There was a limit to the lighting range for the opening sequence because it occurs at sunset and gradually becomes darker.
Audiences were introduced to what appeared to be a ritualistic murder in the Southern heat of the Louisiana delta for the debut of the HBO anthology series True Detective, then headed to the Far North to encounter a bizarre collection of frozen bodies in Alaska for the fourth season titled True Detective: Night Country, which features a cast of Jodie Foster, Kali Reis, Fiona Shaw, Finn Bennett, Isabella star LaBlanc, Christopher Eccleston and John Hawkes. Taking over the roles of showrunner and director was Issa López, who brought on Barney Curnow as Production VFX Supervisor to oversee the visual effects work, with one of the major contributors being Cinesite, which handled 140 shots spanning five of the six episodes that consisted of the series-opening caribou herd, a roaming polar bear and Ennis, Alaska.
“Barney Curnow’s approach to the visual effects on True Detective: Night Country was to have a light touch, respecting the feel and tone of the cinematography and production design. He didn’t want anyone to be talking about the visual effects afterwards because that would mean they had been brought out of the world we were trying to create.”
Extensive environment work was required throughout the season to convincingly recreate the Alaskan territory and terrain.
“Barney Curnow’s approach to the visual effects on True Detective: Night Country was to have a light touch, respecting the feel and tone of the cinematography and production design,” explains Simon Stanley-Clamp, Visual Effects Supervisor at Cinesite. “He didn’t want anyone to be talking about the visual effects afterwards because that would mean they had been brought out of the world we were trying to create. A lot of the work was world-building because the story takes place in this particular environment of Ennis, Alaska, a fictional town. It’s almost its own character, and we were piecing together this environment using disparate locations and set builds, and using visual effects as the glue to bring it all together, and to expand that world.” Snow was a significant natural element ranging from incidental to a blizzard. Stanley-Clamp explains, “The challenge with this type of work is maintaining continuity throughout the sequence, ensuring that the effect builds over time and conveys the story while also incorporating any nuances in the live-action plates. For instance, a small gust of wind catching the hood of Chief Liz Danvers’ [Jodi Foster] car could initiate a slight change in the simulation. The show is predominantly dark with all the exteriors taking place in darkness, which required some adjustment. We integrated environments and extended Ennis town, often using tiny pinpricks of light to guide the viewer’s attention along a road or to the base of a mountain range. We utilized the torchlight beam from Danvers to illuminate the snowstorm she encounters, with much of the background snow fading into complete darkness.”
The caribou sequence underwent a comprehensive development process, starting with the script followed by storyboards, animatics and a cut comprising of live-action natural history footage.
“A lot of the work was world-building because the story takes place in this particular environment of Ennis, Alaska, a fictional town. It’s almost its own character, and we were piecing together this environment using disparate locations and set builds, and using visual effects as the glue to bring it all together, and to expand that world.”
Despite the desolate wintry landscape, animals can be found roaming with some of them deciding to visit the streets of Ennis. “Creating the polar bear was a delightful experience,” Stanley-Clamp states. “We meticulously crafted a detailed sculpt, groom and creature effects. Knowing that she would be prominently featured in a long, lingering shot, we initially designed her to be very skinny, as per the script, but Issa later requested that she be bulked up a bit to enhance her presence and create a more familiar silhouette for the viewers. I view the polar bear similarly to how we perceive foxes in the U.K.; they emerge at night, roam our streets and scavenge for food. In the two scenes where the polar bear appears, it simply wanders through, searching for its next meal. The caribou sequence underwent a comprehensive development process, starting with the script, followed by storyboards, animatics and a cut comprised of live-action natural history footage. We combined footage of caribou, deer, reindeer and any other relevant animals to convey the story. Silver Studios created a refined previs in collaboration with Barney and production, which helped solidify the final concept.”
Cinesite took photographic reference of reindeer in Hampshire as they are similar to caribou, which informed every aspect, from the groom to the lighting to movement.
