Visual effects teams served up astonishing images of animated characters, monsters, and the ex-
plosions that we’ve all come to expect and love over the last year. And this time, as the Visual Effects Society’s nominations for its annual awards show, VFX artists are leaning more and more into the kinds of tools and techniques that speed up production, give filmmakers real time choices, and create stylized versions of effects.
Chris Nolan’s “Oppenheimer,” which was lauded for its astonishing and convincing VFX, relied on teams using cutting edge tools to immerse audiences in the story. The film also leaned into some classic special effects designed to be paired with VFX to make an overall more impressive image.
“Chris wants to do as much in camera as he can because he knows this will make everything look better,” says Scott Fisher, special effects supervisor, nommed for his work on the film.
plosions that we’ve all come to expect and love over the last year. And this time, as the Visual Effects Society’s nominations for its annual awards show, VFX artists are leaning more and more into the kinds of tools and techniques that speed up production, give filmmakers real time choices, and create stylized versions of effects.
Chris Nolan’s “Oppenheimer,” which was lauded for its astonishing and convincing VFX, relied on teams using cutting edge tools to immerse audiences in the story. The film also leaned into some classic special effects designed to be paired with VFX to make an overall more impressive image.
“Chris wants to do as much in camera as he can because he knows this will make everything look better,” says Scott Fisher, special effects supervisor, nommed for his work on the film.
- 2/21/2024
- by Karen Idelson
- Variety Film + TV
Since the first Academy Award for Best Animated Feature was awarded in 2002 to DreamWorks’ Shrek, the animation industry has made incredible strides. This awards season, such films are pushing the boundaries of what animation can be, and VFX plays a huge part in infusing new artistic styles into every frame.
Spider-Man: Across the Spider-Verse pushed the animated comic book style of the 2018 film even further with six new, distinct worlds and a visually complex villain. Nimona eschews depth of field for “depth of detail” to give a graphic-novel quality to its medieval future. Teenage Mutant Ninja Turtles: Mutant Mayhem integrates 2D elements in a 3D space to fight against the clean CG look.
Spider-Man: Across the Spider-Verse
Spider-Man: Into the Spider-Verse amazed everyone in 2018 with an interpretation of animated comics, and set a bar for what animation could look like. Spider-Man: Across the Spider-Verse exceeded expectations with the introduction of six new worlds,...
Spider-Man: Across the Spider-Verse pushed the animated comic book style of the 2018 film even further with six new, distinct worlds and a visually complex villain. Nimona eschews depth of field for “depth of detail” to give a graphic-novel quality to its medieval future. Teenage Mutant Ninja Turtles: Mutant Mayhem integrates 2D elements in a 3D space to fight against the clean CG look.
Spider-Man: Across the Spider-Verse
Spider-Man: Into the Spider-Verse amazed everyone in 2018 with an interpretation of animated comics, and set a bar for what animation could look like. Spider-Man: Across the Spider-Verse exceeded expectations with the introduction of six new worlds,...
- 12/23/2023
- by Ryan Fleming
- Deadline Film + TV
Five of the industry’s top visual effects supervisors joined Gold Derby as part of our Meet the Experts visual effects panel to discuss how much they each value keeping their work as realistic as possible.
“To me, visual effects is about putting something together with something that we shot that is completely invisible,” “Killers of the Flower Moon” visual effects supervisor Pablo Helman explains in our exclusive video interview roundtable. “And if we do that, then we’re telling a completely different story than what we shot, and it’s part of that story.”
“I love working on shows that are grounded in the real world,” “Oppenheimer” visual effects supervisor Andrew Jackson adds. “I’ve certainly found myself going away from the idea of using green screens and blue screens these days. And, you know, as roto gets better and easier, it allows the Dp to light the scene...
“To me, visual effects is about putting something together with something that we shot that is completely invisible,” “Killers of the Flower Moon” visual effects supervisor Pablo Helman explains in our exclusive video interview roundtable. “And if we do that, then we’re telling a completely different story than what we shot, and it’s part of that story.”
“I love working on shows that are grounded in the real world,” “Oppenheimer” visual effects supervisor Andrew Jackson adds. “I’ve certainly found myself going away from the idea of using green screens and blue screens these days. And, you know, as roto gets better and easier, it allows the Dp to light the scene...
- 11/29/2023
- by Christopher Rosen
- Gold Derby
[Editor’s note: The following interview contains spoilers for both “Spider-Man: Across the Spider-Verse” and its post-credits, well, kind of scenes.]
