It was important that CG creatures like Momo felt like they were making character choices rather than just simply appearing to be cool or cute.
Brought together by Netflix is the visual effects supervisor duo of Jabbar Raisani and Marion Spates who are collaborating on their third series together, beginning with Lost in Space and followed by Stranger Things and Avatar: The Last Airbender. Their current partnership is an epic adaption of the animated series that was previously tried by M. Night Shymalan in a much-maligned feature film that fans and critics would rather burn or bury.
As for what the live-action adaption could achieve that was not possible for the source material, Spates comes up with one word, “Perspective. The cartoon is 2D and hand-drawn perspectives, while this is all done in 3D with proper depth and scale. You are immersed in the show.” Raisani, who also took on the roles of director and executive producer, is in agreement. “Across the board, we tried to represent if this was real, what would this really look like? Hopefully, that allows for a suspension of disbelief that when you’re watching the animated [series], you know that it’s not real, but we tried to make it feel like a real living, breathing world.”
Aang leaves his earthly body and enters the Spirit World.
Aang visits the Fire Nation temple of Avatar predecessor Roku in order to communicate with him.
Spanning eight episodes, the Netflix adaption concludes where the first season of the animated series ended with the Fire Nation laying siege to the home of the Northern Water Tribe as part of its plan to gain global supremacy over the other three nations that have the ability to control water, wind and earth. The main threat is the Avatar, a reincarnated spirit who can master all four elements, who has returned after freak natural accident imprisoned him in a frozen tomb for a century. “We always knew the scale, scope, quantity and quality were going to be difficult because those things never align with the time,” Raisani states. “Specific challenges were Appa and Momo. We knew that we had to nail those characters because how beloved they are, and it took a long time to get them just right. On the Netflix side, working with Ted Biaselli, he was a great resource to look to, talk through the characters and look at the animated series, and he helped us all shape that feeling to get the emotion right for those characters. Once we nailed that, the execution was much faster than we might have anticipated. Bending was hard, too. It was hard to figure out how to do it right. There was a lot of trail and error. It took us awhile to understand exactly what components went into each form of bending.”
“Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water. We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
—Jabbar Raisani, Executive Producer/Director
The Spirit World was shot in the forests of British Columbia and made otherworldly with lens effects such as chromatic aberrations.
A major storyline is watching Katara develop as a waterbender, which had to be reflected in the visual effects work throughout the eight episodes.
Around 3,400 visual effects shots were created for the eight episodes over a period of 18 months by Framestore, Scanline VFX, Important Looking Pirates, Accenture Song VFX, Pixomondo, Image Engine, Rodeo FX, Untold Studios, Outpost VFX, BigHugFX, Cadence Effects, The Resistance VFX, Atomic Pictures, NEXODUS, FABLEfx and DNEG VP. “We looked at the animated series and wanted to mimic everything that we could; however, what do we need to do to ground it in today’s reality?” Spates notes. “We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!” Simulations had to be art directed. “You’re trying to art direct something that is a random event and attempting to use forces to get exactly what you’re after,” Raisani notes. “We understand that you cannot art direct every single drop or drip or element.” A major part of the waterbending recipe was the concept of an underlying force that resembles a twirling barbershop pole. “Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water,” Raisani explains. “We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
Various dangerous beings inhabit the Spirit World, like the angry forest deity known as Hei Bei.
Sokka and Katara witness Aang escaping his century-old frozen tomb.
Getting the glowing arrow and eyes of the Avatar State integrated with the plate photography took a lot of finessing.
Three departments that had to work closely were stunt, visual effects and special effects, all of which had multiple supervisors to manage the workload. “We all start from the moment we are on set,” Spates notes. “We didn’t have an opportunity to come on at the beginning in production, but we were definitely there for the reshoots. The way that Jabbar and I approach things is you get in and work with all of the different departments early on in the process so that way everyone is on the same page of what we’re trying to pull off. They can’t do it without us, and we can’t do it without them.” Easing the communication was an established shorthand. “Fortunately, with people like Jeff Aro, who was one of the stunt coordinators, we worked with him on Lost in Space for years, so there’s an existing relationship that helps to streamline the process,” Raisani remarks. “Nevin Swain was also the prop master on Lost in Space. I know a lot of the crew up in Vancouver from many years of working there.” The special effects team led by Chris Flemington and Mark Gibbard provided some clever solutions. “We had this cool contraption where they could blow wind from a hose,” Spates reveals. “For Aang’s landing, they could just blow the dirt out of the way, so that way we get that effect for free which was great.” Earthbending was mainly digital with exception of some practical debris. “For fire, we had the firelight on their hands to simulate the interactive lighting, and it had to be operated by the board operator, so when someone is bending and doing the firebending all of that has to be timed out and matched exactly,” Spates remarks. “We definitely had some things to figure out for Season 2 because we needed to tighten some areas as far as the interactive lighting and some things that we did on set.”
Along with being a firebender, Princess Azula has the ability to bend lightning, much to the pleasure of her father Firelord Ozai.
A lot of attention was paid to get enough detail between the iris, pupil and sclera for the Avatar State.
“[For the location of the Southern Air Temple] I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar. That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
—Marion Spates, Visual Effects Supervisor
Classic scenes were recreated, like when Aang is showing off his airbending skills to a group of children and accidentally crashes into a statue. “It was moments like that where you’re trying to emulate the animated series as well as you can,” Raisana observes. “For that particular shot, Gordon Cormier was on a practical driving rig that drove him around, then we do a swap to a full CG version of Aang. Once he comes to camera, he is digital and full CG, crashes and falls to the ground. We definitely used all of the magic of the practical stuff on set as well as full CG stuff, and pulling from this beloved animated series. Moments like that are fun.”
Something that had to be kept in mind was how and where Katara could summon mass amounts of water that she would be unable to carry.
A fun creature to create was the ostrich horse, which is a mode of transportation for the Earth Kingdom.
In the majority of cases, the earthbending was entirely digital, such as in the fight between Bumi and Aang.
Interestingly, a cinematic franchise that shares the same name but isn’t related provided the location of the Southern Air Temple. “I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar” Spates recalls. “That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
“[W]hat do we need to do to ground it in today’s reality? We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!”
—Marion Spates, Visual Effects Supervisor
Acting alongside the live-action cast were CG characters, with two of the hardest being the air bison Appa and the flying lemur Momo. “There was a huge structure that was covered in fur for Appa that the actors are climbing or riding on top of,” Raisani explains. “There was a lot more of a physical representation of Appa on set and less so with Momo. There is a great scene in Episode 105, which Roseanne Liang directed, where Momo finds a little acorn. This acorn represents the fact that this forest has been burned down is going to be rebuilt. That’s a scene that we worked hard to ensure Momo brought an emotion to his performance and a connection, not only to Katara but to Aang, who is in the position of emotional strife, and make it feel like Momo makes a character choice to give this acorn that he wants to eat to Aang because Aang is struggling and he wants to do something for his friend. It’s moments like that we worked hard to ensure that they are giving a performance as opposed to being cool or cute-looking digital characters.”
The throne room of the Fire Nation made use of virtual production.
A fun creature was the ostrich horse ridden by the Earth Kingdom. “I love the ostrich horses,” Spates remarks. “Accenture Song VFX worked on that creature and did such a good job of bringing the movement of the ostrich into the ostrich horse. It’s unbelievable how [they captured] just little nuance motions of how they move around and walk. Also, there was the challenge of how do we make it into a horse and how do we make fur bend into the tail of a horse? Also, they had all of the armor, too. That becomes a big challenge because all of that stuff has to be simulated because there’s movement in the armor.”
Ian Ousley as Sokka leaps over the fur-covered buck for Appa with the help of wires and greenscreen.
Greenscreen props assisted Elizabeth Yu in achieving the acrobatic firebending that Princess Azula showcases in the series.
A classic pose is Aang flying using his staff as a glider which involved Gordon Cormier being shot against greenscreen and suspended by wires.
“Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
—Jabbar Raisani, Executive Producer/Director
On a different plane of existence is the Spirit World, which can be accessed via the Avatar State. “I won’t get into how the original footage was shot because we weren’t there,” Spates states. “That was one area we could get creative and stylized. Normally, Jabbar and I stay away from stylized stuff because we always try to keep it grounded.” It was a tricky balancing act achieving the proper visual aesthetic. “We were trying to come up with something that felt heightened but also photographic, so we were leaning on a lot of photographic elements like chromatic aberrations, treating it as if it was something that was happening with the lens but was also happening with Aang,” Raisani remarks. “Especially in that first scene where he hadn’t been in the Spirit World, and we were trying to make it feel almost out of focus. It’s overwhelming, and he doesn’t know how to process it. We were trying to get that visually into the footage, but also emotionally connected with what Aang is feeling. In terms of the color, Marion worked with our in-house vendor to figure out how we take this forest in Vancouver and make it feel heightened, but don’t break to where it does not feel like a real place at all.”
The stunt work was so extensive for the eight episodes that it was divided between Stunt Supervisors Jeff Avro and Dean Choe.
Clever devices, such as wind hoses that stirred up dirt, were critical in making the landings of Aang look believable.
Gordon Cormier performs alongside a stuffie of Momo.
A signature effect is the Avatar State when the Avatar achieves maximum power. “As far as the Avatar State and the arrow and eyes, that was something we put in a lot of effort into,” Spates reveals. “We figured out with one of our in-house vendors what that would look like. The tricky thing is you’re putting all of this illumination and light on an actual image of a character. It’s easier when it’s all in CG, but we couldn’t make the CG aspect of Aang be so far different than the physical production footage of Aang. We had to figure out how to illuminate his head. We have a little of subdermal that we put around the arrow and his eyes. How much detail between the iris, pupil and sclera? We spent days and hours [figuring that out].”
A partial set build of Agna Qel’a, which is the capital city of the Northern Water Tribe.
A gray proxie for the head of a shirshu is positioned beside Arden Cho, who portrays the professional bounty hunter June.
Nothing would have been possible without the contributions of the other three Production Visual Effects Supervisors: Jared Higgins, Christopher D. Martin and Alex Gitler. as well as the army of vendors. “Scanline VFX did this incredible sequence of Koizilla wreaking havoc on the Fire Nation, and it’s all done through animation combined with simulations,” Raisana states. “Really complex work that is a combination of character, story, performance and technical complexity. It’s a cool sequence.” Spates agrees with his colleague. “Definitely what I want people to see is Koizilla, which is insane,” Spates says. “You talk about simulation — that is a lot of simulations. It gives me chills to my bones every time I see it. The things that we did to it, also in color, to represent what happens in the animated series has turned out fabulous.”
A crane elevates Gordon Cormier as Aang loses control of his Avatar powers upon returning to the Southern Air Temple after witnessing the aftermath of the massacre caused by the Fire Nation.
Getting the cast to interact with the Appa was made easier by the furry gimbal constructed by the special effects team led by Chris Flemington and Mark Gibbard.
Raisani has a personal bias. “Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
Images courtesy of Republic Pictures and Theodor Groeneboom.
The woman (Jodie Comer} and her baby navigate the flooded streets of London with the help of greenscreen. Comer’s compelling performance was one of the anchors of the film.
Mahalia Belo’s remarkable feature directorial debut The End We Start From follows a woman (Jodie Comer) and her newborn child as she embarks on a treacherous journey to find safe refuge after a devastating flood. Based on Megan Hunter’s 2017 novel, The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Theodor Groeneboom served as Visual Effects Supervisor on the film. “A friend of mine in London went to film school with Mahalia,” Groeneboom recounts. “Mahalia reached out to me because of him. I used to live in London and worked in a few of the big studios there doing visual effects. Then, I moved back out to Norway a couple of years ago and started my own little company. We do quite a bit of work for the U.K. visual effects companies and some of the independent UK films as well. It felt like an extension of keeping in touch with everything that was happening there. I was involved from the early stages – the screenplay breakdowns, planning on the shoot and throughout the shoot and post-production, so it has been a long journey. I very much enjoyed it.”
Jodie Comer and Joel Fry in British survival drama The End We Start From.
The post-apocalyptic elements in the film are a backdrop in the story. “It’s not a visual effects film,” Groeneboom acknowledges. “That’s very much true for how the book portrays it as well. Production Designer Laura Ellis Cricks and Mahalia were very much into making sure the film has some kind of texture to it, not just visually but the way the landscape conveys through the film that it’s not just front and center that everything is happening.”
“We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie [Comer] and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate.”
—Theodor Groeneboom, Visual Effects Supervisor
A woman (Jodie Comer) and her newborn child embark on a treacherous journey to find safe refuge after a devastating flood.
Explains Groeneboom, “It’s not so much a coherent film that goes from A to B; it sort of drifts in and out of these moments that you take in when you view the film that go away from the whole. We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate. Suzie Lavelle, the DP, was also a big part of that conversation in driving the lighting and the look of everything.”
The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Groeneboom and his team collected lots of material for visual references and relied heavily on the production design ‘bible’ that Production Designer Laura put together. “We were just looking at real photos of flooded areas such as farmland and cities around Europe and all from recent events,” Groeneboom explains. “It’s all based on real references that are quite current. The concepts from Laura were amazing, and it was sort of a bible – its own locations and references from both the recce and the [actual] places. There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
“There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background, and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
—Theodor Groeneboom, Visual Effects Supervisor
The biggest challenge for Visual Effects Supervisor Theodor Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. Greenscreen was required to isolate key elements to be added later.
“There were loads of references we were putting into the film,” he continues. “There were references for the textural quality of the rain and how much we should use. Some of it was more on the practical side of things and how to shoot, etc. and elements we want to use. As an overarching production design bible, there was a lot of stuff that came from Laura. A lot of ideas of not strictly stuff they wanted to see in the film, but Mahalia liked the feeling of it. There’s definitely less of the 28 Days Later vibe with the military and trying to keep it a bit more chaotic and grounded in the people around Jodie.”
“[Fleet Street underwater] was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. … I was taking photographs of every single façade, building, element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building.”
—Theodor Groeneboom, Visual Effects Supervisor
Groeneboom took photographs of every single façade and building, element and item that he could find of Fleet Street, then modeled them in 3D for textures and lighting, rebuilding the street from scratch.
Belo and Lavelle had a clear vision in their heads of what they wanted to achieve. “It wasn’t specific, but they were after a certain feeling. I think the production design bible picked all the right pieces,” Groeneboom remarks. “It was Suzie who set the real textural film quality to everything with her cinematography. We did really early development, sketches of trying to make things feel like they are underwater, like a suburban submerged in the city. This was all CG stuff that we were playing with beforehand to see whether or not it was doable with a small team and the amount of resources that we had. These were all based off the same references from the production bible.”
The biggest sequence for Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. “Underwater in whatever capacity we could do,” he adds. “I think we got there in the end. It was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. I was dangling off a rental bus, one of the old Routemasters, and I was taking photographs of every single façade and building and element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building. Once the light hits a certain angle on Fleet Street, it just becomes completely obscured by the buildings.”
Recreating Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. The VFX team relied heavily on the production design bible put together by Production Designer Laura Ellis Cricks.
Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. “There are so many great photo references of it as well,” Groeneboom details. “It was a matter of bouncing between what Mahalia felt was real, or what she would accept being real, and what Suzie thought of the texturing and lighting of the scene and how she would approach it from a practical point of view. Obviously, she can’t light an entire street, but how as a DP would she approach it from a practical point of view? We had lots of discussions trying to figure out the right angle for the sun, but also blocking out certain elements to create interesting patterns on one side and having the other side a bit more muted. The opening shot of that scene was quite challenging as well, just trying to make it feel like London specifically. It was shot on a little greenscreen.”
There were around 120 visual effects shots in total, with 13 or 14 of those being Fleet Street. “The film is quite slow-paced, especially in terms of number of cuts in the film. Every single little detail and item on Fleet Street was modeled up and painstakingly created. There are some hints of hope in this scene as well. For example, there are few people dotted around in the windows. The bus was a challenge as well because the chassis of the bus was not favorable to any particular lighting. If you see the Routemasters buses in the city and take pictures of them, they are just uniformly red. It’s very hard to see any shading on them. Getting some prospective lighting on them proved to be a little bit difficult, so we had to exaggerate the amount of light and shadow that the material actually has. It’s a combination of plastics and metal, so that was a bit of a faffle.”
Groeneboom studied real photos of flooded areas such as farmland and cities around Europe based on current references.
Continues Groeneboom, “[Lighting was also an issue on] quite a few shots where there is flooding on some of the signs, but it’s all CG. We rebuilt a lot of environments and tried to make it all as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background. One of my favorite shots is of a traffic jam. There is a giant boom mic on the windshield of the car, which was a bit of pain to remove. We just extended the whole background with a bit of the M25 in the background, and there are fires and fire trucks and lots of things happening, but you probably don’t see it. In terms of rain enhancements, it was just putting more in. On the day, you can only get rain so far close to certain things before you have to do some augmentation with visual effects because of rain. Working with real effects elements is always a bit unwieldy. We also worked on the little baby bumps as well, which are partially prosthetics and partially visual effects.”
Groeneboom and his team also worked on the little baby bumps, which are partially prosthetics and partially visual effects.
Groeneboom and his team had ample support from every department in pre-production and on set. The riggers and the gaffers were especially helpful in pulling up greenscreens if needed and accommodating for the lighting and tracking markers whenever Groeneboom and his team were able to be on set for supervision. “We were there for the most important days, but they would take our potential work into consideration by just phoning us up and asking if we need tracking markers here, for example,” he adds. “So, in terms of on the shoot, we were quite welcome and an integral part of solving some of these shots. In terms of the post-production side, it was me and my company [Rebel Unit in Bergen, Norway] doing it. SunnyMarch were producing the whole film, and they were our client for the job. We are a small team of 10-11 people. I think we had six people on this at the most. The idea of my company is most of the people working there have worked in larger facilities before, so we are trying to move away from the idea of thinking large pipelines and overcomplicating, or over-engineering things, which we are trying to do as much as we can in off-the-shelf software and just being a bit more nimble about the approach. I’m quite happy with a small team of six people doing the work. There were two of us, including myself, doing the modeling for the Fleet Street elements.”
