The Yard VFX added morning smoke over the water to add to the atmospheric grayness of Victorian London.
Following the events of the first film, Enola Holmes 2 follows Enola on her quest to unravel the disappearance of a missing girl, assisted by her close associates and her older brother, Sherlock. Spin VFX and The Yard VFX worked together to provide the majority of the visual effects for the film, with around 550 VFX shots required overall. “Working directly with the movie VFX supervisor, we had to deliver photorealistic period images and scenery, staying true to the spirit and tone of Enola Holmes as laid out in the first installment,” says Edward Taylor, VFX Supervisor for Spin VFX on the film.
“The conversation started with Helen Judd, Mike Ellis and myself around two years ago,” remarks Laurens Ehrmann, Senior VFX Supervisor and Founder of The Yard VFX. “They asked me if The Yard would like to work on Enola Holmes 2. Of course, it was a great opportunity for us,” Ehrmann explains. “They showed me some concept art and explained the project, and we started from there. In the same period, I had some conversations with Aymeric Auté, and I proposed he join us for the show. Then we started sharing our thoughts with Mike, regarding the different environments that we had to craft, especially the outside of the matchstick factory and this big aerial shot over the Thames, where the camera is flying over the dock to reach Enola in the street.”According to Ehrmann, there weren’t a lot of images for the time period. “We tried to build a bunch of references. The main references from Mike were Jack the Ripper and murky London with lots of pollution, as well as Peaky Blinders,” he says.
The Yard VFX relied on images of Victorian London for reference when it came to constructing the concept of the dockyards. A gray sky lingers over the Big Smoke.
“There weren’t many pictures, as it was the end of the 19th century and beginning of the 20th century,” adds Auté, who served as VFX Supervisor. “We tried to go a little further in time, around 1930, as there are more pictures, but we had to take care as it was more industrial in this time period. We tried to get as many references as possible, and we created a mood board with Mike. They sent us what they wanted architecture-wise and details of windows, for example, to really fit with the time period.”
“There weren’t many pictures, as it was the end of the 19th century and beginning of the 20th century. We tried to go a little further in time, around 1930, as there are more pictures, but we had to take care as it was more industrial in this time period. We tried to get as many references as possible, and we created a mood board with Mike. They sent us what they wanted architecture-wise and details of windows, for example, to really fit with the time period.”
—Aymeric Auté, VFX Supervisor, The Yard VFX
The Spin VFX team was meticulous when it came to the final details. “The harsh smoke-filled realities of Victorian England were present but moderately gentrified in order to create an accessible vision in which the story could be presented,” Taylor says. “Period correct was always on our minds as we scoured through Lost London: 1870-1945, London’s Lost Riverscape: A Photographic Panorama, as well as Spitalfieldslife.com, nationalarchives.gov.uk and numerous other websites. The devil was in the details much of the time, as any new photography is littered with television cables, security alarms and cameras, power boxes/junctions, etc. All of these had to be digitally removed in order to sell the turn of the [18th to 19th] century time frame.”
The Yard started with their own concepts for every shot “with a big mood board with lots of pictures we had gathered, just to give them our feelings and thoughts regarding the look of the shot,” Ehrmann details. “After that we spoke about how we would craft and build the shots. For example, for the aerial drone shot, the initial on-location plate over the river with the dock, we were supposed to keep the water as it is, but to ease the connection between our CG environment and the water, we decided to recreate everything, including the water. With the CG water we were able to manage the connection with the wooden docks, to add this kind of morning smoke over the water. We were asked to connect the street with the water with a drain, but an inclined plane, where the water is flowing over the bricks. So, the idea to recreate everything was a good one, as it gave us the ability to connect everything. We added a few extras, which were shot onstage in front of greenscreen, just to add people to the background. A lot of simulation for all of the smoke coming out of the chimneys.”
The Yard VFX created 63 shots for the film.
Overall, The Yard created 63 shots for the film, notes Luhrmann, “18 outside matchstick factory and 45 shots inside the matchstick factory. They shot a room, which we duplicated in depth. Sebastien Fauchère, Comp Supervisor, created a setup to recreate this second room and to be able to craft every shot really fast. We didn’t have to go to the CG render, everything was inside Nuke. It was pretty fast to develop on every shot.”
“The harsh smoke-filled realities of Victorian England were present but moderately gentrified in order to create an accessible vision in which the story could be presented. Period correct was always on our minds as we scoured through Lost London: 1870-1945, London’s Lost Riverscape: A Photographic Panorama as well as Spitalfieldslife.com, nationalarchives.gov.uk and numerous other websites. The devil was in the details much of the time, as any new photography is littered with television cables, security alarms and cameras, power boxes/junctions, etc. All of these had to be digitally removed in order to sell the turn of the [18th to 19th] century time frame.”
—Edward Taylor, VFX Supervisor, Spin VFX
Workers outside the matchstick factory, with the fog over the Thames in the background. The Yard VFX worked hard to recreate old London, paying close attention to the architecture of the period.
The establishing shot proved to be particularly challenging for The Yard to create. “It was a really big environment,” Auté says. “Because it’s a drone shot, we can’t do this on matte painting. We have to really build it in 3D to manage all the parallax to recreate the mood of old London with this kind of move. We started from really wide, and we have to go to almost close-up inside the streets, with the water on the grounds. It was the most challenging in terms of 3D.”
“[F]or the aerial drone shot, the initial on-location plate over the river with the dock, we were supposed to keep the water as it is, but to ease the connection between our CG environment and the water, we decided to recreate everything, including the water. With the CG water we were able to manage the connection with the wooden docks, to add this kind of morning smoke over the water. We were asked to connect the street with the water with a drain, but an inclined plane, where the water is flowing over the bricks. So, the idea to recreate everything was a good one, as it gave us the ability to connect everything.
—Laurens Ehrmann, Senior VFX Supervisor, The Yard VFX
“We started from wider and then went close to the actress, meaning that every single aspect needed to be really defined. We did have time to craft it because the project’s duration was nearly six months. Six months for 63 shots is a lot of time to develop and build all of the assets and do the layouts. It was challenging but not exhausting,” adds Ehrmann.
The Yard VFX decided to recreate everything to ease the connection between the CG environment and the water. Enola leads the crowd of workers along the South Bank.
The trickiest locations to capture for Spin VFX were usually dealing with cameras that were traversing the area. As Taylor explains, “The theatre stage interior and the rooftops and their scope, blending CG with practical, were generally the most challenging. The cameras and created geometry have to be in complete sync to achieve the desired illusion, not to mention lighting and any fluid dynamic elements such as water and smoke. Trying to make seamless transitions for such large and varied vistas was truly a challenge.”
In terms of the most difficult effect to realize, Taylor notes that, “As happens from time to time, creating invisible effects can be perceived as simple, but can often be challenging. The carriage explosion was exceedingly tricky, being nestled in the branches of trees, and blending practical elements alongside CG, as well as the various panoramas of London from a hillside and out a window.”
Millie Bobby Brown as Enola Holmes.
“The theatre stage interior and the rooftops and their scope, blending CG with practical, were generally the most challenging. The cameras and created geometry have to be in complete sync to achieve the desired illusion, not to mention lighting and any fluid dynamic elements such as water and smoke. Trying to make seamless transitions for such large and varied vistas was truly a challenge.”
—Edward Taylor, VFX Supervisor, Spin VFX
“For the whole project, we had to almost set up in parallel, as a lot of shots were inside the factory and they were more 2D centric,” Auté says. “We also had a few shots where we had to build specific assets, such as cranes or the docks building. We started to build these assets in 3D, but at the same time create the layout to place the camera and see where we need to add detail and what we can render in 2D. When we had all this established, we started to refine the texture of the lighting. Or, in some cases we only did matte painting to extend a street. We tried to spread the work between the 3D and 2D team to have everything go together at the end. They have a kind of ownership of the shots, and sometimes it is good to have someone work on one piece. It’s creating a kind of energy, and people are more involved.”
45 of the visual effects shots provided by The Yard VFX were inside the matchstick factory. A room was shot, which The Yard then duplicated in depth.
Concludes Taylor, “Our VFX Producer, Brandy Drew [with Spin VFX], created an environment where daily conversations with artists kept collaboration moving forward and information flowing, no question too small, no concern to go unrecognized. Organized by level of difficulty and availability of resources, the plan was created and the workload balanced. We delivered on time and on budget.”
Along with replacing the environments, the actual jets had to digitally reskinned to represent the proper aircraft.
Getting declassified in time for the Oscars are the 2,400 visual effects shots found in Top Gun: Maverick, which were the responsibility of Ryan Tudhope and the artists at Method Studios, MPC, Lola VFX and Blind. The goal was to adhere to the imperfections that go along with shooting live-action aerial photography and to produce photorealistic CG that enhanced the storytelling and believability, rather than drew attention to itself. Before any of the scanning information was released of the F-18s to the vendors, the U.S. Navy had to give its approval.
“The L-39 is a much smaller and less capable aircraft than the Su-57, which is a fifth-generation fighter that has thrust vectoring, so it can do these maneuvers that we feature in the film where it literally goes up on its nose and turns around in midair and comes back down. Those things were not possible with anything that we had at our disposal. In those particular situations our animators under the leadership of Marc Chu [Animation Supervisor at Method Studios] pushed to get all of the flaps to do what they were supposed to do and take the shot to the next level, so it was interesting from an audience standpoint.”
—Ryan Tudhope, Visual Effects Supervisor
“That extended to the choices we were making as filmmakers in terms how the jets moved,” Tudhope explains. “The U.S. Navy was there every step of the way. The authenticity, time and effort our team put into getting all of those things perfect were driven by both [director] Joseph Kosinski’s and Tom Cruise’s desire to get all of those details right, and that was accomplished through our friends in the U.S. Navy.”
Armaments like missiles were digitally added so not to hinder the actual performances of the jets.
An area that does not get enough credit is the graphic work produced by Blind. “They were responsible for all of the heads-up displays that you see from the F-18 or Tomcat point of view and a lot of the story-driven graphics that are done throughout the film in the aircraft carrier.”
“There are many sequences that feature four jets, two teams of two, that are flying into the final mission or various training missions. Typically, we shot those with one or two F-18s and added the other F-18s in those formations. It gave us the ability to get more material practically, and since we always had a real jet in there as reference it was a huge help in matching the look and lighting. … [W]e would have a real jet doing a maneuver and add a CG jet doing a similar maneuver following behind, or in the shot where they all come through the valley and the vapor trails are going off and rush under the camera. That was one jet, and we added multiple jets doing the same thing. What is fun about that is you have this perfect thing that you’re trying to match.”
—Ryan Tudhope, Visual Effects Supervisor
Some old-fashioned techniques assisted in choreographing aerial sequences for key story beats. “Through all of that we had these F-18s on sticks,” Tudhope states. “That process was more at the front end where we were trying to translate what the Naval pilots were trying to explain to us about how things would work, as we filmed those in the hallways to try to capture their notes as to what would essentially happen, and go from there. Once we had a sense of Joe’s vision for these sequences, taking in account all of this information we were getting from the pilots, then it became a process of how to execute it.” The imperfections of the aerial photography were retained. “The difficulty of capturing that material is a fingerprint that carries all the way through to the end of the work,” Tudhope adds.
The cockpit of the full-scale Darkstar came off and went onto a gimbal that was put onstage in order to get the desired plasma effect of being in the stratosphere.
A one-to-one replacement was not possible for the aircraft. “The L-39 is a much smaller and less capable aircraft than the Su-57, which is a fifth-generation fighter that has thrust vectoring, so it can do these maneuvers that we feature in the film where it literally goes up on its nose and turns around in midair and comes back down,” Tudhope remarks. “Those things were not possible with anything that we had at our disposal. In those particular situations, our animators under the leadership of Marc Chu [Animation Supervisor at Method Studios] pushed to get all of the flaps to do what they were supposed to do and take the shot to the next level, so it was interesting from an audience standpoint.”
The blue environment of the stratosphere was influenced by aerial photography taken by weather balloons and SR-71 flights.
The imperfections of the canopy glass had to be matched in the CG versions. “There might be a situation where we had an explosion in the distance that wasn’t there and the way that those bright highlights are used through the canopy glass, which has almost like scratches on it, but in a swirling motion; it was important for us to get all of that swirling,” Tudhope explains. “We also added in a ton of armaments across the film. But once you add training munitions or bombs to the wings, it lowers the performance characteristics of the jet, and you want the jets to be doing the full-on performance. We were able to add a lot of those armaments and deal with the continuity across all of the different sequences and take that off of the requirements of the Navy to find all of that stuff for us. But these wings are alive. The wings are constantly fluctuating from the air pressure, and the flaps are moving, and there is complicated lighting moving across.”
“There are also moments where we shot real F-18s doing those taxing maneuvers and takeoffs. We had all of our camera mounts inside the F-18, so in one or two sequences where Maverick is literally taking off and you see the world receding behind him, we shot those back plates on the F-18’s internal cameras without someone sitting in the seat. The cockpit component of our full-scale jet came off and went onto one of [Special Effects Coordinator] Scott Fisher and his team’s gimbals, which we were able to put onstage.”
—Ryan Tudhope, Visual Effects Supervisor
Reskinning of the jets was reliant upon the original proxy version captured during principal photography. “We had a lighting reference in the case of the Navy jets. They are matte grey which is perfect for us, so we were able to see what the lighting characteristics were,” notes Tudhope, who used a combination of tracking markers, GPS from the camera aircraft and corresponding USGS data to get the lighting correct. Another major process was constructing the digital versions of the jets. “We get up close especially to the F-18s where they have all kinds of little dents, imperfections, bolts and rivets, been painted over a couple of times – there is a lot of detail that you want to try to capture. We were able to have a real turntable of a F-18, and we put our CG turntables right next to that. We were able to make sure that they were matching.”
The VFX team made simulations from lighting and atmospheric standpoints and match-moving the real jet relative to the terrain so the digital jets were moving at the same rate of speed.
One way to alter aerial missions was by adding digital aircrafts into shots. “There are many sequences that feature four jets, two teams of two, that are flying into the final mission or various training missions,” Tudhope states. “Typically, we shot those with one or two F-18s and added the other F-18s in those formations. It gave us the ability to get more material practically, and since we always had a real jet in there as reference it was a huge help in matching the look and lighting. It was really fun and nerdy because we would have a real jet doing a maneuver and add a CG jet doing a similar maneuver following behind, or in the shot where they all come through the valley and the vapor trails are going off and rush under the camera. That was one jet, and we added multiple jets doing the same thing. What is fun about that is you have this perfect thing that you’re trying to match.”
Appearing in the opening is a fictional stealth aircraft inspired by the hypersonic strategic reconnaissance UAV (Unmanned Aerial Vehicle) Lockheed Martin SR-72. “For most of the scenes on the ground we filmed the practical Darkstar and removed the towing vehicle digitally, and added all of the heat, haze and exhaust as if it was moving under its own power,” Tudhope remarks. “There are also moments where we shot real F-18s doing those taxing maneuvers and takeoffs. We had all of our camera mounts inside the F-18, so in one or two sequences where Maverick is literally taking off and you see the world receding behind him, we shot those back plates on the F-18’s internal cameras without someone sitting in the seat. The cockpit component of our full-scale jet came off and went onto one of [Special Effects Coordinator] Scott Fisher and his team’s gimbals, which we were able to put onstage.”
One of the trickiest elements to recreate was the canopy glass with all of its imperfections.
The stratosphere had to be recreated, explains Tudhope. “We were able to find amazing reference of weather balloons and SR-71 flights where cameras had been taken to those altitudes. All of this had to be created as a digital environment.” An emerging technology is a pivotal part of the Darkstar narrative. “As you’re seeing our sequence unfold,” he continues, “the altitude that we’re conveying and the things that occur, the look of all that from a physical standpoint is based on the data that Lockheed Martin [gave us on the scramjet engine].” A certain amount of disbelief was required when it came to the camera mounts. “When you get to the training missions and the exterior camera mounts that [Cinematographer] Claudio Miranda engineered with the Navy to place real cameras on F-18s, that process of placing of real cameras on real aircraft was extended early on in the film to Darkstar, even though it was digital, and also later into the final battle – that was the DNA to what we were doing.”
Digital jets were added for safety reasons and to get the desired formation and shot composition.
Leading the way were the cameras and lenses. “Rather than design shots that we would have to modify the mounts or change lenses,” Tudhope reveals, “we determined where the mounts were going to be and what lenses would be on those particular frames and create a composition that Joe was after. We took creative liberty where we were putting that camera on the digital jet versus a real jet. We were given a large toolbox of mounts and camera platforms to try to create shots with, and the process was, ‘What is the best way to film a plate to do this shot?’ Sometimes it was a one-to-one match and other times we would modify what we filmed in order to accomplish the shot.”
“When you get to the training missions and the exterior camera mounts that [Cinematographer] Claudio Miranda engineered with the Navy to place real cameras on F-18s, that process of placing of real cameras on real aircraft was extended early on in the film to Darkstar, even though it was digital, and also later into the final battle – that was the DNA to what we were doing.”
—Ryan Tudhope, Visual Effects Supervisor
Locations had to be digitally augmented, especially for the third act battle. Comments Tudhope, “We spent a lot of time scouting up in the Cascade Mountain Range in Washington State for this snowy environment and worked out of Naval Air Station Whidbey Island. In the film, there is an enemy base situated at the bottom of a bowl. We found half of what we wanted and augmented real footage to get what we needed. We had an amazing locations team and pilots from the Naval Air Station who would go out with GoPros in jets and fly some of these runs for us and show us what it might look like.”
Actress Monica Barbaro and Tom Cruise on set with a special camera rig developed by Cinematographer Claudio Miranda and the U.S. Navy.
One of the essential collaborators was editor Eddie Hamilton and his team. “The editing and going through all of this footage to try to put these shots together was a huge component. We would come across shots that we had nothing for, and it might be just a storyboard. In those situations, I would work with our Visual Effects Editor Latham Robertson and pour through the material that we had captured and find different options for shots and background plates, get Joe to sign off on that or get him to choose what he wanted and go from there. We went through an extensive postvis process, so we worked very loose and fast. What missiles they have remaining was a big thing, especially on the Tomcat because there are two Sidewinders. That stuff was all tracked. Once the cut started to settle down and we felt that we’ve got this sequence coming together, then we would turn over the shots to Method Studios or MPC, and they would execute all of the beautiful work that they did.”
Dwayne Johnson “floating” out of the Rock of Eternity on set at Trilith Studios in Atlanta, lifted by one of the special effects department’s robotic arms.
Watching director Jaume Collet-Serra’s Black Adam, audiences are easily convinced that the Warner Bros./HBO Max saga was shot in a Middle Eastern city, nowhere near the Atlanta, Georgia set on which it was filmed. “We’re always most proud of things no one ever thinks are visual effects,” notes Oscar-winning Visual Effects Supervisor Bill Westenhofer (Life of Pi). “The goal is to work yourself out of any recognition.”
The film was lensed by DP Lawrence Sher (The Joker) with production design by Tom Meyer. Its primary visual effects producer was Wētā FX under the production supervision of Westenhofer in tandem with Wētā VFX Supervisor Sheldon Stopsack. Additional VFX work was by provided by Digital Domain, Scanline VFX, DNEG, Rodeo FX, Weta Digital, Lola Visual Effects, Tippett Studio, Clear Angle Studios, Effetti Digitali Italiani (EDI) and UPP. Special Effects Supervisors were Lindsay MacGowan and Shane Mahan for Legacy Effects.
