.
We have gathered an experienced panel of visual effects professionals who have pursued atypical VFX occupations. Join us in the educational conversation and learn how your VFX skills can easily be applied across various industries.
Followed directly by a Q&A session.
DATE: Tuesday, June 22, 2021
PANEL: 7:00pm – 8:00pm PDT
MODERATORS:
Maggie Oh (Google)
Corey Rosen (Tippett Studio)
PANELISTS:
Miles Perkins (Epic)
Colum Slevin (Facebook Reality Labs)
Diana Williams (Kinetic Energy Entertainment)
Alonso Martinez (Google AI)
Miss talking shop with your peers?
We have set up online areas EXCLUSIVELY for VES members to network both before and after the panel discussions. This is a chance to see your peers, talk shop and just see how everyone is doing.
Take all of the challenges with mounting an indie production of an epic sci-fi film, throw in all of last year and combine it with pioneering Virtual Production and you have an incredible story of ingenuity, innovation and the true spirit of independent film making for the 21st century.
The Visual Effects Society Bay Area is proud to invite its members to attend an online panel discussion with the creators of Gods of Mars, an independent production by Roninfilms, an Epic Games MegaGrant recipient and one of the first indie projects to employ Virtual Production last year. Gods of Mars is still in production so the information is very much of the moment!
WHEN: June 17, 2021 at 6pm
WHERE: Online via Zoom
RSVP: Login to register below
PANELISTS
Peter Hyoguchi/Director/Producer
Hyoguchi started his career at fifteen years-old when he won a George Lucas youth film festival for his short sci-fi called, The Future’s Future. At eighteen, he directed his first feature film, an adaptation of the play No Exit, and has been making films ever since. In 2000, Peter wrote and directed First, Last and Deposit which won Best Feature at both New York and San Francisco Independent Film Festivals. The picture was distributed on many platforms, including Netflix and IFC.
Joan Bevan Webb – Producer/Virtual Production Producer
Producer, and Virtual Production Producer at Roninfilm. Joan brings extensive experience in business development, VC backing, representation and marketing. Her former clients include such notable figures as James Cameron, Oliver Stone, Doug Trumbull, Tim Burton, Coen Brothers, companies such as: IMAX, Pixar, Sony, DreamWorks, MGM, Disney and feature films: Shrek I, II & III; Toy Story; Lion King; and The Amazing Spider-Man.
David Stump ASC – CV
David Stump ASC has been working in motion pictures and television production as Director of Photography, VFX Director of Photography, VFX Supervisor, and as Stereographer, (live action and 2D to 3D conversion work), earning an Emmy Award, an Academy Award for Scientific and Technical Achievement, an IMAGO Technical Achievement Award and an International Cinematographers Guild Award. His credits include projects like Little Fires Everywhere, The Morning Show, Skyfire, The Happytime Murders, American Gods, The Unwilling, Immortals, Quantum of Solace, Flight Plan, Fantastic Four, X-Men 1 & 2, Into the Blue, Garfield, Batman Forever, Hollow Man, Men of Honor, Deep Blue Sea, Stuart Little, The Sphere, Contact, Batman & Robin, Mars Attacks, Executive Decision, Stargate, and Free Willy, among many others.
He is currently chairman of the both the Camera Committee and the Metadata Committee of the ASC Motion Imaging Technology Council and has lectured and taught classes in Cinematography and Visual Effects at the American Film Institute, UCLA, Art Center College of Design, Woodbury University, Arizona State University, Global Cinematography Institute, IATSE Local 600, TV Globo Rio De Janeiro Brasil, Savannah College of Art and Design, The Beijing Film Academy and most recently the ARRI Academy in Beijing.
Dan Lauer/CGI Supervisor
Dan Lauer began his career as a software development engineer when the desire to be more creative led him to the world of 3D visual effects and animation. His portfolio includes animated music videos, photo-realistic product marketing, museum documentary films and feature films. His film work includes doing all of the visual effects for the award winning short film “Shero”, animation on the short “Devils, Angels and Dating”. Dan’s the CGI Supervisor on the SyFy channel film “Lavalantula”, Roninfilm’s “The New Kind”, “Gods of Mars” and “The Tarot
MODERATOR
David W. Valentin – Executive Producer, Chair of the VES Bay Area Section
David W. Valentin an award-winning producer who has helped to create some of the most iconic and enduring images in motion picture history. He holds credits on some of the highest grossing films of all times. David spent many years at George Lucas’s premiere visual effects facility Industrial Light and Magic where he worked on such films as Lost World: Jurassic Park, Men In Black, Star Wars Episode I: The Phantom Menace and The Green Mile. He went on to produce the visual effects for acclaimed Chinese director Zhang Yimou’s wuxia classic Hero.
As the Executive Producer & Founder of Mr. Smith Studios, David W. Valentin works with corporate, small business and 501c3 clients to develop and create the video content which embodies their values and brand with big emotional payoff. As a visual effects expert who has produced work at the forefront of digital innovation for over 20 years, David knows how to leverage leading-edge technology for his clients to help tell their stories with cinematic aesthetics within cost-conscious budgets.
A Bay Area native, David received his degree from the California College of the Arts. He is currently Chair for the Visual Effects Society Bay Area Section and works with youth from under-served communities to find their first jobs. He also mentors students who have recently graduated from Bay Area Film and VFX program to break into the industry.
Join Greenray Media Executive Producer and Founder and VES Board of Directors Chair, Lisa Cooke along with Tippett Studios’ VP of Creative Marketing & Development, VES Bay Area Treasurer and newly published author Corey Rosen and VFX Artist, Commercial, Feature and Episodic Director Marcus Stokes for an in-depth examination of storytelling hosted by VES Bay Area Chair David W. Valentin.
In this discussion of the Power of Story we will be looking at how intrinsic the craft of storytelling is to how we work, communicate, see each other and see ourselves. There is no aspect of our lives that is not entrenched in every aspect of storytelling. Everybody loves a good story. But Why? And what goes into making an audience care? And what happens to them when they do? The VES Bay Area is proud to present this hour long examination of one the most important cornerstones of your industry.
Register today to be part of this fascinating discussion which will be followed immediately afterward by audience Q&A with our panelists. THE POWER OF STORY
6:00 pm, Thursday
March 11, 2021
CLICK HERE TO REGISTER TODAY VIA ZOOM https://us02web.zoom.us/webinar/register/WN_ZB0giyLISPCCfoMqI0G2aQ
DISCUSSION PANELISTS
Lisa Cooke has spent several decades in the entertainment industry as an animation/FX industry producer, story consultant, screenwriter and actor. Firmly believing that effective science communication is vital to our world, she founded Green Ray Media, and for the last ten-plus years, has been producing animation and VFX to create scientific, medical and environmental media for a broad audience.
Lisa has worked for entertainment clients including Lucasfilm, Fox, Nickelodeon Films, ABC, CBS, Paramount and Universal and in the VFX and animation industry for companies including Pixar, Glasgow-based Digital Animations Group and Tippett Studio. As Senior Producer at Reardon Studios, she helped bring MOVA Contour Reality Capture to the film industry.
Lisa has also taught story structure at the SF Academy of Art, JFK University and Ex’pression College, and is a member of the Screen Actors Guild. She served six years on the VES Bay Area Board of Managers Executive Committee and as Chair, before joining the VES Board of Directors, where she serves as Chair of the Archive Committee. In 2019 she held the position of 2nd Vice Chair and served as 1st Vice Chair in 2020. She is honored to Chair the Visual Effects Society in 2021.
Corey Rosen is a writer, actor, visual effects producer, and storytelling teacher based in San Francisco, California. He hosts The Moth StorySlams and GrandSlams, and won their first ever Bay Area StorySlam (2012). He has been featured on The Moth Radio Hour. He is a regular contributor and on-air personality for Alice Radio’s The Sarah and Vinnie Show. Corey is a company performer at BATS Improv, one of the world’s foremost centers for Improvisational Theater. Corey got his start writing for Comedy Central and Jim Henson Productions. As staff writer for Lucasfilm Animation and Tippett Studio, he wrote the screenplays for films and theme park rides and attractions exhibiting around the world. When not writing, Corey works as a visual effects artist and creative director. He has credits on dozens of movies, including several Star Wars films, and Disney’s A Christmas Carol. He has taught in the MFA Animation program at Academy of Art University and for The Writing Pad. He has written and directed television commercials and award-winning short films. He lives in San Francisco with his wife Jenny and two story-inspiring children.
Marcus Stokes began his artistic career in the field of Architectural Design, in which he holds a Master’s degree from the University of California, Berkeley. Drawn to the world of cinema, he soon transitioned into the digital realm as a computer graphics artist at George Lucas’ Industrial Light and Magic (ILM). While at ILM, Marcus created groundbreaking visual effects for blockbuster films including Star Wars Episode I, Minority Report, and The Mummy. He then moved to Los Angeles and supervised visual effects for The Matrix Reloaded and Revolutions, I Robot, and Serenity.
Marcus officially began his directorial career when he joined the Director’s Guild of America as a commercial director and created ads for clients including GMC, Nissan, and Walt Disney Pictures. Soon after, Marcus realized his true passion in narrative filmmaking and began creating his own content. His very first film as writer/director, The Catalyst, was acquired by HBO and aired on their networks for two years. Marcus continued to develop his unique blend of storytelling and visual skills by working closely with veteran directors Tim Story and F. Gary Gray. This combination of talents is most evident in his VFX short film, The Signal, executive produced by Tim Story and starring Michael Ealy and Grace Phipps.
Today, Marcus is focused on continuing his narrative filmmaking career. He successfully completed the directing programs at ABC, CBS, Fox, Sony, Warner Brothers, Ryan Murphy Television, and the DGA. He was also recently chosen as one of the Los Angeles Times’ Diverse 100 for his cinematic and visual effects achievements. In September of 2017, he directed the CBS hit show Criminal Minds and quickly followed with episodes of Life in Pieces and Blindspot.
