The Yard VFX added morning smoke over the water to add to the atmospheric grayness of Victorian London.
Following the events of the first film, Enola Holmes 2 follows Enola on her quest to unravel the disappearance of a missing girl, assisted by her close associates and her older brother, Sherlock. Spin VFX and The Yard VFX worked together to provide the majority of the visual effects for the film, with around 550 VFX shots required overall. “Working directly with the movie VFX supervisor, we had to deliver photorealistic period images and scenery, staying true to the spirit and tone of Enola Holmes as laid out in the first installment,” says Edward Taylor, VFX Supervisor for Spin VFX on the film.
“The conversation started with Helen Judd, Mike Ellis and myself around two years ago,” remarks Laurens Ehrmann, Senior VFX Supervisor and Founder of The Yard VFX. “They asked me if The Yard would like to work on Enola Holmes 2. Of course, it was a great opportunity for us,” Ehrmann explains. “They showed me some concept art and explained the project, and we started from there. In the same period, I had some conversations with Aymeric Auté, and I proposed he join us for the show. Then we started sharing our thoughts with Mike, regarding the different environments that we had to craft, especially the outside of the matchstick factory and this big aerial shot over the Thames, where the camera is flying over the dock to reach Enola in the street.”According to Ehrmann, there weren’t a lot of images for the time period. “We tried to build a bunch of references. The main references from Mike were Jack the Ripper and murky London with lots of pollution, as well as Peaky Blinders,” he says.
The Yard VFX relied on images of Victorian London for reference when it came to constructing the concept of the dockyards. A gray sky lingers over the Big Smoke.
“There weren’t many pictures, as it was the end of the 19th century and beginning of the 20th century,” adds Auté, who served as VFX Supervisor. “We tried to go a little further in time, around 1930, as there are more pictures, but we had to take care as it was more industrial in this time period. We tried to get as many references as possible, and we created a mood board with Mike. They sent us what they wanted architecture-wise and details of windows, for example, to really fit with the time period.”
“There weren’t many pictures, as it was the end of the 19th century and beginning of the 20th century. We tried to go a little further in time, around 1930, as there are more pictures, but we had to take care as it was more industrial in this time period. We tried to get as many references as possible, and we created a mood board with Mike. They sent us what they wanted architecture-wise and details of windows, for example, to really fit with the time period.”
—Aymeric Auté, VFX Supervisor, The Yard VFX
The Spin VFX team was meticulous when it came to the final details. “The harsh smoke-filled realities of Victorian England were present but moderately gentrified in order to create an accessible vision in which the story could be presented,” Taylor says. “Period correct was always on our minds as we scoured through Lost London: 1870-1945, London’s Lost Riverscape: A Photographic Panorama, as well as Spitalfieldslife.com, nationalarchives.gov.uk and numerous other websites. The devil was in the details much of the time, as any new photography is littered with television cables, security alarms and cameras, power boxes/junctions, etc. All of these had to be digitally removed in order to sell the turn of the [18th to 19th] century time frame.”
The Yard started with their own concepts for every shot “with a big mood board with lots of pictures we had gathered, just to give them our feelings and thoughts regarding the look of the shot,” Ehrmann details. “After that we spoke about how we would craft and build the shots. For example, for the aerial drone shot, the initial on-location plate over the river with the dock, we were supposed to keep the water as it is, but to ease the connection between our CG environment and the water, we decided to recreate everything, including the water. With the CG water we were able to manage the connection with the wooden docks, to add this kind of morning smoke over the water. We were asked to connect the street with the water with a drain, but an inclined plane, where the water is flowing over the bricks. So, the idea to recreate everything was a good one, as it gave us the ability to connect everything. We added a few extras, which were shot onstage in front of greenscreen, just to add people to the background. A lot of simulation for all of the smoke coming out of the chimneys.”
The Yard VFX created 63 shots for the film.
Overall, The Yard created 63 shots for the film, notes Luhrmann, “18 outside matchstick factory and 45 shots inside the matchstick factory. They shot a room, which we duplicated in depth. Sebastien Fauchère, Comp Supervisor, created a setup to recreate this second room and to be able to craft every shot really fast. We didn’t have to go to the CG render, everything was inside Nuke. It was pretty fast to develop on every shot.”
“The harsh smoke-filled realities of Victorian England were present but moderately gentrified in order to create an accessible vision in which the story could be presented. Period correct was always on our minds as we scoured through Lost London: 1870-1945, London’s Lost Riverscape: A Photographic Panorama as well as Spitalfieldslife.com, nationalarchives.gov.uk and numerous other websites. The devil was in the details much of the time, as any new photography is littered with television cables, security alarms and cameras, power boxes/junctions, etc. All of these had to be digitally removed in order to sell the turn of the [18th to 19th] century time frame.”
—Edward Taylor, VFX Supervisor, Spin VFX
Workers outside the matchstick factory, with the fog over the Thames in the background. The Yard VFX worked hard to recreate old London, paying close attention to the architecture of the period.
The establishing shot proved to be particularly challenging for The Yard to create. “It was a really big environment,” Auté says. “Because it’s a drone shot, we can’t do this on matte painting. We have to really build it in 3D to manage all the parallax to recreate the mood of old London with this kind of move. We started from really wide, and we have to go to almost close-up inside the streets, with the water on the grounds. It was the most challenging in terms of 3D.”
“[F]or the aerial drone shot, the initial on-location plate over the river with the dock, we were supposed to keep the water as it is, but to ease the connection between our CG environment and the water, we decided to recreate everything, including the water. With the CG water we were able to manage the connection with the wooden docks, to add this kind of morning smoke over the water. We were asked to connect the street with the water with a drain, but an inclined plane, where the water is flowing over the bricks. So, the idea to recreate everything was a good one, as it gave us the ability to connect everything.
—Laurens Ehrmann, Senior VFX Supervisor, The Yard VFX
“We started from wider and then went close to the actress, meaning that every single aspect needed to be really defined. We did have time to craft it because the project’s duration was nearly six months. Six months for 63 shots is a lot of time to develop and build all of the assets and do the layouts. It was challenging but not exhausting,” adds Ehrmann.
The Yard VFX decided to recreate everything to ease the connection between the CG environment and the water. Enola leads the crowd of workers along the South Bank.
The trickiest locations to capture for Spin VFX were usually dealing with cameras that were traversing the area. As Taylor explains, “The theatre stage interior and the rooftops and their scope, blending CG with practical, were generally the most challenging. The cameras and created geometry have to be in complete sync to achieve the desired illusion, not to mention lighting and any fluid dynamic elements such as water and smoke. Trying to make seamless transitions for such large and varied vistas was truly a challenge.”
In terms of the most difficult effect to realize, Taylor notes that, “As happens from time to time, creating invisible effects can be perceived as simple, but can often be challenging. The carriage explosion was exceedingly tricky, being nestled in the branches of trees, and blending practical elements alongside CG, as well as the various panoramas of London from a hillside and out a window.”
Millie Bobby Brown as Enola Holmes.
“The theatre stage interior and the rooftops and their scope, blending CG with practical, were generally the most challenging. The cameras and created geometry have to be in complete sync to achieve the desired illusion, not to mention lighting and any fluid dynamic elements such as water and smoke. Trying to make seamless transitions for such large and varied vistas was truly a challenge.”
—Edward Taylor, VFX Supervisor, Spin VFX
“For the whole project, we had to almost set up in parallel, as a lot of shots were inside the factory and they were more 2D centric,” Auté says. “We also had a few shots where we had to build specific assets, such as cranes or the docks building. We started to build these assets in 3D, but at the same time create the layout to place the camera and see where we need to add detail and what we can render in 2D. When we had all this established, we started to refine the texture of the lighting. Or, in some cases we only did matte painting to extend a street. We tried to spread the work between the 3D and 2D team to have everything go together at the end. They have a kind of ownership of the shots, and sometimes it is good to have someone work on one piece. It’s creating a kind of energy, and people are more involved.”
45 of the visual effects shots provided by The Yard VFX were inside the matchstick factory. A room was shot, which The Yard then duplicated in depth.
Concludes Taylor, “Our VFX Producer, Brandy Drew [with Spin VFX], created an environment where daily conversations with artists kept collaboration moving forward and information flowing, no question too small, no concern to go unrecognized. Organized by level of difficulty and availability of resources, the plan was created and the workload balanced. We delivered on time and on budget.”
Along with replacing the environments, the actual jets had to digitally reskinned to represent the proper aircraft.
Getting declassified in time for the Oscars are the 2,400 visual effects shots found in Top Gun: Maverick, which were the responsibility of Ryan Tudhope and the artists at Method Studios, MPC, Lola VFX and Blind. The goal was to adhere to the imperfections that go along with shooting live-action aerial photography and to produce photorealistic CG that enhanced the storytelling and believability, rather than drew attention to itself. Before any of the scanning information was released of the F-18s to the vendors, the U.S. Navy had to give its approval.
“The L-39 is a much smaller and less capable aircraft than the Su-57, which is a fifth-generation fighter that has thrust vectoring, so it can do these maneuvers that we feature in the film where it literally goes up on its nose and turns around in midair and comes back down. Those things were not possible with anything that we had at our disposal. In those particular situations our animators under the leadership of Marc Chu [Animation Supervisor at Method Studios] pushed to get all of the flaps to do what they were supposed to do and take the shot to the next level, so it was interesting from an audience standpoint.”
—Ryan Tudhope, Visual Effects Supervisor
“That extended to the choices we were making as filmmakers in terms how the jets moved,” Tudhope explains. “The U.S. Navy was there every step of the way. The authenticity, time and effort our team put into getting all of those things perfect were driven by both [director] Joseph Kosinski’s and Tom Cruise’s desire to get all of those details right, and that was accomplished through our friends in the U.S. Navy.”
Armaments like missiles were digitally added so not to hinder the actual performances of the jets.
An area that does not get enough credit is the graphic work produced by Blind. “They were responsible for all of the heads-up displays that you see from the F-18 or Tomcat point of view and a lot of the story-driven graphics that are done throughout the film in the aircraft carrier.”
“There are many sequences that feature four jets, two teams of two, that are flying into the final mission or various training missions. Typically, we shot those with one or two F-18s and added the other F-18s in those formations. It gave us the ability to get more material practically, and since we always had a real jet in there as reference it was a huge help in matching the look and lighting. … [W]e would have a real jet doing a maneuver and add a CG jet doing a similar maneuver following behind, or in the shot where they all come through the valley and the vapor trails are going off and rush under the camera. That was one jet, and we added multiple jets doing the same thing. What is fun about that is you have this perfect thing that you’re trying to match.”
—Ryan Tudhope, Visual Effects Supervisor
Some old-fashioned techniques assisted in choreographing aerial sequences for key story beats. “Through all of that we had these F-18s on sticks,” Tudhope states. “That process was more at the front end where we were trying to translate what the Naval pilots were trying to explain to us about how things would work, as we filmed those in the hallways to try to capture their notes as to what would essentially happen, and go from there. Once we had a sense of Joe’s vision for these sequences, taking in account all of this information we were getting from the pilots, then it became a process of how to execute it.” The imperfections of the aerial photography were retained. “The difficulty of capturing that material is a fingerprint that carries all the way through to the end of the work,” Tudhope adds.
The cockpit of the full-scale Darkstar came off and went onto a gimbal that was put onstage in order to get the desired plasma effect of being in the stratosphere.
A one-to-one replacement was not possible for the aircraft. “The L-39 is a much smaller and less capable aircraft than the Su-57, which is a fifth-generation fighter that has thrust vectoring, so it can do these maneuvers that we feature in the film where it literally goes up on its nose and turns around in midair and comes back down,” Tudhope remarks. “Those things were not possible with anything that we had at our disposal. In those particular situations, our animators under the leadership of Marc Chu [Animation Supervisor at Method Studios] pushed to get all of the flaps to do what they were supposed to do and take the shot to the next level, so it was interesting from an audience standpoint.”
The blue environment of the stratosphere was influenced by aerial photography taken by weather balloons and SR-71 flights.
The imperfections of the canopy glass had to be matched in the CG versions. “There might be a situation where we had an explosion in the distance that wasn’t there and the way that those bright highlights are used through the canopy glass, which has almost like scratches on it, but in a swirling motion; it was important for us to get all of that swirling,” Tudhope explains. “We also added in a ton of armaments across the film. But once you add training munitions or bombs to the wings, it lowers the performance characteristics of the jet, and you want the jets to be doing the full-on performance. We were able to add a lot of those armaments and deal with the continuity across all of the different sequences and take that off of the requirements of the Navy to find all of that stuff for us. But these wings are alive. The wings are constantly fluctuating from the air pressure, and the flaps are moving, and there is complicated lighting moving across.”
“There are also moments where we shot real F-18s doing those taxing maneuvers and takeoffs. We had all of our camera mounts inside the F-18, so in one or two sequences where Maverick is literally taking off and you see the world receding behind him, we shot those back plates on the F-18’s internal cameras without someone sitting in the seat. The cockpit component of our full-scale jet came off and went onto one of [Special Effects Coordinator] Scott Fisher and his team’s gimbals, which we were able to put onstage.”
—Ryan Tudhope, Visual Effects Supervisor
Reskinning of the jets was reliant upon the original proxy version captured during principal photography. “We had a lighting reference in the case of the Navy jets. They are matte grey which is perfect for us, so we were able to see what the lighting characteristics were,” notes Tudhope, who used a combination of tracking markers, GPS from the camera aircraft and corresponding USGS data to get the lighting correct. Another major process was constructing the digital versions of the jets. “We get up close especially to the F-18s where they have all kinds of little dents, imperfections, bolts and rivets, been painted over a couple of times – there is a lot of detail that you want to try to capture. We were able to have a real turntable of a F-18, and we put our CG turntables right next to that. We were able to make sure that they were matching.”
The VFX team made simulations from lighting and atmospheric standpoints and match-moving the real jet relative to the terrain so the digital jets were moving at the same rate of speed.
One way to alter aerial missions was by adding digital aircrafts into shots. “There are many sequences that feature four jets, two teams of two, that are flying into the final mission or various training missions,” Tudhope states. “Typically, we shot those with one or two F-18s and added the other F-18s in those formations. It gave us the ability to get more material practically, and since we always had a real jet in there as reference it was a huge help in matching the look and lighting. It was really fun and nerdy because we would have a real jet doing a maneuver and add a CG jet doing a similar maneuver following behind, or in the shot where they all come through the valley and the vapor trails are going off and rush under the camera. That was one jet, and we added multiple jets doing the same thing. What is fun about that is you have this perfect thing that you’re trying to match.”
Appearing in the opening is a fictional stealth aircraft inspired by the hypersonic strategic reconnaissance UAV (Unmanned Aerial Vehicle) Lockheed Martin SR-72. “For most of the scenes on the ground we filmed the practical Darkstar and removed the towing vehicle digitally, and added all of the heat, haze and exhaust as if it was moving under its own power,” Tudhope remarks. “There are also moments where we shot real F-18s doing those taxing maneuvers and takeoffs. We had all of our camera mounts inside the F-18, so in one or two sequences where Maverick is literally taking off and you see the world receding behind him, we shot those back plates on the F-18’s internal cameras without someone sitting in the seat. The cockpit component of our full-scale jet came off and went onto one of [Special Effects Coordinator] Scott Fisher and his team’s gimbals, which we were able to put onstage.”
One of the trickiest elements to recreate was the canopy glass with all of its imperfections.
The stratosphere had to be recreated, explains Tudhope. “We were able to find amazing reference of weather balloons and SR-71 flights where cameras had been taken to those altitudes. All of this had to be created as a digital environment.” An emerging technology is a pivotal part of the Darkstar narrative. “As you’re seeing our sequence unfold,” he continues, “the altitude that we’re conveying and the things that occur, the look of all that from a physical standpoint is based on the data that Lockheed Martin [gave us on the scramjet engine].” A certain amount of disbelief was required when it came to the camera mounts. “When you get to the training missions and the exterior camera mounts that [Cinematographer] Claudio Miranda engineered with the Navy to place real cameras on F-18s, that process of placing of real cameras on real aircraft was extended early on in the film to Darkstar, even though it was digital, and also later into the final battle – that was the DNA to what we were doing.”
Digital jets were added for safety reasons and to get the desired formation and shot composition.
Leading the way were the cameras and lenses. “Rather than design shots that we would have to modify the mounts or change lenses,” Tudhope reveals, “we determined where the mounts were going to be and what lenses would be on those particular frames and create a composition that Joe was after. We took creative liberty where we were putting that camera on the digital jet versus a real jet. We were given a large toolbox of mounts and camera platforms to try to create shots with, and the process was, ‘What is the best way to film a plate to do this shot?’ Sometimes it was a one-to-one match and other times we would modify what we filmed in order to accomplish the shot.”
“When you get to the training missions and the exterior camera mounts that [Cinematographer] Claudio Miranda engineered with the Navy to place real cameras on F-18s, that process of placing of real cameras on real aircraft was extended early on in the film to Darkstar, even though it was digital, and also later into the final battle – that was the DNA to what we were doing.”
—Ryan Tudhope, Visual Effects Supervisor
Locations had to be digitally augmented, especially for the third act battle. Comments Tudhope, “We spent a lot of time scouting up in the Cascade Mountain Range in Washington State for this snowy environment and worked out of Naval Air Station Whidbey Island. In the film, there is an enemy base situated at the bottom of a bowl. We found half of what we wanted and augmented real footage to get what we needed. We had an amazing locations team and pilots from the Naval Air Station who would go out with GoPros in jets and fly some of these runs for us and show us what it might look like.”
Actress Monica Barbaro and Tom Cruise on set with a special camera rig developed by Cinematographer Claudio Miranda and the U.S. Navy.
One of the essential collaborators was editor Eddie Hamilton and his team. “The editing and going through all of this footage to try to put these shots together was a huge component. We would come across shots that we had nothing for, and it might be just a storyboard. In those situations, I would work with our Visual Effects Editor Latham Robertson and pour through the material that we had captured and find different options for shots and background plates, get Joe to sign off on that or get him to choose what he wanted and go from there. We went through an extensive postvis process, so we worked very loose and fast. What missiles they have remaining was a big thing, especially on the Tomcat because there are two Sidewinders. That stuff was all tracked. Once the cut started to settle down and we felt that we’ve got this sequence coming together, then we would turn over the shots to Method Studios or MPC, and they would execute all of the beautiful work that they did.”
Dwayne Johnson “floating” out of the Rock of Eternity on set at Trilith Studios in Atlanta, lifted by one of the special effects department’s robotic arms.
Watching director Jaume Collet-Serra’s Black Adam, audiences are easily convinced that the Warner Bros./HBO Max saga was shot in a Middle Eastern city, nowhere near the Atlanta, Georgia set on which it was filmed. “We’re always most proud of things no one ever thinks are visual effects,” notes Oscar-winning Visual Effects Supervisor Bill Westenhofer (Life of Pi). “The goal is to work yourself out of any recognition.”
The film was lensed by DP Lawrence Sher (The Joker) with production design by Tom Meyer. Its primary visual effects producer was Wētā FX under the production supervision of Westenhofer in tandem with Wētā VFX Supervisor Sheldon Stopsack. Additional VFX work was by provided by Digital Domain, Scanline VFX, DNEG, Rodeo FX, Weta Digital, Lola Visual Effects, Tippett Studio, Clear Angle Studios, Effetti Digitali Italiani (EDI) and UPP. Special Effects Supervisors were Lindsay MacGowan and Shane Mahan for Legacy Effects.
Dwayne Johnson battling with Aldis Hodge’s Hawkman in the Sunken City exterior set at Trilith Studios. The athletic Hodge was suspended by wires, his wings – as well as the set extensions beyond the ground-level set – added later by Wētā FX.
The story takes place in fictional Shiruta, the modern-day version of Kahndaq, where 5,000 years prior, Teth-Adam (Dwayne “The Rock” Johnson), the people’s hero with great superpowers, had been imprisoned in the Rock of Eternity for apparently misusing his powers. He is released by a rebel (by utterance of the word “Shazam”) and brought back to battle the people’s modern-day oppressors, the Intergang. While he initially also battles the four members of the Justice Society of America – Doctor Fate, Hawkman, Atom Smasher and Cyclone – they end up fighting Intergang together, eliminating the threat posed by not only that group, but Sabbaq, who also arises from the darkness of old Kahndaq to attempt to claim his throne. By the end of the film, he has succeeded in eliminating the threat, and the hero is renamed Black Adam.
“[S]ince [director] Jaume [Collet-Serra] and [DP] Larry [Sher] were actively participating in creating the previs, they felt ownership. So, when we got to set, they knew that the previs was theirs and that was the path they were going to follow, as opposed to getting there and going, ‘Oh, there’s that previs – forget that, we’re gonna do our own thing.’ It’s amazing – you can look at the previs and look at the shots and they’re incredibly close.”
—Bill Westenhofer, Production Visual Effects Supervisor
Development of Black Adam began in 2019, with Westenhofer being brought on not long after Collet-Serra came on to helm the project. By that time, the director had worked with storyboard artists to flesh out his ideas. Then, they met to decide the best state-of-the-art methods to create the imagery the director had in mind. “LED walls were hot at the time, as was volume capture, and we ended up dabbling in all of them,” Westenhofer remarks. The production was intended as a full-scale virtual production, developed initially by Tom Meyer in ZBrush. “We had a motion capture stage setup and had motion capture performers, and we had real-time controls,” Westenhofer adds. “We were due to start on March 17, 2020 – and then the world closed down.”
Johnson in a completed “flying” shot. He was first captured laying flat in an Eyeline Studios volume capture stage with the rig later removed and extensive background animation added.
Over the pandemic hiatus and through Fall 2020, L.A.-based Day For Nite continued work creating previs for the scenes, importing the Maya storyboard files into Unreal Engine. “Right away, we can see things that are working and ones that are not,” Westenhofer states. What read in the script as “He comes out, they fight, he flips over a tank” was soon developed into fully-realized scenes.
At the same time, DP Sher began setting cameras and lighting, working with Day For Nite and Collet-Serra via Zoom. “It was great because since Jaume and Larry were actively participating in creating the previs, they felt ownership. So, when we got to set, they knew that the previs was theirs and that was the path they were going to follow, as opposed to getting there and going, ‘Oh, there’s that previs – forget that, we’re gonna do our own thing.’ It’s amazing – you can look at the previs and look at the shots and they’re incredibly close.”
Johnson “floats” down the stairs of an apartment set, standing on the small platform of an industrial automobile robotic rig.
Deciding which locations seen in the previs would be practical sets and which would be CGI was an important step. “You can look at the previs,” Westenhofer explains, “and you can see if Jaume wants to be looking in a specific direction most of the time, in which case we would build that part as a set. But as soon as that set has more than one story to it, construction costs start to go up. So, for things like the city, Shiruta, I told Tom just to focus on, say, the first story, store level, and we’ll take care of the rest.” The same goes for which characters would be digital and which would be captured in- camera. “I always try to favor scenes where there are people – humans not flying around and who aren’t superheroes. But we have a movie where there are five superheroes and four of them fly in some form. So, they’re going to be mostly digital,” Westenhofer declares.
Building a City
When filming finally began, Meyer constructed the ground-level set of Shiruta on the back lot at Trilith Studios in Atlanta, notably its Central Market or the “Sunken City” where a great amount of action in the film takes place. “It actually doubles for many places in the city,” Westenhofer explains. “We had a roundabout area and several cross-streets, and if you look in one direction, that would be the area around Adriana’s (Sarah Shahi) apartment, and if you look the other way, it was where the palace would be. And when they’re seemingly driving through town, they’re really going in circles, but by changing the set extension it felt like you were traveling through the city.”
