Extra detail was added to Monkey D. Luffy to avoid him looking like plastic rather than rubber.
While Monkey D. Luffy aims to become the king of the pirates, the manga infused with his contagious optimism and enthusiasm reigns supreme as the all-time best seller with 516.6 million copies sold since Eiichiro Oda created One Piece in 1997. The story that revolves around a treasure-hunt frenzy caused by the execution of Pirate King Gol D. Roger, which sees participants from around the world engage in questionable antics to ensure victory over the competition. The franchise has obtained longevity in other mediums with the ongoing anime television series consisting of over 1,000 episodes, and now Netflix has released a live-action version created by Steven Maeda and Matt Owens that stars Iñaki Godoy, Mackenyu, Emily Rudd, Jacob Romero Gibson, Taz Skylar, Vincent Regan and Morgan Davies. Placed in charge of making the fantasy elements a cinematic reality for the eight episodes of the first season were Visual Effects Supervisor Victor Scalise and Visual Effects Producer Scott Ramsey who previously collaborated together on Cowboy Bebop.
Colton Osorio as Young Luffy and Peter Gadiot as Shanks have conversation with the Lord of the Coast.
While a guiding principle is that visual effects have to be grounded in order to be believable, there is a cartoony aesthetic to the source material and its animated spinoffs that fans expect to be honored. “It’s truly a fine balance because if you make it too cartoony the fans might love it, but then the general audience might think it’s too much,” Scalise notes. “When we first came on everybody said, ‘We didn’t want him [Monkey D. Luffy] to be like Plastic Man.’ Originally, the punches were going to be stiff, fast and straight, and when we started applying them to shots, they felt lifeless. We started putting little bends and wiggles and an extra weight on the fist to get wrinkles, and it brought the effect to life. It’s tough because when a rubber arm has motion blur there is no detail or texture when it’s punching fast. We went in and put a lot of extra hair on his arm. That was probably one of our biggest challenges, of how do you take an animated character and make them feel real but still honor the manga. It’s funny because the further you push it, the cooler stuff comes out of it too.”
The actual skies were retained for the ocean scenes with ships.
Paired with ARRI ALEXA LF cameras were Hawk MHX Hybrid Anamorphic lenses that produce a signature fisheye effect and extreme facial closeups for the show. “That was a challenge and a half!” laughs Ramsey. “When we got down to Cape Town we found out about the lenses. The biggest challenge was, ‘Do we have enough set to fit into this?’ Because they did morph out the sides quite a bit and our sets were only built out to certain areas, so there was quite a lot of set extensions. It increased the budget quite a bit because you’re always on a lens that is roughly a 25mm if not wider. Also, the warping on the sides was challenging.” The wide angle-lensing created an extra layer of visual effects work. “When you’re trying to roto and track, you don’t have straight lines,” Scalise states. “There’s a natural blur inherent in the lenses that now you’re rotoscoping a blurred edge and tracking sharping objects that go to the edge of the frame and get soft.” Atmospherics were aided by the choice of lenses. “If there is a light anywhere near the edge of frame there is a flare in that shot,” Scalise observes. “Sometimes you don’t see it until you look at the color channels and hidden in the blue channel is a lens flare,” Scalise remarks. “We were able to add a lot of glare halation to get layers, which give a sense of depth and a cheated atmospheric perspective.”
A digital double had to be made of Buggy the Clown (Jeff Ward), as he has the ability to disassemble, have his parts fly around and reassemble himself.
“When we first came on everybody said, ‘We didn’t want [Monkey D. Luffy] to be like Plastic Man.’ Originally, the punches were going to be stiff, fast and straight, and when we started applying them to shots, they felt lifeless. We started putting little bends and wiggles and an extra weight on the fist to get wrinkles, and it brought the effect to life. … That was probably one of our biggest challenges, of how do you take an animated character and make them feel real but still honor the manga. It’s funny because the further you push it, the cooler stuff comes out of it too.”
—Victor Scalise, Visual Effects Supervisor
The extensive water simulations were created by Goodbye Kansas Studios and Rising Sun Pictures.
Glare halation was added to give a sense of depth to the shots.
All eight episodes were cut before sending off the work to the vendors. “That allowed us to get the whole series filled,” Ramsey explains. “Episode 101 through to 108, we know exactly how the story is going to progress and the ups and downs, so by the time we get to Episode 108 it is a great finale, and that had to go through the showrunners, Netflix and Tomorrow Studios.” The visual effects work for 2,334 shots was broken down in accordance to the strengths of Goodbye Kansas Studios, Framestore, Ingenuity Studios, Rising Sun Pictures, Barnstorm VFX, Eyeline Studios, Scanline VFX, Mr. Wolf, Refuge, CoSA VFX, Incessant Rain and NetFX. “The good thing is that we have worked with a lot of our vendors for awhile now,” Scalise remarks. “Even when it comes to a shared shot, they have already talked to each other before, so the handoffs are good. It creates a lot of logistical complications, as well as sometimes the assets aren’t truly one-to-one, so there is extra work on both sides.”
Ships were shot in the parking lot at Cape Town Film Studios, which meant that the water had to be created digitally.
“The problem is when you have the real ships parked in a parking lot. Rising Sun Pictures did an amazing job with the ships. When we put their model next to the real one, I bet that most people will pick the real one as being CG. The Going Merry was a full ship build placed on a tractor trailer so it could drive around slowly. Then we had half of Miss Love Duck constructed, which was repurposed into Garp’s warship. There was also a salvage ship and Maui’s sloop. We had CG versions of all of them.”
—Victor Scalise, Visual Effects Supervisor
The wide-angle lenses greatly increased the amount of digital set extensions in shots.
Much of the action unfolds on the ocean with the pirate ships battling each other while trying to evade the law-enforcing Marines. “The problem is when you have the real ships parked in a parking lot,” Scalise notes. “Rising Sun Pictures did an amazing job with the ships. When we put their model next to the real one, I bet that most people will pick the real one as being CG. The Going Merry was a full ship build placed on a tractor trailer so it could drive around slowly. Then we had half of Miss Love Duck constructed, which was repurposed into Garp’s warship. There was also a salvage ship and Maui’s sloop. We had CG versions of all of them.” The water simulations were expanded upon in certain cases. “We actually shot the Lord of the Coast in the tank without planning on replacing the water except for the shots where the creature was going to interact with it,” Scalise reveals. “Once we got to the sequence, we went, ‘Screw it. Let’s completely replace the water in all of the shots so we can have much more control over continuity.’ When you look at the creature going into the water and how the water is interacting, it looks real.”
The Going Merry was a complete practical ship build that was placed on a tractor trailer so it could move.
Much of the action unfolds on the ocean with the pirate ships battling each other while trying to evade the law-enforcing Marines.
Real skies were captured rather than rely on huge bluescreens and compositing them in later in post-production. “It’s funny – some of the shots of the real skies feel as if they were composited!” Scalise laughs. “To save cost, we kept a lot of the natural skies for when we were on the boats. The amount of bluescreen to cover the boats with these lenses was almost impossible to get the sky. We decided early on not to use a lot of bluescreen and to place it on the horizon.” A classic size and scale problem is avoiding ships looking like miniatures out in the open water. “Size and scale turned out well,” Ramsey reflects. “The only point where it came into play was when we were doing Garp throwing the cannonball back at Luffy. They had parked the practical Going Merry, and it was shot over Garp’s shoulder, but when we got into post the shot didn’t feel like the distance that was wanted. We roto’d Garp out of that scene and replaced it with a 3D Going Merry.”
Camera tricks assisted in creating the impression that Monkey D. Luffy has the ability to stretch his limbs.
Iñaki Godoy as Monkey D. Luffy battles a group of Marines.
“Size and scale turned out well. The only point where it came into play was when we were doing Garp throwing the cannonball back at Luffy. They had parked the practical Going Merry, and it was shot over Garp’s shoulder, but when we got into post the shot didn’t feel like the distance that was wanted. We roto’d Garp out of that scene and replaced it with a 3D Going Merry.”
—Scott Ramsey, Visual Effects Producer
Monkey D. Luffy (Iñaki Godoy) discovers the Going Merry while visiting a shipbuilding yard.
Italy influenced the world-building, as Loguetown was based on Sorrento and Shells Town on Positano, Italy. “We had plans going in to modify real-world locations so we weren’t going into full CG builds of environments for some of the bigger ones,” Scalise remarks. “We able to shoot other parts of the Amalfi Coast and turn that into different islands.” A signature massive aquatic creature is Lord of the Coast, created by Goodbye Kansas Studios. “We did it the traditional way in that once we had the look of the concept, we went into modeling and did all of the turntables,” Scalise states. “Overall, we liked the early concept art, which is in the show. The amount of detail into the muscle work and all of the different layers of animation where, if you look at it closely, there are a lot of moving things to the slime on the skin. The biggest thing that we went back and forth on was, originally, a bit of red was put into the fins and pulling that out was our biggest note.”
Admiral Garp utilizes a telepathic species of snail known as a Den Den Mushi to be able to vocally and visually communicate across the world.
A digital double had to be produced for Buggy the Clown, as he can literally cause every part of his body to dissemble, fly around and reassemble. “I love that scene between Buggy and Luffy because almost every shot is a visual effect and their onscreen relationship was great,” Scalise remarks. “It’s a funny, dark, scary scene. One my favorite creatures that we built is the News Coo by Framestore. It was originally built for only three shots; however, when everybody saw it, anytime we could possibly figure out a place to sneak it in, we added it to another half dozen shots.” Ramsey favors the naval battle in Episode 105 between Garp and Luffy. “It was entirely shot at Cape Town Film Studios without water. Every shot is probably a visual effects shot. We brought in Rising Sun Pictures because they can do great ship models and CG water. It’s fast-paced, exciting, and kicks off Episode 105 really well.”
All eight episodes of the first season were cut before sending off the work to the vendors, with 2,334 visual effects shots created in total.
“[The naval battle in Episode 105] was entirely shot at Cape Town Film Studios without water. Every shot is probably a visual effects shot. We brought in Rising Sun Pictures because they can do great ship models and CG water. It’s fast-paced, exciting, and kicks off Episode 105 really well.”
—Victor Scalise, Visual Effects Supervisor
Italy influenced the world-building, as Loguetown was based on Sorrento and Shells Town on Positano.
Scalise concludes, “Everybody’s hope is that this [live adaption of One Piece] opens up the world to people because of the positive message of ‘do what you feel that you’re supposed to do versus what people are telling you what you should do.’ That relates to a lot of people and gives them an optimism, which this world probably needs right now.”
Watch a featurette on the making of One Piece Season 1 and some of the VFX work involved in the live-action adaption of the manga gemstone. Click here: https://www.youtube.com/watch?v=0EIfmn5Gk9A
Images courtesy of Crafty Apes VFX and Prime Video.
The set for Bing-Bang Burger was actually a miniature, so careful attention had to be paid to make sure that the shadows were cast correctly.
When it comes to tall orders, I’m a Virgo Visual Effects Supervisor Todd Perry asked Crafty Apes VFX to produce a 13-foot high teenage protagonist named Cootie, who gets to experience the world beyond his sheltered existence for the first time in the satirical Prime Video series created by director/writer Boots Riley. “Boots didn’t want to use CG to make Cootie look bigger, so several different approaches were utilized for every shot,” states Aleksandra Sienkiewicz, Visual Effects Supervisor at Crafty Apes. “We had shots with puppets that we had to replace the head or augment the body. Or Cootie was shot in a miniature set with him being closer to the camera so he was appearing bigger. Or he was on a platform.” The methodology had to appear indistinguishable to the viewer. “For me, it was interesting to see because I grew up watching a movie like Elf where they did a lot of that kind of trickery,” remarks Ruth Stewart-Patterson, Production Manager at Crafty Apes. “We were doing our comp work and trying to make things look seamless.”
For the driving shots through the city Crafty Apes VFX had to add motion to hands of the puppet and do a face replacement.
“Boots [series creator/director/writer Boots Riley] didn’t want to use CG to make Cootie look bigger, so several different approaches were utilized for every shot. We had shots with puppets that we had to replace the head or augment the body. Or Cootie was shot in a miniature set with him being closer to the camera so he was appearing bigger. Or he was on a platform.”
I’m a Virgo is a superhero satire created by Boots Riley about a 13-foot tall teenager named Cootie.
Over a period of six months Crafty Apes created 210 shots. ”The thing about working on TV is when you break it down per episode or sequence, it’s easier,” Stewart-Patterson states. “You might have five sequences per episode, and sometimes you get episodes in different orders, but at the end day it’s like a movie where you go one sequence at a time and assign another team to a different sequence so that they work all together – the organization and the types of shots as well. For example, on some shots we’re integrating Cootie and on another one with CG. You have to gather the work together and figure out what pairs with what, and once you figure that out, then you try to keep these teams together as you go per episode or sequence.” Consistency had to be maintained throughout the seven episodes. “We try to keep similar shots with the same artist to make sure everything is cohesive and we’ve shared techniques with all of the artists,” Sienkiewicz remarks. “We would talk to Todd and Boots to make sure that we’re on the same page.”
Elements meant to be significantly larger, like Baby Cootie, were shot closer to the camera.
“For the scene when Cootie is on the car driving through the city, it was shot with a massive puppet on the car. We had to remove the rig, replace the head and add motion to the fingers so he looked realistic. There were a lot of 2D techniques that we used. The face was shot on a greenscreen so we had several different takes with various lighting conditions to choose from. We used cues [in the plates] to track in the face into the puppet and added a little bit of motion into the face.”
The specular quality of the puppet for Cootie was different from natural skin so lighting adjustments had to be made by Crafty Apes VFX.
Every shot was storyboarded to show how the actors would be positioned in front of the camera. “The elements we received from Todd Perry were awesome,” Sienkiewicz states. “The lighting conditions were always matching in the plates, and there were sometimes several plates that had to be merged together.” Since Cootie was closer to the camera and every character were on different planes, close attention had to be paid to shadows. Sienkiewicz explains, “In Episode 101, Cootie was super big in Bing-Bang Burger while the set was miniature. We had to make sure that the shadows of him are interacting with the walls and the other characters, as well as ensuring that the lighting conditions are matching. It was a different way of thinking compared to other shows I’ve worked on before.” Stewart-Patterson joined the project later on. “Our Shotgun mirrored their Shotgun, so it was easy to find what needed to be done, relay and see what’s left to do. It’s a lot easier when you have a road map rather than chaos,” Stewart-Patterson offers. Receiving editorial turnovers can be stressful because sometimes they come in earlier or later than expected, so flexibility is paramount. “We might get a turnover of 50 shots within an episode, so we pick out some key shots,” Stewart-Patterson details. “From there you can focus on those 10 shots and spread them out as you go further along in time. The trust between us and the client was strong, so picking the correct takes and making sure that we’ll get things done on time and scheduled properly was key to completing this project.”
Cootie has an intimate moment with Flora, who has the ability to rapidly flash a multitude of colors in a manner that resembles a hummingbird.
2D rather than 3D effects were the focus. “It was cool to see actual characters and models already in camera [rather than having to construct everything in CG],” Stewart-Patterson notes. “Aleks and Todd had a great relationship, so Aleks already knew where Todd was going to go and probably what his notes were going to be.” Boots Riley has a specific vision when it comes to how he wants to shoot and see the shots. “It was like a fresh breath of air,” Sienkiewicz remarks. “I’ve been in this industry for the past 13 or 14 years, and this was the first time I worked with miniatures, rather than build CG characters we needed to blend or augment their movements, or do face replacements. For the scene when Cootie is on the car driving through the city, it was shot with a massive puppet on the car. We had to remove the rig, replace the head and add motion to the fingers so he looked realistic. There were a lot of 2D techniques that we used. The face was shot on a greenscreen so we had several different takes with various lighting conditions to choose from. We used cues [in the plates] to track in the face into the puppet and added a little bit of motion into the face.” The puppet had more of a specular quality than normal skin. “There was some augmentation in terms of the brightness,” Sienkiewicz adds.
Series creator Boots Riley did not want to use CG to make Cootie look bigger, so several different approaches were utilized for every shot.
“A shot that stands out to me and was one of the most complex ones was Flora’s flashback in Episode 103. There was an oner shot that was 5,000 frames, and we had 13 plates that had to be stitched together because the motion was not seamless. In addition to that, it was at super speed so everything around her is still, so we had to stabilize all of the actors to make sure they don’t move or blink. If you wanted to change one thing, all of the 5,000 frames had to be rendered.”
The miniature house was shot against greenscreen and then composited into the plate photography.
Some sleepless nights were spent thinking about the project. “A shot that stands out to me and was one of the most complex ones was Flora’s flashback in Episode 103,” Sienkiewicz reveals. “There was an oner shot that was 5,000 frames, and we had 13 plates that had to be stitched together because the motion was not seamless. In addition to that, it was at super speed so everything around her is still, so we had to stabilize all of the actors to make sure they don’t move or blink.” Alternations could not be taken lightly. Continues Sienkiewicz, “If you wanted to change one thing all of the 5,000 frames had to be rendered. We divided shots between different artists. You need to find the perfect spot for making a transition where you can hide things, typically motion blur or foreground elements that make it look natural.” Flora has the ability to flash a multitude of different colors. Sienkiewicz explains, “Flora’s effect was cool. All of the Flora elements were shot at different speeds and colors. We also had plates with flashing lights that we needed to select frames that Boots liked. Because Boots liked the postvis that editorial did, we ended up asking editorial to export us AAF files that we could import into Nuke. Rather than go through minutes or hours of footage, we exactly knew which element he liked; that was our baseline for timing and then we could enhance and move forward with other effects. Boots never wanted things to look perfect; he likes an old, ragged look but with a modern twist. There was a lot of creative brainstorming about how we wanted this character to look like. Boots compared it to the Tasmanian Devil.”Another creature comes to mind for Stewart-Patterson. “When you play it fast it looks cool because it appears like a hummingbird changing colors.”
Every shot was storyboarded to show how the actors would be positioned in front of the camera.
“The shots in Bing-Bang Burger was a real Cootie shot close to the camera, but the set was a miniature. He was touching his head, so there was lots of trickery to make it look realistic. The biggest challenge was to make sure that the puppet and the real elements were cohesive and working together. There was lots of comp trickery involved!”
Boots Riley wanted to have an old, ragged look, but with a modern twist.
Lots of compositing trickery was called upon when doing the face replacements on the puppet for Cootie. “The neck was one of the biggest issues, to make sure that he’s tucked in nicely behind the shirt,” Sienkiewicz states. “And even the chest, because the puppet was bigger that Cootie himself, so we needed to slim him down; there was some complex paintwork involved. There were a lot of rigs involved with the puppet, so there was massive cleanup in some of the shots. The shots in Bing-Bang Burger was a real Cootie shot close to the camera, but the set was a miniature. He was touching his head, so there was lots of trickery to make it look realistic. The biggest challenge was to make sure that the puppet and the real elements were cohesive and working together. There was lots of comp trickery involved!” The major task for Stewart-Patterson was being able to adapt to meet needs of the production. “When working closely with creatives, we try to reel them in but also give them as much space you can. It’s being able to assist and properly reflect to the client what creative changes might be or how much time it might take. This team really brought it in well, and the show looks great.”
Aziraphale’s wings were originally created for Season 1, but had to be recreated for Season 2 to allow for more complex motion requirements.
