Variety Awards Circuit section is the home for all awards news and related content throughout the year, featuring the following: the official predictions for the upcoming Oscars, Emmys, Grammys and Tony Awards ceremonies, curated by Variety senior awards editor Clayton Davis. The prediction pages reflect the current standings in the race and do not reflect personal preferences for any individual contender. As other formal (and informal) polls suggest, competitions are fluid and subject to change based on buzz and events. Predictions are updated every Thursday.
Visit the prediction pages for the respective ceremonies via the links below:
Oscars | Emmys | Grammys | Tonys
2024 Oscars Predictions:
Best Achievement in Visual Effects
Weekly Commentary: “The Creator” has the advantage, but honesty, any film can win.
“Godzilla Minus One” is in the discussion and could be a cool choice for the Academy to make, similar to “Ex Machina.” However, don’t count out the power...
Visit the prediction pages for the respective ceremonies via the links below:
Oscars | Emmys | Grammys | Tonys
2024 Oscars Predictions:
Best Achievement in Visual Effects
Weekly Commentary: “The Creator” has the advantage, but honesty, any film can win.
“Godzilla Minus One” is in the discussion and could be a cool choice for the Academy to make, similar to “Ex Machina.” However, don’t count out the power...
- 3/7/2024
- by Clayton Davis
- Variety Film + TV
The Creator won big at the 22nd annual Visual Effects Society Awards Wednesday night.
The awards were handed out during a ceremony, hosted by actor-comedian Jay Pharoah, at the Beverly Hilton in Los Angeles.
The Creator took home five awards in the feature competition, including outstanding visual effects in a photoreal feature. The Last of Us was also a top winner in the series categories, scoring four awards, and Spider-Man: Across the Spider-Verse led the animation competition with four wins.
Other winners of the night included Guardians of the Galaxy Vol. 3, Oppenheimer, Nyad, The Mandalorian and The Flash.
It was previously announced that producer Joyce Cox, who produced VFX on movies including Avatar and The Dark Knight, received the Society’s Lifetime Achievement Award during the ceremony.
Actor-producer-director William Shatner was also previously revealed as the recipient of the award for Creative Excellence in “recognition of his valuable contributions...
The awards were handed out during a ceremony, hosted by actor-comedian Jay Pharoah, at the Beverly Hilton in Los Angeles.
The Creator took home five awards in the feature competition, including outstanding visual effects in a photoreal feature. The Last of Us was also a top winner in the series categories, scoring four awards, and Spider-Man: Across the Spider-Verse led the animation competition with four wins.
Other winners of the night included Guardians of the Galaxy Vol. 3, Oppenheimer, Nyad, The Mandalorian and The Flash.
It was previously announced that producer Joyce Cox, who produced VFX on movies including Avatar and The Dark Knight, received the Society’s Lifetime Achievement Award during the ceremony.
Actor-producer-director William Shatner was also previously revealed as the recipient of the award for Creative Excellence in “recognition of his valuable contributions...
- 2/22/2024
- by Carly Thomas
- The Hollywood Reporter - Movie News
Gareth Edwards’ “The Creator” was the big winner at the 22nd Visual Effects Society Awards (held February 21 at the Beverly Hilton Hotel). The AI-themed, sci-fi actioner earned five awards, including the top photoreal feature VFX prize. The other awards were for modeling (Nomad), created environment (Floating Village), effects simulations, and compositing & lighting (Bar).
“The Creator” utilized an innovative streamlining process in post, in which Ilm designed and placed the naturalistic VFX over the actors playing AI simulants and the photographic plates as set extensions. This made the $80 million indie look like a $200 million blockbuster, with director Edwards shooting the entire film guerilla-style in 80 locations throughout Southeast Asia as the primary camera operator with a small crew and natural light.
Meanwhile, “Spider-Man: Across the Spider-Verse,” the animated feature Oscar favorite (snubbed by the Academy’s VFX branch), took home four awards, including the top animated VFX prize. Sony Pictures Imageworks innovated...
“The Creator” utilized an innovative streamlining process in post, in which Ilm designed and placed the naturalistic VFX over the actors playing AI simulants and the photographic plates as set extensions. This made the $80 million indie look like a $200 million blockbuster, with director Edwards shooting the entire film guerilla-style in 80 locations throughout Southeast Asia as the primary camera operator with a small crew and natural light.
Meanwhile, “Spider-Man: Across the Spider-Verse,” the animated feature Oscar favorite (snubbed by the Academy’s VFX branch), took home four awards, including the top animated VFX prize. Sony Pictures Imageworks innovated...