“Subsequently,” Stanley-Clamp continues, “we commenced work on the sequence, developing still concepts for the environment. We began with production footage and expanded upon it, ultimately retaining only the section of terrain where the hunter was positioned. Integrating this element into our final shot granted us complete control over the lighting of the environment, allowing us to have the sun descend below the horizon by the end of the sequence, heralding the permanent night that persists throughout all six episodes. The charging herd of caribou was a combination of hand-animated and crowd-simulated elements, depending on the number of animals in the shot. Super close-up details of the main caribou showcased the groom, complemented by Houdini breath effects and atmospheric elements.”
“The show is predominantly dark with all the exteriors taking place in darkness, which required some adjustment. We integrated environments and extended Ennis town, often using tiny pinpricks of light to guide the viewer’s attention along a road or to the base of a mountain range. We utilized the torchlight beam from Danvers to illuminate the snowstorm she encounters, with much of the background snow fading into complete darkness.”
No major alternations had to be made to the pipeline. “This was the first show to fully utilize USD at Cinesite, ultimately giving greater flexibility to our pipeline, sharing and tracking work through various packages; it was more of a background change to our internal architecture,” Stanley-Clamp explains. “Principal photography took place in Iceland, doubling for Alaska; which meant that by the time we were looking at sequences, there was already a cutting copy and footage for us to look over. After initially bidding on boards and concepts, we pretty quickly received an animatic and previsualization. For the bigger sequences, like the creature animation, Barney tried to get as much in front of Issa for feedback as early as possible, starting with animatics, timing out the storyboards and then previs before anything was filmed. This worked well for the polar bear sequences, which ended up on screen pretty much as the previs. The opening sequence with the caribou, however, went on more of a journey because, unsurprisingly, we couldn’t find any reference of caribou leaping off a cliff to their death! For the look of Ennis and its surrounds, we had a lot of references from [Production Designer] Daniel Taylor’s art department look book, as well as the photography and drone work from Alaska itself. Daniel had a map of the whole town of Ennis, which we used as the basis for the really wide DMPs, and we also took that map and built it out into a wider environment.”
The effects caches for the polar bear in Episode 404 totalled 15.6 terabytes of data.
Extensive environment work was required to turn Iceland into Alaska. “Distant mountain ranges were added to the background, leading down to the town, to the outskirts of which extend out to the frozen open expanse of sea and to a perpetual snowy wilderness,” Stanley-Clamp states. “A blizzard approaches around the end of Episode 404, which continues into the following episodes. We matched closely what they had created and filmed on set. They had fake snow with smoke pumped into it, blown in with fans, and we needed to augment and extend that. It looked like fine particulate mist rather than snow and we needed it to match it. We created it using volumetric mist, CG effects, adding in snow particulate to bulk it out, and adjusting the speed, density and depth.”
“Besides weather simulations, digital breath was added throughout the season to reflect the frigid, chilly atmosphere. Bears are warm-blooded creatures, and when we see it peering through Danvers’ driver’s-side window, it breathes on the glass, pausing before walking away. It is an unnerving moment; breath was added to the side window, which evaporates to reveal the bear looking in.”
Initially, the polar bear was skinny, as per the script, but later redesigned and bulked up to enhance her presence and create a more familiar silhouette for the viewers.
“Moving away from snow to fire simulations,” Stanley-Clamp remarks, “there’s a sequence towards the end of the season where Danvers is in a warehouse, and there is a fire with sparks floating around. There are embers coming off a bonfire, and when we first see them, they are real. But they need to help tell the story, to lead Danvers through a warehouse, so from a certain point they are visual effects. When she finds an open door, we added the snow blowing through it. Besides weather simulations, digital breath was added throughout the season to reflect the frigid, chilly atmosphere. Bears are warm-blooded creatures, and when we see it peering through Danvers’ driver’s-side window, it breathes on the glass, pausing before walking away. It is an unnerving moment; breath was added to the side window, which evaporates to reveal the bear looking in.”
