Extra detail was added to Monkey D. Luffy to avoid him looking like plastic rather than rubber.
While Monkey D. Luffy aims to become the king of the pirates, the manga infused with his contagious optimism and enthusiasm reigns supreme as the all-time best seller with 516.6 million copies sold since Eiichiro Oda created One Piece in 1997. The story that revolves around a treasure-hunt frenzy caused by the execution of Pirate King Gol D. Roger, which sees participants from around the world engage in questionable antics to ensure victory over the competition. The franchise has obtained longevity in other mediums with the ongoing anime television series consisting of over 1,000 episodes, and now Netflix has released a live-action version created by Steven Maeda and Matt Owens that stars Iñaki Godoy, Mackenyu, Emily Rudd, Jacob Romero Gibson, Taz Skylar, Vincent Regan and Morgan Davies. Placed in charge of making the fantasy elements a cinematic reality for the eight episodes of the first season were Visual Effects Supervisor Victor Scalise and Visual Effects Producer Scott Ramsey who previously collaborated together on Cowboy Bebop.
Colton Osorio as Young Luffy and Peter Gadiot as Shanks have conversation with the Lord of the Coast.
While a guiding principle is that visual effects have to be grounded in order to be believable, there is a cartoony aesthetic to the source material and its animated spinoffs that fans expect to be honored. “It’s truly a fine balance because if you make it too cartoony the fans might love it, but then the general audience might think it’s too much,” Scalise notes. “When we first came on everybody said, ‘We didn’t want him [Monkey D. Luffy] to be like Plastic Man.’ Originally, the punches were going to be stiff, fast and straight, and when we started applying them to shots, they felt lifeless. We started putting little bends and wiggles and an extra weight on the fist to get wrinkles, and it brought the effect to life. It’s tough because when a rubber arm has motion blur there is no detail or texture when it’s punching fast. We went in and put a lot of extra hair on his arm. That was probably one of our biggest challenges, of how do you take an animated character and make them feel real but still honor the manga. It’s funny because the further you push it, the cooler stuff comes out of it too.”
The actual skies were retained for the ocean scenes with ships.
Paired with ARRI ALEXA LF cameras were Hawk MHX Hybrid Anamorphic lenses that produce a signature fisheye effect and extreme facial closeups for the show. “That was a challenge and a half!” laughs Ramsey. “When we got down to Cape Town we found out about the lenses. The biggest challenge was, ‘Do we have enough set to fit into this?’ Because they did morph out the sides quite a bit and our sets were only built out to certain areas, so there was quite a lot of set extensions. It increased the budget quite a bit because you’re always on a lens that is roughly a 25mm if not wider. Also, the warping on the sides was challenging.” The wide angle-lensing created an extra layer of visual effects work. “When you’re trying to roto and track, you don’t have straight lines,” Scalise states. “There’s a natural blur inherent in the lenses that now you’re rotoscoping a blurred edge and tracking sharping objects that go to the edge of the frame and get soft.” Atmospherics were aided by the choice of lenses. “If there is a light anywhere near the edge of frame there is a flare in that shot,” Scalise observes. “Sometimes you don’t see it until you look at the color channels and hidden in the blue channel is a lens flare,” Scalise remarks. “We were able to add a lot of glare halation to get layers, which give a sense of depth and a cheated atmospheric perspective.”
A digital double had to be made of Buggy the Clown (Jeff Ward), as he has the ability to disassemble, have his parts fly around and reassemble himself.
“When we first came on everybody said, ‘We didn’t want [Monkey D. Luffy] to be like Plastic Man.’ Originally, the punches were going to be stiff, fast and straight, and when we started applying them to shots, they felt lifeless. We started putting little bends and wiggles and an extra weight on the fist to get wrinkles, and it brought the effect to life. … That was probably one of our biggest challenges, of how do you take an animated character and make them feel real but still honor the manga. It’s funny because the further you push it, the cooler stuff comes out of it too.”
—Victor Scalise, Visual Effects Supervisor
The extensive water simulations were created by Goodbye Kansas Studios and Rising Sun Pictures.
Glare halation was added to give a sense of depth to the shots.
All eight episodes were cut before sending off the work to the vendors. “That allowed us to get the whole series filled,” Ramsey explains. “Episode 101 through to 108, we know exactly how the story is going to progress and the ups and downs, so by the time we get to Episode 108 it is a great finale, and that had to go through the showrunners, Netflix and Tomorrow Studios.” The visual effects work for 2,334 shots was broken down in accordance to the strengths of Goodbye Kansas Studios, Framestore, Ingenuity Studios, Rising Sun Pictures, Barnstorm VFX, Eyeline Studios, Scanline VFX, Mr. Wolf, Refuge, CoSA VFX, Incessant Rain and NetFX. “The good thing is that we have worked with a lot of our vendors for awhile now,” Scalise remarks. “Even when it comes to a shared shot, they have already talked to each other before, so the handoffs are good. It creates a lot of logistical complications, as well as sometimes the assets aren’t truly one-to-one, so there is extra work on both sides.”
Ships were shot in the parking lot at Cape Town Film Studios, which meant that the water had to be created digitally.
“The problem is when you have the real ships parked in a parking lot. Rising Sun Pictures did an amazing job with the ships. When we put their model next to the real one, I bet that most people will pick the real one as being CG. The Going Merry was a full ship build placed on a tractor trailer so it could drive around slowly. Then we had half of Miss Love Duck constructed, which was repurposed into Garp’s warship. There was also a salvage ship and Maui’s sloop. We had CG versions of all of them.”
—Victor Scalise, Visual Effects Supervisor
The wide-angle lenses greatly increased the amount of digital set extensions in shots.
Much of the action unfolds on the ocean with the pirate ships battling each other while trying to evade the law-enforcing Marines. “The problem is when you have the real ships parked in a parking lot,” Scalise notes. “Rising Sun Pictures did an amazing job with the ships. When we put their model next to the real one, I bet that most people will pick the real one as being CG. The Going Merry was a full ship build placed on a tractor trailer so it could drive around slowly. Then we had half of Miss Love Duck constructed, which was repurposed into Garp’s warship. There was also a salvage ship and Maui’s sloop. We had CG versions of all of them.” The water simulations were expanded upon in certain cases. “We actually shot the Lord of the Coast in the tank without planning on replacing the water except for the shots where the creature was going to interact with it,” Scalise reveals. “Once we got to the sequence, we went, ‘Screw it. Let’s completely replace the water in all of the shots so we can have much more control over continuity.’ When you look at the creature going into the water and how the water is interacting, it looks real.”
The Going Merry was a complete practical ship build that was placed on a tractor trailer so it could move.
Much of the action unfolds on the ocean with the pirate ships battling each other while trying to evade the law-enforcing Marines.
Real skies were captured rather than rely on huge bluescreens and compositing them in later in post-production. “It’s funny – some of the shots of the real skies feel as if they were composited!” Scalise laughs. “To save cost, we kept a lot of the natural skies for when we were on the boats. The amount of bluescreen to cover the boats with these lenses was almost impossible to get the sky. We decided early on not to use a lot of bluescreen and to place it on the horizon.” A classic size and scale problem is avoiding ships looking like miniatures out in the open water. “Size and scale turned out well,” Ramsey reflects. “The only point where it came into play was when we were doing Garp throwing the cannonball back at Luffy. They had parked the practical Going Merry, and it was shot over Garp’s shoulder, but when we got into post the shot didn’t feel like the distance that was wanted. We roto’d Garp out of that scene and replaced it with a 3D Going Merry.”
Camera tricks assisted in creating the impression that Monkey D. Luffy has the ability to stretch his limbs.
Iñaki Godoy as Monkey D. Luffy battles a group of Marines.
“Size and scale turned out well. The only point where it came into play was when we were doing Garp throwing the cannonball back at Luffy. They had parked the practical Going Merry, and it was shot over Garp’s shoulder, but when we got into post the shot didn’t feel like the distance that was wanted. We roto’d Garp out of that scene and replaced it with a 3D Going Merry.”
—Scott Ramsey, Visual Effects Producer
Monkey D. Luffy (Iñaki Godoy) discovers the Going Merry while visiting a shipbuilding yard.
Italy influenced the world-building, as Loguetown was based on Sorrento and Shells Town on Positano, Italy. “We had plans going in to modify real-world locations so we weren’t going into full CG builds of environments for some of the bigger ones,” Scalise remarks. “We able to shoot other parts of the Amalfi Coast and turn that into different islands.” A signature massive aquatic creature is Lord of the Coast, created by Goodbye Kansas Studios. “We did it the traditional way in that once we had the look of the concept, we went into modeling and did all of the turntables,” Scalise states. “Overall, we liked the early concept art, which is in the show. The amount of detail into the muscle work and all of the different layers of animation where, if you look at it closely, there are a lot of moving things to the slime on the skin. The biggest thing that we went back and forth on was, originally, a bit of red was put into the fins and pulling that out was our biggest note.”
Admiral Garp utilizes a telepathic species of snail known as a Den Den Mushi to be able to vocally and visually communicate across the world.
A digital double had to be produced for Buggy the Clown, as he can literally cause every part of his body to dissemble, fly around and reassemble. “I love that scene between Buggy and Luffy because almost every shot is a visual effect and their onscreen relationship was great,” Scalise remarks. “It’s a funny, dark, scary scene. One my favorite creatures that we built is the News Coo by Framestore. It was originally built for only three shots; however, when everybody saw it, anytime we could possibly figure out a place to sneak it in, we added it to another half dozen shots.” Ramsey favors the naval battle in Episode 105 between Garp and Luffy. “It was entirely shot at Cape Town Film Studios without water. Every shot is probably a visual effects shot. We brought in Rising Sun Pictures because they can do great ship models and CG water. It’s fast-paced, exciting, and kicks off Episode 105 really well.”
All eight episodes of the first season were cut before sending off the work to the vendors, with 2,334 visual effects shots created in total.
“[The naval battle in Episode 105] was entirely shot at Cape Town Film Studios without water. Every shot is probably a visual effects shot. We brought in Rising Sun Pictures because they can do great ship models and CG water. It’s fast-paced, exciting, and kicks off Episode 105 really well.”
—Victor Scalise, Visual Effects Supervisor
Italy influenced the world-building, as Loguetown was based on Sorrento and Shells Town on Positano.
Scalise concludes, “Everybody’s hope is that this [live adaption of One Piece] opens up the world to people because of the positive message of ‘do what you feel that you’re supposed to do versus what people are telling you what you should do.’ That relates to a lot of people and gives them an optimism, which this world probably needs right now.”
Watch a featurette on the making of One Piece Season 1 and some of the VFX work involved in the live-action adaption of the manga gemstone. Click here: https://www.youtube.com/watch?v=0EIfmn5Gk9A
Images courtesy of Crafty Apes VFX and Prime Video.
The set for Bing-Bang Burger was actually a miniature, so careful attention had to be paid to make sure that the shadows were cast correctly.