Wētā’s Assets Department, which includes its Art Department as well as modelers, texturers and shading specialists, were responsible for crafting the city, rooted in Meyer’s design for the practical set. “Tom did a magnificent job of fleshing out the tone and feel of Shiruta,” Stopsack states. “So, a lot of the groundwork was done already. We engaged with Tom quite early. Then we spent a fair amount of time designing the architecture and the whole feeling of the city square.”
A floating Dwayne Johnson, suspended by an industrial automobile robotic arm, does away with two bad guys.
“[Black Adam] not only flies, he floats. In the comic books, he says he doesn’t want to share the ground with lesser beings. So, he feels like he should float. But we wanted Dwayne to be in the scene, and we didn’t want to have him always be bluescreen, having to shoot him looking at tennis balls. [Director] Jaume [Collet-Serra] wanted it to be super smooth, not having to expend any effort, just floating.”
—Bill Westenhofer, Production Special Effects Supervisor
The look established by Meyer, Stopsack notes, “as he often described to us, was like Middle East meets Hong Kong. It needed to be dry, somewhat monochromatic and reasonably high. A lot of chaotic streetlamps, wires and air conditioning units everywhere.” Much of that was introduced to Wētā early in concept art, and then it was up to them to flesh out the environment. Adds Stopsack, “We had the luxury of photography of Tom’s set on the backlot, which gave us a starting point via plate photography, which we then extended.” That task required extension to show the entire city of Shiruta, to allow creation of high wide shots, which would include the Central Market and Palace in the extended terrain. “We knew whatever we would start building around the Sunken Street ultimately would be utilized for propagating the wider city.”
The Asset Team’s approach was to essentially create modular building blocks to create different architectural levels and stories of each building. “We had to interchange them, dress them differently and stack the buildings up to a height that Tom deemed necessary,” Stopsack explains. “For each building we would ask, ‘Would you like this to be 15 stories high? 10 stories? Is this a round building? Do we see filigree here?’ So, we had a lot of engagement with him to make sure that the look and feel was what he envisioned.” They took advantage of any assets the Art Department had available, including packages of art, signage and other items, to lean into the same language Meyer’s teams had developed. “It’s an endless chase of getting the level of detail that you’re after.”
Wētā’s attention to detail translated to a construct that looks like a true city and not a visual effect. At the same time, constructing the entire city digitally – including the entirety of Meyer’s Sunken City area sets – gave Wētā valuable flexibility for creating scenes of mayhem which otherwise would have required destruction of the practical set. “The beauty of approaching it that way,” Stopsack observes, “is that we were left with an all-digital representation of the practical set pieces that were built. So, in the fight between Black Adam and Hawkman, if Black Adam is punched and smashes down the side of the building, those shots could be created fully digital. The entire environment was fleshed out, so we could inject these all-digital shots in between.”
In order to develop a true city grid seen in high wides, Wētā’s layout team utilized Open Streets map data, accessing real-world locations as the basis for Shiruta’s street layout. Comments Stopsack, “We looked at Middle Eastern cities around the globe to look at each’s city grid to study the general density of population and buildings and the buildings’ heights. A lot of data can be sourced, and we used that to lay a foundation for what Shiruta became.”
Pierce Brosnan on set wearing his “faux cap” suit with optical markers, holding his helmet. The remainder of his costume was created digitally, as seen in the final shot.
“[The look established by Tom Meyer] as he often described to us, was like Middle East meets Hong Kong. It needed to be dry, somewhat monochromatic and reasonably high. A lot of chaotic streetlamps, wires and air conditioning units everywhere. We had the luxury of photography of Tom’s set on the backlot, which gave us a starting point via plate photography, which we then extended. We knew whatever we would start building around the Sunken Street ultimately would be utilized for propagating the wider city.”
—Sheldon Stopsack, VFX Supervisor, Wētā FX
Moving Black Adam
As lead effects vendor, it fell to Wētā to develop the character animation models and movement, which were then shared with the other vendors for creation of their own scenes. “We were engaged fairly early on, when Bill asked us to start doing motion studies – even before building any of the Shiruta environments,” Stopsack explains. “These were done, in part, to inform how they would be shot on the practical set, like how they engaged in flying action or how Hawkman would land.”
Hawkman actor Aldis Hodge did quite a few stunts himself, such as his dives into the Central Market on a wire, touching down. “We had him rehearse with counterweights attached to his costume to give him a sense of what the wings would feel like, informing his performance,” Westenhofer notes. He was also given lightweight cloth cutouts of the wings to allow the set team to get an understanding of their size, how they would articulate, and allow DP Sher space to plan for in his frame and allow for the future-digital wings to have a home.
The motion studies also helped, working with Costume Design and the Art Department to nail down costume design and motion. Says Stopsack, “Some characters that were not completely digital had costumes that needed to be practically built, such as Hawkman and Black Adam – Hawkman’s wing design, for instance, looking at their mechanics, how do the wings unfold? Things like that.” Other designs, like Dr. Fate’s costume, were completely digital, requiring more creative input from Wētā.
Director Jaume Collet-Serra, left, discusses a scene on set at Trilith Studios in Atlanta.
A key part of Black Adam’s motion involves his simple floating movement within a scene. “He not only flies, he floats,” Westenhofer explains. “In the comic books, he says he doesn’t want to share the ground with lesser beings. So, he feels like he should float. But we wanted Dwayne to be in the scene, and we didn’t want to have him always be bluescreen, having to shoot him looking at tennis balls. Jaume wanted it to be super smooth, not having to expend any effort, just floating.”
Special Effects Supervisor J.D. Schwalm was tasked with offering practical methods to accomplish the float. The main mechanism was provided by an industrial automobile robot used in car manufacturing. “That was the coolest one,” continues Westenhofer, “which we had mounted on the set and could be programmed to pick him up and float him and move him around,” with Johnson standing on the rig’s platform, his legs being replaced later and the rig removed. “It allowed him to act. When he’s floating down the stairs, passing the kid, he could do back and forth banter and actually be in the scenes with other characters. That was really important.”
For simpler shots, Schwalm provided a small robotic cart about 2½ feet by 2½ feet, with a robotic hydraulic arm containing a saddle and a small foot platform, allowing Johnson to be raised or lowered up to four feet versus the industrial robot, which could lift him as high as 15 feet. “These sorts of things could also be done using wires, but Dwayne found this really comfortable, and it allowed him to interact naturally,” Westenhofer notes.
“[The Central Market on the set of Shiruta] actually doubles for many places in the city. We had a roundabout area and several cross-streets, and if you look in one direction, that would be the area around Adriana’s (Sarah Shahi) apartment, and if you look the other way, it was where the palace would be. And when they’re seemingly driving through town, they’re really going in circles, but by changing the set extension it felt like you were traveling through the city.”
—Bill Westenhofer, Production Visual Effects Supervisor
Dwayne Johnson in the Sunken City set during a fight scene. Production Designer Tom Meyer’s Central Market was replicated by Wētā FX in set extensions.
For his flying sequences, the VFX team made a volume capture system provided by Eyeline Studios, a division of Scanline VFX. The system once again allowed Johnson’s performance to be captured in a method quite a bit different from motion capture. The actor would lay flat on the rig, surrounded by an array of hi-res video cameras (versus infrared, as would be used in mocap). Eyeline then processes the data in its proprietary system and provides an extrapolated mesh and a set of textures. Explains Stopsack, “When the data comes to us, we then have the geometry of his performance, of his head, and we have the texture that maps onto it.”
“[The industrial automobile robot was] mounted on the set and could be programmed to pick [Johnson] up and float him and move him around [with Johnson standing on the rig’s platform]. It allowed him to act. When he’s floating down the stairs, passing the kid, he could do back and forth banter and actually be in the scenes with other characters. That was really important.”
—Bill Westenhofer, Production Visual Effects Supervisor
Wētā took the process a step further to retain Johnson’s natural head motion. “We took Eyeline’s mesh and tried to incorporate that into our full-blown Black Adam digital double,” Stopsack remarks. “We could then take their head motion data and combine that onto our puppet so that the head motion would track perfectly with our digital asset, with our digital head motion. But volume capture gives you limited body motion. If you have pretty intricate body motion, your head motion can quickly go off what the volume capture would allow, such as if the head goes backwards and you want an extreme that it won’t permit. So, our animators would then see those constraints and work within them to see how far we could bend the head back without going beyond what volume capture could support,” preventing the bend from appearing too rubbery, unlike a real person’s movement. Stopsack adds, “We used the technology for a small number of shots, but it was great when you needed the unmistakable like of the actor.”
In addition to Eyeline’s cameras, the actor was surrounded by LED walls playing back material created in Unreal, working early on with Scanline and Digital Domain, which provided interactive lighting on Johnson’s costume. The backgrounds, of course, were replaced later. LED walls came in handy for other sequences, such as filming the cockpit scenes in the Hawk Cruiser as it crashes into the Central Market. “The cockpit set was too big to place it on a gimbal,” Westenhofer reveals. “Instead, we had the content playing back on the LED screen, which was designed as being from the point of view of the cockpit so they could see themselves flying through space and crashing, and it gave them enough inspiration to sway and move as the craft was bucking in space.” For lighting, he says, “It worked really well inside the cockpits. We did replace some backgrounds, but the interactive light worked really well.”
Aldis Hodge as Hawkman. The character’s wings were added digitally, though Hodge was provided lightweight cloth cutouts to allow the actor and on-set teams an idea of the space that would be taken up by the finished digital product.
Using LED walls is not something to do frivolously, Westenhofer notes. “A lot of people come to this and hope to get what they call ‘final pixel,’ meaning you film it and the shot is done. There needs to be a fair bit more work done to get LEDs to the point where that’s really successful. You need a lot more time in prep to build these CG backgrounds, but then no one can change their mind afterwards. If you do that, it’s baked into the sauce.”
Towards the end of the film, we see Teth-Adam’s backstory in a flashback revealing the death of his son, Hurut, before he became the “The Rock”-sized superhero. For those scenes, a much slimmer double (Benjamin Patterson) was used onto which Johnson’s face was later applied. “We’d have Dwayne do a pass just to get the performance, and then the double would come in and repeat the same timing and performance. So it would be his body,” Westenhofer explains.
Later, after the scene was cut together, Johnson’s head and face were captured by Lola Visual Effects using their “Egg” setup, a system somewhat similar to volume capture. “Dwayne would sit down in a chair surrounded by several cameras,” Westenhofer describes. “Lola had studied our footage and setup lighting timed to replicate interactively the way the light on set interacted with the double throughout the shot, using colored LEDs. They could tell Dwayne to ‘Look this way’ or ‘Get ready to turn your head over here,’ and they would time the playback so he’d give the performance and move his head, give the dialogue matching what we captured on set from the other actor. Then, that head is projected onto a 3D model and locked into the shot itself, so you have Dwayne’s head and the skinny actor’s body.”
Before and after shots of a battle sequence in the Sunken City show the extent of Wētā FX’s detailed design work in set extensions and effects animation.
For Pierce Brosnan’s character, Dr. Fate, it was the opposite case. Brosnan’s own performance was filmed on the set and his body was replaced. “When he’s flying, it’s all CGI,” says Westenhofer. “But when he’s on the ground interacting with other characters, his costume has more life than a practical costume would have, so the costume is digital.”
Instead of using motion capture where Brosnan would have been filmed alone on a mocap stage, a “faux cap” system was used. Brosnan appeared on set in a simple gray tracking suit. Explains Stopsack, “It doesn’t have a full- blown active marker setup as a motion capture setup would have. The suit is simply peppered with optical markers, which are not engaged with any computer system but simply photographed with witness cameras. Our Match Move Department then uses some clever algorithms to triangulate their location and extract motion. We needed to see Pierce’s performance, his persona as an actor on set engaging with all of these characters. Then the superhero suit followed after.”
Here are some insights from those leading the way …
Kaitlyn Yang,
Visual Effects Supervisor and Founder of Alpha Studios
I’ve been asked which of these characteristics that describe me (disabled with spinal muscular atrophy, Chinese-American, woman) have posed the biggest challenge in moving forward, and I’d say being a woman in this business. Even to this day, when I show up to set as a VFX supervisor, the first question I’m asked is “who are you here visiting?” It’s an everyday thing that will change with time. The more women are seen and empowered in senior roles, the less these trivial questions will come up. I took a leap of faith in starting my own company, and I am committed to achieving greater equity and opportunity for everyone in VFX.
Marge Dean,
President of Women In Animation and Head of Studio at Skybound
I was a single working parent early in my career, and the issue of balancing a career and family is highly personal. I was able to figure out a way where I did not have to sacrifice one for the other – but so many parents, particularly women, feel backed into making that tough choice. Women in Animation is focused on the enormous need to provide job flexibility and more support for working parents and caregivers. The number of women who have had to walk away from their jobs because of the lack of childcare, its staggering cost and not enough options for hybrid work schedules is startling, and that has all been exacerbated by COVID. We need to do better and lift up this advocacy movement.
Sidney Kombo-Kintombo,
Animation Supervisor, Wētā FX
Growing up amidst war in the Democratic Republic of the Congo in central Africa, I made a decision to pursue art to inject life into something I drew with my own hands and give it back to the people. I created The Third Pole initiative, a CG education program, to work with youth in my home country and give them the tools and the mentorship to be powerful visual storytellers. We know how Western and Asian cultures tell their stories, but not as much how Africa would tell theirs and contribute to our collective global storytelling. It’s so important to be able to preserve our oral histories; our legends are vanishing in our own time.
Sheena Duggal,
Visual Effects Supervisor
The lack of female visual effects supervisors is definitely the result of a lack of opportunity and unconscious bias – and that is fixable. Earlier in my career I was told that the goal was to promote the male supervisors, and I watched as guys who had worked under my VFX supervision were promoted up the ranks and given opportunities on large VFX shows. It never occurred to me that my gender would hold me back, and I was always surprised when it did. I am a strong believer in diversity and inclusion, not just because I am a bi-racial woman, but because I believe that greater diversity leads to freer thinking and greater creativity.
Cinzia Angelini,
Director and Head of Story, Cinesite Studios
Creating my film Mila was a lifechanging experience, inspired by the stories my mother told me about how she felt as a child during the bombings of Trento in World War II. I fully embrace the power of animation. Hollywood might applaud socially relevant features, but it still views animation as essentially little more than “entertainment.” It has enormous potential to affect fundamental change in how we approach each other and how we deal with societal challenges. I believe that stories told through the magic of animation can move people and influence our future generations like nothing else can.
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Assisting in deciding what sets needed to be built practically or digitally was having the 10 scripts essentially written before shooting commenced.
Unlike Game of Thrones, the prequel House of the Dragon, which revolves around the decline of Targaryen rule, has to deal with the expectations of its predecessor that push the boundaries of high-end episodic visual effects to achieve filmic quality. The first season consisting of 10 episodes was able to take advantage of the new virtual production stage and Warner Bros. Leavesden Studios, with showrunners Ryan Condal and Miguel Sapochnik collaborating with Visual Effects Supervisor Angus Bickerton (The King’s Man) to achieve the necessary size and scope and many more dragons for the epic fantasy HBO series. (Sapochnik has since moved to an executive producer role.)
The goal was to create a dirtier, grungier and dustier environment than Game of Thrones, which occurs 130 years later.
Bickerton joined the project back in September 2020, and at that point the scripts for the 10 episodes were essentially written. “That’s an important thing to say because as we know all TV productions are still evolving as they’re going along. You need to have settled scripts in order to say, ‘These sequences are going to be done in the volume.’ If we wanted to shoot the interior of Storm’s End Castle in Episode 110, instead of 12 weeks in post to do that environment, we needed 12 weeks prior to shooting to build it in Unreal Engine for texturing, lighting, doing test plays in the volume, to make sure it was coming out right, and working with the DPs and art department to decide which bits we were going to put on the screens and what would be sets.”
Around 2,800 visual effects shots were created for the 10 episodes, ranging from tiny birds in the frame to dragons.
A key principle for dragons is that they keep growing.
Some of the street scenes were captured in Spanish and Portuguese locations, but the rest were shot either on the virtual production stage or in the backlot at Leavesden Studios. “We had an oval space with a 270-degree wraparound screen, and it’s about 65 to 70 feet wide by 85 feet deep,” Bickerton explains. “We hung doors to block off the rest of the oval so we could make an almost 360-degree volume. Above that, we have our ceiling, which was on panels so we could raise and lower them. Normally, you drop that ceiling just inside the wall height. Our screen was 25 feet high. When you’re inside and look up, the ceiling blends into the wall. It’s a balancing act. You have to find a position where it’s slightly the wall height, but the 40 tracking cameras arranged around the screen still need to be able to get a view of the camera in order to real-time track the camera, in order to create the interactive environment on the screen.”
“Once you’ve built this beautiful cathedral, the last thing you want is to start blowing smoke and have hot flames melt the LED panels. But we wanted candles, flame bars, driving rain and smoke. The first thing that we did was to concede some of the screens to create ventilation space for smoke. The screen was lifted above the flame bar element to get it further away from the flame.”
—Angus Bickerton, Visual Effects Supervisor
As with Game of Thrones, House of the Dragon features extensive smoke, fire and rain, which meant that special effects had to occur within the virtual production stage. “Once you’ve built this beautiful cathedral, the last thing you want is to start blowing smoke and have hot flames melt the LED panels,” Bickerton notes. “But we wanted candles, flame bars, driving rain and smoke. The first thing that we did was to concede some of the screens to create ventilation space for smoke.”Additional ventilation was placed under the screens so the air was constantly moving. “The screen was lifted above the flame bar element to get it further away from the flame,” Bickerton adds. “When it came to storm sequences, we had to figure out the orientation of our motion base so we could blow the smoke and rain atmosphere past the actors and it would go across the screen. We could have separate fans blowing it away from the screen as well as off-camera.”
Sunrise and sunsets can be shot over the course of days on a virtual production stage with the same lighting conditions being maintained.
An iconic prop that makes an appearance in House of the Dragon is the Iron Throne.
“[For the flying dragon shot in Episode 110], The Third Floor did the previs that was animated with much simpler dragon assets to make sure that we were doing the right dragon motion. The Third Floor’s simulation files were given to Pixomondo, which tweaked and revised the animation that was then given back to The Third Floor, which rebuilt it for the motion base, volume and camera, and we worked out what camera moves that we had to do with the actors to match the previs.”
—Angus Bickerton, Visual Effects Supervisor
Special Effects Supervisor Michael Dawson and his team built a new motion base that could bank, pitch and rotate. “The motion base exceeded our expectations,” Bickerton remarks. “We got fast movement, good angle changes, could throw the actors around quite considerably and get shakes in their bodies. The Wirecam was more of a challenge to move around fast because you have to ramp up to speed, fly past an actor and ramp down again. [For the flying dragon shot in Episode 110], The Third Floor did the previs that was animated with much simpler dragon assets to make sure that we were doing the right dragon motion. The Third Floor’s simulation files were given to Pixomondo, which tweaked and revised the animation that was then given back to The Third Floor, which rebuilt it for the motion base, volume and camera, and we worked out what camera moves that we had to do with the actors to match the previs.”
Concept art by Kirill Barybin showing the scale of Prince Lucerys Velaryon and Arrax, which is a 14-year-old dragon.
The 2D concept art of Arrax was translated into a 3D blockout by Kirill Barybin.
“[The dragons] ultimately can’t bear their own weight. Vhagar, which is chasing Arrax, is meant to be 103 years old whereas Arrax is 14 years old. Whenever a new member of the Targaryen family is born a dragon is put in the crib with the child so that they develop a symbiosis. But there is only so much control that you have over these dragons. In the shot where you see the big silhouette of Vhagar above Arrax was a signature image that we wanted going into the sequence to show the size of him. In terms of how the motion base moved, Arrax is flappier and smaller, so it has more aggressive motions whereas Vhagar is a huge beast and the motions are a lot more general.”
—Angus Bickerton, Visual Effects Supervisor
A narrative principal is that dragons keep on growing. “They ultimately can’t bear their own weight,” Bickerton notes. “Vhagar, which is chasing Arrax, is meant to be 103 years old whereas Arrax is 14 years old. Whenever a new member of the Targaryen family is born a dragon is put in the crib with the child so that they develop a symbiosis. But there is only so much control that you have over these dragons. In the shot where you see the big silhouette of Vhagar above Arrax was a signature image that we wanted going into the sequence to show the size of him. In terms of how the motion base moved, Arrax is flappier and smaller, so it has more aggressive motions whereas Vhagar is a huge beast and the motions are a lot more general.”
A dramatic action sequence is when Prince Lucerys Velaryon and Arrax are chased by Aemond Targaryen and Vhagar.
There were no static 2D matte paintings as the camera always had to be fluid. “The trick was to always have atmosphere-like particles in the air,” Bickerton reveals. “I remember working on our first environment and asked, ‘Should we add some birds?’ And it worked. There were birds all over the place. They were small in frame but were a key element in bringing life to the shot. Miguel wanted it to be dirtier, dustier, grungier than Game of Thrones because we are taking place 130 years before, so there was a lot of smoke, and King’s Landing has a nastier look.” Bickerton was give an eight-terabyte drive of assets from Game of Thrones by HBO that included the Red Keep and King’s Landing. Explains Bickerton, “They had been built by different facilities for each season, so we had about five or six different variations of the Red Keep and King’s Landing. Our Visual Effects Art Director, Thomas Wingrove, brought in the different models, and we came up with our own fully-realized 3D environment because we wanted to be able to come back to it and know where everything was. In Game of Thrones, they tended to add in bits when needed for each episode.”
“[Showrunner/director] Miguel [Sapochnik] wanted it to be dirtier, dustier, grungier than Game of Thrones because we are taking place 130 years before, so there was a lot of smoke, and King’s Landing has a nastier look. They had been built by different facilities for each season, so we had about five or six different variations of the Red Keep and King’s Landing. Our Visual Effects Art Director, Thomas Wingrove, brought in the different models, and we came up with our own fully-realized 3D environment because we wanted to be able to come back to it and know where everything was. In Game of Thrones, they tended to add in bits when needed for each episode.”
—Angus Bickerton, Visual Effects Supervisor
A signature shot is of shadow of Vhagar flying above Arrax.
2D and 3D techniques were combined to create the disfigured face of King Viserys I Targaryen.
Around 2,800 visual effects shots were produced for the 10 episodes. “If you’re going to have character who is 1/10th the screen size of a dragon, then it’s a digital double,” Bickerton states. “We used digital doubles for some of the fast action; otherwise it’s an element of someone on a motion base, if it’s dragon-riding. We tried to shoot an element for everything. There was quite a lot of face replacement for action and storm sequences.” All of the actors were scanned to various degrees, depending on how much of their performance is needed. Comments Bickerton, “In the tournament at the beginning of Episode 101, there are numerous face replacements. We had to do CG for half the face of King Viserys I Targaryen in Episode 108, towards the end of his final days. We did a lot of 2D warping and distortion to make his neck thinner and get his face to be gaunt. The bit I love is the sheer diversity of the work. There are so many different environments and dragon characters. That’s what I like.”
The Martian terrain traveled by Oppy was given a reddish tint while the setting inhabited by Spirit had a bluish tint.
Considering the *batteries not included vibe, it is not surprising to learn that Amblin Entertainment was involved in producing the Prime Video documentary Good Night Oppy, which chronicles NASA’s successful development and launch of Mars rovers Opportunity and Spirit in 2003, with the former defying expectations by going beyond the 90-day mission and surviving for 15 years.
To re-enact what happened to the two rovers on the Red Planet, filmmaker Ryan White turned to ILM Visual Effects Supervisors Abishek Nair and Ivan Busquets to, in essence, produce an animated film to go along with present-day interviews and archival footage. “Ryan White wanted to make a real-life version of WALL·E [a small waste-collecting robot created by Pixar] in some ways, and mentioned during the project that E.T. the Extra-Terrestrial was his favorite film growing up and wanted to bring that emotion into it,” Nair explains. “For us, it was trying to maintain that fine balance of not going too Pixar, doing justice to the engineers who worked on the rover missions and forming a connection so that the viewers feel the same thing that the engineers went through when they working with Opportunity and Spirit.”