“We rebuilt a lot of environments and tried to make it as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background.”
—Theodor Groeneboom, Visual Effects Supervisor
There were around 120 visual effects shots in total, with more than a dozen of those being Fleet Street.
Groeneboom concludes,“Given the fact we are a small team and what we were able to achieve, I’m quite proud of the work we did. I really enjoyed working with Mahalia. It’s her first film, and I think she’s approached it in such an interesting and inspiring manner. I’m very interested in seeing what she does next. It was also great working with Suzie, as she’s lovely to work with, and working with the production team was one of my favorite parts. Reading good reviews, and the fact that the film has an important backdrop about the state of the world is interesting. From a visual effects point of view, you tend to go with more lackluster ideas of what apocalyptic visions happen to be. I thought this felt more real and important. Also, watching Jodie perform was really cool. She’s absolutely phenomenal.”
A parallelogram was implemented for when Tarak seeks to tame a Bennu, which is a hybrid of a crow, raven and tiger.
As Akira Kurosawa was a major influence on George Lucas’ The Hidden Fortress in particular, Zack Synder was inspired by Seven Samurai for what was initially meant to be a Star Wars pitch that has since been retooled for Netflix as a multiplatform original IP. A feature film was shot that has been divided into two parts with the first being Rebel Moon: Part One – A Child of Fire followed by Rebel Moon: Part Two – The Scargiver. Participating in what Synder has termed a “giant atmospheric space adventure” is Visual Effects Supervisor Marcus Taormina who previously collaborated with the filmmaker known for speed ramping, hyper-real, painterly compositions and lens flares on another Netflix production, Army of the Dead. “What has been nice about working on both movies simultaneously, both shooting them and doing post-production, is that we’re looking at both movies at the same time,” Taormina states. “A lot of what is set up in Part One we use in Part Two.”
Planetary skies were peppered in when needed to give scenes the proper tone.
Nemesis lethally wields two swords which are a combination of molten metal, a streaking light effect and a heat signature.
A flashback of when Kora was a soldier for the Imperium.
Overall, 1,380 visual effects shots were created by Framestore, Luma Pictures, Mammal Studios, Rodeo FX, Scanline VFX and Wētā FX for Rebel Moon: Part One – A Child of Fire, which revolves around an adopted daughter of a despot standing up against him by assembling a gang of notorious renegades to protect a planet that she now calls home. What makes the production somewhat unusual is that Synder doubles as his own cinematographer. “It’s nice to have a director/DP because I only have to go to one side of the set versus splitting time,” Taormina notes. “Days of Heaven was a huge inspiration for this movie, which means organic filming, daylight dependent, lots of lens flares, and we also had a custom one-of-a-kind anamorphic package that Zack created for the film, which in itself was a huge challenge. What was nice was that I could go to him about things that I needed. ‘I love the lens flares, but I need you to do a clean pass as I have to erase that flare and put it back over the work later on.’ He was understanding to that and granted me those opportunities on set.”
A hard job for Framestore was incorporating energy tracers into 300 shots for the Gondival gunfight.
While playing JC-1435 (aka Jimmy) on set, Dustin Ceithamer listened to the voice of Anthony Hopkins to make sure that their two performances were in sync with each other.
Skies set the tone for scenes, and Snyder sent a whole library of them to Taormina. “It would always be, ‘I like this and that reference,’” Taormina explains. “I would pull them together and go, ‘What do you like about this one?’ I would smash them all together. We had a lot of discussions about the gas giant Mara at the beginning of the movie, which is not a sky, but it’s [related] enough that it’s an important part. Zack found a colored look that he liked that was a dirtier orange. Obviously, he had to put the lightbox up there, which was headache in itself because the flare contaminated the lens a lot. There was a lot of compositing needed to put those shots together, but it adds to the believability because when you get this dirty orange wash over Kora [Sofia Boutella] it feels cohesive.” Over 38 worlds had to be conceptualized with the main ones being Veldt, Neu Wodi, Daggus, Castor, Sharaa, Gondival and Motherworld. “It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role. When going to Sharaan we meet King Levitica. It’s moody because it feels like we’re not supposed to be there as the viewers,” Taormina remarks.
To make Neu Wodi more threatening, rocky spires caused by a collision with asteroid were added to the arid terrain.
While Jena Malone is strapped to a rig to limit her movements, stunt performers dressed in green shift the legs of Harmada.
“It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role.”
—Marcus Taormina, Visual Effects Supervisor
Clean plates were shot at times with the distinct lens flares caused by the custom-made anamorphic lenses added later in post.
For arid Neu Wodi, the ranch was a real location; however, when the creature known as a Bennu takes flight, the entire environment becomes digital. “We talk about how we wanted to get a lot more claustrophobic,” Taormina states. “When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it. Designing that was fun.” The Bennu harkens back to Pegasus. “It’s neither a raven or crow but both at the same time, and a gryphon, too.” Stunt performer Albert Valladares was placed in the middle of a parallelogram with his colleagues holding on to ropes that were attached to his backpack to simulate what it would be like trying to restrain a rearing Bennu. “Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense,” Taormina says. Nair was subsequently captured sitting on a gimbal setup in a parking lot for the aerial sequence. “I said to Zack, ‘I know that we have these anamorphic lenses, which are great. However, let’s do one camera anamorphic and shoot the other three spherically. It will be super sharp, but don’t worry, we’ll add our optics later on to it to make it feel anamorphic.’ We basically reanimated and recomposed all of those shots and scaled them down so that it feels like he’s flying through.”
Stunt performers provide the resistance on set of a person being captured by ecto-shackle, otherwise known as the ‘Beetlejuice Chair.’
“We talk about how we wanted to get a lot more claustrophobic. When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it.”
—Marcus Taormina, Visual Effects Supervisor
The CG went up to the rib cage of Jena Malone to believably integrate her into the body of a spider to create the Daggus-dwelling creature known as Harmada.
Influencing the aesthetic of the cobalt-mining planet Daggus was Blade Runner. “I wanted it to feel dark, dingy and moist,” Taormina states. “A lot of narrative and production design determined that environment as we had a lot of built pieces to the set.” Dwelling in the basement level is a native spider/humanoid hybrid called Harmada (Jena Malone) which abducts a child and in doing so comes into conflict with Nemesis (Bae Donna). “The stuntvis or previs was a combination of digital shots and stunts in motion capture suits. Because that space was so small, stunts had to be careful about the movements. Jena Malone is on this huge swivel rig, which is best described as a cart that she is strapped to because we didn’t want her body moving too much, as we needed to see her just below the navel or bust to make it cohesive. We had three to five stunt performers swiveling the rig while having it going up and down to the performances. They also have noodles that are interacting with Donna. It was a harmonious integration of everything together because we didn’t want to replace Jena as her performance was too great.” Nemesis wields two swords that avoid being replicas of lightsabers. “When I had that initial conversation with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
Tony Amendola gets transformed into King Levitica.
“Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense.”
—Marcus Taormina, Visual Effects Supervisor
The three massive explosions that occur during battle on Gondival were entirely CG.
Anthony Hopkins voices a robot called JC-1435, also referred to as ‘Jimmy,’ that decides to participate in the rebellion against the oppressive Imperium led by Kora. “I asked Zack if we could video record and do a ADR scratch session with Anthony Hopkins,” Taormina reveals. “If you don’t have your performer listening to the way that Anthony delivers the lines then there may be a mismatch, and when you put them all together in the end, your brain is going ‘something is wrong or odd here.’ The inflections and body movements are not right. We made the Jimmy suit for Dustin Ceithamer that had chest plates in the front and back, shoulder pads, a face plate and some hands, but the hands had to be replaced digitally. When we got into post, Dustin’s performance and Zack’s direction were so great and minimal that it was less robotic and more human. I actually mandated that when we could, which is about 90% of the shots, to keep the practical chest and face plates, which is a lot more difficult to do because it was so beautiful in the way Zack captured them in the available light.”
Augmenting natural elements like mountain ranges and waterfalls helped to make the Southern California location for Veldt unrecognizable.
“When I had that initial conversation [about the swords of Nemesis and avoiding the lightsabers of Star Wars] with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think that we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
—Marcus Taormina, Visual Effects Supervisor
The Bennu gimbal was shot in parking lot while the aerial environment was fully digital.
Another interesting approach was for the restraining devices that have a mechanical base resemble a crab. Explains Taormina, “Those are called ecto-shackles in the script, but we named them ‘Beetlejuice Chairs.’ We have stunt performers grabbing the cast when they get thrown back, and then we swap out and put the practical prop in there. Like for Gondival or in Providence when the gentleman gets captured, we do the stunt followed by the digital version of it and then swap it out, and we had special effects create this RC-controlled base of the ecto-shackle. We put him on that with only the spine and added all of the digital pieces of it walking. Again, with your brain you’re trying to do the trickery of ‘what’s real and not.’ That’s a great example of stunts, props and special effects doing a fantastic job. We get the plates and go, ‘Let’s make this look cool.’”
Michael Fassbender portrays an assassin simply known as The Killer in the latest feature film collaboration between David Fincher and Netflix.
Producer and long-time David Fincher collaborator Peter Mavromates extend their partnership in the The Killer where an assassin seeks revenge after a botched assignment. The Netflix feature consists of 900 digitally-augmented shots that range from shortening the tail of a dog to CG airplanes, tasked to a vendor list that includes Ollin VFX, Artemple-Hollywood, Savage VFX and Wylie Co. as well as an in-house team. “Visual Effects Compositor Christopher Doulgeris and I will go into the color bay with [Colorist] Eric Weidt and talk about some issue that we had,” Mavromates explains. “Even sometimes if it’s an outside vendor, we’ll focus to help problem-solve. It’s this wonderful and fluid atmosphere, and it works for David Fincher because he’s always got ideas flowing. He doesn’t want to be on a clock at a facility where you’ve got from 2 p.m. to 5 p.m. and then it’s overtime. There’s none of that. David will walk the halls and stop in on people to check on stuff.”
Each setting was given a different color palette with the most vibrant being the Dominican Republic.
The Parisian apartment window shots were captured onstage in New Orleans and inserted into a digital recreation of the actual building by Artemple-Hollywood.
“The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute! David calls me in and says, ‘We’ve got to get this tail down to two inches.’ … Ollin VFX in Mexico doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!”
—Peter Mavromates, Producer
A vintage glass effect had to be created by Artemple-Hollywood for the Parisian apartment footage shot in New Orleans.
Savage was responsible for the gunshot enhancements.
An unusual visual effects situation arose when a guard dog pursues The Killer, played by Michael Fassbender, after its owner has been murdered. “The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute!” Mavromates laughs. “David calls me in and says, ‘We’ve got to get this tail down to two inches.’ This is a night scene, so in terms of the type of work that you have to do on manipulating an image, it was tough footage. We had 37 shots, and for that we worked with Ollin VFX in Mexico, and they doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!” What has become more common is the reframing of shots in the DI. “That is something David discovered while we were still shooting on film for Panic Room,” Mavromates remarks. “Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
The stage shoot combined with an exterior matte painting.
The attention to detail was so fine that the shadow of the red cross inside of the scope moves along with the rifle.
[The reframing of shots in DI] is something David discovered while we were still shooting on film for Panic Room. Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
—Peter Mavromates, Producer
Because of the desire to control the reflections and fractions of the helmet visor, Wylie Co. created a digital double of both Michael Fassbender and his scooter.
A landscaping matte painting was executed by Ollin VFX.
Considering that the entire first reel of the movie has the protagonist surveying the building across the street in Paris, one would have thought that Rear Window would have been an influence. “It’s astonishing how little we talked about that movie,” Mavromates notes. “The movie that David referenced and has nothing to do with the look of it is Le Samourai in terms of the tone and what the character is.” The daytime building in Paris actually exists and has been featured in Emily in Paris. “The initial shooting was in Paris and was in that square,” Mayromates explains. “We had eight cameras rolling so that David could capture the images of the people walking in the square and the façade of the building in the daytime. You could capture them simultaneously with different lens lengths so that the action matches perfectly because it’s literally the same take. Later, in New Orleans, they shot the individual window settings all laid out on a stage for the night scenes. Based on the daytime footage of that building and some nighttime plates, Artemple built an element where they put those windows in that were shot in New Orleans, then added tinted glass on the foreground.”
Bloodstains were added later in post-production.
CG traffic was created by Ollin VFX for the scenes in the Dominican Republic.
“Special effects put a wick in the bottle [of the Molotov cocktail that Fassbender throws] that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
—Peter Mavromates, Producer
All of the planes were fully CG.
A lot of work went into recoloring and creating taxi logos and numbers by Ollin VFX.
A digital double was created for the scooter escape of The Killer through the streets of Paris after the botched assignment. “The scooter and Michael Fassbender are all CG,” Mavromates reveals. “They did shoot Michael Fassbender on a scooter. That was in our early edits. Then Wylie Co. came in and slowly replaced everything. The background is a photographic plate behind the digital character and scooter in the foreground. If you were doing that all from scratch, that’s a big ask. At least when you have those plates, a lot of lighting decisions are made inherently.”
LED lights were placed in a bottle that was thrown by Michael Fassbender and later turned into a Molotov cocktail by Ollin VFX.
“There might be a few Fitbits that are actually photographic. I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’”
—Peter Mavromates, Producer
An unexpected visual effect was having to shorten the tail by 10 inches to avoid undermining the vicious performance of the dog.
Even the Fitbit that Fassbender wears got a facelift. “There might be a few Fitbits that are actually photographic,” Mavromates observes. “I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’” The Molotov cocktail that Fassbender throws was also digitally augmented. “Special effects put a wick in the bottle that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
An effort was made to heighten the fear by bringing Godzilla closer to the characters.
Not since Neill Blomkamp released District 9 in 2009 has an international production received receive Academy Award and VES Award nominations for its visual effects work. But Takashi Yamazaki has repeated the feat by stomping through the box office beyond Japan along with an iconic kaiju that has been cinematic staple since 1954. Godzilla Minus One revolves around a World War II kamikaze pilot suffering from survivor’s guilt having a re-encounter with the title character, which has gone through further mutation because of American nuclear tests at Bikini Atoll.
It was always important to convey the proper scale, which meant at times only showing parts of Godzilla in the frame.
“In the current digital era, we tried to use technology that could only be used digitally. We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG.”
Visual and special effects have dramatically evolved like the creatures in the Godzilla franchise. “In the current digital era, we tried to use technology that could only be used digitally,” notes Yamazaki, who was previously responsible for the live-action adaption of Parasyte. “We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG. On the story side, 1954 Godzilla does a great job balancing the human drama with the Godzilla scenes; therefore, we were mindful in trying to have strong story and character development, and to make sure that it’s woven together with what Godzilla is doing on screen.”
The art department created a period-appropriate street surface, sidewalks and storefronts in a parking lot.
Along with being the director, Yamazaki was the Visual Effects Supervisor on the project. “Let me add screenwriter to that as well! Being all three had its benefits, although having said that, when I went to shoot on location, I wanted to ask the writer why he wrote in that specific scene because it was so difficult to shoot! When we went into post, I wanted to ask the director why did he shot the scene in that particular way because it made the visual effects that much more challenging! But of course, I only have myself to blame for all of it!” The different roles had an influence on each other. “Normally, when I write a screenplay, I have to pay some consideration to the visual effects team. Can they achieve this scene? However, in this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
Atmospherics were a big part in creating the proper mood for shots.
Godzilla was treated as both a god and monster, which had to be reflected in the movements and physique.
“[I]n this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
“We watched various Godzilla movies again and learned what makes everyone think, ‘This is Godzilla,’” Yamazaki explains. “We analyzed a great deal of photos and videos for historical background. The assistant director’s team collected a variety of background materials, and I remember being terrified that we could no longer use existing materials. Once we had a clear picture of what was going on at the time, we couldn’t just fudge it.” Storyboards drove the design process. “I drew everything that involved visual effects. It was a huge amount of work. The assistant director [Kôhei Adachi] and Kiyoko Shibuya [Visual Effects Supervisor at Shirogumi, which was the sole vendor] were very impatient with me! Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for. If something is closely related to the shooting, I made it before the shooting starts. However, if it was necessary to include it in the editing, after the shooting is over [for example, a full CG shot], I made postvis in the same way to set the rhythm of the editing.”
A lot of time and effort were spent developing the walk of Godzilla.
The dorsal fin was made more acute and the legs thicker to emphasize the ferocious nature of Godzilla.
The camera circling around Godzilla while its holding and crushing the heavy cruiser Takao was an extremely complex undertaking. On land, trains got the same treatment, though no water was involved.
The overall silhouette of the creature is based on the previous Godzilla suits. “The dorsal fin is more acute and the legs are thicker to give a more ferocious impression,” Yamazaki remarks. “We tried to heighten the fear by making Godzilla closer to the characters, so we included many fine details to allow the camera to get closer to the characters.” No motion capture was utilized in the animation of Godzilla. “However, to help define Godzilla’s look, the animator and I spent a lot of time testing Godzilla’s walk. In Shin Godzilla, Godzilla’s posture feels very straight and uptight. In Hollywood, Legendary’s Godzilla feels more aggressive, like an animal ready to pounce. But we wanted something different from both of those. In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design,” Yamazaki states.
“Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for.”
Breaking the down the destruction that Godzilla causes in the Tokyo shopping district of Ginza.
As for the world-building, it was important to transport audiences back to 1947. “We collected a large number of photos and videos from that time and were conscious of recreating the atmosphere of that period,” Yamazaki explains. “We could not use any existing open sets, and we did not have the budget to construct new buildings, so we created a composite of a digital building on a simple road set. It was difficult to make the two fit together.” The visual effects shot count is misleading. “Although there were 610 cuts, screentime amounted to two thirds of the entire film. Production time was roughly eight months after the shoot was over and in full swing. Although several people were involved in modeling and scene design before the shoot.”
“In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design.”