When it comes to tall orders, I’m a Virgo Visual Effects Supervisor Todd Perry asked Crafty Apes VFX to produce a 13-foot high teenage protagonist named Cootie, who gets to experience the world beyond his sheltered existence for the first time in the satirical Prime Video series created by director/writer Boots Riley. “Boots didn’t want to use CG to make Cootie look bigger, so several different approaches were utilized for every shot,” states Aleksandra Sienkiewicz, Visual Effects Supervisor at Crafty Apes. “We had shots with puppets that we had to replace the head or augment the body. Or Cootie was shot in a miniature set with him being closer to the camera so he was appearing bigger. Or he was on a platform.” The methodology had to appear indistinguishable to the viewer. “For me, it was interesting to see because I grew up watching a movie like Elf where they did a lot of that kind of trickery,” remarks Ruth Stewart-Patterson, Production Manager at Crafty Apes. “We were doing our comp work and trying to make things look seamless.”
For the driving shots through the city Crafty Apes VFX had to add motion to hands of the puppet and do a face replacement.
“Boots [series creator/director/writer Boots Riley] didn’t want to use CG to make Cootie look bigger, so several different approaches were utilized for every shot. We had shots with puppets that we had to replace the head or augment the body. Or Cootie was shot in a miniature set with him being closer to the camera so he was appearing bigger. Or he was on a platform.”
I’m a Virgo is a superhero satire created by Boots Riley about a 13-foot tall teenager named Cootie.
Over a period of six months Crafty Apes created 210 shots. ”The thing about working on TV is when you break it down per episode or sequence, it’s easier,” Stewart-Patterson states. “You might have five sequences per episode, and sometimes you get episodes in different orders, but at the end day it’s like a movie where you go one sequence at a time and assign another team to a different sequence so that they work all together – the organization and the types of shots as well. For example, on some shots we’re integrating Cootie and on another one with CG. You have to gather the work together and figure out what pairs with what, and once you figure that out, then you try to keep these teams together as you go per episode or sequence.” Consistency had to be maintained throughout the seven episodes. “We try to keep similar shots with the same artist to make sure everything is cohesive and we’ve shared techniques with all of the artists,” Sienkiewicz remarks. “We would talk to Todd and Boots to make sure that we’re on the same page.”
Elements meant to be significantly larger, like Baby Cootie, were shot closer to the camera.
“For the scene when Cootie is on the car driving through the city, it was shot with a massive puppet on the car. We had to remove the rig, replace the head and add motion to the fingers so he looked realistic. There were a lot of 2D techniques that we used. The face was shot on a greenscreen so we had several different takes with various lighting conditions to choose from. We used cues [in the plates] to track in the face into the puppet and added a little bit of motion into the face.”
The specular quality of the puppet for Cootie was different from natural skin so lighting adjustments had to be made by Crafty Apes VFX.
Every shot was storyboarded to show how the actors would be positioned in front of the camera. “The elements we received from Todd Perry were awesome,” Sienkiewicz states. “The lighting conditions were always matching in the plates, and there were sometimes several plates that had to be merged together.” Since Cootie was closer to the camera and every character were on different planes, close attention had to be paid to shadows. Sienkiewicz explains, “In Episode 101, Cootie was super big in Bing-Bang Burger while the set was miniature. We had to make sure that the shadows of him are interacting with the walls and the other characters, as well as ensuring that the lighting conditions are matching. It was a different way of thinking compared to other shows I’ve worked on before.” Stewart-Patterson joined the project later on. “Our Shotgun mirrored their Shotgun, so it was easy to find what needed to be done, relay and see what’s left to do. It’s a lot easier when you have a road map rather than chaos,” Stewart-Patterson offers. Receiving editorial turnovers can be stressful because sometimes they come in earlier or later than expected, so flexibility is paramount. “We might get a turnover of 50 shots within an episode, so we pick out some key shots,” Stewart-Patterson details. “From there you can focus on those 10 shots and spread them out as you go further along in time. The trust between us and the client was strong, so picking the correct takes and making sure that we’ll get things done on time and scheduled properly was key to completing this project.”
Cootie has an intimate moment with Flora, who has the ability to rapidly flash a multitude of colors in a manner that resembles a hummingbird.
2D rather than 3D effects were the focus. “It was cool to see actual characters and models already in camera [rather than having to construct everything in CG],” Stewart-Patterson notes. “Aleks and Todd had a great relationship, so Aleks already knew where Todd was going to go and probably what his notes were going to be.” Boots Riley has a specific vision when it comes to how he wants to shoot and see the shots. “It was like a fresh breath of air,” Sienkiewicz remarks. “I’ve been in this industry for the past 13 or 14 years, and this was the first time I worked with miniatures, rather than build CG characters we needed to blend or augment their movements, or do face replacements. For the scene when Cootie is on the car driving through the city, it was shot with a massive puppet on the car. We had to remove the rig, replace the head and add motion to the fingers so he looked realistic. There were a lot of 2D techniques that we used. The face was shot on a greenscreen so we had several different takes with various lighting conditions to choose from. We used cues [in the plates] to track in the face into the puppet and added a little bit of motion into the face.” The puppet had more of a specular quality than normal skin. “There was some augmentation in terms of the brightness,” Sienkiewicz adds.
Series creator Boots Riley did not want to use CG to make Cootie look bigger, so several different approaches were utilized for every shot.
“A shot that stands out to me and was one of the most complex ones was Flora’s flashback in Episode 103. There was an oner shot that was 5,000 frames, and we had 13 plates that had to be stitched together because the motion was not seamless. In addition to that, it was at super speed so everything around her is still, so we had to stabilize all of the actors to make sure they don’t move or blink. If you wanted to change one thing, all of the 5,000 frames had to be rendered.”
The miniature house was shot against greenscreen and then composited into the plate photography.
Some sleepless nights were spent thinking about the project. “A shot that stands out to me and was one of the most complex ones was Flora’s flashback in Episode 103,” Sienkiewicz reveals. “There was an oner shot that was 5,000 frames, and we had 13 plates that had to be stitched together because the motion was not seamless. In addition to that, it was at super speed so everything around her is still, so we had to stabilize all of the actors to make sure they don’t move or blink.” Alternations could not be taken lightly. Continues Sienkiewicz, “If you wanted to change one thing all of the 5,000 frames had to be rendered. We divided shots between different artists. You need to find the perfect spot for making a transition where you can hide things, typically motion blur or foreground elements that make it look natural.” Flora has the ability to flash a multitude of different colors. Sienkiewicz explains, “Flora’s effect was cool. All of the Flora elements were shot at different speeds and colors. We also had plates with flashing lights that we needed to select frames that Boots liked. Because Boots liked the postvis that editorial did, we ended up asking editorial to export us AAF files that we could import into Nuke. Rather than go through minutes or hours of footage, we exactly knew which element he liked; that was our baseline for timing and then we could enhance and move forward with other effects. Boots never wanted things to look perfect; he likes an old, ragged look but with a modern twist. There was a lot of creative brainstorming about how we wanted this character to look like. Boots compared it to the Tasmanian Devil.”Another creature comes to mind for Stewart-Patterson. “When you play it fast it looks cool because it appears like a hummingbird changing colors.”
Every shot was storyboarded to show how the actors would be positioned in front of the camera.
“The shots in Bing-Bang Burger was a real Cootie shot close to the camera, but the set was a miniature. He was touching his head, so there was lots of trickery to make it look realistic. The biggest challenge was to make sure that the puppet and the real elements were cohesive and working together. There was lots of comp trickery involved!”
Boots Riley wanted to have an old, ragged look, but with a modern twist.
Lots of compositing trickery was called upon when doing the face replacements on the puppet for Cootie. “The neck was one of the biggest issues, to make sure that he’s tucked in nicely behind the shirt,” Sienkiewicz states. “And even the chest, because the puppet was bigger that Cootie himself, so we needed to slim him down; there was some complex paintwork involved. There were a lot of rigs involved with the puppet, so there was massive cleanup in some of the shots. The shots in Bing-Bang Burger was a real Cootie shot close to the camera, but the set was a miniature. He was touching his head, so there was lots of trickery to make it look realistic. The biggest challenge was to make sure that the puppet and the real elements were cohesive and working together. There was lots of comp trickery involved!” The major task for Stewart-Patterson was being able to adapt to meet needs of the production. “When working closely with creatives, we try to reel them in but also give them as much space you can. It’s being able to assist and properly reflect to the client what creative changes might be or how much time it might take. This team really brought it in well, and the show looks great.”
Aziraphale’s wings were originally created for Season 1, but had to be recreated for Season 2 to allow for more complex motion requirements.
Created by Neil Gaiman and Terry Pratchett, and adapted for the screen by Gaiman for Amazon Prime, British fantasy comedy series Good Omens follows the antics and adventures of angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant) after they are exiled from Heaven and Hell and team up to form an unlikely duo on Earth. Milk VFX Supervisor/Co-Founder Jean-Claude Deguara served as VFX Supervisor on Good Omens Season 1 before sliding into the client-side VFX Supervisor seat for Season 2. Matias Derkacz served as Visual Effects Supervisor for Milk on the second season.
“Before the ‘let it be light’ moment, we used one of the environments to create white flashes of energy that revolved around Crowley and Aziraphale. This approach provided the right amount of light, as this part of the sequence required it to be darker. But for the creation of the nebulas, we needed the opposite effect. We used a simplified version of the nebulas on the LED screens, which allowed us to achieve complex light changes. Having access to the LED screens allowed us to archive the correct light interaction on Crowley and Aziraphale, helping us achieve the desired impact.”
“I first got involved with Good Omens on Season 1 when I was Compositing Supervisor,” Derkacz says. “Working with Jean-Claude Deguara as a client-side VFX supervisor was brilliant. Working with him so closely on Season 1, I knew what he was after. I was part of all the discussions about how to creatively push forward the show and was involved with those conversations from the very beginning. Jean-Claude had some great ideas.”
The wings were animated to follow Crowley’s body movements in order to enhance their emotions.
Discussing his initial conversations about the look of the second season, Derkacz explains that he was brought on set for the opening sequence. “I was brought in to help with virtual production for the opening sequence. Before the ‘let it be light’ moment, we used one of the environments to create white flashes of energy that revolved around Crowley and Aziraphale. This approach provided the right amount of light, as this part of the sequence required it to be darker. But for the creation of the nebulas, we needed the opposite effect. We used a simplified version of the nebulas on the LED screens, which allowed us to achieve complex light changes. Having access to the LED screens allowed us to archive the correct light interaction on Crowley and Aziraphale, helping us achieve the desired impact. So, we created material which was not meant to be on camera, but to get the light interaction.”
“It required a lot of conversations back and forth with Douglas [director Douglas Mackinnon] and Neil,” Derkacz continues. “We had a great way of working where we could regularly check in on how things were going. We used real NASA pictures of nebulas as reference. We adapted the color palettes and shapes to make it more appealing to the eye, more interesting and different. That was the way that we approached that sequence. It was 100-plus shots that we had to actually deal with.”
One of the most pressing conversations for Visual Effects Supervisor Matias Derkacz and his team revolved around the look of the Land of Uz in Episode 2.
“[Aziraphale’s and Crowley’s wings] were created for Season 1, but we redid them as they needed more complex behavior. The wings were animated to follow Crowley’s and Aziraphale’s body movements to enhance their emotions. So, there was a bit more animation work involved with this. It was more complex in the way that feathers behaved since we had to have proper feather interactions. That was the biggest sequence for sure in terms of volume and complexity. It was a fun and challenging sequence.”