Dwayne Johnson battling with Aldis Hodge’s Hawkman in the Sunken City exterior set at Trilith Studios. The athletic Hodge was suspended by wires, his wings – as well as the set extensions beyond the ground-level set – added later by Wētā FX.
The story takes place in fictional Shiruta, the modern-day version of Kahndaq, where 5,000 years prior, Teth-Adam (Dwayne “The Rock” Johnson), the people’s hero with great superpowers, had been imprisoned in the Rock of Eternity for apparently misusing his powers. He is released by a rebel (by utterance of the word “Shazam”) and brought back to battle the people’s modern-day oppressors, the Intergang. While he initially also battles the four members of the Justice Society of America – Doctor Fate, Hawkman, Atom Smasher and Cyclone – they end up fighting Intergang together, eliminating the threat posed by not only that group, but Sabbaq, who also arises from the darkness of old Kahndaq to attempt to claim his throne. By the end of the film, he has succeeded in eliminating the threat, and the hero is renamed Black Adam.
“[S]ince [director] Jaume [Collet-Serra] and [DP] Larry [Sher] were actively participating in creating the previs, they felt ownership. So, when we got to set, they knew that the previs was theirs and that was the path they were going to follow, as opposed to getting there and going, ‘Oh, there’s that previs – forget that, we’re gonna do our own thing.’ It’s amazing – you can look at the previs and look at the shots and they’re incredibly close.”
—Bill Westenhofer, Production Visual Effects Supervisor
Development of Black Adam began in 2019, with Westenhofer being brought on not long after Collet-Serra came on to helm the project. By that time, the director had worked with storyboard artists to flesh out his ideas. Then, they met to decide the best state-of-the-art methods to create the imagery the director had in mind. “LED walls were hot at the time, as was volume capture, and we ended up dabbling in all of them,” Westenhofer remarks. The production was intended as a full-scale virtual production, developed initially by Tom Meyer in ZBrush. “We had a motion capture stage setup and had motion capture performers, and we had real-time controls,” Westenhofer adds. “We were due to start on March 17, 2020 – and then the world closed down.”
Johnson in a completed “flying” shot. He was first captured laying flat in an Eyeline Studios volume capture stage with the rig later removed and extensive background animation added.
Over the pandemic hiatus and through Fall 2020, L.A.-based Day For Nite continued work creating previs for the scenes, importing the Maya storyboard files into Unreal Engine. “Right away, we can see things that are working and ones that are not,” Westenhofer states. What read in the script as “He comes out, they fight, he flips over a tank” was soon developed into fully-realized scenes.
At the same time, DP Sher began setting cameras and lighting, working with Day For Nite and Collet-Serra via Zoom. “It was great because since Jaume and Larry were actively participating in creating the previs, they felt ownership. So, when we got to set, they knew that the previs was theirs and that was the path they were going to follow, as opposed to getting there and going, ‘Oh, there’s that previs – forget that, we’re gonna do our own thing.’ It’s amazing – you can look at the previs and look at the shots and they’re incredibly close.”
Johnson “floats” down the stairs of an apartment set, standing on the small platform of an industrial automobile robotic rig.
Deciding which locations seen in the previs would be practical sets and which would be CGI was an important step. “You can look at the previs,” Westenhofer explains, “and you can see if Jaume wants to be looking in a specific direction most of the time, in which case we would build that part as a set. But as soon as that set has more than one story to it, construction costs start to go up. So, for things like the city, Shiruta, I told Tom just to focus on, say, the first story, store level, and we’ll take care of the rest.” The same goes for which characters would be digital and which would be captured in- camera. “I always try to favor scenes where there are people – humans not flying around and who aren’t superheroes. But we have a movie where there are five superheroes and four of them fly in some form. So, they’re going to be mostly digital,” Westenhofer declares.
Building a City
When filming finally began, Meyer constructed the ground-level set of Shiruta on the back lot at Trilith Studios in Atlanta, notably its Central Market or the “Sunken City” where a great amount of action in the film takes place. “It actually doubles for many places in the city,” Westenhofer explains. “We had a roundabout area and several cross-streets, and if you look in one direction, that would be the area around Adriana’s (Sarah Shahi) apartment, and if you look the other way, it was where the palace would be. And when they’re seemingly driving through town, they’re really going in circles, but by changing the set extension it felt like you were traveling through the city.”
Wētā’s Assets Department, which includes its Art Department as well as modelers, texturers and shading specialists, were responsible for crafting the city, rooted in Meyer’s design for the practical set. “Tom did a magnificent job of fleshing out the tone and feel of Shiruta,” Stopsack states. “So, a lot of the groundwork was done already. We engaged with Tom quite early. Then we spent a fair amount of time designing the architecture and the whole feeling of the city square.”
A floating Dwayne Johnson, suspended by an industrial automobile robotic arm, does away with two bad guys.
“[Black Adam] not only flies, he floats. In the comic books, he says he doesn’t want to share the ground with lesser beings. So, he feels like he should float. But we wanted Dwayne to be in the scene, and we didn’t want to have him always be bluescreen, having to shoot him looking at tennis balls. [Director] Jaume [Collet-Serra] wanted it to be super smooth, not having to expend any effort, just floating.”
—Bill Westenhofer, Production Special Effects Supervisor
The look established by Meyer, Stopsack notes, “as he often described to us, was like Middle East meets Hong Kong. It needed to be dry, somewhat monochromatic and reasonably high. A lot of chaotic streetlamps, wires and air conditioning units everywhere.” Much of that was introduced to Wētā early in concept art, and then it was up to them to flesh out the environment. Adds Stopsack, “We had the luxury of photography of Tom’s set on the backlot, which gave us a starting point via plate photography, which we then extended.” That task required extension to show the entire city of Shiruta, to allow creation of high wide shots, which would include the Central Market and Palace in the extended terrain. “We knew whatever we would start building around the Sunken Street ultimately would be utilized for propagating the wider city.”
The Asset Team’s approach was to essentially create modular building blocks to create different architectural levels and stories of each building. “We had to interchange them, dress them differently and stack the buildings up to a height that Tom deemed necessary,” Stopsack explains. “For each building we would ask, ‘Would you like this to be 15 stories high? 10 stories? Is this a round building? Do we see filigree here?’ So, we had a lot of engagement with him to make sure that the look and feel was what he envisioned.” They took advantage of any assets the Art Department had available, including packages of art, signage and other items, to lean into the same language Meyer’s teams had developed. “It’s an endless chase of getting the level of detail that you’re after.”
Wētā’s attention to detail translated to a construct that looks like a true city and not a visual effect. At the same time, constructing the entire city digitally – including the entirety of Meyer’s Sunken City area sets – gave Wētā valuable flexibility for creating scenes of mayhem which otherwise would have required destruction of the practical set. “The beauty of approaching it that way,” Stopsack observes, “is that we were left with an all-digital representation of the practical set pieces that were built. So, in the fight between Black Adam and Hawkman, if Black Adam is punched and smashes down the side of the building, those shots could be created fully digital. The entire environment was fleshed out, so we could inject these all-digital shots in between.”
In order to develop a true city grid seen in high wides, Wētā’s layout team utilized Open Streets map data, accessing real-world locations as the basis for Shiruta’s street layout. Comments Stopsack, “We looked at Middle Eastern cities around the globe to look at each’s city grid to study the general density of population and buildings and the buildings’ heights. A lot of data can be sourced, and we used that to lay a foundation for what Shiruta became.”
Pierce Brosnan on set wearing his “faux cap” suit with optical markers, holding his helmet. The remainder of his costume was created digitally, as seen in the final shot.
“[The look established by Tom Meyer] as he often described to us, was like Middle East meets Hong Kong. It needed to be dry, somewhat monochromatic and reasonably high. A lot of chaotic streetlamps, wires and air conditioning units everywhere. We had the luxury of photography of Tom’s set on the backlot, which gave us a starting point via plate photography, which we then extended. We knew whatever we would start building around the Sunken Street ultimately would be utilized for propagating the wider city.”
—Sheldon Stopsack, VFX Supervisor, Wētā FX
Moving Black Adam
As lead effects vendor, it fell to Wētā to develop the character animation models and movement, which were then shared with the other vendors for creation of their own scenes. “We were engaged fairly early on, when Bill asked us to start doing motion studies – even before building any of the Shiruta environments,” Stopsack explains. “These were done, in part, to inform how they would be shot on the practical set, like how they engaged in flying action or how Hawkman would land.”
Hawkman actor Aldis Hodge did quite a few stunts himself, such as his dives into the Central Market on a wire, touching down. “We had him rehearse with counterweights attached to his costume to give him a sense of what the wings would feel like, informing his performance,” Westenhofer notes. He was also given lightweight cloth cutouts of the wings to allow the set team to get an understanding of their size, how they would articulate, and allow DP Sher space to plan for in his frame and allow for the future-digital wings to have a home.
The motion studies also helped, working with Costume Design and the Art Department to nail down costume design and motion. Says Stopsack, “Some characters that were not completely digital had costumes that needed to be practically built, such as Hawkman and Black Adam – Hawkman’s wing design, for instance, looking at their mechanics, how do the wings unfold? Things like that.” Other designs, like Dr. Fate’s costume, were completely digital, requiring more creative input from Wētā.
Director Jaume Collet-Serra, left, discusses a scene on set at Trilith Studios in Atlanta.
A key part of Black Adam’s motion involves his simple floating movement within a scene. “He not only flies, he floats,” Westenhofer explains. “In the comic books, he says he doesn’t want to share the ground with lesser beings. So, he feels like he should float. But we wanted Dwayne to be in the scene, and we didn’t want to have him always be bluescreen, having to shoot him looking at tennis balls. Jaume wanted it to be super smooth, not having to expend any effort, just floating.”
Special Effects Supervisor J.D. Schwalm was tasked with offering practical methods to accomplish the float. The main mechanism was provided by an industrial automobile robot used in car manufacturing. “That was the coolest one,” continues Westenhofer, “which we had mounted on the set and could be programmed to pick him up and float him and move him around,” with Johnson standing on the rig’s platform, his legs being replaced later and the rig removed. “It allowed him to act. When he’s floating down the stairs, passing the kid, he could do back and forth banter and actually be in the scenes with other characters. That was really important.”
For simpler shots, Schwalm provided a small robotic cart about 2½ feet by 2½ feet, with a robotic hydraulic arm containing a saddle and a small foot platform, allowing Johnson to be raised or lowered up to four feet versus the industrial robot, which could lift him as high as 15 feet. “These sorts of things could also be done using wires, but Dwayne found this really comfortable, and it allowed him to interact naturally,” Westenhofer notes.
“[The Central Market on the set of Shiruta] actually doubles for many places in the city. We had a roundabout area and several cross-streets, and if you look in one direction, that would be the area around Adriana’s (Sarah Shahi) apartment, and if you look the other way, it was where the palace would be. And when they’re seemingly driving through town, they’re really going in circles, but by changing the set extension it felt like you were traveling through the city.”
—Bill Westenhofer, Production Visual Effects Supervisor
Dwayne Johnson in the Sunken City set during a fight scene. Production Designer Tom Meyer’s Central Market was replicated by Wētā FX in set extensions.
For his flying sequences, the VFX team made a volume capture system provided by Eyeline Studios, a division of Scanline VFX. The system once again allowed Johnson’s performance to be captured in a method quite a bit different from motion capture. The actor would lay flat on the rig, surrounded by an array of hi-res video cameras (versus infrared, as would be used in mocap). Eyeline then processes the data in its proprietary system and provides an extrapolated mesh and a set of textures. Explains Stopsack, “When the data comes to us, we then have the geometry of his performance, of his head, and we have the texture that maps onto it.”
“[The industrial automobile robot was] mounted on the set and could be programmed to pick [Johnson] up and float him and move him around [with Johnson standing on the rig’s platform]. It allowed him to act. When he’s floating down the stairs, passing the kid, he could do back and forth banter and actually be in the scenes with other characters. That was really important.”
—Bill Westenhofer, Production Visual Effects Supervisor
Wētā took the process a step further to retain Johnson’s natural head motion. “We took Eyeline’s mesh and tried to incorporate that into our full-blown Black Adam digital double,” Stopsack remarks. “We could then take their head motion data and combine that onto our puppet so that the head motion would track perfectly with our digital asset, with our digital head motion. But volume capture gives you limited body motion. If you have pretty intricate body motion, your head motion can quickly go off what the volume capture would allow, such as if the head goes backwards and you want an extreme that it won’t permit. So, our animators would then see those constraints and work within them to see how far we could bend the head back without going beyond what volume capture could support,” preventing the bend from appearing too rubbery, unlike a real person’s movement. Stopsack adds, “We used the technology for a small number of shots, but it was great when you needed the unmistakable like of the actor.”
In addition to Eyeline’s cameras, the actor was surrounded by LED walls playing back material created in Unreal, working early on with Scanline and Digital Domain, which provided interactive lighting on Johnson’s costume. The backgrounds, of course, were replaced later. LED walls came in handy for other sequences, such as filming the cockpit scenes in the Hawk Cruiser as it crashes into the Central Market. “The cockpit set was too big to place it on a gimbal,” Westenhofer reveals. “Instead, we had the content playing back on the LED screen, which was designed as being from the point of view of the cockpit so they could see themselves flying through space and crashing, and it gave them enough inspiration to sway and move as the craft was bucking in space.” For lighting, he says, “It worked really well inside the cockpits. We did replace some backgrounds, but the interactive light worked really well.”
Aldis Hodge as Hawkman. The character’s wings were added digitally, though Hodge was provided lightweight cloth cutouts to allow the actor and on-set teams an idea of the space that would be taken up by the finished digital product.
Using LED walls is not something to do frivolously, Westenhofer notes. “A lot of people come to this and hope to get what they call ‘final pixel,’ meaning you film it and the shot is done. There needs to be a fair bit more work done to get LEDs to the point where that’s really successful. You need a lot more time in prep to build these CG backgrounds, but then no one can change their mind afterwards. If you do that, it’s baked into the sauce.”
Towards the end of the film, we see Teth-Adam’s backstory in a flashback revealing the death of his son, Hurut, before he became the “The Rock”-sized superhero. For those scenes, a much slimmer double (Benjamin Patterson) was used onto which Johnson’s face was later applied. “We’d have Dwayne do a pass just to get the performance, and then the double would come in and repeat the same timing and performance. So it would be his body,” Westenhofer explains.
Later, after the scene was cut together, Johnson’s head and face were captured by Lola Visual Effects using their “Egg” setup, a system somewhat similar to volume capture. “Dwayne would sit down in a chair surrounded by several cameras,” Westenhofer describes. “Lola had studied our footage and setup lighting timed to replicate interactively the way the light on set interacted with the double throughout the shot, using colored LEDs. They could tell Dwayne to ‘Look this way’ or ‘Get ready to turn your head over here,’ and they would time the playback so he’d give the performance and move his head, give the dialogue matching what we captured on set from the other actor. Then, that head is projected onto a 3D model and locked into the shot itself, so you have Dwayne’s head and the skinny actor’s body.”
Before and after shots of a battle sequence in the Sunken City show the extent of Wētā FX’s detailed design work in set extensions and effects animation.
For Pierce Brosnan’s character, Dr. Fate, it was the opposite case. Brosnan’s own performance was filmed on the set and his body was replaced. “When he’s flying, it’s all CGI,” says Westenhofer. “But when he’s on the ground interacting with other characters, his costume has more life than a practical costume would have, so the costume is digital.”
Instead of using motion capture where Brosnan would have been filmed alone on a mocap stage, a “faux cap” system was used. Brosnan appeared on set in a simple gray tracking suit. Explains Stopsack, “It doesn’t have a full- blown active marker setup as a motion capture setup would have. The suit is simply peppered with optical markers, which are not engaged with any computer system but simply photographed with witness cameras. Our Match Move Department then uses some clever algorithms to triangulate their location and extract motion. We needed to see Pierce’s performance, his persona as an actor on set engaging with all of these characters. Then the superhero suit followed after.”
Here are some insights from those leading the way …
Kaitlyn Yang,
Visual Effects Supervisor and Founder of Alpha Studios
I’ve been asked which of these characteristics that describe me (disabled with spinal muscular atrophy, Chinese-American, woman) have posed the biggest challenge in moving forward, and I’d say being a woman in this business. Even to this day, when I show up to set as a VFX supervisor, the first question I’m asked is “who are you here visiting?” It’s an everyday thing that will change with time. The more women are seen and empowered in senior roles, the less these trivial questions will come up. I took a leap of faith in starting my own company, and I am committed to achieving greater equity and opportunity for everyone in VFX.
Marge Dean,
President of Women In Animation and Head of Studio at Skybound
I was a single working parent early in my career, and the issue of balancing a career and family is highly personal. I was able to figure out a way where I did not have to sacrifice one for the other – but so many parents, particularly women, feel backed into making that tough choice. Women in Animation is focused on the enormous need to provide job flexibility and more support for working parents and caregivers. The number of women who have had to walk away from their jobs because of the lack of childcare, its staggering cost and not enough options for hybrid work schedules is startling, and that has all been exacerbated by COVID. We need to do better and lift up this advocacy movement.
Sidney Kombo-Kintombo,
Animation Supervisor, Wētā FX
Growing up amidst war in the Democratic Republic of the Congo in central Africa, I made a decision to pursue art to inject life into something I drew with my own hands and give it back to the people. I created The Third Pole initiative, a CG education program, to work with youth in my home country and give them the tools and the mentorship to be powerful visual storytellers. We know how Western and Asian cultures tell their stories, but not as much how Africa would tell theirs and contribute to our collective global storytelling. It’s so important to be able to preserve our oral histories; our legends are vanishing in our own time.
Sheena Duggal,
Visual Effects Supervisor
The lack of female visual effects supervisors is definitely the result of a lack of opportunity and unconscious bias – and that is fixable. Earlier in my career I was told that the goal was to promote the male supervisors, and I watched as guys who had worked under my VFX supervision were promoted up the ranks and given opportunities on large VFX shows. It never occurred to me that my gender would hold me back, and I was always surprised when it did. I am a strong believer in diversity and inclusion, not just because I am a bi-racial woman, but because I believe that greater diversity leads to freer thinking and greater creativity.
Cinzia Angelini,
Director and Head of Story, Cinesite Studios
Creating my film Mila was a lifechanging experience, inspired by the stories my mother told me about how she felt as a child during the bombings of Trento in World War II. I fully embrace the power of animation. Hollywood might applaud socially relevant features, but it still views animation as essentially little more than “entertainment.” It has enormous potential to affect fundamental change in how we approach each other and how we deal with societal challenges. I believe that stories told through the magic of animation can move people and influence our future generations like nothing else can.
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Assisting in deciding what sets needed to be built practically or digitally was having the 10 scripts essentially written before shooting commenced.
Unlike Game of Thrones, the prequel House of the Dragon, which revolves around the decline of Targaryen rule, has to deal with the expectations of its predecessor that push the boundaries of high-end episodic visual effects to achieve filmic quality. The first season consisting of 10 episodes was able to take advantage of the new virtual production stage and Warner Bros. Leavesden Studios, with showrunners Ryan Condal and Miguel Sapochnik collaborating with Visual Effects Supervisor Angus Bickerton (The King’s Man) to achieve the necessary size and scope and many more dragons for the epic fantasy HBO series. (Sapochnik has since moved to an executive producer role.)
The goal was to create a dirtier, grungier and dustier environment than Game of Thrones, which occurs 130 years later.