Created by Neil Gaiman and Terry Pratchett, and adapted for the screen by Gaiman for Amazon Prime, British fantasy comedy series Good Omens follows the antics and adventures of angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) after they are exiled from Heaven and Hell and team up to form an unlikely duo on Earth. Milk VFX Supervisor/Co-Founder Jean-Claude Deguara served as VFX Supervisor on Good Omens Season 1 before sliding into the client-side VFX Supervisor seat for Season 2. Matias Derkacz served as Visual Effects Supervisor for Milk on the second season.
“Before the ‘let it be light’ moment, we used one of the environments to create white flashes of energy that revolved around Crowley and Aziraphale. This approach provided the right amount of light, as this part of the sequence required it to be darker. But for the creation of the nebulas, we needed the opposite effect. We used a simplified version of the nebulas on the LED screens, which allowed us to achieve complex light changes. Having access to the LED screens allowed us to archive the correct light interaction on Crowley and Aziraphale, helping us achieve the desired impact.”
“I first got involved with Good Omens on Season 1 when I was Compositing Supervisor,” Derkacz says. “Working with Jean-Claude Deguara as a client-side VFX supervisor was brilliant. Working with him so closely on Season 1, I knew what he was after. I was part of all the discussions about how to creatively push forward the show and was involved with those conversations from the very beginning. Jean-Claude had some great ideas.”
The wings were animated to follow Crowley’s body movements in order to enhance their emotions.
Discussing his initial conversations about the look of the second season, Derkacz explains that he was brought on set for the opening sequence. “I was brought in to help with virtual production for the opening sequence. Before the ‘let it be light’ moment, we used one of the environments to create white flashes of energy that revolved around Crowley and Aziraphale. This approach provided the right amount of light, as this part of the sequence required it to be darker. But for the creation of the nebulas, we needed the opposite effect. We used a simplified version of the nebulas on the LED screens, which allowed us to achieve complex light changes. Having access to the LED screens allowed us to archive the correct light interaction on Crowley and Aziraphale, helping us achieve the desired impact. So, we created material which was not meant to be on camera, but to get the light interaction.”
“It required a lot of conversations back and forth with Douglas [director Douglas Mackinnon] and Neil,” Derkacz continues. “We had a great way of working where we could regularly check in on how things were going. We used real NASA pictures of nebulas as reference. We adapted the color palettes and shapes to make it more appealing to the eye, more interesting and different. That was the way that we approached that sequence. It was 100-plus shots that we had to actually deal with.”
One of the most pressing conversations for Visual Effects Supervisor Matias Derkacz and his team revolved around the look of the Land of Uz in Episode 2.
“[Aziraphale’s and Crowley’s wings] were created for Season 1, but we redid them as they needed more complex behavior. The wings were animated to follow Crowley’s and Aziraphale’s body movements to enhance their emotions. So, there was a bit more animation work involved with this. It was more complex in the way that feathers behaved since we had to have proper feather interactions. That was the biggest sequence for sure in terms of volume and complexity. It was a fun and challenging sequence.”
One of the main assets of the show, which played a role in the Before the Beginning sequence was Aziraphale’s and Crowley’s wings, which had to be recreated for Season 2. “The wings were created for Season 1, but we redid them as they needed more complex behavior,” Derkacz explains. “The wings were animated to follow Crowley’s and Aziraphale’s body movements to enhance their emotions. So, there was a bit more animation work involved with this. It was more complex the way that feathers behaved since we had to have proper feather interactions. That was the biggest sequence for sure in terms of volume and complexity. It was a fun and challenging sequence.”
Derkacz and his team were involved with only one shot on the Soho street, a shot where the camera starts high on a crane and then goes underneath a car.
Production Designer Michael Ralph was responsible for creating the numerous time periods and their look throughout the show. One of the most pressing conversations for Derkacz and his team revolved around the look of the Land of Uz in Episode 2. “That asset needed to be done in a specific way. There were always conversations about making sure what we had created didn’t look like the Grand Canyon or like any other part of the United States,” he says. “We had an early discussion with Jean-Claude to try and get the look set for that sequence, especially when Aziraphale comes out the portal. That environment was one we discussed thoroughly, and we ended up doing everything digitally. It was based on a mix of real photos, but some of the references we had were really similar to the Grand Canyon, so we had to get something similar like that but different enough for people not to comment on it.”
Production Designer Michael Ralph was responsible for creating the numerous time periods throughout the show. The environment for the Land of Uz was completely CG, based on a mix of real photos and references to the Grand Canyon.
Around 100 people from different departments were involved with the production of the second season. “We had a big team,” Derkacz adds. “We had to be quite smart in the way that we scheduled the work because it’s a TV series and there is loads of work. Scenes like the opening sequence and the first six minutes of the second season were really important. It hasn’t really been done before, is really abstract and took a lot of time to achieve. The way that we managed the workload was working on the amount of volume that we had and in the order of episodes that we were discussing at the time. Some assets might require weeks of work.”
The actors were shot standing on greenscreen and then seamlessly added to a fully CG cemetery.
“The only shot we were involved with on the Soho street was for a shot where the camera starts quite high and then goes underneath the car. That is a really cool shot. It’s a blend between two plates because you have the main plate of the crane, and when you go underneath the car it’s full CGI, and then you go around the car and you have a mix between a CG car and a real car, and then Crawley gets out of the car. All of that has to be done as a single camera move. That’s sort of Douglas’s [director Douglas Mackinnon] signature as he loves doing these transitions, and I think they were great and really helped the flow of the episode,”
When it came to creating the set extensions, the Soho street had been completed for Season 1 and was already an established asset. “The only shot we were involved with on the Soho street was for a shot where the camera starts quite high and then goes underneath the car. That is a really cool shot. It’s a blend between two plates because you have the main plate of the crane, and when you go underneath the car it’s full CGI, and then you go around the car and you have a mix between a CG car and a real car, and then Crawley gets out of the car. All of that has to be done as a single camera move. That’s sort of Douglas’s signature as he loves doing these transitions, and I think they were great and really helped the flow of the episode,” Derkacz details.
Fire was shot as an element and done in 2D, and integrated on the set due to safety protocols.
Derkacz and his team also worked on a significant shot for one of the wartime environments. “We did work on one crane shot where we go into London and there are some zombies and fires on the street. That was quite straightforward set extension, which we blended with the smoke that we had on set. We added fire that was shot as an element, and that was all done in 2D and integrated on the set because they couldn’t have that fire next to the people as it wasn’t safe; that was added in post. We also created an environment that was used in virtual production. We built numerous destroyed buildings and added CGI fire, which were used on set as an LED screen when Crowley is driving through,” Derkacz notes.
David Tennant as Crowley and Shelley Conn as Beelzebub experience a front-seat encounter of the devilish kind, courtesy of visual effects.
“The work that we did on the tongue of the demon was really fun. It’s a quick shot, but for that shot we had to create all the CG for the tongue and all of the saliva. It’s lots of work involved for only one shot, but the good thing about that is that you build the asset, you get the shot, and you have a part of the sequence that has been approved and you can move on. … I would say that the most challenging to create wasn’t a character, it was Aziraphale’s wings. All these minimal changes in color had to be translated to white wings, which was a really difficult and complex aspect, but the end result looked great.”
Zombies with long-range, tentacle-like CG tongues can be found on the street in London. Milk delivered more than 500 shots for the second season of the show.
Derek Jakobi as Metatron, Jon Hamm as Gabriel and Liz Carr as Saraqael in a flashback scene from Heaven of Gabriel (Jon Hamm) before he’s demoted from Heaven and loses his memories. (Image courtesy of Amazon Prime)
There was lots of work put into the creature work and into key characters as well. “I really enjoyed all of the creature work that we did, especially the geckos,” Derkacz says. “The work that we did on the tongue of the demon was really fun. It’s a quick shot, but for that shot we had to create all the CG for the tongue and all of the saliva. It’s lots of work involved for only one shot, but the good thing about that is that you build the asset, you get the shot, and you have a part of the sequence that has been approved and you can move on. So, it’s pretty much based on deliveries and as well on the volume of work for the full team. I think I enjoyed the process most, working with a wonderful team from the beginning until the end. I would say that the most challenging to create wasn’t a character, it was Aziraphale’s wings. All these minimal changes in color had to be translated to white wings, which was a really difficult and complex aspect, but the end result looked great.”
Angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant). According to Milk VFX Visual Effects Supervisor Matias Derkacz, the biggest challenge wasn’t to create a character, it was the wings. (Image courtesy of Amazon Prime)
Milk delivered more than 500 shots for Season 2. “What is great about Good Omens in terms of visual effects work is that it isn’t like a typical VFX TV series. Good Omens is really complex in the sense that you build an asset which is only used once. We are going back in time and we build all of this for the shot and then that’s it; we never come back to it. It’s really fun to work on a show like that because you do such much,” Derkacz concludes.
Images courtesy of Fin Design + Effects and Netflix.
A major environment build for Fin Design + Effects was constructing Vienna with moving traffic.
Thought to be dead mercenary, Tyler Rake (Chris Hemsworth) returns in the Netflix sequel Extraction 2 where the action shifts from Bangladesh to Austria under the direction of Sam Hargrave. Further complications arise when attempting to rescue a crime lord’s family from a Georgian prison. Contributing to the mayhem is Visual Effects Supervisor Björn Mayer and an army of vendors. One of the contributors was Fin Design + Effects, which over a period of six months produced 150 shots that consisted of a 360-degree panoramic view of Vienna and the climatic glass-awning fight scene.
“The thing that prepared me the most was watching the first one, and you get a sense that it’s going to be a gritty action movie [like] John Wick, but much more in your face,” states Will Towle, Visual Effects Supervisor at Fin Design + Effects. “There are different types of visual effects movies. You have Guardians of the Galaxy, which are your bombastic huge-effects shows. Then you’ve got your more down-to-earth invisible effects stuff like Extraction 2, which fits well in my compositing background. The challenge for this kind of movie is that you have to get the audience to buy into it and see the peril that the characters are in. Compositing is all about those finishing touches and adding believability. I’m also a believer that wherever possible we should use live-action effects. You can’t get more real than real. Quite often you can use them in combination with CG to bring the CG up to the next level.”
Despite building a large set piece for the awning fight sequence, major set extensions were required to replace the bluescreen.
Clear and concise instructions were articulated by Mayer. “Björn knows what he wants, and they had actually built quite a big set of the awning, but we ended up replacing all of it because you have reflections in the pieces of glass such as crew members and bluescreen,” Towle remarks. “It gave us a good starting point and base to ground our CG. Early on, Björn and I talked about other references. Pictures were shared of what this sequence might look like. We started with broad strokes and we slowly zoomed into the tiny details like anisotropic filtering, dirt maps on the glass, and kept adding layers of detail to the CG build until it looked photoreal.” Rotomation of the characters was a critical part of the process. “Because we were replacing the glass in every shot and glass is highly reflective, that required us to do accurate digital doubles of four or five characters, and those had to be rotomated into every single shot,” Towle explains. “This is not work we’ve done too extensively before, so new pipeline tools had to be written to help with that, and new animation tools as well.”
Everything had a basis in plate photography, which helped to provide a ground truth for the CG.
Guiding the shot design process were storyboards and previs. “We can start placing our cameras and see what pieces of the build might need to be up-res’d because there is a level of detail scale where the further from camera it is, the fewer details we put in to save render time and disk space,” Towle explains. “Björn and his team had flown a helicopter over Vienna and taken thousands of photos from all different positions, which was fantastic for getting a sense of the environment and what the sun looks like at the time of day that the sequence is taking place. Vienna’s midday sun is bright with not much atmosphere. We also did a lot of research on Google Maps. We flew cameras over the area on Google Earth and did some photogrammetry to build a proxy city early on to figure out camera angles and what buildings we would see from what camera height.”
“The challenge for this kind of movie is that you have to get the audience to buy into it and see the peril that the characters are in. Compositing is all about those finishing touches and adding believability. I’m also a believer that wherever possible we should use live-action effects. You can’t get more real than real. Quite often you can use them in combination with CG to bring the CG up to the next level.”
—Will Towle, Visual Effects Supervisor, Fin Design + Effects
Half of the 150 shots were entirely digital. “I would love to keep as much plate as I can, but, unfortunately, for a lot of these shots we did have to replace them with CG,” Towle states. “The challenge there was making it look as much like the reference as possible. It helped us in a way to go full CG. In almost every shot the characters are still plate, and for this show, to assist us keep the sequence on track in terms of color and lighting, we created a neutral grading pipeline for Fin Design + Effects; this is the first time we’ve done that. What that entailed was neutral grading every single shot in the sequence, and that allowed us to create our Vienna city in a neutral graded environment as well. It enabled us to light, render and drop a shot in that is looking good already and you’re nudging the last five percent in compositing. But we still had live-action elements, and with those come rebuilding edges, roto and bluescreen removal.”
The hardest part of the glass-awning fight sequence was replacing the reflections and refractions of the crew and bluescreen.
Constructing the DC Towers and surrounding Vienna were the biggest photoreal environments for Finn Design + Effects. “How are we going to build the city and add moving traffic to it?” Towle observes. “We had to have moving reflections on every surface and nearby buildings as well. That was something we were definitely anticipating. Also, the way that light travels through glass and compositing glass has some fundamental difficulties. Glass is all reflections and refractions; that’s classically quite difficult to comp because if you have a CG render of a pane of glass and you’re seeing through it, you don’t have a depth channel for the stuff you’re seeing through it. You have a depth channel of the piece of glass. We had to come up with a way to defocus all of this stuff properly. To effectively achieve that in compositing we came up with a method to stripe out the reflections and refractions from the pieces of glass, defocus them separately using a different depth channel and recombine them all. That was all done in comp.”
Deep compositing was critical in being able to manipulate and produce the correct reflections and refractions in the glass.
“[T]hey had actually built quite a big set of the awning, but we ended up replacing all of it because you have reflections in the pieces of glass such as crew members and bluescreen. It gave us a good starting point and base to ground our CG. Early on, Björn [Visual Effects Supervisor Björn Mayer] and I talked about other references. Pictures were shared of what this sequence might look like. We started with broad strokes and we slowly zoomed into the tiny details like anisotropic filtering, dirt maps on the glass, and kept adding layers of detail to the CG build until it looked photoreal.”
—Will Towle, Visual Effects Supervisor, Fin Design + Effects
Rotomation was utilized extensively for the characters and their digital doubles.
“For the hero shots that were close to the glass,” Towle continues, “we rendered it in two different layers and comped it back together in deep compositing so we didn’t have to render with holdouts. We could push and pull layers every so slightly using deep compositing. Then, just as we expected, the build of the city was extremely challenging. We started with a photographic base that was our ground truth, then put it on a sphere to see how it looks. You begin to notice things that are not in the correct perspective, like warped buildings. You can go, ‘That building needs to be reprojected onto geometry, while this one has to be full CG.’ We used it as a guide for how detailed our environment had to be. The furthest-away stuff was on a sphere. As you got a bit closer, it was put on cards, even closer on geometry, and the closest full CG. That allowed us to keep our render times down and still get a believable photoreal result.”
A last-minute alternation was to give the concluding Valhalla scene more of an epic ethereal quality.
After being the sole visual effects vendor on 10th century British saga The Last Kingdom, BlueBolt gets to apply five seasons worth of expertise to the Netflix feature film The Last Kingdom: Seven Kings Must Die. The story revolves around Uhtred of Bebbanburg attempting to unite England after the death of King Edward. “This is not a documentary,” observes Richard Frazer, VFX Supervisor at BlueBolt. “We have to start from a point of authenticity and then take some creative license because we’re still making a piece of entertainment.” The methodology did not change going from a series to feature format. “Apart from the Valhalla stuff, there wasn’t anything crazy dissimilar to what we’ve done before. We looked at it as if we were making one and a half or two episodes of the show.” Post-production lasted for seven to eight months. “The shot count of 375 doesn’t sound like much but they were extremely complex,” Frazer explains. “The main difference is that it’s one big linear focus [rather than doing pre-production, shooting and post-production of different episodes at the same time]. There wasn’t any overlap with anything else that was going on.”
Sky replacements were part of the visual effects work, such as turning scenes from day to night.
Outside of the usual numerous blood shots, the main focus was the battle at the end. “You cut to this wide battle shot [there were four or five of them], and for the three seconds that it’s onscreen there are all of these nuances of the advancement in the configuration of the two sides that have to be communicated,” Frazer states. “The Valhalla sequence was something that came in quite late and wasn’t planned for. It was filmed as scripted with Uhtred in the hall at Beddanburg. He hears this commotion, goes over, and it’s like a mirror of the hall that he has just left. It was shot that way and never meant to be visual effects. The film was locked and sent off for reviews to one of the executives who wanted it to be this much bigger thing at the end. We were nervous because it was going to take quite a significant bunch of money to get it done, and it’s such an important moment. Uhtred is on the cusp between life and death. It couldn’t be cheesy. If you die in battle, you either go to Valhalla, which is an eternal banquet with all of your fallen comrades for the rest of time, or to Fólkvangr. where you can be out in the countryside, if getting drunk for eternity isn’t your thing!”
CG water was avoided for the series but required for the feature version.
Classical paintings of Valhalla were too grand and over the top in their scale, which ran counter to the tone of show. “We did reference a shot where we go to the Isle of Man and there is a Viking longhouse, which was based on a real one that was discovered,” Frazer remarks. “For the Hall of Valhalla, we went to the production designer who had designed the Hall of Bebbanburg and said, ‘It has to feel otherworldly but grounded in a reality that Uhtred understands because of the implication that it might be a hallucination that he is having.” A blinding bright light appears in the doorway of the hall. “It was based on the Hall of Beddanburg, which was practically built and expanded into this infinite space. At the end were these giant doors that opened out onto the meadows of Fólkvangr. Originally, you were supposed to see through the doorway to the meadows beyond. We played with the exposure and levels of haze and reached this level where it was blown out and light streaking through. The executives liked that as a look because it implied something ethereal beyond, but still felt quite grounded,” Frazer says.
“The Valhalla sequence was something that came in quite late and wasn’t planned for. It was filmed as scripted with Uhtred in the hall at Beddanburg. He hears this commotion, goes over, and it’s like a mirror of the hall that he has just left. It was shot that way and never meant to be visual effects. The film was locked and sent off for reviews to one of the executives who wanted it to be this much bigger thing at the end. We were nervous because it was going to take quite a significant bunch of money to get it done, and it’s such an important moment. Uhtred is on the cusp between life and death. It couldn’t be cheesy.”
—Richard Frazer, VFX Supervisor, BlueBolt
Motion capture – with a shield and baseball bat in hand – was essential in producing the necessary number of soldiers for battle sequences.
Epic warfare is a signature part of series storytelling for The Last Kingdom, with the climax of the feature being based on the Battle of Brunanburh. “There were probably more records or poems written about the aftermath,” Frazer notes. “I don’t know how much the specific military beats within it are accurate to the real historical event. They wanted to have Untred and his forces overwhelmed and outnumbered, but by using tactics he manages to save the day. Uhtred concedes ground in order to expose their flank to a pincer maneuver attack. As much as we were trying to shoot that with drones on the battlefield, in the end it was too difficult to do that as a physical maneuver with the number of people we had. We shot a bunch of empty plates of the battlefield and did it completely CG to show the nuances of that maneuvering, which is counter to what I normally do. You should always start from a place of having real people, but at least what we attempted to shoot with the drone served as reference to rebuild all of that with our CG characters.”