Amongst the 34 minutes of full CG animation was the landing of the rovers on Mars.
“For us, it was trying to maintain that fine balance of not going too Pixar, doing justice to the engineers who worked on the rover missions and forming a connection so that the viewers feel the same thing that the [NASA] engineers went through when they working with Opportunity and Spirit.”
—Abishek Nair, Visual Effects Supervisor, ILM
Creating a sense of a face was important in having the rovers be able to emote. “Early on in the show, Ryan was interested in exploring a range of emotions for these rovers and was doing that in parallel in sound and visual effects,” Busquets states. “He was trying to come up with a library of plausible looks so that we were not making a caricature. Even when animating the rovers, we observed the limitations of the joints and what the range of movement is. We did cycles of, what does sad or older-looking-moving Oppy look like? It was all based on, ‘let’s use what’s in there.’ The most obvious example was using the pan cameras as eyeballs because from a physical position, they do resemble the eyeballs on a person.”
ILM created a view of Mars from outer space.
Data was provided by the NASA Jet Propulsion Laboratory. “The rovers themselves are the most accurate versions of Opportunity and Spirit,” Nair observes. “We would send turntables of the rovers to the JPL and they would point out certain things that felt a little off, like how the robotic arm would bend and including the decals/details on the rover itself. We built up the rovers with some of the stickers that were on the prototypes and those were taken off when the rovers went to Mars. We had to keep all of those things in mind. It was a good symbiotic process. The engineers at JPL were excited that we were breathing life into the rovers.” The models for Opportunity and Spirit were the same but treated differently. “We respected the story, like when they needed to compensate for how Spirit was to be driven after one of the wheels broke,” Busquets states. “All of those animation cues were respected, so we did animate Spirit differently than Oppy. Then there are differences as to the environments that they were in, and those were kept realistic and true.”
“Early on in the show, [director] Ryan [White] was interested in exploring a range of emotions for these rovers and was doing that in parallel in sound and visual effects. He was trying to come up with a library of plausible looks so that we were not making a caricature. Even when animating the rovers, we observed the limitations of the joints and what is the range of movement. We did cycles of, ‘what does sad or older-looking-moving Oppy look like?’ It was all based on, ‘let’s use what’s in there.’ The most obvious example was using the pan cameras as eyeballs because from a physical position, they do resemble the eyeballs on a person.”
—Ivan Busquets, Visual Effects Supervisor, ILM
Both environments did not share the exact same color palette. “The Spirit side of the planet had more of bluish hue to it whereas the Oppy side was redder,” reveals Nair. “Also, whenever you see the split-screen, Oppy is on screen left and Spirit is on screen right. and that was maintained throughout the documentary. There was always this visual reference as to who was where, who is doing what and even the direction that they move. Oppy would always go left to right while Spirit was right to left. We built in these little cues to psychologically know that right now you’re looking at Spirit not Oppy. As the story progressed, Spirit had a broken wheel so that helped.”
Adding to the drama was having the rovers get stuck in sandpits and trying to get out.
“The Spirit side of the planet had more of bluish hue to it whereas the Oppy side was redder. Also, whenever you see the split-screen, Oppy is on screen left and Spirit is on screen right. and that was maintained throughout the documentary. There was always this visual reference as to who was where, who is doing what and even the direction that they move. Oppy would always go left to right while Spirit was right to left. We built in these little cues to psychologically know that right now you’re looking at Spirit not Oppy. As the story progressed Spirit had a broken wheel so that helped.”
—Abishek Nair, Visual Effects Supervisor, ILM
Four major dust variants were created for Spirit and Oppy. “As the shots progressed, we started running effects simulations and dust maps on it so we could turn them up or down depending on the shots themselves,” Nair notes. There was not a lot of room for creative licence. “Normally we would go with what makes for a more cinematic shot, but with this being a documentary we kept it grounded in reality as much as possible,” Busquets states. “A place where we did make a concession was when it came to the speed. The maximum speed of the rovers was something like two inches per second. It became obvious when we started animating that we were not going anywhere. How are we going to tell a story with that?”
A critical part of making the imagery believable was incorporating photographic aberrations such as lens flares.
Since visual effects was a new area for Ryan White, ILM produced storyboards and previs that also aided editorial. “The documentary style of filmmaking is different from feature film,” Nair observes. “We had to make sure that we get some fairly detailed storyboards going for key shots at least and rough storyboards for the rest that we would be doing which would then inform us in terms of the beats, length of the shots and how it’s sitting in the edit. When it came to the particular shot of Oppy getting her wheel stuck in the stand, we had some fairly detailed storyboards, but then we went through quite a bit of postvis animation to get the idea across of the wheel spinning. We also had to work with some clever camera angles that would tell the story. We were working within a timeframe and budget and trying to make sure that visually it was telling the story that was supposed to be told there. There were pockets of sand simulation that we did early on to show the wheel spinning and kicking out of the sand. We showed that to Ryan who was excited about it, and then we brought in all of those little animation cues of Oppy struggling trying to go in reverse and get out of that sandpit.”
The pan cameras on the rovers were treated as if they were eyes, which helped to give them a personality.
Sandstorms had to be simulated. “We had photographic reference of sandstorms on Mars, so we knew exactly what it would look like,” Nair explains. “We’ve done sandstorms before on various movies, but we had to make sure that these would actually happen on Mars: the little electrical storms that happen within them that have bolts of lightning. That’s where we could bring a little bit of drama into the whole thing by having the bolts of lightning and closeups of Oppy staring up at the sandstorm and lightning flashes on her face. There were tons of auxiliary particles flying around the area around her and tons of sand bleeding off her face and solar panels. We did run that through layers of simulations and then threw the whole kitchen sink at it and started peeling back to see what we could use and omit to bring the storytelling back into the whole thing.”
“The number of unique locations, from their landing sites to the journeys, to the different craters that they visit, the amount of nuance and rocks and different type of terrain, everybody involved felt there was something special about building something not based on concept art but scientific data. However, you want to make it as photographic and exciting as possible. There was a lot of pride I saw in the team in doing that.”
—Ivan Busquets, Visual Effects Supervisor, ILM
The edit was a work in progress. “What was challenging and unique about this project was being involved from an early stage and they hadn’t finished all of their interviews,” Busquets remarks. “Ryan had some ideas for the chapters that he wanted to cover. We helped to inform the edit as much as the edit helped to inform our work. It made things a bit slower to progress, and we had to rely on rough animation and previs to feed editorial.”
Four major dust variants were created for Spirit and Oppy.
No practical plates were shot for the 34 minutes of full CG animation. “We asked to be sent to Mars to shoot some plates and were told that it would be too expensive!” laughs Busquets. “We did get a ton of data from NASA including satellite images from orbiters that have been sent to Mars. It was the equivalent of Google Earth but at a lower resolution. All of the environments that you see in the documentary are based on the real locations the rovers visited.” ILM had to fill in the gaps and could not use the actual imagery because they were not high resolution enough for 4K. A cool moment to create is when Oppy takes a selfie. “It was a fun sequence to do, and we followed the same arc of the cameras so Oppy could actually take the photographs,” Nair comments. “We did have reference of the separate images that were stitched together. We got our snapshots within that particular shot very close to what was actually taken. In the documentary we made it black and white and grainier compared to the other shots.”
Electrical storms had to be incorporated inside of the sandstorms that occur on Mars.
One of the most complex shots was depicting the solar flares hitting the spacecraft as it travels to Mars. “As an idea, it was storyboarded in a simple manner, and when we started looking at it we figured out that it wasn’t going to show the scale and the distance that these flares would travel or the danger that the rovers were in,” Nair states. “Working the timing of the camera move to the sun with the burst of flare energy… The camera takes over from there, follows the flare energy hitting the spacecraft and swivels around. That whole thing took a bit to plan out. It was a leap of faith as well because Ryan didn’t want it to look like too Transformers in a way. We had to keep things still believable but at the same time play around a little bit and have some fun with the whole thing. It’s one of our longest shots in the show as well. As for the other challenges, it was a documentary format where the edit was fluid, and we had to make sure it would conform with our timeline and the scope of work that was left to do.”
The environmental work was extensive. “The number of unique locations, from their landing sites to the journeys, to the different craters that they visit, the amount of nuance and rocks and different type of terrain, everybody involved felt there was something special about building something not based on concept art but scientific data,” Busquets remarks. “However, you want to make it as photographic and exciting as possible. There was a lot of pride I saw in the team in doing that.”
Images courtesy of Marvel Studios and Digital Domain.
Production Special Effects Supervisor Daniel Sudick and his special effects teams built a 30- to 40-foot-section of the boat deck that was 15 to 20 feet up in the air.
Third acts are never easy as this is what the audience has been waiting for, and when it comes to the Marvel Cinematic Universe there have been a plethora of epic battles making things even more difficult to come up with something that has not been seen before. In Black Panther: Wakanda Forever, the Wakandans take a ship out into the ocean and successfully lure the underwater-dwelling Talokanil into a massive confrontation while the newly crowned Black Panther does single combat with Namor in a desert environment. States Hanzhi Tang, VFX Supervisor at Digital Domain, “I knew this movie was important, and having met [director] Ryan Coogler on set, you want him to succeed as he’s the nicest person. I’ve known [Marvel Studios VFX Supervisor] Geoffrey Baumann for a long time, so we had already a good working relationship; he trusted us with trying to help him navigate whatever surprises that would come up.”
The rappelling of the Dora Milaje was influenced by a dance troupe.
A back-and-forth between Digital Domain and Wētā FX ensured that their shots were seamlessly integrated with each other.
“We started off in the Atlantic Ocean and shared some parts with Wētā FX, which had already figured out the underwater and deep ocean looks. Digital Domain kept to above the surface and a couple of shots where characters had to go in and out water. There was a back and forth between us so to synchronize with each other as to the camera and the location of the water plane. Then we would do everything from the water surface and upwards. Then one of us had to do the final composite and blend the two together. Luckily, when the camera hit that water plane it acts like a wipe.”
—Hanzhi Tang, VFX Supervisor, Digital Domain
“We started off in the Atlantic Ocean and shared some parts with Wētā FX, which had already figured out the underwater and deep ocean looks,” Tang explains. “Digital Domain kept to above the surface and a couple of shots where characters had to go in and out water.” For the some of the underwater shots, Wētā FX provided the virtual camera as a first pass. “There was a back and forth between us so to synchronize with each other as to the camera and the location of the water plane,” Hang details. “Then we would do everything from the water surface and upwards. Then one of us had to do the final composite and blend the two together. Luckily, when the camera hit that water plane it acts like a wipe.” A giant set piece was constructed for the boat. “A 30- to 40-foot section of the boat deck was built that was 15 to 20 feet up in the air,” reveals Tang. “It was built as a rig that could tilt up to 45 degrees, because there is a point in the movie where the boat gets attacked and almost rolls over. People could slide down the deck. [Production Special Effects Supervisor] Dan Sudick and his special effects team had built one big in-ground tank to film people in the water, and separately this deck. As far as the water interaction on the deck, it was all CG.”
The Talokanil were supposed to have bare feet, which were inserted digitally for safety reasons.
A major task was adding digitally the rebreather masks worn by the Talokanil.
Plates were shot for the foreground elements with various bluescreens placed in the background. “All the way back was a set extension that was blended into the foreground,” Tang remarks. “Everyone in the background is a digital double.” The rappelling of the Dora Milaje was influenced by a dance troupe. Describes Tang, “There is a vertical wall where everyone does dance moves on cables that was the inspiration for the Dora Milaje being suspended. The whole thing was shot horizontally with them dangling off of cables. It was incredible.” The skies were art directed. “There was a lot of picking and choosing of the type of day and clouds,” Tang comments. “It ended up being a combination of CG and matte-painted clouds. The style of the on-set lighting by Autumn Durald Arkapaw, the cinematographer, was soft, and she would wrap the lighting around characters and give them a lovely sheen on their skin.”
“A 30- to 40-foot section of the boat deck was built that was 15 to 20 feet up in the air. It was built as a rig that could tilt up to 45 degrees, because there is a point in the movie where the boat gets attacked and almost rolls over. People could slide down the deck. [Production Special Effects Supervisor] Dan Sudick and his team built one big in-ground tank to film people in the water, and separately this deck. As far as the water interaction on the deck, it was all CG.”
—Hanzhi Tang, VFX Supervisor, Digital Domain
Shuri transports a captured Namor to a desert environment where they have engage in single combat.
Blue-skin characters, such as the Talokanil, against bluescreen is always a fun challenge, Tang reports. “Greenscreen would have been worse with the amount of spill, given that it was meant to be a blue-sky reflection,” he states. “We ended up doing roto on everything. The set is 20 feet in the air, people are being sprayed down with water, and there are all of these cables that need to be painted out. When the Talokanil board, you have 20 stunt people climbing the boat, and there’s no perimeter fence around this thing. For safety reasons, everyone had to wear decent footwear, and these characters were meant to be barefoot. They did not do the rubber feet that Steve Rogers wears in Captain America: The First Avenger, so we ended up tracking and blending CG for feet replacements. We also had to track and replace rebreather masks because the Talokanil wear them when they’re out of the water. It fits over the mouth and the gills on the neck. Those were impractical to wear, be running around and trying to perform the stunts in.”
“All the way back [for the rappelling of the Dora Milaje sequence] was a set extension that was blended into the foreground. Everyone in the background is a digital double. There is a vertical wall where everyone does dance moves on cables that was the inspiration for the Dora Milaje being suspended. The whole thing was shot horizontally with them dangling off of cables. It was incredible.”
—Hanzhi Tang, VFX Supervisor, Digital Domain
Bluescreen made more sense than greenscreen as it provided the correct blue spill that would have been caused by the sky.
Namor (Tenoch Huerta) is captured and Shuri flies him off into the desert because he gains his power from the ocean. “They have a one-on-one fight, and there was a lot of set extensions and cleanup of the background,” Tang remarks. “We put the sky and the sun in the right place.” A flamethrower was utilized on set for the desert explosion. “But it wasn’t anywhere near the size of the actual explosion in the movie. It was used for exposure, color and scale reference of how that size flame appears through the camera,” Tang says. The flying shots of Namor were sometimes the most difficult to achieve, he adds. “In some of the shots we would have captured Tenoch Huerta on bluescreen, and he’ll do some closeup acting,” Tang observes. “We tried some wirework that looked too much like wirework and ended up doing a half-body replacement from the chest down. They captured a lot of shots with him in a tuning fork and being pulled around the set, so it was a lot of paint-out for the tuning fork and all of the gear on it. It’s suitable for waist-up shots. Tenoch just had the pair of shorts, which means there’s not much to hide, and when doing extensive paint-out on skin, you can end up with large patches that can be easily seen.”
Several sequences featuring the Giganotosaurus in Jurassic World Dominion made use of a animatronic head section on set. (Image courtesy of Universal Pictures and ILM)
For final shots, ILM would often retain the entire animatronic head of the dinosaur and add in the rest of the dinosaur body. (Image courtesy of Universal Pictures and ILM)
How do you put yourself into the shoes, or feet, of a Giganotosaurus? What about an advanced chimpanzee or a bipedal hippo god? And how do you tackle a curious baby tree-like humanoid? These are all computer-generated characters with very different personalities featured in films and shows released in 2022, and ones that needed to be brought to life in part by teams of animators. Here, animation heads leading the charge at ILM, Wētā FX, Framestore and Luma Pictures share how their particular creature was crafted and what they had to do to find the essence of that character.
When your antagonist is a Giganotosaurus
When Jurassic World Dominion Animation Supervisor Jance Rubinchik was discussing with director Colin Trevorrow how the film’s dinosaurs would be brought to the screen, he reflected on how the animals in the first Jurassic Park “weren’t villains, they were just animals. For example, the T-Rex is just curious about the jeep, and he’s flipping it over, stepping on it and biting pieces off of it. He’s not trying to kill the kids. I said to Colin, ‘Can we go back to our main dinosaur – the Giganotosaurus – just being an animal?’ Let’s explore the Giga being an animal and not just being a monster for monster’s sake. It was more naturalistic.”
With Trevorrow’s approval for this approach, Rubinchik began work on the film embedded with the previs and postvis teams at Proof Inc., while character designs also continued. This work fed both to the animatronic builds by John Nolan Studio and Industrial Light & Magic’s CG Giganotosaurus. “Early on, we did lots of walk cycles, run cycles and behavior tests. I personally did tests where the Giga wandered out from in between some trees and was shaking its head and snorting and looking around.”
Another aspect of the Giganotosaurus was that ILM would often be adding to a practical/animatronic head section with the remainder of the dinosaur in CG. For Rubinchik, it meant that the overall Giga performance was also heavily influenced by what could be achieved on set. Comments Rubinchik, “What I didn’t want to have were these practical dinosaurs that tend to be a little slower moving and restricted, simply from the fact they are massive hydraulic machines, that then intercut with fast and agile CG dinosaurs. It really screams, ‘This is what is CG and this is what’s practical.’
A full-motion CG Giganotosaurus crafted by ILM gives chase. (Image courtesy of Universal Pictures and ILM)
Animation Supervisor Jance Rubinchik had a hand in ensuring that the movement of animatronic dinosaurs made by John Nolan Studio, as shown here, were matched by their CG counterparts. (Image courtesy of Universal Pictures and ILM)
“Indeed,” Rubinchik adds, “sometimes as animators, you have all these controls and you want to use every single control that you have. You want to get as much overlap and jiggle and bounce and follow through as you can because we’re animators and that’s the fun of animating. But having something that introduced restraint for us, which was the practical on-set dinosaurs, meant we were more careful and subtler in our CG animation. There’s also a lot of fun and unexpected things that happen with the actual animatronics. It might get some shakes or twitches, and that stuff was great. We really added that stuff into Giga wherever we could.”
For Pogo shots in season 3 of The Umbrella Academy, on-set plates featured actor Ken Hall. (Image courtesy of Netflix and Wētā FX)
Voice performance for Pogo was provided by Adam Godley (right), while Wētā FX animators also contributed additional performance capture. (Image courtesy of Net-flix and Wētā FX)
The final Pogo shot. (Image courtesy of Netflix and Wētā FX)
“What I didn’t want to have were these practical dinosaurs that tend to be a little slower moving and restricted, simply from the fact they are massive hydraulic machines, that then intercut with fast and agile CG dinosaurs. It really screams, ‘This is what is CG and this is what’s practical.’ … But having something that introduced some restraint for us, which was the practical on-set dinosaurs, meant we were more careful and subtler in our CG animation. There’s also a lot of fun and unexpected things that happen with the actual animatronics. It might get some shakes or twitches, and that stuff was great. We really added that stuff into Giga wherever we could.”
—Jance Rubinchik, Animation Director, MPC
This extended even to the point of replicating the animatronic joint placements from the John Nolan Studio creatures into ILM’s CG versions. “All of the pivots for the neck, the head, the torso and the jaw were in the exact same place as they were in the CG puppet,” Rubinchik outlines. “It meant they would pivot from the same place. I was so happy with how that sequence turned out with all the unexpected little ticks and movements that informed what we did.”
Pogo reimagined
The advanced chimpanzee Pogo is a CG character viewers greeted in Seasons 1 and 2 of Netflix’s The Umbrella Academy as an assistant to Sir Reginald Hargreeves, and as a baby chimp. The most recent Season 3 of the show sees Pogo appear in an alternative timeline as a ‘cooler’ version of the character who even becomes a biker and tattoo artist. Wētā FX created each incarnation of Pogo, which drew upon the voice of Adam Godley, the on-set performance of Ken Hall and other stunt performers and stand-ins to make the final creature.
Having ‘lived’ with Pogo in his older, more frail form in the past seasons, Wētā FX Animation Supervisor Aidan Martin and his team now had the chance to work on a character who was capable of a lot more physically, including Kung Fu. “All of a sudden, Pogo’s been in the gym. He’s juiced up. He’s doubled his shoulder muscle mass and his arms are a lot bigger, so the way that he carries himself is completely different. His attitude has changed, too. He’s more gnarled and he’s a lot more jaded about the world,” Martin says.
From an animation point of view, Wētā FX animators took that new physicality into the performance and reflected it in postures and movements. “It was even things like the way he looks at somebody now,” Martin explains. “Early on in Season 1, when he looks at people, he’s very sincere. He was like a loving grandfather. Now, he’s a bit fed up with it all and he’s not looking at you with good intentions. He thinks you’re an idiot and he doesn’t have time for it. That’s where he’s coming from behind the mask.”
Pogo is a grittier character in this latest season, even working as a tattoo artist. (Im-age courtesy of Netflix and Wētā FX)
“All of a sudden, Pogo’s been in the gym. He’s juiced up. He’s doubled his shoulder muscle mass and his arms are a lot bigger, so the way that he carries himself is completely different. His attitude has changed, too. He’s more gnarled and he’s a lot more jaded about the world.”
—Aidan Martin, Animation Supervisor, Wētā FX
One of the VFX studio’s toughest tasks on this new Pogo remained the character’s eyes. “Eyeline is everything, especially with chimps,” says Martin, who also had experience on the Planet of the Apes films at Wētā FX. “When you’re trying to do a more anthropomorphized performance, chimps with their eyelines and brows do not work very well compared to humans because their eyes are just so far back and their brows sit out so far. For example, as soon as you have the head tilt down and then try to make them look up, you can lose their eyes completely. Balancing the eyeline and the head angle is really difficult, especially on chimps.”
“Even once you’ve got that working, getting the mouth shapes to read properly is also tricky,” Martin continues. “There are some really tricky shapes, like a ‘V’ and an ‘F,’ that are incredibly hard on a chimp versus a human. Their mouths are almost twice as wide as our mouths. Humans look really good when they’re talking softly, but getting a chimp to do that, it looks like they’re either just mumbling or they get the coconut mouth, like two halves clacking together, and everything’s just too big. We used traditional animation techniques here, basically a sheet of phoneme expressions for Pogo’s mouth.”
Going hyper (or hippo) realistic
Finding the performance for a CG-animated character often happens very early on in a production, even before any live action is shot. In the case of the Marvel Studios series Moon Knight’s slightly awkward hippo god Taweret, it began when Framestore was tasked with translating the casting audition of voice and on-set performer Antonia Salib into a piece of test animation.
Actor Antonia Salib performs the role of hippo god Taweret on a bluescreen set. (Image courtesy of Marvel and Framestore)
Final shot of Taweret by Framestore. (Image courtesy of Netflix and Wētā FX)
“The Production Visual Effects Supervisor, Sean Andrew Faden, asked us to put something together as if it was Taweret auditioning for the role,” relates Framestore Animation Supervisor Chris Hurtt. “We made this classic blooper-like demo where we cut it up and had the beeps and even a set with a boom mic. We would match to Antonia’s performance with keyframe animation just to find the right tone. We would later have to go from her height to an eight- or nine-foot-tall hippo, which changed things, but it was a great start.”
Salib wore an extender stick during the shoot (here with Oscar Isaac) to reach the appropriate height of Taweret. (Image courtesy of Marvel and Framestore)
Framestore had to solve both a hippo look in bipedal form and the realistic motion of hair and costume for the final character. (Image courtesy of Marvel and Frame-store)
“We looked at a lot of reference of real hippos and asked ourselves, ‘What can we take from the face so that this doesn’t just feel like it’s only moving like a human face that’s in a hippo shape?’ We found there were these large fat sacks in the corners that we could move, and it made everything feel a little more hippo-y and not so human-y. Probably the biggest challenge on her was getting Taweret to go from a human to a hippo.”