Wondering why there is no “Spider-Man: Across the Spider-Verse” post-credits scene? That’s because nothing they tried fit. “Hard to beat where we left off,” producer Phil Lord told IndieWire. However, there was a promising idea that was scrapped as a follow-up to a never completed scene in the film. It involved Spot (Jason Schwartzman), the bizarre-looking nemesis who’s all white with black spots that serve as inter-dimensional portals.
According to Lord and producing partner Chris Miller, the first scene had Spot hanging out at a Spidey villain bar but can’t get a drink because no one will notice him. “And then he finally steals the drink for himself and he pours it down and it all leaks out of his holes,” Lord said. “He’s the dorkiest villain. A great line that Chris wrote, though:...
Wondering why there is no “Spider-Man: Across the Spider-Verse” post-credits scene? That’s because nothing they tried fit. “Hard to beat where we left off,” producer Phil Lord told IndieWire. However, there was a promising idea that was scrapped as a follow-up to a never completed scene in the film. It involved Spot (Jason Schwartzman), the bizarre-looking nemesis who’s all white with black spots that serve as inter-dimensional portals.
According to Lord and producing partner Chris Miller, the first scene had Spot hanging out at a Spidey villain bar but can’t get a drink because no one will notice him. “And then he finally steals the drink for himself and he pours it down and it all leaks out of his holes,” Lord said. “He’s the dorkiest villain. A great line that Chris wrote, though:...
- 6/5/2023
- by Bill Desowitz
- Indiewire
Animation is a medium of movement. Shapes, lines, light, and colors come to life. Filmmakers constantly find new ways to move those elements on-screen in the hopes they will move you. The technology has evolved exponentially since "Humorous Phases of Faces," the first publicly known animation, debuted in 1906. Innovations have transformed how animators draw, paint, photograph, render, and edit their films. New generations have transformed how animators utilize the medium to express themselves.
Animation is the freest form of expression in cinema. Live-action filmmakers are limited by their technology, while animators can draw anything that comes to mind. That freedom allows filmmakers to explore difficult subjects while keeping them approachable and accessible to children and adults. They can be about the nearing of death, fear of loneliness, overcoming depression, violent revolution, and the creation of Earth. We put together a list of 14 movies that used innovative styles and technology to...
Animation is the freest form of expression in cinema. Live-action filmmakers are limited by their technology, while animators can draw anything that comes to mind. That freedom allows filmmakers to explore difficult subjects while keeping them approachable and accessible to children and adults. They can be about the nearing of death, fear of loneliness, overcoming depression, violent revolution, and the creation of Earth. We put together a list of 14 movies that used innovative styles and technology to...
- 2/18/2023
- by Brendan Knapp
- Slash Film
In the beginning, there was "Toy Story." Pixar's first feature film set the standard for CG animated movies in 1995, and each successive film built upon that framework, whether made by Pixar, DreamWorks, or any number of their competitors. The tools and pipelines used to make these movies became holy writs, and breaking from them was unthinkable. Yet there were those who challenged the status quo. 2008's "Kung Fu Panda" featured an introductory sequence in 2D, directed by Jennifer Yuh Nelson. The staff of 2015's "The Peanuts Movie" worked hard to translate the charms of the original comic strip into beautifully textured CG. But "Spider-Man: Into the Spider-Verse" was more than just a challenger. Its release in 2018 was the animation equivalent of Martin Luther hammering his 95 Theses onto Pixar's door. There was no going back.
"The Mitchells vs the Machines" was tasked with following up on the most important animated film in recent memory.
"The Mitchells vs the Machines" was tasked with following up on the most important animated film in recent memory.
- 1/16/2023
- by Adam Wescott
- Slash Film
Denis Villeneuve’s sweeping “Dune” and Disney’s Golden Globe-winning animated musical, “Encanto” each scored six nominations Tuesday to lead the 20th annual Ves Awards nominations (awards ceremony details are in pandemic flux). Marvel’s trippy “Loki,” meanwhile, led the broadcast field with four nominations for the Disney+ series.
Competing for feature visual effects are the frontrunning “Dune,” “Godzilla vs. Kong,” “The Matrix Resurrections,” Daniel Craig’s Bond finale, “No Time to Die,” and Marvel’s “Shang-Chi and the Legend of the Ten Rings” and “Spider-Man: No Way Home.” All have been shortlisted for the VFX Oscar, with “Dune” as the heavy favorite, in which Dneg supplied windblown sand, raging sandstorms, flying insect-like ornithopters, and the iconic CG sandworms.
Supporting visual effects nominees include “Candyman,” “Last Night in Soho,” “Nightmare Alley,” “The Last Duel,” and “The Tragedy of Macbeth.”
The animated feature visual effects race pits “Encanto” against Pixar’s “Luca,...