It was a challenge to have the opposing armies crushing against each other enough while not making it visually confusing for the viewer.
“[The Hall of Valhalla] was based on the Hall of Beddanburgh, which was practically built and expanded into this infinite space. At the end were these giant doors that opened out onto the meadows of Fólkvangr. Originally, you were supposed to see through the doorway to the meadows beyond. We played with the exposure and levels of haze and reached this level where it was blown out and light streaking through. The executives liked that as a look because it implied something ethereal beyond, but still felt quite grounded.”
—Richard Frazer, VFX Supervisor, BlueBolt
The Uhtred side consists of Wessex and mercenary soldiers that wear uniforms, while the opposing Allied side is made of Danes and Islanders dressed entirely different from each other. “We had to find a way to create base characters and then randomize those to make them appear as individuals with the various head dressings, accessories and fur,” Frazer explains. “If you’re in a wide battle shot you need to have many variations of the actions that people are doing, otherwise you quickly start seeing repeats. We had motion capture suits in the office with a shield and baseball bat and would churn out whole new actions. We tried to get as many different people in the suits as possible to vary it up.” The battle was shot in a bowl in Hungary. “The Allied side comes down a raised hill, and Uhtred and his side come in between the treelines. We used that because when you’re in amongst all of the fighting, you need to see things above people’s heads to orientate yourself,” Frazer describes.
Approximately 370 visual effects shots were created by BlueBolt, which was the sole vendor for the feature as well as the five seasons of The Last Kingdom.
“As much as we were trying to shoot [the final battle scene] with drones on the battlefield, in the end it was too difficult to do that as a physical maneuver with the number of people we had. We shot a bunch of empty plates of the battlefield and did it completely CG to show the nuances of that maneuvering, which is counter to what I normally do. You should always start from a place of having real people, but at least what we attempted to shoot with the drone served as reference to rebuild all of that with our CG characters.”
—Richard Frazer, VFX Supervisor, BlueBolt
BlueBolt was responsible for the arrival of the armada. “It was the first shot we started and the last one that was delivered!” Frazer reveals. “It went through a lot of variations. The long shot from Season 2 that I composited of Uhtred on a slave ship, which came from inside the boat, across the bow of the deck and then up and wide, and pulls back showing the ship sailing across the sea – the director originally wanted to create something like that. One area that we haven’t touched on the show is CG water. We tend to use stock plates and work from there. That worked well for all of the shots of ships in the previous seasons, but if there is a specific countermove that is wanted, you’re limited with what you can do based on the spot plates that you were able to source. We tried doing the big pullback as it came through the ships and rigging. It wasn’t quite working. We scrapped it midway through and came back to it. That was the most challenging shot [of the movie]. The ocean itself is some stock footage that we sourced, but then the wake and all of the interaction of the boats are entirely CG. That was the tricky part.”
Watch BlueBolt’s VFX breakdown video of large, complex CG battle scenes and army formations as well as other elaborate environments for Seven Kings Must Die. Click here: https://www.blue-bolt.com/ourwork/seven-kings-must-die.
The methodology for each visual effect shot was determined on a case-by-case basis.
Working on the Disney+ fantasy series American Born Chinese holds a special place in the heart of Visual Effects Supervisor Kaitlyn Yang (Raised by Wolves), because the content on the screen and the creative talent in front and behind the camera reflected her ethnic heritage in an authentic and meaningful way. The story reimagines the myth of the Monkey King by giving the trickster god domestic life troubles in the present day and mines the humor in trying to gain self-acceptance beyond the borders of China. There is no shortage of fantasy elements as a battle between the forces of good and evil ensues with two high school students thrust right in the middle of the heavenly conflict.
“In my opinion, visual effects are best served when it’s in a supporting role. They’re invisible or we tap into the magic realism whenever the visual effects need to be front and center because story calls for it.”
—Kaitlyn Yang, Visual Effects Supervisor
American Born Chinese wanted to make sure that everything was grounded with a focus placed upon magic realism.
“Just in the script phase, right off the bat you have a falcon changing into a tiger changing into a fish! How do we do that? That ultimately becomes the perfect handoff of what was shot practically and just seeing enough of something to whet your appetite. It was kind of a morph that was more into the sparkle-lighting effects realm aided by the sound design. The camera is moving so fast that you’re like, ‘Oh, now it’s going to happen.’ There were so many of those all in the row that was so mesmerizing to watch.”
—Kaitlyn Yang, Visual Effects Supervisor
The Monkey King is capable of 72 transformations, with one of them being a falcon.
“I was extremely thrilled when I got the email, and not having so many women visible I felt like I was chosen by the claw in Toy Story!” states Yang, who is the founder and CEO of Alpha Studios. “Having the braintrust [of Asian creators, heads of departments and cast] with lived experiences allowed us to know when to take liberties and pay homage,” Yang states. “You see so many nods to Asian traditions throughout the series. We had a lot of good ideas to pick from, and then figuring out which ones fit the tone and vibe that [showrunners] Kelvin Yu and Destin Daniel Cretton had already envisioned in their head and how to amplify that.”
Stunts were pivotal in pulling off the fantasy action sequences, with wirework being utilized by martial arts icon/Oscar winner Michelle Yeoh.
Having being responsible for Shang-Chi and the Legend of the Ten Rings, Cretton was experienced in dealing with a visual effects-heavy production while other directors were not as experienced, such as [director] Lucy Liu. “It was never that we are designing specifically for their vision,” Yang remarks. “They were always willing for new ideas and improvements, but key words were passed around here and there. Like any good storytelling, it’s about a feeling that you’re trying to capture. How fast was the waterfall moving and could that contribute to the intense dialogue that the dad and son are having? In my opinion, visual effects are best served when it’s in a supporting role. They’re invisible, or we tap into the magic realism whenever the visual effects need to be front and center because story calls for it.”
Determining the pacing and look of effects such as waterfalls was the desired tone for the scene.
Amongst the creative and technical challenges to produce 1,100 visual effects shots for the eight episodes was the ability of the Monkey King to do as many as 72 transformations, which are dictated by the scenario and where he has to go next. “Just in the script phase, right off the bat you have a falcon changing into a tiger changing into a fish!” Yang notes. “How do we do that? That ultimately becomes the perfect handoff of what was shot practically and just seeing enough of something to whet your appetite. It was kind of a morph that was more into the sparkle-lighting effects realm aided by the sound design. The camera is moving so fast that you’re like, ‘Oh, now it’s going to happen.’ There were so many of those all in the row that was so mesmerizing to watch.”
Among the invisible effects were smartphone screen inserts.
“The first and last episodes were always planned to be visual effects heavy. In Episode 108, we have this intense battle in the sky that we had to somehow make believable. There were so many moving parts, figuring out how to digitally duplicate something that we had practically. I started out as a special effects artist. I will always have a love of getting as much in-camera as possible knowing even if most of it doesn’t appear in the final frame that it’s going to be the coolest reference we’re going to have.”
—Kaitlyn Yang, Visual Effects Supervisor
The glass explosion was achieved practically.
For the opening chase in Episode 101 where a multitude of transformations occur, previs was produced by DigitalFilm Tree that was informed by Stunt Coordinator Peng Zheng. “He and his team shot at their practice ring on iPhones and mobile phones to give us a sense of the camera movement and how one scene stitched with another,” Yang explains. “That helped so many departments to visualize what do we need to do and where the handoff was. I hope that people will love the chase scene as much as we loved putting it together. That sequence, in particular, took the most days, shot count and budget. It was not only a fun sequence but set the tone for the rest of the season. That was one of the first sequences that we shot.” The transformation shots might be described as kung fun magic. “We didn’t do as many as 72 transformations, but perhaps for later seasons! Knock on wood! I grew up with Hong Kong cinema, so I love the types of choreography that you don’t see too much nowadays that have just enough surrealism and magic that ties it together. It’s so fast-moving you can’t look away,” Yang states.
Approximately 1,100 visual effects were created for the eight episodes.
“We took all of the tools in the toolbox and deployed them whenever we saw fit. In Episode 101, we LiDAR-scanned our sets knowing that we had to do extensive set extensions. We worked closely with the art department which had done extensive research and also relied on Gene Luen Yang, the writer of the book with the same name, because he has done extensive research.”
—Kaitlyn Yang, Visual Effects Supervisor
Most of the visual effects were temped by Pixelloid working alongside DigitalFilm Tree, “not necessarily to the degree of the final look that we ultimately settled on, but providing us with a stepping stone to keep improving upon,” Yang notes. “By cut five or six we were able to see some version of the effect already built in. The effects that went through the most iterations were probably for the Heaven episode. That was mainly shot on bluescreen, and we definitely used all of the time on the clock for that one to fine tune the lighting and matte painting. The first and last episodes were always planned to be visual effects heavy. In Episode 108, we have this intense battle in the sky that we had to somehow make believable. There were so many moving parts, figuring out how to digitally duplicate something that we had practically. I started out as a special effects artist. I will always have a love of getting as much in-camera as possible knowing even if most of it doesn’t appear in the final frame that it’s going to be the coolest reference we’re going to have.”
Nothing like having a battle between deities in a high school where teenage angst reigns supreme.
The methodology was devised on a case-by-case basis. “We took all of the tools in the toolbox and deployed them whenever we saw fit,” Yang explains. “In Episode 101, we LiDAR-scanned our sets knowing that we had to do extensive set extensions. We worked closely with the art department which had done extensive research and also relied on Gene Luen Yang, the writer of the book with the same name, because he has done extensive research.” Human Engine ran a portable scanning station on set to assist with the construction of digital doubles. “We had people flying into the sky or walking on water or cliff jumping. Even before wire removal and background replacements, watching the dailies was so cool. We were able to get some CG doubles, but for most of it we had an incredible stunt team that showed their homage to Asian cinema. Hopefully, the audience will be so immersed that everything we put on the screen will be taken as is, because the best compliment for visual effects is not to even know that it was there.”
Watch mesmerizing transformations of the Monkey King in DNEG’s “VFX Breakdown” for American Born Chinese. Click here: https://vimeo.com/844316668
The hardest shot to get right for ILM was encountered when the bag is removed and reveals the de-aged Indiana Jones for the first time.
Receiving the franchise baton from Steven Spielberg (Jaws), James Mangold (Ford v Ferrari) embarks on the fifth and final adventure with a character who made archeology, fedoras and bullwhips cool, and provided Harrison Ford with his third iconic cinematic persona. Joining in the fun and global mayhem that ensues in Indiana Jones and the Dial of Destiny is Oscar-winning VFX Supervisor Andrew Whitehurst (Ex Machina) along with ILM VFX Supervisor Robert Weaver.
An array camera car captured plates for the tuk-tuk chase that occurs on the streets of Morocco, which was handled by Soho VFX.
Much has been made of the opening 25 minutes that resembles lost footage from the making of Raiders of the Lost Ark and features a de-aged Harrison Ford. “We started by looking at archival material and building our CG head and A/B between the two, which was a useful comparison,” states Whitehurst, who was on the project for three years. “Early on we had scanned Harrison Ford, so we had him as he is now, which could also be used for checking proportions. There was never ever a particular shot that we thought, ‘This is the one we’ll use to test.’ We all knew that the bag coming off of the head was going to be the most important shot because it’s the first time you see him, and it was also going to end up in the trailer. That was shot early on, and we got working on it earnestly.”
When de-aging Mads Mikkelsen it was more important that he resembled the character of Jürgen Voller rather than his younger self.
De-aging was accomplished by utilizing ILM FaceSwap. “It’s was a terrifying challenge that I wanted to step into and take on,” Weaver remarks. “Things are always evolving, and we’re good at keeping up and leading development in all areas that are necessary to perfect the techniques. Andrew had a good summary of it by stating it’s an umbrella suite of tools. By adding the machine learning to the mix, it’s contributing yet another tool to the arsenal to accomplish what is needed. We did rely on archival footage from past films, and it helped tremendously in many different ways, but it didn’t replace our previous techniques, which we still need to build a fully CG asset that is believable standing on its own as well. It was necessary to treat each shot individually.”
The World War II prologue features a chase on top of a train with Toby Jones, the only character not de-aged. The chase includes an all-CG shot of Ford running across the train.
FaceSwap is not treated as a magic bullet. “What we have is a selection of tools and the ability to mix between the various outputs of these processes that we can look at and go, ‘We’ll take the eyes from here and some of the skin tone from this,’” Whitehurst notes. “To be able to create like a painter would be in that final likeness, and to maintain that performance. The brilliance of it is having the ability to use a little bit of this and more of that. For another shot it is not working, so you have to use a different combination of approaches.”
The parade sequence, which had Edinbourgh stand in for New York City, was the responsibility of Rising Sun Pictures.
Remarkably, Harrison Ford was still able to fit into the original costume. “The long and short of it is, Harrison is super fit and energetic,” Whitehurst states. “He will act like 40-year-old Harrison for those moments.” Ford has a distinct running style described as a cross between Jack Sparrow and Tom Cruise. “We took a lot of time to study his running in various films, and we had an all-CG shot of him running across the train,” Weaver notes. “Essentially, we had to get those mannerisms into that run while working out the cadence of what is necessary to step over the pipes and jump between cars.”
The prologue was intended to resemble recently-discovered lost footage shot during the making of Raiders of the Lost Ark.
“[De-aging Harrison Ford] was a terrifying challenge that I wanted to step into and take on. … By adding the machine learning to the mix [in ILM’s FaceSwap], it’s contributing yet another tool to the arsenal to accomplish what is needed. We did rely on archival footage from past films, and it helped tremendously in many different ways, but it didn’t replace our previous techniques, which we still need to build a fully CG asset that is believable standing on its own as well. It was necessary to treat each shot individually.”
—Robert Weaver, VFX Supervisor, ILM
The de-aging of Ford was accomplished through machine learning and a variety of techniques known as ILM FaceSwap.
When de-aging Mads Mikkelsen, a different creative choice was made. “Mads as younger man is fuller in the face, which didn’t feel right for the character,” Whitehurst reveals. “When we started looking at how we were going to FaceSwap Mads, we decided not to refer extensively to what Mads actually looked like when he was 30. It was more about figuring out what young Jürgen Voller looked like. That was done with a whole bunch of paint tests. We figured out the look for that, and then were able to roll that through the shots. It’s interesting because young Jürgen Voller kind of looks like young Mads Mikkelsen, but also not – that benefits the character.”
ILM created a fully CG environment for the scenes that take place in Syracuse, Sicily circa 214 B.C..
“It was amazing. We could rotate that plane through multiple axis a great deal, and it was full size. But it could also shake around, so we were inside a lot. The physicality was real. That made it tricky because the camera is shaking in the inside, or the plane shaking against the background that shouldn’t be shaking, but the believability of the motion that you get from the people inside of the plane is worth the pain because it sells it.”
—Andrew Whitehurst, VFX Supervisor
Filmmaker Mangold and frequent cinematographer Phedon Papamichael favor using wide lenses for closeup shots resulting in more of the surrounding environment appearing in the frame. “There are probably more closeups of a 40-year-old Indiana Jones in this movie than there are in all of Indiana Jones and the Last Crusade,” Whitehurst observes. “The important thing was being able to accommodate how they wanted to shoot it. I don’t want anyone to ever feel compromised. If it means pushing in and getting close because narratively and dramatically that is going to have the most impact, we should do that.” Among the action sequences is Indiana Jones trying to outrun a subway train while riding horseback. “For the closeups, the train is CG. We had a beautiful set build at Pinewood of the whole station and a little bit into the tunnel. Then we had a long black tent that extended out so he could ride a horse down [the tunnel], so we were able to shoot the plates. but the train was always going to be CG. The actual tunnel itself is CG as well,” Whitehurst says.
Phoebe Waller-Bridge appears in the aircraft gimbal, which was shot on a bluescreen stage. (Photo: Jonathan Olley)
“We do a lot of dynamic studies and various simulations to see what our perceptions are. A lot times in our work, things that are physically correct are not what we’re looking for, so we need to augment them. But in the case of the airplane and all of the atmospherics, James [Director Mangold] had a clear idea in his mind as to what these atmospheric dynamics should be, and he essentially likened them to a waterfall flowing out into the past. That was our cue to build this massive storm and put the dynamics onto the planes that are believable… It was a fine balance to walk.”
—Robert Weaver, VFX Supervisor, ILM
Ford strikes a classic pose while Cinematographer Phedon Papamichael scouts a set. (Photos: Jonathan Olley)
A signature stunt is Indiana Jones leaping from tuk-tuk to tuk-tuk during the street chase in Tangiers. “That was shot in Morocco,” Whitehurst reveals. “We have a guy in a tuk-tuk who will then jump into the other tuk-tuk. We did a CG takeover of the tuk-tuk that he leapt from and have a CG van colliding into it.” Stunts were a crucial partner. “I’ve worked with Ben Cooke, who was Supervising Stunt Coordinator a couple of times. Dan Bradley is an incredibly experienced second unit director. Once we figured out where we wanted to shoot the tuk-tuk. which was Fez in Morocco, Dan went there. The dialogue needed to happen, so we roughly knew how long the sequence had to be, as well as where we were going in and out of it. But the script didn’t describe specific action beats. Dan walked around Fez and said, ‘We could do this with the tuk-tuks right here.’ On the basis of that, we were able to previs the sequence. We scanned and photographed Fez and the vehicles down the whole route because we knew that there was going to be process back at Pinewood for all of the dialogue between our principals. Because everything was previs, we knew what the angles were going to have to be. We decided to put the edit together as we were shooting the process work so we knew that everything was going to cut together okay. Then it’s a case of paring things down in the edit and refining until we get the completed sequence.”
Frequent collaborators filmmaker James Mangold and Cinematographer Phedon Papamichael enter the world of Indiana Jones together for the first time. From left: Production Designer Adam Stockhausen, Mangold and Papamichael on set. (Photo: Jonathan Olley)
ILM was also responsible for the third act. “There are some fantastic escapades that happen with the airplane going through the eye of the storm and coming into 214 B.C.,” Weaver states. “They did an amazing job on set shooting a partial version of the airplane, and we would add an extended version of that through CG at various times. There were other times where things couldn’t be filmed practically, and it would have to be completely CG, partially airborne and jumping out.” The proper weight of the aircraft had to be conveyed to add to the sense of peril. “We do a lot of dynamic studies and various simulations to see what our perceptions are,” Weaver remarks. “A lot times in our work, things that are physically correct are not what we’re looking for, so we need to augment them. But in the case of the airplane and all of the atmospherics, James had a clear idea in his mind as to what these atmospheric dynamics should be, and he essentially likened them to a waterfall flowing out into the past. That was our cue to build this massive storm and put the dynamics onto the planes that are believable, getting enough wind flex that is believable but doesn’t feel like those wings are going rip off in any minute. It was a fine balance to walk.”
“I always push to get as much as we possibly can in-camera, particularly if it’s something that is interacting with the characters because you get better performance. The physicality is there because it’s real. If you can’t do that, we try to find reference that is as close as we can get to that and then analyze it even for the small things.”