PANEL MODERATOR David W. Valentin an award-winning producer who has helped to create some of the most iconic and enduring images in motion picture history. He holds credits on some of the highest grossing films of all times. David spent many years at George Lucas’s premiere visual effects facility Industrial Light and Magic where he worked on such films as Lost World: Jurassic Park, Men In Black, Star Wars Episode I: The Phantom Menace and The Green Mile. He went on to produce the visual effects for acclaimed Chinese director Zhang Yimou’s wuxia classic Hero.
As the Executive Producer & Founder of Mr. Smith Studios, David W. Valentin works with corporate, small business and 501c3 clients to develop and create the video content which embodies their values, brand messaging and marketing objectives. As a visual effects expert who has produced work at the forefront of digital innovation for over 20 years, David knows how to leverage leading-edge technology for his clients to help tell their stories with cinematic aesthetics within cost-conscious budgets.
A Bay Area native, David received his degree from the California College of the Arts. He is currently Chair for the Visual Effects Society Bay Area Section and works with youth from under-served communities to find their first jobs. He also mentors students who have recently graduated from Bay Area Film and VFX program to break into the industry.
THE POWER OF STORY
6:00 pm, Thursday
March 11, 2021
CLICK HERE TO REGISTER TODAY VIA ZOOM
The Visual Effects Society Bay Area Section is proud to continue our Autumn 2020 season with the online presentation of FAANG 2020 on October 29th beginning at 7pm.
FAANG 2020 builds on the themes and interest of last years FAANG event where we assemble members of the visual effects community who have leveraged their talents to find success in the tech sector. This panel discussion focuses on exploring the opportunities that are open to VFX professionals in tech in addition to actionable tips and insights.
This is a webinar event beginning at 7pm.
MODERATORS:
Camille Eden (Nickelodeon)
Alan Boucek (Tippett Studio)
PANELISTS: Colum Slevin (Facebook)
Wayne Billheimer (Apple)
Polly Ing (Adobe)
Maggie Oh (Google)
Please sign-in to your VES member profile, to register for this event.
VES Bay Area Members are invited to join the discussionas we look at Practical Effects Production in the current work climate while looking at the future of onset production.
OCTOBER 1, 2020 7:00PM
Speaker: Sean House, Model/Fabrication Department Supervisor, Co-Owner at 32TEN Studios
BIO
For over 20 years, Sean has been an active member of the Bay Area Film Community working on well over 50 Feature Films, multiple TV Series and hundreds of commercials. The continued practiced diversity of his work experience has created a well rounded artist and technician in multiple disciplines of the film making craft. He has for the past 8 1/2 years led the Model/Fabrication Department at 32Ten Studios for Practical VFX work on films such as Star Wars: Rise of Skywalker, “Rogue One, a Star Wars story, Jurassic World, Transformers: Age of Extinction and many more.
As a model maker Sean has contributed to films such as Priest“, Indiana Jones and the Kingdom of the Crystal Skull, Terminator: Salvation, Matrix: Reloaded/Revolution and others. In 2016, Sean traveled for 5 months as the On-Set Dresser for the action unit of The Fast and the Furious 8, 2 1/2 months of which were spent filming in Iceland. He has served as Property Master on projects as diverse as George Lucas’s Red Tails, the TV Series pilot Fairly Legal, and San Andreas staring Dwayne Johnson.
When he is not on set, Sean is an active Bay Area film community leader: In 2001 he founded the Bay Area Film Alliance and in 2004 he co-founded the Oakland Film Center, a film business co-operative which encompassed 32 individual businesses. In 2017 Sean became a member of the VES (Visual Effects Society). He has also been a frequent industry adviser to Mayors in San Francisco and Oakland, and continues to advocate for the Bay Area film community on both the local and state front.
Bay Area, Washington, Vancouver and Los Angeles Sections present:
West Coast Happy Hour Wednesday, August 26th
6:00-7:00pm (PST – Of Course!)
It’s time for all of the VES’ West Coast Members to step up and mingle:
* Have a great recipe to share?
* Recommendation on new shows to binge?
* Who has the cutest cat, doggie or turtle?
Prizes too! Have a chance to WIN a copy of the newly released third edition of the VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures!
To join THIS party, use Chrome desktop browser (with the Netflix Party extension installed) and click on the party URL above, which will redirect to Netflix’s website. You must click on the “NP” button next to the address bar to automatically join the party. The Chat will start around 7:00 pm with screening to begin @ 7:10 pm.
FINE PRINT: NETFLIX SUBSCRIPTION REQUIRED TO PARTICIPATE. DON’T HAVE AN ACCOUNT? SIGN UP AT NETFLIX.COM FOR A FREE 30 DAY SUBSCRIPTION. NETFLIX PARTY CHROME EXTENSION REQUIRED TO BE INSTALLED. THIS IS AN UNMODERATED EVENT. PLEASE BE KIND TO ONE ANOTHER.
You are invited to our first-ever, VES Netflix Party where you choose the movie – Click here to vote for the movie!
Then on Wednesday, June 17 at 7:30 PM we will watch the winning movie together and join an online chat with our fellow west coast VES colleagues from the Bay Area, Los Angeles, Vancouver and Washington Sections.
Look for your Netflix Party url email invitation and on this page one hour before showtime where you’ll find out the winning movie when you log in.
Fine Print: Netflix subscription required to participate. Don’t have an account? Sign up at Netflix.com for a FREE 30 day subscription. You will receive an email invite with a private URL one hour prior to the screening. Netflix Party Chrome Extension required to be installed. Instructions will be included with your invitation. This is an unmoderated event. Please be kind to one another.
Baobab Studios, KuKu Studios and Tonko House formed the Bay Area Animation Alliance to strengthen the independent animation community. One of their first public initiatives has been to create an online art charity auction using their creative strength to act upon their beliefs.
Together, the 3 studios have created original art for this online auction and they will be donating the proceeds to the Equal Justice Initiative.
The Visual Effects Society Bay Area is hosting a Zoom Call for our Bay Area Members.
The Bay Area section has always been and remains a tight knit group of artists, craft people and members of production. During these times of self isolation and social distancing, maintaining a sense of community is now more important than ever.
Please join us on this call, to see fellow members and to simply check in with each other.
Topic: VES Bay Area Get Together
Time: Mar 27, 2020 05:30 PM Pacific Time (US and Canada)
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Paramount Pictures’ A QUIET PLACE PART II
In an effort to prevent the spread of COVID19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
Please RSVP below (VES members must login to RSVP and see venue information) (RSVPs close at 12:00PM on Friday, March 20) Saturday, March 21, 2020 at 2:00PM
VES Members and Their Guests are Invited to an Opening Night Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD
Please RSVP below (VES members must login to RSVP and see venue information) Friday, March 6, 2020 at 7:30PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 6:30PM, no earlier)
The SIGGRAPH 2019 Computer Animation Festival features a selection of innovative animated short films and visual effects reels produced by professionals and students from around the world. These were originally shown as part of the SIGGRAPH 2019 Computer Animation Festival, a leading annual festival for the world’s most groundbreaking, accomplished, and amazing digital film creators.
The content, in its original form, premiered during SIGGRAPH 2019, 28 July–1 August, in Los Angeles. The annual festival is a qualifying event for the Academy of Motion Picture Arts and Sciences Academy Awards.
Since 1999, several works originally presented in the SIGGRAPH Computer Animation Festival have gone on to be nominated for or receive the Best Animated Short Film Oscar.
This event is free for San Francisco ACM SIGGRAPH Members. There is still time to become a member and attend the show for free.
Get your membership at: http://san-francisco.siggraph.org
If you become a member, please email me at tereza_flaxman@siggraph.org with your membership number.
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
Any active VES member who can travel to one of the cities listed below may participate.
This is your chance to determine who will ultimately walk up to the podium on January 29, 2020, to collect a coveted VES Award. A single vote may make the difference between being nominated… or not… and that vote could be yours!
Past participants know that this is the must-attend event of the awards season. Not only will you view some of the most amazing visual imagery of 2019, you’ll get to see exclusive behind-the-scenes footage while participating in the single best networking opportunity of the year. It’s a chance to see old friends, meet the best and brightest in the visual effects field, and learn new techniques that you can apply to your own craft. All of that, plus the satisfaction of knowing that you have participated in choosing what will ultimately be the Nominations announced to the press for the 18th Annual VES Awards.
Judges who register to participate will receive information about specific times and locations from their local section representatives once their applications are received. If you are ready to make a difference, please submit your Panel Judge Application BELOW. Make sure you check the box indicating which of the Nomination Event locations you are applying for.
The Nomination Event is a full-day event held on Saturday, January 4, 2020 around the globe. Nominees will be announced on Monday, January 6, 2020. We look forward to receiving your Judge Application to make this year’s Nomination Event a success!
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER followed by a live interactive Q&A with the Filmmakers.
Panelists will include Director J.J. Abrams as well as Visual Effects Supervisors Roger Guyett and Patrick Tubach, moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information) (RSVPs close at 12:00PM on Friday, December 20) Saturday, December 21, 2019 at 11:00AM
VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER followed by a live interactive Q&A with the Filmmakers
Panelists will include Director J.J. Abrams as well as Visual Effects Supervisors Roger Guyett and Patrick Tubach, moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, December 21, 2019 at 11:00AM
Bay Area VES Members and Their Guests are Invited to a Screening of Netflix’s THE IRISHMAN followed by a live interactive Q&A with Visual Effects Supervisor Pablo Helman, moderated by VES Fellow Paul Debevec, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, December 6) Sunday, December 8, 2019 at 11:00AM
VES Members and Their Families in the Bay Area are Invited to an Opening Weekend Screening of Walt Disney Animation Studios’ FROZEN 2
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 10:00AM on Friday, November 22) Sunday, November 24, 2019 at 2:00PM
VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s FORD V FERRARI followed by a live interactive Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Olivier Dumont, Visual Effects Producer Kathy Siegel and Special Effects Supervisor Mark R. Byers. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, November 16, 2019 at 11:00AM
The Visual Effects Society Bay Area Section is proud to present
FAANG: Opportunities for VFX Veterans at the Bay Area’s Leading Tech Companies.
This is a Panel Discussion and Networking Event with an emphasis on the kinetic exchange of information, lively collaboration and professional networking.
