A number of CG cars were created, such as the Alfa Romeo.
Every movie that gets made is a miracle as so many elements need to come together logistically, budgetarily, artistically and narratively over a period of a couple of years before it can be presented to audiences. There are moments when artistic ambitions are able to rise above the societal and economical obstacles to create a seminal classic like Francis Ford Coppola was able to achieve with The Godfather. The Offer, which consists of 10 episodes streaming on Paramount+, recounts the trials and tribulations of producer Albert S. Ruddy to cinematically adapt the pulpy gangster best-selling novel by Mario Puzo. The biographical drama miniseries created by Michael Tolkin (Ray Donovan) and guided by showrunner Nikki Toscano (Hunters) relied on Visual Effects Supervisor John Mangia (The Queen’s Gambit) to transform the Paramount Studios backlot in Los Angeles into early 1970s New York City.
“The key to being able to pull that off [building a believable New York City on an L.A. backlot] was doing the research and having those early discussions with the production designer and showrunner, making sure that we had a clear target of what we were achieving and making sure that all of our vendors were on the same page. The Offer did not have the budget for the schedule to do something twice.”
—John Mangia, Visual Effects Supervisor
Bluescreen assisted with scenes that had wet downs.
The bulk of the environment work occurred in Episode 106 when the principal photography of The Godfather is portrayed.
“I started on the show in May of 2021 and during shooting we had a couple of COVID-19 related shutdowns which created some scheduling issues and caused us to strategize and rethink a couple of things, but the impact was not terrible, especially because we were shooting on studio backlots which are much more controlled environments,” Mangia notes. “It was challenging to find and secure vendors because we were looking for ones that were invested in what we were making. It’s a show about how The Godfather got made, and when it’s an incredibly beloved film like that, you have to put the love into it and make sure that everything is true to the film. We’re recreating some of these famous sets from that film, and we were looking at all of the small details trying to get them right.”
Outpost VFX, Mavericks VFX, CBS VFX, Epic Shepherd and Basilic Fly Studio created 800 visual effects shots for the 10 episodes. “We had 10 weeks of post per episode, but it was all overlapping,” Mangia explains. “We were block shooting, so we were prepping, shooting and in post concurrently.” The bulk of the visual effects occur in the middle of the season when the actual shooting of The Godfather is recreated. “They’re out on Fifth Avenue or in Harlem or the Bronx, and you have all of this environment work in these scenes,” Mangia outlines.
“For some reason, out here [in L.A.] it’s bluer, and having lived in both places I know this. When we were working on our environment and set extension work, sometimes we would modify the amount of cloud coverage and how blue the sky was in certain scenes. It was something we were sensitive to and conscious of because it’s one of those subtle things that people might not think about. That’s one of those unique things about Los Angeles that we wanted to feel different in the New York City shots.”
—John Mangia, Visual Effects Supervisor
“Episode 106 was our biggest one as it had 30% of our set extensions shots for the entire season, which was a tremendous amount of work. Almost all of those set extensions had to be CG because of the fluidity of the camera moves. By the end of it, we were delivering an episode every other week.” The development process was driven by visuals. “Visual effects vendors working on specific scenes would provide a concept still of that environment, which could be shown to the showrunner and get the creative signoff,” he says. “Sometimes it was ‘Fifth Avenue is Fifth Avenue,’ and we had to make it look like it was in The Godfather. Other times it was getting the right vibe.”
Plate photography was conducted in Sicily, but not in New York City. “The visual effects team shot thousands of photographs of neighborhoods, like Columbus Circle, Mulberry Street and Carroll Gardens,” Mangia remarks. “It was important especially for me as I’m originally from New York City and of Italian-American heritage, that if we’re making a show about The Godfather set in New York City it has to have that authenticity, otherwise my great-grandfather is going be rolling over in his grave! We did source a lot of the designs of the buildings, textures, grunge and patina that is on everything in New York City. There is nothing clean in New York City.” New York City has changed a great deal since the early 1970s. Mangia explains, “That was part of the reason why it didn’t make sense to shoot the show there, because some of the locations that we were depicting either don’t exist anymore or don’t look anything like they used to. We looked through photo and video archives of New York City, old tax survey photos, and we were collaborating with the art department the entire time to get the aesthetic right.”
The visual effects team shot thousands of photographs of neighborhoods like Columbus Circle.
New York City has changed a great deal since the early 1970s, so the decision was made to transform the Paramount Studios backlot in Los Angeles.
Actual set plans from The Godfather were sourced by the art department led by Production Designer Laurence Bennett (Billions). “They were able to rebuild the Don’s office based on the original blueprints of Louis Restaurant where Michael Corleone shoots Virgil Sollozzo and [NYPD Captain] Mark McCluskey,” Mangia reveals. “But some of the other things, like Best & Co. which is a department store that is no longer on Fifth Avenue, we had built on the backlot, and we were able to do some previs to work out how to fit the building by taking over the top of it and extending it by three or four display windows. We also had to build St. Patrick’s Cathedral, Saks Fifth Avenue and Cartier Building. All of these landmark buildings on Fifth Avenue would be there and are actually in The Godfather. We built all of that including the period cars and people walking around. We shot photo reference of 170 extras in period clothing to create the crowds in various shots, and we also did a bunch of bluescreen plate photography for crowd elements for scenes in Columbus Circle where there is a crowd chanting, waving signs and yelling. Some shots such as the aerial of Columbus Circle were fully CG.”
“The visual effects team shot thousands of photographs of neighborhoods, like Columbus Circle, Mulberry Street and Carroll Gardens. It was important especially for me as I’m originally from New York City and of Italian-American heritage, that if we’re making a show about The Godfather set in New York City it has to have that authenticity, otherwise my great-grandfather is going be rolling over in his grave!”
—John Mangia, Visual Effects Supervisor
A personal favorite for VFX Supervisor John Mangia is the opening shot of Mulberry Street and seeing New York City.
“That [the changes in New York City since the 1970s] was part of the reason why it didn’t make sense to shoot the show there, because some of the locations that we were depicting either don’t exist anymore or don’t look anything like they used to. We looked through photo and video archives of New York City, old tax survey photos, and we were collaborating with the art department the entire time to get the aesthetic right.”
—John Mangia, Visual Effects Supervisor
“Something that was helpful was our vendors all had similar cloud pipelines which allowed us not to double down on certain kinds of assets,” Mangia remarks. “We did share assets. Mavericks VFX built all of the cars except for the CG Alfa Romeo in Episode 109. Outpost VFX built a crowd asset.” Virtual production was not a viable option. “We had a lot of exterior shots and the LED panels are not bright enough to have the right dynamic range,” Mangia adds. Bluescreen assisted with scenes that had wet downs. “What that required was reflecting our environment work into the puddles on the street, which was quite a bit of extra compositing,” Mangia notes. “But as soon as you put something like that in shot, the viewer is more likely to believe because it’s what you expect to see. On my end, it was making sure that the bluescreens were tall enough that we didn’t have to do an extra roto and paintwork. If the bluescreens were high enough, the reflection would be entirely bluescreen and it would be easier to key. It’s an interesting conversation to have because sometimes you’ll get a unit production manager or line producer asking, ‘What is the reason the bluescreen is so large?’ And you need to explain that it has to be that big because of the environment that’s going there.”
The visual effects team looked through photo and video archives of New York City, and old tax survey photos, and collaborated with the art department to get the aesthetic right for landmarks such as the Brooklyn Bridge.
The former Lincoln Medical Center was recreated, as it served as the location for where Michael Corelone attempts to prevent the second assassination attempt on his father.
“We also had to build St. Patrick’s Cathedral, Saks Fifth Avenue and Cartier Building. All of these landmark buildings on Fifth Avenue would be there and are actually in The Godfather. We built all of that including the period cars and people walking around. We shot photo reference of 170 extras in period clothing to create the crowds in various shots, and we also did a bunch of bluescreen plate photography for crowd elements for scenes in Columbus Circle where there is a crowd chanting, waving signs and yelling. Some shots such as the aerial of Columbus Circle were fully CG.”
—John Mangia, Visual Effects Supervisor
Special effects compensated for the climate differences between Los Angeles and New York City. “Special Effects Supervisor Blumes Tracy [Made for Love] and his team created snow from 180 tons of chipped ice, had snow blowers, fans, falling snow, and dusting greens with snow,” Mangia states. “Then we had some other scenes that involve the mafia and some violence like gunplay and people getting shot, so there were squibs, and maybe later in post, visual effects would enhance it for timing. It’s always great to get that stuff in-camera. We also had a big shootout scene in Episode 106 in Harlem where a couple of the mob guys go and shoot up Nicky Barnes’ club. The special effects team placed 500 squibs on this building that were all blowing as these guys are shooting with shotguns and rifles, that visual effects ended up going in and doing a little bit of augmentation primarily due to editorial adjustments that were made.”
Plate photography was conducted in Sicily for settings such as Castello degli Schiavi.
The sky in Los Angeles looks quite different from sky in New York City. “For some reason, out here [in L.A.] it’s bluer, and having lived in both places I know this,” Mangia states. “When we were working on our environment and set extension work, sometimes we would modify the amount of cloud coverage and how blue the sky was in certain scenes. It was something we were sensitive to and conscious of because it’s one of those subtle things that people might not think about. That’s one of those unique things about Los Angeles that we wanted to feel different in the New York City shots.” The biggest challenge was how to make a believable 1970s New York City with just a couple of streets on Los Angeles backlots. Mangia observes, “The key to being able to pull that off was doing the research and having those early discussions with the production designer and showrunner, making sure that we had a clear target of what we were achieving and making sure that all of our vendors were on the same page. The Offer did not have the budget for the schedule to do something twice.” All of Episode 106 was challenging. Concludes Mangia, “I love the opening shot of show with the camera booming down on Mulberry Street and seeing New York City. It sets the mood and tone as well as brings the audience into it. There are so many great shots and scenes in The Offer.”
Images courtesy of Digital Domain and Marvel Studios.
Digital Domain had to come up with how effects simulations would work and look to show what happens when two universes collide with each other.
Living up to its title is Doctor Strange in the Multiverse of Madness, where filmmaker Sam Raimi (Spider-Man) infuses his horror sensibilities into the Marvel Cinematic Universe for the sequel that stars Benedict Cumberbatch, Elizabeth Olsen, Rachel McAdams, Chiwetel Ejiofor and Benedict Wong. Digital Domain was hired by Marvel Studios Visual Effects Supervisor Janek Sirrs (The Matrix) for a 100 shots that consist of the aftermath of two universes colliding with each other, a Sinister Universe version of the Sanctum Sanctorum, and the revelation of a hex conjured by Wanda and the attempt to capture her in the Mirror Universe. “For this show, it was a standard pipeline,” Digital Domain Visual Effects Supervisor Joel Behrens states. “We didn’t have to go outside of using our typical tools. We did V-Ray for lighting and rendering, Houdini for our effects, Nuke for compositing and Maya for asset builds.”
“We had the ground level of buildings built as set pieces and dressed accordingly per universe, and then they would do a LiDAR scan of that. We would get the geometry from the LiDAR data, build out the actual extensions based off the ground-level buildings and maintain that architectural look that was already established with the ground level, and run our destruction simulation, which in this case was a pseudo anti-gravity destruction.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
Filmmaker Sam Raimi brings his signature comedic spin on the horror genre to the MCU with the release of Doctor Strange in the Multiverse of Madness.
High-resolution digital doubles of Wanda and Doctor Strange were created by Digital Domain and shared with other vendors.
The Mirror Trap proved to be the most challenging look to develop and required 20 other versions of Wanda to appear in the various reflections.
On his way to find the Sinister Sanctum Sanctorum inhabited by the antagonistic and alternative version of himself, Doctor Strange (Benedict Cumberbatch) and Christine Palmer (Rachel McAdams) traverse through two different realities of New York City that have collided together and are ripping each other apart. “There were a lot of effects simulations and visual design that needed to happen to come up with that look,” Behrens reveals. “On a backlot location in London, there was a basic intersection and street that you see multiple times throughout the movie in various universes. We had the ground level of buildings built as set pieces and dressed accordingly per universe, and then they would do a LiDAR scan of that. We would get the geometry from the LiDAR data, build out the actual extensions based off the ground-level buildings and maintain that architectural look that was already established with the ground level, and run our destruction simulation, which in this case was a pseudo anti-gravity destruction.”
Plates were shot in Iceland, while portions of the grand staircase and foyer were practically built for the Sinister Sanctum Sanctorum.