—Andrew Whitehurst, VFX Supervisor
A rig was built for the interior of the plane by the special effects team led by Alistair Williams. “It was amazing,” Whitehurst explains. “We could rotate that plane through multiple axis a great deal, and it was full size. But it could also shake around, so we were inside a lot. The physicality was real. That made it tricky because the camera is shaking in the inside, or the plane shaking against the background that shouldn’t be shaking, but the believability of the motion that you get from the people inside of the plane is worth the pain because it sells it. Then that helps when we cut to the exteriors and have felt this violence, and now we can see that in the wider shots.” Practical elements are essential even when shots become fully CG. “I always push to get as much as we possibly can in-camera, particularly if it’s something that is interacting with the characters because you get better performance. The physicality is there because it’s real. If you can’t do that, we try to find reference that is as close as we can get to that and then analyze it even for the small things. For example, the hanger doors open, we see the bomb for the first time and the engines fire up. One of the things with old airplane V engines is when the propellers start to spin, too much fuel is going into the engine, so it’s not up to speed yet, so you get this big blast of flame that comes out through the exhaust. We did that, and it looks cool as well. It adds that extra flavor and verisimilitude to it that there is a bit more texture,” Whitehurst says.
Cinematographer Phedon Papamichael prepares a driving scene on a bluescreen set. (Photo: Jonathan Olley)
Combining reality and fantasy is a staple of the Indiana Jones franchise, such as having a portal appear in the sky for Indiana Jones and the Dial of Destiny. “Indy films are slightly earthy, grubby-real, but then have an element of the supernatural on top,” Whitehurst observes. “We stylistically absolutely had a precedent in the previous films. One of the things that James and I talked about a lot was a Douglas Trumbull cloud tank, where it’s something that feels physical and real but has an interesting aesthetic quality to it as well. Certainly, we were looking at that when designing the inside of the portal as we fly towards 214 B.C. and when we come out of the other side. We designed something that had an interesting physicality to it so it felt like something that nature might produce. We had these arms wrapping around the horizon as if it was coming to Earth trying to grab [it], with this portal in the center of it. There was an oddness to it. But we were also referencing actual cloud formations and odd storm footage a lot to get the movement and the shapes within that form. There was an overall sculptural design aspect to it that we wanted it to narratively feel like, which was threatening, but also getting that naturalism into it that is very Indy.”
Interestingly, Ford still fits into the original costume and has remained extremely fit. (Photo: Jonathan Olley)
A complete CG environment build was the Sicilian city of Syracuse circa 214 B.C.. “It was down to the level of being able to fly through the streets,” Weaver reveals. “Basically, we wanted to take away any limitations that James may have in telling the story. Wherever he wanted to put the camera, it was going to be completely believable and period appropriate.” In total, 2,350 visual effects shots were created by ILM, Rising Sun Pictures, Important Looking Pirates, Soho VFX, Midas VFX, The Yard VFX and Crafty Apes. “The tricky thing with a movie like this is, there were so many locations and numerous times where every single scene is something new,” Whitehurst states. “Somebody asked me, ‘What was it like to make this?’ It was like doing 12 commercials simultaneously, and a lot of them are very different. That’s the hard part. There is a little action beat towards the end when Helena is on a motorbike chasing Voller. I loved it when we did the previs. I thought it was going to be a fun moment. We shot it with Phoebe Waller-Bridge on a soundstage. She was awesome, and we blasted her with water and wind all day long. Phoebe just did it and completely sold it. Also, there is an awesome shot with Phoebe right under the tail of the plane as it’s bouncing down the runway, and you feel it slam down just next to her. I love that whole beat. It feels exciting, present in the action. The performance is great, and the work is beautiful.”
Watch a featurette on “behind the action” of Indiana Jones and the Dial of Destiny. Click here:
Coming into contact with the Question Boxes enables characters to transform and acquire different superpowers.
Claiming the crown of the top-grossing video-game adaptation of all time is The Super Mario Bros. Movie with a worldwide box office totaling $1.3 billion, which is nearly three times what was earned by second place Warcraft. The overwhelming success was caused by Nintendo partnering with filmmakers Aaron Horvat, Michael Jelenic and Pierre Leduc, screenwriter Matthew Fogel, Illumination Mac Guff and Universal Pictures to produce a story that at times literally pays homage to the source material while also pushing the boundaries of expectations, as demonstrated by the reptilian villain Bowser channeling his inner Ozzy Osbourne and Elton John to sing heartfelt songs dedicated to the unreceptive Princess Peach.
Lumalee is a volumetric character, so classic shading techniques could not be utilized.
In the middle of the zany craziness is Illumination veteran Milò Riccarand, who was the Head of CG on the project and has seen the evolution of effects utilized by the Paris-based animation studio since Despicable Me became a global sensation. “The way we use effects has changed hugely because technology and software has evolved a lot,” Riccarand states. “We have a huge render farm. Directors want something bigger, more realistic and interesting. That’s what I love about it.” When doing simulations in animation, it’s all about achieving the proper balance between plausibility and stylization. “We do a lot of proprietary software and jump at the possibility to do what we need in order to achieve the look that the director wants, whether it be physical or cartoony,” Riccarand says. Sequences were mapped out using storyboards and previs. “We did two passes of previs, one animated and the other with characters. This is because the interaction between the characters, the cast and camera can be tricky, as their relationship with each other needs to be like a dance in order to get a good position.”
By combining detail and stylization, the fur and skin of Donkey Kong appears to be realistic and appealing.
There is no shortage of characters with short legs in The Super Mario Bros. Movie, which stems from respecting the original silhouettes and poses of the original character designs. “To be fair, it’s not just the short legs,” Riccarand remarks. “The legs can be short in one and become long in another one. A principle of animation is squash and stretch. That can come across as being elastic, which is hard on CFX because you want to do something that is physically realistic, so you have to find a way to do that.” Mario transforms whenever he makes contact with Question Boxes, which allow him to acquire various powers. “It’s a joint collaboration between effects, compositing and lighting departments. We are doing a lot of work in Nuke in order to have particles flowing on his face or forming a force field. Numerous layers had to be comped and lit,” Riccarand says.
One of the most complex sequences and environments was executing the cosmic car chase that takes place on the Rainbow Road.
A chase sequence takes place on a prism-colored cosmic transitway. “The Rainbow Road was a complex challenge for us,” Riccarand notes. “The camera had to chase all of the characters, which was difficult technically. The road was a volumetric entity with clouds inside. To make everything look lit [was challenging]. It’s a rainbow, so it’s not something solid. Our render department helped us to sort it out and be able to render that.” Supercharged vehicles add to excitement. “Those were a lot of fun!” Riccarand laughs. “This is not a live-action movie, so we can do what we want with the characters. You get crazy moments with the cars. The Koopa General drives this huge car that takes up all of the road.” The cloud elements assisted in conveying the proper size, scale and speed. “Each shot was set-dressed in order to get the best angle for the camera. We added tiny elements in frame that are going by quickly and cause you to say, ‘They’re going fast.’”
A signature environment is the Mushroom Kingdom that Mario and Princess Peach walk through.
Bowser lives on a volcanic world and resides in Lava Lake Keep. “It was not scary to do because our proprietary software helped us to deal with the smoke,” Riccarand states. “But when it comes to scale and a thousand shots to do, we had to be smart to find a good solution that doesn’t cost too much. You can’t have multiple simulations rendering overnight to have them ready for the day after. The lava had to be stylized to work with the characters in the scene. It was a bit more cartoony, but with realistic lighting.” A staple of video games is to have a world filled with giant mushrooms. Explains Riccarand, “People love that! The Mushroom Kingdom was a nice set to do. There was a lot of modeling and procedural environments in order to do the set extensions. It is something iconic from the game, so the viewer knows what they are looking for; so we needed to pay attention in order to not disappoint them.” Scenes in World Bowser take place at night, while the Mushroom Kingdom action unfolds in the daytime. “Night sequences are easier to hide things with mist and darkness, and you can use high contrast lighting. When you’re outside in sunny daylight, it’s more complex to light the characters in a believable and interesting way.”
While following through with his nefarious plans, Bowser also has a habit of singing love songs dedicated to Princess Peach.
“Those [supercharged vehicles] were a lot of fun! This is not a live-action movie, so we can do what we want with the characters. You get crazy moments with the cars. The Koopa General drives this huge car that takes up all of the road. … Each shot was set-dressed in order to get the best angle for the camera. We added tiny elements in frame that are going by quickly and cause you to say, ‘They’re going fast.’”
—Milò Riccarand, Head of CG/FX Supervisor, Illumination Mac Guff
The simulations for lava had to be stylized to ensure that the environments did not clash with the cartoony character designs.
Some scenes are a direct homage to actual gameplay. “That was fun because the idea was to take something that exists in the game, however, then put it into a more cinematic environment,” remarks Riccarand. “It had to respectful but on a bigger scale.” There was constant feedback from Nintendo, with signature elements like Question Boxes being incorporated into the storytelling. “The Question Boxes are opaque with a little light source inside. They are the same design as Nintendo, but had to have some magic in order to have them fit into the movie.” Something not part of the gaming experience was having Bowser sing in a concert inspired settings and lighting. “That was one of the craziest ideas! It’s like a jazz concert, but him singing to his girl. We have some good key lights and lots of reference from jazz concerts. The idea was to put the character in the light and simply have him singing. One of our co-directors, Pierre Leduc, previously was our animation director on a lot of movies, so his experience helped us in getting the proper silhouettes and poses.”
A lot of fun was had in getting to design, create and execute the various vehicles that could not exist in a live-action movie.
“[The volcanic world of Bowser] was not scary to do because our proprietary software helped us to deal with the smoke. But when it comes to scale and a thousand shots to do, we had to be smart to find a good solution that doesn’t cost too much. You can’t have multiple simulations rendering overnight to have them ready for the day after. The lava had to be stylized to work with the characters in the scene. It was a bit more cartoony, but with realistic lighting.”
—Milò Riccarand, Head of CG/FX Supervisor, Illumination Mac Guff
A scene from the commercial that begins the movie.
Simulations such as the water from the bursting pipes in the bathroom are more driven by comedic rather than realistic timing. “In two frames you can go from no water to a huge splash of water,” Riccarand observes. “It’s interesting because that’s when effects works with animation. It’s a joint venture between the two. Before doing the effects, the animator will say, ‘I would love to have a splash here and there.’ Afterwards, in effects, we try to make that happen.” Talking in an infantile voice and expressing pessimistic views is the imprisoned star known as Lumalee. “It’s a volumetric character, so it’s not the classic shading. This type of character is difficult to animate because it’s a star shape. In the beginning you’d think, ‘I will not be able to do some extreme movements.’ But you absolutely can. In the end credits, Lumalee is playing the saxophone.”
Actual gameplay was incorporated into the storytelling and upgraded with a cinematic sensibility.
“The Mushroom Kingdom was a nice set to do. There was a lot of modeling and procedural environments in order to do the set extensions. It is something iconic from the game, so the viewer knows what they are looking for; so we needed to pay attention in order to not disappoint them.”
—Milò Riccarand, Head of CG/FX Supervisor, Illumination Mac Guff
Nintendo was closely involved with the production to ensure that aesthetic of the video game was maintained.
Grooming for the moustaches of the Mario Bros. and Donkey Kong was achieved through proprietary software. “Donkey Kong has numerous layers of fur,” Riccarand explains. “It has to have a lot of detail to feel real, but it doesn’t need to be realistic. There is a closeup shot of the hand of Donkey Kong, and you see one of his fingers at a huge scale. I couldn’t do the skin realistically, as it needs to be pleasant to look at. We did a lot of tests to produce something that looks real and that has good subsurface scattering, but the texture and painting of it is appealing.” Plenty of destruction occurs in the finale battle that unfolds in Brooklyn. “FX Supervisor Simon Pate drove this sequence. You have the superpowers of the characters plus various simulations everywhere, like smoke and dust. You want to do things that are not too scary but good to see and impressive. It can be hard to do a battle like that in the daytime, but the lighting helps a lot.” Advancements were made in the area of compositing. Riccarand notes, “We did a lot of new work on lens aberrations, and the in-house renderer has been greatly improved because with each movie we want to render more and more. Technology gets better, and people ask for more! But that’s what makes this type of job interesting. You’re always trying to find the best and new ways to do things.”
Lead Animator and Key Stop Motion Animator Laurie Sitzia animates the interaction between Anni and Kalina during the tunnel sequence.
If you want to see the global talent practicing the art of storytelling through animation, the recent trend towards anthologies appearing on the streaming services such as Netflix and Disney+ are providing the platform for viewers to do so. After using a series of nine anime shorts to showcase the influence of Japanese cinema on George Lucas and the Star Wars universe, Lucasfilm has expanded the worldview for Star Wars: Visions Volume 2 to include U.K. stop-motion maestros Aardman for I Am Your Mother. The tongue-in-cheek story, directed by Magdalena Osinska, cleverly shifts the dysfunctional volatile father-son dynamic to a nurturing mother-daughter class conflict and transforms a beloved supporting character into a self-promoting salesman.
One of the most difficult physical actions to pull off was getting the puppets to hug each other in a believable manner.
“The theme of family is something I love to explore in my work, and a lot of the characters in ‘I Am Your Mother’ are inspired by people I’m familiar with, so this largely informed the visual aesthetic,” Osinska explains. “I intentionally wanted the main characters to be alien, as that was inspired by my arrival in the U.K. as a Polish national. I was an alien, so our characters are literally aliens! In terms of animation, I was keen for a female animator to develop these mother-daughter relationships. Our lead animator, Laurie Sitzia, developed and tested Anni and Kalina. We had in-depth conversations with Laurie about mother-daughter relationships, about Anni and Kalina’s background, motivations and emotions throughout the film. We talked about the closeness and warmth of their relationship, but also that relatable feeling of being embarrassed by your parents, and being able to show these layers of feelings through the puppet’s performance.”
As for the visual language, it was important to retain a warmth between Anni and Kalina despite the rising tension between them. “Such subtle emotional shifts needed to be evident, and I worked hard to put them into the finer nuanced details of their facial expressions,” states Laurie Sitzia, Lead Animator and Key Stop Motion Animator. “This was especially important in the cockpit sequence where we watch Anni’s frustrations escalate until she reaches boiling point with an outburst that shocks and hurts her mother. She immediately regrets it but can’t take it back. Kalina contains her hurt to protect her daughter, but we still needed to see a glimpse of it.”
Concept design of the spacetug, which serves both as a home and spacecraft for Anni and Kalina.
“I was keen for a female animator to develop these mother-daughter relationships. Our lead animator, Laurie Sitzia, developed and tested Anni and Kalina. We had in-depth conversations with Laurie about mother-daughter relationships, about Anni and Kalina’s background, motivations and emotions throughout the film. We talked about the closeness and warmth of their relationship, but also that relatable feeling of being embarrassed by your parents, and being able to show these layers of feelings through the puppet’s performance.”
—Magdalena Osinska, Director
Director Magdalena Osinska prepares the spacetug for the complex tunnel shot that occurs during the race.
Reflecting how the relationship evolves between Anni and Kalina are the book-ending hugs. “Hitting the perfect pose in a hug in stop-motion is always a challenge and much harder than it looks. Puppets don’t usually fit together very easily. You’d never know it, but Anni’s head is actually cheated forward and is floating on a rig about 10mm forward of Kalina’s face for the last few frames of their final pose. It was the only way to get their tilted heads to look like they were making contact with each other. The rig had to be cheated in mid-shot, quite a fiddly operation,” Sitzia says.
Lead Animator and Key Stop Motion Animator Laurie Sitzia found it important to display subtle emotional shifts to reflect the evolution of the mother-daughter relationship between Kalina and Anni.
There cannot be any Star Wars story without droids, and the faithful malfunctioning companion Z1 displays the characteristics of an accordion-expanding sausage dog. “[Animation Director] Steve Cox developed and 3D printed the prototype for Z1 himself. As a huge Star Wars fan, he was keen to ensure that the final puppet would feel totally in keeping with the other astromechs, and Z1 really does,” Sitzia notes. “He was fun to animate, too, with elements like the ears and legs folding in/out and the slinky body allowing for playful dips and dog-like movement while still retaining a very droid-like quality. Z1 could also stretch out long which worked so well for his fall from the table in the opening sequence and later on when he is swinging from the spacetug. His head tilt also gave him that inquisitive dog-like expression. I remember multiple pipes and tubes being ordered in a search for the perfect part to create his concertina mid-section, as making this from scratch would have been really tricky. It was quite a process to find the right thing, and Steve tells me it ended up being a motorbike shock absorber cover that with a few tweaks worked out perfectly!”
“Hitting the perfect pose in a hug in stop-motion is always a challenge and much harder than it looks. Puppets don’t usually fit together very easily. You’d never know it, but Anni’s head is actually cheated forward and is floating on a rig about 10mm forward of Kalina’s face for the last few frames of their final pose. It was the only way to get their tilted heads to look like they were making contact with each other. The rig had to be cheated in mid-shot, quite a fiddly operation.”
—Laurie Sitzia, Lead Animator and Key Stop Motion Animator
Color keys used to map out the various sequences.
“We used ZBrush for modeling and Maya for modeling and animation,” Osinska remarks, “Nuke for compositing and face tracking, Houdini for rendering. And I’ve been told by Signe Tveitan, our wonderful 3D modeler, that we used Karma and Solaris to calculate how the light interacts with the surface.” Fun was had with the visual effects. “I was keen for the look of the spaceships thrusters to be quite stylized and a mixture between 2D and 3D visual effect, a little bit comic, like Scott Pilgrim vs. the World,” Osinska says. “[Production Designer] Aurélien Predal created very cool 2D shapes for each ship that also reflected the character of their drivers. It was an interesting challenge to then translate it into 3D, and we actually spent quite a bit of time on it to find that perfect look. The other visual effects were screens and holograms. We played with the visibility, color, lines, static, to make it work for our film and also within the Star Wars universe. Besides that, there were fireworks and lots of other atmospheres that made everything sit nicely together.” The set of city and school building were constructed entirely in 3D. “Usually, the foreground is physical, but the rest would be CG. Lighting the 3D parts played a huge role in bringing together these two techniques; this actually goes both for the sets in general but also the mouths, and our Lighting Lead, Tessa Mapp. did an amazing job on it. A big bow to our CG and VFX Supervisors, Ben Toogood and Bram Ttwheam, who married the stop-motion with CG so beautifully,” Osinska says.
The main character lineup as conceptualized by Félicie Haymoz. From left to right: Z1, Kalina Kalfus, Annisoukaline ‘Anni’ Kalfus, Dorota Van Reeple and Julan Van Reeple.
“[Animation Director] Steve Cox developed and 3D printed the prototype for Z1 himself. As a huge Star Wars fan, he was keen to ensure that the final puppet would feel totally in keeping with the other astromechs, and Z1 really does,” Sitzia notes. “He was fun to animate, too, with elements like the ears and legs folding in/out and the slinky body allowing for playful dips and dog-like movement while still retaining a very droid-like quality.”
—Laurie Sitzia, Lead Animator and Key Stop Motion Animator
One of the visual effects that had to be produced was a hologram of Wedge Antilles in the opening shot.