- 2/22/2024
- by Bill Desowitz
- Indiewire
As had been generally expected, Gareth Edwards’ futuristic sci-fi film “The Creator” proved to be the favorite among visual effects practitioners. The film topped the feature competition at the 22nd Visual Effects Society Awards, claiming five wins including one in the leading category for outstanding VFX in a photoreal feature.
Wednesday night at the Beverly Hilton, it also won the categories for created environment, model, compositing and lighting and effects simulations. Also, in the feature competition, “Guardians of the Galaxy Vol. 3” collected two awards for the digital character (the emotive Rocket) and virtual cinematography. “Oppenheimer” grabbed the trophy for practical effects, and “Nyad” took home the award for supporting VFX. Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” was the big winner among the animated features, collecting four awards.
“The Creator,” whose VFX was led by Industrial Light + Magic, and Guardians 3, whose work was shared by roughly 10 VFX companies,...
Wednesday night at the Beverly Hilton, it also won the categories for created environment, model, compositing and lighting and effects simulations. Also, in the feature competition, “Guardians of the Galaxy Vol. 3” collected two awards for the digital character (the emotive Rocket) and virtual cinematography. “Oppenheimer” grabbed the trophy for practical effects, and “Nyad” took home the award for supporting VFX. Sony Pictures Animation’s “Spider-Man: Across the Spider-Verse” was the big winner among the animated features, collecting four awards.
“The Creator,” whose VFX was led by Industrial Light + Magic, and Guardians 3, whose work was shared by roughly 10 VFX companies,...
- 2/22/2024
- by Carolyn Giardina and Diego Ramos Bechara
- Variety Film + TV
The Visual Effects Society bowed before The Creator tonight. New Regency’s sci-fi flick scored a leading five trophies including Outstanding VFX in a Photoreal Feature at the 22nd annual Ves Awards. Spider-Man: Across the Spider-Verse — hot off dominating the Annie Awards over the weekend — picked up four awards including Outstanding Visual Effects in an Animated Movie.
See the full list of winners below.
Guardians of the Galaxy Vol. 3 was the night’s only other multiple winner on the film side, and Nyad swam home with the other marquee film prize — Outstanding Supporting Visual Effects in a Photoreal Feature. Best Picture Oscar favorite Oppenheimer won for Special (Practical) Effects.
The Creator and Guardians of the Galaxy Vol. 3 also are up for Best Visual Effects at next month’s 96th Academy Awards, vying against Godzilla Minus One, Mission: Impossible – Dead Reckoning Part One and Napoleon. Across the Spider...
See the full list of winners below.
Guardians of the Galaxy Vol. 3 was the night’s only other multiple winner on the film side, and Nyad swam home with the other marquee film prize — Outstanding Supporting Visual Effects in a Photoreal Feature. Best Picture Oscar favorite Oppenheimer won for Special (Practical) Effects.
The Creator and Guardians of the Galaxy Vol. 3 also are up for Best Visual Effects at next month’s 96th Academy Awards, vying against Godzilla Minus One, Mission: Impossible – Dead Reckoning Part One and Napoleon. Across the Spider...
- 2/22/2024
- by Erik Pedersen
- Deadline Film + TV
“Oppenheimer,” “Spider-Man: Across the Spider-Verse” and “The Last of Us” are among the nominees for the Visual Effects Society (Ves) Awards.
Gareth Edwards’ “The Creator” leads the feature film field with seven nominations. “Spider-Man: Across the Spider-Verse” is the top animated contender with seven nominations and 24-time Emmy-nominated drama “The Last of Us” leads the episodic field with six nominations.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” Ves chair Kim Davidson said. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of our nominees.”
The Ves is a global honorary society dedicated to “advancing the arts, sciences and applications of visual effects and to upholding...
Gareth Edwards’ “The Creator” leads the feature film field with seven nominations. “Spider-Man: Across the Spider-Verse” is the top animated contender with seven nominations and 24-time Emmy-nominated drama “The Last of Us” leads the episodic field with six nominations.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” Ves chair Kim Davidson said. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of our nominees.”
The Ves is a global honorary society dedicated to “advancing the arts, sciences and applications of visual effects and to upholding...
- 1/16/2024
- by Diego Ramos Bechara
- Variety Film + TV
The Visual Effects Society has composited the nominees for its 22nd annual Ves Awards, which will be handed out next month. Disney’s The Creator and Sony’s Spider-Man: Across the Spider-Verse lead the field with seven noms apiece, and HBO’s The Last of Us tops TV with six. See the full list below.