“You can’t have it [the set of destroyed buildings] drifting away too quickly. Otherwise your buildings are gone by the end of the shot. It was finding that balance of how to keep interesting motion up there, along with these large, smoky, viscus-liquid tendrils that pull away from the buildings as well as the pieces of debris. Then, on top of that you’ve got the incursion from the other universe colliding and floating through space, whether in real-time or in a slightly slow-motion fashion to heighten the interest of the motion.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
Animation and motion tests were conducted for the debris. “You can’t have it drifting away too quickly. Otherwise your buildings are gone by the end of the shot,” Behrens remarks. “It was finding that balance of how to keep interesting motion up there, along with these large, smoky, viscus-liquid tendrils that pull away from the buildings as well as the pieces of debris. Then, on top of that you’ve got the incursion from the other universe colliding and floating through space, whether in real-time or in a slightly slow-motion fashion to heighten the interest of the motion.” As with all of movies by Sam Ramai, a certain automobile is seen floating in the background. “Some of the floating objects like the Oldsmobile Delta 88 were hung off of a large crane arm on wires to have them slightly spinning and drifting through a scene,” Behrens remarks. “It was taking a look at that and matching it. Sam and Janek wanted everything to have a hyper-real, more than slightly slower than real-time look in this universe from the incursion. We tended to go with a heavier slow-motion, high-frame-rate-shutter look for these elements like the Brooklyn Bridge or the subway that is crashing through the ground behind them or the Empire State Building.”
Plate photography was shot in Iceland of the black sand beaches to create an otherworldly feel for the Sinister Sanctum Sanctorum.
A car that cameos in the films of Sam Raimi is an Oldsmobile Delta 88.
Different iconic landmarks appear in the Sinister Universe, such as the Brooklyn Bridge in a Victorian Steampunk Gothic style sliding through the ocean.
The Sinister Sanctum Sanctorum was treated as if it was a haunted house.
A haunted house aesthetic was given to the original model of the Sanctum Sanctorum to create the Sinister Universe version. “We didn’t modify the silhouette or the shape of the building, but changed the materials it was made out of, such as using large, weathered pieces of stone that had large cracks in them,” Behrens states. “We had vines that went up the side, and it looked like it had been a 16th century mausoleum that has seen a lot of age and wear over time.” The building is slowly being pulled apart by a massive dark void. “You have this large chunk in the upper right-hand corner that is slowly pulling rocks apart from the construction along with these sinewy, inky tendrils that come off of it,” Behrens adds. “Then, once you go inside the Sanctum there is some weird universe stuff going on. Inside the foyer you’ve got the Grand Staircase, and behind it is this odd otherworldly beach where the surf is rolling up and [there’s] a gigantic, red ominous moon.” Plates were shot in Iceland, while on set Cumberbatch walked on a mirror that had some actual sand on it. “It was a fairly complex simulation to tie in with the surf edge as waves break on the beach,” Behrens says, “and we had these tributaries around the staircase that we wanted water to pool in so Doctor Strange would walk through the water. They played him dry for wet, so we also had to try to make his boots look like that they were getting wet from the water he is walking through.”
“[O]nce you go inside the Sanctum there is some weird universe stuff going on. Inside the foyer you’ve got the Grand Staircase, and behind it is this odd otherworldly beach where the surf is rolling up and [there’s] a gigantic, red ominous moon. … It was a fairly complex simulation to tie in with the surf edge as waves break on the beach, and we had these tributaries around the staircase that we wanted water to pool in so Doctor Strange would walk through the water. They played him dry for wet, so we also had to try to make his boots look like that they were getting wet from the water he is walking through.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
Doctor Strange encounters Wanda in an orchard that is an illusion, disguising a darker reality that builds upon the Marvel Studios television series WandaVision. “WandaVision had that digitized, almost pixelated television look for the hex as it got dropped and revealed what was actually happening in the world,” Behrens notes. “For this one they wanted it to be more natural and organic. We decided to tie it more into her smoky red magic and the dark hole magic. The idea of this wall of her magic that reveals the universe was tricky because we didn’t want it to be like a simplified wipe-away or dissolve. We had this swirling stuff that, as it wiped over certain branches of the trees, the smoke would cling and almost pull away, so you got this interaction between the wall and the objects that it intersects with as it was revealing that.” The trees appear significantly different in the post-hex world. Comments Behrens, “They went from a fairly normal, healthy trees to these twisted, decayed trees.” Practical trees were constructed around the actors, with the rest being a digital set extension. “We struggled with drifting fog that didn’t look too much like smoke because they didn’t want it to feel like a burnt-out forest that the characters were standing in,” Behrens says. “There is a lot of talking back forth in that scene. We ended up doing background extensions and atmospheric simulations as well as the CG dark hole.”
“Some of the floating objects like the Oldsmobile Delta 88 were hung off of a large crane arm on wires to have them slightly spinning and drifting through a scene. … [Director] Sam [Raimi] and [Marvel Visual Effects Supervisor] Janek [Sirrs] wanted everything to have a hyper-real, more than slightly slower than real-time look in this universe from the incursion. We tended to go with a heavier slow-motion, high-frame-rate-shutter look for these elements like the Brooklyn Bridge or the subway that is crashing through the ground behind them or the Empire State Building.”
—Joel Behrens, Visual Effects Supervisor, Digital Domain
A swap gas-like fog that has a pinkish-orange color drifts around the trees.
A portion of the post-hex orchard was practically built around the characters.
It was important to avoid the real orchard appearing as a forest ravaged by a wildfire.
In order to imprison Wanda in the Mirror Universe, Doctor Strange conjures a Mirror Trap. “There were all sorts of permutations, such as being glassier, but we went for it being more mirror-like and reflecting a digital environment as well as a digital-double version of our actress,” Behrens explains. “When shooting the footage on greenscreen for Wanda, we had a few witness cameras for some of those reflections; however, because these mirror pieces were at different angles and magnifications of her, we ended up using a digital double for quite a bit of that.” The decision was to have a lot less distortion in the mirror images. “We needed to see clearly what is happening with Wanda,” Behrens explains. “We had spikes built out of this mirrored glass as well so you could see her reflections, in which we used a combination of both digital-double and plate reflections. It was tricky coming up with the look because you didn’t want it to feel like a flat chrome surface. So we were trying to put imperfections on the front glass, smudges, a bit of dust and dirt, scratches, small cracks, things that were grounded in reality, because the initial passes did not look good when they were strictly a purely reflective material. It looked incredibly CG. It’s always about those imperfections and realism that you can add to those pieces that hopefully fit it in there and make it feel realistic.”
A shot taken from the pilot episode outside the Fortress of Solitude.
A creative partnership and friendship forged 28 years ago at MGM has Visual Effects Supervisor John Gajdecki (Stargate: Atlantis) and Visual Effects Producer Matthew Gore (Battlestar Galactica) working together again on the second season of The CW production Superman & Lois. Co-creator and showrunner Todd Helbing (The Flash) has produced a unique spin on the superhero genre where at the heart of the story are the family struggles of Clark Kent (Tyler Hoechlin), Lois Lane (Elizabeth Tulloch) and their twin sons (Jordan Elsass, Alex Garfin) who have inherited the patriarchal supernatural abilities.
“We know that the artists are good and the art is built into the people. This team manages the process so tightly that we can deliver shots without panic two days before they’re on TV.”
—John Gajdecki, Visual Effects Supervisor
Superman & Lois is a testament to logistical prowess of the visual effects team that manages without panicking to deliver shots two days before they are on television.
Even though Superman & Lois is spun off of Supergirl, the look of the series is uniquely its own.
Superman (Tyler Hoechlin) must not only fly, he must fly through elements such as smoke, fog, clouds and dust. Bigger ambitions resulted in a 25% increase in visual effects shots in Season 2.
A major part of the visual language are Cooke Xtal Xpress lenses, which were emulated in the visual effects shots.
It was important to be able to produce feature-quality visual effects shots within a television schedule.
Water was poured onto Tyler Hoechlin when shooting the scene where Superman rescues a submarine in Episode 201. The submarine was created in Maya, with Houdini water and lots of clouds and smoke from the stock library added in Nuke.
The Kent family farmhouse is dilapidated and the barn has burned down in the Bizarro World version. Even though there are assets and locations that carried over from Season 1, modifications still had to be made.
A particular expression comes to mind for Gajdecki when describing how the show operates. “You hear people saying, ‘Armchair generals talk strategy, but the pros talk logistics.’ ‘Can we get the weapons to the front? Will there be food for the soldiers when they get there?’ We know that the artists are good and the art is built into the people,” Gajdecki states. “This team manages the process so tightly that we can deliver shots without panic two days before they’re on TV.”
“At the beginning of the season, we said that we wanted to take this up another level and try to get as close to feature quality as we could, knowing our limitations. But every time Superman does something, there is usually a CG component to it that adds to the schedule and budget issues. John mentioned to me that he had an in-house team on Project Blue Book, and so we proposed that. The in-house team has shined and been great in helping us to get this on the air.”
—Matthew Gore, Visual Effects Producer
Necessity led to a creative solution for Season 2 of Superman & Lois. “We have a tight network schedule, so it’s tough to try to do what we’re trying to do,” Gore notes. “At the beginning of the season, we said that we wanted to take this up another level and try to get as close to feature quality as we could, knowing our limitations. But every time Superman does something, there is usually a CG component to it that adds to the schedule and budget issues. John mentioned to me that he had an in-house team on Project Blue Book, and so we proposed that. The in-house team has shined and been great in helping us to get this on the air.”
15 different vendors worked on Season 2, including Zoic Studios, Refuge VFX, Boxel Studios, Frame Lab Studios, Barnstorm VFX, Tribal Imaging, Od Studios and Lux VFX.
The more shots were broken up over multiple vendors, the more often they would come back to the in-house team as the final 2D. “I see us as the final line of digital defense,” Gajdecki remarks. “Everything comes in and we do the comps, and we’ll put that photographic pass on it to make sure that the lens flares feel right and that the camera move looks like it fits between the shot, before and after, and the contrast, smoke and dust levels are matching. When Superman flies in and comes to a stop, something else has to keep going otherwise it doesn’t feel right. With some artists it is hard to explain why that’s wrong. We came up with the term energy transfer and suddenly people went, ‘Okay, I see it now.’”
“I see us [the in-house team] as the final line of digital defense. Everything comes in and we do the comps, and we’ll put that photographic pass on it to make sure that the lens flares feel right and that the camera move looks like it fits between the shot, before and after, and the contrast, smoke and dust levels are matching. When Superman flies in and comes to a stop, something else has to keep going otherwise it doesn’t feel right. With some artists it is hard to explain why that’s wrong. We came up with the term energy transfer and suddenly people went, ‘Okay, I see it now.’”
—John Gajdecki, Visual Effects Supervisor
There is mutual cooperation between the different departments which allows for seamless integration between practical and CG elements.
Tyler Hoechlin was put through the deepfake process to apply Bizarro’s face. Deepfake technology was critical in being able to create the Bizzaro version of Superman.
Bigger ambitions have meant that the visual effects count increased from 2,300 to 2,500 shots for Season 1, to an additional 25% for Season 2. Also expanded are the number of vendors, which can be a many as 15 depending on their availability. Among the contributors are Zoic Studios, Refuge VFX, Boxel Studios, Frame Lab Studios, Barnstorm VFX, Tribal Imaging, Od Studios and Lux VFX. “We have an honest relationship with our vendors,” Gore notes. “In my conversations with them, are you available and can you do this work? They’ll tell you flat-out. It won’t be like the shop that wants to take the work and figure it out. They’ll say, ‘We don’t have these artists available for those weeks, but we have these who are available.’ We’re constantly trying to fill what somebody can do.” Even though there are assets and locations that carried over from Season 1, modifications still had to be made. “The [Kent family] farmhouse ended up in Bizarro World, so even though the farmhouse didn’t change between seasons, there was a whole new farmhouse and barn,” reveals Gajdecki. “The barn has burned down and the farmhouse is dilapidated.”
Villainous Ally’s acolytes prepare to travel through the portal to Earth Bizarre in a greenscreen plate of the actors on the dressed studio floor. The portal was created in Houdini and comped in Nuke with smoke elements.
A greenscreen plate of Superman and Tal-Rho on the volcano’s edge. The Maya model of the interior of the volcano was comped with Houdini lava, live-action volcano splashes and lots of smoke and embers to produce the final shot.
“There is stuff that we can’t talk about for the series finale that might come as a text from Todd Helbing with a photo that says, ‘We’re going to do this,’” Gore comments. “We went, ‘Okay. Cool. Let’s figure out how.’ A lot of times Todd will give us a heads up that something big is out there, so we can at least start thinking about it even if we don’t get a full outline or a script yet. At least we know conceptually this is something that we have to try to fit into the schedule.”
“Anything that we need we get. When we shoot greenscreens, the line producer says, ‘It’s Gadjecki Rules.’ They light it for us and get the exposures and interactive light that we need. Our shots look good even though we have little time because we shoot the pieces so well and production is behind us.”
—John Gajdecki, Visual Effects Supervisor
Gajdecki has a particular philosophy towards visual effects. “Every shot that we do has to look like that the art department directed it and the camera operators operated the camera. We are sensitive to the inputs from the other departments to make sure that we put in the same chaos that would be in a real shot.” The cooperation is mutual, he says. “Anything that we need we get. When we shoot greenscreens, the line producer says, ‘It’s Gadjecki Rules.’ They light it for us and get the exposures and interactive light that we need. Our shots look good even though we have little time because we shoot the pieces so well and production is behind us.”