The VES Bay Area Section is assembling a panel of VFX professionals who have successfully transitioned to working with leading tech companies in the Bay Area. As the our industry continues to change and the demand for original content continues to grow, the time honed skill sets of visual effects industry veterans can find a home in Silicon Valley.
This evening is designed to provide practical advice and useful insights to help guide artists & production staff looking to leverage their talents locally .
This is an accelerated event meant to move quickly. So bring your concise questions and your business cards.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Re-Recording Sound Mixers Tom Johnson and Juan Peralta,
Sound Mixer John Pritchett, CAS,
Supervising Sound Editors Shannon Mills and Daniel Laurie
Reception at Sessions
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Marvel Studios’ “Avengers: Endgame” is available on Digital July 30 and on Blu-ray™ August 13.
PARKING AND CHECK-IN DETAILS WILL BE PROVIDED UPON RSVP CONFIRMATION
VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ THE LION KINGfollowed by a live interactive Q&A with the Filmmakers
Panelists will include Director Jon Favreau, Visual Effects Supervisor Rob Legato, and Cinematographer Caleb Deschanel, ASC, moderated by Michael Fink, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 27, 2019 at 11:00AM
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLIONKING, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Peter Oberdorfer is a 25 year veteran in digital entertainment and CGI. Peter has co-founded several well regarded digital post-production firms, including the interactive/UX firm Float Hybrid Entertainment, the Academy Award and Emmy Award-winning visual effects studio Giant Killer Robots, as well as Hollywood’s original previsualization firm, Pixel Liberation Front.
With the founding of Tactic, Peter has joined forces with a team of other seasoned digital artists, combining his past experience as a visual effects artist and supervisor with interactive visualization and storytelling through involvement in interactive projects, interactive experiences and products centered around new digital formats: AR/VR/MR/XR, mobile apps, visual effects, as well as real-time 3d environments and experiences made with game and visualization engines.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME
Please RSVP below Sunday, July 14, 2019 at 11:00AM (RSVPs close at 2:00PM on Friday, July 12)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to 3D Screening of Screening of Disney•Pixar’s TOY STORY 4 followed by a Q&A with the Visual Effects and Animation Team
Panelists will include Technology & Pipeline Supervisor William Reeves, Supervising Technical DirectorBob Moyer, Effects Supervisor Gary Bruins and Effects Lead Alexis Angelidis, moderated by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 10:00AM on Friday, June 28) Saturday, June 29, 2019 at 2:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 1:00PM, no earlier)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
June 12th – doors open 7:00PM (CEST) and there will be beer and pizza!
ZOOM stream starts at 7:30PM (CEST)
Masterclass starts at 8:00PM (CEST)
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The VES invites you to our 3rd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on June 12th 7:00PM at multiple locations and will also be streamed via ZOOM.
RSVP for your specific location on the appropriate event pages please:
Efficient facial rigging tools for emotionally believable digital humans
presented by Volker Helzle – Head of Research & Development at Filmakademie
Live from Munich Using Machine-learning to classify a VFXElements Library
presented by Jonas Kluger – Pipeline TD at ARRI
Live from Berlin Camera Technology: Sensors, Noise Properties, and Raw Processing
presented by Charles Poynton, PhD
We are overbooking to compensate for no-shows.
Seating is limited and will be available on a first come, first served basis.
An RSVP does not guarantee seating.
VES-Members and their registered guests only (except for Ludwigsburg and Cologne). No admission without registration – also at the streaming locations!
The event will also be recorded for everyone who can’t make it.
The event will be streamed live from (and to) Berlin, Munich, Stuttgart and Ludwigsburg. For the first time we also provide direct access to the ZOOM stream for ALL VES MEMBERS around the world!
VES Germany is a proud Partner of the FMX Conference in Stuttgart.
VES Members and Their Guests in the Bay Area are Invited to an Opening WeekendScreening of Warner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Guillaume Rocheron, MPC Senior Animation Supervisor Spencer Cook, Method Studios Visual Effects SupervisorDaryl Sawchuk and Double Negative Visual Effects Supervisor Brian Connor, moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESGODZILLA, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALADDIN
Please RSVP below Saturday, June 1, 2019 at 2:00PM (RSVPs close at 2:00PM on Friday, May 31)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
A Very Limited Number of Bay Area VES Members and One Guest Each are Invited to the Premiere Screening of Paramount Pictures’ ROCKETMAN Followed by a Conversation with Star Taron Egerton
Please RSVP below Thursday, May 30, 2019 at 7:30PM (RSVPs close at 9:00AM on Thursday, May 30)
The Castro Theater
429 Castro Street, San Francisco, CA 94114 Click here for a map
Due to studio security, all guest names must be entered in order to be admitted.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in the Bay Area are Invited to aScreening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Producer Jen Underdahl, ILM Visual Effects Supervisor Russell Earl, Digital Domain Visual Effects Supervisor Kelly Port, and Associate Visual Effects Supervisor Mårten Larsson, moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESENDGAME, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Producer Jen Underdahl, ILM Visual Effects Supervisor Russell Earl, Digital Domain Visual Effects Supervisor Kelly Port, and Associate Visual Effects Supervisor Mårten Larsson, moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Saturday, May 4, 2019 at 3:00PM (RSVPs close at 2:00PM on Friday, May 3)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESENDGAME, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VR & AR are maturing into legitimate mediums on their own. In our panel discussion we’ll hear from three local artists who live, learn and earn in immersive media. Attendees will hear about advances in storytelling, what is working and what isn’t and unique techniques and problem solving approaches.
Come by to be part of this lively discussion!
WHEN
APRIL 18, 2019
6:30PM – 8:30PM
WHERE
ADOBE SF
601 TOWNSEND STREET
SAN FRANCISCO, CA 94103
PANELISTS
Kevin Ang
Kevin is an artist who’s storyboarding, animation, print design, motion design, graphic recording and now all things immersive. He has won an Emmy for his broadcast work and is the co-founder of the XR Artists Collective, a global community contributing to a growing art movement.
Kevin Kunze
Kevin Kunze is an award-winning 360 virtual reality filmmaker who’s worked with Colin Kaepernick, Ayesha Curry, and Brent Burns. Kunze’s first feature length documentary Mobilize includes interviews with Steve Wozniak, Gavin Newsom and Lawrence Lessig.
Estella Tse
A VR/AR Creative Director and artist based in Oakland, CA, Estella integrates emerging tech and visual storytelling into a new art form. She strives to inspire new ways to connect, educate, and build empathy.
Michael Russell- MODERATOR
The Panel is moderated by VES Bay Area Board of Managers Member Michael Russell. Mike is an Assistant Professor in the Digital Filmmaking Program atSAE Expression Creative Media College. His career spans 35 years as a professional screenwriter, director, editor, technical director, producer, creative/technical consultant and educator. He has worked in feature films, visual effects, animation, internet, TV, advertising, game industries, and tech giants in Silicon Valley.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN MARVEL followed by a Q&A with the Filmmakers. Panelists will include Directors Anna Boden and Ryan Fleck as well as Additional Visual Effects Supervisor Janelle Croshaw Ralla, moderated by Bill Taylor, VES, ASC. (Panelists will be announced as they are confirmed.)
Please RSVP below Sunday, March 10, 2019 at 11:00AM (RSVPs close at 2:00PM on Friday, March 8)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESCAPTAINMARVEL, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in the Bay Area are Invited to an Opening Weekend Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD followed by a live interactive Q&A with Director Dean DeBlois, Producer Brad Lewis, Visual Effects Supervisor Dave Walvood, Head of Character Animation Simon Otto and Head of Effects Li-Ming ‘Lawrence’ Lee moderated by Director Bill Kroyer. (All panelists’ participation based on availability.)
Please RSVP below Saturday, February 23, 2019 at 11:00AM
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESDRAGON, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below Sunday, February 17, 2019 at 4:00PM (RSVPs close at 12:00PM on Friday, February 15)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in the Bay Area are Invited to an Opening Weekend Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below Sunday, December 16, 2018 at 2:00PM
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This entertaining talk discusses whether computers, using Artificial Intelligence (AI), could create art. Aaron will cover the history of automation in art, examining the hype and reality of Artificial Intelligence (AI) tools for art together with predictions about they will be used. The fundamental question of whether an AI system could be credited with the authorship of artistic work is examined and how humans and AI may collaborate in the future.
BIO
Aaron Hertzmann received a BA in computer science and art & art history from Rice University in 1996, and a PhD in computer science from New York University in 2001. He was a Professor at University of Toronto for 10 years, and has also worked at Pixar Animation Studios, University of Washington, Microsoft Research, Mitsubishi Electric Research Lab, and Interval Research Corporation. He is an ACM Distinguished Scientist and IEEE Senior Member, and holds courtesy faculty appointments at University of Washington and University of Toronto.
His awards include the MIT TR100 (2004), an Ontario Early Researcher Award (2005), a Sloan Foundation Fellowship (2006), a Microsoft New Faculty Fellowship (2006), a UofT CS teaching award (2008), the CACS/AIC Outstanding Young CS Researcher Award (2010), the Steacie Prize for Natural Sciences (2010), and Rice Outstanding Young Engineering Alumnus (2011).
Bay Area VES Members and Their Guests are Invited to a Screening of Netflix’s MOWGLI followed by a Q&A with Director Andy Serkis, Animation Supervisor Max Solomon and Members of the Visual Effects Team T.B.A. moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, December 1, 2018 at 11:00AM (RSVPs close at 5:00PM on Friday, November 30)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMOWGLI, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Screening of Netflix’s THE OTHER SIDE OF THE WIND followed by a Q&A with Visual Effects Supervisor John Knoll and Whiskytree Visual Effects Supervisor Jonathan Harb moderated by VES Board member Rose Duignan. (All panelists’ participation based on availability.)
Please RSVP below Friday, November 30, 2018 at 8:00PM (RSVPs close at 12:00PM on Friday, November 30)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Pre-Release Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET followed by a Q&A with Visual Effects Supervisor Scott Kersavage, Character Look Development Supervisor Michelle Robinson and Head of Effects Animation Cesar Velazquezmoderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Since this is a pre-release screening, there will be NO ELECTRONIC DEVICES ALLOWED IN THE THEATER. Please leave your phone in your car.