Bickerton joined the project back in September 2020, and at that point the scripts for the 10 episodes were essentially written. “That’s an important thing to say because as we know all TV productions are still evolving as they’re going along. You need to have settled scripts in order to say, ‘These sequences are going to be done in the volume.’ If we wanted to shoot the interior of Storm’s End Castle in Episode 110, instead of 12 weeks in post to do that environment, we needed 12 weeks prior to shooting to build it in Unreal Engine for texturing, lighting, doing test plays in the volume, to make sure it was coming out right, and working with the DPs and art department to decide which bits we were going to put on the screens and what would be sets.”
Around 2,800 visual effects shots were created for the 10 episodes, ranging from tiny birds in the frame to dragons.
A key principle for dragons is that they keep growing.
Some of the street scenes were captured in Spanish and Portuguese locations, but the rest were shot either on the virtual production stage or in the backlot at Leavesden Studios. “We had an oval space with a 270-degree wraparound screen, and it’s about 65 to 70 feet wide by 85 feet deep,” Bickerton explains. “We hung doors to block off the rest of the oval so we could make an almost 360-degree volume. Above that, we have our ceiling, which was on panels so we could raise and lower them. Normally, you drop that ceiling just inside the wall height. Our screen was 25 feet high. When you’re inside and look up, the ceiling blends into the wall. It’s a balancing act. You have to find a position where it’s slightly the wall height, but the 40 tracking cameras arranged around the screen still need to be able to get a view of the camera in order to real-time track the camera, in order to create the interactive environment on the screen.”
“Once you’ve built this beautiful cathedral, the last thing you want is to start blowing smoke and have hot flames melt the LED panels. But we wanted candles, flame bars, driving rain and smoke. The first thing that we did was to concede some of the screens to create ventilation space for smoke. The screen was lifted above the flame bar element to get it further away from the flame.”
—Angus Bickerton, Visual Effects Supervisor
As with Game of Thrones, House of the Dragon features extensive smoke, fire and rain, which meant that special effects had to occur within the virtual production stage. “Once you’ve built this beautiful cathedral, the last thing you want is to start blowing smoke and have hot flames melt the LED panels,” Bickerton notes. “But we wanted candles, flame bars, driving rain and smoke. The first thing that we did was to concede some of the screens to create ventilation space for smoke.”Additional ventilation was placed under the screens so the air was constantly moving. “The screen was lifted above the flame bar element to get it further away from the flame,” Bickerton adds. “When it came to storm sequences, we had to figure out the orientation of our motion base so we could blow the smoke and rain atmosphere past the actors and it would go across the screen. We could have separate fans blowing it away from the screen as well as off-camera.”
Sunrise and sunsets can be shot over the course of days on a virtual production stage with the same lighting conditions being maintained.
An iconic prop that makes an appearance in House of the Dragon is the Iron Throne.
“[For the flying dragon shot in Episode 110], The Third Floor did the previs that was animated with much simpler dragon assets to make sure that we were doing the right dragon motion. The Third Floor’s simulation files were given to Pixomondo, which tweaked and revised the animation that was then given back to The Third Floor, which rebuilt it for the motion base, volume and camera, and we worked out what camera moves that we had to do with the actors to match the previs.”
—Angus Bickerton, Visual Effects Supervisor
Special Effects Supervisor Michael Dawson and his team built a new motion base that could bank, pitch and rotate. “The motion base exceeded our expectations,” Bickerton remarks. “We got fast movement, good angle changes, could throw the actors around quite considerably and get shakes in their bodies. The Wirecam was more of a challenge to move around fast because you have to ramp up to speed, fly past an actor and ramp down again. [For the flying dragon shot in Episode 110], The Third Floor did the previs that was animated with much simpler dragon assets to make sure that we were doing the right dragon motion. The Third Floor’s simulation files were given to Pixomondo, which tweaked and revised the animation that was then given back to The Third Floor, which rebuilt it for the motion base, volume and camera, and we worked out what camera moves that we had to do with the actors to match the previs.”
Concept art by Kirill Barybin showing the scale of Prince Lucerys Velaryon and Arrax, which is a 14-year-old dragon.
The 2D concept art of Arrax was translated into a 3D blockout by Kirill Barybin.
“[The dragons] ultimately can’t bear their own weight. Vhagar, which is chasing Arrax, is meant to be 103 years old whereas Arrax is 14 years old. Whenever a new member of the Targaryen family is born a dragon is put in the crib with the child so that they develop a symbiosis. But there is only so much control that you have over these dragons. In the shot where you see the big silhouette of Vhagar above Arrax was a signature image that we wanted going into the sequence to show the size of him. In terms of how the motion base moved, Arrax is flappier and smaller, so it has more aggressive motions whereas Vhagar is a huge beast and the motions are a lot more general.”
—Angus Bickerton, Visual Effects Supervisor
A narrative principal is that dragons keep on growing. “They ultimately can’t bear their own weight,” Bickerton notes. “Vhagar, which is chasing Arrax, is meant to be 103 years old whereas Arrax is 14 years old. Whenever a new member of the Targaryen family is born a dragon is put in the crib with the child so that they develop a symbiosis. But there is only so much control that you have over these dragons. In the shot where you see the big silhouette of Vhagar above Arrax was a signature image that we wanted going into the sequence to show the size of him. In terms of how the motion base moved, Arrax is flappier and smaller, so it has more aggressive motions whereas Vhagar is a huge beast and the motions are a lot more general.”
A dramatic action sequence is when Prince Lucerys Velaryon and Arrax are chased by Aemond Targaryen and Vhagar.
There were no static 2D matte paintings as the camera always had to be fluid. “The trick was to always have atmosphere-like particles in the air,” Bickerton reveals. “I remember working on our first environment and asked, ‘Should we add some birds?’ And it worked. There were birds all over the place. They were small in frame but were a key element in bringing life to the shot. Miguel wanted it to be dirtier, dustier, grungier than Game of Thrones because we are taking place 130 years before, so there was a lot of smoke, and King’s Landing has a nastier look.” Bickerton was give an eight-terabyte drive of assets from Game of Thrones by HBO that included the Red Keep and King’s Landing. Explains Bickerton, “They had been built by different facilities for each season, so we had about five or six different variations of the Red Keep and King’s Landing. Our Visual Effects Art Director, Thomas Wingrove, brought in the different models, and we came up with our own fully-realized 3D environment because we wanted to be able to come back to it and know where everything was. In Game of Thrones, they tended to add in bits when needed for each episode.”
“[Showrunner/director] Miguel [Sapochnik] wanted it to be dirtier, dustier, grungier than Game of Thrones because we are taking place 130 years before, so there was a lot of smoke, and King’s Landing has a nastier look. They had been built by different facilities for each season, so we had about five or six different variations of the Red Keep and King’s Landing. Our Visual Effects Art Director, Thomas Wingrove, brought in the different models, and we came up with our own fully-realized 3D environment because we wanted to be able to come back to it and know where everything was. In Game of Thrones, they tended to add in bits when needed for each episode.”
—Angus Bickerton, Visual Effects Supervisor
A signature shot is of shadow of Vhagar flying above Arrax.
2D and 3D techniques were combined to create the disfigured face of King Viserys I Targaryen.
Around 2,800 visual effects shots were produced for the 10 episodes. “If you’re going to have character who is 1/10th the screen size of a dragon, then it’s a digital double,” Bickerton states. “We used digital doubles for some of the fast action; otherwise it’s an element of someone on a motion base, if it’s dragon-riding. We tried to shoot an element for everything. There was quite a lot of face replacement for action and storm sequences.” All of the actors were scanned to various degrees, depending on how much of their performance is needed. Comments Bickerton, “In the tournament at the beginning of Episode 101, there are numerous face replacements. We had to do CG for half the face of King Viserys I Targaryen in Episode 108, towards the end of his final days. We did a lot of 2D warping and distortion to make his neck thinner and get his face to be gaunt. The bit I love is the sheer diversity of the work. There are so many different environments and dragon characters. That’s what I like.”
The Martian terrain traveled by Oppy was given a reddish tint while the setting inhabited by Spirit had a bluish tint.
Considering the *batteries not included vibe, it is not surprising to learn that Amblin Entertainment was involved in producing the Prime Video documentary Good Night Oppy, which chronicles NASA’s successful development and launch of Mars rovers Opportunity and Spirit in 2003, with the former defying expectations by going beyond the 90-day mission and surviving for 15 years.
To re-enact what happened to the two rovers on the Red Planet, filmmaker Ryan White turned to ILM Visual Effects Supervisors Abishek Nair and Ivan Busquets to, in essence, produce an animated film to go along with present-day interviews and archival footage. “Ryan White wanted to make a real-life version of WALL·E [a small waste-collecting robot created by Pixar] in some ways, and mentioned during the project that E.T. the Extra-Terrestrial was his favorite film growing up and wanted to bring that emotion into it,” Nair explains. “For us, it was trying to maintain that fine balance of not going too Pixar, doing justice to the engineers who worked on the rover missions and forming a connection so that the viewers feel the same thing that the engineers went through when they working with Opportunity and Spirit.”
Amongst the 34 minutes of full CG animation was the landing of the rovers on Mars.
“For us, it was trying to maintain that fine balance of not going too Pixar, doing justice to the engineers who worked on the rover missions and forming a connection so that the viewers feel the same thing that the [NASA] engineers went through when they working with Opportunity and Spirit.”
—Abishek Nair, Visual Effects Supervisor, ILM
Creating a sense of a face was important in having the rovers be able to emote. “Early on in the show, Ryan was interested in exploring a range of emotions for these rovers and was doing that in parallel in sound and visual effects,” Busquets states. “He was trying to come up with a library of plausible looks so that we were not making a caricature. Even when animating the rovers, we observed the limitations of the joints and what the range of movement is. We did cycles of, what does sad or older-looking-moving Oppy look like? It was all based on, ‘let’s use what’s in there.’ The most obvious example was using the pan cameras as eyeballs because from a physical position, they do resemble the eyeballs on a person.”
ILM created a view of Mars from outer space.
Data was provided by the NASA Jet Propulsion Laboratory. “The rovers themselves are the most accurate versions of Opportunity and Spirit,” Nair observes. “We would send turntables of the rovers to the JPL and they would point out certain things that felt a little off, like how the robotic arm would bend and including the decals/details on the rover itself. We built up the rovers with some of the stickers that were on the prototypes and those were taken off when the rovers went to Mars. We had to keep all of those things in mind. It was a good symbiotic process. The engineers at JPL were excited that we were breathing life into the rovers.” The models for Opportunity and Spirit were the same but treated differently. “We respected the story, like when they needed to compensate for how Spirit was to be driven after one of the wheels broke,” Busquets states. “All of those animation cues were respected, so we did animate Spirit differently than Oppy. Then there are differences as to the environments that they were in, and those were kept realistic and true.”
“Early on in the show, [director] Ryan [White] was interested in exploring a range of emotions for these rovers and was doing that in parallel in sound and visual effects. He was trying to come up with a library of plausible looks so that we were not making a caricature. Even when animating the rovers, we observed the limitations of the joints and what is the range of movement. We did cycles of, ‘what does sad or older-looking-moving Oppy look like?’ It was all based on, ‘let’s use what’s in there.’ The most obvious example was using the pan cameras as eyeballs because from a physical position, they do resemble the eyeballs on a person.”
—Ivan Busquets, Visual Effects Supervisor, ILM
Both environments did not share the exact same color palette. “The Spirit side of the planet had more of bluish hue to it whereas the Oppy side was redder,” reveals Nair. “Also, whenever you see the split-screen, Oppy is on screen left and Spirit is on screen right. and that was maintained throughout the documentary. There was always this visual reference as to who was where, who is doing what and even the direction that they move. Oppy would always go left to right while Spirit was right to left. We built in these little cues to psychologically know that right now you’re looking at Spirit not Oppy. As the story progressed, Spirit had a broken wheel so that helped.”
Adding to the drama was having the rovers get stuck in sandpits and trying to get out.
“The Spirit side of the planet had more of bluish hue to it whereas the Oppy side was redder. Also, whenever you see the split-screen, Oppy is on screen left and Spirit is on screen right. and that was maintained throughout the documentary. There was always this visual reference as to who was where, who is doing what and even the direction that they move. Oppy would always go left to right while Spirit was right to left. We built in these little cues to psychologically know that right now you’re looking at Spirit not Oppy. As the story progressed Spirit had a broken wheel so that helped.”
—Abishek Nair, Visual Effects Supervisor, ILM
Four major dust variants were created for Spirit and Oppy. “As the shots progressed, we started running effects simulations and dust maps on it so we could turn them up or down depending on the shots themselves,” Nair notes. There was not a lot of room for creative licence. “Normally we would go with what makes for a more cinematic shot, but with this being a documentary we kept it grounded in reality as much as possible,” Busquets states. “A place where we did make a concession was when it came to the speed. The maximum speed of the rovers was something like two inches per second. It became obvious when we started animating that we were not going anywhere. How are we going to tell a story with that?”
A critical part of making the imagery believable was incorporating photographic aberrations such as lens flares.
Since visual effects was a new area for Ryan White, ILM produced storyboards and previs that also aided editorial. “The documentary style of filmmaking is different from feature film,” Nair observes. “We had to make sure that we get some fairly detailed storyboards going for key shots at least and rough storyboards for the rest that we would be doing which would then inform us in terms of the beats, length of the shots and how it’s sitting in the edit. When it came to the particular shot of Oppy getting her wheel stuck in the stand, we had some fairly detailed storyboards, but then we went through quite a bit of postvis animation to get the idea across of the wheel spinning. We also had to work with some clever camera angles that would tell the story. We were working within a timeframe and budget and trying to make sure that visually it was telling the story that was supposed to be told there. There were pockets of sand simulation that we did early on to show the wheel spinning and kicking out of the sand. We showed that to Ryan who was excited about it, and then we brought in all of those little animation cues of Oppy struggling trying to go in reverse and get out of that sandpit.”
The pan cameras on the rovers were treated as if they were eyes, which helped to give them a personality.
Sandstorms had to be simulated. “We had photographic reference of sandstorms on Mars, so we knew exactly what it would look like,” Nair explains. “We’ve done sandstorms before on various movies, but we had to make sure that these would actually happen on Mars: the little electrical storms that happen within them that have bolts of lightning. That’s where we could bring a little bit of drama into the whole thing by having the bolts of lightning and closeups of Oppy staring up at the sandstorm and lightning flashes on her face. There were tons of auxiliary particles flying around the area around her and tons of sand bleeding off her face and solar panels. We did run that through layers of simulations and then threw the whole kitchen sink at it and started peeling back to see what we could use and omit to bring the storytelling back into the whole thing.”
“The number of unique locations, from their landing sites to the journeys, to the different craters that they visit, the amount of nuance and rocks and different type of terrain, everybody involved felt there was something special about building something not based on concept art but scientific data. However, you want to make it as photographic and exciting as possible. There was a lot of pride I saw in the team in doing that.”
—Ivan Busquets, Visual Effects Supervisor, ILM
The edit was a work in progress. “What was challenging and unique about this project was being involved from an early stage and they hadn’t finished all of their interviews,” Busquets remarks. “Ryan had some ideas for the chapters that he wanted to cover. We helped to inform the edit as much as the edit helped to inform our work. It made things a bit slower to progress, and we had to rely on rough animation and previs to feed editorial.”
Four major dust variants were created for Spirit and Oppy.
No practical plates were shot for the 34 minutes of full CG animation. “We asked to be sent to Mars to shoot some plates and were told that it would be too expensive!” laughs Busquets. “We did get a ton of data from NASA including satellite images from orbiters that have been sent to Mars. It was the equivalent of Google Earth but at a lower resolution. All of the environments that you see in the documentary are based on the real locations the rovers visited.” ILM had to fill in the gaps and could not use the actual imagery because they were not high resolution enough for 4K. A cool moment to create is when Oppy takes a selfie. “It was a fun sequence to do, and we followed the same arc of the cameras so Oppy could actually take the photographs,” Nair comments. “We did have reference of the separate images that were stitched together. We got our snapshots within that particular shot very close to what was actually taken. In the documentary we made it black and white and grainier compared to the other shots.”
Electrical storms had to be incorporated inside of the sandstorms that occur on Mars.
One of the most complex shots was depicting the solar flares hitting the spacecraft as it travels to Mars. “As an idea, it was storyboarded in a simple manner, and when we started looking at it we figured out that it wasn’t going to show the scale and the distance that these flares would travel or the danger that the rovers were in,” Nair states. “Working the timing of the camera move to the sun with the burst of flare energy… The camera takes over from there, follows the flare energy hitting the spacecraft and swivels around. That whole thing took a bit to plan out. It was a leap of faith as well because Ryan didn’t want it to look like too Transformers in a way. We had to keep things still believable but at the same time play around a little bit and have some fun with the whole thing. It’s one of our longest shots in the show as well. As for the other challenges, it was a documentary format where the edit was fluid, and we had to make sure it would conform with our timeline and the scope of work that was left to do.”
The environmental work was extensive. “The number of unique locations, from their landing sites to the journeys, to the different craters that they visit, the amount of nuance and rocks and different type of terrain, everybody involved felt there was something special about building something not based on concept art but scientific data,” Busquets remarks. “However, you want to make it as photographic and exciting as possible. There was a lot of pride I saw in the team in doing that.”
Images courtesy of Marvel Studios and Digital Domain.
Production Special Effects Supervisor Daniel Sudick and his special effects teams built a 30- to 40-foot-section of the boat deck that was 15 to 20 feet up in the air.
Third acts are never easy as this is what the audience has been waiting for, and when it comes to the Marvel Cinematic Universe there have been a plethora of epic battles making things even more difficult to come up with something that has not been seen before. In Black Panther: Wakanda Forever, the Wakandans take a ship out into the ocean and successfully lure the underwater-dwelling Talokanil into a massive confrontation while the newly crowned Black Panther does single combat with Namor in a desert environment. States Hanzhi Tang, VFX Supervisor at Digital Domain, “I knew this movie was important, and having met [director] Ryan Coogler on set, you want him to succeed as he’s the nicest person. I’ve known [Marvel Studios VFX Supervisor] Geoffrey Baumann for a long time, so we had already a good working relationship; he trusted us with trying to help him navigate whatever surprises that would come up.”
The rappelling of the Dora Milaje was influenced by a dance troupe.
A back-and-forth between Digital Domain and Wētā FX ensured that their shots were seamlessly integrated with each other.
“We started off in the Atlantic Ocean and shared some parts with Wētā FX, which had already figured out the underwater and deep ocean looks. Digital Domain kept to above the surface and a couple of shots where characters had to go in and out water. There was a back and forth between us so to synchronize with each other as to the camera and the location of the water plane. Then we would do everything from the water surface and upwards. Then one of us had to do the final composite and blend the two together. Luckily, when the camera hit that water plane it acts like a wipe.”
—Hanzhi Tang, VFX Supervisor, Digital Domain
“We started off in the Atlantic Ocean and shared some parts with Wētā FX, which had already figured out the underwater and deep ocean looks,” Tang explains. “Digital Domain kept to above the surface and a couple of shots where characters had to go in and out water.” For the some of the underwater shots, Wētā FX provided the virtual camera as a first pass. “There was a back and forth between us so to synchronize with each other as to the camera and the location of the water plane,” Hang details. “Then we would do everything from the water surface and upwards. Then one of us had to do the final composite and blend the two together. Luckily, when the camera hit that water plane it acts like a wipe.” A giant set piece was constructed for the boat. “A 30- to 40-foot section of the boat deck was built that was 15 to 20 feet up in the air,” reveals Tang. “It was built as a rig that could tilt up to 45 degrees, because there is a point in the movie where the boat gets attacked and almost rolls over. People could slide down the deck. [Production Special Effects Supervisor] Dan Sudick and his special effects team had built one big in-ground tank to film people in the water, and separately this deck. As far as the water interaction on the deck, it was all CG.”