One of the main assets of the show, which played a role in the Before the Beginning sequence was Aziraphale’s and Crowley’s wings, which had to be recreated for Season 2. “The wings were created for Season 1, but we redid them as they needed more complex behavior,” Derkacz explains. “The wings were animated to follow Crowley’s and Aziraphale’s body movements to enhance their emotions. So, there was a bit more animation work involved with this. It was more complex the way that feathers behaved since we had to have proper feather interactions. That was the biggest sequence for sure in terms of volume and complexity. It was a fun and challenging sequence.”
Derkacz and his team were involved with only one shot on the Soho street, a shot where the camera starts high on a crane and then goes underneath a car.
Production Designer Michael Ralph was responsible for creating the numerous time periods and their look throughout the show. One of the most pressing conversations for Derkacz and his team revolved around the look of the Land of Uz in Episode 2. “That asset needed to be done in a specific way. There were always conversations about making sure what we had created didn’t look like the Grand Canyon or like any other part of the United States,” he says. “We had an early discussion with Jean-Claude to try and get the look set for that sequence, especially when Aziraphale comes out the portal. That environment was one we discussed thoroughly, and we ended up doing everything digitally. It was based on a mix of real photos, but some of the references we had were really similar to the Grand Canyon, so we had to get something similar like that but different enough for people not to comment on it.”
Production Designer Michael Ralph was responsible for creating the numerous time periods throughout the show. The environment for the Land of Uz was completely CG, based on a mix of real photos and references to the Grand Canyon.
Around 100 people from different departments were involved with the production of the second season. “We had a big team,” Derkacz adds. “We had to be quite smart in the way that we scheduled the work because it’s a TV series and there is loads of work. Scenes like the opening sequence and the first six minutes of the second season were really important. It hasn’t really been done before, is really abstract and took a lot of time to achieve. The way that we managed the workload was working on the amount of volume that we had and in the order of episodes that we were discussing at the time. Some assets might require weeks of work.”
The actors were shot standing on greenscreen and then seamlessly added to a fully CG cemetery.
“The only shot we were involved with on the Soho street was for a shot where the camera starts quite high and then goes underneath the car. That is a really cool shot. It’s a blend between two plates because you have the main plate of the crane, and when you go underneath the car it’s full CGI, and then you go around the car and you have a mix between a CG car and a real car, and then Crawley gets out of the car. All of that has to be done as a single camera move. That’s sort of Douglas’s [director Douglas Mackinnon] signature as he loves doing these transitions, and I think they were great and really helped the flow of the episode,”
When it came to creating the set extensions, the Soho street had been completed for Season 1 and was already an established asset. “The only shot we were involved with on the Soho street was for a shot where the camera starts quite high and then goes underneath the car. That is a really cool shot. It’s a blend between two plates because you have the main plate of the crane, and when you go underneath the car it’s full CGI, and then you go around the car and you have a mix between a CG car and a real car, and then Crawley gets out of the car. All of that has to be done as a single camera move. That’s sort of Douglas’s signature as he loves doing these transitions, and I think they were great and really helped the flow of the episode,” Derkacz details.
Fire was shot as an element and done in 2D, and integrated on the set due to safety protocols.
Derkacz and his team also worked on a significant shot for one of the wartime environments. “We did work on one crane shot where we go into London and there are some zombies and fires on the street. That was quite straightforward set extension, which we blended with the smoke that we had on set. We added fire that was shot as an element, and that was all done in 2D and integrated on the set because they couldn’t have that fire next to the people as it wasn’t safe; that was added in post. We also created an environment that was used in virtual production. We built numerous destroyed buildings and added CGI fire, which were used on set as an LED screen when Crowley is driving through,” Derkacz notes.
David Tennant as Crowley and Shelley Conn as Beelzebub experience a front-seat encounter of the devilish kind, courtesy of visual effects.
“The work that we did on the tongue of the demon was really fun. It’s a quick shot, but for that shot we had to create all the CG for the tongue and all of the saliva. It’s lots of work involved for only one shot, but the good thing about that is that you build the asset, you get the shot, and you have a part of the sequence that has been approved and you can move on. … I would say that the most challenging to create wasn’t a character, it was Aziraphale’s wings. All these minimal changes in color had to be translated to white wings, which was a really difficult and complex aspect, but the end result looked great.”
Zombies with long-range, tentacle-like CG tongues can be found on the street in London. Milk delivered more than 500 shots for the second season of the show.
Derek Jakobi as Metatron, Jon Hamm as Gabriel and Liz Carr as Saraqael in a flashback scene from Heaven of Gabriel (Jon Hamm) before he’s demoted from Heaven and loses his memories. (Image courtesy of Amazon Prime)
There was lots of work put into the creature work and into key characters as well. “I really enjoyed all of the creature work that we did, especially the geckos,” Derkacz says. “The work that we did on the tongue of the demon was really fun. It’s a quick shot, but for that shot we had to create all the CG for the tongue and all of the saliva. It’s lots of work involved for only one shot, but the good thing about that is that you build the asset, you get the shot, and you have a part of the sequence that has been approved and you can move on. So, it’s pretty much based on deliveries and as well on the volume of work for the full team. I think I enjoyed the process most, working with a wonderful team from the beginning until the end. I would say that the most challenging to create wasn’t a character, it was Aziraphale’s wings. All these minimal changes in color had to be translated to white wings, which was a really difficult and complex aspect, but the end result looked great.”
Angel Aziraphale (Michael Sheen) and demon Crowley (David Tennant). According to Milk VFX Visual Effects Supervisor Matias Derkacz, the biggest challenge wasn’t to create a character, it was the wings. (Image courtesy of Amazon Prime)
Milk delivered more than 500 shots for Season 2. “What is great about Good Omens in terms of visual effects work is that it isn’t like a typical VFX TV series. Good Omens is really complex in the sense that you build an asset which is only used once. We are going back in time and we build all of this for the shot and then that’s it; we never come back to it. It’s really fun to work on a show like that because you do such much,” Derkacz concludes.
Images courtesy of Fin Design + Effects and Netflix.
A major environment build for Fin Design + Effects was constructing Vienna with moving traffic.
Thought to be dead mercenary, Tyler Rake (Chris Hemsworth) returns in the Netflix sequel Extraction 2 where the action shifts from Bangladesh to Austria under the direction of Sam Hargrave. Further complications arise when attempting to rescue a crime lord’s family from a Georgian prison. Contributing to the mayhem is Visual Effects Supervisor Björn Mayer and an army of vendors. One of the contributors was Fin Design + Effects, which over a period of six months produced 150 shots that consisted of a 360-degree panoramic view of Vienna and the climatic glass-awning fight scene.
“The thing that prepared me the most was watching the first one, and you get a sense that it’s going to be a gritty action movie [like] John Wick, but much more in your face,” states Will Towle, Visual Effects Supervisor at Fin Design + Effects. “There are different types of visual effects movies. You have Guardians of the Galaxy, which are your bombastic huge-effects shows. Then you’ve got your more down-to-earth invisible effects stuff like Extraction 2, which fits well in my compositing background. The challenge for this kind of movie is that you have to get the audience to buy into it and see the peril that the characters are in. Compositing is all about those finishing touches and adding believability. I’m also a believer that wherever possible we should use live-action effects. You can’t get more real than real. Quite often you can use them in combination with CG to bring the CG up to the next level.”
Despite building a large set piece for the awning fight sequence, major set extensions were required to replace the bluescreen.
Clear and concise instructions were articulated by Mayer. “Björn knows what he wants, and they had actually built quite a big set of the awning, but we ended up replacing all of it because you have reflections in the pieces of glass such as crew members and bluescreen,” Towle remarks. “It gave us a good starting point and base to ground our CG. Early on, Björn and I talked about other references. Pictures were shared of what this sequence might look like. We started with broad strokes and we slowly zoomed into the tiny details like anisotropic filtering, dirt maps on the glass, and kept adding layers of detail to the CG build until it looked photoreal.” Rotomation of the characters was a critical part of the process. “Because we were replacing the glass in every shot and glass is highly reflective, that required us to do accurate digital doubles of four or five characters, and those had to be rotomated into every single shot,” Towle explains. “This is not work we’ve done too extensively before, so new pipeline tools had to be written to help with that, and new animation tools as well.”
Everything had a basis in plate photography, which helped to provide a ground truth for the CG.
Guiding the shot design process were storyboards and previs. “We can start placing our cameras and see what pieces of the build might need to be up-res’d because there is a level of detail scale where the further from camera it is, the fewer details we put in to save render time and disk space,” Towle explains. “Björn and his team had flown a helicopter over Vienna and taken thousands of photos from all different positions, which was fantastic for getting a sense of the environment and what the sun looks like at the time of day that the sequence is taking place. Vienna’s midday sun is bright with not much atmosphere. We also did a lot of research on Google Maps. We flew cameras over the area on Google Earth and did some photogrammetry to build a proxy city early on to figure out camera angles and what buildings we would see from what camera height.”
“The challenge for this kind of movie is that you have to get the audience to buy into it and see the peril that the characters are in. Compositing is all about those finishing touches and adding believability. I’m also a believer that wherever possible we should use live-action effects. You can’t get more real than real. Quite often you can use them in combination with CG to bring the CG up to the next level.”
—Will Towle, Visual Effects Supervisor, Fin Design + Effects
Half of the 150 shots were entirely digital. “I would love to keep as much plate as I can, but, unfortunately, for a lot of these shots we did have to replace them with CG,” Towle states. “The challenge there was making it look as much like the reference as possible. It helped us in a way to go full CG. In almost every shot the characters are still plate, and for this show, to assist us keep the sequence on track in terms of color and lighting, we created a neutral grading pipeline for Fin Design + Effects; this is the first time we’ve done that. What that entailed was neutral grading every single shot in the sequence, and that allowed us to create our Vienna city in a neutral graded environment as well. It enabled us to light, render and drop a shot in that is looking good already and you’re nudging the last five percent in compositing. But we still had live-action elements, and with those come rebuilding edges, roto and bluescreen removal.”
The hardest part of the glass-awning fight sequence was replacing the reflections and refractions of the crew and bluescreen.
Constructing the DC Towers and surrounding Vienna were the biggest photoreal environments for Finn Design + Effects. “How are we going to build the city and add moving traffic to it?” Towle observes. “We had to have moving reflections on every surface and nearby buildings as well. That was something we were definitely anticipating. Also, the way that light travels through glass and compositing glass has some fundamental difficulties. Glass is all reflections and refractions; that’s classically quite difficult to comp because if you have a CG render of a pane of glass and you’re seeing through it, you don’t have a depth channel for the stuff you’re seeing through it. You have a depth channel of the piece of glass. We had to come up with a way to defocus all of this stuff properly. To effectively achieve that in compositing we came up with a method to stripe out the reflections and refractions from the pieces of glass, defocus them separately using a different depth channel and recombine them all. That was all done in comp.”
Deep compositing was critical in being able to manipulate and produce the correct reflections and refractions in the glass.