Initial versions of the groom for the polar bear were more shaggy, long and greasy; however, the final version was cleaner and carefully adjusted not to be too cute or fluffy.
The biggest challenge was the landscape for opening caribou sequence. “The valley was in five shots that we keep coming back to in the cut,” Stanley-Clamp describes. “We were creating an environment, which was based on a plate that didn’t satisfy the brief. We needed to create something new but not completely different, and there was the uncertainty of not knowing whether the client would like it. We needed to find a sweet spot where it looked similar but better. That was tricky because there were a lot of people who have spent a lot of time finding that location, dressing it and filming it. You need to be sensitive to that but do the right thing for the sequence. Of course, the caribou and polar bear were also difficult. Cinesite has created monsters and otherworldly creatures for countless episodic and feature film productions previously. With fantastical creatures, there is no existing audience expectation about what they might see. However, with realism you have the additional challenge that people think they know what something should look like, which is in many respects harder. I am incredibly proud of the whole team for its work on True Detective: Night Country, which I believe raises the bar in terms of quality and realism.”
Production built a relatively small set featuring the Creation Pools and a circle of columns encircling them.
The Pool of Life sequence is rooted in Choctaw lore where the act of drawing water from the Pool of Life starts a transformation within their world and themselves, eventually turning them into humans.
Set five years after the events of the 2021 Disney+ mini-series Hawkeye, the origin story of Echo follows Maya Lopez as she returns to her hometown in Oklahoma where she is confronted with her troubled past. To move forward with her life, she must reconnect with her Native American roots and embrace the meaning of family and community. Alaqua Cox reprises her Hawkeye role as Maya Lopez/Echo for the sequel.
“In terms of the cave’s look and feel, we had initial concepts from our first designs, but we weren’t sure about our final approach, nor the extent of the virtual set we were going to have to build. My priority, working with CG Supervisor David Liu, was to make sure that our environment felt as real as possible, within reason. Creating this mythical cave was tricky, since we were aiming for realism without good real-world references. This balancing act is always a challenge, so we began experimenting.”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Aladino Debert served as Digital Domain Visual Effects Supervisor on the show, which streams on Disney+ and Hulu. “The show essentially had two incarnations,” Debert explains. “We originally started in the summer of 2022 doing concept designs and some R&D for the main sequences assigned to us at the time; things like building assets for the ‘Creation Cave’ and digi-doubles for the main Choctaw characters. Then, suddenly, the show was put on hold by the studio and production was stopped. We feared the show was gone for good.” Debert continues, “But six months later, around April 2023, after I’d finished work on Citadel for Amazon, production restarted with a different client-side VFX supervisor and producer team. Having previously worked on Ms. Marvel, I was familiar to the studio, and given my previous, albeit brief, experience with part one of the show, I started work once again.”
There were around a dozen ancestors adorned with clay makeup and wearing underwear that needed to be removed by the roto/paint team, led by Cynthia Trevino.
The close-up shot of Chafa’s hands turned out to be the most stress-inducing shot in the entire show for Debert and his team. They studied time-lapses of dried mud to understand the process.
Debert knew that Digital Domain were mostly going to be involved with the main creation sequence for Episode 01. “Those sequences had been shot already, so we had plates, if not necessarily a locked cut.” Debert says. “Production built a relatively small set featuring the Creation Pools and a circle of columns encircling them. The legend revolves around the ancestors, moulded from clay, emerging from the pools and gathering around Chafa, the first to appear. The sequence is rooted in Choctaw lore, where the act of drawing water from the Pools of Life starts a transformation within their world and themselves, eventually turning them into humans. That, in a nutshell, is the essence of the story.”
“In terms of the cave’s look and feel, we had initial concepts from our first designs, but we weren’t sure about our final approach, nor the extent of the virtual set we were going to have to build,” he continues. “My priority, working with CG Supervisor David Liu, was to make sure that our environment felt as real as possible, within reason. Creating this mythical cave was tricky, since we were aiming for realism without good real-world references. This balancing act is always a challenge, so we began experimenting.”