The Talokanil were supposed to have bare feet, which were inserted digitally for safety reasons.
A major task was adding digitally the rebreather masks worn by the Talokanil.
Plates were shot for the foreground elements with various bluescreens placed in the background. “All the way back was a set extension that was blended into the foreground,” Tang remarks. “Everyone in the background is a digital double.” The rappelling of the Dora Milaje was influenced by a dance troupe. Describes Tang, “There is a vertical wall where everyone does dance moves on cables that was the inspiration for the Dora Milaje being suspended. The whole thing was shot horizontally with them dangling off of cables. It was incredible.” The skies were art directed. “There was a lot of picking and choosing of the type of day and clouds,” Tang comments. “It ended up being a combination of CG and matte-painted clouds. The style of the on-set lighting by Autumn Durald Arkapaw, the cinematographer, was soft, and she would wrap the lighting around characters and give them a lovely sheen on their skin.”
“A 30- to 40-foot section of the boat deck was built that was 15 to 20 feet up in the air. It was built as a rig that could tilt up to 45 degrees, because there is a point in the movie where the boat gets attacked and almost rolls over. People could slide down the deck. [Production Special Effects Supervisor] Dan Sudick and his team built one big in-ground tank to film people in the water, and separately this deck. As far as the water interaction on the deck, it was all CG.”
—Hanzhi Tang, VFX Supervisor, Digital Domain
Shuri transports a captured Namor to a desert environment where they have engage in single combat.
Blue-skin characters, such as the Talokanil, against bluescreen is always a fun challenge, Tang reports. “Greenscreen would have been worse with the amount of spill, given that it was meant to be a blue-sky reflection,” he states. “We ended up doing roto on everything. The set is 20 feet in the air, people are being sprayed down with water, and there are all of these cables that need to be painted out. When the Talokanil board, you have 20 stunt people climbing the boat, and there’s no perimeter fence around this thing. For safety reasons, everyone had to wear decent footwear, and these characters were meant to be barefoot. They did not do the rubber feet that Steve Rogers wears in Captain America: The First Avenger, so we ended up tracking and blending CG for feet replacements. We also had to track and replace rebreather masks because the Talokanil wear them when they’re out of the water. It fits over the mouth and the gills on the neck. Those were impractical to wear, be running around and trying to perform the stunts in.”
“All the way back [for the rappelling of the Dora Milaje sequence] was a set extension that was blended into the foreground. Everyone in the background is a digital double. There is a vertical wall where everyone does dance moves on cables that was the inspiration for the Dora Milaje being suspended. The whole thing was shot horizontally with them dangling off of cables. It was incredible.”
—Hanzhi Tang, VFX Supervisor, Digital Domain
Bluescreen made more sense than greenscreen as it provided the correct blue spill that would have been caused by the sky.
Namor (Tenoch Huerta) is captured and Shuri flies him off into the desert because he gains his power from the ocean. “They have a one-on-one fight, and there was a lot of set extensions and cleanup of the background,” Tang remarks. “We put the sky and the sun in the right place.” A flamethrower was utilized on set for the desert explosion. “But it wasn’t anywhere near the size of the actual explosion in the movie. It was used for exposure, color and scale reference of how that size flame appears through the camera,” Tang says. The flying shots of Namor were sometimes the most difficult to achieve, he adds. “In some of the shots we would have captured Tenoch Huerta on bluescreen, and he’ll do some closeup acting,” Tang observes. “We tried some wirework that looked too much like wirework and ended up doing a half-body replacement from the chest down. They captured a lot of shots with him in a tuning fork and being pulled around the set, so it was a lot of paint-out for the tuning fork and all of the gear on it. It’s suitable for waist-up shots. Tenoch just had the pair of shorts, which means there’s not much to hide, and when doing extensive paint-out on skin, you can end up with large patches that can be easily seen.”
Several sequences featuring the Giganotosaurus in Jurassic World Dominion made use of a animatronic head section on set. (Image courtesy of Universal Pictures and ILM)
For final shots, ILM would often retain the entire animatronic head of the dinosaur and add in the rest of the dinosaur body. (Image courtesy of Universal Pictures and ILM)
How do you put yourself into the shoes, or feet, of a Giganotosaurus? What about an advanced chimpanzee or a bipedal hippo god? And how do you tackle a curious baby tree-like humanoid? These are all computer-generated characters with very different personalities featured in films and shows released in 2022, and ones that needed to be brought to life in part by teams of animators. Here, animation heads leading the charge at ILM, Wētā FX, Framestore and Luma Pictures share how their particular creature was crafted and what they had to do to find the essence of that character.
When your antagonist is a Giganotosaurus
When Jurassic World Dominion Animation Supervisor Jance Rubinchik was discussing with director Colin Trevorrow how the film’s dinosaurs would be brought to the screen, he reflected on how the animals in the first Jurassic Park “weren’t villains, they were just animals. For example, the T-Rex is just curious about the jeep, and he’s flipping it over, stepping on it and biting pieces off of it. He’s not trying to kill the kids. I said to Colin, ‘Can we go back to our main dinosaur – the Giganotosaurus – just being an animal?’ Let’s explore the Giga being an animal and not just being a monster for monster’s sake. It was more naturalistic.”
With Trevorrow’s approval for this approach, Rubinchik began work on the film embedded with the previs and postvis teams at Proof Inc., while character designs also continued. This work fed both to the animatronic builds by John Nolan Studio and Industrial Light & Magic’s CG Giganotosaurus. “Early on, we did lots of walk cycles, run cycles and behavior tests. I personally did tests where the Giga wandered out from in between some trees and was shaking its head and snorting and looking around.”
Another aspect of the Giganotosaurus was that ILM would often be adding to a practical/animatronic head section with the remainder of the dinosaur in CG. For Rubinchik, it meant that the overall Giga performance was also heavily influenced by what could be achieved on set. Comments Rubinchik, “What I didn’t want to have were these practical dinosaurs that tend to be a little slower moving and restricted, simply from the fact they are massive hydraulic machines, that then intercut with fast and agile CG dinosaurs. It really screams, ‘This is what is CG and this is what’s practical.’
A full-motion CG Giganotosaurus crafted by ILM gives chase. (Image courtesy of Universal Pictures and ILM)
Animation Supervisor Jance Rubinchik had a hand in ensuring that the movement of animatronic dinosaurs made by John Nolan Studio, as shown here, were matched by their CG counterparts. (Image courtesy of Universal Pictures and ILM)
“Indeed,” Rubinchik adds, “sometimes as animators, you have all these controls and you want to use every single control that you have. You want to get as much overlap and jiggle and bounce and follow through as you can because we’re animators and that’s the fun of animating. But having something that introduced restraint for us, which was the practical on-set dinosaurs, meant we were more careful and subtler in our CG animation. There’s also a lot of fun and unexpected things that happen with the actual animatronics. It might get some shakes or twitches, and that stuff was great. We really added that stuff into Giga wherever we could.”
For Pogo shots in season 3 of The Umbrella Academy, on-set plates featured actor Ken Hall. (Image courtesy of Netflix and Wētā FX)
Voice performance for Pogo was provided by Adam Godley (right), while Wētā FX animators also contributed additional performance capture. (Image courtesy of Net-flix and Wētā FX)
The final Pogo shot. (Image courtesy of Netflix and Wētā FX)
“What I didn’t want to have were these practical dinosaurs that tend to be a little slower moving and restricted, simply from the fact they are massive hydraulic machines, that then intercut with fast and agile CG dinosaurs. It really screams, ‘This is what is CG and this is what’s practical.’ … But having something that introduced some restraint for us, which was the practical on-set dinosaurs, meant we were more careful and subtler in our CG animation. There’s also a lot of fun and unexpected things that happen with the actual animatronics. It might get some shakes or twitches, and that stuff was great. We really added that stuff into Giga wherever we could.”
—Jance Rubinchik, Animation Director, MPC
This extended even to the point of replicating the animatronic joint placements from the John Nolan Studio creatures into ILM’s CG versions. “All of the pivots for the neck, the head, the torso and the jaw were in the exact same place as they were in the CG puppet,” Rubinchik outlines. “It meant they would pivot from the same place. I was so happy with how that sequence turned out with all the unexpected little ticks and movements that informed what we did.”
Pogo reimagined
The advanced chimpanzee Pogo is a CG character viewers greeted in Seasons 1 and 2 of Netflix’s The Umbrella Academy as an assistant to Sir Reginald Hargreeves, and as a baby chimp. The most recent Season 3 of the show sees Pogo appear in an alternative timeline as a ‘cooler’ version of the character who even becomes a biker and tattoo artist. Wētā FX created each incarnation of Pogo, which drew upon the voice of Adam Godley, the on-set performance of Ken Hall and other stunt performers and stand-ins to make the final creature.
Having ‘lived’ with Pogo in his older, more frail form in the past seasons, Wētā FX Animation Supervisor Aidan Martin and his team now had the chance to work on a character who was capable of a lot more physically, including Kung Fu. “All of a sudden, Pogo’s been in the gym. He’s juiced up. He’s doubled his shoulder muscle mass and his arms are a lot bigger, so the way that he carries himself is completely different. His attitude has changed, too. He’s more gnarled and he’s a lot more jaded about the world,” Martin says.
From an animation point of view, Wētā FX animators took that new physicality into the performance and reflected it in postures and movements. “It was even things like the way he looks at somebody now,” Martin explains. “Early on in Season 1, when he looks at people, he’s very sincere. He was like a loving grandfather. Now, he’s a bit fed up with it all and he’s not looking at you with good intentions. He thinks you’re an idiot and he doesn’t have time for it. That’s where he’s coming from behind the mask.”
Pogo is a grittier character in this latest season, even working as a tattoo artist. (Im-age courtesy of Netflix and Wētā FX)
“All of a sudden, Pogo’s been in the gym. He’s juiced up. He’s doubled his shoulder muscle mass and his arms are a lot bigger, so the way that he carries himself is completely different. His attitude has changed, too. He’s more gnarled and he’s a lot more jaded about the world.”
—Aidan Martin, Animation Supervisor, Wētā FX
One of the VFX studio’s toughest tasks on this new Pogo remained the character’s eyes. “Eyeline is everything, especially with chimps,” says Martin, who also had experience on the Planet of the Apes films at Wētā FX. “When you’re trying to do a more anthropomorphized performance, chimps with their eyelines and brows do not work very well compared to humans because their eyes are just so far back and their brows sit out so far. For example, as soon as you have the head tilt down and then try to make them look up, you can lose their eyes completely. Balancing the eyeline and the head angle is really difficult, especially on chimps.”
“Even once you’ve got that working, getting the mouth shapes to read properly is also tricky,” Martin continues. “There are some really tricky shapes, like a ‘V’ and an ‘F,’ that are incredibly hard on a chimp versus a human. Their mouths are almost twice as wide as our mouths. Humans look really good when they’re talking softly, but getting a chimp to do that, it looks like they’re either just mumbling or they get the coconut mouth, like two halves clacking together, and everything’s just too big. We used traditional animation techniques here, basically a sheet of phoneme expressions for Pogo’s mouth.”
Going hyper (or hippo) realistic
Finding the performance for a CG-animated character often happens very early on in a production, even before any live action is shot. In the case of the Marvel Studios series Moon Knight’s slightly awkward hippo god Taweret, it began when Framestore was tasked with translating the casting audition of voice and on-set performer Antonia Salib into a piece of test animation.
Actor Antonia Salib performs the role of hippo god Taweret on a bluescreen set. (Image courtesy of Marvel and Framestore)
Final shot of Taweret by Framestore. (Image courtesy of Netflix and Wētā FX)
“The Production Visual Effects Supervisor, Sean Andrew Faden, asked us to put something together as if it was Taweret auditioning for the role,” relates Framestore Animation Supervisor Chris Hurtt. “We made this classic blooper-like demo where we cut it up and had the beeps and even a set with a boom mic. We would match to Antonia’s performance with keyframe animation just to find the right tone. We would later have to go from her height to an eight- or nine-foot-tall hippo, which changed things, but it was a great start.”
Salib wore an extender stick during the shoot (here with Oscar Isaac) to reach the appropriate height of Taweret. (Image courtesy of Marvel and Framestore)
Framestore had to solve both a hippo look in bipedal form and the realistic motion of hair and costume for the final character. (Image courtesy of Marvel and Frame-store)
“We looked at a lot of reference of real hippos and asked ourselves, ‘What can we take from the face so that this doesn’t just feel like it’s only moving like a human face that’s in a hippo shape?’ We found there were these large fat sacks in the corners that we could move, and it made everything feel a little more hippo-y and not so human-y. Probably the biggest challenge on her was getting Taweret to go from a human to a hippo.”
—Chris Hurtt, Animation Supervisor, Framestore
During filming of the actual episode scenes, Salib would perform Taweret in costume with the other actors and with an extender stick and ball markers to represent the real height of the character. As Hurtt describes, Framestore took that as reference and looked to find the right kind of ‘hippoisms’ on Salib. “We looked at a lot of reference of real hippos and asked ourselves, ‘What can we take from the face so that this doesn’t just feel like it’s only moving like a human face that’s in a hippo shape?’ We found there were these large fat sacks in the corners that we could move, and it made everything feel a little more hippo-y and not so human-y.”
“Probably the biggest challenge on her was getting Taweret to go from a human to a hippo,” adds Hurtt, who also praises the Framestore modeling, rigging and texturing teams in building the character. “The main thing for animation was that we had to observe what the muscles and the FACS shapes were doing on Antonia, and then map those to the character. Still, you’re trying to hit key expressions without it looking too cartoony.”
To help realize the motion of Taweret’s face shapes in the most believable manner possible, Framestore’s animators relied on an in-house machine learning tool. “The tool does a dynamic simulation like you would with, say, hair, but instead it would drive those face shapes,” Hurtt notes. “It’s not actually super-noticeable, but it’s one of those things if you didn’t have there, particularly with such a huge character, she would’ve felt very much like paper-mâché when she turned her head.”
The enduring, endearing allure of Groot
The Marvel Studios Guardians of the Galaxy films have borne several CG-animated characters; one of the most beloved being Baby Groot. He now stars in his own series of animated shorts called I Am Groot, directed by Kirsten Lepore, with visual effects and animation by Luma Pictures. The fully CG shorts started with a script and boarding process driven by Lepore, according to Luma Pictures Animation Director Raphael Pimentel.
Luma Pictures Animation Director Raphael Pimentel donned an Xsens suit (and Ba-by Groot mask) for motion capture reference at Luma Pictures during the making of I Am Groot. (Image courtesy of Luma Pictures)
The behavior settled on for Baby Groot, which had been featured in previous Marvel projects, was always ‘endearing.’ (Image courtesy of Marvel and Luma Pictures)
“There were scripts early on showing what the stories were going to be about. These quickly transitioned into boards. Then, Kirsten would provide the boards to us with sound. She would put them to music as well, which was important to get the vibe. These would then be turned over to us as an animatic of those boards with the timing and sound that Kirsten envisioned, which was pretty spot-on to the final result.”
Baby Groot’s mud bath in one of the shorts required the extensive cooperation be-tween the animation and FX teams at Luma Pictures. (Image courtesy of Marvel and Luma Pictures)
Baby Groot still delivers only one line: “I am Groot.” (Image courtesy of Marvel and Luma Pictures)
In terms of finding the ideal style of character animation for Groot in the shorts, Luma Pictures shot motion capture as reference for its animators, which was used in conjunction with video reference that Lepore also provided, and vid-ref shot by the animators themselves. The motion capture mainly took the form of Pimentel performing in an Xsens suit. “We went to Luma and identified the key shots that we wanted to do for every episode,” Pimentel recalls. “We would do one episode each day. As we were going through those key shots, we ended up shooting mocap for everything. Kirsten was there telling me the emotions that she wanted Groot to be feeling at that specific point in time. And we said, ‘Let’s keep going, let’s keep going.’ Next thing you know, we actually shot mocap for everything to provide reference for the animators.”
In one of the shorts, “Groot Takes a Bath,” a mud bath results in the growth of many leaves on the character, which he soon finds ways to groom in different styles. This necessitated a close collaboration between animation and effects at Luma. “That was a technical challenge for us,” Pimentel discusses. “In order for Kirsten to see how the leaves were behaving, she would usually have to wait until the effects pass. We built an animation rig that was very robust that would get the look as close to final as possible through animation.”
The final behavior settled on for Baby Groot in the shorts was “endearing,” Pimentel notes. Despite Groot’s temper tantrums and ups and downs, he was still kept sweet at all times. From an animation standpoint, that meant ensuring the character’s body and facial performances stayed within limits. “It’s easy to start dialing in the brows to be angry, but we had to keep the brows soft at all times. And then his eyes are always wide to the world. Regardless of what’s happening to him, his eyes are always wide to the world, much like a kid is.”
Partial set build, background plate photography, 3D model of mountaintop and depth pass are combined together to create an aerial shot.
“The mountain [where Seo-rae falls to his death] is 100% CG, but the background where that peak is situated is a real scene that we shot. There are a ton of mountains in Korea, so it’s a composite of these two. The two main locations of the mountains and sea have this unique form that goes up and down and up and down. We wanted to repeatedly show such up and down patterns, like a wave in an ocean or the landscape of the mountain range, but at the same time we didn’t want to make it too obvious for the audience to say, ‘Ah-ha! I see that.’”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
Ever since the release of Oldboy, Lee Joen-hyoung, who serves as the CEO and VFX Supervisor at Korean VFX studio 4th Creative Party, has been collaborating with filmmaker Park Chan-wook. Decision to Leave, which revolves around a detective becoming infatuated with a murder suspect, seems to be a less likely candidate for extensive digital augmentation because of the subject matter, but this was not the case. “This was the easiest read of all of director Park’s screenplays,” Lee recalls. “However, in the end, the work that I had to do was the toughest because unlike The Handmaiden or Oldboy, for which I was able to come up with the imagination straightaway in terms of the visuals and mise-en-scène, Decision to Leave was so ambiguous.” About 580 shots were created over a period of six months. “We were done at the end of 2021, but then we had some time left before Cannes and the actual release, so we did some detailing work with only a handful of people to make it even more perfect,” Lee remarks.
Invisible effects include adding photographs to the wall devoted to unsolved crimes, created by Hae-joon.
Unwanted natural elements had to be removed from the finale, which took place in a beach environment that was, in reality, three different locations combined together. “Jang Hae-joon’s portion of it was shot at the end of fall, entering into the winter season, so we started to have some snow,” Lee states. “For the sake of continuity, we had to take out snow and also had to work on the mountain that you can see from far. Even though we had to remove the snow and wind, Tang Wei, the actor, still felt those harsh conditions, which reflected the emotional state of Hae-joon. With Son Seo-rae’s portion, there was no problem because the time of day was different.” Atmospherics were also digitally added into shots. “We had to have mist in the latter part of the film because it’s set against Ipo, which is famous for mist and being humid all of the time,” Lee adds. “Mist had to be present in almost all of the outdoor scenes, but we had to define how much for a particular scene.”