“[T]hey had actually built quite a big set of the awning, but we ended up replacing all of it because you have reflections in the pieces of glass such as crew members and bluescreen. It gave us a good starting point and base to ground our CG. Early on, Björn [Visual Effects Supervisor Björn Mayer] and I talked about other references. Pictures were shared of what this sequence might look like. We started with broad strokes and we slowly zoomed into the tiny details like anisotropic filtering, dirt maps on the glass, and kept adding layers of detail to the CG build until it looked photoreal.”
—Will Towle, Visual Effects Supervisor, Fin Design + Effects
Rotomation was utilized extensively for the characters and their digital doubles.
“For the hero shots that were close to the glass,” Towle continues, “we rendered it in two different layers and comped it back together in deep compositing so we didn’t have to render with holdouts. We could push and pull layers every so slightly using deep compositing. Then, just as we expected, the build of the city was extremely challenging. We started with a photographic base that was our ground truth, then put it on a sphere to see how it looks. You begin to notice things that are not in the correct perspective, like warped buildings. You can go, ‘That building needs to be reprojected onto geometry, while this one has to be full CG.’ We used it as a guide for how detailed our environment had to be. The furthest-away stuff was on a sphere. As you got a bit closer, it was put on cards, even closer on geometry, and the closest full CG. That allowed us to keep our render times down and still get a believable photoreal result.”
A last-minute alternation was to give the concluding Valhalla scene more of an epic ethereal quality.
After being the sole visual effects vendor on 10th century British saga The Last Kingdom, BlueBolt gets to apply five seasons worth of expertise to the Netflix feature film The Last Kingdom: Seven Kings Must Die. The story revolves around Uhtred of Bebbanburg attempting to unite England after the death of King Edward. “This is not a documentary,” observes Richard Frazer, VFX Supervisor at BlueBolt. “We have to start from a point of authenticity and then take some creative license because we’re still making a piece of entertainment.” The methodology did not change going from a series to feature format. “Apart from the Valhalla stuff, there wasn’t anything crazy dissimilar to what we’ve done before. We looked at it as if we were making one and a half or two episodes of the show.” Post-production lasted for seven to eight months. “The shot count of 375 doesn’t sound like much but they were extremely complex,” Frazer explains. “The main difference is that it’s one big linear focus [rather than doing pre-production, shooting and post-production of different episodes at the same time]. There wasn’t any overlap with anything else that was going on.”
Sky replacements were part of the visual effects work, such as turning scenes from day to night.
Outside of the usual numerous blood shots, the main focus was the battle at the end. “You cut to this wide battle shot [there were four or five of them], and for the three seconds that it’s onscreen there are all of these nuances of the advancement in the configuration of the two sides that have to be communicated,” Frazer states. “The Valhalla sequence was something that came in quite late and wasn’t planned for. It was filmed as scripted with Uhtred in the hall at Beddanburg. He hears this commotion, goes over, and it’s like a mirror of the hall that he has just left. It was shot that way and never meant to be visual effects. The film was locked and sent off for reviews to one of the executives who wanted it to be this much bigger thing at the end. We were nervous because it was going to take quite a significant bunch of money to get it done, and it’s such an important moment. Uhtred is on the cusp between life and death. It couldn’t be cheesy. If you die in battle, you either go to Valhalla, which is an eternal banquet with all of your fallen comrades for the rest of time, or to Fólkvangr. where you can be out in the countryside, if getting drunk for eternity isn’t your thing!”
CG water was avoided for the series but required for the feature version.
Classical paintings of Valhalla were too grand and over the top in their scale, which ran counter to the tone of show. “We did reference a shot where we go to the Isle of Man and there is a Viking longhouse, which was based on a real one that was discovered,” Frazer remarks. “For the Hall of Valhalla, we went to the production designer who had designed the Hall of Bebbanburg and said, ‘It has to feel otherworldly but grounded in a reality that Uhtred understands because of the implication that it might be a hallucination that he is having.” A blinding bright light appears in the doorway of the hall. “It was based on the Hall of Beddanburg, which was practically built and expanded into this infinite space. At the end were these giant doors that opened out onto the meadows of Fólkvangr. Originally, you were supposed to see through the doorway to the meadows beyond. We played with the exposure and levels of haze and reached this level where it was blown out and light streaking through. The executives liked that as a look because it implied something ethereal beyond, but still felt quite grounded,” Frazer says.
“The Valhalla sequence was something that came in quite late and wasn’t planned for. It was filmed as scripted with Uhtred in the hall at Beddanburg. He hears this commotion, goes over, and it’s like a mirror of the hall that he has just left. It was shot that way and never meant to be visual effects. The film was locked and sent off for reviews to one of the executives who wanted it to be this much bigger thing at the end. We were nervous because it was going to take quite a significant bunch of money to get it done, and it’s such an important moment. Uhtred is on the cusp between life and death. It couldn’t be cheesy.”
—Richard Frazer, VFX Supervisor, BlueBolt
Motion capture – with a shield and baseball bat in hand – was essential in producing the necessary number of soldiers for battle sequences.
Epic warfare is a signature part of series storytelling for The Last Kingdom, with the climax of the feature being based on the Battle of Brunanburh. “There were probably more records or poems written about the aftermath,” Frazer notes. “I don’t know how much the specific military beats within it are accurate to the real historical event. They wanted to have Untred and his forces overwhelmed and outnumbered, but by using tactics he manages to save the day. Uhtred concedes ground in order to expose their flank to a pincer maneuver attack. As much as we were trying to shoot that with drones on the battlefield, in the end it was too difficult to do that as a physical maneuver with the number of people we had. We shot a bunch of empty plates of the battlefield and did it completely CG to show the nuances of that maneuvering, which is counter to what I normally do. You should always start from a place of having real people, but at least what we attempted to shoot with the drone served as reference to rebuild all of that with our CG characters.”
It was a challenge to have the opposing armies crushing against each other enough while not making it visually confusing for the viewer.
“[The Hall of Valhalla] was based on the Hall of Beddanburgh, which was practically built and expanded into this infinite space. At the end were these giant doors that opened out onto the meadows of Fólkvangr. Originally, you were supposed to see through the doorway to the meadows beyond. We played with the exposure and levels of haze and reached this level where it was blown out and light streaking through. The executives liked that as a look because it implied something ethereal beyond, but still felt quite grounded.”
—Richard Frazer, VFX Supervisor, BlueBolt
The Uhtred side consists of Wessex and mercenary soldiers that wear uniforms, while the opposing Allied side is made of Danes and Islanders dressed entirely different from each other. “We had to find a way to create base characters and then randomize those to make them appear as individuals with the various head dressings, accessories and fur,” Frazer explains. “If you’re in a wide battle shot you need to have many variations of the actions that people are doing, otherwise you quickly start seeing repeats. We had motion capture suits in the office with a shield and baseball bat and would churn out whole new actions. We tried to get as many different people in the suits as possible to vary it up.” The battle was shot in a bowl in Hungary. “The Allied side comes down a raised hill, and Uhtred and his side come in between the treelines. We used that because when you’re in amongst all of the fighting, you need to see things above people’s heads to orientate yourself,” Frazer describes.
Approximately 370 visual effects shots were created by BlueBolt, which was the sole vendor for the feature as well as the five seasons of The Last Kingdom.
“As much as we were trying to shoot [the final battle scene] with drones on the battlefield, in the end it was too difficult to do that as a physical maneuver with the number of people we had. We shot a bunch of empty plates of the battlefield and did it completely CG to show the nuances of that maneuvering, which is counter to what I normally do. You should always start from a place of having real people, but at least what we attempted to shoot with the drone served as reference to rebuild all of that with our CG characters.”
—Richard Frazer, VFX Supervisor, BlueBolt
BlueBolt was responsible for the arrival of the armada. “It was the first shot we started and the last one that was delivered!” Frazer reveals. “It went through a lot of variations. The long shot from Season 2 that I composited of Uhtred on a slave ship, which came from inside the boat, across the bow of the deck and then up and wide, and pulls back showing the ship sailing across the sea – the director originally wanted to create something like that. One area that we haven’t touched on the show is CG water. We tend to use stock plates and work from there. That worked well for all of the shots of ships in the previous seasons, but if there is a specific countermove that is wanted, you’re limited with what you can do based on the spot plates that you were able to source. We tried doing the big pullback as it came through the ships and rigging. It wasn’t quite working. We scrapped it midway through and came back to it. That was the most challenging shot [of the movie]. The ocean itself is some stock footage that we sourced, but then the wake and all of the interaction of the boats are entirely CG. That was the tricky part.”
Watch BlueBolt’s VFX breakdown video of large, complex CG battle scenes and army formations as well as other elaborate environments for Seven Kings Must Die. Click here: https://www.blue-bolt.com/ourwork/seven-kings-must-die.
The methodology for each visual effect shot was determined on a case-by-case basis.
Working on the Disney+ fantasy series American Born Chinese holds a special place in the heart of Visual Effects Supervisor Kaitlyn Yang (Raised by Wolves), because the content on the screen and the creative talent in front and behind the camera reflected her ethnic heritage in an authentic and meaningful way. The story reimagines the myth of the Monkey King by giving the trickster god domestic life troubles in the present day and mines the humor in trying to gain self-acceptance beyond the borders of China. There is no shortage of fantasy elements as a battle between the forces of good and evil ensues with two high school students thrust right in the middle of the heavenly conflict.
“In my opinion, visual effects are best served when it’s in a supporting role. They’re invisible or we tap into the magic realism whenever the visual effects need to be front and center because story calls for it.”
—Kaitlyn Yang, Visual Effects Supervisor
American Born Chinese wanted to make sure that everything was grounded with a focus placed upon magic realism.
“Just in the script phase, right off the bat you have a falcon changing into a tiger changing into a fish! How do we do that? That ultimately becomes the perfect handoff of what was shot practically and just seeing enough of something to whet your appetite. It was kind of a morph that was more into the sparkle-lighting effects realm aided by the sound design. The camera is moving so fast that you’re like, ‘Oh, now it’s going to happen.’ There were so many of those all in the row that was so mesmerizing to watch.”
—Kaitlyn Yang, Visual Effects Supervisor
The Monkey King is capable of 72 transformations, with one of them being a falcon.
“I was extremely thrilled when I got the email, and not having so many women visible I felt like I was chosen by the claw in Toy Story!” states Yang, who is the founder and CEO of Alpha Studios. “Having the braintrust [of Asian creators, heads of departments and cast] with lived experiences allowed us to know when to take liberties and pay homage,” Yang states. “You see so many nods to Asian traditions throughout the series. We had a lot of good ideas to pick from, and then figuring out which ones fit the tone and vibe that [showrunners] Kelvin Yu and Destin Daniel Cretton had already envisioned in their head and how to amplify that.”
Stunts were pivotal in pulling off the fantasy action sequences, with wirework being utilized by martial arts icon/Oscar winner Michelle Yeoh.