Visual Effects Supervisor Aladino Debert worked alongside CG Supervisor David Liu to make sure that the environment felt as real as possible, within reason. It was a constant challenge creating a mythical cave while aiming for realism, which resulted in some experimentation.
Debert and his team created around 100 visual effects shots for the show. A cultural consultant from the Choctaw people was on set throughout production due to cultural sensitivities and to ensure missteps were avoided.
Debert and his team looked at lots of caves for reference. “We also looked at glow worms for inspiration since we wanted a bioluminescent, almost nebula-like appearance to the ceiling. It was an evolutionary process as designs often are. That’s why we studied real-life elements found in caves, such as crystal formations, stalactites, stalagmites and so on. For the exterior shots, the story required the clay ancestors to become human,so we knew that the process of the clay drying up, cracking and revealing the human underneath was crucial. We primarily studied time-lapses of dried mud to understand the process. From there, our effects artists, led by FX Supervisor Jaymie Miguel, went to work.”
When it came to managing the workload with his team, Debert approached the project the same way he always does. “To start a project well-prepared, a great producer is essential, and I had the fortune to collaborate with VFX Producer Ryan Wilk on this show. I’m systematic about certain things, and once you’ve been doing this for a while, you realize most projects have similarities,” he remarks.
From left: Vincent D’Onofrio as Wilson Fisk/Kingpin and Darnell Besaw as young Maya Lopez.
“First off, when we receive the turnover of plates, our initial steps involve identifying camera roto/paint needs,” Debert adss. “Camera tracking was straightforward, but, for instance, the women playing the clay ancestors had patches on their nipples, and everyone had underwear on, as one would expect. So, although the makeup team’s work was amazing, there was no way to conceal the fact that you could see what they were wearing. So our roto/paint team, led by Cynthia Trevino, got to work on the task of removing everybody’s underwear. There were maybe 12 or 14 ancestors all adorned with clay makeup and wearing underwear that needed to be removed. We also had to devise a system for color correction that could target specific areas of the clay without appearing too obvious. It was a mix of roto and comp tricks to make sure that we could darken or shift the hue of certain sections. Dealing with a single person who wasn’t moving much would’ve not been a big deal, but once you have 12 or more with motion blur, it became quite the challenge.”
Alaqua Cox reprised her role from Hawkeye as Maya Lopez/Echo. (Photo: Chuck Zlotnick)
“We also looked at glow worms for inspiration since we wanted a bioluminescent, almost nebula-like appearance to the ceiling [of the cave]. It was an evolutionary process as designs often are. That’s why we studied real-life elements found in caves, such as crystal formations, stalactites, stalagmites and so on. For the exterior shots, the story required the clay ancestors to become human,so we knew that the process of the clay drying up, cracking and revealing the human underneath was crucial. We primarily studied time-lapses of dried mud to understand the process. From there, our effects artists, led by FX Supervisor Jaymie Miguel, went to work.”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Continues Debert, “And, of course, we had to create the cave. The clients asked for a sense of infinity, wanting it to seemingly stretch on forever. Which was all good, but, of course, we had to build it and then collapse it! That was a predictably long process. Environments Lead Chris Watkins and his team began with what was built on set and then expanded upon it. Ultimately, it took on a cathedral-like look, but with an organic and natural feel, featuring stalactites, stalagmites and a lot of that bioluminescent light. Additionally, the columns, ceilings and floor had veins of lava running through them, so cooling lava was another reference we studied. We wanted to recreate the effect of charred, blackened exterior contrasted with undulating veins of red, glowing bits. The digital set went on forever and ended up being a massive environment that was at times quite tricky to render.”
From left: Zahn McClarnon as William Lopez, Devery Jacobs as Bonnie, Graham Greene as Skully and Tantoo Cardinal as Chula Battiest.