“Director Park likes to use insects in his movies, such as the ants in Oldboy or the mosquitoes in Lady Vengeance or the ladybug in I’m a Cyborg, But That’s OK. I knew even before that he was going to put some kind of insect in this film, too. We already have a vast library filled with insects and their forms and movements, so we were well-equipped to execute that.”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
Insects are always featured in the films of Park Chan-wook, with CG ants crawling over the face of Seo-rae’s dead husband.
“Hae-joon tries to replicate what Seo-rae would have done to kill her husband, and he goes up the mountain, lies down and looks up. Then Seo-rae’s hand comes in and they hold hands together. Director Park told me that the audience should be able to see the callus on her palm because it’s evidence that she is already an expert climber. It was difficult to visually make that happen because when those two hands meet together the palm becomes a little bit dark, so we had to do several retakes. That one scene was the most challenging for me.”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
The mountain where the husband, Seo-rae, falls to his death was a partially built on a backlot set surrounded by bluescreen. “The mountain is 100% CG, but the background where that peak is situated is a real scene that we shot,” Lee reveals. “There are a ton of mountains in Korea, so it’s a composite of these two. The two main locations of the mountains and sea have this unique form that goes up and down and up and down. We wanted to repeatedly show such up and down patterns, like a wave in an ocean or the landscape of the mountain range, but at the same time we didn’t want to make it too obvious for the audience to say, ‘Ah-ha! I see that.’” Ants crawl over the face of the deceased spouse. “Director Park likes to use insects in his movies, such as the ants in Oldboy or the mosquitoes in Lady Vengeance or the ladybug in I’m a Cyborg, But That’s OK. I knew even before that he was going to put some kind of insect in this film, too. We already have a vast library filled with insects and their forms and movements, so we were well-equipped to execute that,” Lee notes.
The x-ray of an arm and hand transitions into the arm and hand of Hae-joon, emphasizing that he is still thinking of Seo-rae even when having an intimate moment with his wife.
A clever shot transition moves from the x-ray of a hand to the one belonging to Hae-joon as he is having sex with his wife in bed. “I have already accumulated so much experience with Park Chan-wook-esque transitions!” Lee laughs. “We knew how the output should look like because it was worked out in the storyboarding phase and we subsequently shot the source material. That transition was a nod to what we had already did in I’m a Cyborg, But That’s OK. As a long-time collaborator, I already knew what color director Park likes for the x-ray and the timing for the movement of the hand. That transition was the symbol of how Hae-joon is really with Soe-rae even though he is physically next to his wife.” The growing emotional bond between the detective and the murder suspect is visually emphasized in the interrogation scenes. “We wanted the audience to see something happen that is not physically possible,” Lee describes. “For that we had four characters because there were two in front and there are two in the reflection of [the mirror]. We shot the real people, then the reflection pass, and composited these two together so that we were able to control the focusing and defocusing in order to fully realize director Park’s intention and vision for the scene.”
“That transition [shot of the x-ray of a hand to the one belonging to Hae-joon as he is having sex with his wife in bed] was a nod to what we had already did in I’m a Cyborg, But That’s OK. As a long-time collaborator, I already knew what color director Park likes for the x-ray and the timing for the movement of the hand. That transition was the symbol of how Hae-joon is really with Soe-rae even though he is physically next to his wife.”
—Lee Joen-hyoung, CEO & VFX Supervisor, 4th Creative Party
Bunam Beach in Samcheok, Hakampo Beach and Magumpo Beach in Taean were combined to create the environment that appears in the finale.
Reflections and monitors were manipulated during the interrogation scenes to visually show that Seo-rae and Hae-joon are becoming emotionally closer to each other.
Driving shots are common place for Korean television series and films. “For our film, we wanted to make sure that the windshield of the car and the reflections on the car and how the lights will change inside of the space would be recognizable to the audience,” Lee remarks. “We had to make sure that the lighting and reflections worked perfectly; that was our full intention. Since our actors are inside the car, we also wanted to make a realistic look for the interior shot.” An unlikely shot proved to be difficult. Reveals Lee, “Hae-joon tries to replicate what Seo-rae would have done to kill her husband, and he goes up the mountain, lies down and looks up. Then Seo-rae’s hand comes in and they hold hands together. Director Park told me that the audience should be able to see the callus on her palm because it’s evidence that she is already an expert climber. It was difficult to visually make that happen because when those two hands meet together the palm becomes a little bit dark, so we had to do several retakes. That one scene was the most challenging for me.”
Cinesite’s Montreal and Vancouver facilities took on Paws of Fury: The Legend of Hank after the film had already spent several years in development. (Image courtesy of Paramount Pictures)
A common credit on a CG animated feature film or show is ‘visual effects supervisor.’ But wait, don’t VFX supervisors work just in live-action? This is, of course, not so. Indeed, on a CG-animated project, a visual effects supervisor is a crucial role, often helping to formulate the ‘look of picture’ as well as solve many of the technical and artistic hurdles along the way – not too dissimilar at all from a VFX supervisor working in live-action.
In this roundtable, visual effects supervisors from Walt Disney Animation Studios, Pixar, DreamWorks Animation, Sony Pictures Imageworks and Cinesite Studios explain their tasks on recent animated films and shows and share their thoughts on the key trends hitting their field right now.
Cinesite is one of a limited number of VFX studios that also deliver full CG-animated features and other animated projects. (Image courtesy of Paramount Pictures)
VFX supervisor in live-action versus animation
Alex Parkinson (Visual Effects Supervisor, Cinesite): Often the difference between VFX supervisors in live-action and animation depends on the kind of VFX show you are talking about. Sometimes entire sequences in movies are CG with no live-action aspects at all. In that case, the workflow and the job would be very similar. But mostly the differences between the two jobs reflect the differences between the two mediums. In animation, you tend to have more creative ownership over the final product and way more freedom. Live-action VFX is a more technical and precise process. It is harder in a lot of ways, because you must match existing elements and every shot is put through more scrutiny.
Marlon West (Visual Effects Supervisor, Walt Disney Animation Studios, on Iwájú): While the visual effects supervisor on a live-action film is tasked with leading the team to create images that they can’t go out and capture live, for animation every image is created from ‘scratch.’ So, they are tasked with leading the charge of creating every image technically and creatively.
“Multiple time zones were our main challenge on Iwájú. We have artists in Los Angeles, London, Lagos, Montreal and Vancouver. At one point we had artists in Uganda, Kenya and Zimbabwe as well. While not hugely technical, the biggest challenge was initially story, art and editorial teams who have worked primarily with our internal tools to work with outside partners.”
—Marlon West, Visual Effects Supervisor, Walt Disney Animation Studios
Real-time Rendering: The Future of Animation?
Of all the tech trends that abound in CG animation right now, Cinesite Visual Effects Supervisor Alex Parkinson believes that real-time game engines have the most potential to revolutionize the industry, particularly in relation to CG cinematography.
“Let’s take a typical shot, the villain reveal. The villain walks towards the camera through darkness and mist, their cape billowing in the wind. As they move into the light more of their form is revealed, and then at the last moment they lift their face towards the light,” Parkinson describes.
“In a traditional CG animation pipeline, this would be created in a serial manner,” Parkinson continues. “The camera would be created in layout using some very rough blocked animation. It would be animated without the cape, which would be added in CFX. FX would then do the mist interaction, then the whole thing would be passed to lighting to make it work. However, what if it doesn’t work? What if the timing is off or lighting cannot make the animation work for the face reveal? The shot goes all the way back down the pipeline for a re-do, then round and round until ultimately we run out of time and have to go with what we have.”
Parkinson believes real-time game engines will change this process. “We will be able to work much more like a live-action shoot does. We will be able to assemble all the pieces we have at any time, see them all in context, and work more in parallel, tweaking each element so they work together harmoniously. The potential for a quality increase in our filmmaking is huge.”
Kylie Kuioka voices Emiko in Paws of Fury: The Legend of Hank. (Image courtesy of Paramount Pictures)
Jane Yen (Visual Effects Supervisor, Pixar, on Lightyear): I see my role at Pixar as overseeing all of the technical work that needs to happen in computer graphics to produce the film visuals. Pixar has historically been at the very forefront of computer graphics and creating CG imagery, so a lot of the Pixar history and the roles that used to be called supervising technical director, and now VFX supervisor, were based on developing new technology to make it even possible.
Matt Baer (Visual Effects Supervisor, DreamWorks Animation, on The Bad Guys): At the creative leadership level, there are more peer relationships for the animation VFX supervisor. The head of story is my peer. The head of layout is my peer. The head of animation is my peer. For example, I’m responsible for making sure our head of animation is set up with the necessary workflows and technologies. Ultimately, the head of animation is creatively responsible for the character animation. I consult during animation development and shot work so our animators have context as to how their work fits into the bigger picture.
A layout frame from a hyperjump sequence in Pixar’s Lightyear. (Image courtesy of Disney/Pixar)
Animation pass on Buzz Lightyear. (Image courtesy of Disney/Pixar and Pixar)
R. Stirling Duguid (Visual Effects Supervisor, Sony Pictures Imageworks, on The Sea Beast): At Imageworks, compared to other animation companies that are vertically integrated, we have a client/vendor relationship. My primary role is to represent Imageworks to the client as well as the director, the production designer, the art director and their producer. That’s the first step, representing the company. Then it’s about building the team and the framework for the entire production – how we go from storyboards to final composite, laying that out and making sure that we have the right people in charge for each of those departments.
Lighting, FX and rendering are the final steps in the final frame. (Image courtesy of Disney/Pixar)
Solving the art and tech and pipeline, in animation
Matt Baer: On The Bad Guys, one of our key visual goals was to pay homage to illustration and 2D animation. Our design philosophy was to use simplification to achieve our stylized and sophisticated look. Anyone who has worked in CG knows this is the opposite of what many of our tools are designed to do! We needed to replace the realistic details of traditional CG techniques with the wonderful hand-drawn imperfections seen in illustrations. Taking this to scale on a feature film required us to build new workflows for every department, allowing them to create images that look handmade – removing superfluous CG details while keeping just enough visual information to guide the eye towards the most important aspects of the shot. Once the image was reduced, our artists added custom line work, textures and 2D effects to every shot in the film.
A first look image from Walt Disney Animation Studios’ Iwájú series. (Image courtesy of Disney)
R. Stirling Duguid: For TheSea Beast, the big technical hurdle was ropes. We had thousands of them to do. Our Animation Supervisor, Joshua Beveridge, said, ‘We have to start from the ground up and build an awesome rope rig because we’re not going to make it through the movie without that.’ We came up with a procedural solution that was designed to be animation-friendly. The idea is that the length of the rope would always stay the same – usually it stretches or is cheated, but ours had the proper hang and everything. Ropes are in so many shots.
Jane Yen: Lightyear was Pixar’s largest FX film to date. Almost 70% of the film has FX elements in it. As the VFX Supervisor on an animated film, I had to look at every single component of the film, not just FX but also set building and modeling, set dressing, character modeling, building articulation, tailoring, cloth simulation, hair grooming – and that’s just the asset-building side. Then we have lighting and shading. I’m sure there’s some element in there I missed, but you can kind of get the picture that on an animated film, every single component of every visual thing that is on the screen, we had to account for.
A frame from Walt Disney Animation Studios’ Encanto, on which Marlon West served as Head of Effects Animation. (Image courtesy of Disney)
A Specific Animation Challenge: Face Creases
Among the many technical hurdles Sony Pictures Imageworks had to conquer in The Sea Beast was realizing the distinctive crease lines and wrinkles on several of the characters’ faces. Usually, such wrinkle-like features are modeled or textured into the detail.
Looking to capitalize on earlier work done at Imageworks with inklines on Spider-Man: Into the Spider-Verse, Visual Effects Supervisor R. Stirling Duguid and his team developed a tool called CreaseLines that gave animators the ability to easily, dynamically create and control curves on faces to define the right emotive facial creases.
“Normally if you model things like that, it requires a high-density mesh, or you have to use displacement maps, which are hard for an animator to visualize,” Duguid explains. “Our Animation Supervisor, Joshua Beveridge, had this idea for crease lines, which came from Spider-Verse. It was about thinking in the animator’s shoes, dealing with the director, getting a note and finding the quickest way to address the note.
“CreaseLines gave us the flexibility to move those lines and not be constrained by the topology, as far as how dense the mesh was. This let us directly drive displacement of the face meshes. It was a real win.”
“While animation has always sought to create new and imaginative worlds, the last few years have seen a rapid increase in the variety of visual styles produced across the industry. Despite this increase, we’ve only barely cracked open the visual possibilities in animation, which really excites me for the future.”
Marlon West: Multiple time zones were our main challenge on Iwájú. We have artists in Los Angeles, London, Lagos, Montreal and Vancouver. At one point, we had artists in Uganda, Kenya and Zimbabwe as well. While not hugely technical, the biggest challenge was initially story, art and editorial teams who have worked primarily with our internal tools to work with outside partners.
Alex Parkinson: Being an independent studio, we must find ways to match the quality of big studio movies as closely as we can, and that is a bar that is constantly moving, so our tools and workflow must constantly evolve to keep up. Often our problem is stylization. For example, three of our recent movies, Riverdance: The Animated Feature, Paws of Fury: The Legend of Hank and Hitpig, have featured sequences with fast-flowing water. Because we use tools developed primarily for live-action FX, they tend to produce photorealistic results. They don’t fit in our world, so we must find ways to make natural elements feel more ‘cartoony.’
Mirabel, voiced by Stephanie Beatriz, in Encanto. The fireworks were crafted as effects animation. (Image courtesy of Disney)
Stylization: a major trend in animation
Alex Parkinson: The use of non-photorealistic rendering, or NPR, exploded after Spider-Man: Into the Spider-Verse. That showed the potential for what a CG-animated movie could be. I see it as part of the maturing of our industry. If you think about 2D animation and all the looks and styles that it covers, from an episode of The Simpsons to crazy anime action, to the work of Cartoon Saloon, it is so varied and creative. CG animation is a very young art form, and up until now has tended to stay within the styles it was born from, like Toy Story, Shrek, etc. That is to say, more photoreal. 3D animation is branching out, experimenting, and developing all new NPR techniques – that’s very exciting.
R. Stirling Duguid: Spider-Man: Into the Spider-Verse was a pretty big splash for Imageworks as far as doing a whole movie like that. Then look at the evolution into The Mitchells vs the Machines, where we also took it to a really nice place. And, actually, it was quite different. You can clearly see the difference between Mitchells and Spider-Verse, but it was using a lot of the same technology.
A storyboard frame from a driving sequence in DreamWorks Animation’s The Bad Guys. (Image courtesy of Universal Pictures and DreamWorks Animation)
After storyboard, the studio moves to previs and early animation. (Image courtesy of Universal Pictures and DreamWorks Animation)
The final rendered frame. On The Bad Guys, DreamWorks Animation injected an enhanced level of stylized look and feel to the final images, partly to reflect the source material. (Image courtesy of Universal Pictures and DreamWorks Animation)
Jane Yen: I think we are now going to see movies come out that have a much more stylized and ‘pushed’ look. I think you’ll see that in our next feature film, Elemental. Even though Lightyear may not have pushed that spectrum, specifically, I think the industry is leaning that way, and I’m excited to see what comes out of it.
“Being an independent studio, we must find ways to match the quality of big studio movies as closely as we can, and that is a bar that is constantly moving, so our tools and workflow must constantly evolve to keep up. Often our problem is stylization. For example, three of our recent movies, Riverdance: The Animated Feature, Paws of Fury: The Legend of Hank and Hitpig have featured sequences with fast-flowing water. Because we use tools developed primarily for live-action FX, they tend to produce photorealistic results. They don’t fit in our world, so we must find ways to make natural elements feel more ‘cartoony.’”
For The Sea Beast, Imageworks developed a new animation rig to deal with the many different kinds of ropes seen in the film, allowing them to stretch and hang and be animated as realistically as possible. (Image courtesy of Netflix and Sony Pictures Imageworks)
A face-crease-lines tool helped the studio dynamically create and control curves on faces to define the right emotive facial creases. (Image courtesy of Netflix and Sony Pictures Imageworks)
Marlon West: Stylization, supporting production design and character animation, has been very important for us at Walt Disney Animation Studios. We have endeavored to share 2D sensibilities with team members who started their careers creating images in CG. While those classic animation principles are important to character animators, overlap, staging, anticipation, etc. are just as valued by Walt Disney effects animators, too.
A final frame from The Sea Beast. (Image courtesy of Netflix and Sony Pictures Imageworks)
Matt Baer: While animation has always sought to create new and imaginative worlds, the last few years have seen a rapid increase in the variety of visual styles produced across the industry. Despite this increase, we’ve only barely cracked open the visual possibilities in animation, which really excites me for the future.
Come by Westside Tavern (across from SVA Theatre) and bring a friend, grab a drink on us. First come, first serve.
There are a LOT of things happening in the industry and the world-what do YOU want from your section this year?
Please RSVP below (VES members must login to RSVP) Friday, February 24, 2023 at 9:15PM WESTSIDE TAVERN
360 W. 23rd Street (closer to 9th Avenue) New York, NY 10011
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 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 Opening Night Screening of Universal Studios’ COCAINE BEAR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, February 24, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Presidents’ Day Weekend 3D Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Monday, February 20, 2023 at 4:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***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 an Opening Weekend Dolby Vision 3D HFR Dolby Atmos Screening of Walt Disney Pictures’ and 20th Century Studios’ AVATAR: THE WAY OF WATER followed by a live interactive Q&A with the Filmmakers
Masks or face coverings are recommended, but not required. Please observe social distancing whenever possible.
Panelists will include VES Lifetime Achievement Award-winning Director-Writer-Producer-Editor James Cameron, Oscar winning Producer Jon Landau, Executive Producer, VES Award-winning Visual Effects Supervisor at Wētā FX Richard Baneham, VES Georges Méliès Award-winning Senior Visual Effects Supervisor at Wētā FX JoeLetteri, VES, Wētā Visual Effects Producer Lena Scanlan, VES Award-winning Head of FX at Wētā FX JohnathanNixon and VES Award-winning Animation Supervisor at Wētā FX Eric Reynolds, moderated by VES Chair Lisa Cooke. (All panelists’ participation based on availability.)
Please RSVP below (VES members login to get your free ticket).
Event Details: This is an outdoor event in the covered garden space. There will be heaters outside.
12 Vandam St, New York, NY 10013
Come enjoy the food, have a few drinks and welcome the new members!!
VES Members and a Guest FREE!
Not a Member? No problem! You’re still welcome to come!!
$30 at-the-door(CASH)
All attending this event need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. 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 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 Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
Please RSVP below (VES members must login to RSVP) Sunday, November 20, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ BLACK ADAM
Please RSVP below (VES members must login to RSVP) Saturday, November 5, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
Please RSVP below (VES members must login to RSVP) Friday, September 30, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 Opening Weekend Screening of The Avenue Entertainment’s MEDIEVAL
Please RSVP below (VES members must login to RSVP) Sunday, September 11, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 Opening Weekend Screening of 20th Century Studios’ BARBARIAN
Please RSVP below (VES members must login to RSVP) Saturday, September 10, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of United Artists Releasing’s THREE THOUSAND YEARS OF LONGING
Please RSVP below (VES members must login to RSVP) Saturday, September 3, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
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 Opening Weekend Screening of Universal Pictures’ BEAST
Please RSVP below (VES members must login to RSVP) Tuesday, August 23, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
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 RSVP below (VES members must login to sign up)
Event Details: This is an outdoor event in the covered garden space.