—Chris Hurtt, Animation Supervisor, Framestore
During filming of the actual episode scenes, Salib would perform Taweret in costume with the other actors and with an extender stick and ball markers to represent the real height of the character. As Hurtt describes, Framestore took that as reference and looked to find the right kind of ‘hippoisms’ on Salib. “We looked at a lot of reference of real hippos and asked ourselves, ‘What can we take from the face so that this doesn’t just feel like it’s only moving like a human face that’s in a hippo shape?’ We found there were these large fat sacks in the corners that we could move, and it made everything feel a little more hippo-y and not so human-y.”
“Probably the biggest challenge on her was getting Taweret to go from a human to a hippo,” adds Hurtt, who also praises the Framestore modeling, rigging and texturing teams in building the character. “The main thing for animation was that we had to observe what the muscles and the FACS shapes were doing on Antonia, and then map those to the character. Still, you’re trying to hit key expressions without it looking too cartoony.”
To help realize the motion of Taweret’s face shapes in the most believable manner possible, Framestore’s animators relied on an in-house machine learning tool. “The tool does a dynamic simulation like you would with, say, hair, but instead it would drive those face shapes,” Hurtt notes. “It’s not actually super-noticeable, but it’s one of those things if you didn’t have there, particularly with such a huge character, she would’ve felt very much like paper-mâché when she turned her head.”
The enduring, endearing allure of Groot
The Marvel Studios Guardians of the Galaxy films have borne several CG-animated characters; one of the most beloved being Baby Groot. He now stars in his own series of animated shorts called I Am Groot, directed by Kirsten Lepore, with visual effects and animation by Luma Pictures. The fully CG shorts started with a script and boarding process driven by Lepore, according to Luma Pictures Animation Director Raphael Pimentel.
Luma Pictures Animation Director Raphael Pimentel donned an Xsens suit (and Ba-by Groot mask) for motion capture reference at Luma Pictures during the making of I Am Groot. (Image courtesy of Luma Pictures)
The behavior settled on for Baby Groot, which had been featured in previous Marvel projects, was always ‘endearing.’ (Image courtesy of Marvel and Luma Pictures)
“There were scripts early on showing what the stories were going to be about. These quickly transitioned into boards. Then, Kirsten would provide the boards to us with sound. She would put them to music as well, which was important to get the vibe. These would then be turned over to us as an animatic of those boards with the timing and sound that Kirsten envisioned, which was pretty spot-on to the final result.”
Baby Groot’s mud bath in one of the shorts required the extensive cooperation be-tween the animation and FX teams at Luma Pictures. (Image courtesy of Marvel and Luma Pictures)
Baby Groot still delivers only one line: “I am Groot.” (Image courtesy of Marvel and Luma Pictures)
In terms of finding the ideal style of character animation for Groot in the shorts, Luma Pictures shot motion capture as reference for its animators, which was used in conjunction with video reference that Lepore also provided, and vid-ref shot by the animators themselves. The motion capture mainly took the form of Pimentel performing in an Xsens suit. “We went to Luma and identified the key shots that we wanted to do for every episode,” Pimentel recalls. “We would do one episode each day. As we were going through those key shots, we ended up shooting mocap for everything. Kirsten was there telling me the emotions that she wanted Groot to be feeling at that specific point in time. And we said, ‘Let’s keep going, let’s keep going.’ Next thing you know, we actually shot mocap for everything to provide reference for the animators.”
In one of the shorts, “Groot Takes a Bath,” a mud bath results in the growth of many leaves on the character, which he soon finds ways to groom in different styles. This necessitated a close collaboration between animation and effects at Luma. “That was a technical challenge for us,” Pimentel discusses. “In order for Kirsten to see how the leaves were behaving, she would usually have to wait until the effects pass. We built an animation rig that was very robust that would get the look as close to final as possible through animation.”
The final behavior settled on for Baby Groot in the shorts was “endearing,” Pimentel notes. Despite Groot’s temper tantrums and ups and downs, he was still kept sweet at all times. From an animation standpoint, that meant ensuring the character’s body and facial performances stayed within limits. “It’s easy to start dialing in the brows to be angry, but we had to keep the brows soft at all times. And then his eyes are always wide to the world. Regardless of what’s happening to him, his eyes are always wide to the world, much like a kid is.”
Partial set build, background plate photography, 3D model of mountaintop and depth pass are combined together to create an aerial shot.
“The mountain [where Seo-rae falls to his death] is 100% CG, but the background where that peak is situated is a real scene that we shot. There are a ton of mountains in Korea, so it’s a composite of these two. The two main locations of the mountains and sea have this unique form that goes up and down and up and down. We wanted to repeatedly show such up and down patterns, like a wave in an ocean or the landscape of the mountain range, but at the same time we didn’t want to make it too obvious for the audience to say, ‘Ah-ha! I see that.’”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
Ever since the release of Oldboy, Lee Joen-hyoung, who serves as the CEO and VFX Supervisor at Korean VFX studio 4th Creative Party, has been collaborating with filmmaker Park Chan-wook. Decision to Leave, which revolves around a detective becoming infatuated with a murder suspect, seems to be a less likely candidate for extensive digital augmentation because of the subject matter, but this was not the case. “This was the easiest read of all of director Park’s screenplays,” Lee recalls. “However, in the end, the work that I had to do was the toughest because unlike The Handmaiden or Oldboy, for which I was able to come up with the imagination straightaway in terms of the visuals and mise-en-scène, Decision to Leave was so ambiguous.” About 580 shots were created over a period of six months. “We were done at the end of 2021, but then we had some time left before Cannes and the actual release, so we did some detailing work with only a handful of people to make it even more perfect,” Lee remarks.
Invisible effects include adding photographs to the wall devoted to unsolved crimes, created by Hae-joon.
Unwanted natural elements had to be removed from the finale, which took place in a beach environment that was, in reality, three different locations combined together. “Jang Hae-joon’s portion of it was shot at the end of fall, entering into the winter season, so we started to have some snow,” Lee states. “For the sake of continuity, we had to take out snow and also had to work on the mountain that you can see from far. Even though we had to remove the snow and wind, Tang Wei, the actor, still felt those harsh conditions, which reflected the emotional state of Hae-joon. With Son Seo-rae’s portion, there was no problem because the time of day was different.” Atmospherics were also digitally added into shots. “We had to have mist in the latter part of the film because it’s set against Ipo, which is famous for mist and being humid all of the time,” Lee adds. “Mist had to be present in almost all of the outdoor scenes, but we had to define how much for a particular scene.”
“Director Park likes to use insects in his movies, such as the ants in Oldboy or the mosquitoes in Lady Vengeance or the ladybug in I’m a Cyborg, But That’s OK. I knew even before that he was going to put some kind of insect in this film, too. We already have a vast library filled with insects and their forms and movements, so we were well-equipped to execute that.”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
Insects are always featured in the films of Park Chan-wook, with CG ants crawling over the face of Seo-rae’s dead husband.
“Hae-joon tries to replicate what Seo-rae would have done to kill her husband, and he goes up the mountain, lies down and looks up. Then Seo-rae’s hand comes in and they hold hands together. Director Park told me that the audience should be able to see the callus on her palm because it’s evidence that she is already an expert climber. It was difficult to visually make that happen because when those two hands meet together the palm becomes a little bit dark, so we had to do several retakes. That one scene was the most challenging for me.”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
The mountain where the husband, Seo-rae, falls to his death was a partially built on a backlot set surrounded by bluescreen. “The mountain is 100% CG, but the background where that peak is situated is a real scene that we shot,” Lee reveals. “There are a ton of mountains in Korea, so it’s a composite of these two. The two main locations of the mountains and sea have this unique form that goes up and down and up and down. We wanted to repeatedly show such up and down patterns, like a wave in an ocean or the landscape of the mountain range, but at the same time we didn’t want to make it too obvious for the audience to say, ‘Ah-ha! I see that.’” Ants crawl over the face of the deceased spouse. “Director Park likes to use insects in his movies, such as the ants in Oldboy or the mosquitoes in Lady Vengeance or the ladybug in I’m a Cyborg, But That’s OK. I knew even before that he was going to put some kind of insect in this film, too. We already have a vast library filled with insects and their forms and movements, so we were well-equipped to execute that,” Lee notes.
The x-ray of an arm and hand transitions into the arm and hand of Hae-joon, emphasizing that he is still thinking of Seo-rae even when having an intimate moment with his wife.
A clever shot transition moves from the x-ray of a hand to the one belonging to Hae-joon as he is having sex with his wife in bed. “I have already accumulated so much experience with Park Chan-wook-esque transitions!” Lee laughs. “We knew how the output should look like because it was worked out in the storyboarding phase and we subsequently shot the source material. That transition was a nod to what we had already did in I’m a Cyborg, But That’s OK. As a long-time collaborator, I already knew what color director Park likes for the x-ray and the timing for the movement of the hand. That transition was the symbol of how Hae-joon is really with Soe-rae even though he is physically next to his wife.” The growing emotional bond between the detective and the murder suspect is visually emphasized in the interrogation scenes. “We wanted the audience to see something happen that is not physically possible,” Lee describes. “For that we had four characters because there were two in front and there are two in the reflection of [the mirror]. We shot the real people, then the reflection pass, and composited these two together so that we were able to control the focusing and defocusing in order to fully realize director Park’s intention and vision for the scene.”
“That transition [shot of the x-ray of a hand to the one belonging to Hae-joon as he is having sex with his wife in bed] was a nod to what we had already did in I’m a Cyborg, But That’s OK. As a long-time collaborator, I already knew what color director Park likes for the x-ray and the timing for the movement of the hand. That transition was the symbol of how Hae-joon is really with Soe-rae even though he is physically next to his wife.”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
Bunam Beach in Samcheok, Hakampo Beach and Magumpo Beach in Taean were combined to create the environment that appears in the finale.
Reflections and monitors were manipulated during the interrogation scenes to visually show that Seo-rae and Hae-joon are becoming emotionally closer to each other.
Driving shots are common place for Korean television series and films. “For our film, we wanted to make sure that the windshield of the car and the reflections on the car and how the lights will change inside of the space would be recognizable to the audience,” Lee remarks. “We had to make sure that the lighting and reflections worked perfectly; that was our full intention. Since our actors are inside the car, we also wanted to make a realistic look for the interior shot.” An unlikely shot proved to be difficult. Reveals Lee, “Hae-joon tries to replicate what Seo-rae would have done to kill her husband, and he goes up the mountain, lies down and looks up. Then Seo-rae’s hand comes in and they hold hands together. Director Park told me that the audience should be able to see the callus on her palm because it’s evidence that she is already an expert climber. It was difficult to visually make that happen because when those two hands meet together the palm becomes a little bit dark, so we had to do several retakes. That one scene was the most challenging for me.”
Cinesite’s Montreal and Vancouver facilities took on Paws of Fury: The Legend of Hank after the film had already spent several years in development. (Image courtesy of Paramount Pictures)
A common credit on a CG animated feature film or show is ‘visual effects supervisor.’ But wait, don’t VFX supervisors work just in live-action? This is, of course, not so. Indeed, on a CG-animated project, a visual effects supervisor is a crucial role, often helping to formulate the ‘look of picture’ as well as solve many of the technical and artistic hurdles along the way – not too dissimilar at all from a VFX supervisor working in live-action.
In this roundtable, visual effects supervisors from Walt Disney Animation Studios, Pixar, DreamWorks Animation, Sony Pictures Imageworks and Cinesite Studios explain their tasks on recent animated films and shows and share their thoughts on the key trends hitting their field right now.
Cinesite is one of a limited number of VFX studios that also deliver full CG-animated features and other animated projects. (Image courtesy of Paramount Pictures)
VFX supervisor in live-action versus animation
Alex Parkinson (Visual Effects Supervisor, Cinesite): Often the difference between VFX supervisors in live-action and animation depends on the kind of VFX show you are talking about. Sometimes entire sequences in movies are CG with no live-action aspects at all. In that case, the workflow and the job would be very similar. But mostly the differences between the two jobs reflect the differences between the two mediums. In animation, you tend to have more creative ownership over the final product and way more freedom. Live-action VFX is a more technical and precise process. It is harder in a lot of ways, because you must match existing elements and every shot is put through more scrutiny.
Marlon West (Visual Effects Supervisor, Walt Disney Animation Studios, on Iwájú): While the visual effects supervisor on a live-action film is tasked with leading the team to create images that they can’t go out and capture live, for animation every image is created from ‘scratch.’ So, they are tasked with leading the charge of creating every image technically and creatively.
“Multiple time zones were our main challenge on Iwájú. We have artists in Los Angeles, London, Lagos, Montreal and Vancouver. At one point we had artists in Uganda, Kenya and Zimbabwe as well. While not hugely technical, the biggest challenge was initially story, art and editorial teams who have worked primarily with our internal tools to work with outside partners.”
—Marlon West, Visual Effects Supervisor, Walt Disney Animation Studios
Real-time Rendering: The Future of Animation?
Of all the tech trends that abound in CG animation right now, Cinesite Visual Effects Supervisor Alex Parkinson believes that real-time game engines have the most potential to revolutionize the industry, particularly in relation to CG cinematography.
“Let’s take a typical shot, the villain reveal. The villain walks towards the camera through darkness and mist, their cape billowing in the wind. As they move into the light more of their form is revealed, and then at the last moment they lift their face towards the light,” Parkinson describes.
“In a traditional CG animation pipeline, this would be created in a serial manner,” Parkinson continues. “The camera would be created in layout using some very rough blocked animation. It would be animated without the cape, which would be added in CFX. FX would then do the mist interaction, then the whole thing would be passed to lighting to make it work. However, what if it doesn’t work? What if the timing is off or lighting cannot make the animation work for the face reveal? The shot goes all the way back down the pipeline for a re-do, then round and round until ultimately we run out of time and have to go with what we have.”
Parkinson believes real-time game engines will change this process. “We will be able to work much more like a live-action shoot does. We will be able to assemble all the pieces we have at any time, see them all in context, and work more in parallel, tweaking each element so they work together harmoniously. The potential for a quality increase in our filmmaking is huge.”
Kylie Kuioka voices Emiko in Paws of Fury: The Legend of Hank. (Image courtesy of Paramount Pictures)
Jane Yen (Visual Effects Supervisor, Pixar, on Lightyear): I see my role at Pixar as overseeing all of the technical work that needs to happen in computer graphics to produce the film visuals. Pixar has historically been at the very forefront of computer graphics and creating CG imagery, so a lot of the Pixar history and the roles that used to be called supervising technical director, and now VFX supervisor, were based on developing new technology to make it even possible.
Matt Baer (Visual Effects Supervisor, DreamWorks Animation, on The Bad Guys): At the creative leadership level, there are more peer relationships for the animation VFX supervisor. The head of story is my peer. The head of layout is my peer. The head of animation is my peer. For example, I’m responsible for making sure our head of animation is set up with the necessary workflows and technologies. Ultimately, the head of animation is creatively responsible for the character animation. I consult during animation development and shot work so our animators have context as to how their work fits into the bigger picture.
A layout frame from a hyperjump sequence in Pixar’s Lightyear. (Image courtesy of Disney/Pixar)
Animation pass on Buzz Lightyear. (Image courtesy of Disney/Pixar and Pixar)
R. Stirling Duguid (Visual Effects Supervisor, Sony Pictures Imageworks, on The Sea Beast): At Imageworks, compared to other animation companies that are vertically integrated, we have a client/vendor relationship. My primary role is to represent Imageworks to the client as well as the director, the production designer, the art director and their producer. That’s the first step, representing the company. Then it’s about building the team and the framework for the entire production – how we go from storyboards to final composite, laying that out and making sure that we have the right people in charge for each of those departments.
Lighting, FX and rendering are the final steps in the final frame. (Image courtesy of Disney/Pixar)
Solving the art and tech and pipeline, in animation
Matt Baer: On The Bad Guys, one of our key visual goals was to pay homage to illustration and 2D animation. Our design philosophy was to use simplification to achieve our stylized and sophisticated look. Anyone who has worked in CG knows this is the opposite of what many of our tools are designed to do! We needed to replace the realistic details of traditional CG techniques with the wonderful hand-drawn imperfections seen in illustrations. Taking this to scale on a feature film required us to build new workflows for every department, allowing them to create images that look handmade – removing superfluous CG details while keeping just enough visual information to guide the eye towards the most important aspects of the shot. Once the image was reduced, our artists added custom line work, textures and 2D effects to every shot in the film.
A first look image from Walt Disney Animation Studios’ Iwájú series. (Image courtesy of Disney)
R. Stirling Duguid: For TheSea Beast, the big technical hurdle was ropes. We had thousands of them to do. Our Animation Supervisor, Joshua Beveridge, said, ‘We have to start from the ground up and build an awesome rope rig because we’re not going to make it through the movie without that.’ We came up with a procedural solution that was designed to be animation-friendly. The idea is that the length of the rope would always stay the same – usually it stretches or is cheated, but ours had the proper hang and everything. Ropes are in so many shots.
Jane Yen: Lightyear was Pixar’s largest FX film to date. Almost 70% of the film has FX elements in it. As the VFX Supervisor on an animated film, I had to look at every single component of the film, not just FX but also set building and modeling, set dressing, character modeling, building articulation, tailoring, cloth simulation, hair grooming – and that’s just the asset-building side. Then we have lighting and shading. I’m sure there’s some element in there I missed, but you can kind of get the picture that on an animated film, every single component of every visual thing that is on the screen, we had to account for.
A frame from Walt Disney Animation Studios’ Encanto, on which Marlon West served as Head of Effects Animation. (Image courtesy of Disney)
A Specific Animation Challenge: Face Creases
Among the many technical hurdles Sony Pictures Imageworks had to conquer in The Sea Beast was realizing the distinctive crease lines and wrinkles on several of the characters’ faces. Usually, such wrinkle-like features are modeled or textured into the detail.
Looking to capitalize on earlier work done at Imageworks with inklines on Spider-Man: Into the Spider-Verse, Visual Effects Supervisor R. Stirling Duguid and his team developed a tool called CreaseLines that gave animators the ability to easily, dynamically create and control curves on faces to define the right emotive facial creases.
“Normally if you model things like that, it requires a high-density mesh, or you have to use displacement maps, which are hard for an animator to visualize,” Duguid explains. “Our Animation Supervisor, Joshua Beveridge, had this idea for crease lines, which came from Spider-Verse. It was about thinking in the animator’s shoes, dealing with the director, getting a note and finding the quickest way to address the note.
“CreaseLines gave us the flexibility to move those lines and not be constrained by the topology, as far as how dense the mesh was. This let us directly drive displacement of the face meshes. It was a real win.”
“While animation has always sought to create new and imaginative worlds, the last few years have seen a rapid increase in the variety of visual styles produced across the industry. Despite this increase, we’ve only barely cracked open the visual possibilities in animation, which really excites me for the future.”
Marlon West: Multiple time zones were our main challenge on Iwájú. We have artists in Los Angeles, London, Lagos, Montreal and Vancouver. At one point, we had artists in Uganda, Kenya and Zimbabwe as well. While not hugely technical, the biggest challenge was initially story, art and editorial teams who have worked primarily with our internal tools to work with outside partners.
Alex Parkinson: Being an independent studio, we must find ways to match the quality of big studio movies as closely as we can, and that is a bar that is constantly moving, so our tools and workflow must constantly evolve to keep up. Often our problem is stylization. For example, three of our recent movies, Riverdance: The Animated Feature, Paws of Fury: The Legend of Hank and Hitpig, have featured sequences with fast-flowing water. Because we use tools developed primarily for live-action FX, they tend to produce photorealistic results. They don’t fit in our world, so we must find ways to make natural elements feel more ‘cartoony.’
Mirabel, voiced by Stephanie Beatriz, in Encanto. The fireworks were crafted as effects animation. (Image courtesy of Disney)
Stylization: a major trend in animation
Alex Parkinson: The use of non-photorealistic rendering, or NPR, exploded after Spider-Man: Into the Spider-Verse. That showed the potential for what a CG-animated movie could be. I see it as part of the maturing of our industry. If you think about 2D animation and all the looks and styles that it covers, from an episode of The Simpsons to crazy anime action, to the work of Cartoon Saloon, it is so varied and creative. CG animation is a very young art form, and up until now has tended to stay within the styles it was born from, like Toy Story, Shrek, etc. That is to say, more photoreal. 3D animation is branching out, experimenting, and developing all new NPR techniques – that’s very exciting.
R. Stirling Duguid: Spider-Man: Into the Spider-Verse was a pretty big splash for Imageworks as far as doing a whole movie like that. Then look at the evolution into The Mitchells vs the Machines, where we also took it to a really nice place. And, actually, it was quite different. You can clearly see the difference between Mitchells and Spider-Verse, but it was using a lot of the same technology.
A storyboard frame from a driving sequence in DreamWorks Animation’s The Bad Guys. (Image courtesy of Universal Pictures and DreamWorks Animation)
After storyboard, the studio moves to previs and early animation. (Image courtesy of Universal Pictures and DreamWorks Animation)
The final rendered frame. On The Bad Guys, DreamWorks Animation injected an enhanced level of stylized look and feel to the final images, partly to reflect the source material. (Image courtesy of Universal Pictures and DreamWorks Animation)
Jane Yen: I think we are now going to see movies come out that have a much more stylized and ‘pushed’ look. I think you’ll see that in our next feature film, Elemental. Even though Lightyear may not have pushed that spectrum, specifically, I think the industry is leaning that way, and I’m excited to see what comes out of it.
“Being an independent studio, we must find ways to match the quality of big studio movies as closely as we can, and that is a bar that is constantly moving, so our tools and workflow must constantly evolve to keep up. Often our problem is stylization. For example, three of our recent movies, Riverdance: The Animated Feature, Paws of Fury: The Legend of Hank and Hitpig have featured sequences with fast-flowing water. Because we use tools developed primarily for live-action FX, they tend to produce photorealistic results. They don’t fit in our world, so we must find ways to make natural elements feel more ‘cartoony.’”
For The Sea Beast, Imageworks developed a new animation rig to deal with the many different kinds of ropes seen in the film, allowing them to stretch and hang and be animated as realistically as possible. (Image courtesy of Netflix and Sony Pictures Imageworks)
A face-crease-lines tool helped the studio dynamically create and control curves on faces to define the right emotive facial creases. (Image courtesy of Netflix and Sony Pictures Imageworks)
Marlon West: Stylization, supporting production design and character animation, has been very important for us at Walt Disney Animation Studios. We have endeavored to share 2D sensibilities with team members who started their careers creating images in CG. While those classic animation principles are important to character animators, overlap, staging, anticipation, etc. are just as valued by Walt Disney effects animators, too.
A final frame from The Sea Beast. (Image courtesy of Netflix and Sony Pictures Imageworks)
Matt Baer: While animation has always sought to create new and imaginative worlds, the last few years have seen a rapid increase in the variety of visual styles produced across the industry. Despite this increase, we’ve only barely cracked open the visual possibilities in animation, which really excites me for the future.
The CARES Act is the third piece of federal emergency legislation to address the coronavirus pandemic. It was signed into law on March 27, 2020.