Appearing on screens throughout the city promoting the family pilot race and his own merchandise is Rebel Alliance X-wing pilot Wedge Antilles, actually voiced by the original live-action actor, Denis Lawson. “Anni and her mum come from a planet very very far away, from an unprivileged place, but Anni is an extremely talented pilot, the first one from her planet to be accepted to the prestigious Hanna City Flight Academy,” Osinska states. “Her mum taught her piloting skills, for example, the Ryloth Roll maneuver, which then helps Anni win the race, but Anni doesn’t value it when we meet her at the beginning of the story. Instead, naturally, she is looking up to well-known heroes like Wedge Antilles. It was an absolute pleasure to work with Denis Lawson, and it didn’t take much convincing at all to play a slightly lighthearted and fun version of his character.” There is no shortage of Easter eggs, such as Jawa causing technological havoc in the opening. “I love the Jawa, too! They actually appear one more time in the film, at the Academy Fair by a stall selling things ‘Touched by Luke Skywalker.’ The Jawa tries to steal Luke’s lightsaber just before we see another hand [Maz Kanata] grabbing it first. We wanted to put fans’ worries to bed by solving the big mystery of how Maz Kanata took possession of Luke’s lightsaber in The Force Awakens!”
Figuring out the key poses for the Anni puppet.
“It is really hard to choose one sequence as I loved each one of them, but if I must I’d choose the tunnel scene after Anni and Kalina crash, both the exterior and interior,” Osinska remarks. “The reason being that it was quite challenging, and there was lots of problem-solving, which is what I love about stop-motion. The tunnel we built was only four meters long, but we needed to make it feel as if it’s going for hundred of meters. DP Tristan Oliver, along with Motion Control Operator Adam Cook and Art Director Andy Brown, figured out a way of detaching the panels that are off-camera and moving them forward in front of the spaceship to achieve the feeling that it’s a very long tunnel with forks and turns. The precision of collaboration between the camera and set department was faultless!”
“I love the Jawa, too! They actually appear one more time in the film, at the Academy Fair by a stall selling things ‘Touched by Luke Skywalker.’ The Jawa tries to steal Luke’s lightsaber just before we see another hand [Maz Kanata] grabbing it first. We wanted to put fans’ worries to bed by solving the big mystery of how Maz Kanata took possession of Luke’s lightsaber in The Force Awakens!”
—Magdalena Osinska, Director
There is no shortage of Easter eggs that can be found in each frame. If you look closely enough, you will see Luke Skywalker’s lightsaber.
Capturing the violin sequences proved to be one of the more complicated tasks for VFX Supervisor Simon Devault and his team.
Based on the dramatic true story of composer Joseph Bologne, Chevalier de Saint-Georges (portrayed by Kelvin Harrison Jr.), Chevalier depicts the tormented life of the renowned historical figure. Born to George de Bologne, a plantation owner, and a slave on Bologne’s plantation, Chevalier faces racial prejudice and harassment from his peers at a Parisian boarding school. Chevalier follows his ultimate rise to fame in French society as a celebrated violinist, composer and fencer, to his doomed love affair with Marie-Joséphine de Comarieu de Montalembert and complicated relationship with Marie Antoinette.
Folks VFX had to transpose the environment on the scene happening at the street level when Chevalier’s mother arrives at his apartment.
“The movie was shot in Prague, but Prague is not Paris. Our mission was to make sure it looked like Paris from around 1770. As an example, there are quite a lot of red roofs in Prague, but there aren’t any in Paris. We always had to remove them as soon as we saw any in the footage. … The production designer [Karen Murphy] had a reference book. She was sending us references from the time period that they wanted us to match. We needed to create something real from paintings references.”
—Simon Devault, VFX Supervisor, Folks VFX
Simon Devault served as VFX Supervisor on the film. “A little more than 10 years ago, I worked at another VFX facility where I met Philippe Thibault, who is one of the co-founders of Folks. Philippe left to start Folks and asked me if I wanted to join them. I was one of the few first employees at Folks, and I have been there for a little more than 10 years now. I grew within the company. I was a compositor at first, then Compositing Supervisor, then VFX Supervisor, and I’m now head of the studio. The company grew a lot over the years, and we now have offices in Toronto, Bogota and Saguenay. On top of that, we are a part of a group called Pitch Black that regroups other VFX companies such as RSP, El Ranchito and Fuse.”
Chevalier’s street was completely CGI.
Recalling his initial conversations with Chevalier director, Stephen Williams, Devault explains that Williams was the producing director on the first project Folks worked on. “Since the beginning, we have had a creative collaboration with Stephen,” Devault says. “He developed a good relationship with Sébastien Bergeron, the other co-founder of Folks who is now the CEO of Pitch Black. He often contacts us before the beginning of a project to help with the artistic direction of the show, creating look books, making fake trailers to set the mood, etc. This is the perfect example of what we like to do at Folks – be part of the process as early as possible. Storytelling is our business too. We have a great long-term relationship with Stephen.”
“The rooms were built on set in a studio with greenscreen in all the windows that we had to replace with Paris from around 1770. We also had to transpose that environment on the scene happening at the street level when his mother arrives at his apartment. Again, most of the environment around her was all VFX. CGI looks so clean, but Paris from 1770 was really dirty. A lot of the work went into dirtying up our CG environment to match that period. As an example, all the walls were stained by the smoke they had in the city coming from chimneys and fire pits.”
—Simon Devault, VFX Supervisor, Folks VFX
Folks VFX worked alongside Production Designer Karen Murphy.
Devault and his team worked in close collaboration with Production Designer Karen Murphy (The Great Gatsby, Elvis, A Star is Born) to make sure they were as historically accurate as possible with their depiction of Paris. “The movie was shot in Prague, but Prague is not Paris. Our mission was to make sure it looked like Paris from around 1770,” Devault says. “As an example, there are quite a lot of red roofs in Prague, but there aren’t any in Paris. We always had to remove them as soon as we saw any in the footage.” Creative references for Chevalier proved difficult to find for Devault and his team as they could only rely on paintings from the time period. “The production designer had a reference book. She was sending us references from the time period that they wanted us to match. We needed to create something real from paintings references.”
Everything seen from Chevalier’s apartment in the windows were CGI environments. “The rooms were built on set in a studio with greenscreen in all the windows that we had to replace with Paris from around 1770. We also had to transpose that environment on the scene happening at the street level, when his mother arrives at his apartment. Again, most of the environment around her was all VFX. CGI looks so clean, but Paris from 1770 was really dirty. A lot of the work went into dirtying up our CG environment to match that period. As an example, all the walls were stained by the smoke they had in the city coming from chimneys and fire pits,” Devault says.
A lot of the work went into dirtying up the CG environment to match Paris in the 1770s.
The film consists of numerous long shots which proved challenging to render for Devault and his team at Folks. “The timelapse scene of the Parisian street view from Chevalier’s window was particularly challenging,” Devault explains. ”We are at night in his apartment, we go to the window, we see the timelapse outside going from night to day and then go back into his apartment. The whole street was CGI. We really needed to recreate everything from scratch. All the people on the street were filmed and then added in later. That was a lot of work. There were also a lot of invisible transitions throughout the film, and we had to make them fluid and seamless. It was a lot of frame handling.”
The film consisted of around 250 visual effects shots in total.
Creating full CGI Paris was a major challenge for Devault; however, capturing the violin sequences proved to be one of the more complicated tasks. “The performance of the actor’s fingers when he was playing the violin was something as well. I am pretty sure nobody noticed that on the screen!” Devault says. “That was a good sign that it worked out well. Chevalier was the Jimi Hendrix of his time. We had to make Kelvin Harrison Jr. look like he is playing the violin like it and playing the right notes. Kelvin was able to play some basic violin, but we asked production to shoot an experienced violinist from different angles playing the same song. We then transposed the right fingering into Kelvin’s hands. So, the hand you see in the film is not his real hand in all of the shots. The compositor had to digitally remove his hand and then replace it with the new CGI one. That was the sort of invisible effect work that we had to do for the film.”
The rooms were built on set in a studio with greenscreen in all the windows.
“The timelapse scene of the Parisian street view from Chevalier’s window was particularly challenging, We are at night in his apartment, we go to the window, we see the timelapse outside going from night to day and then go back into his apartment. The whole street was CGI. We really needed to recreate everything from scratch. All the people on the street were filmed and then added in later. That was a lot of work. There were also a lot of invisible transitions throughout the film, and we had to make them fluid and seamless. It was a lot of frame handling.”
—Simon Devault, VFX Supervisor, Folks VFX
The team were used to doing crowd duplication as a result of the COVID-19 pandemic.
Discussing the revolution scenes, Devault notes that the team were used to doing crowd duplication due to the COVID-19 pandemic and the limitations it presented. “We all knew the drill,” he says. “For the revolution sequences, we had to add people into the background with the proper lighting and fire and everything. We rented some costumes and built some torches and filmed some actors in front of a greenscreen, and then we placed them in the scene. We shot a real group of people that we had to place afterwards, and it’s easier that way. In the theater during that scene, there wasn’t anyone on the balcony, so we had to add people there too.”
Actors were placed in front of a greenscreen in a studio and then planted into the revolution scenes. Devault and his team relied on paintings from the time period for reference.
Devault and his team also worked on the fencing sequence where Chevalier impresses Marie Antoinette with his fighting skills. Despite having few visual effects, the scene was time-consuming, and Devault and his team worked round the clock to deliver. “During the fight you see blood, but on the plate there was nothing, and we had to add the wounds afterwards. All the blood on his shirt was added in.We needed to make it work for the fight. It was subtle, but it took time to get there and track it properly,” Devault says.
The red roofs of Prague needed to be adjusted for the Parisian landscapes.
“The performance of the actor’s fingers when he was playing the violin was something as well. I am pretty sure nobody noticed that on the screen! That was a good sign that it worked out well. Chevalier was the Jimi Hendrix of his time. We had to make Kelvin Harrison Jr. look like he is playing the violin like it and playing the right notes. Kelvin was able to play some basic violin, but we asked production to shoot an experienced violinist from different angles playing the same song. We then transposed the right fingering into Kelvin’s hands. So, the hand you see in the film is not his real hand in all of the shots. The compositor had to digitally remove his hand and then replace it with the new CGI one. That was the sort of invisible effect work that we had to do for the film.”
—Simon Devault, VFX Supervisor, Folks VFX
Creating full CGI Paris was one of the many challenges for Devault.
The film consisted of around 250 visual effects shots in total, with Folks serving as the main vendor on the film. “As we always do, we tried to find the most convincing and effective way to tell the story and produce the best images possible within the constraint of the project. I am very glad to have been a part of the production on that historical film. I love when a movie paints the injustice and mistakes of our society in the past, makes people think about where we are at now, then shape a better future,” Devault concludes.
Kelvin Harrison Jr. as Chevalier standing against greenscreen in the studio apartment set with greenscreen in all the windows.
VES London is the UK branch of the global Visual Effects Society, a non-profit, professional, honorary society dedicated to the promotion and education of the art.
We achieve these goals through events that showcase local talent and unite industry professionals, as well as foster communication with the wider community.
For our members and their guests, we run private screenings of new film releases throughout the year. We also organize networking and educational events to strengthen our Society.
For non-members and prospective members we have a few open events, including our networking nights and online panels.
If you are not yet a VES member, please apply here or follow us on social media to learn about upcoming events and come meet us.
Become a member to vote in the coveted VES Awards and have access to our Member Assistance Program where you will find tons of offers and discounts as well as one-on-one financial, legal and mental health advise by Lifeworks.
Here are some of the benefits VES members in London have access to:
Studio screenings of current box office releases at MPC in Wardour Street.
Regular networking events such as pub nights, summer and winter parties as well as membership drive events.
Educational events online and in-person and discussion panels.
Access to the Peer-to-peer Mentorship Program where you can be both a mentor and a mentee.
Free subscription to VFX Voice magazine, the number one publication in our industry which you will receive by post (valued at $70)
Online subscription to Variety Magazine (valued at $79)
Online subscription to Animation Magazine (valued at $85)
Free standard subscription to Netflix (valued at £132)
15% discount at fxphd.com (valued at $130)
Access to the Luminaries Interviews, Q&A VFX Professionals series, and our growing library of content.
VES Awards Nomination event where we get together to review the work submitted by studios “for your consideration” and create a short-list for all members world-wide to vote from.
A few weeks after the nomination event, you will shape the history of our industry by voting online in the VES Awards to select the final winners.
We proudly offer a Member Assistance Program through Lifeworks where you can find legal advice, financial advice and mental health support and counselling through chat or telephone 24/7.
Discounts to hundreds of stores, services and gyms through Lifeworks.
For questions or if you would like to help us increase our benefits, please volunteer by contacting our Chairman Nicolas Casanova at nicolas.casanova@ves.london
VES Members and Their Guests are Invited to a Screening of 20th Century Studios’ THE CREATOR
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, October 3, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of 20th Century Studios’ A HAUNTING IN VENICE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, September 21, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ THE NUN II
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, September 19, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Columbia Pictures’ THE EQUALIZER 3
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, September 9, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Sony Pictures’ GRAN TURISMO
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, August 29, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of MGM Studios’ LANDSCAPE WITH INVISIBLE HAND
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, August 24, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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.
Ready to take the leap, switch up your career, and join the VFX industry? Or thinking of leaving VFX? Join our Online Panel “Career Change in VFX”, the first in a new series of talks about ‘Life in VFX’.
Thursday August 17th
7:30pm (London)
Discover insights and experiences from our fantastic panellists who’ve conquered the career change journey. This panel will provide you with guidance and inspiration for your next steps.
Brought to you by VES London, our speakers are:
🔹 Alexandra Papavramidi – Founder L♡VJOY, Full time Certified Pilates Instructor
🔹Andy Middleton – Senior/LeadTexture Artist, DNEG
🔹Codie Wilson – Animation Production Supervisor – DNEG Animation
🔹Rico Dober – Professor for Technical Direction, Technische Hochschule Ostwestfalen-Lippe
🔹Marieke Franzen – CEO, Futurity GmbH
🔹Hannah Rechowicz – Freelance Texture TD
Don’t miss out. Secure your spot now! VES members use the Zoom registration link below to save your spot.
Non-members register your interest here: https://tinyurl.com/vfx-life-panel (You will be sent a link within 72 hours if spaces are still available).
VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TEENAGE MUTANT NINJA TURTLES – MUTANT MAYHEM
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, August 10, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Walt Disney Pictures’ HAUNTED MANSION
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, August 8, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ BARBIE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP Below (VES members must login in order to sign up) Tuesday, August 1, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ OPPENHEIMER
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP Below (VES members must login in order to sign up) Tuesday, July 25, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL (Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Click here to RSVP Tuesday, July 18, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
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 +1 get ready! We’re happy to announce that the VES London section will be holding our annual Summer Party on Thursday 6th July 7-11pm.
Join us for tasty burgers and drinks, and embark on a 9-hole crazy golf extravaganza. You’ll have the chance to compete for bragging rights (and maybe a trophy!).
Our party is being held courtesy of our friends from Chaos, the creators of V-Ray. Special thanks to them for hosting us. We look forward to playing some tee-riffic golf together.
All London members must LOGIN TO RSVP and will be notified if more tickets become available based on venue capacity.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ INDIANA JONES AND THE DIAL OF DESTINY
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, July 4, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ THE FLASH
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 27, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 Families are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ELEMENTAL
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 20, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Paramount Pictures’ TRANSFORMERS: RISE OF THE BEASTS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 13, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Sony Pictures’ SPIDER-MAN: ACROSS THE SPIDER-VERSE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, June 6, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Walt Disney Pictures’ THE LITTLE MERMAID
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 30, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ FAST X
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 23, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ GUARDIANS OF THE GALAXY, VOL. 3
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 9, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Sony Pictures’ BIG GEORGE FOREMAN: THE MIRACULOUS STORY OF THE ONCE AND FUTURE HEAVYWEIGHT CHAMPION OF THE WORLD
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, May 2, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Columbia Pictures’ THE POPE’S EXORCIST
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, April 20, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ RENFIELD
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, April 18, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SUPER MARIO BROS. MOVIE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, April 13, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Lionsgate’s JOHN WICK: CHAPTER 4
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, April 11, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Studios’ COCAINE BEAR
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, February 28, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, February 21, 2023 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 One (1) Guest are Invited to an Opening Weekend Dolby Vision 3D HFR Dolby Atmos Screening of Walt Disney Pictures’ and 20th Century Studios’ AVATAR: THE WAY OF WATER followed by a live interactive Q&A with the Filmmakers
Masks or face coverings are recommended, but not required. Please observe social distancing whenever possible.
Panelists will include VES Lifetime Achievement Award-winning Director-Writer-Producer-Editor James Cameron, Oscar winning Producer Jon Landau, Executive Producer, VES Award-winning Visual Effects Supervisor at Wētā FX Richard Baneham, VES Georges Méliès Award-winning Senior Visual Effects Supervisor at Wētā FX JoeLetteri, VES, Wētā Visual Effects Producer Lena Scanlan, VES Award-winning Head of FX at Wētā FX JohnathanNixon and VES Award-winning Animation Supervisor at Wētā FX Eric Reynolds, moderated by VES Chair Lisa Cooke. (All panelists’ participation based on availability.)
RSVP are closed
Saturday, December 17, 2022 at 7:00PM (Please arrive early to allow time for check-in)
Dolby Laboratories Europe Limited
4–6 Soho Square, London W1D 3PZ
(Closest tube station, Tottenham Court Road)
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, #VESAVATAR2, in your tweet.)
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 a Screening of Searchlight Pictures’ THE MENU
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, December 1, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Walt Disney Animation Studios’ STRANGE WORLD
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, November 29, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ THE FABELMANS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, November 22, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Thursday, November 17, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ BLACK ADAM
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Wednesday, November 9, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ TICKET TO PARADISE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, October 25, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ HALLOWEEN ENDS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, October 18, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP) Tuesday, September 27, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Vertical Entertainment’s MEDIEVAL
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Thursday, September 22, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ BEAST
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Thursday, August 25, 2022 at 6:30PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Sony Pictures’ BULLET TRAIN
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, August 9, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 Universal Pictures’ NOPE
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 26, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Sony Pictures’ WHERE THE CRAWDADS SING
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 19, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: LOVE AND THUNDER
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 12, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Universal Pictures’ and Illumination Entertainment’s MINIONS: THE RISE OF GRU
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, July 5, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ ELVIS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, June 28, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ LIGHTYEAR
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, June 21, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 Voice Actor Zaris-Angel Hator
Please RSVP to the following e-mail: filmawardsuk@netflixevents.com (be sure to give your full name and those of your guests) Sunday, June 19, 2022 at 11:00AM Soho Hotel
4 Richmond Mews, London W1D 3DH
(Closest tube station, Tottenham Court Road)
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 a Screening of Universal Pictures’ JURASSIC WORLD DOMINION
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Wednesday, June 15, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Walt Disney Pictures’ and Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, May 10, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Columbia Pictures’ MORBIUS.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, April 26, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, April 19, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 a Screening of Universal Pictures’ AMBULANCE.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, April 12, 2022 at 7:00PM The Basement Screening Room at MPC
127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
***VES members please register your 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 Families are Invited to an Opening Weekend Screening of Universal Pictures’ and DreamWorks Animation’s THE BAD GUYS.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, April 2, 2022 at 2:00PM
***VES members please register your name in the “Attendee 1″ field***
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 Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL (Closest tube station, Tottenham Court Road)
VES Members and Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: NO WAY HOME.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, January 18, 2022 at 7:00PM
***VES members please register your name in the “Attendee 1″ field***
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 Guests are Invited to a Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS.
MPC safety guidelines require all attendees must wear masks whilst indoors and they highly recommend that all VES members and guests test negative with a lateral flow COVID-19 test before attending.
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, January 11, 2022 at 7:00PM
***VES members please register your name in the “Attendee 1″ field***
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.