The first ocean battle was the most complex scene to execute. “We wanted to shoot this on location at sea because I felt it gave the picture this cool documentary style,” Yamazaki reveals. “What I didn’t expect is that everyone got seasick, and the weather was quite unstable, which made filming difficult. Once we took the footage back to the office, the natural waves that we captured were both beautiful and complex, which made it difficult making a giant creature swim through it creating its own waves. With that said, filming on one location and overcoming this challenge unified the team, and that natural imagery we were able to capture made the shot more powerful and convincing. Would I write an ocean scene into my next screenplay? That’s debatable!”
Compositing explosion and environmental elements together to create the final shot.
Simulating the ocean was hard because of the amount of data and work to make it appear believable. “A young staff member showed us a simulation of the ocean that he had made as a hobby using his home-made computer,” Yamazaki recalls. “It was so good that we rewrote part of the scenario and increased the number of ocean scenes considerably. However, in the latter half of the work, I regretted why I did that. We didn’t have a server with plenty of data to store it, so we had to make do by deleting cuts as they became available. I was astonished when I was told that the total amount of data exceeded one peta!” A personal favorite is Godzilla emitting a heat ray and destroying the entire Ginza area. Yamazaki comments, “Including the gimmick of the dorsal fin and the depiction of the area after it is destroyed, I believe I was able to create a heat ray that is more powerful and more horrific than ever before; that is a proper metaphor for the atomic bombing.”
Images courtesy of Apple+ and Legendary Entertainment.
Cinematographer Jess Hall decided to go with anamorphic lenses because they compress perspective thereby bringing the creatures even closer to the viewer.
The AppleTV+ series Monarch: Legacy of Monsters provides the backstory for the mysterious organization formed upon the discovery of kaiju through a family drama where two half-siblings learn of each other’s existence and their father’s connection to Monarch. The MonsterVerse production created by Chris Black and Matt Fraction on behalf of Legendary Entertainment, Toho Company and Warner Bros. Entertainment consists of 10 episodes that required Visual Effects Supervisor Sean Konrad to craft over 3,000 shots with the help of Rising Sun Pictures, Rodeo FX, Framestore, FuseFX, Outpost VFX, Crafty Apes, Wētā FX, MPC, Storm Studios, Vitality VFX, BOT VFX, Mr. Wolf, Scarab Digital, The Third Floor, Proof, MPC Visualization and an in-house team.
MPC, Rodeo FX, Rising Sun Pictures and Wētā FX worked on Godzilla, which appears in two different forms over the course of the series.
The Frost Vark is a cross between a giant star-nosed mole and pangolin, and has the ability to suck the heat out of objects.
Integrated into the narrative are previous MonsterVerse installments that appeared on the big screen. “What’s interesting about the show is the scene in the beginning of Episode 101 has this Kong: Skull Island [2017] classic adventure movie tone that is a bit off-the-wall crazy and every second has a new amplification of stakes through the action,” Konrad notes. “Then you get back to Kate Randa’s [Anna Sawai] perspective later on in the episode, and you’re going to Godzilla [2014] and you’re having that serious tone of this is a city being destroyed. You need to communicate those ideas visually in a way to people that is meaningful and serious. Then you have the final creature scene in the episode, which is a bunch of new monsters coming out of the ground and attacking our protagonist. Each one of them has a different tone.” Do not expect shots from the kaiju point of view. “A lot of the series is constructed around a subjective point of view of our characters experiencing the action from their perspective and reinforcing that with the visual effects design. A lot of times we knew the kind of creature we wanted and the terrain was immaterial to what the creature was doing, but it did influence how and where we shot it,” Konrad says.
The Endoswarm nest is lighted by the hole in the ceiling of the reactor.
Adding to the mystery of the Ion Dragon is it being an aquatic creature with wings living in the middle of a jungle.
The Frost Vark is one of the new additions to the MonsterVerse.
Taking advantage of the physical location rather than rely heavily on bluescreen was the mandate. “We went to a bunch of locations in Hawaii for Episode, 101 and one of them was Lānaʻi Lookout [on O’ahu],” Konrad recalls. “It is this beautiful volcanic rock cone that points out into the ocean. If you’re running away from a monster that’s a great place to be heading towards. We looked at the terrain and the action we wanted to plan. There is a big bamboo forest in the corner of this landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs. Simultaneously, I was doing the concept for the crab itself. All of that happened within a five-week period where we concepted, re-prevised and re-storyboarded the whole thing. It’s so much better than trying to shoot that into a bluescreen. It’s a hard process and definitely time-consuming. People did some brilliant work to get that done. We wanted the characters to feel in the action.”
The lighting was naturalistic for the contemporary scenes in Tokyo.
The Mother Longlegs makes a reappearance in what feels like a cut scene from Kong: Skull Island.
The design of the Mantleclaw was inspired by the volcanic environment where the scene takes place.
“There is a big bamboo forest in the corner of this [volcanic Hawaiian] landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs.”
—Sean Konrad, Visual Effects Supervisor
A pivotal location is the nuclear reactor that experiences a meltdown, which has become as portal where monsters can enter Earth.
Television production happens at a quicker pace than movies. “When you’ve got one movie, you have over six months to do an hour and a half episode as supposed to 30 days to shoot a movie,” sates Special Effects Supervisor Paul Benjamin. “The setups have to be doable to make it into TV land. We had a bit of prep time for the first two episodes. It helps if the directors are on beforehand to know if you have some bigger builds. However, it’s always hard to get the directors before the episode starts.” Some visual research was done regarding the MonsterVerse. “I took a quick view of what they’ve been up to and been doing. When you watch the movies, sometimes it’s hard to figure out how they did everything, or how you block it out and film it. You get a general sense of what you’re up against or what they’re going to be looking for. But as far as pulling builds from watching the movies, it’s quite difficult,” Benjamin adds. Atmospherics were not a significant part of the visual language. “We did a couple of episodes of heavy smoke when they went to the Lost Lands to give a different look to the environment. We definitely did some snow but didn’t do a lot of exterior snow dressing, except for the base camp.” The weather was not always agreeable. “We did a snow dress and had a heavy rain that night, but luckily it held up and we didn’t plug any drains. We had somebody there watching just in case all of our paper snow came down and plugged one of the drains,” Benjamin remarks.
Originally, the Endoswarm was suppose to resemble a millipede, but the decision was made to make it appear more alien.
“We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking. The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.”
—Paul Benjamin, Special Effects Supervisor
Keiko getting attacked by the Endoswarm is made more horrific by them piling onto each other to cause her to fall.
Airbag decks were favored over hydraulic gimbals, such as when the school bus is tipping over the severely damaged Golden Gate Bridge. “We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking,” Benjamin explains. “The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.” It was not all about shaking things. “For the last few episodes we did a vortex, so we had a lot of big wind machines and ratcheting things and pulling things into the vortex. I want to see that portion of it. For the vortex in Alaska, we were shaking the trucks and equipment. But when the creature was chasing them, we didn’t do any explosions for that. The only thing that we did was blast air cannons to have some snow flying around. We did some pyro for the seismic charges that were set off at the power plant. Then we had Kurt Russell running through the lightning field. We had a bunch of mortars going off around them at that point, too.” After being in special effects for 23 years, Benjamin learned a particular lesson. “A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.” The practical elements are critical in making the stunts and visual effects believable. “We’re trying to do anything to help give the set some life so that the actors can get into it a bit more. You don’t have to fully act when you have the set moving around.”
A Fletcher Class Destroyer is found inland.
“A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.”
—Paul Benjamin, Special Effects Supervisor
One of the challenging special effects to get right was the goo that belongs to the Ion Dragon.
Collaboration is pivotal to the success of any project. “Ultimately, my attitude is that visual effects are a big part of the show,” states Jess Hall, Cinematographer, Episodes 101 and 102. “The CG has to be integrated into the photography, so I take it as my responsibility that those things have to work together. That means being collaborative and also organized about how you light; for example, on greenscreen matching lighting and doing the work in advance in terms previs and storyboards. But, ultimately, I treat it as a collaboration for which I bare a lot of responsibility for the end result. It’s not like I’m going to shoot someone on a greenscreen, hand it over to visual effects and let them do their thing; that’s not going to produce a good result.” A different color palette was adopted for the series. “We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones, but the lighting was always naturalistic. The composition was reasonably consistent. The lenses I would shoot the faces on were a similar composition. You’re building this thread of visual language that is bulletproof in a way. You can apply these period looks or more action-sequence elements in there, but it doesn’t feel out of place. That was the challenge of the show, and a lot of thinking around design for me was about bringing them together enough, but having them different enough because you also had to understand these timelines. It was important that Skull Island did look different from the 1950s content, otherwise I don’t think you understand where you were.”
The wings of the Ion Dragon had to increased to get a flying cycle that looked believable.
“We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones. but the lighting was always naturalistic.”
—Jess Hall, Cinematographer
A prevailing challenge for visual effects was conveying the proper size and scale of the creatures.
Hall partnered with filmmaker Matt Shakman on Episodes 101 and 102. “Matt is a dramatist and a real actor’s director,” Hall describes. “Having to try to pretend that things are moving around you, and you’re on a bluescreen and saying, ‘Okay, the crowd is coming from the right.’ Or, ‘Now turn to look at the crowd 300 feet away.’ ‘Follow the tennis ball.’ We’ve all seen how that can be quite tough for actors and performers. Matt is always looking to put the actors in the position where they’re comfortable and can give the best performance, but also feel the scene. We went to practical photography. There were a lot of visual effects but a lot of photography on location, and a lot of in-camera stunt action and real effects work that went on in all of these scenes that added to the sense of realism, which is what we wanted.” Atmospherics like smoke were never utilized without intention. “You have to be careful about how much you put in because quickly you lose the contrast of the shot. It’s something that you rely on special effects to operate. Ultimately, I’m the one who has to say, ‘Turn the smoke on or off.’ The whole show had this low-level haze. I was going for a softer, more dramatic look with a bit of texture in there and in the shadows.” The legacy of what has come before loomed large over the production. Hall observes. “You’ve got this huge IP and franchise and so many different elements to it. How do you take that, respect that and do that justice, but also do something that is distinct and appropriate for the show that you’re making and is your own work. Threading that needle was hard.”
France’s heritage of abandoned buildings provided vacant hospitals, schools and churches for zombies to be found. (Photos: Emmanuel Guimier. Courtesy of AMC)
Following the events of the final season of The Walking Dead, Daryl Dixon washes ashore in France and must undertake a perilous journey in order to find a way home in the series The Walking Dead: Daryl Dixon. Jao M’Changama served as Overall Visual Effects Supervisor on the show, with Sébastien Voisin and Justine Paynat-Sautivet working as VFX producers. “Excuse My French is the French supervision company that hired me for the show. The show’s French line producers, Raphael Benoliel and Augustin de Belloy, found the Excuse My French team, and AMC hired them. It was unreal for me at the beginning. having the Walking Dead come to Paris and getting the chance to be the Visual Effects Supervisor – and getting to destroy Paris. I was finishing a day on a cute CGI commercial spot with friends, and we were aiming to go to a bar when I got the call. That was surprising because we weren’t expecting this big of a show to come over to France, and being selected to work on it was like a dream come true,” M’Changama says.
When it came to the initial conversations about the look of the show, M’Changama and his team set up a Zoom call with creator and showrunner David Zabel and the AMC team. “They were asking not how I see the show but questioning me about my strengths and what I like and how I feel about zombies,” M’Changama adds. “I explained that I come from advertising. I’ve been supervising advertisements for 10 years for both big and small campaigns. They were very pleased to know that I worked in various worlds and with different types of narratives, including the Ubisoft live campaigns, exploring sci fi- gladiators and war action styles. It meant that I can easily change worlds, which is one of my strengths. It was really cool to be only focused on the Walking Dead world and to transfer the 15 years of Walking Dead that I’ve been watching to France and know that I have a huge part to play in that role. I wanted to create trust with AMC, and I know it’s the first time they’ve worked in France, so that was mainly the first exchange. Then, the week after there were some tech recces in the south of France. David [Zabel] was there as well as the director, Dan Percival, and Executive Producer Greg Nicotero, father of the Dead. It was great to switch between the U.S. TV show and being part of it [in France] in the best way we could.”
France doesn’t have the same variety of weapons as the U.S., and they tend to be historically older, so the VFX team designed weapons that weren’t too old school for The Walking Dead universe. (Photo: Emmanuel Guimier. Courtesy of AMC)
In terms of visual references, M’Changama looked at France’s urbex (urban exploration) culture to define the apocalypse in France. “There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures,” he notes. “The government won’t clean them, so they just stay there until something happens to them. One of my goals was to chase a lot of those urban exploration references. There are tons of Youtubers and photographers that goes everywhere, so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen. We have this huge heritage In France. That was one of my first directions.”
Visual Effects Supervisor Jao M’Changama looked at France’s urbex (urban exploration) culture to locate and define the apocalypse in France. (Photo: Emmanuel Guimier. Courtesy of AMC)
“There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures. The government won’t clean them, and so they just stay there until something happens to them. One of my goals was to chase those urban exploration references. … so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen.”
M’Changama paid close attention to weaponry as it’s such a large part of the Walking Dead universe. “France doesn’t have the same variety of weapons as the U.S., so this was an important part of our research,” he details. “For the visual effects, we shot specific plates because we have a heritage with older weapons on France. We wanted to design something that wasn’t too old school and fit into the Walking Dead universe. It was the same thing for Norman’s [Norman Reedus portrays Daryl Dixon] mace. He’d already used a mace in Season 10. In France it’s smaller, so we needed to put the green tape on the mace and ask Norman to do it a bit slower to make it seem heavier. We couldn’t slow down the movement with VFX. We needed to adapt a bit.”
The boat scene was initially located only at sea, but the script was changed just before shooting to make part of the scene happen in a harbor – which changed the way the show was filmed. (Photos: Stephanie Branchu. Courtesy of AMC Networks)
M’Changama worked closely with Series Production Designer Clovis Weil. “We went to the same school and hadn’t seen each other for about 15 years. At the first meeting about the set decoration, we remembered when we were in school and how we built a frame and a picture, which was something learned at school,” M’Changama explains. “It was great to work with Clovis as a friend and very talented individual. His team was working on the show around three months before I arrived, so they’d already been thinking about the show. It was a real collaboration between the set design and the VFX department.”
Norman Reedus (Daryl Dixon) used a mace in Season 10 of The Walking Dead, but in France the mace was smaller. Green tape was placed on the mace so VFX could enlarge it in post to match. Reedus also had to wield the mace slower to make it seem heavier. (Photo: Emmanuel Guimier)
“David has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX and instructed these departments on how to do that best. It was a very smart move,” M’Changama adds. “Expectations were high. We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
“[Creator/showrunner David Zabel] has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX. … We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
There were 740 VFX shots in total, and over 400 artists worked on the show. “We managed the workload with confidence,” M’Changama says. “It wasn’t an issue, but we knew that we weren’t the usual Walking Dead team. We had to show everyone that we could bring something new to the show. Sébastien, like me, has a solid background in advertising. On the other end, Justine had one in feature films. We are used to holding a huge workflow and doing a lot of work in a small amount of time. We knew that working in that way was achievable because we had the team needed to do the job. What is specific to our way of working is that we prioritize everything. Every single frame is important and every shot is important. ‘Scope’ and ‘details’ were the words from David with all the teams. We just wanted to build a consistent and imaginative show. We want the first episode to be as good as the last episode and all the fights done with the same love and care.”
Creator/showrunner David Zabel, Executive Producer Greg Nicotero, director Dan Percival and Overall Visual Effects Supervisor Jao M’Changama scouted potential shooting locations in France, including Mont-Saint-Michel and its bay in Brittany. (Photo: Emmanuel Guimier)
M’Changama worked with five top Paris studios: BUF, MPC, Mathematic Light and Mac Guff. “Paris is a fairly small city, so we knew each other and each other’s work. I worked at MPC for 10 years before, so I knew that MPC had solid strength in environmental work and digital matte painting. So, for the deconstruction of the city, we just wanted them to work on it very closely. We exchanged lots of concept art. BUF just made Eiffel, so we knew that they had all the assets of the iron lady. We knew it would be fun for the team to destroy what they’d built. We also knew that Mathematic had a solid comp and craft vision that is very elaborate, and they are fast at adapting a lot of simulation techniques and lighting. We felt that they were the best guys to work on the zombies. The French zombies needed a lot of love and ingenuity. Greg Nicotero brought some incredible concepts of new species appearing in the Walking Dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood, and more details not to be spoiled here. One of the supervisors with Light is also a flame artist – like me, and we knew they could craft technical shots, including 2D and CGI, very quickly. This process allows us to quickly share the steps with David Zabel and the AMC team. Mac Guff is a studio known for their generalists who can adapt to reconstructing towns to matte painting. They handled several shots successfully. So, by knowing our studios’ strengths, we managed the shot dispatch with accuracy, and this also helped us to build trust with David and AMC.”
Mathematic Light handled work on the zombies. The VFX team wanted to get away from the “Emily in Paris perfect world” image of France and show a contemporary French view the apocalypse. (Photo: Emmanuel Guimier)
“The French zombies needed a lot of love and ingenuity. [Executive Producer] Greg Nicotero brought some incredible concepts of new species appearing in the walking dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood and more…”
When it came to filming the streets of Paris, the Eiffel Tower was, of course, the main event, but for M’Changama and his team, every street was important. “The most challenging locations for us involved the locations with bluescreens because we faced last-minute changes on the script,” M’Changama remarks. “For the bluescreens scenes, there was the rooftop camp, the cargo ship and the Eiffel Tower. The screenplay wasn’t completely finished as we were going to shoot. The good ideas from the showrunner and the director came in very late in the process, and as they were amazing ideas, we needed to adapt our initial plans. For example, the location of the boat was initially only in the sea and finally a part of it happens in a harbor, What could we do regarding the visual effects in the harbor? It changed the way we would film. It was challenging because we changed our vision to the good ideas that sometimes came 10 minutes before shooting. The on-set VFX team provided a large panel of solutions, not only on bluescreen but all along the road trip we made in France. Then, when we were in the VFX post-production process, we were honestly excited and impatient to share our vision with David and all the team.”