Please RSVP below
(RSVPs close at 10:00AM on Friday, November 16) Saturday, November 17, 2018 at 11:00AM (Gates open to the Pixar Campus & In-Studio Parking Lot at 10:00AM, no earlier)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESRALPH, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER followed by a Q&A with Writer/Director Ryan Coogler, Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Craig Hammack, Additional Visual Effects Supervisor Jesse James Chisholm and Special Effects Supervisor Dan Sudick moderated by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below Saturday, October 20, 2018 at 12:00PM (RSVPs close at 12:00PM on Friday, October 19)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Pre-Release Screening of Universal Pictures’ FIRST MAN followed by a Presentation and Live Interactive Q&A with Visual Effects Supervisor Paul Lambert, Miniature Effects Supervisor Ian Hunter and Special Effects Supervisor J.D. Schwalm moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, October 6, 2018 at 12:00PM (RSVPs close at 5:00PM on Friday, October 5)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESFIRSTMAN, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Shifting Lanscapes: Exploring the Tech-tonic Shake-up in Visual Entertainment
Saturday, September 8, 2018
Dolby Laboratories 1275 Market Street San Francisco, CA 94103
Join the Visual Effects Society’s Bay Area section for a full day of roundtable discussions, networking, and keynote visionary presentations at the stunning, state-of-the-art Dolby Laboratories headquarters in downtown San Francisco.
For the third time, the VES Bay Area Board of Directors has invited local and global experts from the fields of Animation, Broadcast & Film, VFX, Video Games and Technology to gather for this Bay Area Summit.
The event will include approximately ten Roundtable Topics to encourage discussion and interaction. These discussions will include accomplished local and international industry contributors — directors, producers, art directors, cinematographers, editors, post production supervisors, visual effects practitioners and executives — dedicated to both their own industry, and to the health of the production community at large.
Bay Area VES Members and Their Guests are Invited to an Opening Night Screening of STX Entertainment’s THE HAPPYTIME MURDERS followed by a live interactive Q&A with Director Brian Henson, Actors and Puppeteers Bill Barretta and Drew Massey with Visual Effects Producer Melissa Brockman, Compositing Supervisor Caleb Knueven and CG Supervisor Efram Potelle moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
This film is Rated R, and is not intended for children. Click here to watch the trailer.
Please RSVP below Friday, August 24, 2018 at 7:00PM (RSVPs close at 5:00PM on Thursday, August 23)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESHAPPYTIME, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screening in the Morrison Planetarium Fulldome Theatre
When
Tuesday, August 7, 2018
6:30PM (doors open)
7PM – 10PM
Where
California Academy of Sciences
55 Music Concourse Drive
San Francisco, CA 94118
Followed by:
Filmmaker Making-Of Presentation and Q&A
+
Post Screening Reception
Light Hors d’oeuvres & Drinks
+
Special Screenings of Pixar Shorts
Members are encouraged to bring a colleague to this exclusive industry event to meet the artists behind the film and learn more about the Visual Effects Society and Women in Animation. Limit 1 guest per member and all guests must be 21 years or older.
To attend please RSVP by Monday, August 6, 2018.
Please Note:
The screening begins promptly at 7:00PM.
For audience safety, no late entries will be allowed into the planetarium once the show begins.
You must be 21 years or older to attend this event.
Bay Area VES Members and Their Families are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Sunday, August 5, 2018 at 12:00PM (RSVPs close at 5:00PM on Friday, August 3)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Wednesday, July 18, 2018 at 8:00PM (RSVPs close at 5:00PM on Tuesday, July 17)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP followed by a Live Interactive Q&A with Director Peyton Reed as well as Visual Effects Supervisor Stephane Ceretti moderated by VES Archives Committee Chair Gene Kozicki. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 7, 2018 at 5:00PM (RSVPs close at 5:00PM on Friday, July 6)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWASP, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below Wednesday, June 20, 2018 at 7:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 6:15PM, no earlier)
(RSVPs will close at 12:00PM on Tuesday, June 19)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a Special Fathers’ Day 3D Screening of Universal Pictures’ and Amblin Entertainment’s JURASSIC WORLD: FALLEN KINGDOM followed by a Live Interactive Q&A with Director J.A. Bayona, ILM Visual Effects Supervisor David Vickery, ILM Animation Director Jance Rubinchik and ILM Visual Effects Supervisor Alex Wuttke with moderation by VES London Section Secretary Gavin Graham (All panelists’ participation based on availability.)
Please RSVP below Sunday, June 17, 2018 at 11:00AM (RSVPs close at 5:00PM on Friday, June 15)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in London) immediately following the screening. (be sure to include the hashtag, #VESJURASSIC, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating,
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY followed by a Q&A with Overall Visual Effects Supervisor Rob Bredow, ILM Visual Effects Supervisor Pat Tubach, ILM Roto/Paint Supervisor Beth D’Amato and Hybride Visual Effects Supervisor Joseph Kasparian with moderation by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below Sunday, May 27, 2018 at 12:00PM (RSVPs close at 12:00PM on Friday, May 25)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Screening of 20th Century Fox’s DEADPOOL 2
Please RSVP below Saturday, May 19, 2018 at 7:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 6:00PM, no earlier)
(RSVPs will close at 12:00PM on Friday, May 18)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR followed by a Live Interactive Q&A with Visual Effects Producers Jen Underdahl and Lisa Marra, Weta Digital Visual Effects Supervisor Matt Aitken, Industrial Light + Magic Visual Effects Supervisor Russell Earl and Digital Domain Visual Effects Supervisor Kelly Port with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Sunday, May 6, 2018 at 12:00PM (RSVPs close at 5:00PM on Friday, May 4)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESINFINITYWAR, in your tweet.)
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE followed by a Q&A with the Visual Effects Supervisor Scott Farrar, Associate Visual Effects Supervisor Jeff Sutherland, Animation Supervisor Rick O’Connor and VFX Producer Ryan Wiederkehr moderated by VES Board member and Bay Area Co-Chair Lisa Cooke.
Please RSVP below Monday, April 9, 2018 at 8:00PM (RSVPs close at 12:00PM on Monday, April 9)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE followed by a live interactive Q&A with Co-Producer and Visual Effects Producer Jennifer Meislohn, ILM Visual Effects Supervisor Grady Cofer, Digital Domain Visual Effects Supervisor Matthew Butler and Digital Domain Previsualization Supervisor Scott Meadows as well as Digital Domain Virtual Production Supervisor Gary Roberts, moderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Please RSVP below Saturday, April 7, 2018 at 12:00PM (RSVPs close at 5:00PM on Friday, April 6)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESRPO, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ A WRINKLE IN TIME followed by a Q&A with Visual Effects Supervisor Rich McBride and Previs Supervisor Chris Batty with moderation by VES Board member Lisa Cooke.
Please RSVP below Saturday, March 17, 2018 at 12:00PM (RSVPs close at 5:00PM on Friday, March 16)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below Sunday, February 18, 2018 at 3:00PM (RSVPs close at 12:00PM on Friday, February 16)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Screening of Lionsgate Pictures’ and Aardman Animation’s EARLY MAN followed by a Q&A with the filmmakers
Panelists will include Director Nick Park and Animation Directors Will Becher andMerlin Crossingham. (All panelists’ participation based on availability.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI
Please RSVP below Sunday, December 17, 2017 at 3:00PM (RSVPs close at 5:00PM on Friday, December 15)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Happy Holidays from the Visual Effects Society Bay Area Section. Come join VES Bay Area members and their guests to ring in the season at the annual VES Holiday Party on December 15, 2017!
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ COCO
Please RSVP below Saturday, December 9, 2017 at 4:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 3:00PM, no earlier)
(RSVPs will close at 11:00AM on Friday, December 8)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Paramount Pictures Invites VES Members and a Guest
to a Special Advance Screening of DOWNSIZING
Directed by Alexander Payne
Produced by Mark Johnson, Alexander Payne & Jim Taylor
Click here to RSVP
Tuesday, November 14, 2017 at 7:00PM AMC Kabuki 8
1881 Post St., San Francisco, CA 94115
(Click here for a map.) A Q&A with Producer Mark Johnson immediately follows the screening.
Please bring your VES card and a government issued photo ID.
Should you need to cancel your reservation, please email us at: awards@paramount.com
ABOUT THE FILM DOWNSIZING imagines what might happen if, as a solution to over-population, Norwegian scientists discover how to shrink humans to five inches tall and propose a 200-year global transition from big to small. People soon realize how much further money goes in a miniaturized world, and with the promise of a better life, everyman Paul Safranek (Matt Damon) and wife Audrey (Kristen Wiig) decide to abandon their stressed lives in Omaha in order to get small and move to a new downsized community — a choice that triggers life-changing adventures. Directed by Alexander Payne and written by Alexander Payne & Jim Taylor, DOWNSIZING stars Matt Damon, Christoph Waltz, Hong Chau and Kristen Wiig.
Downsizing Opens Nationwide December 22
Running time: 135 minutes Click here to watch the trailer
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Sunday, November 5, 2017 at 3:00PM (RSVPs close at 12:00PM on Friday, November 3)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ BLADE RUNNER 2049
Please RSVP below (VES members must login to sign up.)
Wednesday, October 25, 2017 at 6:00PM, Doors open at 5:30pm (RSVPs close on Tuesday, October 24 at 11:59PM)
Dolby’s Market Street Cinema
1275 Market Street, San Francisco, CA 94103-4813 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Visual Effects Society Bay Area Members and their Guests are Invited to a Special 20th Anniversary Screening of a 35 mm Film Print of Tristar Pictures’
STARSHIP TROOPERS (1997)
SPECIAL GUEST PHIL TIPPETT
Two Time Academy Award winner Phil Tippett, Visual Effects Supervisor of Starship Troopers, will be bringing props, models and minatures from the production of Starship Troopers.