12 Vandam St, New York, NY 10013
Food, drinks, and laughter. Plus enter to win prizes from a few of our sponsors: BorisFX – 1-year subscription to Mocha Pro $595 value || 1-year subscription to Silhouette $795 value ActionVFX – $490 Annual Pro Plan (15 elements per month, plus direct access to 30+ (normally-paid) free collections as a perk of being a Pro subscriber) GridMarkets – 2 winners will receive 500 Gridmarket’s Credits.
VES Members and a Guest FREE with RSVP by Friday, August 12, 2022 at 8:00 pm!
$30 at-the-door (Cash only)
All attending this event need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. 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 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***
Topic of Discussion:
Join us Thursday, July 28th to learn how to make the most of the Member Assistance Program (MAP), and how to win some prizes at the Summer Party in August. We’ll be on for a few hours. All are welcome to come and go throughout the night!
VES Members and Their Guests are Invited to a Screening of Netflix’s THE GRAY MAN
Please RSVP below (VES members must login to RSVP) Sunday, July 24, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 Opening Weekend Screening of Universal Pictures’ NOPE
Please RSVP below (VES members must login to RSVP) Saturday, July 23, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ WHERE THE CRAWDADS SING
Please RSVP below (VES members must login to RSVP) Monday, July 18, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 Pre-Release 3D Screening of Universal Pictures’ and Illumination Entertainment’s MINIONS: THE RISE OF GRU
Please RSVP below (VES members must login to RSVP) Tuesday, June 28, 2022 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ ELVIS
Please RSVP below (VES members must login to RSVP) Monday, June 27, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ LIGHTYEAR
Please RSVP below (VES members must login to RSVP) Sunday, June 26, 2022 at 2:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD DOMINION
Please RSVP below (VES members must login to RSVP) Saturday, June 25, 2022 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
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
Click here to RSVP (be sure to choose which screening you wish to attend.) Tuesday, June 21, 2022 at 6:30PM The Paris Theater
4 W 58th St., New York, NY 10019
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.
I would like to invite you to SVA’s Industry Mixer to celebrate the School of Visual Arts’ BFA Computer Art, Computer Animation, and Visual Effects graduating Class of 2022.
This event is invite-only and RSVP is required. If you would like to add someone to the list, please let me know.
I hope you are able to join us for food and drinks to celebrate a year of hard work and meet the graduating students.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
Please RSVP below (VES members must login to RSVP) Wednesday, May 11, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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.
Topic of Discussion:
The role of acquiring talent comes by many names, Recruiter, Artist Manager, Talent Acquisition, etc, but the question is the same: how do you find good people and how do you keep them? Join VES NY in conversation with recruiters from Crafty Apes, Chicken Bone FX and Pixar Animation Studios.
Please RSVP and register for a seat at the zoom table!
Meet our guests:
Melissa Blakey’s journey began in a tiny little Connecticut seaside town, where the only access to “Hollywood” was the big movie theater complex, about a 45-minute drive away. It was during one of those many movie outings that she suddenly became curious to learn what goes on behind-the-scenes. After two decades of VFX Producing, she transitioned into recruiting. Melissa is thrilled to be a part of growing the Crafty Apes team globally, aiding in the launch of multiple locations, and seeking out the best talent our industry has to offer. In her spare time, she’s heading to the beach with her son, traveling, and dabbling in meditative hobbies such as cooking and gardening.
Mindy Berardini joined Pixar Animation Studios March 2021 as a Recruiter. Before Pixar, Mindy was at Blue Sky Studios and has been working in Talent Development for 10 years. She’s recruited for roles for the entire animation pipeline but currently supports departments like Layout, FX, Sim, Lighting and Rendering.
Emma Everett is the Director of Talent & Culture at Chicken Bone FX Studios. She is responsible for recruiting visual effects professionals, talent planning and retention, company culture, and marketing. Throughout her career, Emma has always been driven by a drive for success balanced against a people-first ethos. She has worked in multiple industries taking best practices with her everywhere she goes. Outside of work, Emma enjoys nature, good food, and family with her two young daughters and husband. She is passionate about social issues related to Aspergers/Autism and homelessness.
VES Members and Their Families are Invited to an Opening Weekend Screening of Universal Pictures’ and DreamWorks Animation’s THE BAD GUYS.
Please RSVP below (VES members must login to RSVP) Sunday, April 24, 2022 at 2:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ MORBIUS.
Please RSVP below (VES members must login to RSVP) Saturday, April 16, 2022 at 2:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMBULANCE
Please RSVP below (VES members must login to RSVP) Friday, April 15, 2022 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ MORBIUS.
Please RSVP below (VES members must login to RSVP) Monday, April 11, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 our first Live@5!!! in the new year. Come and meet your new board members, bring up important topics of discussion, and catch up with old coworkers. RSVP for a link to the Zoom invite here.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: NO WAY HOME.
Please RSVP below (VES members must login to RSVP) Friday, January 21, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 Pre-Release IMAX® Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS. 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 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.
VES Members and Their Guests are Invited to a Screening of United Artists’ NO TIME TO DIE.
Friday, October 29, 2021 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
Please RSVP below (VES members must login to RSVP)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
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 SIGN UP BELOW (login required) Attendee #1 is the VES member / Attendee #2 is the VES member’s guest.
NOTE: Per New York City guidelines, proof of vaccination will be required and masks indoors.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join us Thursday Sept. 30th for a social Zoom room to catch up with your local artists and friends. You don’t need to be a member to join. Click on the poster or the link below to sign up! Cheers!
VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS.
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP)
Wednesday, September 15, 2021 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***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 SIGN UP BELOW (login required) Attendee #1 is the VES member / Attendee #2 is the VES member’s guest.
NOTE: Per New York City guidelines, proof of vaccination will be required.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Opening Weekend Screening of Marvel Studios’ and Walt Disney Pictures’ BLACK WIDOW. Theater rules require that nobody will be admitted without proof of vaccination or a negative test within the past 72 hours. Masks must be worn at all times and no food or drink is permitted except water.
Each attendee must present a photo ID and a photo of your vaccination card, or a NY State Excelsior Pass. Unvaccinated guests must present evidence of a negative test within the past 72 hours and will be required to sit in a different area of the auditorium, socially distant from other guests.new
Please RSVP below (VES members must login to RSVP)
Saturday, July 10, 2021 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
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 this Thursday for a social Zoom room to catch up with your local artists and friends. You don’t need to be a member to join. Click on the poster to sign up!
VES NY is happy to announce the first of our web speaker series. An interview with Hal Hickel, Animation Supervisor at ILM. We’ll talk about career paths, inspirations, robots, whatever strikes our fancy. VES Members can register to view this webinar on Zoom; We’ll also be streaming live on our NY Section Facebook page https://www.facebook.com/VESNewYork.
When: Monday April 12, 2021 at 8:00pm EDT
Please login to register in advance for this webinar.
Join us for a special town hall panel on Friday, February 12th from 3-4pm EST. We will take your questions and concerns regarding changing work landscapes and new opportunities.
You are invited to the east coast, VES Netflix Party on Wednesday, October 28th, 8PM ET. And once again, you choose the movie!
Click on the image below to votefor the movie we will screen(member login required). Chat with your fellow VES colleagues from all over the east coast, including New York, Montreal, Georgia, Florida and Louisiana.
Look for your Netflix Party url and instructions email about an hour or so before showtime.
See you there!
Brought to you by your Montreal, New York, Georgia, Florida and Louisiana Board of Managers and members.
Join the Visual Effects Society and the Post NY Alliance for a two-part event Post Break: VFX Solutions to Covid problems Part I & Part II. How can Visual Effects help production & post in a post-covid Landscape? These two panels will join Visual effects experts and have conversations geared towards post production. The initial panel will be an overall view of what is being asked of Visual Effects and what that means for production and post. The second panel would be covering and discussing new technology and new tools Visual Effects can offer.
Leslie’s dreams of being an artist began when she was three years old, drawing on the walls and furniture of her childhood home in New York City. In time, her artistic pursuits led her to the School of Visual Arts, where she majored in computer art before landing in the world of VFX. Now a 12 year veteran of the industry, the roster of studios she has worked for is numerous. Some highlights include several years at Psyop, Look FX, MPC, and now Crafty Apes. Leslie has worked on commercials, game cinematics, films and TV shows as a compositor, producer, and supervisor, with credits including VFX designer for The Knick, Midsommar, Deadpool 2, Boardwalk Empire, Marvel Runaways and most recently 3 seasons of Star Trek Discovery. In addition to her day job, she has also spent the last six years helping to grow the VFX community in New York, and has been heavily involved on the VES New York board as a past chair officer. But she still makes time for her artistic passions, including illustration, painting, and photography, along with taking care of her three adorable pet rats.
David Eschrich, CG Supervisor / On-Set Supervisor / VESNY Co-Chair
David Eschrich is a seasoned CG supervisor with extensive experience across episodic, feature film and commercial. A self-taught artist, he built his own portfolio and left a career in finance to become a highly sought after artist and now supervisor in the NYC VFX industry. He has worked for top NYC shops including The Mill, Look Effects, Brainstorm Digital, The Molecule and Alkemy X, and is currently at Zoic studios. His credits include work on films and episodics such as Noah, Warrior, Iron Fist, The Walking Dead, Game of Thrones, Homeland and The Lost City of Z. David is an active member of the visual effects community and currently serves on the VES New York board as Co-Chair.
Robert Keyghobad, Virtual Productions Producer
Robert Keyghobad began his career in Hollywood working for former Sony Pictures
Entertainment CEO Peter Guber. Over the past 20 years, Robert set up several major studio
deals including the acclaimed HBO series “Carnivále,” and the detective comedy “Honey
Vicarro” with Jenny McCarthy at 20th Century Fox and Fox Broadcasting Corporation. Robert
has also worked on numerous projects with artists such as screenwriter-producer David S.
Goyer (Man of Steel), pilot director David Nutter (Game of Thrones), and producer David
Heyman (Harry Potter).
After working on director Robert Zemeckis’ “A Christmas Carol,” and Disney’s “Tron Legacy,”
Robert took a position with video game developer Electronic Arts (EA) at its worldwide virtual
production studio in Vancouver, Canada. In this role, Robert oversaw all aspects of EA’s
worldwide physical and virtual production. From there he worked as Consultant/UPM on the
Starz sci-fi drama series “Incursion,” created by Steven DeKnight (Spartacus); as Virtual
Production Producer for Legendary and Universal Studios on “Warcraft”; and as Production
Consultant/UPM on Alejandro G. Iñárritu’s virtual reality short, “Carne y Arena” for
Prada/Legendary Entertainment.
Robert then took an executive consulting position at Netflix, and in that capacity covered over
50 International Original series. He returned to the freelance market and is currently consulting
for Amazon Studios.
Dan Pack, Managing Director
Dan Pack has been working in NY production and post for nearly the past 20 years. As a founding partner and Managing Director of Brooklyn-based Silver Spoon, Dan Pack oversees all production, client relationships and R&D, notably in the ever expanding field of virtual production. Dan and his team have contributed their motion capture and animation services to numerous commercials, video games, television shows, and features, with recent innovations in real-time character animation, broadcast AR and LED wall production. Prior to Silver Spoon, he held the position of Director of Business Development for Click 3X, and served as an Executive Producer for ASB, a global 3D previz shop. He began his career as a production assistant at Aero Film before joining Grey NY as a producer.
Join the Visual Effects Society and the Post NY Alliance for a two-part event Post Break: VFX Solutions to Covid problems Part I & Part II. How can Visual Effects help production & post in a post-covid Landscape? These two panels will join Visual effects experts and have conversations geared towards post production. The initial panel will be an overall view of what is being asked of Visual Effects and what that means for production and post. The second panel would be covering and discussing new technology and new tools Visual Effects can offer.
Jim Rider is a NYC-based visual effects supervisor with 30 years of experience in the industry. After starting his career in New York in commercial production, Jim moved to Los Angeles in the ’90s, where he specialized in motion control camera work and models/miniatures, shooting fun things like spaceships for Star Trek and submarines for Titanic. As the industry moved toward more digital visual effects, Jim transitioned to Flame and Nuke compositing, working as an artist and VFX supervisor at facilities such as Method, Gravity and The Mill. As an independent visual effects supervisor, Jim is able to bring his extensive on-set experience as well as post-production knowledge to help clients solve problems and bring their projects to life. Jim’s recent credits include The Plot Against America, The Deuce and Fahrenheit 451.
Julie Long, Visual Effects Producer
Julie Long is an award-winning Visual Effects Producer for Film and Television. After graduating from NYU’s Tisch, she began her career at CHRLX, an animation and design studio in New York. She went on to join the initial VFX team at Shade New York, where she discovered her passion for producing. In her four years at Shade, she led her team to Emmy nominations and awards for their work on Marvel / Netflix’s Daredevil and HBO’s Westworld. Following Shade, Julie explored working production side, joining the VFX production team for Sci-Fi’s Happy! Season 2. Missing direct collaboration with the artists and working on multiple projects at a time, she decided to return back to the vendor side and helped establish the Episodic Department at Framestore New York, alongside Creative Director, John Kilshaw. Julie’s passion for visual effects is deepened by her team’s enthusiasm for the work and collaborating with creatives to help realize their vision
Greg Anderson, Sr. VFX Supervisor/Head of Studio
Greg Anderson is currently Sr. VFX Supervisor and Head of Studio for the New York office of FuseFX, a global visual effects studio for television, features and commercials. He started the office in 2014 and since then, it has grown to over 70 employees. In his role as VFX Supervisor, most recently, he supervised the visual effects for the Netflix limited series, When They See Us, written and directed by Ava DuVernay. He has directly supervised the visual effects for several hit Marvel television shows as well; Luke Cage, The Punisher and Iron Fist. In addition, he has overseen the work on several other award-winning shows like The Blacklist, The Get Down and Mr. Robot; the last of which, he and his team were nominated in 2018 for an Emmy in the category of Outstanding Special Visual Effects in a Supporting Role. Originally from St. Louis, Greg attended Massachusetts Institute of Technology and earned a B.S. in Art and Design and an M.S. with a focus in Design and Computation, both from the School of Architecture and Planning. He started his career at Sony Pictures Imageworks designing the visual effects for several blockbuster, Oscar-nominated features including Starship Troopers, Hollow Man, Spider-Man and Matrix Revolutions. He then transitioned into advertising as a visual effects supervisor and director of campaigns for Target, Nissan, Microsoft, and many others. In 2009, he co-founded his own design/vfx studio called burn.crash.repeat., producing promos for MTV, Comedy Central and OWN. This experience led to his current position with FuseFX. Greg is a member of both the Television Academy and the Academy of Motion Picture Arts and Sciences.
Lotta Forssman, VFX Supervisor / VESNY Board Member
Lotta Forssman is a VFX supervisor at The Molecule VFX. She grew up in Sweden prior to graduating College at Ohio University with a major in Video Production and minor in film. She was introduced to the world of Post-production at her first internship on a Swedish Game Show. She started as a PA then got experience as an Assistant Editor and Motion Graphics Artist before making a move into Visual Effects. In 2009 she moved to New York and in 2010, joined The Molecule team as an artist. From there she transitioned to a VFX editor and worked her way up to a Visual Effects Producer and now, Visual Effects Supervisor. Experience being the best teacher, Lotta credits her understanding of the full process to her having had many seats within the company.
Some of the projects Lotta has overseen as VFX Supervisor have been Ballers for HBO, Good Cop, Master of None & Gypsy for Netflix, Red Oaks for Amazon and most recently the Apple series Dickinson.
Leah has 15 years of TV/Film Production experience beginning her career in production for commercials in 2005 before moving to post in 2008, then finding her passion for visual effects in 2011. She has worked as a VFX Producer on TV, Feature Films and commercials for several companies including Framestore, Method, Alkemy X and Zoic where she was nominated for a Creative Arts Emmy. For the past 2.5 years Leah has been working as a VFX Producer on the show side recently completing 2 seasons of WARRIOR for Cinemax. Once shooting resumes, she will be in production for HBO’s, The Gilded Age. In her spare time, Leah enjoys photography, music and spending time with her family, including her new 10-month old baby boy, her husband & their rescue dog, Clark.
You’re invited to our exclusive webinar Common VFX workflows with CityEngine and Houdini. We’re excited to be joined by the hardworking team who recently released CityEngine 2020, Simon Haegler and Taisha Fabricius from Esri. We will also be joined by special guest Ellie Ansell, Groom/CFX TD at One of Us, who will talk about her work with CityEngine for Netflix’s The Witcher.
In this 1 hour webinar, we will showcase VFX workflows, diving deeper into exporting a CityEngine scene to Houdini and rendering it with Karma using the new CityEngine USD exporter. Click here to check out some great new features in CityEngine 2020!
VES members, please log in and RSVP below. Non-members can RSVP here. Webinar info will be sent out prior to the event.
You are invited to our second VES East Coast Netflix Party! You choose the movie!
Click here to vote for the movie. Then on Wednesday May 27 at 8PM we will watch together and join an online chat with our fellow VES colleagues from New York, Georgia, Florida and Louisiana.
FINE PRINT: NETFLIX SUBSCRIPTION REQUIRED TO PARTICIPATE. DON’T HAVE AN ACCOUNT? SIGN UP AT NETFLIX.COM FOR A FREE 30 DAY SUBSCRIPTION. NETFLIX PARTY CHROME EXTENSION REQUIRED TO BE INSTALLED. THIS IS AN UNMODERATED EVENT. PLEASE BE KIND TO ONE ANOTHER.
You are invited to the first-ever, east coast, VES Netflix Party! Click here to vote for the movie. Then on Wednesday April 29 at 8PM we will watch together and join an online chat with our fellow VES colleagues from New York, Georgia, Florida and Louisiana.
FINE PRINT: NETFLIX SUBSCRIPTION REQUIRED TO PARTICIPATE. DON’T HAVE AN ACCOUNT? SIGN UP AT NETFLIX.COM FOR A FREE 30 DAY SUBSCRIPTION. NETFLIX PARTY CHROME EXTENSION REQUIRED TO BE INSTALLED. THIS IS AN UNMODERATED EVENT. PLEASE BE KIND TO ONE ANOTHER.
You are invited to the join the ves-newyork Slack workspace to help you connect to your fellow section members and engage in discussions ranging from general, jobs, events, 2d and 3d vfx, all the way to the topic on everyone’s mind covid19.
This Slack workspace is open to all New York VES section members that wish to participate. To start our rollout we are requesting you “sign-up” via the VES website reservation system. There you can register for the ves-newyork Slack workspace with a different email than the one that you use for your VES account, if you so wish. As rsvp requests come in, we will be extending the invite from Slack to your preferred email.
Thank you.
First, sign in the VES website using the MEMBER LOGIN with your VES credentials on the left. You’ll then see “Welcome, USERNAME” if your login was successful. The signup features will not show up if you’re not logged in.
Reload the Slack Signup Event page and enter 1 and only 1 RSVP. Enter your Full Name and and the Email Address that you would like to use for the Slack invite, and press CONFIRM RSVP.
Please note, your member credentials will be auto populated in the Send RSVP confirmation to widget below; please leave that information as is. That info will not be used for the Slack Invitation.
As you may know, over the last couple of years, we have been working hard to put together a one-of-a-kind event that would gather cross-industry pioneers from around the globe, and bring to you the most advanced real-time tools, technologies and practices that are changing the way we live and do business.
By this time, we should have been polishing the last details with our venues, preparing signs, printing out programs and badges, sending you directions… But 2020, it seems, has decided otherwise.