The annual Ves Awards will be handed out during the group’s 22nd annual ceremony February 21 at the Beverly Hilton. They recognize outstanding visual effects artistry and innovation in 25 categories spanning features, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” said Kim Davidson, newly elected Ves Chair. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation.
The annual Ves Awards will be handed out during the group’s 22nd annual ceremony February 21 at the Beverly Hilton. They recognize outstanding visual effects artistry and innovation in 25 categories spanning features, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on artists who bring this work to life.
“The artistry, ingenuity and passion of visual effects practitioners around the world have come together to create remarkable imagery,” said Kim Davidson, newly elected Ves Chair. “We are seeing best-in-class work that elevates the art of storytelling and exemplifies the spirit of innovation.
- 1/16/2024
- by Erik Pedersen
- Deadline Film + TV
The Spider-Society has webbed in a few honors. The Visual Effects Society has announced their nominations for the 22nd annual Ves Awards, with “Spider-Man: Across the Spider-Verse” leading the pack.
Held every winter, the Ves Awards honor the best achievements in visual effects artistry over the previous calendar year, with VFX professionals in film, television, video games, and commercials receiving recognition. Nominees in 25 categories are selected by Ves members through a process of 39 in-person and virtual nomination events, held worldwide and conducted during a 36-hour period. A minimum of three judging panels review each submission for the awards, looking at “Before and Afters” for each prospective nominee. Ves judging panels this year included members of the society from 25 different countries.
“Spider-Man: Across the Spider-Verse” was the top animated film to receive nominations this year, gaining seven nominations including Outstanding Effects in an Animated Feature and specific nods for modeling, character animation,...
Held every winter, the Ves Awards honor the best achievements in visual effects artistry over the previous calendar year, with VFX professionals in film, television, video games, and commercials receiving recognition. Nominees in 25 categories are selected by Ves members through a process of 39 in-person and virtual nomination events, held worldwide and conducted during a 36-hour period. A minimum of three judging panels review each submission for the awards, looking at “Before and Afters” for each prospective nominee. Ves judging panels this year included members of the society from 25 different countries.
“Spider-Man: Across the Spider-Verse” was the top animated film to receive nominations this year, gaining seven nominations including Outstanding Effects in an Animated Feature and specific nods for modeling, character animation,...
- 1/16/2024
- by Wilson Chapman
- Indiewire
“Spider-Man: Across the Spider-Verse” created over 240 unique characters who feature across the six different universes in the film, but Daniel Kaluuya‘s Hobart “Hobie” Brown (aka Spider-Punk) was one of the last characters production designer Patrick O’Keefe and head of character Alan Hawkins dove into.
Speaking with Variety, Hawkins says the character went through a lot of design tests. “Those tests were educational in that they didn’t work, and we learned about how not to do them.” After that, the character was put on the shelf while the animators refined his design.
Writers and producers Phil Lord and Chris Miller revealed in an interview with EW that the anarchic, anti-establishment superhero was nearly cut from the film. But Spider-Punk came together once Kaluuya came on board.
“You’d think the punk character would be agitating, big and boisterous, but the more time we spent with him and saw reads from Daniel,...
Speaking with Variety, Hawkins says the character went through a lot of design tests. “Those tests were educational in that they didn’t work, and we learned about how not to do them.” After that, the character was put on the shelf while the animators refined his design.
Writers and producers Phil Lord and Chris Miller revealed in an interview with EW that the anarchic, anti-establishment superhero was nearly cut from the film. But Spider-Punk came together once Kaluuya came on board.
“You’d think the punk character would be agitating, big and boisterous, but the more time we spent with him and saw reads from Daniel,...
- 8/29/2023
- by Jazz Tangcay
- Variety Film + TV
"Spider-Man: Across the Spider-Verse" is filled to the brim with so much superhero action, characters, art styles, and dimension-hopping shenanigans that you might not have even noticed the lack of a signature comic book movie staple: the post-credits scene.
I myself honestly forgot to look out for one, but I think that was because the absolutely brutal cliffhanger left me reeling and I figured that "Aw, c'mon!" feeling was what the filmmakers wanted us to walk out of the theater with.
Turns out I was partially right. In an interview with IndieWire, producers Phil Lord and Christopher Miller talked about their original plan for a post-credits scene, and one of the main reasons they nixed it was because it was "hard to beat where we left off." Their original idea for a post-credits scene required a bit of a set-up for the pay-off to work and that further complicated the idea.
I myself honestly forgot to look out for one, but I think that was because the absolutely brutal cliffhanger left me reeling and I figured that "Aw, c'mon!" feeling was what the filmmakers wanted us to walk out of the theater with.