Before the screening, Tippett will share a brief presentation including behind-the-scenes stories and footage from the production of the movie.
Bay Area VES Members and Their Guests are Invited to a Screening of Focus Features’ ATOMIC BLONDE
Please RSVP below Sunday, August 6, 2017 at 12:00PM (RSVPs close at 12:00PM on Friday, August 4)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of STX Entertainment’s VALERIAN AND THE CITY OF A THOUSAND PLANETS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Scott Stokdyk, Visual Effects Producer Sophie Leclerc, Rodeo FX Associate Visual Effects Supervisor Peter Nofz and Weta Digital Visual Effects Supervisor Martin Hill with moderation by VES Board member Bill Taylor, VES, ASC. (All panelists’ participation based on availability.)
Please RSVP below Sunday, July 30, 2017 at 12:00PM (RSVPs close at 5:00PM on Saturday, July 29)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESVALERIAN, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s WAR FOR THE PLANET OF THE APES, plus a live interactive Q&A with the filmmakers.
Panelists will include Senior Visual Effects Supervisor Joe Letteri and Director Matt Reeves with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below by Friday, July 14 at 10:00AM Screeening is Saturday, July 15, 2017 at 12:00PM
Dolby’s Market Street Cinema
1275 Market Street, San Francisco, CA 94103-4813 Click here for a map.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWARFORTHEPLANET, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in the Bay Area are Invited to an Opening Weekend Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Saturday, July 8, 2017 at 5:00PM
(RSVPs will close at 3:00PM on Saturday, July 8) 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to an Opening Weekend Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below Saturday, July 1, 2017 at 3:00PM
(RSVPs will close at 12:00PM on Friday, June 30) 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below
Monday, June 26, 2017 at 7:00PM (RSVPs close on Friday, June 26 at 12:00PM)
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below Wednesday, June 21, 2017 at 7:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 6:00PM, no earlier)
(RSVPs will close at 11:00AM on Wednesday, June 21)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below
(RSVPs close at 12:00PM on Friday, June 9) Saturday, June 10, 2017 at 11:00AM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a Screening of Walt Disney. Pictures’ PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES
Please RSVP below
(RSVPs close at 11:00PM on Saturday, June 3) Sunday, June 4, 2017 at 11:00AM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in the Bay Area are Invited to an Opening Weekend Screening of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below Saturday, May 20, 2017 at 6:30PM
(RSVPs will close at 12:00PM on Friday, Mary 19) 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VISUAL EFFECTS SOCIETY BAY AREA SUMMIT 2017
Film & Beyond | The Next Twenty Years
As the Visual Effects Society celebrates and honors its Twentieth Anniversary, The Bay Area Chapter is taking the opportunity to reflect on where we’ve been, where we are and where we are going in the NEXT TWENTY YEARS!
From it’s roots in hand made, traditional visual effects craftmanship, through expansion into digital tools and technologies, feature-length animation, cinematic video game content… the Bay Area’s digital arts community continues, year after year, to be a leader in the modes through which VFX can affect the world.
Blockbuster Movies. Science. Education. Theme Parks. Virtual and Augmented Reality. We want to engage in a joyous reflection on our history, and to dream where we can go next.
As such, the VES Bay Area Board of Directors invites local and global experts from the fields of Animation, Broadcast & Film, VFX, Video Games and Technology to gather for this 2nd Annual Bay Area Summit.
The event will include approximately ten Roundtable Topics to encourage discussion and interaction. These discussions will include accomplished local and international industry contributors — directors, producers, art directors, cinematographers, editors, post production supervisors, visual effects practitioners and executives — dedicated to both their own industry, and to the health of the production community at large.
Come join this amazing event with us and be a part of the conversation as we look to the past, the present and the Next Twenty Years.
Bay Area VES Members and Their Families are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Marvel Studios’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below
Saturday, May 6, 2017 at 1:00PM (RSVPs close on Friday, May 5 at 12:00PM)
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below
Saturday, April 15, 2017 at 4:00PM (RSVPs close on Friday, April 14 at 12:00PM)
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below
Sunday, April 2, 2017 at 5:00PM (RSVPs close on Friday, March 31 at 12:00PM)
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in the Bay Area are Invited to a Screening of Walt Disney Pictures’ BEAUTY AND THE BEAST
Please RSVP below Sunday, March 26, 2017 at 3:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 2:00PM, no earlier)
(RSVPs will close at 11:00AM on Friday, March 24)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Warner Bros. Pictures’ KONG: SKULL ISLAND
Please RSVP below
(RSVPs close at 12:00PM on Friday, March 17) Sunday, March 19, 2017 at 4:00PM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s LOGAN
Please RSVP below
Sunday, March 5, 2017 at 3:00PM (RSVPs close on Sunday, March 5 at 1:00PM)
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
THE VISUAL EFFECTS SOCIETY VISION COMMITTEE IN COLLABORATION WITH NASA AND THE CALIFORNIA ACADEMY OF SCIENCES PRESENT
SCIENCE & SCI FI: FORGING THE FUTURE
PLEASE JOIN US FOR A SPECIAL PANEL PRESENTATION AND INFORMATIVE DISCUSSION WITH KEY SCIENTISTS AND ARTISTS ON “BOTH SIDES OF THE EQUATION” (AND FOR WHAT POSSIBLY LIES AHEAD!)
PARTICIPANTS INCLUDE:
DAN CURRY
VFX PRODUCER/SUPERVISOR “STAR TREK THE NEXT GENERATION” THROUGH “STAR TREK ENTERPRISE”
JIM GREEN
NASA PLANETARY SCIENCE DIV. DIRECTOR & TECHNICAL ADVISER ON “THE MARTIAN”
DAVID ISRAEL
NASA EXPLORATION & SPACE COMMUNICATIONS PROJECTS DIVSION ARCHITECT
GREG WILLIAMS
NASA HUMAN EXPLORATION AND OPERATIONS MISSION DIRECTORATE
Bay Area VES Members and Their Families are Invited to a 2D Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s ROGUE ONE: A STAR WARS STORY plus a Q&A.
Panelists will include Executive Producer and Visual Effects Supervisor John Knoll and Animation Supervisor Hal Hickel with moderation by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, December 16) Sunday, December 18, 2016 at 12:00PM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESROGUEONE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Pre-Release Screening of Columbia Pictures’ PASSENGERS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Pete Dionne, Co-Producer Greg Baxter, Film Editor Maryann Brandon and Production Designer Guy Hendrix Dyas with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Saturday, December 17, 2016 at 12:00PM
Delancey Street Screening Room 600 The Embarcadero, San Francisco, CA 94107 Click here for a map.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESPASSENGERS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in the Bay Area are Invited to a Screening of Walt Disney Animation Studios’ MOANA
Please RSVP below Saturday, December 10, 2016 at 3:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 2:00PM, no earlier)
(RSVPs will close at 12:00PM on Thursday, November 8)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Tuesday Evening, December 6, 2016
6:30pm to 9:30pm
Presentation begins at 7:30pm
Zynga
699 8th Street
San Francisco CA 94103
Join SF Siggraph for their last event of 2016. A screening of Pixar’s charming short “Piper” with guest speaker Brett Levin. Brett works on technical are and software toos for animated films at Pixar. Most recently he supervised technical production for the Piper Short. Prior to that he was co-lead on Pixar’s effort to switch to path-tracing for Finding Dory; led implemmentatin of the scene descrition & compositing system for USD; and led animation, layout, and scenegraph teams for Pixar’s rigging & animation system Presto. His first industry job was working on the Blade Runner PC game at Westwood Studios.
Seating is limited. Please ONLY RSVP if you are certain to attend.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP below
Monday, November 28, 2016 at 7:30PM
(RSVPs will close on Monday, November 28 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES members and friends, are invited to join our informal “sit-down” to discuss the past, present and possible futures of Facial Capture and Animation.
As capture tech continues to evolve at record pace we will examine current methods and possible applications and modern techniques.
Come join industry innovators Scott C. Smith Director of Ops, David Andrews, Animation Supervisor, (both of CAMd/Pulse) and others for this exciting exchange between some of the leaders in facial capture and animation.
VES Members and Their Guests in the Bay Area are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE followed by a Q&A with ILM’s Visual Effects Supervisor Richard Bluff
Please RSVP below Saturday, November 12, 2016 at 3:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 2:00PM, no earlier)
(RSVPs will close at 12:00PM on Thursday, November 10)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and a Guest are Invited to an Opening Night Screening of Paramount Pictures’ ARRIVAL
Please call (800) 905-6918 to RSVP(be sure to specify the date, time and location of the screening you’d like to attend) Friday, November 11, 2016 at 7:00PM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating. Click here for more studio screenings.
VES Bay Area Section Invites You and Your Guests to a Screening of Columbia Pictures’ INFERNO
Please RSVP below
Saturday, November 5, 2016 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 4, 2016
The Visual Effects Society is inviting all Bay Area Section Members and their Guests to the Contemporary Jewish Museum in San Francisco to experience the Stanley Kurbrick Exhibition. Come see one of the most expansive retrospectives of this visionary director’s films via actual props, notes and research used to produce his work. The exhibit is ending this month so this is one of your last chances to see the exhibit before it moves on to another city.
VES Bay Area Section Invites You and Your Guests to a Screening of Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below
Saturday, October 1, 2016 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, September 30, 2016
VES Bay Area Section Invites You and Your Guests to a Screening of MGM’s THE MAGNIFICENT SEVEN from 1960
Please RSVP below
Saturday, October 1, 2016 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, September 30, 2016
VES Members and Their Guests in the Bay Area are Invited to a Pre-Release Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON, plus a live interactive Q&A with the filmmakers.
Panelists will include Director Peter Berg, Special Effects Supervisors Burt Dalton and Matt Kutcher and Lead Post-Vis Artist at ILM Keith Johnson with moderation by VES Board member Dan Schrecker. (All panelists’ participation based on availability.)