Competing for feature visual effects are the frontrunning “Dune,” “Godzilla vs. Kong,” “The Matrix Resurrections,” Daniel Craig’s Bond finale, “No Time to Die,” and Marvel’s “Shang-Chi and the Legend of the Ten Rings” and “Spider-Man: No Way Home.” All have been shortlisted for the VFX Oscar, with “Dune” as the heavy favorite, in which Dneg supplied windblown sand, raging sandstorms, flying insect-like ornithopters, and the iconic CG sandworms.
Supporting visual effects nominees include “Candyman,” “Last Night in Soho,” “Nightmare Alley,” “The Last Duel,” and “The Tragedy of Macbeth.”
The animated feature visual effects race pits “Encanto” against Pixar’s “Luca,...
- 1/18/2022
- by Bill Desowitz
- Indiewire
The Visual Effects Society unveiled nominations Tuesday for its 20th annual Ves Awards, with Warner Bros’ Dune and Disney’s animated Encanto leading all nominees with six apiece, followed by the Disney+ Marvel series Loki which has four noms to lead all broadcast series.
The group, celebrating its 25th anniversary, recognizes the year’s best in outstanding visual effects artistry and innovation across film, animation, television, commercials and video games. With the Omicron variant surging, the Ves Awards ceremony does not have a date or format yet; those decisions are still to be made and tickets are not yet up for sale.
Last year, the Ves Awards went virtual in a ceremony hosted as per usual by Patton Oswalt. Netflix’s The Midnight Sky, Disney/Pixar’s eventual Animated Feature Oscar winner Soul and Disney+’s The Mandalorian were among the marquee winners.
Overall, this year’s nominees in 25 categories...
The group, celebrating its 25th anniversary, recognizes the year’s best in outstanding visual effects artistry and innovation across film, animation, television, commercials and video games. With the Omicron variant surging, the Ves Awards ceremony does not have a date or format yet; those decisions are still to be made and tickets are not yet up for sale.
Last year, the Ves Awards went virtual in a ceremony hosted as per usual by Patton Oswalt. Netflix’s The Midnight Sky, Disney/Pixar’s eventual Animated Feature Oscar winner Soul and Disney+’s The Mandalorian were among the marquee winners.
Overall, this year’s nominees in 25 categories...
- 1/18/2022
- by Patrick Hipes
- Deadline Film + TV
The Visual Effects Society (Ves) announced the nominees for the 20th Annual Ves Awards, with Denis Villeneuve’s “Dune” leading the feature film field with six nominations. Disney’s “Encanto” also landed six nominations and led the animated contenders.
This year marks the Visual Effects Society’s 25th anniversary. Ves recognizes outstanding visual effects artistry and innovation across 25 categories in film, animation, television, commercials and video games, plus the VFX supervisors, producers and hands-on artists who bring the work to life.
Due to the ongoing pandemic, the Ves is still considering the format and timing for this year’s show.
“As we celebrate the Society’s 25th anniversary and 20th Annual Ves Awards, we’re honored to keep shining a light on remarkable visual effects artistry and innovation,” said Lisa Cooke, Ves Chair. “In all of our nominees, we see best-in-class work that elevates the art of storytelling and exemplifies...
This year marks the Visual Effects Society’s 25th anniversary. Ves recognizes outstanding visual effects artistry and innovation across 25 categories in film, animation, television, commercials and video games, plus the VFX supervisors, producers and hands-on artists who bring the work to life.
Due to the ongoing pandemic, the Ves is still considering the format and timing for this year’s show.
“As we celebrate the Society’s 25th anniversary and 20th Annual Ves Awards, we’re honored to keep shining a light on remarkable visual effects artistry and innovation,” said Lisa Cooke, Ves Chair. “In all of our nominees, we see best-in-class work that elevates the art of storytelling and exemplifies...
- 1/18/2022
- by Jazz Tangcay
- Variety Film + TV
The filmmakers behind Sony Pictures Animation’s “The Mitchells vs. the Machines will participate in a free, virtual PreVIEW talk on Friday, May 14, beginning at 10 a.m. Pt., presented by the View Conference.
The 90-minute discussion, moderated by Variety’s Steven Gaydos, will feature writer-director Michael Rianda, co-director and writer Jeff Rowe, production designer Lindsey Olivares, head of story Guillermo Martinez, VFX supervisor Mike Lasker and head of character animation Alan Hawkins.
“They say it takes an entire village of people to make a film,”says View Conference Director Maria Elena Gutierrez. “We are delighted to welcome six of the talented villagers behind ‘The Mitchells vs. The Machines’ into the View Conference family for this free PreVIEW event exploring the craft behind the film. We’re bringing so much creative energy together in one place, I know this is going to be a session to remember.”