Emergency Increase in Unemployment Benefits (Section 2104):
States can increase the weekly benefit that an individual would otherwise qualify for by $600 a week. For example, the maximum California benefit is normally $450 a week; under this program, it will be $1,050 a week ($450 + $600)
Eligible recipients may receive the $600/week boost retroactive to the date their state signed an agreement with the federal government to implement the CARES Act; check with your state’s unemployment agency for details
A temporary 39-week program to provide unemployment benefits to those whose unemployment is related to COVID-19:
Who do not qualify under their state’s regular unemployment insurance program or who have exhausted UI benefits after July 1, 2019 and before the date their state commences this program, and
Who self-certify that they are (1) partially or fully unemployed, or (2) unable and unavailable to work because of any one of the following circumstances:
They have been diagnosed with COVID-19 or have symptoms of it and are seeking diagnosis
A member of their household has been diagnosed with COVID-19
They are providing care for someone diagnosed with COVID-19
They are providing care for a child or other household member who can’t attend school or work because it is closed due to COVID-19
They can’t reach their place of employment due to a COVID-19 quarantine
They have been advised by a health care provider to self-quarantine due to COVID-19
They were scheduled to start employment, but the job no longer exists, or they cannot reach the place of employment due to a COVID-19 public health emergency
They have become the breadwinner for a household because the head of the household has died as a direct result of COVID-19
They had to quit their job as a direct result of COVID-19
Their place of employment is closed as a direct result of the COVID-19 public health emergency;
They are self-employed, seeking part-time employment, or do not have sufficient work history, or otherwise do not qualify for state UI.
The amount available will vary by state. For example, California has set its basic amount at $167 per week, plus the $600 a week boost
This program lasts up to 39 weeks, but the $600/week boost is only available until July 31, 2020
Even if your state is not yet paying PUA benefits, if you are approved, benefits can be retroactive to the date you state signed an agreement to implement the CARES Act; check with your state’s unemployment agency for details
Individuals receiving paid leave, who are teleworking, or who are otherwise employed full-time are not eligible
Individuals who are eligible for unemployment insurance cannot choose PUA; PUA is only for individuals who are not eligible for UI
Each program shall be immediately available to individuals without the normal one week waiting period.
Important caveat: States must opt-in to these programs. Since the enhanced payments are 100% federally funded, there is no reason for a state to deny these benefits to its residents, but they have option to do so. California and New York have already begun to implement the enhanced benefits.
A one-time tax credit, in the form of a direct payment of $1,200 ($2,400 for those filing jointly) and $500 per dependent child under 17 to all individuals—this benefit begins to phase out at $75,000 ($150,000 for those filing jointly), Those making $99,000 ($198,000 for those filing jointly) or more will not receive a rebate, even if they have dependent children.
Other than the income limitations, the only exclusions from this benefit are estates, trusts, nonresident aliens, and those claimed as a dependent on someone else’s tax return
As part of the Economic Injury Disaster Loan program, small businesses are eligible for emergency grants of up to $10,000 to maintain payroll, provide paid sick leave, pay rent/mortgage, etc.
Small businesses and 501(c)(3)s will also be eligible for loans on a more favorable basis than normal SBA loans
Paycheck Protection Program: Loan proceeds used to keep employees on payroll and pay mortgage/rent mortgage and utilities will be forgiven
Retirement account holders may make coronavirus-related withdrawals of up to $100,000 out of their 401(k)s without penalty Student Loans (Section 3513)
Student Loans (Section 3513):
All student loan and interest payments will be deferred through September 30, 2020 without penalty for federally owned student loans only (note this does not impact private loans, Perkins loans, and loans held by a bank)
The VES Los Angeles Section would like to invite our members to our a Recruiting Mixer and Happy Hour. Also, put your knowledge to a test.
Join us and socialize with fellow VES Members to enjoy some good food and fine drinks, and
please bring a VFX professional who is interested in joining VES as your +1.
We can help you find other members to write endorsement letters for your guest.
Please mark in your calendar: Sunday March 12, 2023 from 3:00 – 7:00 PM
Our social will take place at: The Cat & Fiddle 742 N. Highland Avenue Hollywood, CA
Members please login to your VES account to register.
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.
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.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees, and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
VES Members and Up to Four (4) Guests are Invited to a Screening of Universal Studios’ COCAINE BEAR
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Monday, March 6, 2023 at 7:30PM (RSVPs close on Monday, March 6 at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to an Opening Weekend 3D Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
RSVPs are closed
Saturday, February 18, 2023 at 11:00AM Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members are invited to attend a hands-on workshop at disquise
Saturday, February, 11 1:00PM
Please RSVP below (VES members must login to register)
On February 11, disguise and the L.A. section of VES invite you to a virtual production technical workshop geared for VFX professionals, detailing how to execute the following types of Virtual Production shoots using disguise:
Video based driving plate car processing
Unreal Engine based interior scene
2.5D (artificial parallax with image layers) based exterior scene
Greenscreen with full incidental lighting
Data recording for post production and VFX
This will be on a working LED volume, and attendees may be asked to take roles such as talent, camera operator, director, etc.
Date: Saturday, February 11
Time:
Welcome Drinks/Lunch: 1:00 – 2:00 PM
Technical Workshop: 2:00 – 4:00 PM
Questions & Networking: 4:00 – 5:00 PM
disguise is the premium tech platform consisting of hardware, software and third party plugins to centrally manage and control the entire tech stack of a Virtual Production stage. disguise is the only platform that allows seamless transition from game engines, to video plates to 2.5D. disguise not only equips stages, but supports them and trains the operators who run them.
Due to the hands-on nature of this event, space is limited.
Covid Language:
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.
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.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees, and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
Visual Effects Society Los Angeles Section Holiday Party
Marina del Rey Marriott Hotel
VES Members and One (1) Guest are Invited to Celebrate the Season with Us!
RSVPs are FULL
Saturday, December 17, 2022
Bayview Terrace and Ballroom Holiday Cocktail Attire
5:30PM-6:30PM Cocktails
6:30PM-10:00PM Dinner party Appetizers, Buffet dinner, open bar (see times below) and prizes Open Bar from 5:30PM to 8:30PM
Cash Bar 8:30PM to 9:30PM
Bar Closed and Coffee Served 9:30PM to 10:00PM
Valet Parking $25.00 per vehicle (this is discounted for our event , parking is $45.00 normally)
VES Members and One (1) Guest are Invited to an Opening Weekend 3D HFR Screening of Walt Disney Pictures’ and 20th Century Studios’ AVATAR: THE WAY OF WATER followed by a Q&A with the Filmmakers
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and all unvaccinated attendees must wear masks at all times indoors.
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.)
RSVPs are closed
Saturday, December 17, 2022 at 11:00AM (Please arrive early to allow time for check-in)
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Two (2) Guests are Invited to a Revival Stereo 3D and 4K Screening of Walt Disney Pictures’ AVATAR from 2009
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and all unvaccinated attendees must wear masks at all times indoors.
Please RSVP below (VES members must login in order to sign up)
Monday, December 5, 2022 at 7:00PM (RSVPs close at 12:00PM on Monday) Frank G. Wells Theater on the Walt Disney Studios lot
(Please enter through the Alameda Gate East of Buena Vista)
500 S. Buena Vista St., Burbank, CA 91451
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a Screening of Sony Pictures’ DEVOTION
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Friday, December 2, 2022 at 7:30PM (RSVPs close on Friday, December 2 at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a Screening of Searchlight Pictures’ THE MENU
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Monday, November 28, 2022 at 7:30PM (RSVPs close on Monday, November 28 at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Animation Studios’ STRANGE WORLD
Walt Disney Studios safety guidelines require that all unvaccinated attendees must wear masks at all times indoors.
Please RSVP below (VES members must login to sign up)
Friday, November 25, 2022 at 12:00PM (RSVPs close at 2:00PM on Wednesday, November 23) Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a Screening of Universal Pictures’ THE FABELMANS
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Friday, November 18, 2022 at 7:00PM (RSVPs close on Friday, November 18 at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and all unvaccinated attendees must wear masks at all times indoors.
RSVPs are closed
Sunday, November 13, 2022 at 11:00AM (RSVPs closed at 10:00AM on Friday, November 11) Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Visual Effects Society Presents: “Creating Lifelike Digital Humans – Volumetric Video Capture Techniques for VFX Pipelines”
Wild Capture to Demo Volumetric Video Digital Human Characters at
Metastage State-of-the-Art Volumetric Video Capture Studio
Event Date: Saturday, November 12, 2022
2:00PM – 5:00PM Click here to RSVP
Headquartered in Los Angeles, Wild Capture develops smart assets for the next generation of spatial media products that enable creators to produce high-quality digital humans with cutting-edge volumetric technologies and industry-standard practices. Wild Capture’s ‘Digital Human Platform’ offers a complete production pipeline that translates the human essence into volumetric video with the highest quality performance captures available to break the uncanny valley.
Launched in 2020 by filmmaking and VFX visionaries credited with pushing the evolution of new media productions over two decades, Wild Capture provides performance capture expertise at every stage of the creative process. From interactive CG fashion products and services to volumetric crowd kits, Wild Capture content inspires and engages realistic digital humans for use in media production, software development, and web-based applications.
Metastage is a premier XR production studio specializing in 3D capture technology — volumetric capture, or “volcap.” Metastage’s end-to-end system uses an array of 106 machine-vision cameras to capture authentic human performance from all angles and delivers a high-fidelity yet highly compressed 3D asset for streaming on mobile devices and AR/VR headsets, and allows for seamless integration within VFX workflows for framed content.
Since its launch in 2018, Metastage has completed 200+ productions with major brands, earning two Emmy nominations. As producers, technologists, and virtual world development experts, we collaborate with diverse clients to help them build and become leaders in the XR space.
VES LA Members and 1 Guest are invited on a field trip to Wild Capture’s presentation at Meta Stage, a state-of-the-art volumetric video capture stage, located at 12800 Foothill Blvd, Sylmar, CA 91342
Saturday, November 12, 2022
Demonstration is from 2:00 pm to 5:00 pm
Refreshments sponsored by:
Setellite is an industry-standard platform for on-set VFX data organization.Setellite is developed in Amsterdam by the talented teams at Planet X Technologies in partnership with Unwind Creative Technology. Additional information on Setellite products is available here.
VES Members and Up to Four (4) Guests are Invited to a Screening of Focus Features’ ARMAGEDDON TIME
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Monday, November 7, 2022 at 7:30PM (RSVPs close on Monday at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to Four (4) Guests are Invited to a Screening of Warner Bros. Pictures’ BLACK ADAM
RSVPs are closed (VES members must login to sign up.)
Friday, November 4, 2022 at 8:00PM (RSVPs close on Friday, November 4 at 10:00AM) Screening Room 12 on the Warner Bros. Studio Lot (Please enter through Gate 4)
4000 Warner Blvd, Burbank CA 91502 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Infinity Festival Hollywood is the place where Hollywood meets Silicon Valley! The festival, a multi-day annual event held in the heart of Hollywood, celebrates story enabled by technology, bringing together Hollywood’s finest storytelling talent with the innovative creators of Silicon Valley’s cutting-edge technology. The Infinity Festival environment includes panels, exhibitions, screenings, keynotes, a fine art gallery and more, all driven by today’s top innovators, creators and artists. Host to a Student Lab and networking events, the festival helps drive economic opportunities for Hollywood’s thriving media and entertainment business community while supporting the up-and-coming creator economy. This year’s festival also includes exciting nighttime events, including the US premiere of “Le Musk”, a 38 min full-length sensory cinematic experience by creator A.R. Rahman, a VIP showing at LightHouse ArtSpace, and a private screening of “Signs of Life” at the Griffith Observatory.
Infinity Festival Hollywood 2022 is presented by Z by HP, NVIDIA, XLA, and Snapdragon. Sponsors include Intel, Microsoft, Verizon, Paramount, IGN, The Wall Street Journal and OUTFRONT Media.
VES members must login to VES site in order to see promo code below
November 2-5, 2022
Goya Studios
1541 N. Cahuenga Blvd., Los Angeles, CA 90028
VES Members and Up to Four (4) Guests are Invited to a Screening of Universal Pictures’ TICKET TO PARADISE
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Monday, October 24, 2022 at 7:30PM (RSVPs close on Monday at 2:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Los Angeles and the Cat & Fiddle invite Members and 1 guest to a
Halloween Pub Get Together
Please RSVP below (VES members must login to register.) Sunday, October 23, at 3:00PM
Cat & the Fiddle
742 Highland Ave, Hollywood, CA 90038
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.
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.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees, and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
VES Members and Up to Four (4) Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN ENDS
Sony Pictures Imageworks guidelines require that all VES members and guests must show photo ID for admission. Masks are encouraged, but not required.
Please RSVP below (VES members must login to sign up.)
Monday, October 17, 2022 at 7:30PM (RSVPs close on Monday at 2:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a Screening of Sony Pictures’ LYLE, LYLE, CROCODILE
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Monday, October 10, 2022 at 7:00PM (RSVPs close on Monday at 2:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES LA Members and 1 Guest are invited on a field trip to XR Studios Hollywood,
a state-of-the-art, multi-building campus located in Los Angeles. Monday, Oct 3, 2022 at 9:30AM for Check-In Light Snacks and Coffee will be served Please login to RSVP below
XR Studios regularly pushes the boundaries of what is technically possible in the MR/XR/AR world. They are currently utilizing MegaPixelVR’s GhostFrame technology paired with some of their own IP (Intellectual Property) to achieve 2x frustums with accurate parallax, set extension, and AR at the same time. This allows them to use broadcast style transitions live to tape or live to broadcast, as well as allowing them to record 2x accurate perspectives simultaneously.
XR Studios warmly welcomes VES Members for a tour of the campus and a demonstration that includes:
A look at XR Studios’ XR Workflow for live entertainment, including workflow demonstrations, XR Studios-specific software and supporting software, and more!
The application of disguise’s xR platform for tracking, calibration, and sequencing
stYpe Camera Tracking for spatial Camera Tracking
RED Digital Cinema Camera usage and camera control conversations
Application of Megapixel VR’s GhostFrame integration, including XR Studios’ specific software integration for this multi-frustum solution.
The demonstration will be followed by an open Q&A with XR Studios’ leaders and technologists.
Join us for a day of insightful and collaborative conversations about this exciting and growing Extended Reality and Virtual Production space, plus learn more about the techniques, programs, tips, and tricks needed to tackle your innovative projects.
All attendees must show a photo ID and proof of full vaccination against COVID-19 for admission. Everyone will be required to wear masks once they enter the XR Stage.
Events are overbooked to compensate for no-shows. Space is limited and will be available on a first come, first served basis. An RSVP does not guarantee admission.
By signing up for this on-site, in-person 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 “live 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 your participation
VES Members and Up to Three (3) Guests are Invited to a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Friday, September 30, 2022 at 7:30PM (RSVPs close on Friday, September 30 at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to four (4) Guests are Invited to an Opening Night Screening of The Avenue Entertainment’s MEDIEVAL
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Monday, September 12, 2022 at 7:30PM (RSVPs close on Monday at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Three (3) Guests are Invited to an Opening Night Screening of 20th Century Studios’ BARBARIAN
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and all unvaccinated attendees must wear masks at all times indoors.
Please RSVP below (VES members must login in order to sign up)
Friday, September 9, 2022 at 7:30PM (RSVPs close at 12:00PM on Friday) Frank G. Wells Theater on the Walt Disney Studios lot
(Please enter through the Alameda Gate East of Buena Vista)
500 S. Buena Vista St., Burbank, CA 91451
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to four (4) Guests are Invited to a Screening of United Artists Releasing’s THREE THOUSAND YEARS OF LONGING
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Monday, August 29, 2022 at 7:30PM (RSVPs close on Monday at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Please join your fellow LA VES members for a Beach BBQ!
August 27th from 2:00 PM to 6:00 PM Will Rogers State Beach
RSVPs are now closed
Event Details
Food, Games, and Fun for All Ages!
Restrooms & Free Parking (see map below)
VES Members and a Guest FREE with RSVP
Member children 17 & under are free!
Additional guest tickets can be purchased HERE
$25 in-advance online (through 8/26 at 5 pm)
$30 at-the-door (Credit or Check only)
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this “live 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: Please enter your first and last name in the “Attendee 1″ fields***
VES Members and Up to four (4) Guests are Invited to an Opening Night Screening of Universal Pictures’ BEAST
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Friday, August 19, 2022 at 7:30PM (RSVPs close on Friday at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to four (4) Guests are Invited to a Screening of Sony Pictures’ BULLET TRAIN
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Re-Scheduled to Friday, August 12, 2022 at 7:30PM (RSVPs close on Friday at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to two (2) Guests are Invited to a Screening of Warner Bros. Pictures’ BLADE RUNNER: FINAL CUT followed by a Q&A with the filmmakers. Panelists will include Academy and BAFTA nominated Special Photographic Effects Supervisor David Dryer, Academy and BAFTA Award-winning Action Prop Supervisor Michael L. Fink, VES, Technical Achievement Academy Award-winning Computer Engineer at Entertainment Effects Group (EEG) Richard Hollander, VES and Academy and BAFTA Award-winning Chief Model Maker at Entertainment Effects Group (EEG) Mark Stetson, VES, moderated by VES Fellow and former VES Board member Van Ling, VES.
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Friday, August 5, 2022 at 7:00PM (RSVPs close on Friday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to four (4) Guests are Invited to a Screening of Netflix’s THE GRAY MAN
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Monday, July 25, 2022 at 7:30PM (RSVPs close on Monday at 12:00PM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
A brief history, overview, and practical advice on the Facial Action Coding System.
Click here to sign-up for the webinar and receive the link
Join us for a Zoom Session on July 23, 11: 00 AM – 12:30 M PDT
With
Erika Rosenberg, Ph.D.
Facial expression scientist, author, and educator, Dr. Erika Rosenberg, will offer an overview of the Facial Action Coding System (FACS) for visual effects industry professionals. Her presentation will include: a history of FACS’s development, a brief dive into this anatomically-based methodology for facial measurement, and a discussion of crucial considerations for the application of this measurement tool and knowledge of its parts (namely the action units or AUs) to the creation of moving faces in the arts. Finally, Dr. Rosenberg will offer some ready-to-implement, “take-home” advice on how to use knowledge from FACS research on emotion to convey feeling in animated faces.
VES Members and Up to four (4) Guests are Invited to an Opening Night Screening of Universal Pictures’ NOPE
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Friday, July 22, 2022 at 7:30PM (RSVPs close on Friday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Imageworks Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to three (3) Guests are Invited to a Screening of Sony Pictures’ WHERE THE CRAWDADS SING
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up.)
Monday, July 18, 2022 at 7:30PM (RSVPs close on Monday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: LOVE AND THUNDER
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and all unvaccinated attendees must wear masks at all times indoors.
RSVPs are now closed
Sunday, July 17, 2022 at 11:00AM (RSVPs closed at 10:00AM on Friday, July 15) Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Virtual Production Group (VPG) has just opened its doors to a brand-new virtual production stage standing in the heart of Hollywood at Sunset Las Palmas Studios. VPG is a collective of seasoned industry professionals with leadership and experience across all sectors of film production. Their philosophy is simple; the design and implementation of virtual production for filmmakers by filmmakers.
Operating as the first truly vertically-integrated virtual production studio, VPG’s unique offerings consist of providing services encompassing all facets of virtual production: from script/content breakdown, pre/tech vis, the design and creation of Unreal Engine based virtual environment assets from the VAD, the optimization and operation of the Las Palmas LED volume stage with specialized VPG supervision with representatives from multiple department disciplines, and post production services.
VPG is comprised of Pangaea LED Technology, Drive Studios, VFX Technologies, and Background Images utilizing Epic/Unreal Engine, and Stype Camera Tracking systems giving the Virtual Production industry a true end-to-end suite of all VP services. They will show all tech aspects and systems related to virtual production as well as driving home the importance of having the proper teams and companies in place to drive the highly technical virtual production engine.
VPG warmly invites colleagues from VES and looks forward to sharing their insight into a new virtual production paradigm.
Thursday, July 7, 2022 at 10:00AM
Please RSVP below (VES members must login to sign up)
Sunset Las Palmas Studios – Stage 2
1040 N. Las Palmas Ave., Los Angeles, CA 90038 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All attendees must show a photo ID and proof of full vaccination against COVID-19 for admission.
Events are overbooked to compensate for no-shows. Space is limited and will be available on a first come, first served basis. An RSVP does not guarantee admission.
By signing up for this on-site, in-person 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 “live 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 3D Screening of Universal Pictures’ and Illumination Entertainment’s MINIONS: THE RISE OF GRU
Please RSVP below (VES members must login to RSVP)
Saturday, July 2, 2022 at 4:00PM (RSVPs close on Friday at 4:00PM) AMC Century City 10250 Santa Monica Blvd #2000, Los Angeles, CA 90067 (Complimentary concessions will be provided by the studio)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to three (3) Guests are Invited to a Screening of Warner Bros. Pictures’ ELVIS
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
RSVPs are now closed
Monday, June 27, 2022 at 7:00PM (RSVPs close on Monday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Celebration of the Centenary of the Late Academy and BAFTA Award-winning Makeup Artist Dick Smith (1922-2014). The evening will begin with a drinks reception plus a Screening of Warner Bros. Pictures’ ALTERED STATES followed by a Q&A with Academy Scientific and Engineering and Technical Achievement Award-winner Bran Ferren who did Special Visual Effects on the picture and Emmy-winning Special Effects Makeup Artists Craig Reardon and Todd Masters as well as Emmy-winning Special Effects Technician Kevin Pike.
This event is presented by MastersFX and the Visual Effects Society.
Please RSVP below (VES members must login for location and to RSVP)
Sunday, June 26, 2022 at 6:00PM Reception at 6:00PM, Screening at 7:15PM
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, Producer Jed Schlanger, Production Designer Matthias Lechner, Animation Director Zach Parrish, Head of Character Animation Joshua Beveridge and VFX Supervisor R. Stirling Duguid.
Click here to RSVP (be sure to choose which screening you wish to attend.) Saturday, June 25, 2022 at 2:00PM Samuel Goldwyn Theater
8949 Wilshire Blvd, Beverly Hills, CA 90211
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Guests are Invited to a Special Fathers’ Day 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ LIGHTYEAR.
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and any unvaccinated attendees must wear masks at all times indoors.
RSVPs are closed
Sunday, June 19, 2022 at 11:00AM (RSVPs closed at 10:00AM on Friday) Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to three (3) Guests are Invited to a Screening of Universal Pictures’ JURASSIC WORLD DOMINION.
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up)
Friday, June 17, 2022 at 7:30PM (RSVPs close on Friday, June 17 at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Please join us for an eye-opening presentation of new innovations in 3D display technology. From lasers to light fields, the panelists will decipher the physics of how we see and interpret objects in the third dimension.
Presenters will explain the differences between these next generation displays, plus the evolution of the technology and the future of the industry.
The group will also discuss best practices for crafting a holographic narrative, the benefits of light-field virtual sets, and the timeline for experiencing these new technologies firsthand.
Moderator: Brian Gaffney from Unity Technologies
Panel: Dr. Daniel Smalley, Associate Professor, Brigham Young University
Thaisa Yamamura, Head of Business Development, Sony Electronics
Jon Karafin, CEO of Light Field Lab.
Please RSVP below (VES members must login to sign-up)
When: Saturday, May 21, 2022
When: 11am to 1pm
Where: Harmony Gold Theatre
7655 Sunset Blvd.
Los Angeles, CA 90046
Secured underground parking is accessible via driveway from Sunset Boulevard. An adjacent lot for overflow parking is located behind the building and can be accessed from Stanley Ave.
All VES members and guests must show photo ID and proof of full vaccination against COVID-19 for admission.
By signing up for this on-site, in-person 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 “live 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 On a Field Trip to PRG Virtual Production Studio
PRG rules require that all VES members must show photo ID and proof of full vaccination against COVID-19 for admission.
The film industry in 2022 has changed drastically. Everything from day-to-day operations to the very way we budget, schedule, and film productions. Virtual Production has been a big part of the continued evolution of the industry. This has been propelled further through new studies coming out of the UK showing the carbon footprint savings of shooting in a “volume” (a large LED stage). “ICVFX” (In-camera visual effects) are among the most exciting and sought-after virtual production techniques today. In light of this, we will be having various Field Trips during the summer months to new Virtual Production Studios in LA.