Having being responsible for Shang-Chi and the Legend of the Ten Rings, Cretton was experienced in dealing with a visual effects-heavy production while other directors were not as experienced, such as [director] Lucy Liu. “It was never that we are designing specifically for their vision,” Yang remarks. “They were always willing for new ideas and improvements, but key words were passed around here and there. Like any good storytelling, it’s about a feeling that you’re trying to capture. How fast was the waterfall moving and could that contribute to the intense dialogue that the dad and son are having? In my opinion, visual effects are best served when it’s in a supporting role. They’re invisible, or we tap into the magic realism whenever the visual effects need to be front and center because story calls for it.”
Determining the pacing and look of effects such as waterfalls was the desired tone for the scene.
Amongst the creative and technical challenges to produce 1,100 visual effects shots for the eight episodes was the ability of the Monkey King to do as many as 72 transformations, which are dictated by the scenario and where he has to go next. “Just in the script phase, right off the bat you have a falcon changing into a tiger changing into a fish!” Yang notes. “How do we do that? That ultimately becomes the perfect handoff of what was shot practically and just seeing enough of something to whet your appetite. It was kind of a morph that was more into the sparkle-lighting effects realm aided by the sound design. The camera is moving so fast that you’re like, ‘Oh, now it’s going to happen.’ There were so many of those all in the row that was so mesmerizing to watch.”
Among the invisible effects were smartphone screen inserts.
“The first and last episodes were always planned to be visual effects heavy. In Episode 108, we have this intense battle in the sky that we had to somehow make believable. There were so many moving parts, figuring out how to digitally duplicate something that we had practically. I started out as a special effects artist. I will always have a love of getting as much in-camera as possible knowing even if most of it doesn’t appear in the final frame that it’s going to be the coolest reference we’re going to have.”
—Kaitlyn Yang, Visual Effects Supervisor
The glass explosion was achieved practically.
For the opening chase in Episode 101 where a multitude of transformations occur, previs was produced by DigitalFilm Tree that was informed by Stunt Coordinator Peng Zheng. “He and his team shot at their practice ring on iPhones and mobile phones to give us a sense of the camera movement and how one scene stitched with another,” Yang explains. “That helped so many departments to visualize what do we need to do and where the handoff was. I hope that people will love the chase scene as much as we loved putting it together. That sequence, in particular, took the most days, shot count and budget. It was not only a fun sequence but set the tone for the rest of the season. That was one of the first sequences that we shot.” The transformation shots might be described as kung fun magic. “We didn’t do as many as 72 transformations, but perhaps for later seasons! Knock on wood! I grew up with Hong Kong cinema, so I love the types of choreography that you don’t see too much nowadays that have just enough surrealism and magic that ties it together. It’s so fast-moving you can’t look away,” Yang states.
Approximately 1,100 visual effects were created for the eight episodes.
“We took all of the tools in the toolbox and deployed them whenever we saw fit. In Episode 101, we LiDAR-scanned our sets knowing that we had to do extensive set extensions. We worked closely with the art department which had done extensive research and also relied on Gene Luen Yang, the writer of the book with the same name, because he has done extensive research.”
—Kaitlyn Yang, Visual Effects Supervisor
Most of the visual effects were temped by Pixelloid working alongside DigitalFilm Tree, “not necessarily to the degree of the final look that we ultimately settled on, but providing us with a stepping stone to keep improving upon,” Yang notes. “By cut five or six we were able to see some version of the effect already built in. The effects that went through the most iterations were probably for the Heaven episode. That was mainly shot on bluescreen, and we definitely used all of the time on the clock for that one to fine tune the lighting and matte painting. The first and last episodes were always planned to be visual effects heavy. In Episode 108, we have this intense battle in the sky that we had to somehow make believable. There were so many moving parts, figuring out how to digitally duplicate something that we had practically. I started out as a special effects artist. I will always have a love of getting as much in-camera as possible knowing even if most of it doesn’t appear in the final frame that it’s going to be the coolest reference we’re going to have.”
Nothing like having a battle between deities in a high school where teenage angst reigns supreme.
The methodology was devised on a case-by-case basis. “We took all of the tools in the toolbox and deployed them whenever we saw fit,” Yang explains. “In Episode 101, we LiDAR-scanned our sets knowing that we had to do extensive set extensions. We worked closely with the art department which had done extensive research and also relied on Gene Luen Yang, the writer of the book with the same name, because he has done extensive research.” Human Engine ran a portable scanning station on set to assist with the construction of digital doubles. “We had people flying into the sky or walking on water or cliff jumping. Even before wire removal and background replacements, watching the dailies was so cool. We were able to get some CG doubles, but for most of it we had an incredible stunt team that showed their homage to Asian cinema. Hopefully, the audience will be so immersed that everything we put on the screen will be taken as is, because the best compliment for visual effects is not to even know that it was there.”
Watch mesmerizing transformations of the Monkey King in DNEG’s “VFX Breakdown” for American Born Chinese. Click here: https://vimeo.com/844316668
The hardest shot to get right for ILM was encountered when the bag is removed and reveals the de-aged Indiana Jones for the first time.
Receiving the franchise baton from Steven Spielberg (Jaws), James Mangold (Ford v Ferrari) embarks on the fifth and final adventure with a character who made archeology, fedoras and bullwhips cool, and provided Harrison Ford with his third iconic cinematic persona. Joining in the fun and global mayhem that ensues in Indiana Jones and the Dial of Destiny is Oscar-winning VFX Supervisor Andrew Whitehurst (Ex Machina) along with ILM VFX Supervisor Robert Weaver.
An array camera car captured plates for the tuk-tuk chase that occurs on the streets of Morocco, which was handled by Soho VFX.
Much has been made of the opening 25 minutes that resembles lost footage from the making of Raiders of the Lost Ark and features a de-aged Harrison Ford. “We started by looking at archival material and building our CG head and A/B between the two, which was a useful comparison,” states Whitehurst, who was on the project for three years. “Early on we had scanned Harrison Ford, so we had him as he is now, which could also be used for checking proportions. There was never ever a particular shot that we thought, ‘This is the one we’ll use to test.’ We all knew that the bag coming off of the head was going to be the most important shot because it’s the first time you see him, and it was also going to end up in the trailer. That was shot early on, and we got working on it earnestly.”
When de-aging Mads Mikkelsen it was more important that he resembled the character of Jürgen Voller rather than his younger self.
De-aging was accomplished by utilizing ILM FaceSwap. “It’s was a terrifying challenge that I wanted to step into and take on,” Weaver remarks. “Things are always evolving, and we’re good at keeping up and leading development in all areas that are necessary to perfect the techniques. Andrew had a good summary of it by stating it’s an umbrella suite of tools. By adding the machine learning to the mix, it’s contributing yet another tool to the arsenal to accomplish what is needed. We did rely on archival footage from past films, and it helped tremendously in many different ways, but it didn’t replace our previous techniques, which we still need to build a fully CG asset that is believable standing on its own as well. It was necessary to treat each shot individually.”
The World War II prologue features a chase on top of a train with Toby Jones, the only character not de-aged. The chase includes an all-CG shot of Ford running across the train.
FaceSwap is not treated as a magic bullet. “What we have is a selection of tools and the ability to mix between the various outputs of these processes that we can look at and go, ‘We’ll take the eyes from here and some of the skin tone from this,’” Whitehurst notes. “To be able to create like a painter would be in that final likeness, and to maintain that performance. The brilliance of it is having the ability to use a little bit of this and more of that. For another shot it is not working, so you have to use a different combination of approaches.”
The parade sequence, which had Edinbourgh stand in for New York City, was the responsibility of Rising Sun Pictures.
Remarkably, Harrison Ford was still able to fit into the original costume. “The long and short of it is, Harrison is super fit and energetic,” Whitehurst states. “He will act like 40-year-old Harrison for those moments.” Ford has a distinct running style described as a cross between Jack Sparrow and Tom Cruise. “We took a lot of time to study his running in various films, and we had an all-CG shot of him running across the train,” Weaver notes. “Essentially, we had to get those mannerisms into that run while working out the cadence of what is necessary to step over the pipes and jump between cars.”
The prologue was intended to resemble recently-discovered lost footage shot during the making of Raiders of the Lost Ark.
“[De-aging Harrison Ford] was a terrifying challenge that I wanted to step into and take on. … By adding the machine learning to the mix [in ILM’s FaceSwap], it’s contributing yet another tool to the arsenal to accomplish what is needed. We did rely on archival footage from past films, and it helped tremendously in many different ways, but it didn’t replace our previous techniques, which we still need to build a fully CG asset that is believable standing on its own as well. It was necessary to treat each shot individually.”
—Robert Weaver, VFX Supervisor, ILM
The de-aging of Ford was accomplished through machine learning and a variety of techniques known as ILM FaceSwap.
When de-aging Mads Mikkelsen, a different creative choice was made. “Mads as younger man is fuller in the face, which didn’t feel right for the character,” Whitehurst reveals. “When we started looking at how we were going to FaceSwap Mads, we decided not to refer extensively to what Mads actually looked like when he was 30. It was more about figuring out what young Jürgen Voller looked like. That was done with a whole bunch of paint tests. We figured out the look for that, and then were able to roll that through the shots. It’s interesting because young Jürgen Voller kind of looks like young Mads Mikkelsen, but also not – that benefits the character.”
ILM created a fully CG environment for the scenes that take place in Syracuse, Sicily circa 214 B.C..
“It was amazing. We could rotate that plane through multiple axis a great deal, and it was full size. But it could also shake around, so we were inside a lot. The physicality was real. That made it tricky because the camera is shaking in the inside, or the plane shaking against the background that shouldn’t be shaking, but the believability of the motion that you get from the people inside of the plane is worth the pain because it sells it.”
—Andrew Whitehurst, VFX Supervisor
Filmmaker Mangold and frequent cinematographer Phedon Papamichael favor using wide lenses for closeup shots resulting in more of the surrounding environment appearing in the frame. “There are probably more closeups of a 40-year-old Indiana Jones in this movie than there are in all of Indiana Jones and the Last Crusade,” Whitehurst observes. “The important thing was being able to accommodate how they wanted to shoot it. I don’t want anyone to ever feel compromised. If it means pushing in and getting close because narratively and dramatically that is going to have the most impact, we should do that.” Among the action sequences is Indiana Jones trying to outrun a subway train while riding horseback. “For the closeups, the train is CG. We had a beautiful set build at Pinewood of the whole station and a little bit into the tunnel. Then we had a long black tent that extended out so he could ride a horse down [the tunnel], so we were able to shoot the plates. but the train was always going to be CG. The actual tunnel itself is CG as well,” Whitehurst says.
Phoebe Waller-Bridge appears in the aircraft gimbal, which was shot on a bluescreen stage. (Photo: Jonathan Olley)
“We do a lot of dynamic studies and various simulations to see what our perceptions are. A lot times in our work, things that are physically correct are not what we’re looking for, so we need to augment them. But in the case of the airplane and all of the atmospherics, James [Director Mangold] had a clear idea in his mind as to what these atmospheric dynamics should be, and he essentially likened them to a waterfall flowing out into the past. That was our cue to build this massive storm and put the dynamics onto the planes that are believable… It was a fine balance to walk.”