The term ‘energy transference’ was coined for the scenes where Superman flies in and comes to a stop, to explain why the energy all around that action must continue.
Episode 208 features a portal. Comments Gajdecki, “Upon hearing that there was going to be a portal, we got all of the reference together, numbered all of the references, put it out in front of our executives, got on the Zoom and asked, ‘Todd, is any of this close to what you’re thinking?’ He might have 50 images to look at, and we start to talk about the nature of the portal, what’s the portal doing and the behavior. We go from there and start narrowing down the focus.” Superman gets affected in a dramatic way. “There had to be some component of him getting shredded as he enters it,” Gajdecki adds. “Then we had this whole other thing where once he’s inside there, what does it look like? It goes back to who does what. Our in-house team started a look in Episode 201 where Bizarro is flashing to stuff. We need some cool flash that is supposed to sell that it’s him traveling through the portal. The in-house team was tasked with that. They came up with a look. It evolved to a certain point, and we knew that we wanted it to feel like it had depth to it. That was our other challenge. Todd wanted it to feel that he is breaching something, but we also wanted to sell that there is something behind it, and then he had to shred in there at some point. We didn’t want it to be holes underneath and you see through him. We wanted a substance there, but didn’t want it to be bone and skin because it’s CW.”
Only 10% of the shots don’t have a custom 3D element.
Adding to the shot count was number of deepfakes associated with the character of Bizarro, who is revealed to be an alternative dimension version of Superman. “We let everyone know that the AI approach was not going to be a one-size-fits-all answer to all the Bizarro shots,” Gore explains. “We had numerous discussions with Todd that if a shot was going to ‘break’ the AI, we were going to have to apply more traditional methods to get the sequences to where he wanted them to be. For example, there were a couple shots where we needed to go all CG on Bizarro in order for him to be able to appear in the same shot as Tyler during some of the fight scenes. We massaged the cuts with Todd. Boxel Studio took on all the work that the AI couldn’t do. The in-house team came up with the look for Bizarro’s eyes and then worked with Tribal Imaging in Calgary, Wild Media Entertainment in Toronto/Vancouver, Kalos Studios, Animism Studios and Refuge VFX to make sure no matter who took Bizarro to final, the look for Bizarro’s eyes and makeup was going to be consistent in all the comps across the various episodes. It was also a great learning experience working with this new AI toolset. And to be clear, not every scene in the Bizarro story arc was achieved using AI.
The chase involving the Velociraptors combined plate photography from Malta and Chris Pratt riding a stationary motorbike on a massive rolling road in the U.K.
Prehistoric beasts have had a constant presence in the life of David Vickery, who served as Visual Effects Supervisor on Jurassic World: Fallen Kingdom and Jurassic World: Dominion. “I’m still working on dinosaurs! Not the film ones, but for promotional media, advertisements and public relations related stuff.” Any concerns of repeating himself were alleviated by working with a different director, crew and script. “There are always new challenges.” About 1,450 visual effects shots were created, with ILM being responsible for 1,000 shots while the rest were handled by Lola VFX and Hybride. “[Director] Colin Trevorrow had a one-on-one relationship with the storyboard artist, and those storyboards were handed over to us to create animatics. I worked closely with the previs and postvis teams [provided by Proof].” Collaborating with Production Designer Kevin Jenkins was easy as he is a former art director at ILM. “Kevin clearly understands visual effects and worked a lot in 3D, so he could hand those designs over to us,” Vickery observes. “Because of our previous working relationship, Kevin trusted me to take incomplete designs to ILM and to continue their evolution.”
“There are probably more animatronics in Jurassic World: Dominion than in Fallen Kingdom and Jurassic World combined. … [T]he digital dinosaurs we had were an exact match for the physical animatronic dinosaurs that we had on set. It didn’t matter where they positioned the rig because the range of motion was exactly the same as the range of motion in the digital dinosaur. The goal being to get a plate that gave us practical animatronics that could move and perform on set and be digitally extended without us having to replace it.”
—David Vickery, Visual Effects Supervisor
‘Digital archeology’ was conducted to return the original T-Rex from Jurassic Park to her former glory.
1,450 visual effects shots were created, with ILM being responsible for 1,000 shots while the rest were handled by Lola VFX and Hybride.
An entirely new feather system was constructed in Houdini by ILM to deal with creatures such as the Pyroraptor.
Chris Pratt reprises his role of Owen Grady in Jurassic World: Dominion.
Jurassic World: Dominion was the first Hollywood production to recommence shooting during the pandemic.
Five weeks into principal photography for Jurassic World: Dominion, the pandemic caused a global lockdown. “Nobody knew what was going to happen when COVID-19 hit and we had to start shooting again during the pandemic,” Vickery states. “It was hard to understand how we were going to be able to communicate with each other, because suddenly we had to stay distant, were all wearing masks and couldn’t all cluster around the director’s monitors. We had tech scouts where the DP, John Schwartzman, was still isolating before he was able to come back onto set. We were deploying all sorts of new techniques such as wearing Bolero headsets rather than the usual walkie system.” Travel restrictions caused a few key scenes to be reimagined, such as Velociraptors chasing a motorcycle driven by Owen Grady (Chris Pratt) through the streets of Malta. “We had array photography and LiDAR data from location, which was then projected and manipulated rather than being a fully CG environment. Once we got back in the U.K., Chris rode a stationary motorbike that was placed on a massive rolling road that was 25 feet wide. The bike was rigged so it could weave left and right.”
“There was a cool bit of what I called ‘digital archeology.’ We had 3D SoftImage files but didn’t even have the software. However, we managed to get those NURBS files into Maya and convert them into polygon meshes. We also referenced all of Stan Winston’s photography. It’s a beautiful piece of recreation of that original T-Rex model.”
—David Vickery, Visual Effects Supervisor
A different approach was adopted for Mosasaurus attacking the crab boat. “Our editors scoured through 16 seasons of The Deadliest Catch program, correlated and created an edit from outtakes,” Vickery reveals. “The goal was to use the natural aesthetic of the footage that we had and integrate the CGI elements into it. The crab pod is something that we added in as well as the Mosasaurus and a bunch of spray.” Shifting weather patterns had to be accommodated. “When we were shooting at a lumber yard and had to put two huge Apatosaurus in the background, the whole sequence was shot in the morning in bright sunlight and no snow,” Vickery says. “Then it started snowing at lunchtime and we had to reshoot the entire scene again because the snow was going to change the look of our plates. We had a huge team of effects artists at ILM whose job was adding digital snow and dust.” An entirely new feather system was constructed in Houdini by ILM to deal with creatures such as the Pyroraptor. “It relied on the geometry of the feathers being described as a curve for the quill and a flat piece of polygonal geometry for the feather itself,” Vickery explains. “The feathers had to be able to interact with environmental elements. “On set we had the special effects team with air movers, some snow and atmospheric effects, but we had to recreate the same effect in post to be able to integrate the Pyroraptor.”
When designing dinosaurs the first point of reference is the holotype.
A massive animatronic was constructed for the Giganotosaurus.
There are probably more animatronics in Jurassic World: Dominion than in Fallen Kingdom and Jurassic World combined.
“There was a moment on set where Sam Neill, Laura Dern, Jeff Goldblum, Chris Pratt, Bryce Dallas Howard and DaWanda Wise are with the biggest animatronic that I’ve ever seen in my life. Bringing all of those things together was amazing!”
—David Vickery, Visual Effects Supervisor
There was a close collaboration between the art department, visual effects and creature effects to make sure that there was seamless integration of CG and practical elements.
The goal was to get a plate where the practical animatronics could move and perform on set and be digitally extended without it being replaced.
Production Designer Kevin Jenkins created clay maquettes that were scanned and given to ILM to make sure that the models were anatomically correct before being 3D printed by John Nolan and the creature effects team.
Each instalment of the franchise introduces new dinosaurs. “The Giganotosaurus was a real dinosaur,” Vickery remarks. “You look for the holotype, which is often a partial specimen so scientific that experts have to guess the rest. Some of the dinosaurs look so bizarre, like the Therizinosaurus, which is this huge theropod that is covered in feathers and has one-meter-long baseball bat-like claws on the edge of its fingers.” A massive animatronic was built for the Giganotosaurus. “There are probably more animatronics in Jurassic World: Dominion than in Fallen Kingdom and Jurassic World combined.” Jenkins collaborated with Trevorrow and paleontologist consultant Steve Brusatte to develop concepts that were turned into clay maquettes and then scanned. The scans were given to ILM which made sure the model was anatomically correct before handing them off to John Nolan, the head of the creature effects team, for 3D printing. “This meant that the digital dinosaurs we had were an exact match for the physical animatronic dinosaurs that we had on set,” Vickery notes. The process helped to minimize the amount of CG. “It didn’t matter where they positioned the rig because the range of motion was exactly the same as the range of motion in the digital dinosaur. The goal being to get a plate that gave us practical animatronics that could move and perform on set and be digitally extended without us having to replace it.”
“From a simulation perspective, [with feathers] you’re dealing with a huge amount of geometry that is deforming and moving on a frame-by-frame basis, and is reacting to external forces like the wind, but also to the way that the creature is moving. Creatively, ever since Jurassic Park, fans and paleontologists have been crying out to see feathers on dinosaurs, and we will deliver this time.”
—David Vickery, Visual Effects Supervisor
Restored to her former glory is the T-Rex from Jurassic Park. “There was a cool bit of what I called ‘digital archeology,’” Vickery recalls. “We had 3D SoftImage files but didn’t even have the software. However, we managed to get those NURBS files into Maya and convert them into polygon meshes. We also referenced all of Stan Winston’s photography. It’s a beautiful piece of recreation of that original T-Rex model.”
Feathers proved to be the biggest creative and technical challenge. “From a simulation perspective,” Vickery comments, “you’re dealing with a huge amount of geometry that is deforming and moving on a frame-by-frame basis, and is reacting to external forces like the wind, but also to the way that the creature is moving. Creatively, ever since Jurassic Park, fans and paleontologists have been crying out to see feathers on dinosaurs, and we will deliver this time.”
The on-set special effects team deployed air movers, snow and atmospheric effects so the feathers of the Pyroraptor interacted with environmental elements.
All of Stan Winston’s photography was referenced in the recreation of the original T-Rex model from Jurassic Park.
Seeing the Jurassic Park and Jurassic World franchises come together was a career highlight for Vickery. “There was a moment on set where Sam Neill, Laura Dern, Jeff Goldblum, Chris Pratt, Bryce Dallas Howard and DaWanda Wise are with the biggest animatronic that I’ve ever seen in my life. Bringing all of those things together was amazing!”
Amongst the winged creatures re-created are the Hatzegopteryx.
Going beyond the Hollywood portrayals is the Apple TV+ natural documentary series Prehistoric Planet, which travels back 66 million years to the Late Cretaceous period when dinosaurs reigned supreme. Serving as executive producers are filmmaker Jon Favreau (Iron Man) and Mike Gunton, Creative Director, Factual at BBC Studios. Directing the five episodes are Adam Valdez and Andy Jones who respectively worked as a visual effects supervisor and animation supervisor on The Lion King and The Jungle Book for Favreau. Collaborating closely together were digital artists from MPC and cinematographers from BBC’s Natural History Unit.
Tyrannosaurus rex and juvenile go for a swim in the episode ‘Coasts.’
A Mosasaurus as it would have appeared during the Late Cretaceous period, which occurred 66 million years ago.
Progressing from The Lion King and The Jungle Book was not a huge leap for Jones. “Wildlife, natural history and what the BBC has been doing for years was our goal for a lot of the shots. In Jon Favreau’s mind, he always wanted it to feel as naturalistic and realistic as possible,” Jones notes. Nuances have to be incorporated into the animation to believably convey the emotional state of the creature. Explains Jones, “You want to lean away from anthropomorphism as much as possible because right away people will say, ‘Oh, we’re watching animation.’ Mammals share such a common bond with us, even elephants and giraffes have this look of concern for their kids, and we try to use some of that sparingly. We looked at larger lizards and birds a lot. The way birds care for their young is different. There is not this nuzzling.”
“The whole point is when you look at natural animals, they do things that are so weird and wonderful, so why not just portray that because it’s fascinating on its own? While the BBC Natural History Unit is obsessed with scientific accuracy, they’re also storytellers and know how to make things compelling; that was a real balancing act.”
—Adam Valdez, Director
Success is found in the subtle details. “You could say that the work we do is like a thousand of tiny traces on a thousand tiny items, and if it all stacks up correctly, you get a win,” Valdez remarks. “Sometimes you don’t know what those things are until you’re in the midst of it. One of the things that we’ve learned over the last couple shows was that human audiences will project a lot onto characters for you. You don’t have to lean too hard in any visual storytelling. That’s the magic of the medium. Sometimes it’s a moment of stillness that could convey the idea that the animal might be thinking or feeling the event that just happened.” The events had to fit within natural order of things. Valdez adds, “The whole point is when you look at natural animals, they do things that are so weird and wonderful, so why not just portray that because it’s fascinating on its own? While the BBC Natural History Unit is obsessed with scientific accuracy, they’re also storytellers and know how to make things compelling; that was a real balancing act.”