Debert and his team created around 100 visual effects shots for the show, most of which were for the Choctaw creation sequence. “In the story, Chafa, the first ancestor, drinks from the Pool of Life, initiating the collapse of their underground world, and setting in motion the process that ultimately leads them to become human. As the cave collapses around them, she holds up the ceiling to allow her people to escape. The realism of this sequence was crucial, and I wanted to make sure it felt natural in the way that it was breaking up. The cave couldn’t just collapse into dust. As always, I started by looking at a lot of references of post-earthquake imagery to understand how columns shear and partially collapse without disintegrating entirely. That approach is one that resonates with my work ethos: start with realism as a baseline and then adjust to suit the desired aesthetic or narrative tone. It gives us a solid ground to stand on, no pun intended in this case, while at the same time allows the freedom to deviate artistically when needed.”
Set five years after the events of Hawkeye, the origin story of Echo follows Maya Lopez as she returns to her hometown where she is confronted with her troubled past.
Initially Debert’s plan involved simulating the collapse in a linear fashion, starting a distance away from the Pool of Life and ending at its center where the ancestors were. “The idea was to position cameras strategically and allow the dynamics of the scene to dictate the performance,” Debert explains. “But the edit changed throughout the project, and that plan had to be modified since the jumps in the timeline introduced inconsistencies. Thankfully, we had created custom simulations of ceiling collapses or columns crumbling that would be placed tactically to smooth out any continuity issues.”
“The realism of this sequence was crucial, and I wanted to make sure it felt natural in the way that it was breaking up. The cave couldn’t just collapse into dust. As always, I started by looking at a lot of references of post-earthquake imagery to understand how columns shear and partially collapse without disintegrating entirely. That approach is one that resonates with my work ethos: start with realism as a baseline and then adjust to suit the desired aesthetic or narrative tone. It gives us a solid ground to stand on, no pun intended in this case, while at the same time allows the freedom to deviate artistically when needed.”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Chaske Spencer as Henry Black Crow Lopez. (Photo: Chuck Zlotnick)
Stunt coordinator Mark Scizak was able to incorporate Cox’s prosthetic leg into her fights. (Photo: Chuck Zlotnick)
“A good illustration of the balance between reality and art involved dust. Initially, our shots featured a significant amount of it, limiting visibility into the distance – something that, to me, felt realistic given the context of collapsing rock. However, the client emphasized the need to see more of the cave collapsing, a crucial part of the story, which in retrospect seemed obvious. So, we ended up pulling back a lot of the atmospherics and finding a good balance between realism and creative choices. Compositing Supervisor Eric Beaver and his team were essential in finding that balance.”
Debert followed up working on Ms. Marvel, where the lead character is a Pakistani American teenager, with Echo, where the main character is a deaf Native American woman – two female heroes in the male-dominated superhero world. (Photo: Chuck Zlotnick)
“[T]hree weeks from delivery, we realized we were in trouble: We didn’t have a clean plate of hands for the entirety of this shot, necessitating the creation of full CG hands. Trouble was, we didn’t have accurately modeled CG hands because we hadn’t anticipated needing them! It’s one of those realizations that only hit you in hindsight. … That particular shot turned out to be the most stress-inducing shot in the entire show, catching us completely off guard. It was our infamous ‘pineapple shot.’ Go ahead and Google that! ”
—Aladino Debert, Visual Effects Supervisor, Digital Domain
Vincent D’Onofrio as Wilson Fisk/Kingpin and Alaqua Cox as Maya Lopez/Echo.
Debert and his team also worked on the Biskinik bird, sacred to the Choctaw people and featured on several shots during the creation sequence (the bird was an asset shared with ILM, which was also working on the show). As complex as the bird shots were however, for Debert the most challenging visual effects shot to create involved Chafa’s hands becoming human. “Our R&D for the clay-to-human simulation primarily had focused on larger sections of the body, such as the head and torso, and we were pretty happy with the results,” Debert notes. “The edit had two shots of Chafa observing her hands as the clay cracks and crumbles, revealing her human hands beneath. In the original cut the first shot mostly featured clay hands, followed by an insert of her observing the crumbling, before cutting to the final shot where most of the clay was gone, revealing the actual plate photography of her hands.”