The first field trip will be at PRG Virtual Production Studio.
PRG has recently redesigned their Virtual Production Stage. Check out their new Mobile Modular Stage as well as their VP Production Truck that can travel to any location to set up LED Walls on an empty warehouse or stage. You’ll see demos of N-Display, xR set extensions and NCam, and tour the Brain Bar and control room inside the truck.
The PRG R&D team have further developed the Ncam offering with a unique on-set solution, seamlessly integrated with Unreal Engine and Mk2 Hardware. Ncam Reality system is integrated in the custom set cart, which all work together to blend live action and CG content in any indoor or outdoor environment.
Members and a guest will have the chance to see what an actual LED Volume looks like and be shown some of the differences between the various virtual production technologies like ICVFX, XR, AR and how they can best be used. In addition, they will be shown the difference between using playback on the LED Walls and using a tracked cinema camera linked directly with a game engine (Unreal Engine) that connects the physical world with images on the LED Wall. There will also be an open discussion on methods outside of the full ICVFX experience that are being adopted.
Please RSVP below (VES members must login to RSVP) Monday, May 16, 2022 at 11:00AM
PRG Virtual Production Studio
1245 Aviation Place, San Fernando, CA 91340
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.
Events are overbooked to compensate for no-shows. Space is limited and will be available on a first come, first served basis. An RSVP does not guarantee admission.
By signing up for this on-site, in-person 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 “live 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: Please enter your first and last name in the “Attendee 1″ fields***
VES Members and Up to Three (3) Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS.
Walt Disney Studios safety guidelines require that all VES members and guests must show photo ID that matches their names on the RSVP list and wear masks at all times indoors.
RSVPs are Closed
Sunday, May 15, 2022 at 3:00PM (It is now too late to make any changes) Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to four (4) Guests are Invited to a Screening of Focus Features’ THE NORTHMAN.
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
RSVPs are closed
Thursday, April 28, 2022 at 7:00PM (RSVPs close on Thursday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Three (3) Guests are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE.
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
Please RSVP below (VES members must login to sign up)
Monday, April 18, 2022 at 7:30PM (RSVPs close on Monday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to an Advance Screening of Universal Pictures’ and DreamWorks Animation’s THE BAD GUYS.
Please RSVP below (VES members must login to sign up)
Saturday, April 9, 2022 at 4:00PM The London Hotel screening room 1020 N San Vicente Blvd, West Hollywood, CA 90069 (Complimentary valet parking is provided by Universal.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
No masks will be required. Though unlikely, Los Angeles might still require VES members and guests (depending on age) to show photo ID & proof of vaccination against COVID-19 for admission. (Final confirmation will be announced 24 hours before the screening.)
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Three (3) Guests are Invited to an Opening Night Screening of Universal Pictures’ AMBULANCE.
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
RSVPs are closed
Friday, April 8, 2022 at 7:30PM (RSVPs close on Friday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Three (3) Guests are Invited to a Screening of Columbia Pictures’ MORBIUS.
Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission.
RSVPs are now closed
Monday, April 4, 2022 at 7:30PM (RSVPs close on Monday at 10:00AM) The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to Four (4) Named Guests are Invited to a Screening of Warner Bros. Pictures’ THE BATMAN
Warner Bros. rules require that all VES members and guests must show photo ID and upload proof of full vaccination against COVID-19 to their Passcard system for admission.
RSVPs are closed (VES members can make changes until Monday at 12:00PM via e-mail to ben@vesglobal.org)
Monday, March 14, 2022 at 7:00PM Steven J. Ross theater on the Warner Bros. Studio Lot (Please enter through Gate 4 off Hollywood Way)
4000 Warner Blvd, Burbank CA 91502 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All guests must show proof of full vaccination to attend this event by uploading their vaccination card information into the online Warner Bros. Passcard system.
On the day of the screening, guests will also be required to complete an online self-health screening via the online Warner Bros. Passcard system.
If you have any questions regarding these safety protocols and Warner Bros. Studios’ policies related to COVID-19, please call the Warner Bros. COVID-19 Response Hotline at (818) 954-2019.
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 only are Invited to a Screening of Lionsgate Pictures’ MOONFALL.Sony Pictures Imageworks guidelines require that all VES members must show photo ID & proof of vaccination against COVID-19 for admission and that masks must be worn over the nose and mouth at all times indoor while on the SPI/SPA lot. Additionally, everyone must maintain a social distance of at least 6 feet while in the Ray Harryhausen Theater. (Seating is extremely limited due to social distancing.)
RSVPs are closed, as this screening is full
Friday, February 25, 2022 at 7:30PM The Ray Harryhausen Theater on the Sony Pictures Studio Lot 9050 W. Washington Blvd., Culver City, CA 90232 (Complimentary parking is available in the underground lot on Washington.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to 4 Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: NO WAY HOME.Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
Please RSVP below (VES members must login to RSVP)
Thursday, December 23, 2021 at 7:00PM (RSVPs close on Thursday at 10:00AM) The Cary Grant Theater on the Sony Pictures Studio Lot 10202 West Washington Blvd., Culver City, CA 90232 (Please enter through the Culver/Motor gate and park in that structure.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ ENCANTO followed by a Q&A with the filmmakers.
Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
Panelists will include Annie Award-winning Writer-Director Jared Bush, Producer Yvett Merino, VES Award-winning Visual Effects Supervisor Scott Kersavage and Annie and VES Award-winning Head of Effects Animation Erin V. Ramos, moderated by VES Board member Camille Eden.
Please RSVP below (VES members must login to RSVP)
Saturday, December 18, 2021 at 11:00AM Harmony Gold (complimentary parking will be provided)
7655 W. Sunset Blvd., Los Angeles, CA 90046 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Up to 4 Guests are Invited to a 3D Screening of Sony Pictures’ VENOM: LET THERE BE CARNAGE.Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
RSVPs are closed
Tuesday, December 14, 2021 at 7:30PM The John Singleton Theater (formerly the Backstage) on Sony Pictures Studio Lot 10202 West Washington Blvd., Culver City, CA 90232 (Parking instructions will be included in the reminder e-mail.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and One (1) Guest are Invited to a Pre-Release Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS. followed by a Q&A with Visual Effects Supervisor Dan Glassand Sound Designer/Supervising Sound Editor Dane A. Davies, MPSE.
Warner Bros. rules and Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
RSVPs are closed, as this screening is overbooked.
Monday, December 13, 2021 at 7:00PM Steven J. Ross theater on the Warner Bros. Studio Lot (Please enter through Gate 4)
4000 Warner Blvd, Burbank CA 91502 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All guests must show proof of full vaccination to attend this event by uploading their vaccination card information into the online Warner Bros Passcard system.
Based on the current Los Angeles County mandate, all guests will be required to wear masks while inside the theater.
On the day of the screening, guests will also be required to complete an online self-health screening via the online Warner Bros Passcard system.
If you have any questions regarding these safety protocols and Warner Bros. Studios’ policies related to COVID-19, please call the Warner Bros. COVID-19 Response Hotline at (818) 954-2019.
* Please help protect the mysteries inside of the Matrix and do not reveal plot points or twists in your social posts. Do not post any teases in advance. Social: Thursday, December 16 @ 6:30PM (PST), 9:30PM (EST) – Review: Tuesday, December 21 @ 8:00AM (PST), 11:00AM (EST)
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.
Join the VES Los Angeles Section for some holiday cheer!
DATE: Sunday, December 12th
TIME: 3:00 to 7:00 PM
VENUE: The Cat and Fiddle, 742 N. Highland Ave, Los Angeles, CA 90038
This is our first in person event for the LA Section. Come out and socialize with your fellow VES members, exchange ideas, discuss favorite (or not so favorite) projects.
Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of full vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings (except when eating or drinking).
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person 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 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.
Please login to RSVP Below. VES Members: Please enter your first and last name in the “Attendee 1″ field and your guest in “Attendee 2” field.
VES Members and Up to 3 Guests are Invited to a Screening of Sony Pictures’ GHOSTBUSTERS: AFTERLIFE.Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
This screening is overbooked and RSVPs are closed
Monday, November 22, 2021 at 7:30PM (RSVPs close on Monday at 12:00PM) The John Singleton Theater (formerly the Backstage) on Sony Pictures Studio Lot 10202 West Washington Blvd., Culver City, CA 90232 (Parking instructions will be included in this weekend’s reminder e-mail.)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 25th Anniversary Screening of Paramount Pictures’ STAR TREK: FIRST CONTACT Followed by a Discussion with the Filmmakers. This event is presented by MastersFX, the Visual Effects Society with a print from Paramount. Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
Panelists will include award-winning Director-Actor Jonathan Frakes and Emmy-winning Borg Design Supervisor Todd Masters of MastersFX as well as VES, Academy, BAFTA and Emmy Award-winning Visual Effects Supervisor John Knoll, moderated by VES and Emmy Award-winner Dan Curry, VES.
Please RSVP below (VES members must login for location and to RSVP)
Sunday, November 21, 2021 at 7:00PM
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to 3 Guests are Invited to an Opening Weekend Screening of Marvel Studios’ and Walt Disney Pictures’ ETERNALS. Los Angeles City Ordinance #187219 requires that all VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings (except while actively enjoying concessions).Click here for theater specific terms and conditions.
Please RSVP below (VES members must login to RSVP)
Sunday, November 7, 2021 at 3:30PM El Capitan Theatre (Parking at the Hollywood & Highland Center is $3 for 4 hours with theatre validation.) 6838 Hollywood Blvd, Los Angeles, CA 90028 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Infinity Festival Hollywood is back live this November! For 2021, the theme of “Story Enabled by Technology” continues with a new slate of innovative programming, including industry-leading speakers, panels, exhibitions, innovation labs and a fine art gallery, each with an emerging-tech focus. Reserve your tickets now at infinityfestival.com. (VES members must login to see code for Free tickets.)
VES Members and Their Guests are Invited to a Screening of United Artists’ NO TIME TO DIE. Theater rules and L.A. County Public Health guidelines require that masks or face coverings must be worn over the nose and mouth at all times in indoor public settings.
Please RSVP below (VES members must login to RSVP)
Saturday, October 30, 2021 at 7:00PM Harmony Gold (complimentary parking will be provided)
7655 W. Sunset Blvd., Los Angeles, CA 90046 Click here for a map.
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join us for a fun Halloween Movie Night featuring the movie classic Scream!
DATE: Thursday, October 28th
TIME: Gates Open at 7:00 PM / Movie Starts at 7:30 PM
PLACE: Drive Up at Santa Monica Airport
3233 Donald Douglas Loop S * Santa Monica Interim Open Space * Santa Monica, CA 90405
Enjoy the movie from inside your car or enjoy lawn seating.
Concession Stand: Enjoy classic cinema concessions like candy, soda and fresh popcorn, available with contactless order and pick-up. You’re also welcome to bring your own food to enjoy with your movie!
This time we are going truly GLOBAL! The LA section has arranged for an opportunity to virtually meet with VES members in AUSTRALIA, NEW ZEALAND and INDIA
You could make 5+ new international VFX industry connections in just one hour. If you have not made it to one of these fast paced sessions before, this is the one you simply can’t miss!
Friday 15th October 2021
7:00 pm PDT
Members can register for FREE at the link below (Members must login to the website).
VES Members and up to 4 Guests are Invited to a Pre-Release Screening of Warner Bros. Pictures’ DUNE, followed by a discussion with award-winning Director/Producer/Co-Writer Denis Villeneuve and VES, Academy and BAFTA Award-winning Visual Effects Supervisor Paul Lambert, moderated by Award-winning VES member Rob Legato, ASC. Theater rules and L.A. County Public Health guidelines require that face coverings must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
RSVPs are closed, as this screening is overbooked (Any changes should go to ben@vesglobal.org)
Saturday, September 25, 2021 at 11:00AM Universal Cinema AMC at CityWalk Hollywood (Parking is $5 after rebate at the theater box office. General parking price is $28 payable before the rebate.) 100 Universal City Plaza, Universal City, CA 91608 Click here for a map.
***VES Members: Please register your name as “Attendee 1″***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to 4 Guests are Invited to a Screening of Warner Bros. Pictures’ THE SUICIDE SQUAD. Warner Bros. Studios rules and L.A. County Public Health guidelines require that face coverings must be worn at all times in indoor public settings.
RSVPs are Closed
Saturday, September 18, 2021 at 4:00PM (RSVPs close on Friday at 12:00PM) Screening Room 12 on the Warner Bros. Studio Lot (Please enter through Gate 4)
4000 Warner Blvd, Burbank CA 91502 Click here for a map.
***VES Members: Please register your name as “Attendee 1″***
Please note that all guests of the WB facilities need to bring a valid photo ID and are required to complete their Self-Health Screening tool called Passcard. The self-health screening process is as follows:
Enter the following when prompted for the Location Code: 220-162-396
When prompted on the Vaccination Status screen, please select: “The WarnerMedia Vaccine Policy does not apply to me…” option
Upon completion of the screening tool, you will receive aGREEN or a RED result.
If GREEN, you need to show the GREENresult to security upon arrival for access.
If RED, do not come to WB facilities, and, if you are experiencing COVID-19 symptoms, you may need to contact your primary health care provider.
Your GREENresult is only valid on the date completed.
Everyone’s safety is important to Warner Bros. Your access to the Studio Lot is conditioned on full compliance with the Safety Protocols. Please especially remember the three W’s:
Wear a face covering or a mask.
Watch your distance. Stay at least six feet from other people.
Wash your hands frequently.
If you have any questions regarding these safety protocols and Warner Bros. Studios’ policies related to COVID-19, please call the Warner Bros. COVID-19 Response Hotline at (818) 954-2019.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and up to 2 Guests are Invited to a Screening of Marvel Studios’ and Walt Disney Pictures’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Theater rules and L.A. County Public Health guidelines require that face coverings must be worn at all times in indoor public settings (except while actively enjoying concessions).Click herefor theater specific terms and conditions.
Please RSVP below (VES members must login to RSVP)
Saturday, September 4, 2021 at 3:30PM El Capitan Theatre (Parking at the Hollywood & Highland Center is $3 for 4 hours with theatre validation.) 6838 Hollywood Blvd, Los Angeles, CA 90028 Click here for a map.
***VES Members: Please register your name as “Attendee 1″***
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 Screening of DreamWorks Animation’s and Universal Pictures’ THE BOSS BABY: FAMILY BUSINESS. Theater rules require that masks or face coverings must be worn at all times while in the building.
Please RSVP below (VES members must login to RSVP)
Sunday, July 11, 2021 at 4:00PM Harmony Gold (complimentary parking will be provided)
7655 W. Sunset Blvd., Los Angeles, CA 90046 Click here for a map.
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 a Guest are Invited to a Screening of Marvel Studios’ and Walt Disney Pictures’ BLACK WIDOW. Theater rules require that face coverings must be worn at all times (except while actively enjoying concessions). Click here for theater specific terms and conditions.
Please RSVP below (VES members must login to RSVP)
Saturday, July 10, 2021 at 12:00PM El Capitan Theatre (Parking at the Hollywood & Highland Center is $3 for 4 hours with theatre validation.) 6838 Hollywood Blvd, Los Angeles, CA 90028 Click here for a map.
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.
Join us for an in-depth conversation with Master Production Designer, Oscar and BAFTA nominee and Emmy Award winner, James D. Bissell.
The event will be moderated by Jeffrey A. Okun, VES and will be followed by a Q&A session.
DATE:Saturday, May 29, 2021
TIME: 4:00 pm to 5:00 pm
PLACE: Zoom of Course
James’ list of credits include: Good Night, and Good Luck, 300, Mission: Impossible-GhostProtocol,E.T. the Extra-Terrestrial, and most recently, The Midnight Sky.
Join us for our first LA hosted West Coast VES section members networking event!
DATE: Wednesday 26th
TIME: 7:00 pm
This is an amazing opportunity for ‘Speed Networking’ with West Coast members of the VES hosted by the LA section. This fast paced session uses Meetaway’s digital platform with targeted matching, to ensure you can connect directly with the people you want for a 1-1 conversation. You could make 5 new industry connections in the VES in just one hour!
Please login to register below!
More about the event format:
For anyone new to the Meetaway format, Meetaways are online events that intelligently match attendees for a series of 1-on-1 video calls. After each conversation, attendees automatically rotate to the next one. You just log in to the event and Meetaway will handle the rest.
Additionally, you’ll want to join the event on a laptop or desktop with a modern browser such as Chrome, Firefox, Safari, or new Edge. Meetaway does not support mobile devices because the screen movements are often distracting and having everyone on a laptop or desktop results in a better overall experience.
Join us for our first virtual VES LA Spring Membership Mixer!
This is an amazing opportunity for ‘Speed Networking’ with members of the VES LA Section. Meetaway’s digital platform with targeted matching ensures you can connect directly with the people you want for a 1-1 conversation.
VES LA Members who register by 3/9 will receive a $20 Doordash credit.
Members are encouraged to invite their industry colleagues interested in learning more about joining the VES. This is also a great opportunity for our current members, just to check in with your peers and see how everyone is doing.
The spring membership deadline is Monday, March 15th, so be sure to attend this event if you are interested in joining the Visual Effects Society Los Angels Section. The event will provide valuable information about the benefits members enjoy, as well as offering the opportunity to network with 5 or more VFX colleagues for a chance to create meaningful connections.
Join us for our first virtual VES LA Spring Membership Mixer!
This is an amazing opportunity for ‘Speed Networking’ with members of the VES LA Section. Meetaway’s digital platform with targeted matching ensures you can connect directly with the people you want for a 1-1 conversation.
VES LA Members who register by 3/9 will receive a $20 Doordash credit.
Members are encouraged to invite their industry colleagues interested in learning more about joining the VES. This is also a great opportunity for our current members, just to check in with your peers and see how everyone is doing.
The spring membership deadline is Monday, March 15th, so be sure to attend this event if you are interested in joining the Visual Effects Society Los Angels Section. The event will provide valuable information about the benefits members enjoy, as well as offering the opportunity to network with 5 or more VFX colleagues for a chance to create meaningful connections.
Please join us for special screening of the hit comedy AIRPLANE with an after show Q&A with special guest Writer-Director, Jerry Zucker!
Saturday February 13th 2021 at 4:00 PM PST.
The event will showcase a new streaming/test screening platform where all the regular items: chat room, recording faces watching the movie, and a lively discussion post the film with the director can occur.
In all cases, we record the viewer and reactions and sync them to the timeline of the movie. A link will be sent out to those who will participate with a password.
We look forward to having you attend this very special event!
The screening is open to VES LA members and is limited to 50 participants.
The Los Angeles Section of the Visual Effects Society presents:
PROFESSIONAL VIRTUAL PRODUCTION FROM HOME
Saturday, November 7th at 11 AM; PST Hosted by: James Markham Hall, Jr.
Join us as we discuss state-of-the-art virtual production tools and techniques used remotely to create professional level content beyond studio specifications.
National Geographic and Disney+ Invite VES Members and One Guest to Attend the World Premiere Drive-In Screening of THE RIGHT STUFF: THE RACE TO BE FIRST IN SPACE plus Q&A with the cast.
Monday, October 5, 2020 at 7:30PM (Doors open at 6:30PM)
Barker Hangar at Santa Monica Airport
3021 Airport Ave., Santa Monica, CA 90404
Featuring Emmy-nominated talent for Outstanding Sound Editing from What We Do in the Shadows “The Return”.
What does a CG bat fight sound like?
How do you create troll footsteps when you’ve never seen a troll?
Join us for an engaging discussion about how VFX & sound inform each other in on-screen storytelling, and help create a show that’s half supernatural, half documentary, and 100% hilarious.
Panelists include: * Steffan Falesitch, Supervising Sound Editor * Jackie Jones, SVP Broadcast Formosa Group * Diego Gat, Re-Recording Mixer * David Barbee, FX Editor * Sam Ejnes, Re-Recording Mixer * Sara McGrail, VES L.A. Board Co-Chair
Bay Area, Washington, Vancouver and Los Angeles Sections present:
West Coast Happy Hour Wednesday, August 26th
6:00-7:00pm (PST – Of Course!)
It’s time for all of the VES’ West Coast Members to step up and mingle:
* Have a great recipe to share?
* Recommendation on new shows to binge?
* Who has the cutest cat, doggie or turtle?
Prizes too! Have a chance to WIN a copy of the newly released third edition of the VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures!
To join THIS party, use Chrome desktop browser (with the Netflix Party extension installed) and click on the party URL above, which will redirect to Netflix’s website. You must click on the “NP” button next to the address bar to automatically join the party. The Chat will start around 7:00 pm with screening to begin @ 7:10 pm.
FINE PRINT: NETFLIX SUBSCRIPTION REQUIRED TO PARTICIPATE. DON’T HAVE AN ACCOUNT? SIGN UP AT NETFLIX.COM FOR A FREE 30 DAY SUBSCRIPTION. NETFLIX PARTY CHROME EXTENSION REQUIRED TO BE INSTALLED. THIS IS AN UNMODERATED EVENT. PLEASE BE KIND TO ONE ANOTHER.
Join us for your chance to WIN a copy of the newly released third edition of the VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures!
VES LA Happy Hour Wednesday, July 29th 6:00-7:00pm
Have a great recipe to share?
Best new show to binge watch?
Hookup for comfy corona masks?
It’s time to fraternize, chat & connect!
The LA Section of the Visual Effects Society invites you to its next panel:
LED Stage Production
Sunday, June 28th @ 11 AM (PST)
via ZOOM
The worlds of game development and film production have collided and created a brand new world for filmmakers to explore: LED Stage Production.
This panel is designed to give a general Introduction of LED Stages and their impact on Pre-Production, Production and Post. Additional focus will be on the future of content production in a COVID19 world.
This is a free educational webinar panel, followed by a Q&A.
You are invited to our first-ever, VES Netflix Party where you choose the movie – Click here to vote for the movie!
Then on Wednesday, June 17 at 7:30 PM we will watch the winning movie together and join an online chat with our fellow west coast VES colleagues from the Bay Area, Los Angeles, Vancouver and Washington Sections.
Look for your Netflix Party url email invitation and on this page one hour before showtime where you’ll find out the winning movie when you log in.
Fine Print: Netflix subscription required to participate. Don’t have an account? Sign up at Netflix.com for a FREE 30 day subscription. You will receive an email invite with a private URL one hour prior to the screening. Netflix Party Chrome Extension required to be installed. Instructions will be included with your invitation. This is an unmoderated event. Please be kind to one another.
This online presentation will discuss and demonstrate how new advancements in virtual production and visualization can be used to help all content creators raise the bar with creative ideas and new technical approaches.
THE THIRD FLOOR is one of the world’s leading visualization studios. It is a major contributor to today’s most popular films and TV series — from the Marvel Cinematic Universe and STAR WARS Franchise to HBO’s GAME OF THRONES.
Our speakers from THE THIRD FLOOR are: Eric Carney, Founder, Global CTO/Visual FX Supervisor; Gary Marshall, R&D Innovation Director; Dane Smith, Vice President; and Lara Cawsey, Business Development Manager
Our event will be hosted by Scott Squires, VES a VES Fellow who has worked in the visual effects industry for decades as a VFX supervisor and technical developer. He has multiple VFX Academy Award nominations and worked on such films as THE MASK, DRAGONHEART, and STAR WARS: EPISODE 1- THE PHANTOM MENACE.
The VES Los Angeles Screening of Paramount Pictures’ A QUIET PLACE PART II has been cancelled because the studio has postponed the release due to concerns related to the COVID19 outbreak.