Still, we know that this community has the power, even – or maybe especially – in this disruptive time, to transform our practices and maintain communication across industries – together and in real-time. After all, digital agility is part of our DNA here at RealTime Conference, as we have been working with a 100% remote community from day 1. Since the COVID-19 pandemic thwarted our original plans for trans-Atlantic convenings, connected in real-time, we have been working relentlessly to pivot to bring you a 100% virtual RealTime Conference, without sacrificing the richness of our program, and remaining as engaged and interactive as possible. And we are grateful to have been blessed with such a supportive community of partners, speakers, and collaborators that is the RealTime family.
In the spirit of fellowship, community, solidarity, and faith in the future, we are waiving all registration fees, and invite you to join us, at no cost, at the RealTime Conference in real-time online.
This is your opportunity to connect, learn, and share with leaders and cutting-edge innovators who are forging the future of real-time engagement. You may be under the impression that real-time technology only impacts a few industries, but our incredible RealTime family, featuring top-tier speakers from companies such as Intel, Epic Games, Google, Facebook, Adobe, Activision, Foundry, Weta Digital, Magnopus, Spatial, Daimler, 3Lateral, Oculus VR, Digital Domain, Pixar, and more… will be sharing with you extraordinary real-time’s enabling technologies and present-day applications on their own infrastructure, business, and resources. Topics will touch on everything from “Crafting Real and Virtual Architecture in Real-Time” and “Fostering Customers Engagement Though Real-Time Interactive Experiences” to “Bringing Real-Time Pipelines to Movie Making” and “The Real in Real-Time Photoreal Digital Humans”.
Last, but not least, a panel will address a sensitive topic as of today: “How to address the current climate and what studios, producers and companies could do to combat this in the future by making the most of real time technology”.
While we are still tweaking the hows & abouts of this online conferencing, please bear with us, and check our websitefor updates!! We’ll be back soon with more details as to how to register and a full program of keynotes and panel discussion.
This event has now been cancelled to be rescheduled at a later date.
Join the VES for a studio tour of FX WRX and a discussion of the in-camera process for visual effects. The technical and creative workflow with be explored through case studies and an open conversation with directors, artists and technicians.
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.
New York VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD
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) Monday, March 9, 2020 at 7:30PM
Please join the VES New York Section for the 6th Annual VES Awards Celebration as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society’s New York Section is proud to present the 2020 VES NY Empire Award to Academy Award Winner and Director of NYU’s Future Reality Lab, Ken Perlin.
Ken Perlin, Academy Award Winner and Director of NYU’s Future Reality Lab will receive the 2020 VES Empire Award in recognition of his achievements in visual effects.
A professor in the Department of Computer Science at New York University, Perlin directs the Future Reality Lab, and is a participating faculty member at NYU MAGNET. His research interests include future reality, graphics and animation, user interfaces and education. He is chief scientist at Parallux, Tactonic Technologies and Autotoon, and is an advisor for High Fidelity. He received an Academy Award for Technical Achievement for his noise and turbulence procedural texturing techniques, which are widely used in feature films and television, as well as membership in the ACM/SIGGRAPH Academy, the 2008 ACM/SIGGRAPH Computer Graphics Achievement Award, the TrapCode award for achievement in computer graphics research, the NYC Mayor’s award for excellence in Science and Technology and the Sokol award for outstanding Science faculty at NYU, and a Presidential Young Investigator Award from the National Science Foundation.
Cocktail attire
$55 for VES members; $95 for non-members
Online ticketing is now closed.
You can still join us tonight and purchase tickets at the door.
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!
New York 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 live interactive Q&A with the Filmmakers.
Panelists will include Director J.J. Abrams as well as Visual Effects Supervisors Roger Guyett and Patrick Tubach, moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, December 21, 2019 at 2:00PM
New York VES Members and Their Guests are Invited to a Screening of Netflix’s THE IRISHMAN followed by a live interactive Q&A with Visual Effects Supervisor Pablo Helman, moderated by VES Fellow Paul Debevec, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, December 6) Sunday, December 8, 2019 at 2:00PM
VES Members: If you would like to signup for this event, please log in to RSVP. Attendee #1 is the VES member / Attendee #2 is the VES member’s guest. RSVPS for non-members are now closed
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DOCTOR SLEEP Please RSVP below Friday, November 15, 2019 at 8:00PM
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. PicturesTHE GOLDFINCH
Please RSVP below Tuesday, September 17, 2019 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 School of Visual Arts Invites New York VES Members and Their Guests to a Pre-Release Screening of DreamWorks Animation’sABOMINABLE followed by a Q&A with Director Jill Culton
Please RSVP below Tuesday, September 10, 2019 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night Screening of Warner Bros. PicturesIT CHAPTER TWO
Please RSVP below Friday, September 6, 2019 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Millenium Films’ ANGEL HAS FALLEN
Please RSVP below Monday, August 26, 2019 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ GOOD BOYS
Please RSVP below Monday, August 19, 2019 at 8:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 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.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below Saturday, August 17, 2019 at 4:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We thank our sponsors Molecule, Alkemy-X, Framestore, Crafty Apes, FuseFX, Cadence Effects and Nice Shoes for helping make this event possible. We also thank our Raffle sponsors BorisFX, Foundry and SideFX.
We thank our sponsors Molecule, Alkemy-X, Framestore, Crafty Apes, FuseFX, Cadence Effects and Nice Shoes for helping make this event possible. We also thank our Raffle sponsors BorisFX, Foundry and SideFX.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FAST & FURIOUS PRESENTS: HOBBS & SHAW
Please RSVP below Wednesday, August 7, 2019 at 8:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ THE LION KINGfollowed by a live interactive Q&A with the Filmmakers
Panelists will include Director Jon Favreau, Visual Effects Supervisor Rob Legato, and Cinematographer Caleb Deschanel, ASC, moderated by Michael Fink, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 27, 2019 at 2:00PM SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLIONKING, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of 20th Century Fox’s STUBER
Please RSVP below Tuesday, July 16, 2019 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME
Please RSVP below Saturday, July 13, 2019 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Disney•Pixar’s TOY STORY 4
Please RSVP below Saturday, June 22, 2019 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Focus Features’ THE DEAD DON’T DIE
Please RSVP below.
Thursday, June 20, 2019 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenues) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below Saturday, June 15, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 a 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below.
Monday, June 10, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenues) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below Sunday, June 2, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D 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 2:00PM SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESGODZILLA, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Pre-Release 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below Saturday, June 1, 2019 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Summit Entertainment’s JOHN WICK 3: PARABELLUM
Please RSVP below Monday, May 27, 2019 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN
Please RSVP below Monday, May 27, 2019 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 Walt Disney Pictures’ ALADDIN
Please RSVP below.
Saturday, May 25, 2019 at 7:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s POKEMON: DETECTIVE PIKACHU
Please RSVP below Saturday, May 18, 2019 at 8:00PM SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us as fellow VES member Ari Rubenstein shares the pipeline and remote-based workflow used to produce his short film “The Blues Crab”. The production took over 2 years with a crew of 60 spanning 15 countries and was the first film to be lit and rendered entirely within a Compositing application using the production renderer Vray for Nuke.
Foundry’s own Matt Mazerolle, the Athera Senior Product Manager, will be joining us as well to show how to use the latest version of Nuke in the cloud.
Seating is limited.
The event will be held near the Flatiron. Street address will be emailed to registered attendees before the date.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Producer Jen Underdahl, ILM Visual Effects Supervisor Russell Earl, Digital Domain Visual Effects Supervisor Kelly Port, and Associate Visual Effects Supervisor Mårten Larsson, moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below.
Saturday, May 4, 2019 at 6:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESENDGAME, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Annapurna Pictures’ MISSING LINK
Please RSVP below Saturday, April 20, 2019 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below Sunday, April 14, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below Sunday, March 31, 2019 at 6:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Paramount Pictures’ WONDER PARK
Please RSVP below Monday, March 18, 2019 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 Walt Disney Pictures’ and Marvel Studios’ CAPTAIN MARVEL followed by a Q&A with the Filmmakers.Panelists will include Directors Anna Boden and Ryan Fleck as well as Additional Visual Effects Supervisor Janelle Croshaw Ralla, moderated by Bill Taylor, VES, ASC. (Panelists will be announced as they are confirmed.)
Please RSVP below.
Sunday, March 10, 2019 at 2:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESCAPTAINMARVEL, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join the VES New York Section for the 5th Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society’s New York Section is proud to present the 2019 VES NY Empire Award to Bob Greenberg and the 2019 VES NY Empire Innovator Award to Jonah Friedman and Andy Jones.
Bob Greenberg, Founder and Executive Chairman of R/GA, will receive the 2019 VES Empire Award in recognition of his trailblazing work in the advertising and communications industry for nearly four decades.
Under his tutelage, R/Greenberg Associates and R/GA Digital Studios have been on the forefront of the rapidly changing visual effects industry since the 1970s and evolved from a world-class movie title shop, to a digital studio, to a major digital advertising agency. Today RGA is an all-in-one full-service agency, product and service innovator. R/GA developed leading-edge motion graphics live-action film and video production and created groundbreaking visual effects for movies such as ALIEN,PREDATOR, SE7EN and has a body of work spanning 400 feature films and 4,000 television commercials. Bob has won almost every industry award for creativity including the Academy Award, D&AD Pencils, Cannes Lions lifetime achievement Lion of St. Mark, the CLIP Lifetime Achievment Award, and has been inducted inot the Advertising Hall of Fame, Marketing Hall of Fame, and the Creative Hall of Fame, and more.
Jonah Friedman and Andy Jones will receive the 2019 VES Empire Innovator Award for their technological innovations that have dramatically influenced and elevated the status of the visual effects industry in New York City.
Cocktail attire
$55 for VES members; $95 for non-members
(For facilities purchasing 6 or more tickets, please call 818.981.7861 for special pricing)
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD
Please RSVP below Saturday, February 23, 2019 at 5:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s ALITA BATTLE ANGEL
Please RSVP below Sunday, February 17, 2019 at 8:00PM
SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York 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 Sunday, February 17, 2019 at 4:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
17h Annual VES Awards
Tuesday, February 5, 2019
The Beverly Hilton Hotel
9876 Wilshire Boulevard
Beverly Hills, CA 90210
5:30 Reception
6:45 Dinner and Awards Presentation
CBS All Access cordially invites VES members and a guest to attend the Live Premiere Event for season two of STAR TREK: DISCOVERY on in New York City. (VES members must login in order to RSVP)
New York VES Members and Their Guests are Invited to a Pre-Release 3D Screening of Paramount BUMBLEBEE
Please RSVP below Tuesday, December 18, 2018 at 8:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below Sunday, December 16, 2018 at 8:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 NY VES sincerely thanks our annual Platinum Sponsors: Alkemy-X, ShadeFX, and The Molecule, plus our Silver Sponsors: East Side Effects and Big Film Designs for helping make this event possible.
The NY VES sincerely thanks our annual Platinum Sponsors: Alkemy-X, ShadeFX, and The Molecule, plus our Silver Sponsors: East Side Effects and Big Film Designs for helping make this event possible.
New York VES Members and Their Families are Invited to a 3D Screening of Netflix’s MOWGLI followed by a live interactive 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 2:00PM Dolby Screening Room NYC 1350 6th Ave, New York, NY 10019 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMOWGLI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DR. SEUSS’ THE GRINCH
Please RSVP below Sunday, November 18 2018 at 4:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York 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 Saturday, November 17, 2018 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESRALPH, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ OVERLORD
Please RSVP below Monday, November 12, 2018 at 9:30PM
SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below Sunday, November 4, 2018 at 7:30PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN
Please RSVP below Wednesday, October 31, 2018 at 10:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 & Visual Effects Professionals – Come join the VES New York Board, your fellow Members and other visual effects professionals for some good conversation, a beverage or two, and meet new contacts.
VES Members & Visual Effects Professionals – Come join the VES New York Board, your fellow Members and other visual effects professionals for some good conversation, a beverage or two, and meet new contacts.
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 3:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 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.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below Monday, October 15, 2018 at 8:00PM
SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below Sunday, September 23, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below Sunday, September 23, 2018 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below Saturday, September 22, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE PREDATOR
Please RSVP below Saturday, September 22, 2018 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
NY VES Members, Guests and Industry Non-Members are invited to
Pub Night & Membership Drive at The Gray Mare.
VES Members – Come join the VES New York Board, your fellow Members and other visual effects professionals for some good conversation, a beverage or two, and meet new contacts.
NON Members – Come and meet current members and get needed contacts for help in getting recommendation letters. Two letters of recommendation are needed to apply to the VES.
The VES Fall membership drive ends September 15th.
Snacks! will be served. VES Members get drink tickets!
New York VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ ALPHA
Please RSVP below Saturday, August 25, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night Screening of STX Entertainment’s THE HAPPYTIME MURDERS followed by a live interactive Q&A with Director Brian Henson, Actors and Puppeteers Bill Barretta and Drew Massey with Visual Effects Producer Melissa Brockman, Compositing Supervisor Caleb Knueven and CG Supervisor Efram Potelle moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
This film is Rated R, and is not intended for children. Click here to watch the trailer.
Please RSVP below Friday, August 24, 2018 at 10:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESHAPPYTIME, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below Friday, August 17, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE DARKEST MINDS
Please RSVP below Saturday, August 11, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ CHRISTOPHER ROBIN
Please RSVP below Saturday, August 11, 2018 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Friday, August 10, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below Saturday, July 28, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Saturday, July 14, 2018 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 3: SUMMER VACATION
Please RSVP below Saturday, July 14, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Take the G/M/J train to Flushing Ave stop. Located in the large white Pfizer building on Flushing Ave. The Flushing Ave location is only open 8AM-4PM so use the second entrance through the parking lot on Tompkins Avenue. Come to the 3rd floor, walk right off the elevator and all the way down the hall.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP followed by a Live Interactive Q&A with Director Peyton Reed as well as Visual Effects Supervisor Stephane Ceretti moderated by VES Archives Committee Chair Gene Kozicki. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 7, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWASP, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below Friday, July 6, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Special Fathers’ Day Opening Weekend Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below Sunday, June 17, 2018 at 6:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York 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 2:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 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.
New York VES Members and Their Guests are Invited to a Screening of Global Road Entertainment’s HOTEL ARTEMIS
Please RSVP below Saturday, June 16, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
NY VES Members, Guests and Industry Non-Members are invited to
Pub Night at The Gray Mare.
Come join the VES New York Board, Members and other visual effects professionals for some good conversation, a beverage or two, and new contacts. Bring your co-workers and introduce them to the VES.
New York 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.) * Limited Seats available – Please arrive early – Show starts on-time
Please RSVP below Sunday, May 27, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 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.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL 2
Please RSVP below Sunday, May 20, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR followed by a Live Interactive Q&A with Visual Effects Producers Jen Underdahl and Lisa Marra, Weta Digital Visual Effects Supervisor Matt Aitken, Industrial Light + Magic Visual Effects Supervisor Russell Earl and Digital Domain Visual Effects Supervisor Kelly Port with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.) * Limited Seats available – Please arrive early – Show starts on-time
Please RSVP below Sunday, May 6, 2018 at 3:00PM Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESINFINITYWAR, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below Tuesday, April 10, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE
Please RSVP below Sunday, April 7, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below Sunday, March 25, 2018 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME followed by a Live Interactive Q&A with Visual Effects Supervisor Rich McBride and Previs Supervisor Chris Batty with moderation by VES Board member Lisa Cooke.
Please RSVP below Saturday, March 17, 2018 at 3:00PM Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 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.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s RED SPARROW
Please RSVP below Tuesday, March 13, 2018 at 9:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join the VES New York Section for the 4th Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society is proud to present the VES Empire Award to beloved VFX supervisor Lesley Robson-Foster.
Lesley Robson-Foster – this year’s Empire Award honoree
Revered by broadcasters and directors, admired by the VFX industry, Lesley is a force of nature in her world. She has dedicated her professional life in the pursuit of perfection and she has come pretty close. In the process she has managed to push the envelope in some of the most prestigious television series in recent decades.
Lesley Robson-Foster’s career began at BBC television and continued at ILM until she eventually went on her own as a freelance visual effects supervisor.
She has shared her talents in NYC and LA on television series and feature films, including Six Feet Under, Sex and the City, The Wire, Ugly Betty, HBO mini-series Mildred Pierce, The Great Gatsby, Boardwalk Empire, Martin Scorsese’s Vinyl and Steven Soderbergh’s The Knick, Mosaic and Logan Lucky.
Most recently she worked with Amy Sherman Palladino on Amazon’s The Marvelous Mrs. Maisel, Reed Morano’s feature I Think We’re Alone Now and is currently working on the movie based on the Pulitzer Prize winning book The Goldfinch.
It is with great pride that the New York Section is able to honor Ms. Robson-Foster with the 2018 VES Empire Award.
Cocktail attire
$50 for VES members; $90 for non-members
(For facilities purchasing 6 or more tickets, please call 818.981.7861 for special pricing)
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening Of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below Sunday, February 18, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
2018 VES Awards When: Tue Feb 13, 2018 05:30pm to 11:00pm PST
Tickets & Sponsorship Information
For more information and to purchase tickets and/or sponsorships please use the links below. If you have any questions or would like additional information, please contact MTA Events at 818-814-6670 or ves@mtaevents.com. Thank You
16th Annual VES Awards
Tuesday, February 13, 2018
The Beverly Hilton Hotel
9876 Wilshire Boulevard
Beverly Hills, CA 90210
5:30 Reception
6:45 Dinner and Awards Presentation
New York VES Members and Their Guests are Invited to a Screening Of Columbia Pictures’ ONLY THE BRAVE
Please RSVP below Sunday, January 28, 2018 at 3:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI plus a live interactive Q&A.
Panelists will include Writer/Director Rian Johnson, ILM San Francisco Visual Effects Supervisor Eddie Pasquarello, ILM Vancouver Visual Effects Supervisor Dan Seddon, Cinematographer Steve Yedlin, ASC and Editor Bob Ducsay with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, December 17, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLASTJEDI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s and BlueSky Studios’ FERDINAND
Please RSVP below Saturday, December 16, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below Saturday, December 9, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Focus Features’ DARKEST HOUR
Please RSVP below Sunday, November 26, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below Sunday, November 26, 2017 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of 20th Century Fox’s MURDER ON THE ORIENT EXPRESS
Please RSVP below Friday, November 17, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening Of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Tuesday, November 7, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating,
New York VES Members and Their Guests are Invited to a Screening Of Warner Bros. Pictures’ BLADE RUNNER 2049
Please RSVP below Saturday, October 14, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of 20th Century Fox’s KINGSMAN: THE GOLDEN CIRCLE
Please RSVP below Friday, September 29, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Focus Features’ VICTORIA & ABDUL
Please RSVP below Tuesday, September 26, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Paramount Pictures’ MOTHER! followed by a Q&A with Visual Effects Supervisor Dan Schrecker
Please RSVP below Monday, September 25, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to 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 3D Screening of GHOSTBUSTERS followed by a Q&A with the Filmmakers.