A herd of Dreadnoughtus are inserted digitally into live-action plate photography.
Mongolian Titanosaur and Barsboldia gather around a watering hole.
The rules of wildlife documentary filmmaking were applied when conceptualizing and executing scenes.
A male and female Barbaridactylus were created by MPC, which was the sole vendor for Prehistoric Planet.
As interesting as creating realistic dinosaurs was the process of making the show. “The trick was how do you make something that feels like you went and got the footage hiding out for eight weeks or hiding the track cameras all over and bringing the footage back,” Valdez states. “It’s a painstaking editorial process. What you learn is it’s not like BBC Natural History Unit [to] just go somewhere and film randomly. They know what’s interesting and what the dynamics are at a certain time and place. The Natural History Unit brought us deeply researched stories and our role was to go, ‘Okay, you have a notion, but what we’re going to do is make an animatic that is so tight that you know exactly where to go to get shot by shot.’” Shots were determined by the reality of documentary filmmaking. Valdez comments, “If you shot a hunt like a movie with eight camera positions, that’s not how they get those once-in-a-lifetime moments. They get them rarely [with one camera]. It was our job to make an animatic that felt 100% like they had shot it, and then give them a shopping list: go get these backgrounds, and precisely match the lens and how the camera is moving.”
“We went through quite a bit making the T-Rex because we definitely wanted to nail our version of what we really think the T-Rex is today. It was the first asset that we built and to show off what the series would be. Him and the baby T-Rex. As much we know about them in terms of fur, coloration, and the idea of what these babies would have been like, we needed our Baby Yoda!”
—Andy Jones, Director
Edmontosaurus and juvenile appear in Prehistoric Planet, with Andy Jones and Adam Valdez sharing directorial duties.
Biomes determined the creatures, not the other way around, with the episodes titled ‘Coasts,’ ‘Deserts,’ ‘Freshwater,’ ‘Ice Worlds’ and ‘Forests.’ “That gives you one point of view on the nature of life and planet as a working ecosystem together,” Valdez observes. “Animals are our way in, whether it’s chimps, lions or dinosaurs. That’s why you see it framed the way that you do. Paul Stewart was in charge of ‘Coasts’ as the writer, producer and natural history partner. All of those particular stories have to do with the fact that where the land and sea meet you have a lot of dynamics. You have a lot of biodiversity, food source, territory and raising young. That’s the framing concept for the whole show.” The final sequence in ‘Coasts’ deals with the birth of a baby Tuarangisaurus. “For a Tuarangisaurus to make a baby that’s 12 feet long and 25% of the body mass of the mother is a massive investment, so they’re going to raise one at a time,” Valdez explains. “Then it turns out that the family shows some investment around the young as well. They found fossil evidence that backs all of this up. You find evidence of these sea creatures in the sands and earth where there was previously the Western Interior Seaway, a huge stretch of water that divided North America which had huge coastlands. The show hints on these ideas all the way through.”
“If you shot a hunt like a movie with eight camera positions, that’s not how they get those once-in-a-lifetime moments. They get them rarely [with one camera]. It was our job to make an animatic that felt 100% like they had shot it, and then give them a shopping list: go get these backgrounds, and precisely match the lens and how the camera is moving.”
—Adam Valdez, Director
A pack of Pachyrhinosaurus are hunted by the Nanuqsaurus.
When it comes to proper pronunciations of dinosaurs’ names, Jones laughs. “It’s never set in stone how to pronounce it until Sir David Attenborough says it! The Deincheirus was one of the fun dinosaurs in the series for me because it’s such a weird-looking animal with a big duck bill and massive claws. This is one where scientists would say, ‘He had these massive claws that probably could be used to defend himself in some sort of battle with males.’ But what else could these claws be use for? Let’s tell a story that’s not about fighting.’ We know that he probably ate seagrass or some sort of grass or some sort of vegetation. Those claws would be used to rip up and dig up the grasses and roots. Dealing with all of the flies is another thing. His claws could scratch a little bit, but his arms are so small that he can’t reach his whole body. The Deincheirus spots a scratching tree post to go up and start using that to scratch. For the ending of the episode, we wanted to tell the story of what happens when you eat so much food; his bowels get loose, he fertilizes the entire place and moves on. The Deincherius is a great character!”
“Deincheirus was one of the fun dinosaurs in the series for me because it’s such a weird-looking animal with a big duck bill and massive claws. This is one where scientists would say, ‘He had these massive claws that probably could be used to defend himself in some sort of battle with males.’ But what else could these claws be use for? Let’s tell a story that’s not about fighting.’ We know that he probably ate seagrass or some sort of grass or some sort of vegetation. Those claws would be used to rip up and dig up the grasses and roots. … For the ending of the episode, we wanted to tell the story of what happens when you eat so much food; his bowels get loose, he fertilizes the entire place and moves on. The Deincherius is a great character!”
—Adam Valdez, Director
Biomes determined the creatures, not the other way around, with the episodes titled ‘Coasts,’ ‘Deserts,’ ‘Freshwater,’ ‘Ice Worlds’ and ‘Forests.’
A baby Triceratops is portrayed as ‘naturalistically’ as possible, rather than rely on anthropomorphism to convey emotion.
Events involving the Corythoraptor had to fall within the natural order of things.
Prehistoric Planet showcases what scientists currently believe to be the actual behaviors of dinosaurs rather than the Hollywood portrayal of them.
For Director Adam Valdez, animation is a balance of aesthetics and physics.
In a lot of the shots, the feet of the dinosaurs were framed out because in numerous natural history documentaries, you don’t see the feet touching the ground.
‘Ice Worlds’ is a serious episode that explores family dynamics and the relationship between predator and prey. “It’s similar to ‘Deserts’ in the sense that you have these extreme environments, and it requires animals to go to greater lengths to survive,” Valdez observes. “You have this match that creates this endless loop of predation. and [questions] how does the prey species survive constantly being hunted. You have to figure out as a family group. The pack of Pachyrhinosaurus are rhino-like creatures that resemble Triceratops. They’re huge and powerful. The Nanuqsaurus don’t stand a chance attacking the group. But they are significant predators that are also big. What happens in the winter is that predators will work together as a team. You have a team of predators and a family group. It becomes a war of attrition, a siege. If we hound this family enough, eventually they’ll make a mistake, and we’ll take advantage of that mistake. It’s heavy. It’s like a standoff. You have to sit there and see who will last longer through the storm and winter that is around them.”
Going through the most iterations was an iconic dinosaur. “We went through quite a bit making the T-Rex because we definitely wanted to nail our version of what we really think the T-Rex is today,” Jones reveals. “It was the first asset that we built and to show off what the series would be. Him and the baby T-Rex. As much we know about them in terms of fur, coloration, and the idea of what these babies would have been like, we needed our Baby Yoda!”
Precise previs was created so that the cinematographers for the series knew exactly what needed to be shot for the plate photography.
The experience that the BBC Natural History Unit has in shooting hundreds of thousands of hours of real animals was leveraged when choreographing scenes.
The Cretaceous Period had enough similarities to today’s Earth that the production could fill a lot of the backgrounds on today’s Earth.
Family dynamics is a prominent theme explored in Prehistoric Planet.
For Jones, figuring out the motion of the creatures was a major task. “When I first saw the design of the giant pterosaurus, I thought there was no way that thing could fly,” he explains. “It’s the size of a giraffe. Figuring that out and having people watch it and believe it, is cool. Shooting at Palouse Falls was so much fun. We knew the environment when we prevised it, so we had a good layout. Actually, getting the shots was way challenging because we were hanging people on ropes to get the cameras in the positions that were needed. It was a fun sequence all around.”
Cinzia Angelini grew up in the 1970s in Milan, Italy, inspired by Japanese cartoons and the films of Hayao Miyazaki and Disney classics, which she studied frame by frame. Renowned director, animator and Head of Story at Cinesite Studios, Cinzia has worked for major animation studios in Europe and the U.S. for more than 25 years. Her body of work includes Balto, Prince of Egypt, The Road to Eldorado, Spider-Man 2, Minions, Despicable Me 3 and The Grinch. Cinzia wrote and directed the acclaimed CG animated short film Mila, a war story that centers on the plight of civilian children, and is currently directing HITPIG, an Aniventure animated feature produced at Cinesite.
Creating Mila was a life-changing 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 wanted to use the medium I love, animation, and shine a light on the terrible realities for millions of children and families around the world who are caught in the crossfire of war. Audiences have embraced Mila’s messages of hope, imagination and perseverance and I’m so encouraged that there is a growing appetite for honest and authentic stories.
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.
If Mila can change even one decision maker’s experience about the consequences of war, then all our efforts were well worth it.
The Mila theme is resonating with people around the world.Our team had 350 artists who gave their time and talent from 35 countries, the largest independent virtual studio collaboration ever created. And a surprising number of those volunteers have their own personal experience with war or in their family histories, which also moved them to want to be a part of this project. The strong theme of the film ended up being the secret for its success. Mila is more than a film; it’s a story within a story.
Inclusion and diversity were key elements in assembling the Mila team, and I’m proud that a significant percent of women were in leadership positions.
Finding ways to harness the talents of so many artists and filmmakers versed in different styles of work, cultures and languages made the final film that much richer. The entire process has been challenging and incredibly rewarding. It helped me improve as an artist, influenced how I collaborate with colleagues and showed me strength of our global interconnectivity in new and inspiring ways.
I’ve always embraced risk as an opportunity to innovate, grow and become stronger.Risk takers challenge the norm and push the boundaries of their professions. I keep leaning into the unknown, because even if things don’t work out as planned, you learn so much from the journey.
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Images courtesy of DNEG and Sony Pictures Entertainment.
Tom Holland as treasure hunter Nathan Drake negotiates a daisy-chain of crates falling from a C-17 cargo plane in a complex mix of practical and visual effects from DNEG.
Ferdinand Magellan was a Portuguese explorer who led a Spanish expedition of five ships in 1519 to seek a western route to the Moluccas (Spice Islands). Magellan perished along the way and only one ship made it back, in 1522, but it was the first craft to circumnavigate the world. Flash forward five hundred years, and Ruben Fleischer’s Uncharted spins a fictional tale about a present-day search for two lost treasure-laden ships from Magellan’s fleet. The Sony Pictures movie is a prequel of sorts to the tremendously popular Uncharted video game series, developed by Naughty Dog and published by Sony Interactive Entertainment. The film’s treasure hunters included Nathan Drake (Tom Holland) and Victor Sullivan (Mark Wahlberg), along with Chloe Frazer (Sophia Ali) and Santiago Moncada (Antonio Banderas).
The On-Set and Overall VFX Supervisor was Chas Jarrett. DNEG was the primary VFX vendor, completing 739 shots over 23 sequences, with teams led by Visual Effects Supervisor Sebastian von Overheidt (DNEG Vancouver) and Visual Effects Supervisor Benoit de Longlee (DNEG Montreal). Other contributing VFX vendors included The Third Floor, RISE Visual Effects Studios, Soho VFX and Savage Visual Effects.
Crates falling from the C-17 cargo plane was part of a continuous 90-second ‘oner’ sequence that mixed bluescreen, wire rigs, robot arms and digi-doubles.
Holland reaches out while a KUKA robot arm holds a crate and large fans supply the wind for the shoot. Live-action filming for the sequence took place at Studio Babelsberg in Potsdam, Germany, outside Berlin.
DNEG was tasked with handling various jaw-dropping sequences, including a 90-second shot in which Nate and Chloe – along with cargo crates and a Mercedes Gullwing car – fall out of a C-17 cargo plane while flying over the South China Sea. Von Overheidt considered the shot “a fun challenge. We called this sequence ‘the oner’ because it’s constructed as one continuous 90-second shot.”
“[For the falling out of a C-17 cargo plane scene] we had several practical elements with the actors hanging on wires and interacting with a stand-in car prop. We combined the practical elements with long stretches of full-CG moments. Some sections required either close-up digi-doubles to hold up, or even a transition between plate and digi-double right in camera with nowhere to hide. Mix that with the disorienting camera, and you have quite a complex puzzle to solve.”
—Sebastian von Overheidt, Visual Effects Supervisor, DNEG
Von Overheidt adds, “We had several practical elements with the actors hanging on wires and interacting with a stand-in car prop. We combined the practical elements with long stretches of full-CG moments. Some sections required either close-up digi-doubles to hold up, or even a transition between plate and digi-double right in camera with nowhere to hide. Mix that with the disorienting camera, and you have quite a complex puzzle to solve.”