Zombie blood and how the zombies are killed – specifically, the exploding head in the arena towards the end of the series – was one of the most creative aspects of the show for M’Changama and his VFX team. (Photo: Emmanuel Guimier)
One of the biggest challenges for M’Changama was matching their work with the rest of the Walking Dead universe. “We had a vision of how the zombies work, but we are not doing another show about zombies, we are bringing the Walking Dead to France. We can bring something new to it, but we need it to match what already exists and we need it to be accurate. The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. The lights were changing, and it was becoming dark, and the blood was very specific. We needed to make those little details match. That one single shot was very fun to do, and we did a great job. It wasn’t too digital or too gory, but it was 100% CGI.”
“The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. … It wasn’t too digital or too gory, but it was 100% CGI.”
Clémence Poséy as Isabelle in Paris. BUF made the Eiffel Tower and all associated assets – and enjoyed destroying what they built. (Photo: Emmanuel Guimier)
M’Changama and his team also faced issues with anachronism. For one of the flashback sequences, Notre Dame’s spire, which was destroyed in the recent fire, had to be recreated. For M’Changama, working on these fine details was an important part of the process “I’m happy that Hollywood trusted France’s VFX ecosystem. I think we did a great job, and I’m proud of what we’ve achieved. We’re eager for the next challenge!”
Many different iterations were attempted for the reveal of the Heroes of the Horn before settling upon what appeared in the show.
Essential for any successful digital augmentation is having a member of the visual effects team present during the live-action shooting to ensure that are the required elements, whether it be plate photography or LiDAR scans of sets, are acquired and provided to vendors, thereby establishing a solid foundation for the work to be done in post-production. In the case of the second season of The Wheel of Time, the on-set visual effects supervision was equally divided between Roni Rodrigues and Mike Stillwell.
It was always important to have practical plate photography to build from when creating CG environments.
“When living away, you start immersing yourself in the project 24/7,” explains Roni Rodrigues, On-Set VFX Supervisor. “I did block one which was Episodes 201 and 202 and then straightaway did block two which was Episodes 203 and 204. Then Mike Stillwell did blocks three and four. When shooting block one, you will do some scenes from Episodes 201 and 202 together because we’re revisiting a lot of those locations. For block one, we had Thomas Napper as the director and for block two Sanaa Hamri as the director, so the team changed as well, including the DP and 1st AD.”
No matter the type of element, an effort was made to incorporate the weaving associated with channeling.
“We did previs and then postvis [of Heroes of the Horn] with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
—Mike Stillwell, On-Set VFX Supervisor
Location shooting took place in the Czech Republic, Italy and Morocco.
Overseeing the fantasy series is creator and showrunner Rafe Judkins. “Rafe’s position was important to give consistency on the visual identity of the show,” Rodrigues notes. “Even though the directors changed, we always kept everything in the same universe. That’s one of the reasons why it was so important for us to spend quite a lot of time in pre-production, because we managed to plan ahead for many of the details in every single scene. It was easy for us to transfer that information from the first block to the second block and achieve the desired results.” A lot of time was spent developing relationships with other departments, “from the collaboration with the DP discussing on-set light interaction to the production designer and how we want to build sets so there is a seamless line between what is practical and a CG extension,” Rodrigues adds.
A major new environment in Season 2 is the city of Falme.
“The relationships that Roni had started in the first four episodes made it so much easier for me because I was able to come in and build upon on what was already there,” remarks Mike Stillwell, On-Set VFX Supervisor. “The stunt guys would be showing me their stuntvis before they’ve shown other people and asking, ‘What do you think? Is this going to work?’ Jan Petrina, the Stunt Supervisor, would do incredible stuntvis with fantastic After Effects work in it. It paved the way for what we wanted to do. It was a constant dialogue. He never promised something that we couldn’t deliver and vice versa. We had each other’s backs wherever possible.”
Waygates are important means of travel – and tricky to pull off, especially when horses are involved.
The smoke reveal of the Heroes of the Horn was not the original idea. Stillwell observes, “We did previs and then postvis with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
Witness cameras capture every single body gesture and finger movement to get the proper channeling interaction.
“It was nice to work with Andy Scrase [Visual Effects Supervisor] as he was on the same page about the details, and the more information that we actually give to the post-production team, the more they can do,” Rodrigues states. “The cyberscan booth was there [in the studio] 24/7 for us. Hats off to the visual effects production team, production manager and production coordinators because we wanted not just everyone being scanned, every time our lead actors changed their clothes, we wanted that variation as well.” A variety of exterior locations were found in the Czech Republic. “The whole city of Cairhein was built, and was so vast and rich in details that it was incredibly helpful,” Rodrigues notes. “Also, we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
Practical and digital smoke were combined to create the dramatic reveal of the Whitecloaks calvary just before it attacks Falme.
“[In addition to the Czech Republic] … we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
—Roni Rodrigues, On-Set VFX Supervisor.
Killing Turak (Daniel Francis) was not as easy for the production team as it was for Rand al’Thor (Josha Stradowski). “When Rand is approaching the tower and Turak [Daniel Francis] has his heron-marked blade and does some fancy moves, we had so many meetings where I was presenting different ideas on, ‘How do we kill Turak?’” Stillwell recalls. “Rand has unbelievable power and is pissed. How would he do this? We were talking about turning someone to stone and then shattering them. Or having Rand fill them with lava and they explode from within. Or Rand whipping through these blades of air and doing the classic thing where they look fine and then slowly slide apart because of being sliced in half. What Rand ends up doing is so nonchalant, but it shows the power that he has. We spoke to Josha about it. Josha even plays it like he didn’t expect it to be that easy.”
Hardened air can be effective in producing weapons and shields.
Lessons were learned, in particular, when it came to characters channeling the One Power, which involves manipulating intricate illuminated weaves of water, fire, earth, air and spirit. “They used interactive light on Season 1, and when we received the plates, the lighting was baked into the plate, and it was too much,” Rodrigues explains. “We ended up painting out interactive light from all of those scenes. We wanted the showrunner to have a full scope of flexibility to decide in post-production which direction he wants to go. What we did was to do a performance take without interactive light and then we did it again, but with interactive light. The idea was once they decided on the take to use, we would get the plate with the interactive light and paint light in. In this way, we had the flexibility to paint the light as many times as we wanted in any position we wanted.”
The fire dragon required careful attention to detail to stand out properly in the daylight.
“It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.”
—Mike Stillwell, On-Set VFX Supervisor
Prosthetic makeup was digitally enhanced for the Trollocs.
Hallucinations allowed for surreal imagery. “For the psychedelic visions Matt Cauthon [Barney Harris] has after drinking the tea, we did a lot of work on how things would work with the mirrors, how it would look when his hands and veins are becoming distorted and enlarged,” Stillwell states. “There were lots of discussions about how to make that trip look terrifying, and the switching out of him and his mother. It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.” A character gets turned into stone and dissipates into the air. “The art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
Rather than be a straight white light, the Waygates reflected the environment about to be entered.
“[For a character that gets turned into stone and breaks up] the art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
—Mike Stillwell, On-Set VFX Supervisor
A dramatic moment occurs when Moiraine does fire channeling on a beach that goes through the water like torpedoes to destroy the Seanchan fleet.
One of the cool visual effects are the shields created by channeling air. “The ideas for that were still broad when we were actually shooting,” Stillwell reveals. “It was a case of talking to the actors and giving them something to work with, because so often they’re having to do all of this channeling and having to imagine what it is and how it’s affecting them. When Marcus Rutherford [Perrin Aybara] is protecting them from Ishamael [Fares Fares] at the end when we were rehearsing it, I asked if it was okay for me to go and show something. I was slamming my body onto his shield and saying, ‘This is the weight of what’s hitting you. You’re not just deflecting bullets like Captain America. These are massive large forces, not little pinpricks.’ I was just trying to give him something to work with so he can imagine it, because if the actor’s performance works, the visual effects work so much better.”
Framestore has shifted to a hybrid model, aiming to establish a balance between work-from-home and real-time in-studio experience. (Images courtesy of Framestore)
In just a few years, turbocharged by the pandemic, remote work has become widely established in the VFX industry and is now a preferred option for many visual artists. It has also helped boost the globalization of visual effects work, which in turn has increased the demand for remote workers.
Framestore was one of the VFX studios that succeeded in pivoting quickly in the new environment. Looking back, Framestore CEO Mel Sullivan recalls, “Thanks to our systems team we had an effective, efficient and secure remote working pipeline in place within two weeks of lockdown, and since then it’s mainly been a case of refining and enhancing our work-from-home capabilities.”
During that time, Sullivan says, “We’ve delivered some of the biggest shows on Earth from home – Oscar nominees, record-breaking box-office successes, you name it – so it’s now second nature and certainly isn’t hampering what we do. Like most of the companies operating at our level, we’ve now moved to a hybrid way of working. This has been a question of striking a balance between the improved work-life balance the industry is now enjoying versus the genuine benefits of being surrounded by your peers, being able to connect with each other in real-time and spark those spontaneous insights and conversations that only happen if you’re in the same physical space.”
Cinesite has embraced remote working on a permanent basis. It’s London, Montreal and Vancouver studios provide an optimal remote work setup while making the office easily accessible to employees who wish to make use of it. (Images courtesy of Cinesite)
“Our staff are at the core of Cinesite’s success; everyone is different, and we celebrate that. By allowing individuals to work according to their own working styles, we’ll get the best out of everyone rather than forcing them to conform to another person’s style, at their detriment.”
—Sashka Jankovska, Chief HR Officer, Cinesite
After COVID-19’s arrival, the necessity to maintain social distancing and prioritize employee safety led to a significant shift towards remote work in the VFX industry. During the pandemic, many VFX studios established remote work setups, enabling their artists to continue working on projects from home. Advancements in technology, high-speed internet connections and the availability of powerful remote collaboration tools made this transition possible. Artists could remotely access necessary software, collaborate with colleagues and render their work using cloud-based systems. Among such tools today, Hammerspace delivers a global data environment which spans across data centers and AWS, Azure and Google cloud infrastructure. Frame.io (owned by Adobe) is a leading cloud-based storage platform for video assets and files. LucidLink offers a high-performance cloud file system for distributed workloads, while Seagate’s Lyve Data Services provides data management, recovery and secure migration to any cloud service. Moxion (owned by Autodesk) is a dailies and content-review platform and offers an instant dailies service in HDR, with full Dolby Vision, HDR10 and 4K resolution playback support. The Television Academy for Engineering Development awarded Teradici an Emmy in 2020; it is a leader in “remoting software for performance, security and deployment flexibility.” Acquired in 2021, the firm’s Teradici CAS (Cloud Access Software) is now HP Anyware. MS Teams and Zoom are among the popular tools for communications collaboration.
Digital Domain is exploring a hybrid approach that enables artists to work both remotely and in-studio to alleviate ‘work-from-home fatigue,’ foster team-building and provide support and integration for new talent. (Images courtesy of Digital Domain)
Key benefits of remote work in the VFX business include increased flexibility, access to global talent and cost savings. Some of the challenges include achieving sufficient collaboration and communication, plus hardware and software requirements, data security and protection of intellectual property.
While remote work has grown tremendously, some studios may still prefer a hybrid approach, combining remote work with in-person collaboration for certain stages of production or specific projects that benefit from on-site interactions. Cinesite offers three different options at its London, Montreal and Vancouver offices – home-based, hybrid-based and office-based. It offers all-team meetings to provide transparency and motivation as well as seasonal opportunities to socialize with colleagues and friends, and it has retained its physical offices for employees in London, Montreal and Vancouver for in-person collaboration and special projects.
At BOT VFX, collaborative content-review software helps make remote work viable. (Image courtesy of BOT VFX)
Early on, Cinesite shifted to a flexible way of working, embracing workplace shifts made necessary by the pandemic. “After everyone settled into their new work-from-home environment, we quickly realized we could be even more creative and effective in delivering high-quality series and feature film work when adopting a flexible way of working,” notes Cinesite’s Chief HR Officer, Sashka Jankovska. “Our staff are at the core of Cinesite’s success; everyone is different, and we celebrate that. By allowing individuals to work according to their own working styles, we’ll get the best out of everyone, rather than forcing them to conform to another person’s style, at their detriment.”
“Looking ahead to 2024, we are exploring a hybrid approach that will enable our artists to work both in-studio and remotely. The primary driver behind this adjustment is to alleviate ‘work-from-home fatigue,’ encourage and foster team-building and provide better support and integration for new talent into Digital Domain. By combining the best of both worlds, this approach will create an ideal environment for collaboration and creativity while retaining the advantages of remote work.”
—Lala Gavgavian, President and COO, Digital Domain
President and COO of Digital Domain Lala Gavgavian comments, “Our rapid response to the pandemic in 2020 and the shift to a work-from-home paradigm have been among our significant operational achievements at Digital Domain. The evolving WFH setup has expanded our access to global talent without the need for physical relocations to a brick-and-mortar building and allowed us to scale our capacity in ways that were limited prior to the work-from-home success.” She adds, “Looking ahead to 2024, we are exploring a hybrid approach that will enable our artists to work both in-studio and remotely. The primary driver behind this adjustment is to alleviate ‘work-from-home fatigue,’ encourage and foster team-building and provide better support and integration for new talent into Digital Domain. By combining the best of both worlds, this approach will create an ideal environment for collaboration and creativity while retaining the advantages of remote work.”
Hitesh Shah, BOT VFX CEO and Founder, comments, “The discussion of ‘if remote work is in the mix’ is almost gone – most of the attention is on how organizations balance in-office versus remote. Organizations continue to wade through the conflicting needs posed by talent access, talent lifestyle preferences, collaboration needs, training needs and economics.” He adds, “Like most other industries, the VFX industry has gone from large ‘religious’ debates about all in-office or all-remote to everyone finding the balance that works for their situation.” Shah notes that “collaborative content-review software” helps make remote work viable.
The option of remote work allows Ingenuity Studios to best meet their hiring goals, especially when demand spikes, though the studio, like almost all studios, believes that remote work doesn’t replace the added benefits of people working together. (Image courtesy of Ingenuity Studios)
In a broader sense, the world is figuring out what types of businesses and industries are okay to work remotely – or not. According to David Lebensfeld, President and VFX Supervisor at Ingenuity Studios. “The VFX industry has gotten comfortable with the idea that remote work is here to stay. It’s interesting though – more workers are returning to the office in some locations more than others. So, for example, Europe has more workers returning to the office. Yet in New York City and Los Angeles, we’re finding that people want to continue working remotely.”
Lebensfeld observes, “Most artists do want the option. I think hybrid and remote work will endure in the VFX industry, if for no other reason than access to talent being key, and remote/hybrid options definitely expand the pool of qualified candidates.” In terms of key software and hardware that facilitate remote work, “There are common tools that everyone uses, including MS Teams and Zoom. We use Teradici to power remote working around the world,” Lebensfeld adds. “Remote work is supported well by the cloud. You can access workstations or storage from anywhere and move workstation demand closer to team member location, such as through AWS or Azure for improved latency speed, which is more or less attached to distance.”
“Europe has more workers returning to the office. Yet in New York City and Los Angeles, we’re finding that people want to continue working remotely. Most artists do want the option. I think hybrid and remote work will endure in the VFX industry, if for no other reason than access to talent being key, and remote/hybrid options definitely expand the pool of qualified candidates.”
Remote work is having a positive effect on many visual effects artists. “I think it is impacting work/life balance, quality of life and flexibility to handle family needs and work after the kids are sleeping,” Lebensfeld says. “All of this depends on the team member and the project needs at any given time. Sometimes, having work completed at odd hours really benefits a project timeline while still promoting a healthy balance.” He comments, “The hope is that post-strike demand returns to a level that is sustainable for the industry, and we happen to think that the option of remote work allows us to best meet our hiring goals, especially when demand spikes. I don’t think remote work fully replaces how people work together, however. In-person working and team interactions bring added benefits of additional context and relationship-building. I find that mentoring is often easier with in-person dialogue and rapport.”
FutureWorks is guided by the belief that remote work can bring filmmakers together more quickly and cost-efficiently while allowing the company to compete for new talent on a global scale. (Image courtesy of FutureWorks)
Gaurav Gupta, CEO of FutureWorks, notes that remote work can bring filmmakers together more quickly and offer “flexibility, speed, cost optimization and competition for the best talent at global scale.” He comments, “Content creation, by its nature, works best when creators are able to collaborate frequently and effectively, where multiple stakeholders can share their ideas quickly and review changes in a qualitative manner. Starting with Smartjog, Aspera and Cinesync in the 2000s, to modern cloud-based applications like Frame.io, Moxion, etc. now, technology has enabled creators to share high-quality audio, video and images.”
The cloud is already essential for much remote work. Gupta explains, “Whether private or public, cloud technologies are being used everywhere in content production; from set to screen, remote work and cloud go hand in hand. I think the industry is now aligned to make The 2030 Vision published by MovieLabs a reality sooner than its stated time frame. Its first principle ‘All assets are created or ingested straight into the cloud and do not need to be moved’ heralds a complete cloud future.”
Autodesk’s Moxion is a dailies and content-review platform that offers an instant dailies service in HDR, with full Dolby Vision, HDR10 and 4K resolution playback support.
Just as remote work has enabled globalization, the latter has fed the former. “Netflix has created the first true global studio without borders. Their focus on pushing both technology and creativity in content production at global scale has accelerated the development and adoption of remote working. The flywheel is now spinning faster and faster,” Gupta says.
“For me the most exciting developments are in the area of a Global File System, technologies like Hammerspace enabling seamless movement of data to a location where it’s needed with AI intelligence. I think technologies like these were only available to a select few studios, and now anyone will be able to adopt this. This solves a very important problem for a globally distributed workforce.”
—Gaurav Gupta, CEO, FutureWorks
Gupta adds, “For me the most exciting developments are in the area of a Global File System, technologies like Hammerspace enabling seamless movement of data to a location where it’s needed with AI intelligence. I think technologies like these were only available to a select few studios, and now anyone will be able to adopt this. This solves a very important problem for a globally distributed workforce.”