The VES Los Angeles Screening of Sony Pictures’ BLOODSHOThas been cancelled because the studio has postponed the release due to concerns related to the COVID19 outbreak.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE WAY BACK
In an effort to prevent the spread of COVID19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
Please RSVP below (VES members must login to RSVP and see venue information) (RSVPs close at 12:00PM on Monday, March 9) Monday, March 9, 2020 at 8:00PM
VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, March 6) Sunday, March 8, 2020 at 12:00PM
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE INVISIBLE MAN
Please RSVP below (VES members must login to RSVP and see venue information) (RSVPs close at 12:00PM on Friday, February 28) Friday, February 28, 2020 at 8:00PM
**See old friends & meet some new ones**
**Learn about VES events & programs**
**Find or be someone to write a new-member endorsement letter**Beer, wine & light bites
Fabulous raffle prizes!
* Bring a potential new member for an extra ticket!Venue graciously provided by: Pixomondo Los Angeles 2055 S Barrington Ave,
Los Angeles, CA 90025
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century’s THE CALL OF THE WILD
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, February 21) Saturday, February 22, 2020 at 2:00PM
MastersFX Presents a Celebration of Practical Effects with a Special Twenty-Fifth Anniversary Screening of TALES FROM THE CRYPT: DEMON KNIGHT followed by a discussion with Todd Masters and others to be announced.
Click here to RSVP (Space is limited, so please sign up soon) Monday, January 13, 2020 at 8:00PM Arclight (Cinerama Dome) Hollywood
6360 Sunset Blvd, Los Angeles, CA 90028
Todd Masters and His Special Guests will reflect on the making of this iconic movie with “tales” of the challenges of the practical effects, and how they integrated with the live action performances. Never before seen slides from behind-the-scenes of the making of DEMON KNIGHT will also be presented!
For more information, please call Dan Harary at Asbury PR Agency at (310) 859-1831
Join us at the VES Bake-Off After-Party!
Immediately after the AMPAS Bake-Off, please join us for the VES Bake-Off Bash After-Party for fun, friends, food and libations at Via Alloro restaurant in Beverly Hills.
Saturday, January 4, 2020 VES Bake-Off After-Party 9:00PM to 11:30PM **The Academy’s VFX Bake-Off is a separate event and handled through AMPAS.
Via Alloro (less than a mile from the Academy’s Goldwyn Theater). 301 N Canon Dr, Beverly Hills, CA 90210
Complimentary Valet Parking is available at the restaurant.
Tickets are non-refundable / non-transferable. All tickets are sold individually. Space is limited and this event will sell out, please get your tickets NOW!
Member Ticket Price = $65.00
Non-Member Ticket Price = $125.00
We look forward to celebrating with our members and colleagues from around the globe and making this a festive international gathering!
For Sponsorship opportunities, please click here and contact Nancy Ward at (818) 981-7861 by Friday, December 13.
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 are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER followed by a Q&A with the Filmmakers
Panelists will include Director J.J. Abrams as well as Visual Effects Supervisors Roger Guyett and Patrick Tubach, moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, December 20) Saturday, December 21, 2019 at 11:00AM
VES Members and Their Guests are Invited to a Pre-Release Screening of Universal Pictures’ 1917
(VES members must login in order to see venue information and RSVP.)
VES Members and Their Guests are Invited to an Opening Night 3D Screening of Sony Pictures’ JUMANJI: THE NEXT LEVEL
(VES members must login in order to see venue information and RSVP.)
VES Members and Their Guests are Invited to a Screening of Netflix’s THE IRISHMAN followed by a Q&A with Visual Effects Supervisor Pablo Helman, moderated by VES Fellow Paul Debevec, VES. (All panelists’ participation based on availability.) There will also be a reception off of the lobby of the theater immediately after the discussion.
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, December 6) Sunday, December 8, 2019 at 11:00AM
Join us for the most wonderful party of the year!
Exciting raffle prizes, great food & drinks, interactive exhibits, music, and a Sky Slide 70 floors up! (Come early! Free sky slide tickets for the first 100 guests!)
Members +1 free with RSVP (Please log-in to RSVP on this page)
RSVP & Ticket sales close Fri, Nov 29th at 12:00pm
The Visual Effects Society in collaboration with the American Society of Cinematographers (ASC) invite a limited number of VES members to attend the hands-on Practical Lighting for CG Artists masterclass at the Sony Digital Media Production Center (DMPC).
Among those scheduled to appear are 6-time Oscar nominee and ASC Lifetime Achievement Award-winning Cinematographer Caleb Deschanel, ASC, and VES Founders Award recipient, Fellow and Lifetime Member Bill Taylor, VES, ASC, who’s won the Academy’s Technical Achievement Award and the Medal of Commendation as well as an Emmy. Join us for the eighth incarnation of the wildly popular and informative one-day seminar geared toward helping digital artists develop the sensibilities and sensitivities of a cinematographer.
Click here to purchase tickets ($25 tickets include Mexican buffet lunch with vegan & gluten free options) Tuesday, December 3, 2019 from 11:00AM to 5:00PM
Registration begins at 10:30AM, Masterclass at 11:00AM
(VES members must login to see venue information below)
VES Members and Their Guests are Invited to a Pre-Release Screening of 20th Century Fox’s and Blue Sky Studios’ SPIES IN DISGUISE followed by a Q&A with Director Nick Bruno, moderated by Pete Hammond
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, November 29) Saturday, November 30, 2019 at 11:00AM
VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Animation Studios’ FROZEN 2
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, November 22) Sunday, November 24, 2019 at 4:00PM
WET, also known as WET Design, is a water feature design firm based in Los Angeles, California. Founded in 1983 by former Disney Imagineers Mark Fuller, Melanie Simon, and Alan Robinson, the company has designed over two hundred fountains and water features using water, fire, ice, fog, and lights.
Please log-in to RSVP.
Strict guest list required – Space is limited to first 30 members!
Please only RSVP if you’re able to attend.
Join us for a VES-exclusive look at the latest Dreamscape VR experiences!
The Vision: Combine the emotional power of Hollywood storytelling, the visceral excitement
of great theme-park rides, and this extraordinary new technology to create stories and worlds
that push the limits of virtual reality.
Tuesday, Nov 19th
1:30pm – 3:00pm
Please plan to arrive between 1:00-1:30pm, and stay for the duration until 3:00pm.
Shows last approximately 30 minutes, so guests may be able to do more than one experience.
VES Members and Their Guests are Invited to a Screening of Lionsgate’s MIDWAY followed by a Q&A with the Filmmakers
Panelists will include Director Roland Emmerich, Visual Effects Supervisor Peter Travers and Visual Effects Producer Tricia Mulgrew, moderated by VES Board member Jeffrey Kleiser. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information) Monday, November 18, 2019 at 7:30PM
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s FORD V FERRARI followed by a 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)
(RSVPs close at 12:00PM on Friday, November 15) Saturday, November 16, 2019 at 11:00AM
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DOCTOR SLEEP
(VES members must login in order to see venue information and RSVP.)
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE GOLDFINCH
Please RSVP below
Friday, September 13, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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.
Kids Run The Bases (kids 14 & under after the game)
Dodgers Foundation Memorabilia Silent Auction (located outside the Vin Scully Press box on Club Level 5)
Tickets: $35 (Please log-in to purchase tickets.)
All You Can Eat Right Field Pavilion, Section 306
Limited seats! Purchase today!
Tickets include unlimited Dodger Dogs, nachos, popcorn, peanuts, Coke products and water through the 7th inning. Alcohol is not included, but is available for purchase. Outside food can also be brought into the stadium, as well as sealed bottles of soda and water, up to 1 liter each.
Parking & Game Entry
Parking gates open 2.5 hours prior to the start of the game.
Stadium gates open approximately 2 hours prior to the first pitch.
Parking for automobiles and motorcycles is $17 in advance and $25 at the gate.
Preferred parking is $40 in advance and $50 at the gate. Parking for large vehicles including buses, motor homes, limousines and other oversized vehicles is $40 in advance and $50 at the gate.
For only $5 (in advance or upon arrival), purchase parking for Lots 13 and 14. These first-come, first-serve lots are located offsite on Stadium Way – between Elysian Park Avenue and the 110 – and allow for easy entrance and exit. Note that there is an uphill walk to the stadium from these lots, of approximately 10 to 15 minutes. A free shuttle is available for fans with disabilities, call Fan Services (323) 224-2611. Go online to www.dodgers.com to purchase parking in advance.
Kids Run The Bases (kids 14 & under after the game)
Dodgers Foundation Memorabilia Silent Auction (located outside the Vin Scully Press box on Club Level 5)
Tickets: $35 (Please log-in to purchase tickets.)
All You Can Eat Right Field Pavilion, Section 306
Limited seats! Purchase today!
Tickets include unlimited Dodger Dogs, nachos, popcorn, peanuts, Coke products and water through the 7th inning. Alcohol is not included, but is available for purchase. Outside food can also be brought into the stadium, as well as sealed bottles of soda and water, up to 1 liter each.
Parking & Game Entry
Parking gates open 2.5 hours prior to the start of the game.
Stadium gates open approximately 2 hours prior to the first pitch.
Parking for automobiles and motorcycles is $17 in advance and $25 at the gate.
Preferred parking is $40 in advance and $50 at the gate. Parking for large vehicles including buses, motor homes, limousines and other oversized vehicles is $40 in advance and $50 at the gate.
For only $5 (in advance or upon arrival), purchase parking for Lots 13 and 14. These first-come, first-serve lots are located offsite on Stadium Way – between Elysian Park Avenue and the 110 – and allow for easy entrance and exit. Note that there is an uphill walk to the stadium from these lots, of approximately 10 to 15 minutes. A free shuttle is available for fans with disabilities, call Fan Services (323) 224-2611. Go online to www.dodgers.com to purchase parking in advance.
VES Members and Their Guests in are Invited to aPre-Release Screening of Warner Bros. Pictures’ IT CHAPTER TWO
Please RSVP below Thursday, September 5, 2019 at 7:00PM (RSVPs close at 12:00PM on Thursday, September 5)
Warner Bros. Studio screening room #5
4000 Warner Blvd., Burbank, CA 91522 (Please enter through the Gate #4/Hollywood Way and park as directed.) 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 Millenium Films’ ANGEL HAS FALLEN
Please RSVP below
Friday, August 30, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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
Friday, August 23, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 Click here for a map.
This film is Rated R 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.
Grab a friend or two. All are welcome to join for coffee, tea, and conversation!
Topic: Diversity & Inclusion in Hiring & Career Development
How diverse is your workplace?
What are best practices in recruitment & career dev you’ve seen, or would like to see?
Are you looking for talent, your next gig, or making a career move?
Bring your VFX friends, feedback, ideas, and resumes or job posts!
Priscilla’s Coffee
4150 W Riverside Dr., Burbank, CA 91505
Grab a friend or two. All are welcome to join for coffee, tea, and conversation!
Topic: Diversity & Inclusion in Hiring & Career Development
How diverse is your workplace?
What are best practices in recruitment & career dev you’ve seen, or would like to see?
Are you looking for talent, your next gig, or making a career move?
Bring your VFX friends, feedback, ideas, and resumes or job posts!
Priscilla’s Coffee
4150 W Riverside Dr., Burbank, CA 91505
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below Saturday, August 10, 2019 at 7:00PM
(RSVPs will close at 12:00PM on Friday, August 9) Blakeley Theater on the 20th Century Fox Studio lot
10201 West Pico Blvd., Los Angeles, CA 90064-2606 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
Friday, August 9, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Attend the Art Directors Guild Screening of THE PURPLE ROSE OF CAIRO (1985) – A Tribute to Emmy®-Winning Production Designer Stuart Wurtzel
The Aero Theatre, Santa Monica
1328 Montana Ave., Santa Monica, CA 90403 Click here for a map.
Production Designer Stuart WurtzelADG created a valentine to classic Hollywood and the films of the depression era. The film’s movie-with-in-the-movie is an RKO-style screwball comedy set in a glittering Manhattan penthouse. The outer world of the film is set in New Jersey amid the dreams of a simple housewife, Mia Farrow, whose world is turned upside down when the hero of the film, Jeff Daniels, steps out of her neighborhood movie theater’s screen and into her real-life world. A beloved film by many, the expert blending of the film’s fiction and reality blur the lines between fantasy and romance in memorable ways. It’s “perfect-pitch” Production Design by a master of the New York school and a visual delight for all to behold.
Emmy winning Production Designer Stuart Wurtzel ADG will be interviewed by moderator John Iacovelli ADG, Production Designer.
VES Members and their Guests are Invited to Attend the Art Directors Guild Screening of THE PURPLE ROSE OF CAIRO (1985) – A Tribute to Emmy®-Winning Production Designer Stuart Wurtzel
The Aero Theatre, Santa Monica
1328 Montana Ave., Santa Monica, CA 90403 Click here for a map.
Production Designer Stuart WurtzelADG created a valentine to classic Hollywood and the films of the depression era. The film’s movie-with-in-the-movie is an RKO-style screwball comedy set in a glittering Manhattan penthouse. The outer world of the film is set in New Jersey amid the dreams of a simple housewife, Mia Farrow, whose world is turned upside down when the hero of the film, Jeff Daniels, steps out of her neighborhood movie theater’s screen and into her real-life world. A beloved film by many, the expert blending of the film’s fiction and reality blur the lines between fantasy and romance in memorable ways. It’s “perfect-pitch” Production Design by a master of the New York school and a visual delight for all to behold.
Emmy winning Production Designer Stuart Wurtzel ADG will be interviewed by moderator John Iacovelli ADG, Production Designer.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE LION KING followed by a 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
(RSVPs close at 12:00PM on Friday, July 26) Saturday, July 27, 2019 at 11:00AM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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 Night Screening of 20th Century Fox’s STUBER
Please RSVP below Friday, July 12, 2018 at 8:00PM
(RSVPs will close at 12:00PM on Friday, July 12) Little Theater on the 20th Century Fox Studio lot
10201 West Pico Blvd., Los Angeles, CA 90064-2606 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’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME followed by a Q&A with the Visual Effects Team
Panelists will include Visual Effects Producer Cyndi Ochs, Luma Pictures Visual Effects Supervisor Kevin Souls, Imageworks Visual Effects Supervisor Theo Bialek, Imageworks CG Supervisor Joe Pepper and Scanline’s Sequence Supervisor Curtis Carlson, moderated by VES Board member Andrew Bly. (Panelists’ participation is based on availability.)
Please RSVP below
Monday, July 8, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The Visual Effects Society has Secured a Very Limited Number of Tickets for VES Members and a Guest to Attend a Double Feature of ROGUE ONE: A STAR WARS STORY (2016) and a 70mm film print of the Original STAR WARS: EPISODE IV – A NEW HOPE (1977).
It has been twenty-two years since the Special Editions of the original STAR WARS trilogy were released, effectively preventing anyone from being able to watch the 1977 theatrical version of that seminal film as it was originally shown. Join us for chronological screenings of ROGUE ONE: A STAR WARS STORY, relating how the Rebel Alliance took possession of the plans for the dreaded Death Star, followed by the original STAR WARS: EPISODE IV – A NEW HOPE, in which you’ll be among the first in more than two decades to watch Han Solo shoot first!
This is a 5 hour event with no food available.
Please RSVP below (Sign up ASAP, as tickets are already SOLD OUT.) Saturday, June 29 at 10:00AM to 3:00PM
(Be in your seat by 9:45AM or it may be forfeited, and be sure to eat a hearty breakfast!) There will be a 30 minute break between films and the Academy does not allow any food or drinks in the theater. (Security will search all bags.)
Samuel Goldwyn Theater
8949 Wilshire Blvd., Beverly Hills, CA 90211 Click here for FREE parking information and the Academy’s food & beverage policy. Click here for a map.
*You must attend the first screening in order to attend the second, and nobody will be re-admitted once they leave.
The Visual Effects Society has Secured a Very Limited Number of Tickets for VES Members and a Guest to Attend a Double Feature of ROGUE ONE: A STAR WARS STORY (2016) and a 70mm film print of the Original STAR WARS: EPISODE IV – A NEW HOPE (1977).
It has been twenty-two years since the Special Editions of the original STAR WARS trilogy were released, effectively preventing anyone from being able to watch the 1977 theatrical version of that seminal film as it was originally shown. Join us for chronological screenings of ROGUE ONE: A STAR WARS STORY, relating how the Rebel Alliance took possession of the plans for the dreaded Death Star, followed by the original STAR WARS: EPISODE IV – A NEW HOPE, in which you’ll be among the first in more than two decades to watch Han Solo shoot first!
This is a 5 hour event with no food available.
Please RSVP below (Sign up ASAP, as tickets are already SOLD OUT.) Saturday, June 29 at 10:00AM to 3:00PM
(Be in your seat by 9:45AM or it may be forfeited, and be sure to eat a hearty breakfast!) There will be a 30 minute break between films and the Academy does not allow any food or drinks in the theater. (Security will search all bags.)
Samuel Goldwyn Theater
8949 Wilshire Blvd., Beverly Hills, CA 90211 Click here for FREE parking information and the Academy’s food & beverage policy. Click here for a map.
*You must attend the first screening in order to attend the second, and nobody will be re-admitted once they leave.
(You will be able to stream this event for up to 48 hours afterward.)
Over the last 40 years, technology has advanced by leaps and bounds. But the impetus to create and inspire remains the same. This event will contrast the analog technologies developed for the first STAR WARS released in 1977 with the all-digital toolsets used to create ROGUE ONE released in 2016.
Key contributors from both STAR WARS and ROGUE ONE will share the journey of creating the impossible with their breakthrough visual effects. Our list of stellar participants includes John Dykstra, Dennis Muren, VES, John Knoll, Ben Burtt, Marcia Lucas, Bill George, Harrison Ellenshaw, Bruce Nicholson, Richard Edlund, VES and Rachel Rose. Hosted by Kiri Hart, co-producer of ROGUE ONE, this event promises to be both inspiring and insightful.
Please RSVP below
Thursday, June 27, 2019 at 7:30PM
(There are very few seats allotted for VES members, and tickets for the public are already sold out.)
Samuel Goldwyn Theater
8949 Wilshire Blvd., Beverly Hills, CA 90211 Click here for FREE parking information.
*Due to limited ticket availability, please be sure to RSVP as soon as possible.
(You will be able to stream this event for up to 48 hours afterward.)
Over the last 40 years, technology has advanced by leaps and bounds. But the impetus to create and inspire remains the same. This event will contrast the analog technologies developed for the first STAR WARS released in 1977 with the all-digital toolsets used to create ROGUE ONE released in 2016.
Key contributors from both STAR WARS and ROGUE ONE will share the journey of creating the impossible with their breakthrough visual effects. Our list of stellar participants includes John Dykstra, Dennis Muren, VES, John Knoll, Ben Burtt, Marcia Lucas, Bill George, Harrison Ellenshaw, Bruce Nicholson, Richard Edlund, VES and Rachel Rose. Hosted by Kiri Hart, co-producer of ROGUE ONE, this event promises to be both inspiring and insightful.
Please RSVP below
Thursday, June 27, 2019 at 7:30PM
(There are very few seats allotted for VES members, and tickets for the public are already sold out.)
Samuel Goldwyn Theater
8949 Wilshire Blvd., Beverly Hills, CA 90211 Click here for FREE parking information.
*Due to limited ticket availability, please be sure to RSVP as soon as possible.
VES Members and a Guest are Invited to Attend the Art Directors Guild Screening of CLOSE ENCOUNTERS OF THE THIRD KIND (1977), a Tribute to Production Designer Joe Alves
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
Ray Bradbury declared CLOSE ENCOUNTERS OF THE THIRD KIND as the greatest science fiction film ever made. Joe Alves, ADG the film’s Production Designer, began his career as an animator on the 1956 MGM classic, FORBIDDEN PLANET. A master Close Encounters, Mr. Alves will be in attendance to share highlights from his long career as a motion picture Designer and Illustrator. Close Encounters was written and directed by Steven Spielberg, and stars Richard Dreyfuss, Melinda Dillon, Teri Garr, Bob Balaban, Cary Guffey, and François Truffaut. It tells the story of Roy Neary, an everyday blue-collar worker in Indiana, whose life changes after an encounter with an unidentified flying object (UFO). Director Jean Renoir compared Spielberg’s storytelling to that of Jules Verne and Georges Méliès. Celebrating the 40th Anniversary of Spielberg’s landmark film, a special Digitally Remastered 4K version of the Director’s Cut will be shown.
Production DesignerJoe Alves ADG, will be interviewed by moderator Thomas A. Walsh ADG, Production Designer and Film Series Co-chair.
VES Members and a Guest are Invited to Attend the Art Directors Guild Screening of CLOSE ENCOUNTERS OF THE THIRD KIND (1977), a Tribute to Production Designer Joe Alves
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
Ray Bradbury declared CLOSE ENCOUNTERS OF THE THIRD KIND as the greatest science fiction film ever made. Joe Alves, ADG the film’s Production Designer, began his career as an animator on the 1956 MGM classic, FORBIDDEN PLANET. A master Close Encounters, Mr. Alves will be in attendance to share highlights from his long career as a motion picture Designer and Illustrator. Close Encounters was written and directed by Steven Spielberg, and stars Richard Dreyfuss, Melinda Dillon, Teri Garr, Bob Balaban, Cary Guffey, and François Truffaut. It tells the story of Roy Neary, an everyday blue-collar worker in Indiana, whose life changes after an encounter with an unidentified flying object (UFO). Director Jean Renoir compared Spielberg’s storytelling to that of Jules Verne and Georges Méliès. Celebrating the 40th Anniversary of Spielberg’s landmark film, a special Digitally Remastered 4K version of the Director’s Cut will be shown.
Production DesignerJoe Alves ADG, will be interviewed by moderator Thomas A. Walsh ADG, Production Designer and Film Series Co-chair.
VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below
Friday, June 21, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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.
Mark your calendars and join us on June 18-20 for the DelliVR Conference, a hands-on 360/VR/AR training event. The conference will feature technical training, business management classes, and social activities. VES members receive 20% off passes. (VES member must login to see the discount code below.)
Mark your calendars and join us on June 18-20 for the DelliVR Conference, a hands-on 360/VR/AR training event. The conference will feature technical training, business management classes, and social activities. VES members receive 20% off passes. (VES member must login to see the discount code below.)
VES Members and Their Families are Invited to a Pre-Release 3D Screening of Disney•Pixar’s TOY STORY 4
Please RSVP below Saturday, June 15, 2019 at 5:00PM (RSVPs close at 12:00PM on Friday, June 14)
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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 Night Screening of Focus Features’ THE DEAD DON’T DIE
Please RSVP below
Friday, June 14, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
June 12th – doors open 7:00PM (CEST) and there will be beer and pizza!
ZOOM stream starts at 7:30PM (CEST)
Masterclass starts at 8:00PM (CEST)
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The VES invites you to our 3rd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on June 12th 7:00PM at multiple locations and will also be streamed via ZOOM.
RSVP for your specific location on the appropriate event pages please:
Efficient facial rigging tools for emotionally believable digital humans
presented by Volker Helzle – Head of Research & Development at Filmakademie
Live from Munich Using Machine-learning to classify a VFXElements Library
presented by Jonas Kluger – Pipeline TD at ARRI
Live from Berlin Camera Technology: Sensors, Noise Properties, and Raw Processing
presented by Charles Poynton, PhD
We are overbooking to compensate for no-shows.
Seating is limited and will be available on a first come, first served basis.
An RSVP does not guarantee seating.
VES-Members and their registered guests only (except for Ludwigsburg and Cologne). No admission without registration – also at the streaming locations!
The event will also be recorded for everyone who can’t make it.
The event will be streamed live from (and to) Berlin, Munich, Stuttgart and Ludwigsburg. For the first time we also provide direct access to the ZOOM stream for ALL VES MEMBERS around the world!