To begin creating the sequence, von Overheidt reveals, “We received LiDAR scans and HDR photography of each individual cargo crate and all the other props like the Mercedes Gullwing, as well as a full scan of the C-17 interior, which was built as a set. From there we built the entire daisy-chain of crates and the C-17 interior. At the same time, we also worked on a fully digital version of the Gullwing and the C-17 exterior model with some custom modifications compared to a standard model. Ruben had asked us to create a billionaire’s version of the well-known plane.”
The exterior model of the C-17 cargo plane was built with some custom modifications befitting a super-billionaire’s souped-up version of the plane.
“[Tom Holland] indeed got thrown around quite a bit. All the crates on the exterior were mounted on top of KUKA robot arms so that they could move on a full gimbal in a programmed sequence. They were also modified with extra padding or using softer materials, so that Tom Holland and the stuntmen could jump in between them, holding onto the netting of crates. It gave a great realistic-looking reaction for most of the shots, so we got away with a lot of head replacements on the shots with Holland’s stuntman. In quite a few shots we still went for a full digital-double solution because we wanted the performance even more violent or the camera to be more dynamic than what was shot.”
—Sebastian von Overheidt, Visual Effects Supervisor, DNEG
Once camera, object and body tracking were done, Layout Supervisor Kristin Pratt and DFX Supervisor Gregor Lakner and their teams blocked the entire sequence out, “which is also the crucial step where we’d analyze each shot and figure out what CG extensions need to be added,” von Overheidt says. This also involved finding solutions for any discrepancies between the 3D-scanned crates and the ones used on set. “Our job was to piece this all together while finding the best transitions into CG and amp up the action and movement.” There were also some entirely full CG shots. He adds, “The environment was stitched based on multi-camera array footage shot at around 7,500 feet and then augmented to look a bit more desolate in terms of islands. All the clouds and wind FX and debris are CG.”
Lighting in the open sky was a challenge. “The plates were shot on a soundstage with stationary lighting, but our characters fall tumbling through an environment with only one light-source, the sun,” von Overheidt explains. “DFX Supervisor Daniel Elophe and the team broke this mammoth puzzle down into manageable sub-sections which were assembled to one long shot in compositing at the end.” The team around Lighting Supervisors Sonny Sy and Chris Rickard and Compositing Supervisor Francesco Dell’Anna kept track of changing light directions and found creative solutions to make it all work with the plates, while allowing for a free choreography of the camera and the animation, done by Layout Lead Steve Guo and Senior Animator Patrick Kalyn. “The result works really well and we ended up getting the best of both,” von Overheidt says, “seeing the sun rotating on high-action free-fall moments while coming back into a more character-focused lighting when there is dialogue and we’re locked into practical photography.”
Greenscreens assisted with the construction of a 500-year-old Magellan ship. The ships were highly detailed and complex assets built for every form of action called for in the making of Uncharted.
Tom Holland got his share of shaking and stirring thanks to a robot arm. Von Overheidt comments, “He indeed got thrown around quite a bit. All the crates on the exterior were mounted on top of KUKA robot arms so that they could move on a full gimbal in a programmed sequence. They were also modified with extra padding or using softer materials, so that Tom and the stuntmen could jump in between them, holding onto the netting of crates.” They were thrown around randomly by the robot arms to get the sense of snaking of the daisy-chain. Von Overheidt adds, “It gave a great realistic-looking reaction for most of the shots, so we got away with a lot of head replacements on the shots with Holland’s stuntman. In quite a few shots we still went for a full digital-double solution because we wanted the performance even more violent or the camera to be more dynamic than what was shot.”
To build Magellan’s two ships, sets were split into different stages, LiDAR scanned, pieced together and combined with the overall design.
The scenes with Magellan’s ships (the Trinidad and the Concepción) and the huge helicopters carrying them required extensive VFX, but the scene wasn’t created entirely full CG. Von Overheidt notes, “There was actually a lot of great footage shot on big sets. This sequence really had everything in it. The scenes were shot on several stages resembling different parts of the ships, which we were extending with CG. The helicopters we had designed are based on some classic cargo helicopters, but even beefier.”
In the case of the Concepción, the set was split into four different stages – the stern, the main deck including helm, the bow and the crow’s nest with a partial mast, according to von Overheidt. “Our CG Supervisor Ummi Gudjonsson and Build Supervisors Chris Cook and Rohan Vaz started by assembling the various on-set stages for which we had received LiDAR scans, piecing them together, lining them up to each other and combining them with the overall design of the ship.”
Von Overheidt continues, “The same process went into the Trinidad and any other set, like the helicopters. Throughout the boat battle sequence we picked about a dozen hero shots based on the criteria [of] which ones would reveal the most problems, and we would constantly check whether our model of the ships lined up to those shots. The tricky part is that practical sets aren’t perfect. They may not be symmetrical, or the same section may have different dimensions across the different sets. In addition to that initial step, it then requires careful planning and a lot of work to get to the detail level of a good practical set. The ships were highly detailed, and complex assets were built for every form of action, including total destruction. Both ships were fully-rigged sailing ships with ropes, cloth banners, sails, flexing masts and yardarms, flapping doors, all the cannons, etc. [There were] a lot of moving parts which helped to bring across some of the crazy movements and crashes the ships would do in the sequence.”
“There was actually a lot of great footage shot on big sets [for the scenes with Magellan’s ships and helicopters carrying them.] This sequence really had everything in it. The scenes were shot on several stages resembling different parts of the ships, which we were extending with CG. The helicopters we had designed are based on some classic cargo helicopters, but even beefier.”
—Sebastian von Overheidt, Visual Effects Supervisor
Between the two ships and helicopters, around 20 mercenaries, Braddock (Tati Gabrielle), Hugo (Pingi Moli) and the Scotsman (Steven Waddington) all become part of different fights which were augmented with head replacements or full digi-doubles. Von Overheidt explains, “The journey of the flight was across [some] 330 shots, so we built a massive environment that we used to block out the sequence. Ruben wanted an action-packed sequence. Especially, the shots where we see the boats and helicopters moving through the Karst landscape had to be dynamic and exciting, and we wanted to feel their weight and impact on the helicopter’s flight dynamics.”
Von Overheidt adds, “Now, real-world physics obviously weren’t a priority on this sequence to begin with, but we still aimed towards that feel for a plausible animation and also staging the camera in a way that it would guide the audience through the disorienting action and make the ships look massive at the same time. We basically had to stick to real-world physics while also constantly breaking it at the same time. The entire sequence was a close collaboration between our layout team and the animation team led by Animation Supervisor Jason Fittipaldi and Animation Lead Konstantin Hubmann, and [On-Set and Overall] VFX Supervisor Chas Jarrett, himself whose roots are in animation.
The CGI helicopters were based on classic cargo helicopters but made beefier. They had unusually heavy loads to carry – Magellan’s ships – across the South China Sea, with footage shot in Thailand serving as the South China Sea.
“Generally speaking, working with big practical sets is great for visual effects because you have real references to match to – the real material, the real lighting and how the camera captures it. Even if you end up replacing parts of it anyway, it’s a great start. Actors feel more comfortable interacting with a real environment as well. The trade-off is that matching into complex practical sets can be quite the puzzle for visual effects.”
—Sebastian von Overheidt, Visual Effects Supervisor, DNEG
Magellan’s ships, carried by helicopters, waged battle in the air.
“For the South China Sea environment, we had received extensive footage from a practical shoot in Thailand. Film Production mounted a multi-camera array under a helicopter and flew through the landscape also shooting at different lighting conditions during the day,” von Overheidt says. The original plan was to use this material as practical backgrounds and only extend plates or create specific shots full CG. “As we were creating a digital version of the environment, we soon realized that our team, led by Environment Supervisor Gianluca Pizzaia and Environment Lead Matt Ivanov, was able to create one big environment which would cover the entire flight path throughout the sequence. And straight out of rendering it looked pretty much photorealistic. We presented our results to Ruben, who got excited about it. Everyone was confident that this would be the way to do it. It gave us and Ruben so much more freedom to find great cameras and shot composition that we decided to go full CG on the environment all the way through.”
Von Overheidt continues, “It allowed us to move the camera anywhere we wanted and fully customize the environment to our needs. It made the whole process a lot more efficient as well. Throughout the third act, there is also a progression in lighting from afternoon to sunset. Compositing Supervisor Kunal Chindarkar and Compositing Lead Ben Outerbridge made sure we transitioned seamlessly into these different lighting conditions and moods as we reached the final shot of the Conception sinking and Nate and Sully flying into the sunset.”
Asked if the filmmakers let the look of the Uncharted video games influence the visuals of the movie, von Overheidt comments, “Not from a visual effects perspective, no. I can’t speak for the Production Art Department though. I used to game quite a bit but never played Uncharted before, so when I joined the show, it was actually the first time I checked it out, mainly to understand the characters and some of the main levels. My main influence for creating images comes from photography and graphic design. I get most of my inspiration from actually being outdoors. We had some great artwork from the production team and the Thailand footage to look at. We would also often look at references for all kinds of scenes, like crazy skydiving stunts or video footage of heavy-lifting helicopters.”
Looking at the melding of the big-scale practical and digital in Uncharted, von Overheidt concludes, “Generally speaking, working with big practical sets is great for visual effects because you have real references to match to – the real material, the real lighting and how the camera captures it. Even if you end up replacing parts of it anyway, it’s a great start. Actors feel more comfortable interacting with a real environment as well. The trade-off is that matching into complex practical sets can be quite the puzzle for visual effects.”
With the help of bluescreen, Pingi Moli (Hugo), Tati Gabrielle (Braddock) and Steve Waddington (The Scotsman) appear to walk down the ramp of the C-17’s cargo bay onto a busy operations base.
“Bad Travelling” is the animation directorial debut of David Fincher.
There are sinister underpinnings to human nature which are mined narratively to create stories filled with destructive conflict and satirical humor for the Emmy-winning Netflix animated anthology Love, Death + Robots, executive produced by filmmakers David Fincher (The Social Network) and Tim Miller (Terminator: Dark Fate). The nine shorts curated for Love, Death + Robots Vol. 3 are examples of drastically different visual styles from the likes of Patrick Osborne, David Fincher, Emily Dean, Robert Bisi and Andy Lyon, Jennifer Yuh Nelson, Tim Miller, Carlos Stevens, Jerome Chen and Alberto Mielgo, with animation provided by Pinkman.tv, Sony Pictures Imageworks, Axis Studios, Blur Studio, Titmouse, BUCK, Polygon Pictures and Blow Studio.
“In Vaulted Halls Entombed” is a military adventure that descends into Lovecraftian horror.
“When 3D animation came out, it allowed us to do certain things that we couldn’t do in 2D animation. The same with a lot of the game engines. You are able to express an entire world, adjust things in real-time and change the light if you want. It’s not baked into things like it is usually.”
—Jennifer Yuh Nelson, Supervising Director
“Jibaro” is the only episode that is not based on pre-existing material.
Returning as the supervising director from her previous outing on Vol. 2 is Jennifer Yuh Nelson (Kung Fu Panda 2 & 3), who worked with a mixture of new and veteran collaborators as well as making her own contribution with the muscle-flexing action adventure “Kill Time Kill.” Notable first-time participants are David Fincher making his animation directorial debut with the monstrous seafaring tale “Bad Travelling” and Patrick Osborne helms the macabre-funny, post-apocalyptic sequel “Three Robots: Exit Strategies.” Returnees include visual effects veteran Jerome Chen helming “In Vaulted Halls Entombed,” where a special forces team encounters an ancient evil, and Oscar-winner Alberto Mielgo envisioning a fatal romance between a deaf Renaissance knight and a lethal siren in “Jibaro.” Inventive animation styles are found in “Night of the Mini Dead,” which uses tilt-shift photography to make everything look tiny, Mobius and psychedelic-flavored “The Very Pulse of the Machine,” and in the painterly impressionism of “Jibaro.”
As to whether real-time technology and game engines are impacting the type of stories being told, Nelson does not believe this to be the case. “I don’t know if it’s types of stories that it has affected,” she explains. “It’s the look and how much you can deal with certain levels of complexity. When 3D animation came out, it allowed us to do certain things that we couldn’t do in 2D animation. The same with a lot of the game engines. You are able to express an entire world, adjust things in real-time and change the light if you want. It’s not baked into things like it is usually.” The impact of game engines like Unreal and Unity cannot be ignored. “I’m so old that I was on the cusp of the desktop revolution, and it used to be when I started in the business you had to have a lot of money to be able to do 3D animation,” recalls Miller. “Then desktop technology and software came along and it democratized the process, which allowed us to start Blur borrowing $20,000. I thought that was amazing, but game engine technology is going to be a paradigm shift again. You don’t need heavy machines to render. Even lots of cheap PCs are still expensive and need some technical infrastructure. Now guys can do minutes-long shorts in their basements at home and you can see it on the web. You see a lot of interesting artists doing great things by themselves or with small teams. Game engine technology is super freaking exciting. I feel like that I’ve been waiting for it a while, but now it’s here.”
“Kill Team Kill” is a kindred spirit of Predator, Commando and Escape from New York.