Evercast’s collaboration technology allows filmmakers, film editors, game developers, animators, musicians and creatives to work remotely together in real-time, securely stream work sessions in up to 4K, as well as video chat live. (Image courtesy of Evercast, LLC)
Still, with all the benefits brought by remote work, the old-fashioned approach is also important. “Being in the office is also vital for our new and early-career artists since they benefit so much from being able to work and learn alongside more experienced creatives,” Sullivan says. “Linked to this is our broader mission to ensure everyone working for Framestore, whether they’re in the U.K., U.S., Canada, India or Australia, can benefit from our unique creative culture and the wealth of training, development and mentoring opportunities we offer.”
The remote workflow has evolved steadily on several fronts since early 2020. Rob Hifle, CEO and Creative Director at Lux Aetena, notes the deep globalization of the workforce occurring in VFX. “Connectivity is continually improving, leading to more global collaboration as well as hybrid working, leveraging talent and expertise from different regions of the world. This will lead to wider representation of backgrounds and experiences across the industry, with the unique and valuable insights that brings.”
Preferring to shoot practically, Christopher Nolan aimed to avoid CG effects when making Oppenheimer. SFX and filmed elements were used to capture the power of the Trinity nuclear test. (Image courtesy of DNEG and Universal Pictures)
Last year, Avatar: The Way of Water scooped the Academy Award for Best Visual Effects, beating Top Gun: Maverick, Black Panther: Wakanda Forever, All Quiet on the Western Front and The Batman. When the nominees are announced on Tuesday, January 23, for Best Visual Effects at the 96th Academy Awards, it will be another competitive year with outstanding films in contention for the VFX Oscar.
Nominated for Best Visual Effects in 2014, the first Guardians of the Galaxy installment narrowly missed out to Interstellar. In 2017, Guardians of the Galaxy Vol. 2 saw itself nominated for the award, this time losing out to Blade Runner 2049. A third-time’s-the-charm win would be fitting for the third and final installment; although it should be noted that with the extraordinary craftsmanship of the film’s Visual Effects Production Supervisor, Stephane Ceretti, and all of the VFX vendors involved, it would be anything but luck, as Vol. 3 remains a serious forefront contender. “We had 3,066 visual effects shots in the film, a huge number,” says Ceretti, who also worked on the first film. “On top of that, we had to do the Christmas special at the same time, which was an additional 560 shots.”
Ceretti credits Guardians series director James Gunn for constantly evolving and challenging his VFX team to break new ground. “James Gunn always wants things to look as real as possible,” Ceretti explains. “He’s got his filming style that’s very specific to him, and that has evolved from the first Guardians film. He was really challenging us in terms of how he is now filming things with smaller cameras that are really portable and moving all the time. We knew that we had potentially a lot of full CG sequences, especially with the flashbacks. We had discussions about the different worlds that we would either revisit from previous films, like Knowhere, or the new places that we would introduce like Counter Earth or The Orgoscope. We worked alongside Production Designer Beth Mickle, who is fantastic and had previously done The Suicide Squad with James.”
Rocket proved to be the most challenging CG character to create for Ceretti and his team. “It was great to come back and finish the story of Rocket,” Ceretti says. “We knew we had to build Rocket across his different ages throughout the film. There was also a sense of an animalistic feeling that we had to get from Rocket that, in my opinion, we had lost a little bit across the different films.” Ceretti adds, “The emphasis on the high level of detail in terms of both modeling, grooming and keyframe animation for all of these animals was really key for the success of the movie and being able to tell that story.”
Indiana Jones and the Dial of Destiny marked the titular character’s return to the big screen. With Andrew Whitehurst serving as Visual Effects Supervisor, the film consisted of 2,350 visual effects shots. Whitehurst describes, “Because the movie is a journey, most scenes take place in different times and locations. It’s a story that has many components with little overlap between them. We knew that the scope of the work would mean that we would need several vendors on the show. By the time we were starting to think about that, Kathy Siegel, the VFX Producer, was onboard, so we were talking about the various folks that we might approach to work on it and who’d we worked with before, and who we knew specialized in certain types of work. It was an exercise in logistics really.”
Driven by more than 3,000 visual effects shots with many fully CG sequences, Guardians of the Galaxy Vol. 3 remains a serious standalone contender, even though the first two films were nominated but missed out in 2014 and 2017. (Image courtesy of Marvel Studios)
Along with the prologue, the Siege of Syracuse sequence was one of the main focus points in the pre-production of Dial of Destiny. “We started blocking it out with Previs Supervisor Clint Reagan,” Whitehurst notes. “[Editor] Mike McCusker, who was cutting that sequence, was on the project by then. We were exploring the sequence through previs and storyboards because a screenplay often isn’t the best place to explore an action sequence like that. The other thing we needed to figure out was how to film it and how the narrative would drive the layout of the environment. In my office in L.A., I had a map on my whiteboard that I was forever updating with what ancient Syracuse looked like based on the cut. I had all the various story beats as thumbnail sketches drawn on Post-it notes that I was laying out along the planes’ trajectories as I drew them out on the board. From that we could work out how the coastline and the city had to be laid out to accommodate that action. Previs was also vital in working out how we might stage action in the plane set pieces that we had at Pinewood. We were able to figure out ahead of shooting how we could get our actors, crew and cameras into such a confined space. It saved a lot of time on the shoot.”
“Everyone working on the film was very conscious of the previous films and the way that they were made,” Whitehurst explains. “The thing you will hear more from Jim [director James Mangold] when you are on set or talking about previs shots, is ‘nouns and verbs.’ Every shot needs a noun and every shot needs a verb. That’s a very classical filmmaking way of working, and I think that attention to detail really shines through in the finished film.”
With a tip of the visor to Blade Runner and the Lucasfilm legacy, Gareth Edwards’ The Creator introduces a brave new sci-fi world, both compelling and grounded in real-world locations that ring true. (Image courtesy of 20th Century Studios)
With 2,350 visual effects shots, including a prologue and a portal-through-time visitation to the Siege of Syracuse in 200 BC, Indiana Jones and the Dial of Destiny shines with a keen attention to a treasure chest of detail. (Image courtesy of Lucasfilm Ltd)
Gritty and grounded, Transformers: Rise of the Beast stars robots that reflect the different environments they inhabit, and features complex character animation and FX simulations in almost every shot. (Image courtesy of Paramount Pictures)
Ridley Scott’s Napoleon conjures a broad historical canvas of 18th century France with battlefields and thousands of soldiers, requiring a seamless weave of practical, CG and invisible effects that all contribute to the film’s unique look. (Image courtesy of Apple Studios and Columbia Pictures/Sony)
Following Rogue One: A Star Wars Story, Gareth Edwards was at the directing helm again with The Creator. FIN VFX contributed over 100 shots for the film. “By the time we joined the project, The Creator had been in Gareth’s head for years,” says FIN VFX Supervisor Stuart White. “When we received our first shots to begin work on, ILM had already finalized a large number of their shots, having had about a two-year head start. So, the expectations were high! I’ve long been a fan of concept artist [Production Designer] James Clyne. He and his team at ILM had been working on the most amazing body of concept art for this movie that I think I’ve ever seen, all handed to us as a PDF that numbered hundreds of pages.” Discussing the most challenging visual effects shot to create, White notes a shot where two (CG) police transport ships land in an alleyway, and about nine (partially CG) robots jump out of it and run into a building. “In the postvis, they had replaced the whole top half of the frame with a still that basically implied ‘insert Blade Runner awesome future city alleyway and skyscrapers here.’”
Joe DiValerio of Outpost VFX served as VFX Supervisor and interacted with Charley Henley, Production Visual Effects Supervisor, for Ridley Scott’s Napoleon. “Our work was just under 30 shots, which we ultimately hope are invisible. The film has a unique look and style we needed to adapt to,” DiValerio says. “We had a sequence, fleshed out shot design, and a solid plan of shot plates and elements that needed to be assembled. There was some amazing roto and paint work to preserve the essence of the practical element photography. We had some very clever uses of mixing up the photography in ways it wasn’t originally intended – mixing up takes, augmenting stunt work, mixing angles and standard hiding logistics of the practical effects. The biggest challenge we anticipated was the CG crowd work. The production team had motion capture performances with specific actions for our sequence. We were able to build a library of just the right parts and then art-direct them into the film. Our sequence had a little bit of everything, matte painting, CG FX, crowds, element work and stunt enhancement.”
The Little Mermaid surfaces from the deep blue for live-action on land, but not without blending in merfolk and classic Disney animated undersea characters: Scuttle, Sebastian and Flounder. Characters built by Framestore. (Image courtesy of Walt Disney Studios).
Rodeo FX completed 237 VFX shots for The Little Mermaid with Graeme Marshall and Ashley Bellm both serving as Rodeo FX Visual Effects Producers on the film. “We were only one of multiple vendors,” say Marshall and Bellm with one voice. “As on most projects, we interacted mainly with the client-side VFX team, helmed by VFX Supervisor Tim Burke, and VFX Producer Leslie Lerman. Their team was an absolute delight to work with. Although we did receive notes from Rob [director Rob Marshall], our main point of contact was the studio VFX team. Rodeo was initially brought on board to take on some overflow character work from another studio. All of the merfolk shots were pretty challenging, there was a lot of plate reconstruction and integration to be done. Our most difficult shot was in the closing scene of the film when Ariel’s family and community join her on the beach to send her off on her adventures with Prince Eric. The shots with Scuttle, Sebastian and Flounder were also challenging as the character assets – built by our friends at Framestore – were shared across multiple vendors, and we had to ensure continuity not only in their appearance, but in their overall demeanor and performance.”
Rodeo FX recreated Place de L’Étoile in Paris, one of the busiest locations in the world, for John Wick: Chapter 4. The John Wick franchise is known for its stylish, choreographed action sequences and gunfights.(Photo: Murray Close. Courtesy of Lionsgate)
Wētā FX designed, built and animated Cokie and her two cubs for Cocaine Bear. (Image courtesy of Universal Pictures)
ILM’s VFX team worked closely with Production Designer James Clyne and the art department to develop the rich design framework of The Creator. (Images courtesy of 20th Century Studios)
Indiana Jones and the Dial of Destiny. (Image courtesy of Lucasfilm Ltd)
One of the most highly anticipated films of the year was Christopher Nolan’s Oppenheimer. The combined effects departments created over 200 shots and only half of those needed post work in VFX. Production VFX Supervisor Andrew Jackson was the first person to read the Oppenheimer script after Producer Emma Thomas. “Chris told me before I read the script that he wanted to avoid computer-generated effects,” Jackson says. “He thought if we could shoot it practically, it would fit better with the language and feel of the film. His approach to effects is very similar to mine in that we don’t see a clear divide between VFX and SFX, and believe that if something can be based on filmed elements it will always bring more richness and depth to the work. After my initial discussions with Chris, I spent the first three months of the project in SFX Supervisor Scott Fisher’s workshop, developing and testing dozens of simulations and effects. For the duration of the shoot, we ran a small VFX IMAX film unit, which compiled an extensive library of filmed elements. The final shots ranged from using the raw elements as shot, through to complex composites of multiple filmed elements led by VFX Supervisor Giacomo Mineo and the team at DNEG, the film’s sole VFX partner.
Barbie will likely be in contention for Best Production Design, but the film’s visual effects should not be overlooked. (Images courtesy of Warner Bros.)
Guardians of the Galaxy Vol. 3. (Images courtesy of Marvel Studios)
“Each shot presented its own set of challenges as the script describes thoughts and ideas rather than specific visual images,” Jackson continues. “This was both exciting and challenging as we searched for solutions we could build and shoot that were both driven by the story and visually engaging. Combined with the set of creative rules like only using real elements shot on film, this meant that we had to dig deeper to find solutions that were often more interesting than if there had been no limits. The one sequence that was the most challenging was the Trinity test itself. Unlike the other effects scenes, this one needed to replicate the original test but still be made only using filmed elements. It was a huge design and compositing exercise, involving retiming and combining multiple high-speed explosion and ground detail elements. The result is a truly unique cinematic experience.”
Real locations and a preference for practical effects ground Blue Beetle in a family-friendly everyday sense of reality that offers superhero VFX on a down-to-earth scale. (Image courtesy of Warner Bros.)
Oppenheimer. (Image courtesy of DNEG and Universal Pictures)
MPC and Wētā FX were the lead studios on Transformers: Rise of the Beasts, and the number of visual effects shots ended up in the 1,800-1,830 range. “[Director] Steven Caple Jr. and I met in pre-production when there was only a script. He’d been gathering mood material and came in with a good idea of the world he wanted. It was a more grounded, gritty and distressed look he was after,” says MPC VFX Supervisor Gary Brozenich. “We discussed a heavier patina for the robots in general and wanted to link the look of their aging to the places they inhabited. The Autobots are city dwellers and the Maximals are jungle-dwelling – we should feel the environment in their shell. Both should have a different quality. Unicron and its interior carried the weight of introducing the franchise’s ultimate villain, one that is ingrained in the lore and the minds of a huge fan base. We wanted to make sure we were true to the original structural design in its planetary form.”
Matt Aitken was Wētā FX Visual Effects Supervisor on the film. “Our work on the show was all complex with character animation and FX simulations in almost every shot. The transformation shots were particularly challenging; we set up a dedicated transformation team comprising specialists from animation, rigging and models to handle the specifics of those, and some of the transformation shots were in progress throughout our time working on the movie. The most difficult transformation sequence was probably Mirage transforming into an exosuit around Noah as he slowly stands up. We kept Noah’s face but most of the time his body, clothing and hair has been replaced to allow the articulating suit pieces to neatly form around him. That was the last shot we delivered on the show!” Wētā FX also provided the bulk of effects for Cocaine Bear. “Our work on Cocaine Bear focused on the furry, drug-fueled lead, Cokie, a CG black bear that goes on a rampage after stumbling on abandoned cocaine in the wilderness,” notes VFX Supervisor Robin Hollander.
This year, audiences also saw Brie Larson reprise her role as Captain Marvel in The Marvels, which undoubtedly will be a contender at the Academy Awards, while DC’s Blue Beetle could be an outside pick. This year also marked the return of John Wick with John Wick: Chapter 4, an excellent addition to the franchise. Barbie will certainly be in contention for Best Production Design. The film’s visual effects are also worth special mention. Whichever film wins the award for Best Visual Effects, it has been an incredible year for film VFX.
VES Members and Their Families are Invited to a Screening of Warner Bros. Pictures’ DUNE: PART TWO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Thursday, March 14, 2024 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
The 22nd Annual VES Awards season is underway, and it’s going to be more exciting than ever! Nomination Event to be held worldwide on Saturday, January 13, 2024.
This year we will have virtual and in-person Nomination Events. Current VES members can apply to judge on ANY in-person event that you can travel to or or ANY virtual panel in ANY time zone. This is the must-attend event of the awards season. You will see exclusive behind-the-scenes clips of the most striking visual imagery of 2023, and you’ll enjoy the single best networking opportunity of the year! Don’t miss your chance to meet the best and brightest in the VFX field, catch up with old friends, and learn about new VFX techniques. Plus, you’ll have the satisfaction of helping to decide the best work to be presented to our colleagues in the industry and the press, as well as fans across the globe.
The Nomination Event is an all-day event and judges will receive details about specific times closer to the event. Please apply to a specific in-person location, or a particular time zone of a virtual panel (view the Region Map for the time zone that best fits your schedule). Please submit your Judge Application early to make this year’s VES Awards Nomination Event successful.
-The 22nd Annual VES Awards Committee
JUDGE APPLICATIONS ARE CLOSED please contact cassidy@vesglobal.org with any questions
VES Members and Their Families are Invited to a Screening of Warner Bros. Pictures’ AQUAMAN AND THE LOST KINGDOM
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) Sunday, January 7, 2024 at 2:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Netflix’s REBEL MOON Followed by a Live Interactive Q&A with the Filmmakers
Panelists will include Overall Visual Effects Supervisor Marcus Taormina, Special Effects Supervisor Michael Gaspar, Wētā FX Visual Effects Supervisor Ken McGaugh and Framestore Visual Effects Supervisor Robert Winter, moderated by VES Board member Robin Prybil. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESREBELMOON, in your tweet.)
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) Saturday, January 6, 2024 at 1:00PM 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 Their Families are Invited to a Screening of Warner Bros. Pictures’ WONKA
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Wednesday, December 20, 2023 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
When: Thursday, December 14th, 8 PM EST
Where: 92 West Houston Street, New York, NY, 10012
Be sure to register at the door to win ONE of these great prizes: ** 1-year Subscription Full Effects Suite (BorisFX) ** 1-year Full Production Suite (Foundry)
Thank you so much BorisFX & Foundry for supporting us this year!!
VES Members and Their Families are Invited to a Screening of Toho Studios’ GODZILLA MINUS ONE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, December 9, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of GKIDS’s THE BOY AND THE HERON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, December 9, 2023 at 4:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Lionsgate’s SILENT NIGHT
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, December 8, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Marvel Studios’ and Walt Disney Motion Pictures’ THE MARVELS followed by a Q&A with the Filmmakers
Panelists will include Production Visual Effects Supervisor Tara DeMarco and Additional Visual Effects Supervisor Sarah Eim, moderated by former VES Board member Gene Kozicki, VES. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMARVELS, in your tweet.)
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) Saturday, November 11, 2023 at 2:00PM 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 Their Guests are Invited to a Screening of Universal Pictures’ FIVE NIGHTS AT FREDDY’S
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Tuesday, October 31, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Crompton Ale House Thursday, October 26th
6:30 pm – 9:30 pm EDT
VES Members: Free (PLEASE LOG IN TO RSVP) Non-Members: 20$
REGISTRATION IS REQUIRED – No Walk-ins
Thursday, October 26th
159 West 26th St, New York, NY 10001
We’re holding another combo of good food and cool tech, courtesy of our friends at Imagine Products and Iodyne Pro Data. Thanks for sponsoring!!
Includes food, 2 drink tickets
Not a member? No problem – CLICK HERE to register.
VFX + Color When: Wed Oct 25, 2023 08:00pm to 09:30pm EDT
VFX + Color : Why does it matter?