“The Mitchells vs. the...
The 90-minute discussion, moderated by Variety’s Steven Gaydos, will feature writer-director Michael Rianda, co-director and writer Jeff Rowe, production designer Lindsey Olivares, head of story Guillermo Martinez, VFX supervisor Mike Lasker and head of character animation Alan Hawkins.
“They say it takes an entire village of people to make a film,”says View Conference Director Maria Elena Gutierrez. “We are delighted to welcome six of the talented villagers behind ‘The Mitchells vs. The Machines’ into the View Conference family for this free PreVIEW event exploring the craft behind the film. We’re bringing so much creative energy together in one place, I know this is going to be a session to remember.”
“The Mitchells vs. the...
- 5/10/2021
- by Terry Flores
- Variety Film + TV
Annecy 2020 Online kicked off its world-class French animation festival Monday with a pre-recorded video touting Sony Picture’s “Connected” (October 23), the latest tech savvy movie from “Spider-Man: Into the Spider-Verse” producers Phil Lord and Chris Miller. However, Mike Rianda, who makes his directorial feature debut after guiding “Gravity Falls,” is the true creative force behind “Connected,” a very personal comedy about a family road trip that brings a combative father and daughter closer together when they fight a robot uprising.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
- 6/15/2020
- by Bill Desowitz
- Thompson on Hollywood
Annecy 2020 Online kicked off its world-class French animation festival Monday with a pre-recorded video touting Sony Picture’s “Connected” (October 23), the latest tech savvy movie from “Spider-Man: Into the Spider-Verse” producers Phil Lord and Chris Miller. However, Mike Rianda, who makes his directorial feature debut after guiding “Gravity Falls,” is the true creative force behind “Connected,” a very personal comedy about a family road trip that brings a combative father and daughter closer together when they fight a robot uprising.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
“We wanted to make a movie where the artists…have a say and the best idea wins,” said Rianda, who was joined in the video by Guillermo Martinez (head of story) and Lindsey Olivares (production designer) after a brief introduction by Lord and Miller. (The video is available to all registered festivalgoers through June 30). After “Spider-Verse” took animation by storm and won the Oscar, Rianda was encouraged to pursue “new stories and fresh animation styles.
- 6/15/2020
- by Bill Desowitz
- Indiewire
Happy Endings alum Damon Wayans, Jr., who co-starred in the pilot for New Girl, is back in business with Fox and 20th Century Fox TV as an executive producer and potential star of another high-profile comedy project. Fox has given a pilot production commitment to Man/Child, a single-camera comedy from 20th TV and Jason Winer’s studio-based Small Dog Picture Co. Written by Wilfred executive producers/showrunners Reed Agnew & Eli Jorne and to be directed by Winer, Man/Child centers on two single dads who move in together and struggle to find the balance between being responsible parents and debaucherous bachelors. The project is being developed as a staring vehicle for Wayans Jr., though he has no talent deal in place at the moment. Wayans Jr, Winer, Agnew and Jorne are executive producing with Mosaic’s Michael Lasker & Christie Smith. Wme-repped Damon Wayans, Jr. is already back in the Fox...
- 9/27/2013
- by NELLIE ANDREEVA
- Deadline TV
Someone's tardy: A week after unveiling its new 2013-14 schedule to advertisers, CBS made one more addition to its lineup by ordering the new comedy "Bad Teacher." But better late than the never. Based on the hit 2011 film starring Cameron Diaz, the shows stars Ari Graynor (pictured) as an inappropriate and fearless ex-trophy wife who becomes a teacher in search of a new human Atm machine when her wealthy husband leaves her with nothing. Hilary Winston, Lee Eisenberg, Gene Stupnitsky, Sam Hansen, Jimmy Miller and Michael Lasker are executive producers for...
- 5/22/2013
- by Tim Molloy
- The Wrap
CBS has given a series order to "Bad Teacher," the TV adaptation of the 2011 film starring Cameron Diaz, but this time it's Ari Graynor leading. Variety reports that this is the sixth comedy that's been added to the 2013-2014 season. The single-camera comedy tells of a former trophy wife who, after she's ditched by her rich husband, masquerades as a teacher to try snag a new man.Hilary Winston wrote the pilot and serves as executive producer alongside Gene Stupnitsky, Sam Hansen, Jimmy Miller, Lee Eisenberg and Michael Lasker Also in the cast are Sara Gilbert, David Alan Grier and Kristin Davis.
- 5/22/2013
- Upcoming-Movies.com
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