We are back are more excited than ever to be hosting our first live event in a very long time and it’s at none other than the glorious Canal Museum in central London. Make sure to RSVP to this event as it’s going to be the Christmas party to end all Christmas parties. There will be DJs, dancing, drink, canapés and most importantly… canal boats, there might even be a special Whiskey bar that pop-ups near the end of the evening.
This is a ticketed event and you must RSVP to attend!
Last entry is at 11pm
(Members must be logged in to RSVP)
VES Members and Their Guests are Invited to a Screening of United Artists’ and Universal Pictures’ NO TIME TO DIE. MPC safety guidelines require all attendees must wear masks while moving around the building and they recommend that masks be worn whilst seated in the theater.
Please RSVP below (VES members must login to RSVP and see venue information)
Tuesday, October 19, 2021 at 7:00PM
***VES members please register your name in the “Attendee 1″ field***
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.
This trans-Atlantic ‘Speed Networking’ event is hosted by the VES LA section for an opportunity to meet people in LA, UK, France and Germany. You could make 5+ new global connections in the VES in just one hour!
Saturday 24th July 2021 10am PST / 6pm GMT / 7pm CET
Guest Speaker: Andrew Schlussel from Framestore, Amy Backwell from Industrial Light & Magic, Mark Flanagan from Epic Games, and Ben Radcliffe of Unity Technologies
Masterclass starts on 15.01.2021, AT 17:30 GMT
CAVE Academy Masterclasses in collaboration with VES London are back on this week, where we’ll be kicking things off with a panel discussion on the State of the Industry and Future Skills for 2021.
2020 was a year like no other: WFH, the rise of virtual production, real-time workflows, the list goes on and on. How we approach and tackle VFX and animation is changing, and at a pace like we’ve never experienced before. With 2021, what can we expect from the industry and what skills would be most beneficial for artists to hone?
For this discussion, we have Andrew Schlussel from Framestore, Amy Backwell from Industrial Light & Magic, Mark Flanagan from Epic Games, and Ben Radcliffe of Unity Technologies joining me to discuss how we can best prepare for the needs of the VFX and animation industry in this changing and challenging landscape.
To join the session, you can follow the link below, and if you have any questions you’d like put forward to the panel, please do send them in this direction: info@caveacademy.com
What is XR? It’s shorthand for a related set of new technologies that are changing the way we interact with the world and with each other: Virtual Reality, Augmented Reality, and Mixed Reality. To understand XR, you need to understand the technologies that enable it. If you understand the available technologies, how they are used, and what their future holds, you’ll be well equipped to deal with XR as it rapidly evolves and converges. This Thursday in partnership with VES & CAVE Academy I will be giving an overview XR in unity and showing you how easy it is to get started.
Guest Speaker: Ben Radcliffe Masterclass December 10, 2020, AT 20:00
Guest Speaker: Ben Radcliffe
Masterclass starts on 12.11.2020, AT 20:00 GMT
Create real-time projects without writing a single line of code! This session covers the fundamentals of Bolt, a visual scripting solution now available in all Unity plans. Learn how to configure and leverage Bolt for your Film, Animation, and XR projects, create basic interactions, use quick-start templates, and more.
Guest Speaker: Ben Radcliffe
Masterclass starts on
14.10.2020, AT 20:00 BST
Abstract
Interested in creating realtime effects in Unity such as fire, smoke, or sci-fi holograms? You can author configurable, reusable next-generation effects, ranging from simple to complex without writing any code. VFX Graph handles millions of particles on the GPU. Here’s your chance to get hands-on with the real-time VFX topics covered in this masterclass.
Guest Speaker: Chris Musselwhite
Masterclass starts on
01.10.2020, AT 20:00 BST
Treehouse digital has created their own in-house solution to virtual production using the Unreal game engine. During this master class we are going to discuss why they went the route of virtual production, how they were able to achieve this with a minimal budget and how this changed their typical production constraints.
Chris is an award-winning, BAFTA and AMPAS qualifying Producer who secured distribution in over thirty territories for his first feature film, after it was screened at Cannes Film Festival (2007). Chris is responsible for coordinating every production, managing budgets and maintaining international relationships.
Guest Speakers: Daniel Gilligan, Jahirul Amin
Masterclass starts on
08.10.2020, AT 20:00 BST
Abstract
During this masterclass, we’ll explore what type of data is captured onset for the purposes of VFX, and how the data is then used in post-production. This will include looking at texture, look dev reference, and data wrangling tasks.
Guest Speaker: Ben Radcliffe
Masterclass starts on 17.09.2020, AT 20:00 BST
As a storyteller, you want to immerse people in a world of your own making. As an artist, you want to experiment and play, and you need the tools to execute on your vision, quickly and flexibly. In this masterclass, you’ll learn how it’s done – from previsualization to environment creation, set dressing, cinematography, lighting, and post-processing. We’ll even cover visual effects, audio, and final rendering. This masterclass is designed to empower storytellers and artists like you with all the foundational Unity skills you need to tell your own stories.
Guest Speaker: Ace Ruele
Masterclass starts on 10.09.2020, AT 20:00 BST
CAVE Academy and VES London are very happy to have motion performance expert, Ace Ruele, join us to discuss his process to bring characters to life.
During this masterclass, Ace will discuss topics such as creating the back story and the psychology of your character, the importance of understanding the anatomy and physiology of your character. He will then move on to studying reference, adding your own spin and then finally becoming and embodying the character.
Whether you are an actor, mocap performer, animator or a rigging artist, this session will dig deep to pull out your inner creature.
Technicolor PULSE is a software solution for centralised and collaborative content management, storage and delivery from anywhere in the world. It has been used on over 100 shows around the world, with over 10PB of data stored worldwide and over 3bn frames rendered in VFX and DI Pulls and returns.
Recent PULSE Credits: The Old Guard, Brave New World, Avenue 5, His Dark Materials, Midway, Greyhound
Join us on Thursday 27th August at 4:00pm (BST) for an engaging presentation, demo, panel discussion and Q&A on PULSE features and benefits for your next production.
Speakers
Jeremy Stapleton, Global Head of Software, Technicolor
Jason T. Morrow, Senior Producer, Front End Services, Technicolor
Simon Frame, VFX Producer
Cristi Stoica, VFX Editor
Agenda
An introduction to PULSE – Jason T. Morrow
PULSE Demo – Jeremy Stapleton
Panel Discussion with Simon Frame and Cristi Stoica
Face the FACS When: Thu Jul 30, 2020 08:00pm to 09:00pm BST
Guest Speaker: Melinda Ozel
Abstract
Melinda specializes in the art and science of facial expressions. Using the Facial Action Coding System (FACS) as a descriptive device, she teaches artists, engineers, and researchers how to build and break down facial movements and emotions.
She’s passionate about sharing her knowledge, mitigating false face news, and giving people the tools they need to create or track salient expressions. Her expertise applies to any level of realism and stylization as well as any type of face – from human to creature or object.
On the tech side, she’s been working on real-time face tracking since 2016 for applications such as expression tracking for avatar puppeteering and emotion detection technology.
CAVE Academy and VES London are very happy to have Hasraf ‘HaZ’ Dulull – the director of feature films The Beyond and 2036 Origin Unknown, and the Disney series – Fast Layne, join us to discuss his process to bringing to life his latest animated project, Battlesuit. HaZ will cover how he created the project with Unreal Engine and how real-time workflows are changing the landscape of filmmaking and storytelling from a Director’s point of view, and he will start the session by discussing how he made the transition from VFX to feature film & TV directing.
Working from actor scan data is now a common task in the VFX and gaming industry. In this masterclass, Jan Jinda will give you a quick but complete tour on how to go from a rough scan to a clean production-ready model.
Jan will first cover prepping the model and scan alignment by wrapping a base mesh to the scan data. He’ll then continue to make model tweaks to bring the geometry to a ready state for texturing and rigging. He’ll also cover testing the model with a series of FACS expression shapes to ensure it is fit for deformation and animation.
Creating a production-ready model from a scan may seem easy, but without a solid workflow in place, it can be tricky to get right. Join us for this ‘digi-double’ workflow fly-through where you’ll be able to see industry techniques at play, and worthy tips and tricks to help push your assets to the next level.
CAVE Academy are extremely excited to have Chun Chun Yang join us to run a masterclass on photoreal texturing. Observation, analysis and execution are pivotal to creating an asset that both captures the essence and looks the part. In this session, Chun Chun will discuss her approach to texturing and demonstrate some of the tools and techniques she employs on a regular basis to create believable assets.
For more information on Chun Chun and to see her amazing work and tutorials, make sure to check out her website.
Unity is quickly becoming one of the most valuable tools for creators who want to build short films, episodic animated series, and cut-scenes or trailers for other CG content. Whether you’re a director, animator, technical artist, cinematographer, or general Unity enthusiast looking to dig into Unity’s film workflows, this talk will provide the core fundamentals of Unity for Media & Entertainment with an overview of upcoming features, enhancements, packages, templates, and integrations.
Unity, the world’s leading real-time engine, is used to create half of the world’s games. Unity’s flexible real-time tools offer incredible possibilities for filmmakers, and creators across industries and applications in 2D, 3D, VR, and AR
Guest Speaker: Benjamin Radcliffe
Ben is a Media and Entertainment Technology Evangelist for Unity Technologies with 20 years experience in CG Feature Animation, Television Animation, and VFX working across the globe in North America, Asia, and Europe for a variety of high-end studios. Previous studios include Dreamworks Animation, Sony Pictures Imageworks, Disney Feature Animation, MPC, and Industrial Light and Magic.
Prior to joining Unity, Ben spent the past 3 years working at ILM London as a Lighting Supervisor on Transformers 5, Avengers: Infinity War, and most recently Avengers: End Game. In his role at Unity, Ben is working with technical decision makers and influencers within key VFX and Animation Studios throughout the UK and the rest of Europe to advance the art and science of visual effects and animation through the use of real-time technology.
Join us for a live discussion around remote working in the VFX and Animation industry entitled Working From Home: Past, Present and Future.
Brought to you by VES London and Cave Academy, this panel discussion will consider how the industry is continuing to operate despite the obvious setbacks during the current Covid-19 crisis, and how companies have been able to tackle remote working for small, medium and large scale projects.
VES London and CAVE Academy are very excited to have Mac Moore, CEO of Conductor Technologies join us to discuss the history of cloud in VFX and how COVID-19 is impacting the industry’s adoption. Mac will also be giving a run-down and demonstration of the Conductor toolkit, and showing how studios are leveraging this technology as we quickly migrate to a new world of remote workflows.
In conjunction with CAVE Academy, the VES is happy to announce our first in a series of master classes.
A hands-on approach to writing a basic camera shader for the Arnold renderer. In this session, Zeno Pelgrims will be showing you the fundamentals of writing a c++ Arnold plugin. He will also introduce you to lens theory, which will allow you to start writing your own camera shaders. The session will take place on Monday the 27th April, 20:00 GMT and will be hosted by Ross Baxter.
Framestore have been ever so kind as to include us with an invite to their deep learning talk on Covid-19. It is being hosted on Zoom this Thursday and is open to all VES members worldwide. Please find the link to the zoom invite below (you must be logged in to see it).
So much about Covid-19 is still unknown, even after months of astonishing global research. In this informal talk, I’ll describe how the open source deep learning community is trying to help answer the urgent need for fast, accurate, inexpensive Covid-19 population screening in mobile, urgent and primary care settings. I’ll discuss designs for a deep convolutional neural network (CNN) for Covid-19 detection, but also I hope to show that each move forward with the deep learning tools we’re making bumps headlong into broad, unanswered questions. Specifically, I’ll suggest the unexpected importance of the effort towards serological tests for those without symptoms, identifying individuals who have developed an immune response by overcoming a Covid-19 infection.
Kevin Cain Bio:
Aiming to cross-pollinate computer vision with traditional archaeological techniques, Kevin Cain heads the non-profit organization INSIGHT based in California. Kevin has also founded technology companies including Photon Factory, Smart Picture Technologies, and most recently plexus3D. Kevin has organized digital cultural heritage projects in collaboration with the American Research Center in Egypt Egyptian Antiquities Project (Cairo), the Egyptian Antiquities Dept. of the British Museum (London), the Metropolitan Museum’s Egyptian Art Dept. (New York), and the American Museum of Natural History (New York), the Louvre Museum in Paris and the Smithsonian Museums in Washington D.C. Kevin launched and directed the MFA Department of Computer Art at the Academy of Art University in San Francisco.
RED, VES and Framestore invite you to an exceptional workshop at Framestore with very special guest Dan Duran, post-production and workflow specialist at RED Digital Cinema from Hollywood, California. This resolutely technical workshop aims to deepen the knowledge of cinematographers, but also of DITs, colorists and post-production supervisors on the internal functioning of IPP2, its colorimetry and workflows using the RED Monstro sensor. Dan will also present the latest updates and insights to from RED and answer any questions offered by attendees. The event will also include a demo and hands on experience with RED’s latest cameras.
You must RSVP to attend this event, please login to do so.
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!
VES Members and Their Guests in London are Invited to an Opening Weekend 3D 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.)
In addition to the broadcast Q&A from Los Angeles, we are honored to have VES, Emmy and Academy Award-nominated Special Effects Supervisor Dominic Tuohy as well as Oscar-winning Creature Effects Supervisor Neal Scanlan on hand to introduce the screening and to answer questions after the live interactive Q&A.
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, December 21, 2019 at 7:00PM
Tis’ the season for the VES London Christmas Party!
VES London is very happy to be hosting a Christmas celebration at the wonderful upstairs bar at the Porterhouse in Covent Garden called the Dingle Whiskey bar. There will be music, drink, merriment, dancing, delicious christmas treats and lots of whiskey. Please remember to RSVP for the event and bring a guest or two along for the fun.
If you would like to sign up for this event, please log in.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DOCTOR SLEEP Please RSVP below (VES members must login to sign up.) Tuesday, November 19, 2019 at 7:00PM (DATE CHANGE)
London VES Members and Their Guests are Invited to an Opening Weekend 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 7:00PM
VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ and 20th Century Fox’s TERMINATOR: DARK FATE Please RSVP below (VES members must login to sign up.) Tuesday, November 12, 2019 at 7:00PM
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE GOLDFINCH
Please RSVP below (VES members must login to sign up.) Tuesday, October 1, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Warner Bros. Pictures’ IT CHAPTER TWO
Please RSVP below (VES members must login to sign up.) Tuesday, September 10, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
Joining Gray on the film are Academy Award®-nominated cinematographer Hoyte Van Hoytema (DUNKIRK), production designer Kevin Thompson (who previously designed Gray’s films THE YARDS and LITTLE ODESSA), editors John Axelrad, ACE(THE LOST CITY OF Z, THE IMMIGRANT) and Lee Haugen (THE LOST CITY OF Z), music supervisors Randall Poster (INSURGENT) and George Drakoulias (DETROIT) and two-time Academy Award®-winning costume designer Albert Wolsky (BUGSY, ALL THAT JAZZ).
This invitation is non-transferable, and seats will be allocated on a first come, first served basis. You will receive a reply in a timely fashion.
A sci-fi thriller set in the future, AD ASTRA stars Brad Pitt as an elite astronaut who travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet. His journey will uncover secrets that challenge the nature of human existence and our place in the cosmos.
Directed by James Gray (THE LOST CITY OF Z, THE IMMIGRANT), from a screenplay by Gray and Ethan Gross (“Fringe”), AD ASTRA also stars Academy Award® winner Tommy Lee Jones (JUST GETTING STARTED, JASON BOURNE), Academy Award® nominee Ruth Negga (LOVING); Liv Tyler (THE LORD OF THE RINGS, ARMAGEDDON) and Donald Sutherland (THE HUNGER GAMES).
The film was produced by Plan B Entertainment’s Academy Award®-winning principals Brad Pitt, Dede Gardner and Jeremy Kleiner (VICE, MOONLIGHT, 12 YEARS A SLAVE, THE BIG SHORT) along with Anthony Katagas (THE LOST CITY OF Z, 12 YEARS A SLAVE), RT Features’ Rodrigo Teixeira (CALL ME BY YOUR NAME) and New Regency Pictures’ Arnon Milchan (GONE GIRL). Mark Butan, Lourenço Sant’Anna, Sophie Mas, Yu Dong, Jeffrey Chan, Anthony Mosawi, Paul Conway, Yariv Milchan and Michael Schaefer serve as executive producers.
TWENTIETH CENTURY FOX and REGENCY ENTERPRISES Present In Association With BONA FILM GROUP A NEW REGENCY / PLAN B ENTERTAINMENT / KEEP YOUR HEAD / RT FEATURES / MadRiver PICTURES Production. A JAMES GRAY Film. BRAD PITT “AD ASTRA” TOMMY LEE JONES; RUTH NEGGA; LIV TYLER; and DONALD SUTHERLAND; Costume Designer ALBERT WOLSKY; Music by MAX RICHTER; Music Supervisors RANDALL POSTER and GEORGE DRAKOULIAS; Film Editors JOHN AXELRAD, ACE, LEE HAUGEN; Production Designer KEVIN THOMPSON; Director of Photography HOYTE VAN HOYTEMA, ASC, FSF, NSC; Executive Producers MARC BUTAN, Lourenço Sant’Anna, SOPHIE MAS; YU DONG, JEFFREY CHAN, ANTHONY MOSAWI, PAUL CONWAY; Produced By BRAD PITT, DEDE GARDNER, p.g.a., JEREMY KLEINER, p.g.a., JAMES GRAY, p.g.a., ANTHONY KATAGAS, p.g.a., RODRIGO TEIXEIRA, p.g.a., ARNON MILCHAN; Written by JAMES GRAY & ETHAN GROSS; Directed by JAMES GRAY.
VES Members and Their Guests are Invited to a Screening of Millenium Films’ ANGEL HAS FALLEN
Please RSVP below (VES members must login to sign up.) Wednesday, August 28, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Universal Pictures’ GOOD BOYS
Please RSVP below (VES members must login to sign up.) Tuesday, August 20, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) Click here for a map
This film is GB-15 for strong crude sexual content, drug and alcohol material, and language throughout – all involving tweens.
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 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below (VES members must login to sign up.) Wednesday, August 14, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Universal Pictures’ FAST & FURIOUS PRESENTS: HOBBS & SHAW
Please RSVP below (VES members must login to sign up.) Tuesday, August 13, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
We are very pleased to announce this month’s pub night is being hosted on the roof top terrace at the Carpenter’s Arms in Fitzrovia. This is all due in part to the generosity of Unity as our official pub sponsor for the rest of the 2019 season!
So come on down to enjoy some drinks and snacks all courtesy of the wonderful people at Unity and to learn more about our new sponsor or just to catch up with old colleagues and friends, hope to see you there! Everyone is welcome!
We are very pleased to announce the official screening of Criminal Audition July 30th 2019 with Q&A from the film makers. Please join us on this evening for a very special event that will include the film, Q&A and drinks reception afterwards. Criminal Audition is a truely an indepdent film with VFX and British root, it includes writer and star Luke Kaile (NVisible) and executive producer Jeff Clifford (ex Double Negative), this film truly has it’s roots in the London VFX scene.
There will be drinks and Q&A to follow with Luke Kaile (Writer and Actor), Sam Gridley (director), Richard Osborne (DOP), Jamie Wood (VFX supe) and Janis Balodis (sound).