—Robert Weaver, VFX Supervisor, ILM
Ford strikes a classic pose while Cinematographer Phedon Papamichael scouts a set. (Photos: Jonathan Olley)
A signature stunt is Indiana Jones leaping from tuk-tuk to tuk-tuk during the street chase in Tangiers. “That was shot in Morocco,” Whitehurst reveals. “We have a guy in a tuk-tuk who will then jump into the other tuk-tuk. We did a CG takeover of the tuk-tuk that he leapt from and have a CG van colliding into it.” Stunts were a crucial partner. “I’ve worked with Ben Cooke, who was Supervising Stunt Coordinator a couple of times. Dan Bradley is an incredibly experienced second unit director. Once we figured out where we wanted to shoot the tuk-tuk. which was Fez in Morocco, Dan went there. The dialogue needed to happen, so we roughly knew how long the sequence had to be, as well as where we were going in and out of it. But the script didn’t describe specific action beats. Dan walked around Fez and said, ‘We could do this with the tuk-tuks right here.’ On the basis of that, we were able to previs the sequence. We scanned and photographed Fez and the vehicles down the whole route because we knew that there was going to be process back at Pinewood for all of the dialogue between our principals. Because everything was previs, we knew what the angles were going to have to be. We decided to put the edit together as we were shooting the process work so we knew that everything was going to cut together okay. Then it’s a case of paring things down in the edit and refining until we get the completed sequence.”
Frequent collaborators filmmaker James Mangold and Cinematographer Phedon Papamichael enter the world of Indiana Jones together for the first time. From left: Production Designer Adam Stockhausen, Mangold and Papamichael on set. (Photo: Jonathan Olley)
ILM was also responsible for the third act. “There are some fantastic escapades that happen with the airplane going through the eye of the storm and coming into 214 B.C.,” Weaver states. “They did an amazing job on set shooting a partial version of the airplane, and we would add an extended version of that through CG at various times. There were other times where things couldn’t be filmed practically, and it would have to be completely CG, partially airborne and jumping out.” The proper weight of the aircraft had to be conveyed to add to the sense of peril. “We do a lot of dynamic studies and various simulations to see what our perceptions are,” Weaver remarks. “A lot times in our work, things that are physically correct are not what we’re looking for, so we need to augment them. But in the case of the airplane and all of the atmospherics, James had a clear idea in his mind as to what these atmospheric dynamics should be, and he essentially likened them to a waterfall flowing out into the past. That was our cue to build this massive storm and put the dynamics onto the planes that are believable, getting enough wind flex that is believable but doesn’t feel like those wings are going rip off in any minute. It was a fine balance to walk.”
“I always push to get as much as we possibly can in-camera, particularly if it’s something that is interacting with the characters because you get better performance. The physicality is there because it’s real. If you can’t do that, we try to find reference that is as close as we can get to that and then analyze it even for the small things.”
—Andrew Whitehurst, VFX Supervisor
A rig was built for the interior of the plane by the special effects team led by Alistair Williams. “It was amazing,” Whitehurst explains. “We could rotate that plane through multiple axis a great deal, and it was full size. But it could also shake around, so we were inside a lot. The physicality was real. That made it tricky because the camera is shaking in the inside, or the plane shaking against the background that shouldn’t be shaking, but the believability of the motion that you get from the people inside of the plane is worth the pain because it sells it. Then that helps when we cut to the exteriors and have felt this violence, and now we can see that in the wider shots.” Practical elements are essential even when shots become fully CG. “I always push to get as much as we possibly can in-camera, particularly if it’s something that is interacting with the characters because you get better performance. The physicality is there because it’s real. If you can’t do that, we try to find reference that is as close as we can get to that and then analyze it even for the small things. For example, the hanger doors open, we see the bomb for the first time and the engines fire up. One of the things with old airplane V engines is when the propellers start to spin, too much fuel is going into the engine, so it’s not up to speed yet, so you get this big blast of flame that comes out through the exhaust. We did that, and it looks cool as well. It adds that extra flavor and verisimilitude to it that there is a bit more texture,” Whitehurst says.
Cinematographer Phedon Papamichael prepares a driving scene on a bluescreen set. (Photo: Jonathan Olley)
Combining reality and fantasy is a staple of the Indiana Jones franchise, such as having a portal appear in the sky for Indiana Jones and the Dial of Destiny. “Indy films are slightly earthy, grubby-real, but then have an element of the supernatural on top,” Whitehurst observes. “We stylistically absolutely had a precedent in the previous films. One of the things that James and I talked about a lot was a Douglas Trumbull cloud tank, where it’s something that feels physical and real but has an interesting aesthetic quality to it as well. Certainly, we were looking at that when designing the inside of the portal as we fly towards 214 B.C. and when we come out of the other side. We designed something that had an interesting physicality to it so it felt like something that nature might produce. We had these arms wrapping around the horizon as if it was coming to Earth trying to grab [it], with this portal in the center of it. There was an oddness to it. But we were also referencing actual cloud formations and odd storm footage a lot to get the movement and the shapes within that form. There was an overall sculptural design aspect to it that we wanted it to narratively feel like, which was threatening, but also getting that naturalism into it that is very Indy.”
Interestingly, Ford still fits into the original costume and has remained extremely fit. (Photo: Jonathan Olley)
A complete CG environment build was the Sicilian city of Syracuse circa 214 B.C.. “It was down to the level of being able to fly through the streets,” Weaver reveals. “Basically, we wanted to take away any limitations that James may have in telling the story. Wherever he wanted to put the camera, it was going to be completely believable and period appropriate.” In total, 2,350 visual effects shots were created by ILM, Rising Sun Pictures, Important Looking Pirates, Soho VFX, Midas VFX, The Yard VFX and Crafty Apes. “The tricky thing with a movie like this is, there were so many locations and numerous times where every single scene is something new,” Whitehurst states. “Somebody asked me, ‘What was it like to make this?’ It was like doing 12 commercials simultaneously, and a lot of them are very different. That’s the hard part. There is a little action beat towards the end when Helena is on a motorbike chasing Voller. I loved it when we did the previs. I thought it was going to be a fun moment. We shot it with Phoebe Waller-Bridge on a soundstage. She was awesome, and we blasted her with water and wind all day long. Phoebe just did it and completely sold it. Also, there is an awesome shot with Phoebe right under the tail of the plane as it’s bouncing down the runway, and you feel it slam down just next to her. I love that whole beat. It feels exciting, present in the action. The performance is great, and the work is beautiful.”
Watch a featurette on “behind the action” of Indiana Jones and the Dial of Destiny. Click here:
Coming into contact with the Question Boxes enables characters to transform and acquire different superpowers.
Claiming the crown of the top-grossing video-game adaptation of all time is The Super Mario Bros. Movie with a worldwide box office totaling $1.3 billion, which is nearly three times what was earned by second place Warcraft. The overwhelming success was caused by Nintendo partnering with filmmakers Aaron Horvat, Michael Jelenic and Pierre Leduc, screenwriter Matthew Fogel, Illumination Mac Guff and Universal Pictures to produce a story that at times literally pays homage to the source material while also pushing the boundaries of expectations, as demonstrated by the reptilian villain Bowser channeling his inner Ozzy Osbourne and Elton John to sing heartfelt songs dedicated to the unreceptive Princess Peach.
Lumalee is a volumetric character, so classic shading techniques could not be utilized.
In the middle of the zany craziness is Illumination veteran Milò Riccarand, who was the Head of CG on the project and has seen the evolution of effects utilized by the Paris-based animation studio since Despicable Me became a global sensation. “The way we use effects has changed hugely because technology and software has evolved a lot,” Riccarand states. “We have a huge render farm. Directors want something bigger, more realistic and interesting. That’s what I love about it.” When doing simulations in animation, it’s all about achieving the proper balance between plausibility and stylization. “We do a lot of proprietary software and jump at the possibility to do what we need in order to achieve the look that the director wants, whether it be physical or cartoony,” Riccarand says. Sequences were mapped out using storyboards and previs. “We did two passes of previs, one animated and the other with characters. This is because the interaction between the characters, the cast and camera can be tricky, as their relationship with each other needs to be like a dance in order to get a good position.”
By combining detail and stylization, the fur and skin of Donkey Kong appears to be realistic and appealing.
There is no shortage of characters with short legs in The Super Mario Bros. Movie, which stems from respecting the original silhouettes and poses of the original character designs. “To be fair, it’s not just the short legs,” Riccarand remarks. “The legs can be short in one and become long in another one. A principle of animation is squash and stretch. That can come across as being elastic, which is hard on CFX because you want to do something that is physically realistic, so you have to find a way to do that.” Mario transforms whenever he makes contact with Question Boxes, which allow him to acquire various powers. “It’s a joint collaboration between effects, compositing and lighting departments. We are doing a lot of work in Nuke in order to have particles flowing on his face or forming a force field. Numerous layers had to be comped and lit,” Riccarand says.
One of the most complex sequences and environments was executing the cosmic car chase that takes place on the Rainbow Road.
A chase sequence takes place on a prism-colored cosmic transitway. “The Rainbow Road was a complex challenge for us,” Riccarand notes. “The camera had to chase all of the characters, which was difficult technically. The road was a volumetric entity with clouds inside. To make everything look lit [was challenging]. It’s a rainbow, so it’s not something solid. Our render department helped us to sort it out and be able to render that.” Supercharged vehicles add to excitement. “Those were a lot of fun!” Riccarand laughs. “This is not a live-action movie, so we can do what we want with the characters. You get crazy moments with the cars. The Koopa General drives this huge car that takes up all of the road.” The cloud elements assisted in conveying the proper size, scale and speed. “Each shot was set-dressed in order to get the best angle for the camera. We added tiny elements in frame that are going by quickly and cause you to say, ‘They’re going fast.’”
A signature environment is the Mushroom Kingdom that Mario and Princess Peach walk through.
Bowser lives on a volcanic world and resides in Lava Lake Keep. “It was not scary to do because our proprietary software helped us to deal with the smoke,” Riccarand states. “But when it comes to scale and a thousand shots to do, we had to be smart to find a good solution that doesn’t cost too much. You can’t have multiple simulations rendering overnight to have them ready for the day after. The lava had to be stylized to work with the characters in the scene. It was a bit more cartoony, but with realistic lighting.” A staple of video games is to have a world filled with giant mushrooms. Explains Riccarand, “People love that! The Mushroom Kingdom was a nice set to do. There was a lot of modeling and procedural environments in order to do the set extensions. It is something iconic from the game, so the viewer knows what they are looking for; so we needed to pay attention in order to not disappoint them.” Scenes in World Bowser take place at night, while the Mushroom Kingdom action unfolds in the daytime. “Night sequences are easier to hide things with mist and darkness, and you can use high contrast lighting. When you’re outside in sunny daylight, it’s more complex to light the characters in a believable and interesting way.”
While following through with his nefarious plans, Bowser also has a habit of singing love songs dedicated to Princess Peach.
“Those [supercharged vehicles] were a lot of fun! This is not a live-action movie, so we can do what we want with the characters. You get crazy moments with the cars. The Koopa General drives this huge car that takes up all of the road. … Each shot was set-dressed in order to get the best angle for the camera. We added tiny elements in frame that are going by quickly and cause you to say, ‘They’re going fast.’”