How many times have you opened, or inherited a project and found that something was …off? The undistorted plate is correct, the camera profile matches, but something isn’t right, or worse: broken. What’s the deal?
VES NY held a virtual panel on the theoretical and practical knowledge of color management.
From on-set acquisition to final grade and delivery, we spoke with experts at each step of the process.
Wednesday, October 25th
8:00 pm EDT
Guest Speakers: Jep Hill || Alkemy X Austin Mayers || Crafty Apes Dr Chris Bai || BenQ Art Suwansung || BenQ Tashi Trieu || Colorist – Avatar: Way of the Water Diego Yhama || Estudio Roco
Dr Chris Bai – BenQ
Dr. Chris Bai is currently the Senior Color Expert at BenQ Corporation, and he also serves as the Vice Chair of ICC (International Color Consortium) and the Chair of ICC Displays Working Group. He is also the ISO TC-130 and IEC TC-110 Expert who defines international color standards. His passion in photography led him into the world of color science and color management. His research interests include color theory, observer metamerism, display technology and spectral-based color management.
Jep Hill – Alkemy X
With over 28 years of visual effects and imaging experience creating and supervising visual effects for features, Hill’s work includes classic studio-style visual effects production and leading teams through the entire process on live-action and full CG feature films at such facilities as Dream Quest Images, Sony Pictures Imageworks, Scanline, Digital Domain, and Industrial Light & Magic. In March 2021, Hill joined Alkemy X as a VFX Creative Director and Head of Imaging to expand Alkemy’s West Coast team, capabilities, and build a strong creative presence in both USA and Canada.
Austin Meyers – Crafty Apes
Austin Meyers is a visual effects supervisor and post production specialist. He is an Emmy and VES award-winning visual effects artist with over 15 years of film, television, and commercial experience. With a degree in film, a background in turn-key video production and web design, he ultimately found himself working as a compositor and then worked his way up through the ranks and is currently Head of 2D for Crafty Apes, NY. He has a unique vision of how production and post flow together, and is driven to create fast, flexible, and efficient teams and workflows
Art Suwansang – BenQ
Art is BenQ Pro Display Line Global Ambassador, Calibrite Ambassador, X-Rite Coloratti and Adobe Partner & Influencer. He is a photographer, YouTuber and an expert in color management with a technical background in computer engineering.
Tashi Trieu – Colorist
Tashi Trieu has over 10 years of post-production finishing experience as well as an extensive background in compositing and digital and film photography. Utilizing a strong eye for story-centric visual aesthetics, Tashi combines both technical and artistic strengths to enhance feature films, commercials, short form, and episodic productions.
Tashi is the co-author of the textbook “Modern Post”, an internationally recognized authority on modern Hollywood post-production finishing.
Diego Yhamá – Estudio Roco
Post supervisor, colorist, and educator based in Bogota Colombia, Diego has worked on a variety of productions as a colorist and currently as a post supervisor in his own company Estudio Roco, as an educator he is the designated DaVinci Resolve Master trainer for Latin America by Blackmagic design and has taught different classes for universities, tv channels and post-production houses in around 13 countries, he also works as a demo artist with Maxon and Eizo Monitors.
Wednesday, October 11, 2023 at 12:00PM (PDT) & 3:00PM (EDT)
Mark your Calendars! The Visual Effects Society and TELUS Health (formerly Lifeworks) will present an overview of the services offered as part of the FREE VES Member Assistance Program. Don’t miss this chance to find out about the mental health, fitness, legal, financial, online resources, and more that are part of this amazing program. Don’t miss learning about all of these phenomenal benefits specifically for VES members throughout Canada and the United States!
VES Members and Their Guests are Invited to an Advance Screening of 20th Century Studios’ THE CREATOR
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) Thursday, September 28, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE NUN II
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Tuesday, September 19, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of 20th Century Studios’ A HAUNTING IN VENICE
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) Monday, September 18, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES NYers! Bring a friend, have a drink, grab a bite and learn more about member benefits!!
VES Members RSVP below (please log in first) Non-members check-in at the door. Tuesday, September 12, 2023 at 7:00PM Crompton Ale House
159 W. 26th Street, New York, NY 10001
***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.
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 Sony Pictures’ GRAN TURISMO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, August 27, 2023 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and a Guest are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
RSVPs are closed Wednesday, July 19, 2023 at 7:00PM (Please arrive early, as seating is first come first served) AMC Lincoln Square IMAX 13 (Theater #4)
1998 Broadway (at 68th St.) New York, NY 10023 Click here for a map
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
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 3D Screening of Walt Disney Pictures’ THE LITTLE MERMAID
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, May 28, 2023 at 2:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
PUB NIGHT & TECH DEMO
Sponsored by Iodyne Pro Data
Come by Westside Tavern (across from SVA Theatre)
Welcome the new and returning members, grab a drink and check out some new tech from our friends at Iodyne Pro Data.
Please RSVP below (VES members must login to RSVP) Tuesday, May 23rd @ 7:00PM 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 Weekend Screening of Universal Pictures’ FAST X
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) Sunday, May 21, 2023 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***
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 receive a US $995 special rate to register for the RealTime Economics Summit (full regular ticket price is US $2,995).
Don’t miss out on the chance to join a select cohort of executives from industries including virtual production, broadcast, digital fashion, retail & 3D commerce, manufacturing, architecture, automotive, advertising, and enterprise management. RTES takes place in New York, on May 15 & 16. Click here to register now!
Join your peers at an invitation-only gathering of 250 decision-makers and executives to discover how real-time technology adoption will impact your bottom line. Connect with the leaders you’ve always wanted to meet from across industries around the world and explore honest perspectives on strategic technology decisions in the face of economic uncertainty. Get insight into economic issues rippling across industries and how real-time technologies promise to address those challenges. Discuss real-time economic and management issues specific to your industry in private break-out spaces, facilitating candid and open discussion. VES members offering insights on the future of real-time applications will include:
Doug Cooper, CTO of Spire Animation Studios
Barbara Ford Grant, President of Prysm Stages and VES Technology Committee member
Rob Legato, ASC, President of KTM Productions and recipient of the VES Award for Creative Excellence
Paolo Tamburrino, Virtual Production & Visual Effects Producer
Ed Ulbrich, CEO of Digital Domain, former President at Method Studios
Philipp Wolf, Executive-in-Charge of Corporate Strategy at DNeg and VES Board member
VES Members and Their Guests are Invited to an Opening Night Screening of Sony Pictures’ KNIGHTS OF THE ZODIAC
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, May 12, 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 Opening Weekend 3D Screening of Marvel Studios’ and Walt Disney Pictures’ GUARDIANS OF THE GALAXY, VOL. 3 followed by a live interactive Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Stephane Ceretti and Sony Pictures Imageworks Visual Effects Supervisor Theo Bialek, moderated by Van Ling, VES. (All panelists’ participation based on availability.) Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESGUARDIANS3, in your tweet.)
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) Sunday, May 7, 2023 at 2:00PM 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.
Itinerary: Intro Seminar – conducted by Final Pixel. (approx 1-hr)
2 x Breakout groups (approx 1-hr)
A – Technical: Deeper dive into Unreal, camera tracking and Disguise – led by Michael Komer
B – Management: Deeper dive into VAD & OSVP/Volume Control Team set up and management – led by Final Pixel. Industry Mingle – beverages provided (approx 1-hr)
**Attendees will leave this event with a broad understanding of Virtual Production, a deeper understanding of the technologies involved and how a working Virtual production set operates.
VES Members and a Guest FREE!
Please RSVP below (VES members must login to RSVP) Saturday, May 6th 1:00PM to 4:00pm EST
Fuse42
229 W. 42nd Street New York, NY 10036
***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.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE POPE’S EXORCIST
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) Sunday, April 16, 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 Opening Weekend Screening of Universal Pictures’ RENFIELD
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 16, 2023 at 5:00PM 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 Their Guests are Invited to an Opening Weekend Screening of Metro-Goldwyn-Mayer Studios’ AIR
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) Saturday, April 8, 2023 at 6:00PM 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 Their Guests are Invited to an Opening Weekend 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SUPER MARIO BROS. MOVIE
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.
Please RSVP below (VES members must login to RSVP) Saturday, April 8, 2023 at 3:00PM 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 Their Guests are Invited to a Screening of Lionsgate’s JOHN WICK: CHAPTER 4
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Monday, April 3, 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 Opening Weekend Screening of Focus Features’ A THOUSAND AND ONE
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) Sunday, April 2, 2023 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***
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 Paramount Pictures’ DUNGEONS & DRAGONS: HONOR AMONG THIEVES
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, April 1, 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.
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.
New York VES Members and Their Guests are Invited to an Opening Night Screening of Columbia Pictures’ INFERNO
Please RSVP below Friday, October 28, 2016 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 Warner Bros. Pictures’ THE ACCOUNTANT
Please RSVP below Sunday, October 23, 2016 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 Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below Friday, September 30, 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.
VES Members and Their Guests in New York are Invited to a Pre-Release Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON, plus a Q&A with the filmmakers.
Panelists will include Director Peter Berg, Special Effects Supervisors Burt Dalton and Matt Kutcher and Lead Post-Vis Artist at ILM Keith Johnson with moderation by VES Board member Dan Schrecker. (All panelists’ participation based on availability.)
Please RSVP below Saturday, September 24, 2016 at 3:00PM
New York Institute of Technology’s Broadway Theater
1871 Broadway (between 61st & 62nd Streets), New York, NY 10023 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:
On April 20th, 2010, one of the world’s largest man-made disasters occurred on the Deepwater Horizon in the Gulf of Mexico. Directed by Peter Berg (LONE SURVIVOR), this story honors the brave men and women whose heroism would save many on board, and change everyone’s lives forever. Click here to watch the trailer.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Starring: Jeff Bridges, Rachel McAdams, James Franco, Marion Cotillard, Benicio Del Toro, Ricky Gervais, Paul Rudd, Paul Giamatti, Albert Brooks, Mackenzie Foy and introducing Riley Osborne
Directed by: Mark Osborne
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 focuses on a young girl we come to know as “The Little Girl,” who is being prepared by her mother for the very grown-up world in which they live. As The Little Girl adjusts to a new home, school and surroundings, her world is suddenly interrupted by an eccentric, kind-hearted neighbor we come to know as “The Aviator.” The Aviator introduces her to a new world where anything is possible, a world that he himself was initiated into long ago by “The Little Prince.” It’s there that The Little Girl embarks on a personal odyssey into the universe of The Little Prince, a world where it is only with the heart that one can see rightly; what is essential is invisible to the eye.
THE LITTLE PRINCE was produced by Aton Soumache, Dimitri Rassam and Alexis Vonarb with Jinko Gotoh and Osborne serving as executive producers. The international team of artists and actors working on the film includes Jeff Bridges (“The Aviator”), Rachel McAdams (“The Mother”), Mackenzie Foy (“The Little Girl”), Marion Cotillard (“The Rose”), James Franco (“The Fox”), Albert Brooks (“The Businessman”), Benicio Del Toro (“The Snake”), Ricky Gervais (“The Conceited Man”), Bud Cort (“The King”), and Riley Osborne (“The Little Prince”) with Paul Giamatti (“The Teacher”). THE LITTLE PRINCE includes an original score and songs by Hans Zimmer & Richard Harvey featuring Camille, production design by Lou Romano, Alexander Juhasz and Céline Desrumaux, stop-motion creative director Jamie Caliri, character design by Alexander Juhasz and Peter de Seve, editing by Matt Landon and Carole Kravetz, sound design by Tim Neilson, and an adapted screenplay by Irena Brignull and Bob Persichetti, based on a story conceived by Osborne.
Please RSVP below Friday, August 19, 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.
Focus Features and Laika Entertainment Invites VES Members and a Guest to a Special Advance Screening of KUBO AND THE TWO STRINGS followed by a Q&A with Director Travis Knight
Please arrive early, as noone will be admitted after the film has begun.
From animation studio LAIKA comes an action-adventure set in a fantastical Japan. Clever, kindhearted Kubo (Art Parkinson) ekes out a humble living, telling stories to the people of his seaside town. But his relatively quiet existence is shattered when he accidentally summons a spirit from his past which storms down from the heavens to enforce an age-old vendetta. Now on the run, Kubo joins forces with Monkey (Charlize Theron) and Beetle (Matthew McConaughey), and sets out on a quest to save his family and solve the mystery of his fallen samurai warrior father. With the help of his shamisen – a magical musical instrument – Kubo must battle gods and monsters, including the vengeful Moon King (Ralph Fiennes) and the evil twin Sisters (Rooney Mara), to unlock the secret of his legacy, reunite his family, and fulfill his heroic destiny. The film, produced by Travis Knight and Arianne Sutner, also features the voices of George Takei, Cary-Hiroyuki Tagawa, and Brenda Vaccaro.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below Friday, August 12, 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.
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s ICE AGE: COLLISION COURSE
Please RSVP below Sunday, August 7, 2016 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 3D Screening of Columbia Pictures’ GHOSTBUSTERS
Please RSVP below Sunday, July 24, 2016 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 3D Screening of Paramount Pictures’ STAR TREK BEYOND, plus a Q&A with the visual effects team.
Panelists will include Kelvin Optical Visual Effects Supervisor Stefano Trivelli, Visual Effects Producer Ron Ames, Atomic Fiction Visual Effects Supervisor Ryan Tudhope with moderation by VES Fellow and Founders Award winner Bill Taylor, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 23, 2016 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
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, #VESSTARTREK, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ THE BFG
Please RSVP below.
Saturday, July 16, 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
Screenings are overbooked to 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 LEGEND OF TARZAN
Please RSVP below Friday, July 15, 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.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below Friday, July 15, 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.
New York VES Members and Their Guests are Invited to a Screening of Sony Pictures’ THE SHALLOWS
Please RSVP below Tuesday, July 5, 2016 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 a Screening of Sony Pictures’ THE SHALLOWS
Please RSVP below Tuesday, July 5, 2016 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 a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below Thursday, June 30, 2016 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 a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below Thursday, June 30, 2016 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 of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Sunday, June 26, 2016 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 of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Sunday, June 26, 2016 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 a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Friday, June 17, 2016 at 7:30PM SVA 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 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Friday, June 17, 2016 at 7:30PM SVA 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 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Saturnday, June 11, 2016 at 1:00PM 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’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Saturnday, June 11, 2016 at 1:00PM 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 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Sunday, May 29, 2016 at 12:00PM SVA 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 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Sunday, May 29, 2016 at 12:00PM SVA 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.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
Please RSVP below.
Sunday, May 15, 2016 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
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below.
Sunday, April 24, 2016 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
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below.
Sunday, April 24, 2016 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
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Whether it is for cinema, broadcast or web, a good color grade makes an enormous difference on the end result of a piece. Color can affect the entire mood, feel & tone on the final piece.
Nice Shoes invites VES members to join along with master colorists for a night to discuss ‘The Art of a Color Grade.’
VES members can learn the true art and value of color grading from a colorist’s perspective. Nice Shoes is thrilled to give VES members an opportunity to hear from master colorists what is involved in actually color grading.
Colorist & Nice Shoes Partner Chris Ryan will lead the night’s class by introducing new techniques, technology, and best practices that Nice Shoes colorists employ. We will then open this up for a Q&A w/ VES members, giving you an opportunity to ask questions, for best workflow practices, or anything related to the color grading.
We will then do a few break-out rooms with additional Nice Shoes colorists, where we can show you some case studies and get into detail about the grade on particular projects. Nice Shoes will also discuss the best practices to prep for your color grade.
Whether it is for cinema, broadcast or web, a good color grade makes an enormous difference on the end result of a piece. Color can affect the entire mood, feel & tone on the final piece.
Nice Shoes invites VES members to join along with master colorists for a night to discuss ‘The Art of a Color Grade.’
VES members can learn the true art and value of color grading from a colorist’s perspective. Nice Shoes is thrilled to give VES members an opportunity to hear from master colorists what is involved in actually color grading.
Colorist & Nice Shoes Partner Chris Ryan will lead the night’s class by introducing new techniques, technology, and best practices that Nice Shoes colorists employ. We will then open this up for a Q&A w/ VES members, giving you an opportunity to ask questions, for best workflow practices, or anything related to the color grading.
We will then do a few break-out rooms with additional Nice Shoes colorists, where we can show you some case studies and get into detail about the grade on particular projects. Nice Shoes will also discuss the best practices to prep for your color grade.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ BATMAN V SUPERMAN: DAWN OF JUSTICE
Please RSVP below Sunday, April 10, 2016 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 Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Saturday, March 12, 2016 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 Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Saturday, March 12, 2016 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.
Join the VES New York Section for the 2nd 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.
Cocktails Food Entertainment VES Awards Highlights Networking Door Prize
Honoring: Chris Wedge with the VES Empire Award
An Oscar winning film director, producer, and co-founder of Blue Sky Studios, Chris Wedge is a creative innovator who has made extraordinary contributions to animation and entertainment here in the New York area and around the world. After starting Blue Sky in 1987, Chris went on to direct Bunny, which took home the Oscar for Best Animated Short Film in 1998. He followed this up by directing Blue Sky’s first two feature films, Ice Age and Robots, and has since served as an executive producer on a number of other Blue Sky Films. More recently, Chris directed Epic (2013), and just completed his first live action/hybrid film Monster Trucks, due in 2017.
Join the VES New York Section for the 2nd 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.
Cocktails Food Entertainment VES Awards Highlights Networking Door Prize
Honoring: Chris Wedge with the VES Empire Award
An Oscar winning film director, producer, and co-founder of Blue Sky Studios, Chris Wedge is a creative innovator who has made extraordinary contributions to animation and entertainment here in the New York area and around the world. After starting Blue Sky in 1987, Chris went on to direct Bunny, which took home the Oscar for Best Animated Short Film in 1998. He followed this up by directing Blue Sky’s first two feature films, Ice Age and Robots, and has since served as an executive producer on a number of other Blue Sky Films. More recently, Chris directed Epic (2013), and just completed his first live action/hybrid film Monster Trucks, due in 2017.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Sunday, February 21, 2016 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 a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Sunday, February 21, 2016 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 a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Saturday, February 6, 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.