“[G]ame engine technology is going to be a paradigm shift again. You don’t need heavy machines to render. Even lots of cheap PCs are still expensive and need some technical infrastructure. Now guys can do minutes-long shorts in their basements at home and you can see it on the web. You see a lot of interesting artists doing great things by themselves or with small teams. Game engine technology is super freaking exciting. I feel like that I’ve been waiting for it a while, but now it’s here.”
—Tim Miller, Director
“Mason’s Rats” revolves around a Scottish farmer battling with weapon-wielding rats determined to steal his crops.
“Night of the Mini Dead” was created by using tilt-shift photography which makes everything look tiny.
When it comes to her own short, where a squad of soldiers in Afghanistan encounter a CIA experiment gone horribly wrong, Nelson decided to channel a fondness for a particular cinematic era that made action icons out of Arnold Schwarzenegger, Sylvester Stallone, Bruce Willis and Jean-Claude Van Damme. “For ‘Kill Team Kill,’” she says, “my inspiration was cartoons from the 1990s and action movies from that time, like Predator, Commando, and G.I. Joe cartoons. They were good fun at the time, and the story by Justin Coates had that feel to it, so that’s where that came from.” Handling the animation was the studio responsible for The Boys Presents: Diabolical and The Legend of Vox Machina. “I got to work with Titmouse, and they’re an amazing studio with a wide variety of different styles. I got to work with Antonio Canobbio and Benjy Brooke who helped to find this look. It’s a 2D style, so it has to be animatable. The character designs themselves are covered with veins and packets of ammo which are hard to animate, but we got the benefits of amazing animators from all over the world, and you can see that level of expertise in it.”
“[For ‘Jibaro’] we used real scans of armor that you might see in museums. When you see the armor, it feels almost unbelievable that you can fit a person inside. The cool thing about this is we don’t actually need to fit a person inside because these aren’t real characters. You can just have their neck. We were using real Renaissance armor. We were redesigning it a little bit, but the cool thing is that we’re seeing something that is historically accurate. I feel that is extremely new and fresh.”
—Albert Mielgo, Director
“Swarm” was adapted by Miller from a short story by Bruce Sterling, and revolves around human factions with conflicting views as to whether advancement should be achieved through genetic manipulation or cybernetic enhancement and technology. Adding further complications is the discovery of an insectoid race that may be of a higher intelligence than humanity. “We have a set of eight-sided dice and roll them!” laughs Miller when describing how he decides upon the animation style, character design and world-building. “It was interesting that we had this short which is almost entirely in zero-G, but we were still going to do some motion capture for that,” notes Miller. “Then the pandemic hit and motion capture was not an option anymore. I didn’t want to get caught in the uncanny valley either, so I decided to stylize the characters to a certain degree, which helps the story not be quite as horrible as it would be otherwise. I loved making the show. It was a challenge to think about the physics of how people move through zero-G, and anything with lots of creatures is a good time. I get a lot of vicarious enjoyment from knowing the animators and creature designers are going to enjoy the process of making this.”
Mocap was combined with CG keyframe animation to produce “Swarm.”
“[For ‘Kill Team Kill’] it’s a 2D style, so it has to be animatable. The character designs themselves are covered with veins and packets of ammo which are hard to animate, but we got the benefits of amazing animators from all over the world, and you can see that level of expertise in it.”
—Jennifer Yuh Nelson, Supervising Director
“The Very Pulse of the Machine” is a love letter to French comics great Jean “Moebius” Giraud.
“Three Robots: Exit Strategies” features the neurotic XBOT 4000, dimwitted and enthusiastic K-RVC, and the brilliant and deadpan 11-45-G examining the demise of humanity.
Self-taught as an artist, Mielgo (The Windshield Wiper) utilizes the principles of painting, in particular lighting, when producing animated shorts such as “Jibaro.” “I create a simple image by removing what is not necessary for the eye to understand,” he says. Themes rather than the premise influence the animation style. “In terms of the girl, I wanted her to be a walking treasure, and in order to do that I was doing research on folklore jewelry from Northern Africa, China, India and Pakistan. In the case of the guys, I prefer the Renaissance rather than the Medieval in terms of design. We did something interesting, which is we used real scans of armor that you might see in museums. When you see the armor, it feels almost unbelievable that you can fit a person inside. The cool thing about this is we don’t actually need to fit a person inside because these aren’t real characters. You can just have their neck. We were using real Renaissance armor. We were redesigning it a little bit, but the cool thing is that we’re seeing something that is historically accurate. I feel that is extremely new and fresh.”
Sheena Duggal is an acclaimed visual effects supervisor and artist whose work has shaped numerous studio tent-pole and Academy Award nominated productions. Most recently, Duggal was Visual Effects Supervisor on the box office blockbuster Venom: Let There Be Carnage and was a BAFTA nominee this year for Best Special Effects for her work on the Oscars VFX-shortlisted Ghostbusters: Afterlife. Sheena is the only woman VFX Supervisor to earn that level of recognition from the Academy this awards season. She was the first woman to be honored with the VES Award for Creative Excellence, bestowed in 2020.
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 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.
Good girls get nowhere. Be disobedient, be persistent, never take disrespect thrown your way… be smart and graceful and remember you are equal.
Never stop fighting for the right to be the best you can be. Women spend too much time being congenial, and it’s time for us to speak up about our achievements and the opportunities we’ve created for ourselves. We’re talented, we’re here, and we’re ready.
Even if women break though the glass ceiling, they end up on a glass cliff where they can be pushed off, because there, is no cadre of women to cheerlead in support that is equivalent to a “boy’s club.” We need to be building an industry culture and a structure that supports women in the field and sets them up for success. I take my opportunity to be a role model and a voice for other women seriously; I want to not just open doors, but bust through them.
Change can happen fast if everyone is motivated. We need to do it now.
In having this inevitable conversation, we can’t exclude men or accuse them if we want to create the change we want to see. We must do it together. Women are almost always expected to solve the systemic problems we did not create or perpetuate in a patriarchal culture. A lot of well-meaning people lack self-awareness or fail to understand their role in enabling sexism or great inequities. If meritocracy fails to work, then uplifting women needs to be a conscious choice. I would ask all men in VFX to go through implicit bias training and be active problem-solvers and advocates for women, because people still give men’s voices more credibility. It takes a lot of people to create success for an outlier.
Ask Me Anything – VFX Pros Tell All
Join us for our series of interactive webinars with visual effects professionals. Ask your questions, learn about the industry and glean inspiration for your career path.
Michelle de Swarte portrays Natasha who has a fateful encounter with a mysterious baby seeking to control her life.
Upon reading the synopsis for the HBO and Sky horror comedy The Baby, one gets a distinct impression that anxiety about motherhood drives the narrative created by Lucy Gayme and Siân Robins-Grace. The summary states, “Controlling, manipulative and with violent powers, the baby twists Natasha’s life into a horror show. Where does it come from? What does it want? And what lengths will Natasha have to go to in order to get her life back? She doesn’t want a baby. The baby wants her.” When this observation gets mentioned to VFX Producer Anne Akande and Visual Effects Supervisor Owen Braekke-Carroll both of them laugh in agreement. “It’s certainly a dissection of many angles of motherhood!” states Braekke-Carroll. “There is symbolism and scenes that absolutely tap into practical and real fears of breast feeding and abandonment. We were tasked with bringing some of the juicer parts of the script into the visual medium. It’s quite literal in many ways.”
Bobbi (Amber Grappy), Natasha (Michelle de Swarte) and Mrs. Eaves (Amira Ghazalla) stand in horror at the violent chaos that ensues in The Baby.
“We weren’t pushing [visual effects] beyond anything because the show was one that we knew early on was grounded in reality. The baby is a baby. There are a lot of misconceptions about what this baby is and what his agenda is. There are a few moments where we have some heightened reality and he is still a baby, but a bit different.”
—Anne Akande, VFX Producer
Gayme and Robins-Grace had a clear and descriptive vision of the reality and tone of the series. “Siân and Lucy were keen from the outset on getting a realistic and grounded tone throughout the series, and this influenced how we then approached the body of work,” remarks Akande. “We were involved early in the process to ensure that the shoot methodology would be effective and give visual effects enough material to pull off some of the more dramatic scenes. Beyond that giving the guidance, they were also collaborative, open and willing to take feedback on the best way forward via visual effects to hit each story point.” The visual effects work for the eight episodes consisted of just under 650 shots by Framestore, Jellyfish Pictures, Freefolk and Goldcrest. “We weren’t pushing it beyond anything because the show was one that we knew early on was grounded in reality,” notes Akande. “The baby is a baby. There are a lot of misconceptions about what this baby is and what his agenda is. There are a few moments where we have some heightened reality and he is still a baby, but a bit different.”
A key location is a seaside cottage at the base of a cliff, directly fronting the shoreline.
This beachside cliff was LiDAR scanned, recreated through DMP/CG, then combined with plate photography.
Nicole Kassell helmed the pilot, Faraz was responsible for three episodes, and Stacey Gregg and Ella Jones each directed two episodes. “It’s always interesting working with different directors across a series, and in this case they did all have different approaches to handling the visual effects,” states Akande. “Nicole Kassell had a lot of experience in visual effects and had a hands-on approach from storyboards, concept, previs through to execution. Others brought their comedy experience to help drive the storytelling beats, and there was also some experimentation using different shooting techniques and machinery on set. All of this brought an interesting mix that fused with the tone of the show, creating a unique place for The Baby in the comedy/horror genre.” Storyboarding and concept art were produced for all of the key creative beats.
“We definitely knew that we needed a digital asset. By casting twins, we were able to double our shooting hours. The babies absorbed the nature of the set quickly, and we saw them grow up over the course of six months of shooting with them. That left us with a strange, hybridized methodology over time, whether it be face replacements from plates with a CG body, a stand-in prosthetic baby with a head replacement being pushed around in a pram, or one digital arm, plate head and a prosthetic body. There was also an army of stand-in babies.”
—Owen Braekke-Carroll, Visual Effects Supervisor
The cottage and immediate gardens were built on the site of a small quarry which provided the immediate base of the cliff and surroundings.
“To compensate for [the unpredictability of the babies] on set, we ended up treating almost every frame with the baby cast in it as a potential visual effects shot. This included taking large volumes of data and notation for most scenes and essentially treating them as a CG creature in the scene.”
—Anne Akande, VFX Producer
“Concept art for key moments, such as our Demon Baby nightmare scene, was developed by the Framestore art department and was crucial in helping settle the creative vision as much as possible before shot execution,” remarks Braekke-Carroll. “From the storyboards, some key shots were turned into previs.” Scripts for the eight episodes were broken down to determine what shots required visual effects. “We worked closely with the art department throughout the shoot to help find the right combination of set, location and bluescreen,” explains Akande. “A key location in the script that we return to many times is a seaside cottage at the base of a cliff, directly fronting the shore line. Locations were unable to find a site that hit all the required points, so visual effects were tapped to make this work. The cottage and immediate gardens were built on the site of a small quarry, which gave us the immediate base of the cliff and surrounds. A secondary location along the site of a dramatic coastline in Newhaven [England] was the basis for the extension. This beachside cliff was LiDAR scanned, recreated through DMP/CG, then combined with plate photography to combine the two locations together.” Deaths are plentiful throughout the story, but the focus is on the aftermath rather than the actual act of violence. “There is an implied causal link between the baby and a death,” states Braekke-Carroll. “But he’s not necessary physically holding the knife.”
Due to the unpredictable nature of the babies on set, every shoot day could wildly deviate from the plan and the visual effects team would be required to help.
“The sheer nature of the amount of time that we were going to have a baby onscreen and on set meant that a lot of things we had planned for would sometimes go flawlessly without any help from us,” notes Braekke-Carroll. “On another occasion, the entire day might need to be completely changed and require our input for all sorts of reasons.” Identical twins were cast in the title role. “We definitely knew that we needed a digital asset,” remarks Akande. “By casting twins, we were able to double our shooting hours. The babies absorbed the nature of the set quickly, and we saw them grow up over the course of six months of shooting with them.” Digital doubles were avoided as much as possible. “That left us with a strange, hybridized methodology over time, whether it be face replacements from plates with a CG body, a stand-in prosthetic baby with a head replacement being pushed around in a pram, or one digital arm, plate head and a prosthetic body,” states Braekke-Carroll. “There was also an army of stand-in babies. When it comes to performance with our hero twins, that became a hybridized process where we used a combination of digital passes, keying tools, reprojections and face tracking from source plates. Then also leaning on machine learning additional 2D layering to change the performance.”
“It’s always interesting working with different directors across a series, and in this case they did all have different approaches to handling the visual effects. Nicole Kassell had a lot of experience in visual effects and had a hands-on approach from storyboards, concept, previs through to execution. Others brought their comedy experience to help drive the storytelling beats, and there was also some experimentation using different shooting techniques and machinery on set. All of this brought an interesting mix that fused with the tone of the show, creating a unique place for The Baby in the comedy/horror genre.”