—Milò Riccarand, Head of CG/FX Supervisor, Illumination Mac Guff
The simulations for lava had to be stylized to ensure that the environments did not clash with the cartoony character designs.
Some scenes are a direct homage to actual gameplay. “That was fun because the idea was to take something that exists in the game, however, then put it into a more cinematic environment,” remarks Riccarand. “It had to respectful but on a bigger scale.” There was constant feedback from Nintendo, with signature elements like Question Boxes being incorporated into the storytelling. “The Question Boxes are opaque with a little light source inside. They are the same design as Nintendo, but had to have some magic in order to have them fit into the movie.” Something not part of the gaming experience was having Bowser sing in a concert inspired settings and lighting. “That was one of the craziest ideas! It’s like a jazz concert, but him singing to his girl. We have some good key lights and lots of reference from jazz concerts. The idea was to put the character in the light and simply have him singing. One of our co-directors, Pierre Leduc, previously was our animation director on a lot of movies, so his experience helped us in getting the proper silhouettes and poses.”
A lot of fun was had in getting to design, create and execute the various vehicles that could not exist in a live-action movie.
“[The volcanic world of Bowser] was not scary to do because our proprietary software helped us to deal with the smoke. But when it comes to scale and a thousand shots to do, we had to be smart to find a good solution that doesn’t cost too much. You can’t have multiple simulations rendering overnight to have them ready for the day after. The lava had to be stylized to work with the characters in the scene. It was a bit more cartoony, but with realistic lighting.”
—Milò Riccarand, Head of CG/FX Supervisor, Illumination Mac Guff
A scene from the commercial that begins the movie.
Simulations such as the water from the bursting pipes in the bathroom are more driven by comedic rather than realistic timing. “In two frames you can go from no water to a huge splash of water,” Riccarand observes. “It’s interesting because that’s when effects works with animation. It’s a joint venture between the two. Before doing the effects, the animator will say, ‘I would love to have a splash here and there.’ Afterwards, in effects, we try to make that happen.” Talking in an infantile voice and expressing pessimistic views is the imprisoned star known as Lumalee. “It’s a volumetric character, so it’s not the classic shading. This type of character is difficult to animate because it’s a star shape. In the beginning you’d think, ‘I will not be able to do some extreme movements.’ But you absolutely can. In the end credits, Lumalee is playing the saxophone.”
Actual gameplay was incorporated into the storytelling and upgraded with a cinematic sensibility.
“The Mushroom Kingdom was a nice set to do. There was a lot of modeling and procedural environments in order to do the set extensions. It is something iconic from the game, so the viewer knows what they are looking for; so we needed to pay attention in order to not disappoint them.”
—Milò Riccarand, Head of CG/FX Supervisor, Illumination Mac Guff
Nintendo was closely involved with the production to ensure that aesthetic of the video game was maintained.
Grooming for the moustaches of the Mario Bros. and Donkey Kong was achieved through proprietary software. “Donkey Kong has numerous layers of fur,” Riccarand explains. “It has to have a lot of detail to feel real, but it doesn’t need to be realistic. There is a closeup shot of the hand of Donkey Kong, and you see one of his fingers at a huge scale. I couldn’t do the skin realistically, as it needs to be pleasant to look at. We did a lot of tests to produce something that looks real and that has good subsurface scattering, but the texture and painting of it is appealing.” Plenty of destruction occurs in the finale battle that unfolds in Brooklyn. “FX Supervisor Simon Pate drove this sequence. You have the superpowers of the characters plus various simulations everywhere, like smoke and dust. You want to do things that are not too scary but good to see and impressive. It can be hard to do a battle like that in the daytime, but the lighting helps a lot.” Advancements were made in the area of compositing. Riccarand notes, “We did a lot of new work on lens aberrations, and the in-house renderer has been greatly improved because with each movie we want to render more and more. Technology gets better, and people ask for more! But that’s what makes this type of job interesting. You’re always trying to find the best and new ways to do things.”
Lead Animator and Key Stop Motion Animator Laurie Sitzia animates the interaction between Anni and Kalina during the tunnel sequence.
If you want to see the global talent practicing the art of storytelling through animation, the recent trend towards anthologies appearing on the streaming services such as Netflix and Disney+ are providing the platform for viewers to do so. After using a series of nine anime shorts to showcase the influence of Japanese cinema on George Lucas and the Star Wars universe, Lucasfilm has expanded the worldview for Star Wars: Visions Volume 2 to include U.K. stop-motion maestros Aardman for I Am Your Mother. The tongue-in-cheek story, directed by Magdalena Osinska, cleverly shifts the dysfunctional volatile father-son dynamic to a nurturing mother-daughter class conflict and transforms a beloved supporting character into a self-promoting salesman.
One of the most difficult physical actions to pull off was getting the puppets to hug each other in a believable manner.
“The theme of family is something I love to explore in my work, and a lot of the characters in ‘I Am Your Mother’ are inspired by people I’m familiar with, so this largely informed the visual aesthetic,” Osinska explains. “I intentionally wanted the main characters to be alien, as that was inspired by my arrival in the U.K. as a Polish national. I was an alien, so our characters are literally aliens! In terms of animation, I was keen for a female animator to develop these mother-daughter relationships. Our lead animator, Laurie Sitzia, developed and tested Anni and Kalina. We had in-depth conversations with Laurie about mother-daughter relationships, about Anni and Kalina’s background, motivations and emotions throughout the film. We talked about the closeness and warmth of their relationship, but also that relatable feeling of being embarrassed by your parents, and being able to show these layers of feelings through the puppet’s performance.”
As for the visual language, it was important to retain a warmth between Anni and Kalina despite the rising tension between them. “Such subtle emotional shifts needed to be evident, and I worked hard to put them into the finer nuanced details of their facial expressions,” states Laurie Sitzia, Lead Animator and Key Stop Motion Animator. “This was especially important in the cockpit sequence where we watch Anni’s frustrations escalate until she reaches boiling point with an outburst that shocks and hurts her mother. She immediately regrets it but can’t take it back. Kalina contains her hurt to protect her daughter, but we still needed to see a glimpse of it.”
Concept design of the spacetug, which serves both as a home and spacecraft for Anni and Kalina.
“I was keen for a female animator to develop these mother-daughter relationships. Our lead animator, Laurie Sitzia, developed and tested Anni and Kalina. We had in-depth conversations with Laurie about mother-daughter relationships, about Anni and Kalina’s background, motivations and emotions throughout the film. We talked about the closeness and warmth of their relationship, but also that relatable feeling of being embarrassed by your parents, and being able to show these layers of feelings through the puppet’s performance.”
—Magdalena Osinska, Director
Director Magdalena Osinska prepares the spacetug for the complex tunnel shot that occurs during the race.
Reflecting how the relationship evolves between Anni and Kalina are the book-ending hugs. “Hitting the perfect pose in a hug in stop-motion is always a challenge and much harder than it looks. Puppets don’t usually fit together very easily. You’d never know it, but Anni’s head is actually cheated forward and is floating on a rig about 10mm forward of Kalina’s face for the last few frames of their final pose. It was the only way to get their tilted heads to look like they were making contact with each other. The rig had to be cheated in mid-shot, quite a fiddly operation,” Sitzia says.
Lead Animator and Key Stop Motion Animator Laurie Sitzia found it important to display subtle emotional shifts to reflect the evolution of the mother-daughter relationship between Kalina and Anni.
There cannot be any Star Wars story without droids, and the faithful malfunctioning companion Z1 displays the characteristics of an accordion-expanding sausage dog. “[Animation Director] Steve Cox developed and 3D printed the prototype for Z1 himself. As a huge Star Wars fan, he was keen to ensure that the final puppet would feel totally in keeping with the other astromechs, and Z1 really does,” Sitzia notes. “He was fun to animate, too, with elements like the ears and legs folding in/out and the slinky body allowing for playful dips and dog-like movement while still retaining a very droid-like quality. Z1 could also stretch out long which worked so well for his fall from the table in the opening sequence and later on when he is swinging from the spacetug. His head tilt also gave him that inquisitive dog-like expression. I remember multiple pipes and tubes being ordered in a search for the perfect part to create his concertina mid-section, as making this from scratch would have been really tricky. It was quite a process to find the right thing, and Steve tells me it ended up being a motorbike shock absorber cover that with a few tweaks worked out perfectly!”
“Hitting the perfect pose in a hug in stop-motion is always a challenge and much harder than it looks. Puppets don’t usually fit together very easily. You’d never know it, but Anni’s head is actually cheated forward and is floating on a rig about 10mm forward of Kalina’s face for the last few frames of their final pose. It was the only way to get their tilted heads to look like they were making contact with each other. The rig had to be cheated in mid-shot, quite a fiddly operation.”
—Laurie Sitzia, Lead Animator and Key Stop Motion Animator
Color keys used to map out the various sequences.
“We used ZBrush for modeling and Maya for modeling and animation,” Osinska remarks, “Nuke for compositing and face tracking, Houdini for rendering. And I’ve been told by Signe Tveitan, our wonderful 3D modeler, that we used Karma and Solaris to calculate how the light interacts with the surface.” Fun was had with the visual effects. “I was keen for the look of the spaceships thrusters to be quite stylized and a mixture between 2D and 3D visual effect, a little bit comic, like Scott Pilgrim vs. the World,” Osinska says. “[Production Designer] Aurélien Predal created very cool 2D shapes for each ship that also reflected the character of their drivers. It was an interesting challenge to then translate it into 3D, and we actually spent quite a bit of time on it to find that perfect look. The other visual effects were screens and holograms. We played with the visibility, color, lines, static, to make it work for our film and also within the Star Wars universe. Besides that, there were fireworks and lots of other atmospheres that made everything sit nicely together.” The set of city and school building were constructed entirely in 3D. “Usually, the foreground is physical, but the rest would be CG. Lighting the 3D parts played a huge role in bringing together these two techniques; this actually goes both for the sets in general but also the mouths, and our Lighting Lead, Tessa Mapp. did an amazing job on it. A big bow to our CG and VFX Supervisors, Ben Toogood and Bram Ttwheam, who married the stop-motion with CG so beautifully,” Osinska says.
The main character lineup as conceptualized by Félicie Haymoz. From left to right: Z1, Kalina Kalfus, Annisoukaline ‘Anni’ Kalfus, Dorota Van Reeple and Julan Van Reeple.
“[Animation Director] Steve Cox developed and 3D printed the prototype for Z1 himself. As a huge Star Wars fan, he was keen to ensure that the final puppet would feel totally in keeping with the other astromechs, and Z1 really does,” Sitzia notes. “He was fun to animate, too, with elements like the ears and legs folding in/out and the slinky body allowing for playful dips and dog-like movement while still retaining a very droid-like quality.”
—Laurie Sitzia, Lead Animator and Key Stop Motion Animator
One of the visual effects that had to be produced was a hologram of Wedge Antilles in the opening shot.