Turns out I was partially right. In an interview with IndieWire, producers Phil Lord and Christopher Miller talked about their original plan for a post-credits scene, and one of the main reasons they nixed it was because it was "hard to beat where we left off." Their original idea for a post-credits scene required a bit of a set-up for the pay-off to work and that further complicated the idea.
- 6/6/2023
- by Eric Vespe
- Slash Film
[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
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
IndieWire launches Sketch to Screen, a new behind-the-scenes exploration of cutting edge animation that kicks off with Oscar contender “The Mitchells vs. The Machines” (Sony/Netflix).
From Oscar-winning producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”) and first-time director Mike Rianda (“Gravity Falls”), “The Mitchells vs. the Machines” offers a handmade, watercolor aesthetic that perfectly matches the wild road trip about a family fighting the robot apocalypse, while also contrasting them with the sleek perfection of the AI-created robot world.
Rianda was encouraged by the boldness of “Into the Spider-Verse” to make his debut even more ambitious: “The reason we wanted the movie to have a hand-drawn look is because when you see a drawing, you see all these little imperfections and…places where the pen goes, that you wouldn’t expect it to,” he said. “And it just feels really natural and organic. And our characters are natural,...
From Oscar-winning producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”) and first-time director Mike Rianda (“Gravity Falls”), “The Mitchells vs. the Machines” offers a handmade, watercolor aesthetic that perfectly matches the wild road trip about a family fighting the robot apocalypse, while also contrasting them with the sleek perfection of the AI-created robot world.
Rianda was encouraged by the boldness of “Into the Spider-Verse” to make his debut even more ambitious: “The reason we wanted the movie to have a hand-drawn look is because when you see a drawing, you see all these little imperfections and…places where the pen goes, that you wouldn’t expect it to,” he said. “And it just feels really natural and organic. And our characters are natural,...
- 1/14/2022
- by IndieWire Staff
- Indiewire
Many worthy films for all audiences flew under the pop culture radar in 2021, released with some fanfare but overshadowed by current events. Take the animated Connected, for example. Announced by Sony for 2020, it briefly arrived in theaters in April before hitting Netflix under the name The Mitchells vs. the Machines.
Now available in a Blu-ray/DVD/Digital HD combo pack, the film is well worth your time and attention. First of all, it’s funny and good for the entire family to enjoy together. Second, it has some fine messages underneath the frenetic pace and stuffed visuals.
Rick (Danny McBride) loves nature and is a bit of a technophobe, setting up a conflict with his daughter Katie (Abbi Jacobson), who is about to attend film school. When their visions clash one more time, he cancels her flight and decides to pack the family into their old station wagon and drive across the country.
Now available in a Blu-ray/DVD/Digital HD combo pack, the film is well worth your time and attention. First of all, it’s funny and good for the entire family to enjoy together. Second, it has some fine messages underneath the frenetic pace and stuffed visuals.
Rick (Danny McBride) loves nature and is a bit of a technophobe, setting up a conflict with his daughter Katie (Abbi Jacobson), who is about to attend film school. When their visions clash one more time, he cancels her flight and decides to pack the family into their old station wagon and drive across the country.
- 1/3/2022
- by Robert Greenberger
- Comicmix.com
John Paul Leon. Photo by Luigi Novi.
John Paul Leon was part of an elite group, the Bad Boy Studio Mentor program. That program’s goal is to help people of color gain entry into comic books and related businesses.
It does not stop there—the main goal is to pay it forward.
Each member of Bad Boy Studios is charged with advancing the next generation and living up to the program motto: Each One Teaches One.
When John came into the program, it was evident he was a star in the making. He began at Bad Boy during the period I was at Milestone Media.
Milestone’s business structure was just as innovative as Denys Cowan’s idea to create the company. The creative partners at Milestone took no salary; we were to be paid for our comic book work.
As an example, I wore many hats at Milestone,...
John Paul Leon was part of an elite group, the Bad Boy Studio Mentor program. That program’s goal is to help people of color gain entry into comic books and related businesses.
It does not stop there—the main goal is to pay it forward.
Each member of Bad Boy Studios is charged with advancing the next generation and living up to the program motto: Each One Teaches One.
When John came into the program, it was evident he was a star in the making. He began at Bad Boy during the period I was at Milestone Media.
Milestone’s business structure was just as innovative as Denys Cowan’s idea to create the company. The creative partners at Milestone took no salary; we were to be paid for our comic book work.
As an example, I wore many hats at Milestone,...