Please RSVP below Saturday, September 24, 2016 at 12:00PM
Variety Club Preview Room 582 Market St #101, San Francisco, CA 94104 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in New York) immediately following the screening. (be sure to include the hashtag, #VESDEEPWATERHORIZON, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:
On April 20th, 2010, one of the world’s largest man-made disasters occurred on the Deepwater Horizon in the Gulf of Mexico. Directed by Peter Berg (LONE SURVIVOR), this story honors the brave men and women whose heroism would save many on board, and change everyone’s lives forever. Click here to watch the trailer
VES Bay Area Members and Their Families are Invited to a Double Feature Screening to Remember the Late Gene Wilder. We will screen WILLY WONKA AND THE CHOCOLATE FACTORY at 4:00PM followed by YOUNG FRANKENSTEIN at 6:00PM
Please RSVP below
Saturday, September 3, 2016 at 4:00PM and 6:00PM 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below
Saturday, August 20, 2016 at 7:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 6:00PM, no earlier)
(RSVPs will close at 12:00PM on Friday, August 19)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members and Their Families are Invited to a Screening of Walt Disney Pictures’ PETE’S DRAGON
Please RSVP below
Saturday, August 13, 2016 at 7:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 6:00PM, no earlier)
(RSVPs will close at 12:00PM on Friday, August 12)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Universal Pictures’ JASON BOURNE
Please RSVP below
Monday, August 8, 2016 at 7:00PM
(RSVPs will close on Monday, August 8 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
You and a guest are invited to join us at the Stag Theater at Skywalker Ranch for an advanced screening of THE LITTLE PRINCE, followed by a Q&A with acclaimed director Mark Osborne. Based on the book of the same name, the film follows Elena, a prodigiously gifted young girl living in a world of grown-ups, being urged by her mother to leave her childhood behind in hopes of enrolling her into the prestigious Werth Academy. But the “life plan” her mother has created for her sounds much less appealing after listening to the stories of the “Little Prince” from the eccentric elderly aviator living next door.
Brought to us by our friends at Netflix, THE LITTLE PRINCE creates a world of childhood that lasts forever, written for both children and adults. It creates the idea that childhood always remains in the hearts of adults and that though we may grow up, we do not have to lose that sense of imagination.
About The Little Prince
Rediscover one of the most beloved stories of all time. From Mark Osborne, Academy Award®-nominated director of KUNG FU PANDA, comes the award-winning adaptation of Antoine de Saint-Exupéry’s iconic masterpiece, THE LITTLE PRINCE. At the heart of it all is The Little Girl (Mackenzie Foy), who’s being prepared by her mother (Rachel McAdams) for the very grown-up world in which they live – only to be interrupted by her eccentric, kind-hearted neighbor, The Aviator (Jeff Bridges). The Aviator introduces her to an extraordinary new world where anything is possible. A world that he himself was initiated into long ago by The Little Prince (Riley Osborne). It’s here that her magical and emotional journey into the universe of The Little Prince begins. And where The Little Girl discovers that it is only with the heart that one can see rightly what is essential is invisible to the eye.
About Mark Osborne
Two time Academy Award nominated director Mark Osborne has been telling stories with animation and live-action for more than twenty-five years. Currently, Osborne has directed and Executive Produced the upcoming first-ever animated feature film adaptation of Antoine de Saint-Exupéry’s beloved classic, The Little Prince. Osborne’s breakout was DreamWorks’ critically acclaimed animated box office hit, KUNG FU PANDA. The film premiered Out of Competition at the 2008 Cannes Film Festival going on to receive an Academy Award®-nomination for Best Animated Feature. Among Osborne’s other credits include the animated stop-motion short film, MORE. Written and directed by Osborne, the film screened at more than 150 film festivals worldwide and received numerous awards and nominations including an Academy Award®-nomination for Best Short Film, a Special Jury Prize at the Sundance Film Festival, and an Annie Award-nomination. Osborne studied foundation art at New York’s Pratt Institute before earning his BFA in experimental animation from the California Institute of the Arts. In 1997, Osborne returned to CalArts to teach Advanced Filmmaking Techniques and has since given lectures and taught on the subject of animation worldwide including Tokyo, China, Italy, Norway, Canada and all over the U.S.
Focus Features and Laika Entertainment Invites VES Members and a Guest to a Special Advance Screening of KUBO AND THE TWO STRINGS followed by a Q&A with Producers Travis Knight and Arianne Sutner
From animation studio LAIKA comes an action-adventure set in a fantastical Japan. Clever, kindhearted Kubo (Art Parkinson) ekes out a humble living, telling stories to the people of his seaside town. But his relatively quiet existence is shattered when he accidentally summons a spirit from his past which storms down from the heavens to enforce an age-old vendetta. Now on the run, Kubo joins forces with Monkey (Charlize Theron) and Beetle (Matthew McConaughey), and sets out on a quest to save his family and solve the mystery of his fallen samurai warrior father. With the help of his shamisen – a magical musical instrument – Kubo must battle gods and monsters, including the vengeful Moon King (Ralph Fiennes) and the evil twin Sisters (Rooney Mara), to unlock the secret of his legacy, reunite his family, and fulfill his heroic destiny. The film, produced by Travis Knight and Arianne Sutner, also features the voices of George Takei, Cary-Hiroyuki Tagawa, and Brenda Vaccaro.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Columbia Pictures’ GHOSTBUSTERS
Please RSVP below
Thursday, July 28, 2016 at 7:00PM
(RSVPs will close on Thursday, July 28 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
2016 marks Star Trek’s 50th Anniversary. In celebration of this historic event the Visual Effects Society Vision Committee in collaboration with the California Academy of Sciences and the VES Bay Area Section present INCOMING!
Asterorids and comets have collided with our planet throughout its history, changing the course of life on Earth and shaping the world we know today. Narrated by George Takei, INCOMING! explores the past, present, and future of our Solar System and the landmark discoveries scientists have made sending spacecraft to visit tiny worlds. In this latest planetarium show from the California Academy of Sciences, cutting-edge visualizations bring real-time data from current NASA missions to life while taking audiences on a ride through the dynamic story of our cosmic origins. Discover what these impacts from above can teach us and how scientific advances may allow us to find and track cosmic threats before they reach planet Earth. Q&A to follow with Incoming! Producer (and VES Vision Committee member) Tom Kennedy and Team Members Matt Blackwell, Mike Schmitt & Jeroen Lapre
followed by a special opening weekend screening of Paramount Pictures’ STAR TREK BEYOND
VES Bay Area Members and Their Families are Invited to a 2D Screening of Walt Disney Pictures’ THE BFG
RSVPs are closed for this screening
Saturday, July 16, 2016 at 7:30PM
(RSVPs will close at 12:00PM on Friday, July 15.) 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below
Wednesday, July 6, 2016 at 7:00PM
(RSVPs will close on Wednesday, July 6 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below
Wednesday, July 6, 2016 at 7:00PM
(RSVPs will close on Wednesday, July 6 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Section Invites You and Your Guests to a Screening of Sony Pictures’ THE SHALLOWS
Please RSVP below
Tuesday, July 5, 2016 at 7:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, July 1, 2016.
VES Bay Area Section Invites You and Your Guests to a Screening of Sony Pictures’ THE SHALLOWS
Please RSVP below
Tuesday, July 5, 2016 at 7:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, July 1, 2016.
VES Bay Area Members and Their Guests are Invited to a 2D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below
Sunday, June 26, 2016 at 4:30PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, June 24, 2016.
VES Bay Area Members and Their Guests are Invited to a 2D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below
Sunday, June 26, 2016 at 4:30PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, June 24, 2016.
VES Bay Area Members and Their Guests are Invited to a Screening of 20th Century Fox’s Original Film from 1996 INDEPENDENCE DAY
Please RSVP below
Sunday, June 26, 2016 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, June 24, 2016.
VES Bay Area Members and Their Guests are Invited to a Screening of 20th Century Fox’s Original Film from 1996 INDEPENDENCE DAY
Please RSVP below
Sunday, June 26, 2016 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, June 24, 2016.
VES Bay Area Members and Their Families are Invited to a Special Fathers’ Day 2D Screening of Disney’s & Pixar’s FINDING DORY
Please RSVP below
Sunday, June 19, 2016 at 5:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 4:00PM, no earlier)
(RSVPs will close at 12:00PM on Friday, June 17)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members and Their Families are Invited to a Special Fathers’ Day 2D Screening of Disney’s & Pixar’s FINDING DORY
Please RSVP below
Sunday, June 19, 2016 at 5:00PM (Gates open to the Pixar Campus & In-Studio Parking Lot at 4:00PM, no earlier)
(RSVPs will close at 12:00PM on Friday, June 17)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below
(RSVPs close at 12:00PM on Friday, June 10) Sunday, June 12, 2016 at 11:00AM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below
Thursday, June 9, 2016 at 7:00PM
(RSVPs will close on Thursday, June 9 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 2D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below
Thursday, June 9, 2016 at 7:00PM
(RSVPs will close on Thursday, June 9 at 12:00PM.)
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Section Invites You and Your Guests to a Screening of 20th Century Fox’sX-MEN: APOCALYPSE
Please RSVP below
Saturday, May 28, 2016 at 5:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, May 27, 2016
VES Bay Area Section Invites You and Your Guests to a Screening of 20th Century Fox’sX-MEN: APOCALYPSE
Please RSVP below
Saturday, May 28, 2016 at 5:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, May 27, 2016
VES Bay Area Section Invites You and Your Guests to a Screening of Walt Disney Pictures’ and Marvel Studios’CAPTAIN AMERICA: CIVIL WAR
Please RSVP below
Saturday, May 28, 2016 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, May 27, 2016.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below
Sunday, May 1, 2016 at 7:30PM
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below
Sunday, May 1, 2016 at 7:30PM
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and guests are invited to join the VES Bay Area Section Board and the VES Outreach Committee for social fun, networking opportunities at the Game Developers Conference.
Friday, March 18, 2016, 5:00PM-8:00PM
Thirsty Bear
611 Howard Street, San Francisco, CA 94105 Click here for a map.
This event is made possible through contributions from David “DJ” Johnson and his affiliation with SideFX, Tim McGovern of the VES Outreach Committee, and VES Bay Area Board members David Tanaka, Kim Lavery, Lisa Cooke and David Valentin.