VES Germany is a proud Partner of the FMX Conference in Stuttgart.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below Sunday, June 9, 2019 at 7:00PM
(RSVPs will close at 12:00PM on Friday, June 7) Zanuck Theater on the 20th Century Fox Studio lot
10201 West Pico Blvd., Los Angeles, CA 90064-2606 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below (VES members must login to sign up.) Sunday, June 9, 2019 at 2:00PM (Enter from Gate 1 on Lankershim Blvd.)
(RSVPs will close at 12:00PM on Friday, June 7)
Universal Studios Theater #2
4050 Lankershim Blvd, Studio City, CA 91604 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 ofWarner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Guillaume Rocheron, MPC Senior Animation Supervisor Spencer Cook, Method Studios Visual Effects SupervisorDaryl Sawchuk and Double Negative Visual Effects Supervisor Brian Connor, moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, June 2, 2019 at 11:00AM Harmony Gold (complimentary parking will be provided)
7655 W. Sunset Blvd., Los Angeles, CA 90046 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 Night Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below
Friday, May 31, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN
Please RSVP below
Thursday, May 30, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Receive FREE Exhibit Passes to Cine Gear Expo L.A. 2019 Through May 25!
Cine Gear Expo 2019 is the premier annual event for professionals engaged in the film and entertainment technology industry. Taking place May 30th – June 2nd at Paramount Studios in Hollywood, California, Cine Gear features 300 exhibits, new product and service introductions, 30+ complimentary seminars led by industry leaders, master classes, film competition, awards ceremony, special screenings in state of the art theaters, and ample opportunity to network with peers within a studio environment.
May 30 – Film Series Competition Screenings
May 30 & June 1 – Exhibits, Premier Seminars, Exclusive Screenings, Awards Presentations, Special Events
June 3 – Master Classes
Badge registration is now open for Cine Gear 2019. All attendees must complete this FREE registration process to obtain their credentials. Registration is free until 11:59PM (PDT), May 25, 2019.
VES Members Receive FREE Exhibit Passes to Cine Gear Expo L.A. 2019 Through May 25!
Cine Gear Expo 2019 is the premier annual event for professionals engaged in the film and entertainment technology industry. Taking place May 30th – June 2nd at Paramount Studios in Hollywood, California, Cine Gear features 300 exhibits, new product and service introductions, 30+ complimentary seminars led by industry leaders, master classes, film competition, awards ceremony, special screenings in state of the art theaters, and ample opportunity to network with peers within a studio environment.
May 30 – Film Series Competition Screenings
May 30 & June 1 – Exhibits, Premier Seminars, Exclusive Screenings, Awards Presentations, Special Events
June 3 – Master Classes
Badge registration is now open for Cine Gear 2019. All attendees must complete this FREE registration process to obtain their credentials. Registration is free until 11:59PM (PDT), May 25, 2019.
VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ ALADDIN
Please RSVP below
(RSVPs close at 12:00PM on Friday, May 24) Saturday, May 25, 2019 at 4:00PM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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 Summit Entertainment’s JOHN WICK 3: PARABELLUM
Please RSVP below
Friday, May 24, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Attend the Art Directors Guild Screening of THE 10TH VICTIM (1965) Exploring a Futuristic Op-Art Classic followed by a conversation with KCRW’s DnA: Design and Architecture host Frances Anderton, USC’s Annenberg School Professor and Author of PROJECTING TOMORROWNicholas J. Cull and two time Oscar nominated Production Designer Guy Hendrix Dyas ADG, (PASSENGERS and INCEPTION), moderated by Production Designer John Muto ADG.
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
THE 10th VICTIM is a futuristic Italian socio-political sex-and-murder action comedy starring the impossibly glamorous Ursula Andress and Italian megastar, Marcello Mastroianni. Anticipating the rise of out-of-control reality TV by 50 years, the film matches the pair by computer as hunter and victim in The Big Hunt, a deadly game designed to stifle human aggression by offering individuals the opportunity to kill or be killed, earning status, fame, and money on live TV. Directed by Elio Petri (INVESTIGATION OF A CITIZEN ABOVE SUSPICION), the film is written by Tonino Guerra (BLOW UP) and designed by Piero Poletto (RED DESERT). THE 10th VICTIM takes place in a future Rome, mixing classical architecture with ultramodern Op Art design, retro-glamorous haute-couture, and pulsating electro pop jazz by Piero Piccioni.
Panel discussion will include host of KCRW’s DnA: Design and Architecture Frances Anderton, USC’s Annenberg School Professor and Author of PROJECTING TOMORROWNicholas J. Cull and two time Oscar nominated Production Designer Guy Hendrix Dyas ADG, (PASSENGERS and INCEPTION), moderated by Production Designer John Muto ADG, Film Society Founder and Co-chair.
VES Members and a Guest are Invited to Attend the Art Directors Guild Screening of THE 10TH VICTIM (1965) Exploring a Futuristic Op-Art Classic followed by a conversation with KCRW’s DnA: Design and Architecture host Frances Anderton, USC’s Annenberg School Professor and Author of PROJECTING TOMORROWNicholas J. Cull and two time Oscar nominated Production Designer Guy Hendrix Dyas ADG, (PASSENGERS and INCEPTION), moderated by Production Designer John Muto ADG.
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
THE 10th VICTIM is a futuristic Italian socio-political sex-and-murder action comedy starring the impossibly glamorous Ursula Andress and Italian megastar, Marcello Mastroianni. Anticipating the rise of out-of-control reality TV by 50 years, the film matches the pair by computer as hunter and victim in The Big Hunt, a deadly game designed to stifle human aggression by offering individuals the opportunity to kill or be killed, earning status, fame, and money on live TV. Directed by Elio Petri (INVESTIGATION OF A CITIZEN ABOVE SUSPICION), the film is written by Tonino Guerra (BLOW UP) and designed by Piero Poletto (RED DESERT). THE 10th VICTIM takes place in a future Rome, mixing classical architecture with ultramodern Op Art design, retro-glamorous haute-couture, and pulsating electro pop jazz by Piero Piccioni.
Panel discussion will include host of KCRW’s DnA: Design and Architecture Frances Anderton, USC’s Annenberg School Professor and Author of PROJECTING TOMORROWNicholas J. Cull and two time Oscar nominated Production Designer Guy Hendrix Dyas ADG, (PASSENGERS and INCEPTION), moderated by Production Designer John Muto ADG, Film Society Founder and Co-chair.
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
Friday, May 17, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Producer Jen Underdahl, ILM Visual Effects Supervisor Russell Earl, Digital Domain Visual Effects Supervisor Kelly Port, and Associate Visual Effects Supervisor Mårten Larsson, moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, May 3) Saturday, May 4, 2019 at 3:00PM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Pre-Release Screening of STX Entertainment’s UGLYDOLLS
Please RSVP below
Monday, April 29, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Attend the Art Directors Guild Screening of MARY POPPINS (1964) Practically Perfect in Every Way: Celebrating the Artists Behind a Classic! followed by a conversation with Production & Costume Designer Tony Walton, VES Founders Award recipient Harrison Ellenshaw and writer-director-producer Theodore Thomas moderated by Jeff Kurtti and Thomas A. Walsh ADG.
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
Besides being an enduring motion picture classic, Mary Poppins was a masterfully creative and technical milestone for the Walt Disney Studio. We will be celebrating the visual magicians behind the scenes by sharing untold stories and a unique perspective of the film, its artisans, and their creative legacy. Joining our panel will be Tony Walton the film’s Costume and Design Consultant, Harrison Ellenshaw, son of Peter Ellenshaw, the film’s special effects and master matte artist, and Theodore Thomas, son of Frank Thomas, one of Disney’s revered nine-old men, and the animator behind the dancing penguins. For this special event we will be screening the 50th Anniversary Remastered Edition of the film.
VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ MISSING LINK
Please RSVP below
Saturday, April 20, 2019 at 11:00AM
Linwood Dunn Theater at the Pickford Center for Motion Picture Study
1313 Vine Street, Los Angeles, CA 90028,
(Free parking off Homewood Avenue, one block North of Fountain) Enter parking lot from Homewood Avenue, which is a one-way street heading east. Recommended to approach from south, via Cahuenga Avenue. Parking lot opens one hour prior to event, and will be closed and locked 30 minutes after the conclusion of the event. 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.
An enlightening presentation and panel discussion on the value of live, on-set prosthetics and animatronics work in the digital age, and how digital artists can work in collaboration with these cinematic artforms for even more effective creative storytelling; set in the midst of a fascinatingmuseum exhibit showcasing the work of the artists of Amalgamated Dynamics.
Panelists:Tom Woodruff, Jr., and key members of his creative team at ADI
VES Members and Their Guests are Invited to a Screening of Lionsgate’s HELLBOY
Please RSVP below
Monday, April 15, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Friday, April 12, 2019 at 8:00PM
The Sherry Lansing Theater on the Paramount studio lot
5555 Melrose Ave., Los Angeles, CA 90038
(Please enter through the Melrose gate and park as directed.) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below
(RSVPs close at 12:00PM on Friday, April 5) Sunday, April 7, 2019 at 6:00PM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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 LA is offering discounted group tickets for members & their guests.
MUST PURCHASE AHEAD OF TIME – Please log in for member link.
Sunday, March 31, 2019
4:00pm Self-guided Group Tour
Meet at 3:45p at the Main Box Office
3D: Double Vision is the first American exhibition to survey a full range of artworks, dating from 1838 to the present, that produce the illusion of three dimensions. These artworks function by activating binocular vision—the process by which our brains synthesize the information received by our two eyes into a single, volumetric image.
Drawn from the realms of art, science, mass culture, and entertainment, the artworks in 3D: Double Vision will dazzle the eyes and provoke the imagination. Ultimately, to experience 3D is to engage with questions about the nature of perception, the allure of illusionism, and our relationship with the technologies that create such images.
* Guests who qualify for free admission can simply check-in ahead of time & meet by the Box Office at 3:45pm (i.e., LACMA members, Children 17 & under, and registered NextGen families — child member & adult must be present).
After touring the exhibit, members may choose to go diner together at one of the many nearby restaurants, or there is a free concert that evening at LACMA:
VES Members and Their Families are Invited to a 3D Screening of Paramount Pictures’ WONDER PARK
Please RSVP below Saturday, March 23, 2019 at 3:00PM
The Sherry Lansing Theater on the Paramount studio lot
5555 Melrose Ave., Los Angeles, CA 90038
(Please enter through the Melrose gate and park as directed.) Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families 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
(RSVPs close at 12:00PM on Friday, March 8) Sunday, March 10, 2019 at 11:00AM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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 3D Screening of DreamWorks Animation and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD followed by a Q&A with Director Dean DeBlois, Producer Brad Lewis, Visual Effects Supervisor Dave Walvood, Head of Character Animation Simon Otto and Head of Effects Li-Ming ‘Lawrence’ Lee moderated by Director Bill Kroyer. (All panelists’ participation based on availability.)
Please RSVP below
Saturday, February 23, 2019 at 11:00AM
DreamWorks Animation Studios’ Campanile theater 1000 Flower St, Glendale, CA 91201 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 ALITA: BATTLE ANGEL
Please RSVP below Sunday, February 17, 2018 at 7:00PM
(RSVPs will close at 12:00PM on Friday, February 15) Zanuck Theater on the 20th Century Fox Studio lot
10201 West Pico Blvd., Los Angeles, CA 90064-2606 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
Monday, February 11, 2019 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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.
Paul will present Google’s latest breakthroughs with light field technology and discuss the making of Google VR’s award-winning VR experience, Welcome to Light Fields.
Ivan Neulander, Lead Rendering Engineer at Google
Rendering Google’s Playground
Ivan will present an overview of lighting and rendering techniques deployed inPlayground, Google’s creative AR app for Android phones.
Moderator:
Scott Squires, Technical Academy Award-winning VFX Supervisor, CTO/Creative Director ofPixvana, a company dedicated to bringing VR experiences to life.
The event includes refreshments and VR demos after the presentations.
LA ACM SIGGRAPH & VES Los Angeles Section Present:
STEVE WRIGHT: THE ART AND SCIENCE OF COMPOSITING VISUAL EFFECTS
Steve Wright gives an in-person overview of VFX compositing techniques to those artists who RSVP to deepen their understanding of its critical role in visual effects.
Tuesday, January 8th, 2019
6:30 – 7:30 PM Social Hour
7:30 – 9:15 PM Program Presentation
Description
Join the members of the VES Los Angeles Section & LA ACM SIGGRAPH as we engage in a tour of the tools, techniques, and artistic requirements for compositing visual effects.
Demonstrations of how compositing is used for camera tracking, set extension, camera projection, blue/green screen keying, color correcting, tracking, clean plate construction, and multi-pass CGI compositing. Advance your knowledge of what compositors do and how they do it.
A rare look into the math and science behind the incredible technology used in Nuke, the de facto industry standard visual effects compositing software by the Foundry, coupled with demonstrations of its applications to movie magic in today’s blockbuster films. We peer behind the black curtain at how hi-tech visual effects shots are executed and what it takes to set one up with advanced concepts like Deep Compositing, Alembic Geometry, Camera Projection and CGI AOV’s.
Compositing now holds a high position in the artistic expression of visual effects as compositors are now required to not only make shots compiled from multiple disparate sources merge together photo realistically, but to also make them look “cool”. Compositors are now providing the final “look” to the shot with their blending of multiple cgi lighting passes and artistically driven color correction.
LA ACM SIGGRAPH & VES Los Angeles Section Present:
STEVE WRIGHT: THE ART AND SCIENCE OF COMPOSITING VISUAL EFFECTS
Steve Wright gives an in-person overview of VFX compositing techniques to those artists who RSVP to deepen their understanding of its critical role in visual effects.
Tuesday, January 8th, 2019
6:30 – 7:30 PM Social Hour
7:30 – 9:15 PM Program Presentation
Description
Join the members of the VES Los Angeles Section & LA ACM SIGGRAPH as we engage in a tour of the tools, techniques, and artistic requirements for compositing visual effects.
Demonstrations of how compositing is used for camera tracking, set extension, camera projection, blue/green screen keying, color correcting, tracking, clean plate construction, and multi-pass CGI compositing. Advance your knowledge of what compositors do and how they do it.
A rare look into the math and science behind the incredible technology used in Nuke, the de facto industry standard visual effects compositing software by the Foundry, coupled with demonstrations of its applications to movie magic in today’s blockbuster films. We peer behind the black curtain at how hi-tech visual effects shots are executed and what it takes to set one up with advanced concepts like Deep Compositing, Alembic Geometry, Camera Projection and CGI AOV’s.
Compositing now holds a high position in the artistic expression of visual effects as compositors are now required to not only make shots compiled from multiple disparate sources merge together photo realistically, but to also make them look “cool”. Compositors are now providing the final “look” to the shot with their blending of multiple cgi lighting passes and artistically driven color correction.
VES Members and Their Guests are Invited to an Opening Night 3D Screening of Paramount Pictures’ BUMBLEBEE
Please RSVP below Thursday, December 20, 2018 at 8:00PM
The Sherry Lansing Theater on the Paramount studio lot
5555 Melrose Ave., Los Angeles, CA 90038
(Please enter through the Melrose gate and park as directed.) 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 Night 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below
Monday, December 17, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Pre-Release Screening Of Universal Pictures’ WELCOME TO MARWEN followed by a Q&A with Visual Effects Supervisor Kevin Baillie, Miniature Effects Supervisor Dave Asling and Production Designer Stefan Dechant moderated by VES Founders Award recipient Gene Kozicki. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, December 16, 2018 at 6:00PM
RealD Screening Room
100 N. Crescent Drive, Beverly Hills, CA 90210 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Pre-Release Screening of Walt Disney Studios’ MARY POPPINS RETURNS
Please RSVP below
(RSVPs close at 4:00PM on Friday, December 14) Saturday, December 15, 2018 at 4:00PM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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’ ALPHA followed by a Q&A with Director Albert Hughes and Visual Effects Supervisor Jeffrey A. Okun, VES moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
Monday, December 10, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families 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 Sunday, December 2, 2018 at 11:00AM (RSVPs close at 5:00PM on Friday, November 30)
AMC Century City 10250 Santa Monica Blvd #2000, Los Angeles, CA 90067 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families 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.)
Please RSVP below Saturday, December 1, 2018 at 11:00AM (RSVPs close at 5:00PM on Friday, November 30)
Pacific Design Center’s Silver Screen Theater
(Complimentary parking in the PDC structure. Enter on Melrose.)
8687 Melrose Ave., West Hollywood, CA 90069 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 Screening of Netflix’s THE OTHER SIDE OF THE WIND followed by a live Q&A that will originate from San Francisco. Panelists will include Visual Effects Supervisor John Knoll and Whiskytree Visual Effects Supervisor Jonathan Harb moderated by VES Board member Rose Duignan. (All panelists’ participation based on availability.)
Please RSVP below Friday, November 30, 2018 at 8:00PM
Netflix’s Upside Down screening room
(This is a very small room, so please sign up only if you can attend.)
5808 Sunset Blvd, Los Angeles, CA 90028
(Please enter through the Van Ness gate and park as directed.) 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, #VESWELLES, 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 Families 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.) Sunday, November 18, 2017 at 4:00PM (Enter from Gate 1 on Lankershim Blvd.)
(RSVPs will close at 12:00PM on Friday, November 16)
Universal Studios Theater #1
4050 Lankershim Blvd, Studio City, CA 91604 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families 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
(RSVPs close at 12:00PM on Friday, November 16) Saturday, November 17, 2018 at 11:00AM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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
Click here to RSVP Monday, November 12, 2018 at 8:00PM
The Sherry Lansing Theater on the Paramount studio lot
5555 Melrose Ave., Los Angeles, CA 90038
(Please enter through the Melrose gate and park as directed.) 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 Night Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below
Friday, November 9, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Sunday, November 4, 2018 at 7:00PM
(RSVPs will close at 12:00PM on Friday, November 2) Blakely Theater on the 20th Century Fox Studio lot
10201 West Pico Blvd., Los Angeles, CA 90064-2606 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ THE NUTCRACKER AND THE FOUR REALMS
Please RSVP below Sunday, November 4, 2018 at 3:00PM
(RSVPs close at 12:00PM on Friday, November 2)
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Alameda gate and park as directed.) 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 are invited to Infinity Film Festival™ (IFF) in Beverly Hills, November 1 – 4, 2018,with Title Sponsor RYOT andpresented by Epic Games, Unreal Engine, and co-presented by D-BOX. Celebrating story advanced by technology, the festival’s 80+ advisors from the leading studios, talent agencies and technology companies invite you to experience unique moments in time through more than 75 hours of screenings, 30 technology exhibitions and over 100 industry-leading speakers from Hollywood, Silicon Valley and Silicon Beach. Networking opportunities and gala evening events include an Opening Night VIP Reception, in partnership with CTA, to feature the “CES 2019 Preview,” hosted at United Talent Agency.
• Screenings, Speakers and Exhibitions to be featured at The Paley Center for Media, the Writers Guild Theater and more
• November 1 – 4, 2018
• World Premiere Feature: The Restoration of “War of the Worlds” by Paramount Pictures Studios
• Blockchain programming by Greenfence
• Art + Museums programming by Sotheby’s
• Shorts programming in partnership with Audience Awards
• Animation programming by GLAS Animation Festival and Creative Capers
• IFF Tech Lab™ Presented By Epic Games and Unreal Engine (Makers of “Fortnite”)
• IFF Student Lab™ Presented by Presented by Chapman University and UT Austin
• Luxury Real Estate Partner: Hilton & Hyland
• Media Partners: Los Angeles Times, Variety, Fast Company, OUTFRONT Media, Regan Arts, TAG – The Awareness Group, Mashable, IGN, TechCrunch
• Cutting-Edge Technology Exhibitions to include: Sotheby’s, D-Box, Walt Disney Studios, Intel, Positron, Hologate, The Third Floor and more
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN
Please RSVP below
Friday, October 26, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 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
Saturday, October 20, 2018 at 12:00PM
Frank G. Wells Theater on the Walt Disney Studios lot
(Please enter through the Alameda Gate East of Buena Vista)
500 S. Buena Vista St., Burbank, CA 91451 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.
Get your tickets now for the 2nd annual ANIMATION IS FILM Festival on October 19-21, 2018 at the TCL Chinese Theater in Hollywood for one weekend of the year’s best in animation. The films in this year’s program include world premieres and retrospectives, studio previews and international indies, Oscar favorites and dark horses.
The Festival will present a highly selective showcase of the best animated films from around the world, plus red carpet, filmmaker Q&As, special events, receptions, and both juried and audience awards.
(VES members must login in order to see the discount code below.)
Get your tickets now for the 2nd annual ANIMATION IS FILM Festival on October 19-21, 2018 at the TCL Chinese Theater in Hollywood for one weekend of the year’s best in animation. The films in this year’s program include world premieres and retrospectives, studio previews and international indies, Oscar favorites and dark horses.
The Festival will present a highly selective showcase of the best animated films from around the world, plus red carpet, filmmaker Q&As, special events, receptions, and both juried and audience awards.
(VES members must login in order to see the discount code below.)
VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below
Thursday, October 18, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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
Monday, October 8, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Pre-Release IMAX Screening of Universal Pictures’ FIRST MAN followed by a Presentation and Q&A with Visual Effects Supervisor Paul Lambert, Miniature Effects Supervisor Ian Hunter and Special Effects Supervisor J.D. Schwalm moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, October 5) Saturday, October 6, 2018 at 12:00PM
IMAX Playa Vista 12582 Millennium Dr, Los Angeles, CA 90094 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.
Join DGA members and other industry professionals for learning and networking around the creative, technical and business issues emerging from new technologies. With panels, presentations, exhibits, hands-on demos and MORE.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below
Friday, September 28, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below
Wednesday, September 26, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 receive FREE Passes to the 5th Annual UCFTI Expo
Connect and collaborate at the 5th Annual U.S. China Film and Television Industry Expo, Sept. 26-27 at the LA Convention Center. Hear industry experts discuss how to capture an international audience and hear how the latest technologies are transforming the global movie industry from VES members. Click here for more informatation about the program.
(VES members must login to see the code for free passes below.)
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s THE PREDATOR
Please RSVP below
(RSVPs close at 12:00PM on Friday, September 14) Saturday, September 15, 2018 at 7:00PM
(RSVPs close on Friday, September 14 at 2:00PM)
Zanuck Theater on the 20th Century Fox Studio lot
10201 West Pico Blvd., Los Angeles, CA 90064-2606 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 Night Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below
Friday, September 14, 2018 at 8:00PM
(RSVPs close on Friday, September 14 at 2:00PM)
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 STX Entertainment’s PEPPERMINT
Please RSVP below
Monday, September 10, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 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 Night Screening of STX Entertainment’s THE HAPPYTIME MURDERS followed by a Q&A with Director Brian Henson, Actors and Puppeteers Bill Barretta and Drew Massey, Visual Effects Producer Melissa Brockman, Compositing Supervisor Caleb Knueven and CG Supervisor Efram Potelle moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
This film is Rated R, and is not intended for children. Click here to watch the trailer.
Please RSVP below
Friday, August 24, 2018 at 7:00PM Harmony Gold (complimentary parking will be provided)
7655 W. Sunset Blvd., Los Angeles, CA 90046 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’ ALPHA
Please RSVP below
Thursday, August 23, 2018 at 8:00PM
Sony Pictures Imageworks – Ray Harryhausen Theater
9050 W. Washington Blvd., Culver City, CA 90232 Click here for a map.
Screenings are overbooked to compensate for no-sho
Additional Parking Information will be emailed to guests who RSVP’d before the event.
WHAT MOVIE WON? JOIN US TONIGHT TO FIND OUT!
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
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