Appearing on screens throughout the city promoting the family pilot race and his own merchandise is Rebel Alliance X-wing pilot Wedge Antilles, actually voiced by the original live-action actor, Denis Lawson. “Anni and her mum come from a planet very very far away, from an unprivileged place, but Anni is an extremely talented pilot, the first one from her planet to be accepted to the prestigious Hanna City Flight Academy,” Osinska states. “Her mum taught her piloting skills, for example, the Ryloth Roll maneuver, which then helps Anni win the race, but Anni doesn’t value it when we meet her at the beginning of the story. Instead, naturally, she is looking up to well-known heroes like Wedge Antilles. It was an absolute pleasure to work with Denis Lawson, and it didn’t take much convincing at all to play a slightly lighthearted and fun version of his character.” There is no shortage of Easter eggs, such as Jawa causing technological havoc in the opening. “I love the Jawa, too! They actually appear one more time in the film, at the Academy Fair by a stall selling things ‘Touched by Luke Skywalker.’ The Jawa tries to steal Luke’s lightsaber just before we see another hand [Maz Kanata] grabbing it first. We wanted to put fans’ worries to bed by solving the big mystery of how Maz Kanata took possession of Luke’s lightsaber in The Force Awakens!”
Figuring out the key poses for the Anni puppet.
“It is really hard to choose one sequence as I loved each one of them, but if I must I’d choose the tunnel scene after Anni and Kalina crash, both the exterior and interior,” Osinska remarks. “The reason being that it was quite challenging, and there was lots of problem-solving, which is what I love about stop-motion. The tunnel we built was only four meters long, but we needed to make it feel as if it’s going for hundred of meters. DP Tristan Oliver, along with Motion Control Operator Adam Cook and Art Director Andy Brown, figured out a way of detaching the panels that are off-camera and moving them forward in front of the spaceship to achieve the feeling that it’s a very long tunnel with forks and turns. The precision of collaboration between the camera and set department was faultless!”
“I love the Jawa, too! They actually appear one more time in the film, at the Academy Fair by a stall selling things ‘Touched by Luke Skywalker.’ The Jawa tries to steal Luke’s lightsaber just before we see another hand [Maz Kanata] grabbing it first. We wanted to put fans’ worries to bed by solving the big mystery of how Maz Kanata took possession of Luke’s lightsaber in The Force Awakens!”
—Magdalena Osinska, Director
There is no shortage of Easter eggs that can be found in each frame. If you look closely enough, you will see Luke Skywalker’s lightsaber.
Capturing the violin sequences proved to be one of the more complicated tasks for VFX Supervisor Simon Devault and his team.
Based on the dramatic true story of composer Joseph Bologne, Chevalier de Saint-Georges (portrayed by Kelvin Harrison Jr.), Chevalier depicts the tormented life of the renowned historical figure. Born to George de Bologne, a plantation owner, and a slave on Bologne’s plantation, Chevalier faces racial prejudice and harassment from his peers at a Parisian boarding school. Chevalier follows his ultimate rise to fame in French society as a celebrated violinist, composer and fencer, to his doomed love affair with Marie-Joséphine de Comarieu de Montalembert and complicated relationship with Marie Antoinette.
Folks VFX had to transpose the environment on the scene happening at the street level when Chevalier’s mother arrives at his apartment.
“The movie was shot in Prague, but Prague is not Paris. Our mission was to make sure it looked like Paris from around 1770. As an example, there are quite a lot of red roofs in Prague, but there aren’t any in Paris. We always had to remove them as soon as we saw any in the footage. … The production designer [Karen Murphy] had a reference book. She was sending us references from the time period that they wanted us to match. We needed to create something real from paintings references.”
—Simon Devault, VFX Supervisor, Folks VFX
Simon Devault served as VFX Supervisor on the film. “A little more than 10 years ago, I worked at another VFX facility where I met Philippe Thibault, who is one of the co-founders of Folks. Philippe left to start Folks and asked me if I wanted to join them. I was one of the few first employees at Folks, and I have been there for a little more than 10 years now. I grew within the company. I was a compositor at first, then Compositing Supervisor, then VFX Supervisor, and I’m now head of the studio. The company grew a lot over the years, and we now have offices in Toronto, Bogota and Saguenay. On top of that, we are a part of a group called Pitch Black that regroups other VFX companies such as RSP, El Ranchito and Fuse.”
Chevalier’s street was completely CGI.
Recalling his initial conversations with Chevalier director, Stephen Williams, Devault explains that Williams was the producing director on the first project Folks worked on. “Since the beginning, we have had a creative collaboration with Stephen,” Devault says. “He developed a good relationship with Sébastien Bergeron, the other co-founder of Folks who is now the CEO of Pitch Black. He often contacts us before the beginning of a project to help with the artistic direction of the show, creating look books, making fake trailers to set the mood, etc. This is the perfect example of what we like to do at Folks – be part of the process as early as possible. Storytelling is our business too. We have a great long-term relationship with Stephen.”
“The rooms were built on set in a studio with greenscreen in all the windows that we had to replace with Paris from around 1770. We also had to transpose that environment on the scene happening at the street level when his mother arrives at his apartment. Again, most of the environment around her was all VFX. CGI looks so clean, but Paris from 1770 was really dirty. A lot of the work went into dirtying up our CG environment to match that period. As an example, all the walls were stained by the smoke they had in the city coming from chimneys and fire pits.”
—Simon Devault, VFX Supervisor, Folks VFX
Folks VFX worked alongside Production Designer Karen Murphy.
Devault and his team worked in close collaboration with Production Designer Karen Murphy (The Great Gatsby, Elvis, A Star is Born) to make sure they were as historically accurate as possible with their depiction of Paris. “The movie was shot in Prague, but Prague is not Paris. Our mission was to make sure it looked like Paris from around 1770,” Devault says. “As an example, there are quite a lot of red roofs in Prague, but there aren’t any in Paris. We always had to remove them as soon as we saw any in the footage.” Creative references for Chevalier proved difficult to find for Devault and his team as they could only rely on paintings from the time period. “The production designer had a reference book. She was sending us references from the time period that they wanted us to match. We needed to create something real from paintings references.”
Everything seen from Chevalier’s apartment in the windows were CGI environments. “The rooms were built on set in a studio with greenscreen in all the windows that we had to replace with Paris from around 1770. We also had to transpose that environment on the scene happening at the street level, when his mother arrives at his apartment. Again, most of the environment around her was all VFX. CGI looks so clean, but Paris from 1770 was really dirty. A lot of the work went into dirtying up our CG environment to match that period. As an example, all the walls were stained by the smoke they had in the city coming from chimneys and fire pits,” Devault says.
A lot of the work went into dirtying up the CG environment to match Paris in the 1770s.
The film consists of numerous long shots which proved challenging to render for Devault and his team at Folks. “The timelapse scene of the Parisian street view from Chevalier’s window was particularly challenging,” Devault explains. ”We are at night in his apartment, we go to the window, we see the timelapse outside going from night to day and then go back into his apartment. The whole street was CGI. We really needed to recreate everything from scratch. All the people on the street were filmed and then added in later. That was a lot of work. There were also a lot of invisible transitions throughout the film, and we had to make them fluid and seamless. It was a lot of frame handling.”
The film consisted of around 250 visual effects shots in total.
Creating full CGI Paris was a major challenge for Devault; however, capturing the violin sequences proved to be one of the more complicated tasks. “The performance of the actor’s fingers when he was playing the violin was something as well. I am pretty sure nobody noticed that on the screen!” Devault says. “That was a good sign that it worked out well. Chevalier was the Jimi Hendrix of his time. We had to make Kelvin Harrison Jr. look like he is playing the violin like it and playing the right notes. Kelvin was able to play some basic violin, but we asked production to shoot an experienced violinist from different angles playing the same song. We then transposed the right fingering into Kelvin’s hands. So, the hand you see in the film is not his real hand in all of the shots. The compositor had to digitally remove his hand and then replace it with the new CGI one. That was the sort of invisible effect work that we had to do for the film.”
The rooms were built on set in a studio with greenscreen in all the windows.
“The timelapse scene of the Parisian street view from Chevalier’s window was particularly challenging, We are at night in his apartment, we go to the window, we see the timelapse outside going from night to day and then go back into his apartment. The whole street was CGI. We really needed to recreate everything from scratch. All the people on the street were filmed and then added in later. That was a lot of work. There were also a lot of invisible transitions throughout the film, and we had to make them fluid and seamless. It was a lot of frame handling.”
—Simon Devault, VFX Supervisor, Folks VFX
The team were used to doing crowd duplication as a result of the COVID-19 pandemic.
Discussing the revolution scenes, Devault notes that the team were used to doing crowd duplication due to the COVID-19 pandemic and the limitations it presented. “We all knew the drill,” he says. “For the revolution sequences, we had to add people into the background with the proper lighting and fire and everything. We rented some costumes and built some torches and filmed some actors in front of a greenscreen, and then we placed them in the scene. We shot a real group of people that we had to place afterwards, and it’s easier that way. In the theater during that scene, there wasn’t anyone on the balcony, so we had to add people there too.”
Actors were placed in front of a greenscreen in a studio and then planted into the revolution scenes. Devault and his team relied on paintings from the time period for reference.
Devault and his team also worked on the fencing sequence where Chevalier impresses Marie Antoinette with his fighting skills. Despite having few visual effects, the scene was time-consuming, and Devault and his team worked round the clock to deliver. “During the fight you see blood, but on the plate there was nothing, and we had to add the wounds afterwards. All the blood on his shirt was added in.We needed to make it work for the fight. It was subtle, but it took time to get there and track it properly,” Devault says.
The red roofs of Prague needed to be adjusted for the Parisian landscapes.
“The performance of the actor’s fingers when he was playing the violin was something as well. I am pretty sure nobody noticed that on the screen! That was a good sign that it worked out well. Chevalier was the Jimi Hendrix of his time. We had to make Kelvin Harrison Jr. look like he is playing the violin like it and playing the right notes. Kelvin was able to play some basic violin, but we asked production to shoot an experienced violinist from different angles playing the same song. We then transposed the right fingering into Kelvin’s hands. So, the hand you see in the film is not his real hand in all of the shots. The compositor had to digitally remove his hand and then replace it with the new CGI one. That was the sort of invisible effect work that we had to do for the film.”
—Simon Devault, VFX Supervisor, Folks VFX
Creating full CGI Paris was one of the many challenges for Devault.
The film consisted of around 250 visual effects shots in total, with Folks serving as the main vendor on the film. “As we always do, we tried to find the most convincing and effective way to tell the story and produce the best images possible within the constraint of the project. I am very glad to have been a part of the production on that historical film. I love when a movie paints the injustice and mistakes of our society in the past, makes people think about where we are at now, then shape a better future,” Devault concludes.
Kelvin Harrison Jr. as Chevalier standing against greenscreen in the studio apartment set with greenscreen in all the windows.
VES 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.
Ken Perlin, Academy Award Winner and Director of NYU’s Future Reality Lab will receive the 2020 VES Empire Award in recognition of his achievements in visual effects.
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
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Please join the VES New York Section for the 5th Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society’s New York Section is proud to present the 2019 VES NY Empire Award to Bob Greenberg and the 2019 VES NY Empire Innovator Award to Jonah Friedman and Andy Jones..jpg)
Bob Greenberg, Founder and Executive Chairman of R/GA, will receive the 2019 VES Empire Award in recognition of his trailblazing work in the advertising and communications industry for nearly four decades.
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