VES Members and guests are invited to join the VES Bay Area Section Board and the VES Outreach Committee for social fun, networking opportunities at the Game Developers Conference.
Friday, March 18, 2016, 5:00PM-8:00PM
Thirsty Bear
611 Howard Street, San Francisco, CA 94105 Click here for a map.
This event is made possible through contributions from David “DJ” Johnson and his affiliation with SideFX, Tim McGovern of the VES Outreach Committee, and VES Bay Area Board members David Tanaka, Kim Lavery, Lisa Cooke and David Valentin.
VES Bay Area VES Members and Their Guests are Invited to a Screening of 20th Century Fox’sDEADPOOL followed by Q&A with Visual Effects Supervisor Jonathan Rothbart hosted by VES Bay Area Board member David Valentin.
Please RSVP below
Sunday, February 21, 2016 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, February 19, 2016.
VES Bay Area VES Members and Their Guests are Invited to a Screening of 20th Century Fox’sDEADPOOL followed by Q&A with Visual Effects Supervisor Jonathan Rothbart hosted by VES Bay Area Board member David Valentin.
Please RSVP below
Sunday, February 21, 2016 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, February 19, 2016.
VES Bay Area Section Invites You and Your Guests to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below
Saturday, February 6, 2016 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, February 5, 2016.
VES Bay Area Section Invites You and Your Guests to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below
Saturday, February 6, 2016 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, February 5, 2016.
Bay Area VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, January 8) Sunday, January 10, 2016 at 12:00PM 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, January 8) Sunday, January 10, 2016 at 12:00PM 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families are Invited to a 2D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, January 8) Sunday, January 10, 2016 at 12:00PM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and a Guest are Invited to a Special Advance Screening of ANOMALISA Followed by a conversation with Directors Duke Johnson and Charlie Kaufman.
Starring Jennifer Jason Leigh, Tom Noonan, David Thewlis
Michael Stone (David Thewlis), husband, father and respected author of How May I Help You Help Them? is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he’s scheduled to speak at a convention of customer service professionals, Michael checks into the Fregoli Hotel and meets Lisa Hesselman (Jennifer Jason Leigh), a socially awkward sales rep from Akron who may or may not be the love of his life. Directed by Charlie Kaufman and Duke Johnson and written by Charlie Kaufman comes a darkly comedic, stop-motion journey.
Please arrive at least 30 minutes early to allow time for parking and check-in. A valid 2015 VES card and photo ID will be required for admittance. Guests must accompany the VES member at check-in. RSVPs do not guarantee seating.
Release Date: December 30, 2015
Running Time: 90 minutes
Rated: R – FOR STRONG SEXUAL CONTENT, GRAPHIC NUDITY AND LANGUAGE
Bay Area VES Members and a Guest are Invited to a Special Advance Screening of ANOMALISA Followed by a conversation with Directors Duke Johnson and Charlie Kaufman.
Starring Jennifer Jason Leigh, Tom Noonan, David Thewlis
Michael Stone (David Thewlis), husband, father and respected author of How May I Help You Help Them? is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he’s scheduled to speak at a convention of customer service professionals, Michael checks into the Fregoli Hotel and meets Lisa Hesselman (Jennifer Jason Leigh), a socially awkward sales rep from Akron who may or may not be the love of his life. Directed by Charlie Kaufman and Duke Johnson and written by Charlie Kaufman comes a darkly comedic, stop-motion journey.
Please arrive at least 30 minutes early to allow time for parking and check-in. A valid 2015 VES card and photo ID will be required for admittance. Guests must accompany the VES member at check-in. RSVPs do not guarantee seating.
Release Date: December 30, 2015
Running Time: 90 minutes
Rated: R – FOR STRONG SEXUAL CONTENT, GRAPHIC NUDITY AND LANGUAGE
VES Bay Area Section Invites You and Your Guests to a 3D Screening of TriStar Pictures’ in Association with LStar Capital’s THE WALK, Followed by a Q&A with the filmmakers.
Panelists will include Visual Effects SupervisorKevin Baillie and Visual Effects and Stereo Producer Camille Cellucci. (All panelists’ participation based on availability.)
Please RSVP below Sunday, November 8, 2015 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 6, 2015.
VES Bay Area Section Invites You and Your Guests to a 3D Screening of TriStar Pictures’ in Association with LStar Capital’s THE WALK, Followed by a Q&A with the filmmakers.
Panelists will include Visual Effects SupervisorKevin Baillie and Visual Effects and Stereo Producer Camille Cellucci. (All panelists’ participation based on availability.)
Please RSVP below Sunday, November 8, 2015 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 6, 2015.
Bay Area VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Saturday, November 7, 2015 at 5:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 6, 2015.
Bay Area VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Saturday, November 7, 2015 at 5:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 6, 2015.
Bay Area VES Members and Their Families are Invited to a Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Saturday, November 7, 2015 at 2:00PM 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 6, 2015.
Bay Area VES Members and Their Families are Invited to a Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Saturday, November 7, 2015 at 2:00PM 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, November 6, 2015.
Bay Area VES Members and Their Guests are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below Friday, October 30, 2015 at 7:30PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, October 30, 2015.
Bay Area VES Members and Their Guests are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below Friday, October 30, 2015 at 7:30PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, October 30, 2015.
VES Bay Area Members and a Guest are Invited to a Screening of DreamWorks SKG’s BRIDGE OF SPIES
Click here to RSVP
(You’ll need to choose which screening to sign up for through the DreamWorks SKG awards website.) Wednesday, October 28 at 7:00PM
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members and a Guest are Invited to a Screening of DreamWorks SKG’s BRIDGE OF SPIES
Click here to RSVP
(You’ll need to choose which screening to sign up for through the DreamWorks SKG awards website.) Wednesday, October 28 at 7:00PM
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Monday, October 19 at 7:30PM
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Monday, October 19 at 7:30PM
Dolby Laboratories Screening Room
100 Potrero Ave., San Francisco, CA 94103 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below Saturday, September 26, 2015 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, September 25, 2015.
Bay Area VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below Saturday, September 26, 2015 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, September 25, 2015.
Bay Area VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE MAN FROM U.N.C.L.E.
Please RSVP below Sunday, August 30, 2015 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, August 28, 2015.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Bay Area VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Saturday, August 8, 2015 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, August 7, 2015.
Bay Area VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Saturday, August 8, 2015 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 12:00PM on Friday, August 7, 2015.
Bay Area VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below
Sunday, July 26, 2015 at 3:00PM
Premier Theater at Industrial Light + Magic
1 Letterman Dr., Building B, Promenade Level, San Francisco, CA 94129 Click here for a map
Due to studio security, all guest names must be entered in order to get onto the lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Saturday, July 18 at 3:00PM
(RSVPs will close at 4:00PM on Friday, July 17)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Saturday, July 18 at 3:00PM
(RSVPs will close at 4:00PM on Friday, July 17)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Guests Are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below Saturday, July 11, 2015 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 5:00PM on Friday, July 10, 2015.
Bay Area VES Members and Their Guests Are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below Saturday, July 11, 2015 at 4:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 5:00PM on Friday, July 10, 2015.
Bay Area VES Members and Their Guests Are Invited to a Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below Saturday, July 11, 2015 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 5:00PM on Friday, July 10, 2015.
Bay Area VES Members and Their Guests Are Invited to a Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below Saturday, July 11, 2015 at 1:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
RSVPs will close at 5:00PM on Friday, July 10, 2015.
VES Bay Area Members and Their Families are Invited to a Screening of Disney’s and Pixar’s INSIDE OUT
RSVPs fpr this screening are closed
Saturday, June 27 at 12:00PM
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members and Their Families are Invited to a Screening of Disney’s and Pixar’s INSIDE OUT
RSVPs fpr this screening are closed
Saturday, June 27 at 12:00PM
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members are Invited to Purchase Tickets for Story & Technology in Animation with Director Brenda Chapman
Click here to purchase tickets at $15 each
Thursday, May 14, 2015 from 6:30PM to 9:30PM
Doors open at 6:30PM for a mixer with drinks and snacks provided
Pesentation starts at 7:30PM.
Zynga Theater
699 8th St, San Francisco, CA 94103 Click here for a map.
Brenda Chapman will discuss how important technology is to story in contemporary animation. The discussion will include a brief talk about how Brenda approaches story, and how moving into CG animation enriched her way of looking at story. Brenda will share experiences from her story work on THE LION KING at Disney as well as her experiences directing THE PRINCE OF EGYPT at DreamWorks and BRAVE at Pixar.
Brenda Chapman started her career as a story artist at Walt Disney Feature Animation where she worked on
films such THE LITTLE MERMAID, THE RESCUERS DOWN UNDER,BEAUTY AND THE BEAST, THE HUNCHBACK OF NOTRE DAME and FANTASIA/2000. Chapman was the story supervisor on THE LION KING, for which she won the Annie Award. Chapman then helped launch DreamWorks Animation Studios, where she directed the 1998 release of THE PRINCE OF EGYPT. She joined Pixar Animation Studios in September 2003 where she created, wrote and directed the Oscar, BAFTA and Golden Globe winning BRAVE.
Chapman is currently developing projects for Chapman Lima Productions, Inc., with Kevin Lima.
Chapman resides in the Bay Area with her husband and their daughter.
Bay Area VES Members are Invited to Purchase Tickets for Story & Technology in Animation with Director Brenda Chapman
Click here to purchase tickets at $15 each
Thursday, May 14, 2015 from 6:30PM to 9:30PM
Doors open at 6:30PM for a mixer with drinks and snacks provided
Pesentation starts at 7:30PM.
Zynga Theater
699 8th St, San Francisco, CA 94103 Click here for a map.
Brenda Chapman will discuss how important technology is to story in contemporary animation. The discussion will include a brief talk about how Brenda approaches story, and how moving into CG animation enriched her way of looking at story. Brenda will share experiences from her story work on THE LION KING at Disney as well as her experiences directing THE PRINCE OF EGYPT at DreamWorks and BRAVE at Pixar.