New York VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Saturday, February 6, 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.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, January 10, 2016 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, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, January 10, 2016 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, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
“In the history of the movies, there may be no robot more alluring, more eerily fascinating to look at, than Ava, the star and subject ofEX MACHINA.”
Ty Burr, The Boston Globe
“Ava has enough allure and cunning to become a classic noir robot vixen – an apocalyptic, silicon femme fatale.”
Maureen Dowd, The New York Times
“One reason for the success ofEX MACHINAis that Ava is such a remarkable and compelling creation. Her look is an edgy combination of human and machine.”
Kenneth Turan, Los Angeles Times
Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), an A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined. Written and directed by Alex Garland.
Click hereor call646-568-6044 to RSVP
Wednesday, December 16, 2015 at 7:00PM
“In the history of the movies, there may be no robot more alluring, more eerily fascinating to look at, than Ava, the star and subject ofEX MACHINA.”
Ty Burr, The Boston Globe
“Ava has enough allure and cunning to become a classic noir robot vixen – an apocalyptic, silicon femme fatale.”
Maureen Dowd, The New York Times
“One reason for the success ofEX MACHINAis that Ava is such a remarkable and compelling creation. Her look is an edgy combination of human and machine.”
Kenneth Turan, Los Angeles Times
Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), an A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined. Written and directed by Alex Garland.
Click hereor call646-568-6044 to RSVP
Wednesday, December 16, 2015 at 7:00PM
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Saturday, November 21, 2015 at 2:00PM 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 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Saturday, November 21, 2015 at 2:00PM 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 MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Monday, November 9, 2015 at 9:00PM 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 MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Monday, November 9, 2015 at 9:00PM 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 in New York are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Friday, October 30, 2015 at 8:00PM
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 in New York are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Friday, October 30, 2015 at 8:00PM
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 Screening of DreamWorks SKG’s BRIDGE OF SPIES
Click here to RSVP
(You’ll need to choose which screening to sign up for through the DreamWorks SKG awards website.) Thursday, October 29, 2015 at 7:00PM
DGA Theater
110 W. 57th St., New York, NY 10019 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of DreamWorks SKG’s BRIDGE OF SPIES
Click here to RSVP
(You’ll need to choose which screening to sign up for through the DreamWorks SKG awards website.) Thursday, October 29, 2015 at 7:00PM
DGA Theater
110 W. 57th St., New York, NY 10019 Click here for a map.
Screenings are overbooked to 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 Pre-Release Screening of Paramount Pictures’ ANOMALISA, Followed by a Q&A with the filmmakers.
Panelists will include Producer/Director/Writer Charlie Kaufman and Producer/Director Duke Johnson. (All panelists’ participation based on availability.)
Click hereto RSVP
Tuesday, October 13, 2015 at 7:30PM
AMC Empire 25, Theater #14
234 W. 42nd Street, (Between 7th & 8th Avenues) New York, NY 10036 Click here for a map.
Screenings are overbooked to compensate for no-shows. Please arrive at least 30 minutes early and be sure to bring your valid VES card for admission. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Charlie Kaufman & Duke Johnson
Written by Charlie Kaufman
Produced by Rosa Tran, Duke Johnson, Charlie Kaufman, Dino Stamatopoulos
Starring Jennifer Jason Leigh, Tom Noonan, David Thewlis
Michael Stone (David Thewlis), husband, father and respected author of How May I Help You Help Them? is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he’s scheduled to speak at a convention of customer service professionals, Michael checks into the Fregoli Hotel and meets Lisa Hesselman (Jennifer Jason Leigh), a socially awkward sales rep from Akron who may or may not be the love of his life. Directed by Charlie Kaufman and Duke Johnson and written by Charlie Kaufman comes a darkly comedic, stop-motion journey.
VES Members and Their Guests in New York are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
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 in New York are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
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 Pre-Release IMAX® 3D Screening of TriStar Pictures’ in Association with LStar Capital’s THE WALK, Followed by a Q&A with the filmmakers.
Panelists will include Director Robert Zemeckis, Producers Steve Starkey and Jack Rapke, Visual Effects Supervisor Kevin Baillie, Visual Effects and Stereo Producer Camille Cellucci, and Music by Alan Silvestri. (All panelists’ participation based on availability.)
Click here or call (323) 900-0265 to RSVP
Sunday, September 27, 2015 at 7:00PM
AMC Loews Lincoln Square
1998 Broadway, New York, NY 10023 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Robert Zemeckis
Screenplay by Robert Zemeckis & Christopher Browne
Based on the book “To Reach the Clouds” By Philippe Petit
Produced by Steve Starkey, p.g.a., Robert Zemeckis, p.g.a., Jack Rapke, p.g.a.
Executive Producers Cherylanne Martin, Jacqueline Levine, Ben Waisbren
Director of Photography Dariusz Wolski, ASC
Production Designer Naomi Shohan
Edited by Jeremiah O’Driscoll
Visual Effects Supervisor Kevin Baillie
Music by Alan Silvestri
Sound Designer/Re-recording Mixer Randy Thom
Starring Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale
Synopsis: THE WALK – Twelve people have walked on the moon. Only one has ever, or will ever, walk in the immense void between the World Trade Center towers.
Philippe Petit (Joseph Gordon-Levitt), guided by his real-life mentor, Papa Rudy (Ben Kingsley), is aided by an unlikely band of international recruits, who overcome long odds, betrayals, dissension and countless close calls to conceive and execute their mad plan. Robert Zemeckis, the master director of such marvels as FORREST GUMP, CAST AWAY, BACK TO THE FUTURE, POLAR EXPRESS and FLIGHT, again uses cutting edge technology in the service of an emotional, character-driven story. With innovative photorealistic techniques and IMAX® 3D wizardry, The Walk is genuine big-screen cinema, a chance for moviegoers to viscerally experience the feeling of reaching the clouds.
It is also one of the rare live-action films that is a PG-rated, all-audience entertainment for moviegoers 8 to 80 – and a triumphant true story to boot. It is unlike anything audiences have seen before, a love letter to Paris and New York City in the 1970s, but most of all, to the towers of the World Trade Center.
VES Members and a Guest are Invited to a Pre-Release IMAX® 3D Screening of TriStar Pictures’ in Association with LStar Capital’s THE WALK, Followed by a Q&A with the filmmakers.
Panelists will include Director Robert Zemeckis, Producers Steve Starkey and Jack Rapke, Visual Effects Supervisor Kevin Baillie, Visual Effects and Stereo Producer Camille Cellucci, and Music by Alan Silvestri. (All panelists’ participation based on availability.)
Click here or call (323) 900-0265 to RSVP
Sunday, September 27, 2015 at 7:00PM
AMC Loews Lincoln Square
1998 Broadway, New York, NY 10023 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Robert Zemeckis
Screenplay by Robert Zemeckis & Christopher Browne
Based on the book “To Reach the Clouds” By Philippe Petit
Produced by Steve Starkey, p.g.a., Robert Zemeckis, p.g.a., Jack Rapke, p.g.a.
Executive Producers Cherylanne Martin, Jacqueline Levine, Ben Waisbren
Director of Photography Dariusz Wolski, ASC
Production Designer Naomi Shohan
Edited by Jeremiah O’Driscoll
Visual Effects Supervisor Kevin Baillie
Music by Alan Silvestri
Sound Designer/Re-recording Mixer Randy Thom
Starring Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale
Synopsis: THE WALK – Twelve people have walked on the moon. Only one has ever, or will ever, walk in the immense void between the World Trade Center towers.
Philippe Petit (Joseph Gordon-Levitt), guided by his real-life mentor, Papa Rudy (Ben Kingsley), is aided by an unlikely band of international recruits, who overcome long odds, betrayals, dissension and countless close calls to conceive and execute their mad plan. Robert Zemeckis, the master director of such marvels as FORREST GUMP, CAST AWAY, BACK TO THE FUTURE, POLAR EXPRESS and FLIGHT, again uses cutting edge technology in the service of an emotional, character-driven story. With innovative photorealistic techniques and IMAX® 3D wizardry, The Walk is genuine big-screen cinema, a chance for moviegoers to viscerally experience the feeling of reaching the clouds.
It is also one of the rare live-action films that is a PG-rated, all-audience entertainment for moviegoers 8 to 80 – and a triumphant true story to boot. It is unlike anything audiences have seen before, a love letter to Paris and New York City in the 1970s, but most of all, to the towers of the World Trade Center.
VES Members and Their Guests in New York are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Saturday, September 26, 2015 at 8:00PM
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 in New York are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Saturday, September 26, 2015 at 8:00PM
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 Families in New York are Invited to a Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 2
Please RSVP below
Saturday, September 26, 2015 at 5:00PM
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 Families in New York are Invited to a Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 2
Please RSVP below
Saturday, September 26, 2015 at 5:00PM
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.
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present the acclaimed documentary THANK YOU FOR PLAYING (2015), recently featured at the 2015 Tribeca Film Festival, followed by a Q&A with co-director David Osit (MFA 2011 Social Documentary). Osit and co-director Malika Zouhali-Worrall, will join us live via Skype. The Q&A will be moderated by current SVA student Fernando Venegas (MFA 2016 Social Documentary).
Synopsis: Ryan Green’s four-year-old son, Joel, has terminal cancer. Ryan, an indie video game developer, is building an unusually poetic video game to document his experiences raising a dying child, and to honor Joel while he is still alive. The film follows the creation and growing success of Ryan’s game, as his son’s health continues to decline.
The film will be preceded by the Sports Emmy Award-nominated documentary short THE PERFECT 18 (2014) by Mickey Duzyj (BFA 2004 Illustration) and Kyle Stecker (BFA 2011 Illustration).
THANK YOU FOR PLAYING is 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.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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
– See more at: http://svatheatre.com/events/thank-you-for-playing-documentary-screening-and-qa/#sthash.9YSnzLct.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present the acclaimed documentary THANK YOU FOR PLAYING (2015), recently featured at the 2015 Tribeca Film Festival, followed by a Q&A with co-director David Osit (MFA 2011 Social Documentary). Osit and co-director Malika Zouhali-Worrall, will join us live via Skype. The Q&A will be moderated by current SVA student Fernando Venegas (MFA 2016 Social Documentary).
Synopsis: Ryan Green’s four-year-old son, Joel, has terminal cancer. Ryan, an indie video game developer, is building an unusually poetic video game to document his experiences raising a dying child, and to honor Joel while he is still alive. The film follows the creation and growing success of Ryan’s game, as his son’s health continues to decline.
The film will be preceded by the Sports Emmy Award-nominated documentary short THE PERFECT 18 (2014) by Mickey Duzyj (BFA 2004 Illustration) and Kyle Stecker (BFA 2011 Illustration).
THANK YOU FOR PLAYING is 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.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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
– See more at: http://svatheatre.com/events/thank-you-for-playing-documentary-screening-and-qa/#sthash.9YSnzLct.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of Fox’s FAMILY GUY & COSMOS: A SPACETIME ODYSSEY (2014). Join Kara Vallow (BFA 1985 Media Arts), executive producer of two of Seth MacFarlane’s hit shows, for a special presentation of the two shows as you’ve never seen them before — on the big screen! We’ll screen the Season One pilot episode of COSMOS and a special extended sneak preview of the never-before-seen, soon-to-air Season 14 premiere of FAMILY GUY. Don’t worry, you’ll make it home in time for FOX’s Sunday Animation Domination lineup. The Q&A will be moderated by current student Silver Paul (BFA Animation 2016).
FAMILY GUY Synopsis: In a wacky Rhode Island town, a dysfunctional family strive to cope with everyday life as they are thrown from one crazy scenario to another. Featuring the voices of Seth MacFarlane, Alex Borstein, Mila Kunis, and Seth Green.
COSMOS Synopsis: A documentary series that explores how we discovered the laws of nature and found our coordinates in space and time. Starring Neil deGrasse Tyson.
The screening will be preceded by the short film THE DIRTY BIRDY REDUX (2014) by Academy Award-nominated animator John Dilworth (BFA 1985 Animation).
FAMILY GUY is rated TV-14 and COSMOS is rated TV-PG. Parents are strongly cautioned – some material may be inappropriate for children under 14, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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
– See more at: http://svatheatre.com/events/foxs-family-guy-cosmos-screening-and-qa/#sthash.MCD822be.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of Fox’s FAMILY GUY & COSMOS: A SPACETIME ODYSSEY (2014). Join Kara Vallow (BFA 1985 Media Arts), executive producer of two of Seth MacFarlane’s hit shows, for a special presentation of the two shows as you’ve never seen them before — on the big screen! We’ll screen the Season One pilot episode of COSMOS and a special extended sneak preview of the never-before-seen, soon-to-air Season 14 premiere of FAMILY GUY. Don’t worry, you’ll make it home in time for FOX’s Sunday Animation Domination lineup. The Q&A will be moderated by current student Silver Paul (BFA Animation 2016).
FAMILY GUY Synopsis: In a wacky Rhode Island town, a dysfunctional family strive to cope with everyday life as they are thrown from one crazy scenario to another. Featuring the voices of Seth MacFarlane, Alex Borstein, Mila Kunis, and Seth Green.
COSMOS Synopsis: A documentary series that explores how we discovered the laws of nature and found our coordinates in space and time. Starring Neil deGrasse Tyson.
The screening will be preceded by the short film THE DIRTY BIRDY REDUX (2014) by Academy Award-nominated animator John Dilworth (BFA 1985 Animation).
FAMILY GUY is rated TV-14 and COSMOS is rated TV-PG. Parents are strongly cautioned – some material may be inappropriate for children under 14, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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
– See more at: http://svatheatre.com/events/foxs-family-guy-cosmos-screening-and-qa/#sthash.MCD822be.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special midnight screening of the cult horror hit THE HOUSE OF THE DEVIL (2009), shown on 35mm film, accompanied by a Q&A with director Ti West (BFA 2003 Film and Video) and producer Peter Phok (BFA 2003 Film and Video). The Q&A will be moderated by current SVA student Amanda DiMartino (BFA 2017 Film).
Synopsis: College student Samantha Hughes takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret. Starring Jocelin Donahue, Greta Gerwig, and Tom Noonan.
The film will be preceded by the world cinematic premiere of The Hate My Day Jobs’ music video DOUBLE VISION (2015), by creative director Daniel Giachetti (BFA 2002 Advertising) and alumni from the BFA Illustration and BFA Photography departments.
THE HOUSE OF THE DEVIL is rated R. Parents are strongly cautioned – some material may be inappropriate for children under 17, and children under the age of 12 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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
– See more at: http://svatheatre.com/events/the-house-of-the-devil-midnight-screening-and-qa/#sthash.HEUQl69B.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of PACIFIC RIM (2013), followed by a Q&A and behind-the-scenes look at the film with visual effects supervisor John H. Han (BFA 2003 Computer Art). The Q&A will be moderated by current SVA student Sebastian Gat (BFA 2017 Computer Art, Computer Animation & Visual Effects).
Synopsis: As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to drive a seemingly obsolete special weapon in a desperate effort to save the world from the apocalypse. Starring Charlie Hunnam, Idris Elba, Charlie Day, Diego Klattenhoff, and Rinko Kikuchi, and directed by Guillermo del Toro.
The screening will be preceded by the short film BRINK (2011), featuring visual effects by Luke DiTommaso (BFA 2001 Computer Art) and SVA BFA Computer Art alumni-artists from VFX studio The Molecule.
PACIFIC RIM is rated PG-13. Parents are strongly cautioned – some material may be inappropriate for children under 13, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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
– See more at: http://svatheatre.com/events/pacific-rim-screening-and-qa/#sthash.hPlx2mkR.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of Disney•Pixar’s MONSTERS UNIVERSITY (2013) in 3D, followed by a Q&A with past and present Pixar artists Ye Won Cho (MFA 2002 Computer Art), Andrew Dayton (BFA 1998 Computer Art), Christian Haniszewski (BFA 2009 Computer Art, Computer Animation and Visual Effects), Nancy Kato (MFA 1991 Computer Art), and Maria Lee (BFA 1988 Media Arts). The Q&A will be moderated by current SVA student Jaime Klein (MFA 2016 Computer Art).
Synopsis: A look at the relationship between Mike and Sulley during their days at MONSTERS UNIVERSITY — when they weren’t necessarily the best of friends. The sequel to the family-friendly animated hit MONSTERS INC., MONSTERS UNIVERSITY features the voices of Billy Crystal, John Goodman, Steve Buscemi, Alfred Molina, and Helen Mirren.
The film will be preceded by the animated short QUIET (2015) by Kyle Samuels (BFA 2012 Animation).
MONSTERS UNIVERSITY is rated G and is appropriate for all ages. Bring the entire family!
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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.
– See more at: http://svatheatre.com/events/monsters-university-in-3d-with-disney%e2%80%a2pixar-artists/#sthash.cE3DjOGv.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of Amazon’s Emmy-nominated comedy series, TRANSPARENT, featuring one of the show’s associate producers and actresses, Zackary Drucker (BFA 2005 Photography). Drucker, who will be on hand live via Skype from Los Angeles on the eve of the Emmy Awards, will present two of the show’s Season One (2014) episodes, alongside some behind-the-scenes footage and a special webisode produced in conjunction with the series. The Q&A will be moderated by current SVA student Samantha Mottola (BFA 2017 Photography & Video). This screening is sponsored by NewFest & New York Women in Film and Television.
Synopsis: An LA family with serious boundary issues have their past and future unravel when a dramatic admission causes everyone’s secrets to spill out. Starring Jeffrey Tambor, Judith Light, Gaby Hoffman, Amy Landecker, and Jay Duplass.
The screening will be preceded by the award-winning short film AWAY (2012) by Elisa Bates (MFA 2012 Design) and the experimental video HOW TO NOT GET RAPED (2014) by Cat Del Buono (MFA 2008 Photography, Video and Related Media).
TRANSPARENT is rated TV-MA. Parents are strongly cautioned – some material may be inappropriate for children under 17, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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.