—Anne Akande, VFX Producer
The eyes were difficult to get right. “The animation of the performance of the baby isn’t quite straightforward,” remarks Braekke-Carroll. “The eyes are quite loose and gaze differently. We took parts of plates for the area around the eyes for the micro-performance and combined that with CG or machine learning layers.” A wealth of material was gathered from reference photography. “We could be working on something in Episode 104 and there’s a performance that nails it in Episode 102,” states Akande. “Everybody on set was invested in getting us the material. It could be the first two seconds before the take, and that was needed for the face replacements. We also learned about which baby is good at being still or restless. The one thing that we tried to educate people on is that the babies are a member of the cast. If you replace a cast member with a stand-in for 30 shots, that becomes visual effects. Every time a baby was in a shot, the first port of call was our hero baby. The real performance will always be better than the alternative. CG was the last resort, and that was what we let the showrunners and executive producers know from the beginning.”
Face-generation camera setups were orchestrated that proved to be useful as animation reference and being utilized for machine learning. “Anytime we were using a digital baby performance and we would also be running a machine learning output as well,” explains Braekke-Carroll, “rather than treating that as a facial replacement solution we had it as an additional layer setup that could be incorporated partially or fully in with the other renders for the other parts. A lot of the shots that you will see won’t necessarily be a machine learning output, but there will be parts of the lips, eyes or cheek that will give it an extra degree of photographic verisimilitude that you get from that output.” One of the most difficult visual effects tasks was to have a baby falling asleep or sleeping. “We had to find a bunch of solutions and ended up shooting a lot of high-frame-rate plates of the baby and played them back at normal speed,” adds Braekke-Carroll. “We looked for a nice section where it felt like they were sleeping. A machine learning dataset was built just of the baby’s eyes. The high-frame-rate photography gave it a gentle effect, rather than trying to animate too much micro eye movement.”
The show had one primary asset, which was the baby digital double. The bulk of the baby work was handled by Framestore.
In some cases, shots were a combination of high-frame-rate plate photography, digital-double parts and a machine learning layer on top.
Point-of-view shots take place within the birth canal and womb. “We had a free remit to take B camera, get all of the jars of Vaseline, PCB tubing, probe lens, lights, blood, sputum and pus,” reveals Braekke-Carroll. “We took all of the bits and pieces and gelled them up. We got some nice closeup photography inspired by the scenes in The Tree of Life. I was pushing against building a CG interior because, tonally, I didn’t think that it fit the episode. From that photography, visual effects added a layer of fine particulate and endoscopic lensing. There is also the diffusion of the water and cloudiness. But the actual content of the walls was practical photography.”
“The one thing that we tried to educate people on is that the babies are a member of the cast. If you replace a cast member with a stand-in for 30 shots, that becomes visual effects. Every time a baby was in a shot, the first port of call was our hero baby. The real performance will always be better than the alternative. CG was the last resort, and that was what we let the showrunners and executive producers know from the beginning.”
—Owen Braekke-Carroll, Visual Effects Supervisor
The unpredictability of the on-set babies posed the biggest challenge across the series. “To compensate for this on set, we ended up treating almost every frame with the baby cast in it as a potential visual effects shot,” explains Akande. “This included taking large volumes of data and notation for most scenes and essentially treating them as a CG creature in the scene.” The best moment was literally saved for last. “We’re looking forward to the final sequence underwater,” states Braekke-Carroll. “It’s a beautiful and unexpected scene that wraps up the story and bookends the series nicely.”
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)
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.
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
Please RSVP below (VES members must login to sign up)
Event Details
Food, Games, and Fun for All Ages!
Restrooms & Free Parking (see map below)
VES Members and a Guest FREE with RSVP by Friday, August 26, 2022 at 5:00 pm!
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 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-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below
Thursday, August 16, 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 a Guest are Invited to Attend the Art Directors Guild Screening of SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE IN 3D (1983) followed by a conversation with Production Designer Jackson De Govia , Special Visual Effects Supervisor Gene Warren Jr. and Costume Designer Julie Weiss moderated by ADG Film Society Co-Chair John Muto..
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
In the wake of the STAR WARS phenomenon of the 70s, the 80s brought us the low-budget apocalyptic space opera — often in 3D — and generally from Roger Corman or Albert Band; such pictures as STARCRASH, GALAXINA, METALSTORM, and ICE PIRATES. The August screening of SPACEHUNTER: ADVENTURES IN THE FORBIDDEN ZONE is something very different.
Though featuring a galactic bounty hunter menaced by a mechanical madman (on a ruined world (of course), it is well written and directed, very well cast and acted (Molly Ringwald, Peter Strauss, Ernie Hudson) and boasts particularly imaginative sets by Jackson DeGovia, costumes by Julie Weiss, and visual effects by Gene Warren Jr. The Film Society will be presenting SPACEHUNTER in 3D on a silver screen specially installed for the occasion.
SPACEHUNTER‘s Emmy winning Production Designer Jackson de Govia, has had a remarkably eclectic career. He has designed such disparate films as DIE HARD, BOWFINGER, SPEED, FORGETING SARAH MARSHALL, THE 40-YEAR OLD VIRGIN, and SISTER ACT among many others.
He is delighted to have the opportunity to discuss his early career adventure bringing SPACEHUNTER to the 3D screen. Joining Jack to discuss their work on SPACEHUNTER will be Costume Designer Julie Weiss (FRIDA, 12 MONKEYS, BLADES OF GLORY, AMERICAN BEAUTY), and visual effects legend Gene Warren Jr. (TERMINATOR 2: JUDGEMENT DAY, THE EXPENDABLES, MOONRISE KINGDOM, UNDERWORLD).
VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Click here to RSVP Sunday, August 5, 2018 at 12:00PM
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 Screening of Walt Disney Pictures’ CHRISTOPHER ROBIN
Please RSVP below
(RSVPs close at 12:00PM on Friday, August 3) Saturday, August 4, 2018 at 6:30PM
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 Screening of 20th Century Fox’s THE DARKEST MINDS
Please RSVP below
(RSVPs close at 12:00PM on Friday, August 3) Saturday, August 4, 2018 at 3:00PM
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 a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below
Monday, July 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-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Will your favorite movie or TV show be available to your children or grandchildren?
Preservation and restoration are complicated and challenging issues. What should be saved? How should it be preserved? Who pays? How will future generations access media content from today and the past 100 years?
It would be impossible to cover every aspect of this topic in one evening. However, we have invited some of Hollywood’s best and brightest preservation specialists to describe what they and their companies are doing to protect valuable content…and what we can do to help.
This special event is a co-production of the Visual Effects Society Los Angeles Section and The Society of Motion Picture and Television Engineers Hollywood Section. Dick May, Anthony Magliocco of Entertainment and Media Technology and Linda Rosner of Artisans PR invite you to join us on July 17th at the Academy of Motion Picture Arts and Sciences Theater in Hollywood.
DATE: July 17, 2018 Time: 6:30 PM Reception, program starts at 7:15 PM Location: Linwood Dunn Theater of the Academy of Motion Picture Arts and Sciences 1313 Vine Street Hollywood, CA
Planned Presenters include:
Jan-Christopher Horak – Director at the UCLA Film and Television Archive Grover Crisp – EVP Asset Management, Film Restoration & Digital Mastering at Sony Pictures Entertainment Andrew Oran – VP Large Format Restoration – Fotokem Larry Chernoff – CEO – MTI Film Theo Gluck – Dir: Library Restoration and Preservation at The Walt Disney Studios Sheri Eisenberg – Senior Colorist Roundabout Entertainment, Inc.
This is a free event. The entrance to the theater is in the rear where you will find free parking.
The Cinema Audio Society Invites VES Members and a Guest are Invited to Attend a 4K Screening of THE MATRIX (1999) with the Newly Completed and Unscreened Dolby Atmos Mix followed by a Q&A with the filmmakers.
The screening will be preceded by a reception with appetizers and a no-host bar at 5:30PM at The Federal, located at 5303 Lankershim Blvd., North Hollywood, CA 91601.
Click here to RSVP
Saturday, July 14, 2018 Screening begins at 7:00PM
(Reception at The Federal begins at 5:30PM)
Television Academy
5220 Lankershim Blvd., North Hollywood, CA 91601
(Click here for a map.)
VES Members and Their Families are Invited to an Opening Weekend Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 3: SUMMER VACATION
Please RSVP below
Saturday, July 14, 2018 at 10:30AM
The TCL Chinese 6 Theaters at the Hollywood & Highland Center 6801 Hollywood Blvd, Hollywood, CA 90028 Click here for a map.
Complimentary parking vouchers will be provided in the Hollywood & Highland Center’s underground lot.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to an Opening Night 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below
Friday, July 13, 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 Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below
Monday, July 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 Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP followed by a Q&A with Director Peyton Reed as well as Visual Effects Supervisor Stephane Ceretti moderated by VES Archives Committee Chair Gene Kozicki. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, July 6) Saturday, July 7, 2018 at 5:00PM
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 a Guest are Invited to Attend the Art Directors Guild Screening of PLANET OF THE APES (1968) followed by a conversation with Production Designer Bill Creber moderated by ADG Film Society Co-Chair John Muto..
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
Production Designer William Creber, nominated for three Oscars, is virtually the last of the Golden Age Production Designers. He is best known for his designs for PLANET OF THE APES as well as THE POSEIDEN ADVENTURE and THE TOWERING INFERNO, among many others.
Celebrating its 50th Anniversary as a science-fiction classic, PLANET OF THE APES garnered two Oscar-nominations and combines sensational high adventure, “thinking man’s” science fiction, and social commentary.
The film became a critical and commercial hit, and has spawned three sequels, a television show, a 90s remake, three acclaimed re-imaginings and a myriad of product tie-ins. William Creber’s sets for the original film, principally Ape City, set a high bar and have not aged a day in fifty years.
PLANET OF THE APES was scripted by Rod Serling, famed creator of THE TWILIGHT ZONE, and directed by Oscar-winner Franklin J. Schaffner (LIONHEART, PAPILLON and PATTON).
PLANET OF THE APES maroons three astronauts on a desolate wasteland planet. Finding their way to a lush valley they encounter a tribe of mute, backward humans just as they are suddenly attacked by fierce, rifle-carrying gorillas on horseback — a human hunting expedition.
Taylor (Charlton Heston), the lead astronaut, is injured in the attack; now rendered mute, he is taken to a nightmarish Ape City and thrown into a human zoo. Surrounded by apes walking upright and speaking English, Taylor is befriended by a sympathetic chimpanzee scientist — whom he hopes might help him escape.
VES Members and Their Families are Invited to a Special Fathers’ Day 3D Screening of Universal Pictures’ and Amblin Entertainment’s JURASSIC WORLD: FALLEN KINGDOM followed by a Live Interactive Q&A with Director J.A. Bayona, ILM Visual Effects Supervisor David Vickery, ILM Animation Director Jance Rubinchik and ILM Visual Effects Supervisor Alex Wuttke with moderation by VES London Section Secretary Gavin Graham (All panelists’ participation based on availability.)
Please RSVP below Sunday, June 17, 2018 at 11:00AM (RSVPs close at 5:00PM on Friday, June 15)
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.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in London) immediately following the screening. (be sure to include the hashtag, #VESJURASSIC, in your tweet.)
Screenings are overbooked to 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 Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below
(RSVPs close at 12:00PM on Friday, June 15) Saturday, June 16, 2018 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 Members and Their Guests are Invited to a Screening of Global Road Entertainment’s HOTEL ARTEMIS
Please RSVP below
Friday, June 15, 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.
The Academy Science and Technology Council Invites VES Los Angeles Section Members to attend
“Acting and Performance Capture: a Revolution in Technology and Collaboration”
Co-hosted by actress CCH Pounder (AVATAR) and Oscar-winning Visual Effects Supervisor John Nelson (GLADIATOR and BLADE RUNNER 2049), this special program offers an eye-opening, behind-the-scenes tour through the collaborative and rapidly evolving world of performance capture.
Click here to RSVP
Thursday, June 14, 2018 at 7:30PM
(RSVPs close on Monday, June 11 at close of business.)
Samuel Goldwyn Theater
8949 Wilshire Blvd., Beverly Hills, CA 90211 Click here for FREE parking information.
To purchase tickets for non-VES member guests and for more information, click here..
*Due to limited ticket availability, please be sure to RSVP as soon as possible.
VES Members and Their Families are Invited to a 3D Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY followed by a live interactive Q&A with Overall Visual Effects Supervisor Rob Bredow, ILM Visual Effects Supervisor Pat Tubach, ILM Roto/Paint Supervisor Beth D’Amato and Hybride Visual Effects Supervisor Joseph Kasparian with moderation by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, May 25) Sunday, May 27, 2018 at 12:00PM
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
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, #VESSOLO, 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 a Guest are Invited to Attend the Art Directors Guild Screening of THE CONFORMIST (1970) followed by a conversation with Production Designer Hannah Beachler.