Click here to RSVP Sunday, September 17, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 3D screening of last year’s hit paranormal comedy, Ghostbusters (2016), followed by a Q&A with three of the film’s visual effects artists, Arsen Arzumanyan (BFA 2012 Computer Art, Computer Animation and Visual Effects), Elizabeth Martin (BFA 2015 Computer Art, Computer Animation and Visual Effects), and Jun Zee Myers (BFA 2004 Computer Art). Preceded by the cinematic premiere of the new Betty Boop short Betty Goes A-Posen (2017), by Mike Carlo (BFA 2002 Animation) of Titmouse Animation and Frank Caruso (BFA 1985 Media Arts) of Hearst’s King Features. The Q&A will be moderated by current student Sunhea Oh (BFA 2018 Computer Art, Computer Animation and Visual Effects).
Synopsis: Following a ghost invasion of Manhattan, paranormal enthusiasts Erin Gilbert and Abby Yates, nuclear engineer Jillian Holtzmann, and subway worker Patty Tolan band together to stop the otherworldly threat.
Ghostbusters is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of TASHI’S TURBINE Documentary followed by a Q&A with the Filmmakers.
Click here to RSVP Sunday, September 17, 2017 at 5:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free evening of documentaries, including the documentary feature Tashi’s Turbine (2015) by Amitabh Joshi and Erik Spink (MFA 2013 Social Documentary alumni), followed by a Q&A with the filmmakers. The film will be preceded by the short documentaries Hali (2016) by Peter Hristoff (BFA 1981 Fine Arts) and Skull + Bone (2017) by Victoria Rivera (BFA 2011 Film and Video). The Q&A will be moderated by current student Ana Montgomery Neutze (MFA 2018 Social Documentary).
Synopsis: Tashi Bista dreams to install a makeshift wind turbine in Namdok, a remote village nestled high amongst the Himalayas of Nepal. Namdok, battered by wind and cold has been in darkness for centuries. Wearing Ray Bans to shield his eyes from the dust and just a leather jacket to insulate him from the bitter cold he surveys the village. He grew up in this region without electrical power. He is determined to bring lights to Namdok in an effort to prove himself to the skeptical village community. Tashi’s Turbine is a character driven film that shows the impact of one man’s dream for light, in a village waiting for development.
The films shown at this event are not rated by the MPAA, and some material may be inappropriate for children under the age of 8. Children under the age of 5 may not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 10th Anniversary 35mm Screening of RATATOUILLE followed by a Q&A with the Filmmakers.
Click here to RSVP Sunday, September 17, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 10th anniversary screening of the Academy Award-winning Disney·Pixar family favorite, Ratatouille (2007), followed by a Q&A with Pixar animation and visual effects artists Ye Won Cho (MFA 2002 Computer Art), Andrew Dayton (BFA 1998 Computer Art), and Maria Lee (BFA 1988 Media Arts). The movie will be screened on 35mm film. Preceded by Jesse Willmon’s (MFA 2006 Design) Draw me a [blank] (2016) videos and the animated short Bluehilda (2017) by James Sugrue (BFA 2007 Animation) of Titmouse Animation. The Q&A will be moderated by current student Denian Ouyang (MFA 2018 Computer Arts).
Synopsis: A rat who can cook makes an unusual alliance with a young kitchen worker at a famous restaurant.
Ratatouille is rated G and is considered appropriate for all ages.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 20th Annuversary Midnight Screening of THE GAME.
Click here to RSVP Saturday, September 16, 2017 at 11:59PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 20th anniversary midnight screening of David Fincher’s brilliant thriller, The Game (1997), in honor of its late cinematographer Harris Savides (BFA 1982 Film and Video). Preceded by a special introduction by SVA cinematography faculty member Dejan Georgevich.
Synopsis: After a wealthy banker is given an opportunity to participate in a mysterious game, his life is turned upside down when he becomes unable to distinguish between the game and reality.
The Game is rated R, and some material may be inappropriate for children under the age of 17. Children under the age of 8 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 20th Annivesary 35mm Screening of TITANIC followed by a Q&A with the Filmmakers.
Click here to RSVP Saturday, September 16, 2017 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 20th anniversary screening of the Academy Award-winning blockbuster, Titanic (1997), followed by a Q&A with the film’s Oscar-winning sound mixer, Mark Ulano (1975 Film and Video). The movie will be screened on 35mm film. The Q&A will be moderated by current student Sage Love (BFA 2019 Film).
Synopsis: A seventeen-year-old aristocrat falls in love with a kind but poor artist aboard the luxurious, ill-fated R.M.S. Titanic.
Titanic is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of Gillian Robespierre’s LANDLINE followed by a Q&A with the Filmmakers.
Click here to RSVP Saturday, September 16, 2017 at 5:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of Landline (2017), the newest film by director Gillian Robespierre and editor Casey Brooks (both BFA 2005 Film and Video alumni), followed by a Q&A with both. Preceded by the first episode in Elisa-Sofia Fioretti’s (MPS 2016 Directing) short-film series, Through Your Eyes (2017). The Q&A will be moderated by current student Isabel Montes (BFA 2018 Film).
Synopsis: In 1995, a teenager living with her sister and parents in Manhattan discovers that her father is having an affair.
Landline is rated R, and some material may be inappropriate for children under the age of 17. Children under the age of 10 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 3D Screening of DOCTOR STRANGE followed by a Q&A with the Filmmakers.
Click here to RSVP Saturday, September 16, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening and Q&A with SVA alumni animators and artists from Cartoon Network — the studio behind such hits as Adventure Time, Steven Universe, and Teen Titans Go! Guests include Hilary Florido (BFA 2007 Cartooning), Kat Morris (BFA 2008 Animation), and Mike Roth (BFA 1999 Animation). Join us for an afternoon of old favorites and new, never-before-seen work. Preceded by the animated short, Cartoons and You, by Mark Newgarden (BFA 1982 Media Arts), the co-creator of the infamous “Garbage Pail Kids”. The Q&A will be moderated by current student Shannon Baney (BFA 2020 Animation).
Some material shown in this screening may be inappropriate for children under the age of 8. Children under the age of 3 may not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening Special Premieres 2017: A Showcase of New Film, Animation & VFX Work.
Click here to RSVP Friday, September 15, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As the Friday night screening of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present “SVA Premieres” — an evening of exceptional live action, documentary, and animated shorts by School of Visual Arts‘ most recent graduates from nine different academic departments, including films nominated for Student Academy Awards. Following the event, join the filmmakers and artists in the lobby for drinks and dessert. (A by-invitation-only reception will precede the screening. For questions related to that, please email premieres@sva.edu.)
The SVA Premieres 2017 Screening includes:
The Astronomical, Astrological and Mythological (excerpt) by Kijin Jang, MFA Photography, Video and Related Media Desde El Principio by Miguel J. Soliman, MPS Directing Dykes, Camera, Action! (excerpt) by Caroline Berler, MFA Social Documentary Fishy by Joseph Sulsenti, BFA Animation KCLOC by Ninaad Kulkarni, MFA Computer Art Nymph by Miwa Sakulrat, BFA Film Playground Warfare by Christin Scarborough, BFA Computer Art, Computer Animation and Visual Effects Under Your Spell by Mikey Asanin, MPS Fashion Photography Untitled by Fuzhong Yang, BFA Photography and Video
Virtual Reality experiences in the lobby include:
As Above So Below by Daniel Finn, BFA Computer Art, Computer Animation and Visual Effects
Meow No Want by Nina Park, MFA Computer Art
The films included in the evening are not rated by the MPAA. Parents are strongly cautioned – some material may be inappropriate for children under 13, and children under the age of 5 will not be admitted.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 3D Screening of DOCTOR STRANGE followed by a Q&A with the Filmmakers.
Click here to RSVP Thursday, September 14, 2017 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 3D screening of the Marvel Entertainment blockbuster, Doctor Strange (2016), followed by a Q&A with two of the film’s visual effects artists, Jesse Flores (BFA 2010 Computer Art, Computer Animation and Visual Effects) and Paul Liaw (BFA 2002 Computer Art). Preceded by the world premiere of the short film End of the Line, Inwood (2017), written and co-directed by Efraim Acevedo Klein (BFA 2012 Film and Video). The Q&A will be moderated by current student Derrick Forkel (BFA 2018 Computer Art, Computer Animation and Visual Effects).
Synopsis: While on a journey of physical and spiritual healing, a brilliant neurosurgeon is drawn into the world of the mystic arts.
Doctor Strange is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of Bill Plympton’s REVENGEANCE followed by a Q&A with the Filmmakers.
Click here to RSVP Wednesday, September 13, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of Bill Plympton (1969 Cartooning) and Jim Lujan’s newest animated feature, Revengeance (2016), followed by a Q&A with the two directors. Plympton will appear live, and Lujan will appear via Skype. The film will be preceded by the award-winning animated short film Late (2014), by Christi Bertelsen (BFA 2002 Animation).
Synopsis: A low-rent bounty hunter named Rod Rosse, The One Man Posse, gets entangled in a web of danger when he takes on a job from an ex-biker/ex-wrestler turned U.S. senator named “Deathface.”
Revengeance is not rated by the MPAA, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of DISABILITY & VISIBILITY followed by a Q&A with the Filmmakers.
Click here to RSVP Tuesday, September 12, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
The Blind, Seen (2016) is the autobiographical story of photographer David Snider (BFA 1992 Photography) and his blind parents. Anelisa Garfunkel’s (MFA 2016 Visual Narrative) We Will Ride (2016), being given its theatrical premiere, follows disabled riders fighting for public transportation improvements in Boston. Finally, the NYC premiere of the feature documentary Tin Soldiers (2015), by Ben Duffy (Film and Video) & Michael J. Sassano (BFA 2011 Film and Video), highlights members of the adaptive sports community. The Q&A will be moderated by current student Wega Chen (BFA 2018 Design).
The films shown at this event are not rated by the MPAA, and some material may be inappropriate for children under the age of 8. Children under the age of 3 may not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of ART OF THE PRANK Documentary followed by a Q&A with the Filmmakers.
Click here to RSVP Monday, September 11, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of the documentary Art of the Prank (2017), followed by a Q&A with the film’s subject, the godfather of the media hoax, Joey Skaggs (BFA 1982 Media Arts). Preceded by the short film Hello Norman (2014), co-written by Maëlle Doliveux (MFA 2013 Illustration as Visual Essay). The Q&A will be moderated by current student Katy-May Hudson (MPS 2018 Directing).
Synopsis: Art of the Prankis an emotional and humorous journey following the evolution of Joey Skaggs, Godfather of the media hoax, as he tries to pull off the most challenging prank of his career. This is interwoven with amazing archive footage of his earlier escapades-all reported as fact by prestigious journalists. The resulting twists and turns provide unprecedented insight into Joey’s work as an artist, activist and social satirist.
Art of the Prank is not rated by the MPAA, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
In honor of September 11th, Lance Cain’s (1990 Film and Video) A Few Days After will be on view in the lobby before and after the screening.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
New York VES Members and Their Guests are Invited to a Screening of Lionsgate’s and Millennium Films’ THE HITMAN’S BODYGUARD
Please RSVP below Saturday, August 26, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Columbia Pictures’ THE DARK TOWER
Please RSVP below Friday, August 11, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of The Weinstein Company’s WIND RIVER
Please RSVP below Thursday, August 10, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Focus Features’ ATOMIC BLONDE
Please RSVP below Friday, August 4, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to 3D Screening of STX Entertainment’s VALERIAN AND THE CITY OF A THOUSAND PLANETS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Scott Stokdyk, Visual Effects Producer Sophie Leclerc, Rodeo FX Associate Visual Effects Supervisor Peter Nofz and Weta Digital Visual Effects Supervisor Martin Hill with moderation by VES Board member Bill Taylor, VES, ASC. (All panelists’ participation based on availability.)
Please RSVP below Sunday, July 30, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESVALERIAN, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us for great food, cold beverages, and raffle prizes that you won’t want to miss.
Members and Non-Members are welcome, so come out and mingle with the entire NY VFX Community! Tickets are required for this event. Please purchase and reserve at the link below:
New York VES Members and Their Guests are Invited to a Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Saturday, July 15, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s WAR FOR THE PLANET OF THE APES, plus a live interactive Q&A with the filmmakers.
Panelists will include Senior Visual Effects Supervisor Joe Letteri and Director Matt Reeves with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 15, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWARFORTHEPLANET, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below Friday, June 30, 2017 at 9:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night 3D Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below Friday, June 30, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s been a while since we’ve all gotten together! Please join the VES NY for another Pub Night.
Location will be at the Loreley Beer Garden. We can hang outside at the Garden or by the tables that will be reserved on the main floor.
Open to members and non members. Drink tickets will be given to VES members. Snacks will be provided.
New York VES Members and Their Guests are Invited to an Opening Weekend Fathers’ Day Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below Sunday, June 18, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE MUMMY
Please RSVP below Monday, June 12, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below Saturday, June 10, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Q&A immediately following with Bong Joon Ho (Director/Co-Writer), Jon Ronson (Co-Writer), Darius Khondji (Cinematographer), Erik-Jan de Boer (Visual Effects Supervisor) and Catherine George (Costume Designer).
For 10 idyllic years, young Mija (An Seo Hyun) has been caretaker and constant companion to Okja—a massive animal and an even bigger friend—at her home in the mountains of South Korea. But that changes when a family-owned multinational conglomerate Mirando Corporation takes Okja for themselves and transports her to New York, where image obsessed and selfpromoting CEO Lucy Mirando (Tilda Swinton) has big plans for Mija’s dearest friend. With no particular plan but single-minded in intent, Mija sets out on a rescue mission, but her already daunting journey quickly becomes more complicated when she crosses paths with disparate groups of capitalists, demonstrators and consumers, each battling to control the fate of Okja…while all Mija wants to do is bring her friend home.
Deftly blending genres, humor, poignancy and drama, Bong Joon Ho (Snowpiercer, The Host) begins with the gentlest of premises—the bond between man and animal—and ultimately creates a distinct and layered vision of the world that addresses the animal inside us all. Okja, which also stars Paul Dano, Steven Yeun, Lily Collins and Giancarlo Esposito, will premiere exclusively on Netflix on June 28.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below Saturday, May 20, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below Tuesday, May 16, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below Friday, May 12, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night Screening of Universal Pictures’THE FATE OF THE FURIOUS
Please RSVP below Friday, April 14, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Sony Pictures Animation’s SMURFS: THE LOST VILLAGE
Please RSVP below Sunday, April 9, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Please bring your VES membership and photo ID for entry, and guests must check-in with the VES member. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Picture’s BEAUTY AND THE BEAST
Please RSVP below Sunday, March 26, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KONG: SKULL ISLAND
Please RSVP below Saturday, March 25, 2017 at 9:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s LOGAN
Please RSVP below Saturday, March 4, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us for the Annual VES Awards Judging Nomination Event, Saturday, January 7th, 2017, at The Mill NY.
This is your opportunity to view and vote on the best VFX work in the world and to help decide the nominees for the 15th Annual VES Awards. We are looking forward to see as many of you as possible so please put this on your calendar and register right now, using the link below to join us for one of the main VES events of the year.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s ROGUE ONE: A STAR WARS STORY plus a Q&A.
Panelists will include Executive Producer and Visual Effects Supervisor John Knoll and Animation Supervisor Hal Hickel with moderation by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below Sunday, December 18, 2016 at 3:00PM Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESROGUEONE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Pre-Release Screening of Columbia Pictures’ PASSENGERS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Pete Dionne, Co-Producer Greg Baxter, Film Editor Maryann Brandon and Production Designer Guy Hendrix Dyas with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Saturday, December 17, 2016 at 3:00PM
Dolby 88 Screning Room 1350 6th Ave. (Avenue of the Americas), New York, NY 10019 Click here for a map.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESPASSENGERS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s Business Time: A Personal Finance Discussion for VFX Professionals
Thursday, December 8, 7pm-9pm
School of Visual Arts
133/139 West 21 Street, NYC
Featuring:
Kelli Grant– Personal Finance and Consumer Spending Reporter, CNBC
Dale Siegel – Mortgage Broker, Award winning author of “The New Rules for Mortgages”
While many of us have a great deal of knowledge when it comes to UV Maps, HDRIs and inverse kinematics, some of us are less familiar with Roth IRAs, 401-Ks and LTV ratios.
In our ongoing effort to educate our members, the NY Section of the VES is proud to present a panel discussion on some of the financial matters that VFX professionals face in today’s world:
– What are the benefits of being freelance vs. staff?
– Is it possible to buy property as a freelancer or young staffer?
– Do I need an accountant?
– As a freelancer, should I incorporate?
– Can we talk about credit and debt, please?
– What’s the best way to get health care coverage outside of a full-time job?
– Whats the best ay to get started with long term financial planning?
– Will I ever be able to retire?
New York VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please call (800) 905-6918 to RSVP (be sure to specify the date, time and location of the screening you’d like to attend) Saturday, November 26, 2016 at 1:00PM
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating. Click here for more studio screenings.
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP below Monday, November 21, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
From director Mark Osborne and Netflix, THE LITTLE PRINCE is a feature length animated film inspired by the French novella Le Petit Prince, first published in 1943 by poet, author and aviator Antoine de Saint-Exupéry. Osborne’s film uses four types of animation: hand drawn 2D animation, CG animation, paper cutout animation and stop-motion animation to bring this fable of friendship, love, loss and loneliness to life. THE LITTLE PRINCE is voiced by Jeff Bridges, Rachel McAdams, Mackenzie Foy, Marion Cotillard, James Franco, Albert Brooks, Benicio Del Toro, Ricky Gervais, Bud Cort, and Riley Osborne with Paul Giamatti. THE LITTLE PRINCE includes an original score and songs by Hans Zimmer & Richard Harvey featuring Camille.
VES Members and a Guest are Invited to Join Seth Rogan for a Very Special Screening of SAUSAGE PARTY
Click here to RSVP Sunday, November 13, 2016 at 5:00PM
Auditorium on Broadway at the New York Institute of Technology (NYIT)
1871 Broadway (between 61st & 62nd Streets), New York, NY 10023 Click here for a map
Cocktail reception immediately following the screening
Empire Hotel Rooftop – West Terrace
44 West 63rd Street (between Broadway and Columbus), New York, NY 10023
Courtesy of Columbia Pictures and Annapurna Pictures
DreamWorks Animation and 20th Century Fox Invite VES Members and Their Families to an Advance Screening of TROLLS
Join us for a reception before the feature with Filmmakers Mike Mitchell, Walt Dohrn and Gina Shay.
Click here to RSVP
Thursday, November 3, 2016 at 6:00PM
(Reception with filmmakers begins at 5:00PM)
Walter Reade Theater
165 W. 65th Street (between Broadway and Amsterdam), New York, NY 10023-6905 Click here for a map.
This invitation is absolutely non-transferable The use of cell phones or recording devices during screenings is strictly prohibited. This screening will be monitored for unauthorized photography and recordings. If you attempt to record any footage or audio without authorization, you consent to your immediate removal from the screening room, a physical search of your belongings and person, and the forfeiture of any Fox-distributed content found on you which may include the confiscation of recording equipment. Unauthorized photography or recordings may also subject you to criminal and/or civil liability. Thank you for your understanding and cooperation.
Ken Perlin, Academy Award Winner and Director of NYU’s Future Reality Lab will receive the 2020 VES Empire Award in recognition of his achievements in visual effects.
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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Please join the VES New York Section for the 5th Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society’s New York Section is proud to present the 2019 VES NY Empire Award to Bob Greenberg and the 2019 VES NY Empire Innovator Award to Jonah Friedman and Andy Jones..jpg)
Bob Greenberg, Founder and Executive Chairman of R/GA, will receive the 2019 VES Empire Award in recognition of his trailblazing work in the advertising and communications industry for nearly four decades.
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