– See more at: http://svatheatre.com/events/amazons-transparent-screening-and-qa/#sthash.NhWb2yRA.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of some of Bill Plympton’s (1969 Cartooning) greatest works, followed by a Q&A with the award-winning master animator himself. The evening will include Plympton’s Academy Award-nominated short film YOUR FACE (1987), the New York City premiere of the new short THE LONLIEST STOPLIGHT (2015) featuring the voice of Patton Oswalt, the award-winning feature film CHEATIN’ (2013), and sneak previews of the upcoming films HITLER’S FOLLY and REVENGEANCE. The Q&A will be moderated by current SVA student Steven Duffy (BFA 2016 Animation). Following the screening and Q&A, a special signing with Plympton will be held in the SVA Theatre lobby.
The evening will be preceded by the New York City premiere of the short film DIME CRIMES #34, by director Ed Hellman (MPS 2013 Live Action Short Film) and alumni from the MPS Live Action Short Film & BFA Cartooning departments.
All films shown during this screening are unrated by the MPAA. Parents are strongly cautioned – some material may be inappropriate for children under 17, and children under the age of 5 will not be admitted.
To RSVP please click here or on the ticket icon above.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn 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.
– See more at: http://svatheatre.com/events/a-tribute-to-animator-bill-plympton/#sthash.rR5vsGnr.dpuf
VES Members and Their Guests in New York are Invited to a Screening of Warner Bros. Pictures’ THE MAN FROM U.N.C.L.E.
Please RSVP below
Sunday, August 23, 2015 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. 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 ROGUE NATION
Please RSVP below Friday, August 14, 2015 at 8:00PM
Paramount Screening Room
1515 Broadway, 3rd Floor, New York, NY, 10036 Click here for a map
Screenings are overbooked to 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 ROGUE NATION
Please RSVP below Friday, August 14, 2015 at 8:00PM
Paramount Screening Room
1515 Broadway, 3rd Floor, New York, NY, 10036 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
VES Members and Their Guests in New York are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Monday, July 27, 2015 at 8:00PM
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 in New York are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Monday, July 27, 2015 at 8:00PM
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 in New York are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below
Sunday, July 26, 2015 at 3:00PM
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.
Come celebrate a year of membership with the Visual Effects Society!
There will be an open bar, great food, prizes, and fellow members to mix and mingle with.
Hope to see you there!
Click here to RSVP
(Free to VES members, non-members at a nominal cost.) Thursday, July 23, 2015 from 7:00PM to 11:00PM
Amity Hall
80 West 3rd Street, New York, NY 10012 Click here for a map.
Come celebrate a year of membership with the Visual Effects Society!
There will be an open bar, great food, prizes, and fellow members to mix and mingle with.
Hope to see you there!
Click here to RSVP
(Free to VES members, non-members at a nominal cost.) Thursday, July 23, 2015 from 7:00PM to 11:00PM
Amity Hall
80 West 3rd Street, New York, NY 10012 Click here for a map.
VES Members and Their Guests in New York are Invited to a 3D Screening of Universal Pictures’ MINIONS
Please RSVP below
Sunday, July 19, 2015 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 in New York are Invited to a 3D Screening of Universal Pictures’ MINIONS
Please RSVP below
Sunday, July 19, 2015 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 in New York are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below
Friday, July 17, 2015 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 in New York are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below
Friday, July 17, 2015 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
After years of research and development, the Academy Color Encoding System (ACES) 1.0 has arrived! It is becoming the standard for color management and image interchange for motion pictures, television, commercials and other forms of professional content. This session will deliver an overview of the engineering and science as well as practical information needed to understand and implement ACES into postproduction and VFX pipelines.
ACES enables DPs and directors to better preserve their creative intent from on-set monitoring and look management, to dailies, editorial, VFX, the DI and on into archiving. It does this by addressing the long-standing color management issues facing today’s productions. ACES expands the creative palette with its high dynamic range and wide color gamut capabilities, while streamlining collaboration with standardized encodings and file formats.
Alex Forsythe, Academy technical lead on the ACES project, is traveling to New York to speak about the development of, and latest innovations in, ACES and how it helps color management and workflows. His presentation will be followed by a discussion about practical, real-world implications with several key members of the New York post production and VFX community.
Hear how ACES is being implemented with today’s tools on-set and at leading facilities in VFX, post and mastering. Seating is limited so please RSVP to seminars@postnewyork.org to reserve your place.
VES Members and Their Guests in New York are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below
Wednesday, July 8, 2015 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 in New York are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below
Wednesday, July 8, 2015 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 Families in New York are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Saturday, June 27, 2015 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.
VES Members and Their Families in New York are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Saturday, June 27, 2015 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 a 3D Screening of Universal Pictures’ JURASSIC WORLD, plus a live interactive Q&A with the visual effects team.
Panelists will include Overall Visual Effects Supervisor Tim Alexander, and Animation Supervisor Glen McIntosh and moderated by VES 2nd Vice Chair Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, June 14, 2015 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, #VESJURASSICWORLD, 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 Universal Pictures’ JURASSIC WORLD, plus a live interactive Q&A with the visual effects team.
Panelists will include Overall Visual Effects Supervisor Tim Alexander, and Animation Supervisor Glen McIntosh and moderated by VES 2nd Vice Chair Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, June 14, 2015 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, #VESJURASSICWORLD, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Sunday, May 31, 2015 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.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Sunday, May 31, 2015 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 a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Saturday, May 30, 2015 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
Screenings are overbooked to 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’ TOMORROWLAND
Please RSVP below
Saturday, May 30, 2015 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
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Friday, May 22, 2015 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 in New York are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Friday, May 22, 2015 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 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON, plus a live interactive Q&A with the visual effects team
Panelists will include Overall Visual Effects Supervisor Christopher Townsend, Additional Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Ben Snow, ILM Animation Supervisor Marc Chu, Trixter Animation Supervisor Simone Kraus and moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, May 17, 2015 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, #VESAVENGERS2, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of A24’s EX MACHINA
Please RSVP below
Saturday, May 2, 2015 at 6:30PM
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.
VES Members and Their Families in New York are Invited to a Screening of A24’s EX MACHINA
Please RSVP below
Saturday, May 2, 2015 at 6:30PM
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.
VES Members and Their Families in New York are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below
Sunday, April 12, 2015 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.
VES Members and Their Families in New York are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below
Sunday, April 12, 2015 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.
VES Members and Their Families are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below
Friday, March 20, 2015 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 Families are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below
Friday, March 20, 2015 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.
Join the VES New York Section for the first ever 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.
Cocktails * Food * Entertainment * VES Awards Highlights * Networking * Door Prizes
Honoring: Randy Balsmeyer with the VES Empire Award
We’re proud to bestow this inaugural award to New York’s own Randy Balsmeyer, the prolific entertainment industry professional who has made enormous contributions to visual arts and filmed entertainment. Throughout his 35 year career as an award winning titles designer and VFX supervisor, Randy has become the go-to partner of choice for the world’s most acclaimed filmmakers like Woody Allen, Spike Lee, Joel and Ethan Coen and Martin Scorcese.
25th Anniversary Screening of Tim Burton’s “Batman”
Monday, December 15, 2014 Silas Theatre , 7:30 pm
Event hosted by: SVA Theatre Reserve Tickets
Please join the School of Visual Arts for a special 25th anniversary presentation of Tim Burton’s iconic, Academy-Award-winning film, Batman (1989), shown on the big screen on 35mm film.
VES New York Members And Their Families Are Invited To A 3D Pre-Release Screening Of 20th Century Fox’s EXODUS: GODS AND KINGS
Please RSVP below Saturday, December 6, 2014 at 2:00PM
AMC Empire 25
234 W 42nd St, 42nd Street Entertainment Center, New York, NY 10036 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members And Their Guests Are Invited To A 3D Screening Of 20th Century Fox’s and DreamWorks Animation’s HOW TO TRAIN YOUR DRAGON 2 plus Q&A with Producer and VES member Bonnie Arnold and Head of Character Animation Simon Otto moderated by NYU Tisch School of the Arts Professor John Canemaker followed by a reception.
Click here to RSVP
Thursday, October 23, 2014 at 6:00PM
(6:00PM Screening, 7:45PM Q&A, 8:15PM Reception)
The Crosby Street Hotel Screening Room
79 Crosby Street (Lower Level), New York, NY, 10012 Click here for a map.
Screenings are overbooked to 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 second chapter of the epic HOW TO TRAIN YOUR DRAGON trilogy returns to the fantastical world of the heroic Viking Hiccup and his faithful dragon Toothless. The inseparable duo must protect the peace – and save the future of men and dragons from the power-hungry Drago.
Producer Bonnie Arnold, and Head of Character Animation Simon Otto, will talk about the process behind the film’s animation techniques.
Rated PG
Runtime is 101 minutes
Released in theaters June 13, 2014
New York VES Members And Their Families Are Invited To A Pre-Release 3D Screening Of Focus Features’ And LAIKA’s THE BOXTROLLS followed by a Q&A with the filmmakers
Panelists will include with LAIKA CEO/Lead Animator Travis Knight and Directors Anthony Stacchi & Graham Annable, and moderated by John Canemaker.
World Premiering at the Venice International Film Festival – In theaters nationwide September 26, 2014
Voice Cast: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, and Simon Pegg
Directed by: Anthony Stacchi, Graham Annable
Screenplay by: Irena Brignull, Adam Pava
Based on the novel Here Be Monsters by Alan Snow
Produced By: David Bleiman Ichioka, Travis Knight
A family event movie from the creators of CORALINE and PARANORMAN that introduces audiences to a new breed of family – THE BOXTROLLS, a community of quirky, mischievous creatures who have lovingly raised a human boy named Eggs (voiced by Isaac Hempstead Wright) in the amazing cavernous home they’ve built beneath the streets of Cheesebridge. When the town’s villain, Archibald Snatcher (Academy Award winner Ben Kingsley), comes up with a plot to get rid of the Boxtrolls, Eggs decides to venture above ground, “into the light,” where he meets and teams up with fabulously feisty Winnifred (Elle Fanning). Together, they devise a daring plan to save Eggs’ family.
VES Members And Their Families Are Invited To A 3D Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP below
Friday, August 8, 2014 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.
All the stuff you want at a summer party: Good Food – Cold Drinks – Friends (new and old!):
And some stuff you didn’t know you wanted at a summer party but why should you: Over $25,000 in Door Prizes
VES Members In Free
$25 For Non-Members (Payable at the door)
VES Members And Their Families Are Invited To A 3D Screening Of 20th Century Fox’s DAWN OF THE PLANET OF THE APES plus a live interactive Q&A with the filmmakers
Panelists will include Senior Visual Effects Supervisor Joe Letteri, Animation Supervisor Dan Barrett, Motion Capture Supervisor Dejan Momcilovic, CG Supervisor Phillip Leonhardt, and Terry Notary who plays the character of ‘Rocket’.
Please RSVP below
Sunday, July 13, 2014 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
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in New Zealand) immediately following the screening. (be sure to include the hashtag, #VESDAWNOFTHEAPES, 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 & Guests Are Invited To A 3D Screening Of Paramount Pictures’ TRANSFORMERS: AGE OF EXTINCTION
Please RSVP below Friday, July 11, 2014 at 7:00PM
Paramount Screening Room
1515 Broadway, 3rd Floor, New York, NY, 10036 Click here for a map
Screenings are overbooked to 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 Producers Guild of America East is inviting 15-20 VES members to attend a Screening and Filmmaker Chat. Please RSVP with at PGAEastScreening2@gmail.com, type your name + “VES Member” + if you’ll be bringing a guest in the ”subject” line of the email.
This screening is preceded by a conversation with Writer/Director/Producer Mike Cahill and Producers Hunter Gray & Alex Orlovsky, moderated by PGA member Jay Van Hoy.
Panelists will include overall Visual Effects Supervisor Carey Villegas, MPC Visual Effects Supervisor Adam Valdez and Digital Domain Visual Effects Supervisor Kelly Port, and Digital Domain Digital Effects Supervisor Darren Hendler, moderated by VES 2nd Vice Chair Nancy St. John.
Please RSVP Below Sunday, June 8, 2014 at 3:00PM
Dolby Laboratories screening room
1350 Avenue of the Americas, Ground Floor, New York, NY, 10019-4703
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, #VESMALEFICENT, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Stick around for a Q&A panel that will include Writer/Executive Producer Ari Handel, Editor Andrew Weisblum and Visual Effects Supervisor Dan Schrecker pending availability.
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 & Their Guests Are Invited To A 3D Screening Of Columbia Pictures’ THE AMAZING SPIDER-MAN 2
Sunday, May 4, 2014 at 3:00PM
Sony Screening Room
550 Madison Ave., 7th Floor (between 55th & 56th), 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.
For those of you who couldn’t make it to the previous color event, and for those who did and want a more VFX-focused discussion on color, this event is for you!
Come and learn about color space in a smaller and more interactive environment. We’ll also be opening up Nuke scripts as part of the presentation.
Question and Answer session at the end will feature Light Iron CEO Michael Cioni and CEO from The Molecule, Chris Healer.
Time
7:00 Doors Open and Cocktails
7:30 Presentation begins
9:00 Q&A for Chris Healer & Michael Cioni
New York VES Members & Their Guests Are Invited To A Stereo 3D Screening Of DreamWorks Animation Studios’ & 20th Century Fox’s MR. PEABODY & SHERMAN
Followed By Q&A With Director Rob Minkoff
Monday, April 28, 2014 at 4:30PM
Q&A with Director Rob Minkoff will begin at 6:00PM
Regal Union Square Theater
850 Broadway, New York, NY 10003 Click here for a map
Screenings are overbooked to 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 & Their Guests Are InvitedTo A Stereo 3D Screening Of DreamWorks Animation Studios’ & 20th Century Fox’s MR. PEABODY & SHERMAN
Sunday, April 27, 2014 at 11:00AM
Q&A with Director Rob Minkoff will begin at 12:30PM
Museum of the Moving Image
36-01 35th Ave., New York, NY 11106
Click here for a map
Screenings are overbooked to 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 Attend A 3D Screening Of Walt Disney Pictures’ & Marvel Studios’ CAPTAIN AMERICA: THE WINTER SOLDIER
RSVP
Friday, April 11, 2014 at 8:00PM
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.
VES NY & PNYA would like to invite you to attend their upcoming event, Color Space and Workflow for Post Production Professionals. This event brings industry professionals together to learn more about color theory, workflows and why this topic is so important for such a broad range of disciplines across production & post production.
Open to VES NY & PNYA members, with limited tickets for SVA students, we are anticipating seats will go fast so please rsvp as soon as you can. Any seats not filled by March 14th will be opened up for non-members who would like to attend.
March, 19 2014 730pm 930pm School of Visual Arts
133-141 W 21st Street, 3rd Floor, #301
New York, NY 10011
This event is intended to an introductory explanation of the complete color chain from camera (ingest) to delivery format (output).
With:
Mark Russell (VFX Supervisor): Host, Moderator
Chris Healer (CEO, The Molecule): “Color Theory & Practice in a Nutshell: Condensed Version”
Joe Gawler (Colorist, Harbor Entertainment): The Art of Color
Dave Satin (DIT): On-Set Color Decisions
VES NY & PNYA would like to invite you to attend their upcoming event, Color Space and Workflow for Post Production Professionals. This event brings industry professionals together to learn more about color theory, workflows and why this topic is so important for such a broad range of disciplines across production & post production.
Open to VES NY & PNYA members, with limited tickets for SVA students, we are anticipating seats will go fast so please rsvp as soon as you can. Any seats not filled by March 14th will be opened up for non-members who would like to attend.
March, 19 2014 730pm 930pm School of Visual Arts
133-141 W 21st Street, 3rd Floor, #301
New York, NY 10011
This event is intended to an introductory explanation of the complete color chain from camera (ingest) to delivery format (output).
With:
Mark Russell (VFX Supervisor): Host, Moderator
Chris Healer (CEO, The Molecule): “Color Theory & Practice in a Nutshell: Condensed Version”
Joe Gawler (Colorist, Harbor Entertainment): The Art of Color
Dave Satin (DIT): On-Set Color Decisions
Panelists include Visual Effects Producer Josh Jaggars, Visual Effects Supervisor John ‘D.J.’ Des Jardin, and 3D Stereographer Sean Santiago.
Warner Bros. Screening Room
1325 Avenue of the Americas (entrance on 53rd St.), New York, NY 10019
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in the Bay Area) immediately following the screening, and be sure to include #VESSUPER in your tweet.
Screeenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Deluxe New York
435 Hudson Street, 9th Floor, New York, NY 10014
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 screenings. (be sure to include the hashtag, #vesoblivion, in your tweet.)
375 Greenwich Street (Between Franklin and Moore) New York, NY 10013-2376
Click here for a map
Screenings are This event is overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Plus live interactive Q&A with VFX Supervisor Bill Westenhofer & key members of the VFX Team.
Panelists will include overall Visual Effects Supervisor Bill Westenhofer, MPC Visual Effects Supervisor Guillaume Rocheron, Digital Supervisor Jason Bayever, and Animation Supervisor Erik de Boer, and will be moderated by VES Board-member Tim McGovern.
Sunday, December 2, 2012 at 3:00PM
Deluxe New York
435 Hudson Street, 9th Floor, New York, NY 10014
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place in Los Angeles) immediately following the North American and London screenings. (be sure to include our Twitter handle, @vesben, 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 Guests Are Invited
To A 3D Screening Of 20th Century Fox’s
PROMETHEUS
Plus a live interactive Q&A w/ overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Charley Henley Moderated by VES London Events Committee member Jason Halverson.
GUILD MEMBER SCREENING:
Wednesday, November 11th – 7:30PM
Directors Guild of America Theater
110 West 57th Street
New York, NY 10019
Q&A to follow with director Wes Anderson
Please RSVP to (212) 556-8282
This screening will be monitored for unauthorized recording. By attending, you agree not to bring any recording device into the theatre and you consent to physical search of your belongings and person for recording devices. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device, you consent to your immediate removal from the theatre and forfeiture of the device. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability. Screening paid for by Fox Searchlight Pictures.
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