Already the official selection of Fright Fest, it is being touted as darkly funny, claustrophobic Midnight Movie to laugh, wince and gasp at. Check out the newly released trailer for yourself, https://www.youtube.com/watch?v=EDOY6oGso6I.
We are very pleased to announce the official screening of Criminal Audition July 30th 2019 with Q&A from the film makers. Please join us on this evening for a very special event that will include the film, Q&A and drinks reception afterwards. Criminal Audition is a truely an indepdent film with VFX and British root, it includes writer and star Luke Kaile (NVisible) and executive producer Jeff Clifford (ex Double Negative), this film truly has it’s roots in the London VFX scene.
There will be drinks and Q&A to follow with Luke Kaile (Writer and Actor), Sam Gridley (director), Richard Osborne (DOP), Jamie Wood (VFX supe) and Janis Balodis (sound).
Already the official selection of Fright Fest, it is being touted as darkly funny, claustrophobic Midnight Movie to laugh, wince and gasp at. Check out the newly released trailer for yourself, https://www.youtube.com/watch?v=EDOY6oGso6I.
London VES Members and Their Guests are Invited to a 3D 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 (VES members must login to sign up.)
(Drinks reception sponsored by Unity from 5:00PM to 7:00PM) Saturday, July 27, 2019
*Drinks reception from 5:00PM to 7:00PM Screening begins at 7:00PM followed by live interactive Q&A
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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, #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.
*Drinks reception before the screening sponsored by:
London VES Members and Their Guests are Invited to a 3D 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 (VES members must login to sign up.)
(Drinks reception sponsored by Unity from 5:00PM to 7:00PM) Saturday, July 27, 2019
*Drinks reception from 5:00PM to 7:00PM Screening begins at 7:00PM followed by live interactive Q&A
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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, #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.
*Drinks reception before the screening sponsored by:
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 (VES members must login to sign up.) Tuesday, July 9, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Families are Invited to an Opening Weekend 3DScreening ofDisney•Pixar’s TOY STORY 4
Please RSVP below.
Saturday, June 22, 2019 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Focus Features’ THE DEAD DON’T DIE
Please RSVP below (VES members must login to sign up.) Tuesday, June 18, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below.
Saturday, June 15, 2019 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 London is proud to present the screening of the independent British film Criminal Audition and Q&A with writer and director Samuel Gridley, writer and actor Luke Kaile, director of photography Richard Osborne and Visual Effects Supervisor Jamie Woods (panel is subject to their availability).
Synopsis: An ex-lawyer and his team run an underworld service, providing fake criminals to take on other people’s crimes. But a new dangerous client turns their world upside down as they face lies, deceit and murder over the course of one night.
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 London is proud to present the screening of the independent British film Criminal Audition and Q&A with writer and director Samuel Gridley, writer and actor Luke Kaile, director of photography Richard Osborne and Visual Effects Supervisor Jamie Woods (panel is subject to their availability).
Synopsis: An ex-lawyer and his team run an underworld service, providing fake criminals to take on other people’s crimes. But a new dangerous client turns their world upside down as they face lies, deceit and murder over the course of one night.
VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below (VES members must login to sign up.) Tuesday, June 11, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below.
Saturday, June 8, 2019 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS
Please RSVP below (VES members must login to sign up.) Thursday, June 6, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below (VES members must login to sign up.) Wednesday, June 5, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
We will be hosting an unofficial pub night at the Nellie Dean on Wednesday the 29th of May, what does unofficial mean? We haven’t officially booked the pub, that’s all, expect the great fun as usual with a bit more random people.
We’re almost half way through 2019 and our new members have just been announced so we’ve decided to celebrate the addition of 21 new members with some drinks courtesy of the VES London board. All current and new members (until supplies run out) will be eligible for a round of drinks, so please join us this last Wednesday of the month for what is sure to be great times. And remember, everyone is welcome so if you’re new to the VFX industry or a seasoned vetereran thinking about joining the VES please feel to drop by and chat with our current board.
We will be hosting an unofficial pub night at the Nellie Dean on Wednesday the 29th of May, what does unofficial mean? We haven’t officially booked the pub, that’s all, expect the great fun as usual with a bit more random people.
We’re almost half way through 2019 and our new members have just been announced so we’ve decided to celebrate the addition of 21 new members with some drinks courtesy of the VES London board. All current and new members (until supplies run out) will be eligible for a round of drinks, so please join us this last Wednesday of the month for what is sure to be great times. And remember, everyone is welcome so if you’re new to the VFX industry or a seasoned vetereran thinking about joining the VES please feel to drop by and chat with our current board.
VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s POKEMON: DETECTIVE PIKACHU
Please RSVP below (VES members must login to sign up.) Tuesday, May 14, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME
Please RSVP below.
Tuesday, April 30, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
After last month’s hiatus we are back with our monthly pub night at our usual venue and time, the last Wednesday of the month in the upstairs function room at the Ship Fitzrovia. Come one, come all to talk some vfx, enjoy some drink and have a laugh with your peers. Hopefully see you there!
After last month’s hiatus we are back with our monthly pub night at our usual venue and time, the last Wednesday of the month in the upstairs function room at the Ship Fitzrovia. Come one, come all to talk some vfx, enjoy some drink and have a laugh with your peers. Hopefully see you there!
VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ MISSING LINK
Please RSVP below (VES members must login to sign up.) Thursday, April 18, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below (VES members must login to sign up.) Tuesday, April 16, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below (VES members must login to sign up.) Tuesday, April 2, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to an Opening Weekend 3D 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 6:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.)
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.
Join us for the second VES London Pub Night of 2019!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Ship Fitzrovia to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Ship allows outside food to be eaten at the pub so feel free to order in or bring some take away with you.
Join us for the second VES London Pub Night of 2019!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Ship Fitzrovia to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Ship allows outside food to be eaten at the pub so feel free to order in or bring some take away with you.
London VES Members and Their Guests are Invited to a 3D 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 (VES members must login to sign up.)
Saturday, February 23, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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, #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.
VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below (VES members must login to sign up.) Wednesday, February 20, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Netflix’s ROMA
Please RSVP below (VES members must login to sign up.) Tuesday, February 19, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Netflix’s ROMA
Please RSVP below (VES members must login to sign up.) Tuesday, February 19, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGO MOVIE 2: THE SECOND PART
Please RSVP below (VES members must login to sign up.) Tuesday, February 12, 2019 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
We are happy to announce that the ship is happy to host us again in 2019 and our first pub night is coming up this week. Please join us for drinks and some great VFX talk with your peers. We’ll also be picking up the bar tab for anyone indulging in dry January, that means any non-alcoholic drinks are on us. It’s also a great opportunity to be introduced into your new VES London board members, so come on down anytime after 7pm to the Ship Ftizrovia.
We are happy to announce that the ship is happy to host us again in 2019 and our first pub night is coming up this week. Please join us for drinks and some great VFX talk with your peers. We’ll also be picking up the bar tab for anyone indulging in dry January, that means any non-alcoholic drinks are on us. It’s also a great opportunity to be introduced into your new VES London board members, so come on down anytime after 7pm to the Ship Ftizrovia.
VES Members and Their Guests are Invited to a 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below (VES members must login to sign up.) Friday, December 21, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Pre-Release Screening of Universal Pictures’ MORTAL ENGINES followed by a Q&A with Visual Effects Supervisor Ken McGaugh, Animation Supervisor Dennis Yoo, Visual Effects Supervisor Luke Millar and Visual Effects Supervisor Kevin Smith moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.)
Sunday, December 2, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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, #VESMORTALENGINES, 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.
London VES Members and Their Guests are Invited to a 3D 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.)
Saturday, December 1, 2018 at 7:00PM
The May Fair Hotel Screening Room Stratton St, Mayfair, London W1J 8LT
(Closest tube station, Bond Street) 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.)
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.
London VES Members and Their Guests are Invited to a 3D 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.)
Saturday, December 1, 2018 at 7:00PM
The May Fair Hotel Screening Room Stratton St, Mayfair, London W1J 8LT
(Closest tube station, Bond Street) 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.)
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.
It’s the final pub night of the year so come one come all and enjoy a pint or refreshment, say hi to your boardmembers and enjoy some great VFX chat. All new members will enjoy their first pint free when they present their VES Membership card to a board member. We will also be relvealing the location of our Christmas party so hopefully see you all there and remember, everyone is welcome!
It’s the final pub night of the year so come one come all and enjoy a pint or refreshment, say hi to your boardmembers and enjoy some great VFX chat. All new members will enjoy their first pint free when they present their VES Membership card to a board member. We will also be relvealing the location of our Christmas party so hopefully see you all there and remember, everyone is welcome!
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DR. SEUSS’ THE GRINCH
Please RSVP below (VES members must login to sign up.) Tuesday, November 27, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Paramount Pictures’ OVERLORD
Please RSVP below (VES members must login to sign up.) Tuesday, November 20, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests 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.)
Please RSVP below (VES members must login to sign up.)
Saturday, November 17, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 San Francisco) 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.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below (VES members must login to sign up.) Tuesday, November 13, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE NUTCRACKER AND THE FOUR REALMS
Please RSVP below (VES members must login to sign up.)
Saturday, November 10, 2018 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below (VES members must login to sign up.) Tuesday, November 6, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
It’s the last pub night of the year and it’s definitely going to be a spooky one! Come one, come all to the Ship on Wednesday October 24th for what sure to be a ghoulish affair. All the regulars will be there including the Mummy, the Werewolf and of course Dracula! No need to RSVP and remember that everyone is welcome to join!
It’s the last pub night of the year and it’s definitely going to be a spooky one! Come one, come all to the Ship on Wednesday October 24th for what sure to be a ghoulish affair. All the regulars will be there including the Mummy, the Werewolf and of course Dracula! No need to RSVP and remember that everyone is welcome to join!
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN
Please RSVP below (VES members must login to sign up.) Tuesday, October 23, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER followed by a live interactive 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 (VES members must login to sign up.)
Saturday, October 20, 2018 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWAKANDA4EVER, 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 Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below (VES members must login to sign up.) Tuesday, October 16, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a 3D Screening of Columbia Pictures’ VENOM
Please RSVP below (VES members must login to sign up.) Tuesday, October 9, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 sections from Germany, London and Paris present
VES MEGABRAIN Masterclass Vol.2
September 27th – 6:30PM at
DNEG
160 Great Portland Street, London
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The VES invites you to our 2nd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show breakdowns and reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on September 27th 6:30PM at DNEG, 160 Great Portland Street, London (and be simulcast to & from RISE Visual Effects Studios in Germany, and Paris).
This event is kindly supported by
and
Topics will be:
From the VES Germany
Extend Nuke’s Interface and functionality using PySide
presented by Falk Hofmann – Head of 2D at Pixomondo
From the VES Paris Photogrammetry and PBR Surface scanning
presented by Paul Parneix – CEO at scanbox.xyz
From the VES London
A Managed Approach to AOV Manipulation
presented by Greg Keech – Lead R&D Developer at DNEG
A JIT Expression Language for Fast Manipulation of VDB Points and Volumes
presented by Nick Avramoussis – DNEG
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 first, everyone else second. 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) London, Paris, Berlin, Munich, Cologne and Stuttgart.
RSVP for your specific location on the appropriate event pages please:
Fall is in the air, membership drive has successfully completed and we’re nearing the end of the month which can only mean one thing! It’s time for the monthly installment of the Visual Effects Society London’s pub night. Please feel free to drop by anytime between 7pm and closing time, so hopefully see you there!
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below (VES members must login to sign up.) Tuesday, September 25, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below (VES members must login to sign up.) Tuesday, September 18, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
Come on down to the London VES Pub Night and Membership Drive.
This is a great chance to catch up with colleagues, old friends or come make some new ones!
If you are a VES member or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
All members and their guest or those who apply that night will get their first drink free*, so come on down!
The next membership application cutoff date is September 15th. – Apply HERE
VES Members and Their Guests are Invited to a Screening of STX Entertainment’s THE HAPPYTIME MURDERS
This film is GB-15, and is not intended for children. Click here to watch the trailer.
Please RSVP below (VES members must login to sign up.) Tuesday, August 28, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below (VES members must login to sign up.) Wednesday, August 15, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below (VES members must login to sign up.) Tuesday, July 31, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below (VES members must login to sign up.)
Tuesday, July 24, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP
Please RSVP below (VES members must login to sign up.)
Tuesday, July 17, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below (VES members must login to sign up.)
Tuesday, July 10, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Sony Pictures’ and Lionsgate UK’s SICARIO: DAY OF THE SOLDADO
Please RSVP below (VES members must login to sign up.)
Tuesday, July 3, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London 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 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 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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
London VES Members and Their Families are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below (VES members must login to sign up.)
Saturday, June 16, 2018 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
With the final days in May rapidly approaching, this can mean only one thing, VES London pub night is here! This is sure to be special evening indeed and there are many reasons to celebrate as the gracious folk from RISE VFX have kindly agreed to sponsor our night and pick up the bar tab! This means drinks will be gratis for all VES members. But do not worry if you aren’t, as signing up for the pub night e-mail list will also entitle you to some freebies. So come one, come all to what is sure to be a very boisterous and fun event. No RSVP required, just join us in the function room upstairs with all your VFX peers.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY
Please RSVP below (VES members must login to sign up.)
Tuesday, May 29, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Focus Features’ TULLY
Please RSVP below (VES members must login to sign up.)
Tuesday, May 8, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D 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 (VES members must login to sign up.)
Sunday, May 6, 2018 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.)
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.
And as we start to near the end of the Month it can only mean one thing, VES Pub Night is upon us. The Ship Fitzrovia has been gracious enough to host us again in their incredible upstairs function room (http://www.theshipfitzrovia.com/function-room.html). Each pub night keeps getting busier so we’re hoping for an even larger turnout then last month. Come enjoy a glass of wine, beer or other beverage of your choosing with your fellow VES members and industry peers. Remember, you’re also welcome to bring or order your own food to the pub as well and everyone is welcome so please feel free to drop by and say hello.
Your London VES Board
Location: The Ship Fitzrovia – 134 New Cavendish Street, Fitzrovia, London, W1W 6YB Time: 7:00pm – late Date: 25/04/18
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below (VES members must login to sign up.)
Tuesday, April 10, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE followed by a 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 (VES members must login to sign up.)
Saturday, April 7, 2018 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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, #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.
London VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below (VES members must login to sign up.)
Thursday, March 29, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
Come one, come all to another fantastical Pub night hosted in the amazing upstairs function room at the Ship Fitzrovia! We’re expecting better weather this time around so will hopefully see some more friendly faces. We has a blast last time so want to keep the good times rolling and for those of you not in the know, please be aware that The Ship allows outside food, so if you’re hungry, you’re more then welcome to bring food or order it there.
London VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME followed by a Live Interactive 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 7:00PM Walt Disney Studios Motion Pictures UK
3 Queen Caroline Street, London, W6 9PE 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 San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWRINKLE, 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.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ and Netflix’s ANNHILATION
Please RSVP below (VES members must login to sign up.)
Tuesday, March 13, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 are cordially invited to the first pub night of the year and spring membership drive for the London section.
With it being early into the new year we’ve decided to start things off with a new pub. The Ship Fitzrovia has graciously accepted to host us in their magnificent upstairs function room that even has it’s own bar!!! (http://www.theshipfitzrovia.com/function-room.html)
Please come one, come all to meet up with your members of the London VES board to have any questions or quandaries about the VES answered. Please bring along all eligible artists interested in joining the VES or anyone who just enjoys a fun night out.
We look forward to seeing you next Wednesday at our first monthly pub night event of 2018.
Location: The Ship Fitzrovia – 134 New Cavendish Street, Fitzrovia, London, W1W 6YB Time: 7:00pm – late Date: 28/02/18
London VES Members and Their Families are Invited to a Screening of Studio Canal’s and Aardman Animation’s EARLY MAN
Please RSVP below (VES members must login to sign up.)
Saturday, February 24, 2018 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below (VES members must login to sign up.)
Tuesday, February 20, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ ONLY THE BRAVE
Please RSVP below (VES members must login to sign up.)
Wednesday, January 31, 2018 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI plus a live interactive Q&A.
Panelists will include Writer/Director Rian Johnson, ILM San Francisco Visual Effects Supervisor Eddie Pasquarello, ILM Vancouver Visual Effects Supervisor Dan Seddon, Cinematographer Steve Yedlin, ASC and Editor Bob Ducsay with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to sign up.) Sunday, December 17, 2017 at 8:00PM
Dolby’s Soho Square Screening Room
4-6 Soho Square, London W1D 3PZ
(Closest tube station: Tottenham Court Road) 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, #VESLASTJEDI, 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.
London VES Members and Their Guests are Invited to a Screening of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below (VES members must login to sign up.)
Tuesday, December 5, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below (VES members must login to sign up.)
Tuesday, November 28, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guest are Invited to a Screening of Columbia Pictures ATTRACTION followed by a Q&A session with Arman Yahin (CEO Main Road Post). Plus complimentary wine and popcorn
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.
London VES Members and Their Guest are Invited to a Screening of Columbia Pictures ATTRACTION followed by a Q&A session with Arman Yahin (CEO Main Road Post). Plus complimentary wine and popcorn
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.
MPC would like to extend an invitation to London VES Members and Their Guests to attend a Family Screening of Universal Pictures and Illumination Entertainment’s Sing!
Please RSVP below (VES members must login to sign up.)
Saturday, November 18, 2017 at 11:00AM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road)
Seating is limited and will be available on a first come, first served basis (preference will be given to MPC employees). An RSVP does not guarantee seating.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s MURDER ON THE ORIENT EXPRESS
Please RSVP below (VES members must login to sign up.)
Tuesday, November 14, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below (VES members must login to sign up.)
Tuesday, November 7, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ SUBURBICON
Please RSVP below (VES members must login to sign up.)
Tuesday, October 31, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
This month, we’re back to our usual last Wednesday of the month for another London VES Pub Night!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie Dean serves gourmet award-winning pies from Pieminister! We’ll have dining tables reserved upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE SNOWMAN
Please RSVP below (VES members must login to sign up.)
Tuesday, October 24, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London 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.)
Tuesday, October 17, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMERICAN MADE
Please RSVP below (VES members must login to sign up.)
Tuesday, October 10, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s KINGSMEN: THE GOLDEN CIRCLE
Please RSVP below (VES members must login to sign up.)
Tuesday, October 3, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
This month’s Pub Night will be on a THURSDAY due to a prior booking at the Nellie Dean pub. So make note of that!!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie Dean serves gourmet award-winning pies from Pieminister! We’ll have dining tables reserved upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of Focus Features’ VICTORIA & ABDUL
Please RSVP below (VES members must login to sign up.)
Tuesday, September 26, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MOTHER!
Please RSVP below (VES members must login to sign up.)
Tuesday, September 19, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
As the last Wednesday of the month is approaching, we’re welcoming you to join us for another London VES Pub Night!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie Dean serves gourmet award-winning pies from Pieminister! We’ll have dining tables reserved upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of The Weinstein Company’s WIND RIVER
Please RSVP below (VES members must login to sign up.)
Tuesday, August 8, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Focus Features’ ATOMIC BLONDE
Please RSVP below (VES members must login to sign up.)
Tuesday, August 1, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 last Wednesday of the month approaches and it’s time once again for the VES London PubNight!
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Don’t want to drink on an empty stomach? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The VES London PubNight
Wednesday, 26 July 2017 7 pm ’til late
London 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 (VES members must login to sign up.)