The Egyptian Theatre, Hollywood
6712 Hollywood Blvd. Hollywood, CA 90028 Click here for a map.
As we look up toward the designers that inspire us as filmmakers and designers, we ask them what inspired them. This year, Production Designer Hannah Beachler (BLACK PANTHER, MOONLIGHT, CREED, LEMONADE) is in the spotlight and chose THE CONFORMIST as one of the films that inspired her to become a designer.
The film was directed by Oscar-winning Writer/Director/Producer Bernardo Bertolucci, and designed by Oscar-winning Production Designer Ferdinando Scarfiotti, best known for THE LAST EMPEROR, TOYS and LAST TANGO IN PARIS.
In THE CONFORMIST, Marcello Clerici (Jean-Louis Trintignant) is a member of the secret police in Mussolini’s Fascist Italy. He and his new bride, Giulia (Stefania Sandrelli), travel to Paris for their honeymoon, where Marcello also plans to assassinate his former college professor Luca Quadri (Enzo Tarascio), an outspoken anti-Fascist living in exile. But when Marcello meets the professor’s young wife, Anna (Dominique Sanda), both his romantic and his political loyalties are tested. Moderating the discussion with Production Designer Hannah Beachler will be Art Director Michael Allen Glover.
VES Members and a Guest are Invited to a Special Event Celebrating the Crafts of Netflix
For your consideration event TIME WARP – Craft Panel Series
Netflix Talent Including:
A SERIES OF UNFORTUNATE EVENTS Cynthia Summers – Costume Designer Bo Welch – Director & Production Designer
ALTERED CARBON Everett Burrell – VFX Supervisor Ann Foley – Costume Designer Neville Kidd – Director of Photography Carey Meyer – Production Designer
GLOW Todd Fjelsted – Production Designer Beth Morgan – Costume Designer
GODLESS Tarra Day – Makeup Department Head Betsy Heimann – Costume Designer Steven Miezler – Director of Photography Carlos Rafael Rivera – Composer Michelle Tesoro – Editor
LOST IN SPACE Sam McCurdy, BSC – Director of Photography Terron Pratt – VFX Producer Jabbar Raisani – VFX Supervisor Marion Spates – Digital Effects Supervisor Angus Strathie – Costume Designer
Click here to RSVP
Sunday, May 20, 2018 at 5:00PM
(Doors open at 4:00PM, panel begins at 5:00PM) Reception to follow
NETFLIX FYSEE Raleigh Studios 5300 Melrose Avenue, Los Angeles, CA 90038
(Click here for a map.)
Complimentary parking available at the parking garageat 662 N. Van Ness, Los Angeles, CA 90004
Check-in will take place at the Bronson Entrance, guides will be onsite to provide walking directions
We recommend arriving early. The event is first come, first served and RSVPs do not guarantee seating as screenings are overbooked to compensate for no-shows.
~Paid for by Netflix~
This screening and moderated Q&A will be monitored for unauthorized recording. By attending, you agree not to bring any recording devices into the theatre and you consent to physical search of your belongings and person for recording devices. If you attempt to enter with a recording device, including camera phones, you will be denied admission. If you attempt to use a recording device, you consent to your immediate removal from the theatre and forfeiture of the device. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability.
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s DEADPOOL 2
Please RSVP below
(RSVPs close at 12:00PM on Friday, May 18) Saturday, May 19, 2018 at 7:00PM
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 Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR followed by a Q&A with Visual Effects Producers Jen Underdahl and Lisa Marra, Weta Digital Visual Effects Supervisor Matt Aitken, Industrial Light + Magic Visual Effects Supervisor Russell Earl and Digital Domain Visual Effects Supervisor Kelly Port with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below
(RSVPs close at 12:00PM on Friday, May 4) Sunday, May 6, 2018 at 12:00PM
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 an Opening Night Screening Of Focus Features’ TULLY
Please RSVP below
Friday, May 4, 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 a Guest are Invited to Attend the Art Directors Guild Screening of GRAND HOTEL (1932) with a Tribute to MGM’s Legendary Oscar® Winning Supervising Art Director Cedric Gibbons (1892-1960)
Aero Theatre, Santa Monica 1328 Montana Ave, Santa Monica, CA 90403
GRAND HOTEL (1932) will launch the Art Directors Guild Film Society’s 2018 screening series with a spotlight on Cedric Gibbons, whose record 11 Academy Awards and 39 nominations include honors for SINGIN’ IN THE RAIN (1952), AN AMERICAN IN PARIS (1951), GASLIGHT (1944), THE PHILADELPHIA STORY (1940), PRIDE AND PREJUDICE (1940), THE WIZARD OF OZ (1939) and THE GREAT ZIEGFELD (1935).
Regarded by those that knew him best as the “Mercury of Hollywood,” Gibbons was the design trendsetter most responsible for bringing glamour and sophistication with a touch of surrealism to Depression-era audiences.
As one of Hollywood’s most influential executives, his four-decade tenure as Supervising Art Director at MGM from 1924-1956 (almost as long as the life of the studio) saw his stamp of approval on a record 1500 films. Dark and handsome, and always elegantly dressed, he was seen as an arbiter of taste and fashion and his career was closely followed in the 1930s by gossip columnists — particularly when he was married to actress Delores Del Rio. Gibbons was clearly the most influential Supervising Art Director of Hollywood’s Golden Age.
GRAND HOTEL takes place at a luxurious Berlin hotel between the wars where the once-wealthy Baron Felix von Gaigern (John Barrymore) supports himself as a thief and gambler. In this lavish adaptation of the successful Broadway play, the baron romances one of his marks, the aging ballerina Grusinskaya (Greta Garbo), and teams with dying accountant Otto Kringelein (Lionel Barrymore) against his former boss, crooked industrialist Preysing (Wallace Beery), and his ambitious stenographer, Flaemmchen (Joan Crawford).
Production Designer and Film Society co-chair Thomas Walsh ADG will moderate a discussion with Maria Cooper Janis, daughter of Gary Cooper and great niece of Cedric Gibbons. They will explore the legacy of Gibbon’s work and spotlight in the Golden Age of Hollywood socialites.
Director: Edmund Goulding Stars: Greta Garbo, John Barrymore and Joan Crawford Art Direction: Cedric Gibbons
VES Members and Their Guests are Invited to a Screening Of Paramount Pictures’ A QUIET PLACE
Please RSVP below
Monday, April 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 Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE followed by a Q&A with Co-Producer and Visual Effects Producer Jennifer Meislohn, ILM Visual Effects Supervisor Grady Cofer, Digital Domain Visual Effects Supervisor Matthew Butler and Digital Domain Previsualization Supervisor Scott Meadows as well as Digital Domain Virtual Production Supervisor Gary Roberts, moderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Please RSVP below
Saturday, April 7, 2018 at 12:00PM 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 Screening of Fox Searchlight’s ISLE OF DOGS
Please RSVP below Thursday, March 29, 2018 at 7:00PM
(RSVPs will close at 12:00PM on Thursday, March 29) 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.
Renowned Director/Creative Director Richard Winn Taylor II, VES, will take us on trip down memory lane, using images and video to illustrate the diverse road he has taken through out his career. From light shows, commercials, feature films, television, games and special venue projects, Richard is now immersed in 3D VR. Hear how he has evolved with the latest technologies and venues to stay current and transfer his skills to the
evolution of entertainment.
Registration
Free event
Registration is on a first come, first served basis.
VES Members and Their Guests are Invited to an Opening Night 3D Screening Of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below
Friday, March 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-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The Augmented/Virtual Reality revenue forecast has been revised to hit $120 billion by 2020. Our panelists have made the transition to VR and want to share what they have learned about the process with their fellow artists.
Panelists:
Craig Barron, Creative Director of Magnopus
Mariana Acuna Acosta, Co-Founder of Opaque Studios, Founder of JoltVR
Richard Kidd, Founder of Perilous Orbit
Moderator:
Jeff Barnes, EVP, Light Field Lab
The event includes refreshments and VR Demos before and after the panel.
Registration
Free event
Registration is on a first come, first served basis.
All attendees must RSVP below
Events are overbooked to compensate for no-shows. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME followed by a Live Interactive Q&A with Visual Effects Supervisor Rich McBride and Previs Supervisor Chris Batty with moderation by VES Board member Lisa Cooke.
Please RSVP below
(RSVPs close at 12:00PM on Friday, March 16) Saturday, March 17, 2018 at 12:00PM
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
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWRINKLE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s RED SPARROW
Please RSVP below Saturday, March 10, 2018 at 8:00PM
(RSVPs will close at 12:00PM on Friday, March 9) 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 a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below
(RSVPs close at 12:00PM on Friday, February 23) Sunday, February 25, 2018 at 4:00PM
Walt Disney Studios Main Theater
500 S. Buena Vista St., Burbank, CA 91521
(Please enter through the Riverside 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 a Guest are Invited to a Screening of Lionsgate Pictures’ and Aardman Animation’s EARLY MAN followed by a Q&A with the filmmakers
Panelists will include Director Nick Park and Animation Directors Will Becher andMerlin Crossingham. (All panelists’ participation based on availability.)
Click here to RSVP Friday, February 9, 2018 at 7:30PM (RSVPs close on February 7) 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.
Learn directly from the experts at Epic Games at Gnomon School of VFX on Saturday, January 20. Discover the fundamental concepts and workflows that drive real-time performance with two free masterclasses.
Covering how to build a better pipeline for Unreal Engine 4, the first masterclass will offer a comprehensive overview of the content pipeline; you will learn everything from working with larger teams, managing meshes, textures and working with materials, to essential skills for performance and optimization. In part two, the masterclasses continue with a look at the rendering pipeline in Unreal Engine, its terminology, and best practices for rendering scenes in real-time. Attendees will also see the all-important guidelines and profiling techniques that improve the debugging process for both CPU and GPU performance improvements.
Join Epic Games at the Gnomon Stage on Saturday, January 20, 2018, from 11:00AM. Complimentary brunch, mid-afternoon buffet, and closing drinks will be served. For those that can’t attend in person, please join us live from 12:00PM (PST) on Gnomon’s Livestream channel or via the official Gnomon Facebook page.
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Schedule
11:00AM – 12:00PM: Registration & Networking with Complimentary Brunch & Coffee
12:00PM – 3:00PM: Masterclass Part One: Building Better Pipelines for Unreal Engine 4
3:00PM – 4:00PM: Intermission with Complimentary Buffet & Networking
4:00PM – 7:00PM: Masterclass Part Two: Rendering with Unreal Engine
7:00 PM – 8:00PM: Closing Reception with Complimentary Drinks
Guest Speakers
Martin Sevigny – Support Manager, Epic Games
As Support Manager of the Enterprise division at Epic Games, Martin Sevigny oversees a team of talented technical artists who assist licensees in reaching the highest quality results in their projects. Prior to joining Epic Games, Martin was the Director of Technology at WB Games Montréal. In addition to playing a key role in the creation of the studio, he contributed to three titles in the Batman Arkham series, in collaboration with Rocksteady Studios. Martin also worked for Autodesk in the creation of the games group, and at Ubisoft Montreal as part of the revival of the Prince of Persia franchise.
Homam Bahnassi – Technical Artist, Epic Games
A veteran technical artist and engineer in the games industry, Homam Bahnassi has more than 15 years of experience developing AAA games across a variety of platforms. He’s worked for several studios including EA and Warner Bros., and has had multiple publications and contributions in real-time rendering and art workflows published in ShaderX and GPU Pro books. His impressive engineering background in AI allows him to develop and implement novel techniques for generating real-time effects and procedural content in Unreal Engine.
VES Members and Their Guests are Invited to a 3D Screening Of Columbia Pictures’ JUMANJI: WELCOME TO THE JUNGLE
Please RSVP below
Thursay, December 21, 2017 at 7:30PM
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 TriStar Pictures’ ALL THE MONEY IN THE WORLD
Please RSVP below
Tuesday, December 19, 2017 at 7:30PM
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.
Location: Bayview Ballroom of the Marina del Rey Marriott, CA
Address: 4100 Admiralty Way, Marina del Rey, California 90292
Time: 4:30 to 8:00pm
Wine, soft drinks, and hors-d’oeuvres will be served. A cash bar will also be available.
Parking: Valet $15.00. Hourly parking across the street at “Mother’s Beach”
Dress: Cocktail Attire
Join the members of the Los Angeles Section and their guests as we celebrate the holiday season!
Enjoy music, food and drinks as well as one of the most spectacular views in the Los Angeles area on the rooftop ballroom with a spectacular 360-degree view of the ocean and Los Angeles. The event is centered on what should be a beautiful sunset. (weather permitting).
Here is a chance to have some great food, and wine and celebrate the season with your VES friends. Be there and you may win an amazing door prize.
About the Four Star Marriott Marina Del Rey: ranked #6 out of the hotels in Marina Del Rey on TripAdvisor!
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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Join Us FREE for the VES Showcase of Epic Games’ Unreal Engine for VFX: Building & Optimizing Worlds for Real-Time
Martin Sevigny
Homam Bahnassi