- 5/11/2021
- by Michael Davis
- Comicmix.com
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
While “The Mitchells vs. The Machines” contains several remarkable tech advancements in making CG animation look more like 2D with hand-painted texturing, the most innovative work was reserved for the killer Stealthbots known as Pal Max Prime. They’re black, sleek, and powerful, but what makes them inventive is the way they move by breaking apart and reassembling into different shapes. They’re a remarkable reinvention of Transformers, yet totally unpredictable.
“Alan Hawkins [animation supervisor at Sony Pictures Imageworks] got really excited about that and broke the pipeline to create this new way of morphing characters — and, if you still frame through that, it’s really exciting,” said director Mike Rianda. “He came up with a new way to animate with customized rigging.”
In fact, producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”) were totally blown away by the Stealthbots: “I remember Alan Hawkins showing us that first test: What if they moved like this?...
“Alan Hawkins [animation supervisor at Sony Pictures Imageworks] got really excited about that and broke the pipeline to create this new way of morphing characters — and, if you still frame through that, it’s really exciting,” said director Mike Rianda. “He came up with a new way to animate with customized rigging.”
In fact, producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”) were totally blown away by the Stealthbots: “I remember Alan Hawkins showing us that first test: What if they moved like this?...
- 5/7/2021
- by Bill Desowitz
- Indiewire
No surprise there. It goes without saying that James Cameron's sci-fi spectacle Avatar has the potential to clean house at the 8th Annual Ves Awards for its breath taking visuals by the acclaimed Weta Digital. Cameron will also be picking up a well-deserved Lifetime Achievement Award. In the outstanding animated feature category, the nominees include Up, 9, Coraline, Cloudy with a Chance of Meatballs and Ice Age: Dawn of the Dinosaurs.
The official press release is as followed:
3-D Films Dominate With Most Noms as Avatar grabs 11, Coraline 4, and Visual Effects Company Weta Digital Snags Most Company Noms with 9
Los Angeles, January 19, 2010 - The Visual Effects Society (Ves) today announced the nominees for the 8th Annual Ves Awards ceremony recognizing outstanding visual effects artistry in over twenty categories of film, animation, television, commercials and video games. Nominees were chosen Saturday, January 16, 2010, by numerous blue ribbon panels of Ves members who...
The official press release is as followed:
3-D Films Dominate With Most Noms as Avatar grabs 11, Coraline 4, and Visual Effects Company Weta Digital Snags Most Company Noms with 9
Los Angeles, January 19, 2010 - The Visual Effects Society (Ves) today announced the nominees for the 8th Annual Ves Awards ceremony recognizing outstanding visual effects artistry in over twenty categories of film, animation, television, commercials and video games. Nominees were chosen Saturday, January 16, 2010, by numerous blue ribbon panels of Ves members who...
- 1/22/2010
- Screen Anarchy
James Cameron's "Avatar" led the list of nominations announced Monday by the Visual Effects Society, scooping up 11.
The animated "Coraline," another movie released in 3D, followed with four nominations.
New Zealand-based Weta Digital, which worked on "Avatar," led the company noms with nine.
For visual effects in an effects-driven motion picture feature, the nominees are "2012," "Avatar," "District 9," "Star Trek" and "Transformers: Revenge of the Fallen."
Noms for supporting visual effects in a movie went to "Angels & Demons," "The Box," "Invictus," "The Road" and "Sherlock Holmes."
"9," "Cloudy With a Chance of Meatballs," "Coraline," "Ice Age: Dawn of the Dinosaurs" and "Up" were nominated for outstanding animation in an animated feature.
Ves noms in 20 categories, covering film, animation, TV, commercials and video games were chosen Saturday by blue-ribbon panels of Ves members, meeting in Burbank, San Francisco and London.
The eighth annual Ves Awards will be handed out on Feb.
The animated "Coraline," another movie released in 3D, followed with four nominations.
New Zealand-based Weta Digital, which worked on "Avatar," led the company noms with nine.
For visual effects in an effects-driven motion picture feature, the nominees are "2012," "Avatar," "District 9," "Star Trek" and "Transformers: Revenge of the Fallen."
Noms for supporting visual effects in a movie went to "Angels & Demons," "The Box," "Invictus," "The Road" and "Sherlock Holmes."
"9," "Cloudy With a Chance of Meatballs," "Coraline," "Ice Age: Dawn of the Dinosaurs" and "Up" were nominated for outstanding animation in an animated feature.
Ves noms in 20 categories, covering film, animation, TV, commercials and video games were chosen Saturday by blue-ribbon panels of Ves members, meeting in Burbank, San Francisco and London.
The eighth annual Ves Awards will be handed out on Feb.
- 1/18/2010
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
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