Saturday, July 15, 2017 at 8:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below (VES members must login to sign up.)
Tuesday, July 11, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Families are Invited to a Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below (VES members must login to sign up.)
Saturday, July 1, 2017 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below (VES members must login to sign up.)
Tuesday, June 27, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below (VES members must login to sign up.)
Saturday, June 24, 2017 at 2:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ THE MUMMY
Please RSVP below (VES members must login to sign up.)
Tuesday, June 13, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below (VES members must login to sign up.)
Tuesday, June 6, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
We invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES
Please RSVP below (VES members must login to sign up.)
Tuesday, May 30, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below (VES members must login to sign up.)
Tuesday, May 23, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below (VES members must login to sign up.)
Tuesday, May 16, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below (VES members must login to sign up.)
Tuesday, May 9, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below (VES members must login to sign up.)
Tuesday, April 18, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below (VES members must login to sign up.)
Tuesday, April 4, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Lionsgate’s POWER RANGERS
Please RSVP below (VES members must login to sign up.)
Thursday, March 30, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KONG: SKULL ISLAND
Please RSVP below (VES members must login to sign up.)
Tuesday, March 14, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s LOGAN
Please RSVP below (VES members must login to sign up.)
Tuesday, March 7, 2017 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
In the second of Double Negative’s exclusive ‘Behind The Screens’ events, Dneg’s senior crew on Fantastic Beasts and Where to Find Them will be giving an exclusive presentation on their work on the show to invited guests from the VFX community. Presentation will be followed by Q&A and drinks reception with the team.
The event takes place at their London studios on Great Portland St tomorrow night.
THE VFX FESTIVAL is back for 2017 and is bigger, better and bolder, than ever before. Presented by Escape Studios, part of Pearson College London, The VFX Festival 2017, is run in London from 7 th – 9 th February 2017, in association with arts and cultural venue, Rich Mix. Whether you are passionate about VFX, animation, games or motion graphics, The VFX Festival 2017 truly offers something for everyone. This year, the festival aims to explore the crossover between these specialisms and the creative industries as a whole. As the gap closes between new and old technologies, the 2017 festival will focus on how all elements intersect, whilst in keeping with new and existing trends.
At the heart of the festival will be a series of discussions and demonstrations from the leading VFX, Gaming and Animation companies, as particular attention is paid to VR, AR and other media-sharing tech, and analyse how this informs the skillset required for the next generation of VFX practitioners.
Headliners include Framestore, MPC, Double Negative, ILM, and One Of Us, presenting work from such projects as Star Wars, Star Trek: Beyond, and Fantastic Beasts and Where To Find Them.
This year it will run throughout the day on Saturday 7th January (exact timings to be confirmed), at Molinare – 34 Foubert’s Place, London, W1F 7PX.
We usually run two sessions, morning and afternoon, serving a hot lunch in between. Late afternoon, when we have finished the judging, we usually raise a glass and toast our fantastic sponsors – Molinare and Sohonet. Some people then stay for a chat at the bar over a drink, discussing the work seen.
Those who have been before know that it’s a great day – an opportunity to view and judge the world’s best film, television and commercials visual effects along with your peers. It’s also a great way for you to support your local section.
Join us for a special Christmas Pub Night at the Nellie Dean!
For the last time this year, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar.
We will have a bar tab for VES Members, but everyone is welcome to join!
Don’t miss our popular Killer darts game. The winner goes home with a nice bottle of single malt whisky!
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister. We’ll have dining tables set up upstairs for those who wish to partake.
VES Members and Their Guests are Invited to an 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 at the link below (VES members must login to view the link.) Sunday, December 18, 2016 at 8:00PM
Dolby’s Soho Square Screening Room
4-6 Soho Square, London W1D 3PZ
(Closest tube station: Tottenham Court Road) 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, #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 at the link below (VES members must login to view the link.)
Saturday, December 17, 2016 at 8:00PM
Sony Pictures Entertainment Screening Room 25 Golden Square, Soho, London W1F 9LU
(Closest tube station, Piccadilly Circus) 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.
The end of November is approaching, and it’s time for another VES London Pub Night!
As always, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar.
Don’t miss our popular Killer darts game. The winner goes home with a nice bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister. We’ll have dining tables set up upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP at the link below (VES members must login to view the link.)
Tuesday, November 29, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 VR Event is an evening conference and exhibition focused on Augmented and Virtual Reality and its impact in VFX and entertainment industry.
Great networking opportunities, attendees will have access to visionary speakers and case-study led content. Hear from inspirational speakers and thought-provoking panel discussions from key players redefining the boundaries for technology.
We are proud to bring inspirational speakers from across the globe.
Speakers will include Hammerhead VR’s Yush Kalia, Virtually’s Alexander Cohen, Head of Developer Services at Sony Computer Kish Hirani, Filmmaker at VISYON Ammar Haj Ahmad, AV Reality Founder & CEO Humphrey Hardwicke, and Rewind’s Solomon Rogers.
A Limited Number of VES Members in London are Invited to a “Behind the Screens” Presentation and Drinks Reception on STAR TREK BEYOND with CG Supervisor Rick Leary
Please RSVP at the link below (VES members must login to view the link.)
Thursday, November 24, 2016 at 7:00PM
(Doors open at 6:30PM, Presentation at 7:00PM, Drinks reception at 8:30PM)
DNeg London 160 Great Portland Street, London W1W 5QA
(Closest tube station, Great Portland Street) Click here for a map
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.
London VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE
Please RSVP at the link below
Tuesday, November 22, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please call +44 20 7292 8350 to RSVP(be sure to specify the date, time and location of the screening you’d like to attend) Friday, November 18, 2016 at 7:00PM
Charlotte Street Hotel 15-17 Charlotte St, Fitzrovia, London W1T 1RJ (Closest tube station, Goodge Street) 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. Click here for more studio screenings.
London VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ INFERNO
Please RSVP at the link below
Tuesday, November 1, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 Guests in Ireland are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN followed by a Q&A with Visual Effects Supervisor Frazer Churchill
Please RSVP at the link below
Saturday, October 22, 2016 at 6:00PM (There will be an introduction with food and drinks beginning at 5:15PM.)
Cineworld Dublin The Parnell Centre, Parnell St, Dublin 1, Ireland 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.
London VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN followed by a Q&A with the Visual Effects Team
Panelists will include Visual Effects Supervisor Frazer Churchill, Visual Effects Producer Hal Couzens and Special Effects Supervisors Neil Corbould and Hayley Williams with moderation by VES Board member and London Section Chair Brooke Lyndon-Stanford. (All panelists’ participation based on availability.)
Please RSVP at the link below
Tuesday, October 18, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Focus Features’ and LAIKA’s KUBO AND THE TWO STRINGS
Please RSVP at the link below
Friday, October 14, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE MAGNIFICENT SEVEN
Please RSVP at the link below
Tuesday, October 4, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 end of September is approaching, and it’s time for another VES London Pub Night! We’ve had to play with the schedule a little, so this month only, we’re doing it on a Thursday!
As always, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar.
Don’t miss our popular Killer darts game. The winner goes home with a nice bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister. We’ll have dining tables set up upstairs for those who wish to partake.
VES Members and Their Guests in London 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 8:00PM
Curzon Mayfair Cinema 38 Curzon St, London W1J 7TY 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
London VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SAUSAGE PARTY
Please RSVP at the link below
Tuesday, September 6, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 London members are invited to London ACM Siggraph’s Tech Talks 2016
London ACM SIGGRAPH is organising the second annual TECHTALKS in association with Double Negative, sponsored by Autodesk.
This is a two-day conference designed as a post-SIGGRAPH 2016 Conference recap for London.
The Talks will take place at the “Princess Anne Theatre” at BAFTA 195 Piccadilly Street, while the “David-Lean Room” will be hosting recruitment and exhibitor booths.
VES London members are invited to London ACM Siggraph’s Tech Talks 2016
London ACM SIGGRAPH is organising the second annual TECHTALKS in association with Double Negative, sponsored by Autodesk.
This is a two-day conference designed as a post-SIGGRAPH 2016 Conference recap for London.
The Talks will take place at the “Princess Anne Theatre” at BAFTA 195 Piccadilly Street, while the “David-Lean Room” will be hosting recruitment and exhibitor booths.
London VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JASON BOURNE
Please RSVP below
(RSVPs close at 5:00PM on Thursday, August 11) Monday, August 15, 2016 at 6:30PM
NBC/Universal Screening Room
(Closest tube station: Tottenham Court Road)
1 Central St. Giles, St. Giles High Street, London, WC2H 8NU 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.
London VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP at the link below
Tuesday, August 9, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s ICE AGE: COLLISION COURSE
Click here to RSVP
Monday, August 8, 2016 at 7:00PM
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) 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.
London VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ STAR TREK BEYOND
Please RSVP at the link below
Monday, August 1, 2016 at 7:00PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
VES members login to RSVP below Friday, July 1, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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.
London VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
VES members login to RSVP below Friday, July 1, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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 last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP at the link below
Tuesday, June 7, 2016 at 7:15PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP at the link below
Tuesday, June 7, 2016 at 7:15PM
The Basement Screening Room at MPC 127 Wardour Street, Soho, London W1F 0NL
(Closest tube station, Tottenham Court Road) 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 last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
VES members login to RSVP below Tuesday, May 17, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK followed by a Q&A with MPC’s Visual Effects Supervisor Adam Valdez.
VES members login to RSVP below Tuesday, May 3, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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.
London VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK followed by a Q&A with MPC’s Visual Effects Supervisor Adam Valdez.
VES members login to RSVP below Tuesday, May 3, 2016 at 7:00PM
Soho Hotel’s Theater #1
4 Richmond Mews, London W1D 3EH 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 last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner goes home with a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The VES London Pub Night
Wednesday, 27 April 2016
7 pm ’til late
The Nellie Dean
in the private upstairs lounge
89 Dean Street
London W1D 3SU
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner takes home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner goes home with a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The VES London Pub Night
Wednesday, 27 April 2016
7 pm ’til late
The Nellie Dean
in the private upstairs lounge
89 Dean Street
London W1D 3SU
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. The winner takes home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. Last January, winning dartist Janis killed the competition and took home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The last Wednesday of the month approaches and it’s time once more for the VES London Pub Night!
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
Don’t miss our popular Killer darts game. Last January, winning dartist Janis killed the competition and took home a bottle of single malt whisky!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
The London Section of the Visual Effects Society is delighted to invite you to the inaugural UK Visual Effects Society Awards celebration to recognise exceptional artistry in the fields of visual effects and filmed entertainment.
Acclaimed visual effects supervisor Steve Begg will receive the Vanguard Award for Leadership and the Advancement of Visual Effects in the UK. Distinguished actor Jim Broadbent will receive the Inspiration Award for promoting awareness of visual effects through his body of work. Highlights of the 14th Annual VES Awards held in Los Angeles will also be shown.
To give the event a breath of fresh air, the incredible team at Totally Top Hat are creating a magical fantasy night inspired by films like Labyrinth & The Dark Crystal. Dress is Fantasy Formal taking inspiration from the Labyrinth ballroom scene. Food will involve a uniquely-designed menu befitting our theme for the night. International sensation Inga Liljeström will be providing musical entertainment and our creative performance team will be injecting extra doses of fun, imagination and originality as guests enter and make their way up to the event space.
As you can see this event will be like no other and sure to kick off the UK VES Awards for years to come with an unforgettable and memorable inaugural evening!
Tickets are limited so please purchase ASAP to avoid disappointment!
Please purchase tickets below. (VES members must login in order to access the link.)
How do I get to the Tate Modern? What entrance should I use once I’m there? There are very specific instructions provided by Tate to access this event. Please click here to read.
What is the dress code? This is a formal event, but if you feel inspired, our theme is Fantasy Formal taking inspiration from the Labyrinth ballroom scene.
Is my ticket refundable? Please note all ticket sales are final.
Is my ticket transferable? Please contact us using the link below. We may be able to accommodate.
The London Section of the Visual Effects Society is delighted to invite you to the inaugural UK Visual Effects Society Awards celebration to recognise exceptional artistry in the fields of visual effects and filmed entertainment.
Acclaimed visual effects supervisor Steve Begg will receive the Vanguard Award for Leadership and the Advancement of Visual Effects in the UK. Distinguished actor Jim Broadbent will receive the Inspiration Award for promoting awareness of visual effects through his body of work. Highlights of the 14th Annual VES Awards held in Los Angeles will also be shown.
To give the event a breath of fresh air, the incredible team at Totally Top Hat are creating a magical fantasy night inspired by films like Labyrinth & The Dark Crystal. Dress is Fantasy Formal taking inspiration from the Labyrinth ballroom scene. Food will involve a uniquely-designed menu befitting our theme for the night. International sensation Inga Liljeström will be providing musical entertainment and our creative performance team will be injecting extra doses of fun, imagination and originality as guests enter and make their way up to the event space.
As you can see this event will be like no other and sure to kick off the UK VES Awards for years to come with an unforgettable and memorable inaugural evening!
Tickets are limited so please purchase ASAP to avoid disappointment!
Please purchase tickets below. (VES members must login in order to access the link.)
How do I get to the Tate Modern? What entrance should I use once I’m there? There are very specific instructions provided by Tate to access this event. Please click here to read.
What is the dress code? This is a formal event, but if you feel inspired, our theme is Fantasy Formal taking inspiration from the Labyrinth ballroom scene.
Is my ticket refundable? Please note all ticket sales are final.
Is my ticket transferable? Please contact us using the link below. We may be able to accommodate.
The first ever VES Pub Night in DUBLIN is on Thursday, 10/3 at the South William!
If you’re curious about the VES, or want to mingle with VFX professionals in your area, come meet Irish VES London Board Member Ed Bruce to learn about becoming a member.
The first ever VES Pub Night in DUBLIN is on Thursday, 10/3 at the South William!
If you’re curious about the VES, or want to mingle with VFX professionals in your area, come meet Irish VES London Board Member Ed Bruce to learn about becoming a member.
The Visual Effects Society London Section invites all members and a guest to a screening of award-winning Canadian-British-Irish drama Room, directed by Lenny Abrahamson and written by Emma Donoghue, based on her novel of the same name. The film stars Brie Larson, Jacob Tremblay, Joan Allen, Sean Bridgers, and William H. Macy. Featuring visual effects by Screen Scene, Dublin.
Thursday, 10th March 2016
6:30 pm: Doors and drinks
7:00 pm: Programme starts
The Moving Picture Company
127 Wardour St
London, W1F 0NL
In addition, we’re excited to be showing two short films just before the feature to honour the careers of two actors who sadly passed away recently from cancer: David Bowie and Alan Rickman.
Both feature a compelling visual effects component.
First up is Blackstar (dir. Renck), then Dust (dirs. Ockrent & Russell). Dust will be followed by a live Q&A with the filmmakers.
London VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ZOOLANDER 2
Please RSVP below
Wednesday, March 9, 2016 at 7:00PM
Molinare Screening Room
34 Fouberts Place, London, W1F 7PX 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.
London VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ZOOLANDER 2
Please RSVP below
Wednesday, March 9, 2016 at 7:00PM
Molinare Screening Room
34 Fouberts Place, London, W1F 7PX 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.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Click here to RSVP
Monday, March 7, 2016 at 7:00PM
(Join us for drinks from 6:30PM.)
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) 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.
London VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Click here to RSVP
Monday, March 7, 2016 at 7:00PM
(Join us for drinks from 6:30PM.)
Framestore 19-23 Wells Street, London W1T 3PQ
(Closest tube station, Oxford Circus) 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.
With this year’s membership application deadline fast approaching, we would like to invite all VES members and their colleagues to a membership social.
Instead of this month’s Pub Night, we’ll be at The Visual Effects Company on Warren Street. Drinks are on us!
If you have any friends or colleagues with at least five years of experience in the VFX industry, please invite them over. We’ll show what the society is all about and how they can join.
Of course, the VES is defined by you, the members. Even if you’re not bringing anyone along, please do come by and show everyone who we are. It’ll be a great chance to catch up with fellow members, and to meet new people from all areas of the industry.
With this year’s membership application deadline fast approaching, we would like to invite all VES members and their colleagues to a membership social.
Instead of this month’s Pub Night, we’ll be at The Visual Effects Company on Warren Street. Drinks are on us!
If you have any friends or colleagues with at least five years of experience in the VFX industry, please invite them over. We’ll show what the society is all about and how they can join.
Of course, the VES is defined by you, the members. Even if you’re not bringing anyone along, please do come by and show everyone who we are. It’ll be a great chance to catch up with fellow members, and to meet new people from all areas of the industry.
VES Members and a Guest are Invited to a Special Commemorative Screening of Lucasfilm’s, the Jim Henson Company’s and TriStar Pictures’ LABYRINTH followed by a Q&A with the Filmmakers.
Panelists will include Art Director Terry Ackland-Snow, Storyboard Artist Martin Asbury, Matte Photographer Martin Body, Animator Peter Chiang, Rotoscoping Artist Peter Field, Camera Operator Tim Field and Tim Walton with moderation by VES London Board-member Gavin Graham.
Sunday, January 31, 2016 at 3:25PM
Prince Charles Cinema
7 Leicester Place, WC2H 7BY London, United Kingdom 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 a Guest are Invited to a Special Commemorative Screening of Lucasfilm’s, the Jim Henson Company’s and TriStar Pictures’ LABYRINTH followed by a Q&A with the Filmmakers.
Panelists will include Art Director Terry Ackland-Snow, Storyboard Artist Martin Asbury, Matte Photographer Martin Body, Animator Peter Chiang, Rotoscoping Artist Peter Field, Camera Operator Tim Field and Tim Walton with moderation by VES London Board-member Gavin Graham.
Sunday, January 31, 2016 at 3:25PM
Prince Charles Cinema
7 Leicester Place, WC2H 7BY London, United Kingdom 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.
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
This year, we’re excited to bring back our popular Killer darts game. A bottle of single malt whisky awaits the winner!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
Once again, we invite VES members, friends and everyone interested to a fun evening at the pub. Come join the VES London Board and other visual effects professionals for some good conversation, a beverage or two, and new contacts. We have the cozy upstairs room at the Nellie Dean to ourselves, complete with a private bar!
This year, we’re excited to bring back our popular Killer darts game. A bottle of single malt whisky awaits the winner!
As always, this is open to everyone, no need to RSVP, so bring your friends.
Feeling peckish? The Nellie serves gourmet award-winning pies from Pieminister! We’ll have dining tables set up upstairs for those who wish to partake.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
Click here to RSVP Friday, January 22, 2016, drinks at 4:30pm, film at 7:00PM
Cineworld Dublin
The Parnell Centre, Parnell St., Dublin 1, Ireland Click here for a map
A big thank you to our sponsors Autodesk and eurotek, who are generously providing pre-screening drinks and food.
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 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
Click here to RSVP Friday, January 22, 2016, drinks at 4:30pm, film at 7:00PM
Cineworld Dublin
The Parnell Centre, Parnell St., Dublin 1, Ireland Click here for a map
A big thank you to our sponsors Autodesk and eurotek, who are generously providing pre-screening drinks and food.
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.
London VES Members And Their Guests Are Invited To A 70mm IMAX Film 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 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.
London VES Members And Their Guests Are Invited To A 70mm IMAX Film 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 Cha
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.
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