Brenda Chapman started her career as a story artist at Walt Disney Feature Animation where she worked on
films such THE LITTLE MERMAID, THE RESCUERS DOWN UNDER,BEAUTY AND THE BEAST, THE HUNCHBACK OF NOTRE DAME and FANTASIA/2000. Chapman was the story supervisor on THE LION KING, for which she won the Annie Award. Chapman then helped launch DreamWorks Animation Studios, where she directed the 1998 release of THE PRINCE OF EGYPT. She joined Pixar Animation Studios in September 2003 where she created, wrote and directed the Oscar, BAFTA and Golden Globe winning BRAVE.
Chapman is currently developing projects for Chapman Lima Productions, Inc., with Kevin Lima.
Chapman resides in the Bay Area with her husband and their daughter.
Bay Area VES Members and Their Families Are Invited to a Screening of A24’s EX MACHINA
Please RSVP below Saturday, May 2, 2015 at 3:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families Are Invited to a Screening of A24’s EX MACHINA
Please RSVP below Saturday, May 2, 2015 at 3:00PM
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Events are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Events are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
California’s Film & Television Tax Credit 2.0 Webinar
California’s Film & TV Tax Credit Program is about to get a lot more competitive as it more than triples in size (from $100 million to $330 million annually) and is expanded to include a range of project types that were previously ineligible.
California Film Commission Executive Director Amy Lemisch and Program Director Nancy Rae Stone will present an introduction to California’s Film & TV Tax Credit Program 2.0. They will be covering eligibility, application procedures and deadlines, key dates, the new competitive ranking system, qualified and non-qualified expenditures, expenditure tagging information and other program procedures. Included in the discussion will be the new increased tax incentive for specified visual effects expenditures in the state. This is your chance to hear direct from the source about the state’s expanded incentive program.
Participants will have the ability to submit written questions for the Q & A portion of the webinar.
California’s Film & Television Tax Credit 2.0 Webinar
California’s Film & TV Tax Credit Program is about to get a lot more competitive as it more than triples in size (from $100 million to $330 million annually) and is expanded to include a range of project types that were previously ineligible.
California Film Commission Executive Director Amy Lemisch and Program Director Nancy Rae Stone will present an introduction to California’s Film & TV Tax Credit Program 2.0. They will be covering eligibility, application procedures and deadlines, key dates, the new competitive ranking system, qualified and non-qualified expenditures, expenditure tagging information and other program procedures. Included in the discussion will be the new increased tax incentive for specified visual effects expenditures in the state. This is your chance to hear direct from the source about the state’s expanded incentive program.
Participants will have the ability to submit written questions for the Q & A portion of the webinar.
Saturday, April 11 at 5:00PM
(RSVPs will close at 12:00PM on Friday, April 10)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Saturday, April 11 at 5:00PM
(RSVPs will close at 12:00PM on Friday, April 10)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Saturday, March 21 at 7:00PM
(RSVPs will close at 5:00PM on Thursday, March 19)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Saturday, March 21 at 7:00PM
(RSVPs will close at 5:00PM on Thursday, March 19)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The VES Bay Area Section Respectfully Pays Tribute to ILM Stage Manager Pat Fitzsimmons, Actor & Director Leonard Nimoy, and Producer Harve Bennett.
In honor of their numerous and significant contributions to visual effects, the STAR TREK legacy, and the Bay Area industry in particular, all VES members plus guests are invited to a special toast and screening of Paramount Pictures’ STAR TREK II: THE WRATH OF KHAN.
Sunday, March 15, 2015 at 3:00PM
(RSVPs close at 12:00PM on Friday, March 13)
Pixar Animation Studios Steve Jobs Theater
1200 Park Avenue, Emeryville, CA 94608
(Click here for a map)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families Are Invited to a Screening of the Academy Award Nominated Picture for Best Animated Feature SONG OF THE SEA
Please RSVP below Sunday, March 8, 2015 at 2:00PM
(RSVPs will close at 12:00PM on Friday, March 6)
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members and Their Families Are Invited to a Screening of the Academy Award Nominated Picture for Best Animated Feature SONG OF THE SEA
Please RSVP below Sunday, March 8, 2015 at 2:00PM
(RSVPs will close at 12:00PM on Friday, March 6)
32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Sunday, December 7, 2014 at 5:00PM
(Reception at 4:00PM, Screening at 5:00PM.)
The Stag Theater – Skywalker Sound
5858 Lucas Valley Rd., Nicasio, CA 94946 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members And Their Families Are Invited To A 3D Pre-Release Screening Of 20th Century Fox’s EXODUS: GODS AND KINGS
Click here to RSVP Saturday, December 6, 2014 at 11:00AM
(RSVPs will close at 5:00PM on Thursday, December 4)
Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Bay Area Members And A Guest Are Invited To A Pre-Release Screening Of A MOST VIOLENT YEAR preceded by a cocktail reception, and followed by a Q&A with the filmmakers
Panelists will include Director J.C. Chandor and Actor Oscar Isaac.
Friday, December 5, 2014 at 7:00PM
(Cocktail Reception at 6:00PM, Screening at 7:00PM.)
The Stag Theater – Skywalker Sound
5858 Lucas Valley Rd., Nicasio, CA 94946 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members And Their Families Are Invited To A 35mm Film Screening Of Paramount Pictures’ INTERSTELLAR
Click here to RSVP
Saturday, November 22, 2014 at 2:30PM
(RSVPs close at 5:00PM on Thursday, November 20)
The Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members And Their Families Are Invited To A 3D Screening Of Walt Disney Animation Studios’ BIG HERO 6
Click here to RSVP
Saturday, November 8, 2014 at 3:00PM
(RSVPs close at 5:00PM on Thursday, November 6)
The Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Bay Area VES Members And Their Families Are Invited To A 30th Anniversary 4K Screening Of Columbia Pictures’ GHOSTBUSTERS
RSVPs are closed
Saturday, November 1, 2014 at 6:00PM
(RSVPs close at 5:00PM on Thursday, October 30)
The Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
STAR WARS Reunion Party & Art Auction Event To Benefit Robbie Edwards
Please help our dear friend Robbie Edwards overcome a debil-itating stroke that he suffered in October 2013. You’ll also have the opportunity to bid on some fabulous artwork generously donated by renowned Bay Area artists. Click here for the flyer with more information.
Click here to RSVP for the party
September 20, 2014 from 5:00PM to midnight
Historic Main Stage at 32TEN Studios
3210 Kerner Blvd., San Rafael, CA 94901
Click here for a map.
Click here to bid on artwork starting September 10, 2014.
Robbie Edwards suffered a debilitating stroke in October. The stroke damage caused paralysis and loss of some sensation on the left side of his body; including his leg, arm, hand, face and mouth. He spent six weeks in the hospital receiving intensive therapy. Robbie continues a rigorous outpatient physical therapy program and receives in-home care from two physical therapists five days a week. Robbie’s COBRA health insurance plan ended just before his trauma; he was not covered by any health care plan for this medical emergency. We see a long and successful road to recovery for Robbie. We know in our hearts and souls that he is up for this task…we are just asking for your help to make this event less catastrophic for Robbie and his family.
Bay Area VES Members And A Guest Are Invited To A Pre-Release 3D Screening Of Focus Features’ And LAIKA’s THE BOXTROLLS followed by a Q&A with Visual Effects Supervisor Steve Emerson to be moderated by CGW’s Barbara Robertson.
Please arrive at least 30 minutes early. Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating. Absolutely no one will be admitted after the film begins.
World Premiering at the Venice International Film Festival – In theaters nationwide September 26, 2014
Voice Cast: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, and Simon Pegg
Directed by: Anthony Stacchi, Graham Annable
Screenplay by: Irena Brignull, Adam Pava
Based on the novel Here Be Monsters by Alan Snow
Produced By: David Bleiman Ichioka, Travis Knight
A family event movie from the creators of CORALINE and PARANORMAN that introduces audiences to a new breed of family – THE BOXTROLLS, a community of quirky, mischievous creatures who have lovingly raised a human boy named Eggs (voiced by Isaac Hempstead Wright) in the amazing cavernous home they’ve built beneath the streets of Cheesebridge. When the town’s villain, Archibald Snatcher (Academy Award winner Ben Kingsley), comes up with a plot to get rid of the Boxtrolls, Eggs decides to venture above ground, “into the light,” where he meets and teams up with fabulously feisty Winnifred (Elle Fanning). Together, they devise a daring plan to save Eggs’ family.
Please RSVP below
Free for VES members, $15 for non-members
(VES members only may attend live online)
This in person event is for ages 21 and older. Saturday, August 16, 2014 at 12:00PM
Cocktail reception from 12:00PM to 12:30PM
Event from 12:30PM to 2:30PM
Big Picture
2505 First Ave., Seattle, WA 98121 Click here for a map
Panelists will include Lead Visual Effects Artist Matt Vainio, Art Director Horia Dociu and Programmer Matt Durasoff.
The visual effects and development team created a new scriptable particle system engine and tool to accomplish the astounding visual effects that are crucial to gameplay and themselves a major character in the game.
Bay Area VES Members And Their Families Are Invited To A 3D Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP below
Sunday, August 10, 2014 at 3:00PM
(RSVPs close at 5:00PM on Thursday, August 7)
The Steve Jobs Theater at Pixar Animation Studios
1200 Park Avenue, Emeryville, CA 94608 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Summer BBQ and Art Festival!
Bay Area VES Members And Their Families Are Invited To The Annual Bay Area BBQ and this year’s new Art Festival! There will be family fun activities, great food and beverage, live music and wonderful opportunities to connect with new and old friends.
RSVP Below!
ARTWORK
We will also be incorporating a display of artwork from the VES membership as a celebration of the creative and amazing talent in the Bay Area. We invite you to enter your art in our gallery for everyone to appreciate!
To obtain an entry form, and submission guidelines please email: TO:vesbayarea@gmail.com SUBJECT: VESBA Artwork Submission Request
WHEN: Saturday July 19, 2014 at 11AM – 3:30PM (food from 12:30-2:30) WHERE: 32TEN 3210 Kerner Blvd, San Rafael, CA 94901
WHAT MOVIE WON? JOIN US TONIGHT TO FIND OUT!
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