Alaqua Cox as Maya Lopez and Vincent D’Onofrio as Wilson Fisk/Kingpin.
Continues Debert: “We started working on those shots by making sure we had accurate match-moving and determining the balance between CG hands, clay and plate. It was essential for the hands to appear natural, as inside the cave they were only decorated with makeup, resembling normal hands albeit made of clay. So, we aimed for a thin, almost potato-skin-like appearance to avoid a chunky look, which would not be attractive for close-up hands. But then the editor decided to merge those two shots into one that spanned the entire clay-to-human transition, one that would end up being a long close-up shot of hands. Initially, we thought we would simply use a long simulation of the clay crumbling over the combined plate since the original shots were derived from the same plate with an offset. We assumed it would be straightforward and continued working on the simulation side until, three weeks from delivery, we realized we were in trouble: We didn’t have a clean plate of hands for the entirety of this shot, necessitating the creation of full CG hands. Trouble was, we didn’t have accurately modeled CG hands because we hadn’t anticipated needing them!”
One of the first things Debert did when he joined Echo was forge a collaborative relationship with the show’s well-prepared VFX Producer, Ryan Wilk.
“It’s one of those realizations that only hit you in hindsight,” Debert acknowledges. “None of us considered the potential problems until we were dangerously close to delivery. That particular shot turned out to be the most stress-inducing shot in the entire show, catching us completely off guard. It was our infamous ‘pineapple shot.’ Go ahead and Google that! However, the entire team pulled together and came up with very creative solutions to the problems we were facing, and in the end the client was very happy with the result.”
A cultural consultant from the Choctaw people was on set throughout production due to the cultural sensitivities involved. “We had to make sure that the basic designs of the Pool of Life, for instance, or the Birth Mound where the ancestors emerge from after the cave collapses, met with approval from the consultants, so we would present to them for feedback. There were only a couple of times where changes or tweaks were needed, and they were minor, but, nevertheless, it was crucial for us to receive this feedback because it was a sensitive topic, and we wanted to ensure we handled it with care and avoided any missteps.”
Julia Jones as Chafa. The Choctaw legend of the Pools of Life revolves around ancestors, moulded from clay, emerging from the pools and gathering around Chafa, the first to appear, starting the transformation process from clay to human.
Concludes Debert, “When you are working on a show or sequence based on myths or legends, the approach is inherently subjective, and the challenge lies in creating elements that may not exist while ensuring they appear realistic. This requires a fine balance of artistic interpretation and attention to detail. I’ve been fortunate to work on culturally diverse shows lately. In my previous show for Marvel Studios, Ms. Marvel, the lead character, is a Pakistani American teenager with amazing powers. That show was significant to me as it introduced a different family culture, religion and dynamic to the MCU. So, to follow that up with Echo, where the main character, Maya Lopez [played by Alaqua Cox], is a deaf Native American woman with a prosthetic leg and a total badass, was a real joy. It offered a diverse representation within the male-dominated superhero world we’ve grown accustomed to. I learned a lot about Choctaw history from reading and researching for this show, making it rewarding both on a personal level and in terms of the technical challenges, which I always enjoy.”
It was important that CG creatures like Momo felt like they were making character choices rather than just simply appearing to be cool or cute.
Brought together by Netflix is the visual effects supervisor duo of Jabbar Raisani and Marion Spates who are collaborating on their third series together, beginning with Lost in Space and followed by Stranger Things and Avatar: The Last Airbender. Their current partnership is an epic adaption of the animated series that was previously tried by M. Night Shymalan in a much-maligned feature film that fans and critics would rather burn or bury.
As for what the live-action adaption could achieve that was not possible for the source material, Spates comes up with one word, “Perspective. The cartoon is 2D and hand-drawn perspectives, while this is all done in 3D with proper depth and scale. You are immersed in the show.” Raisani, who also took on the roles of director and executive producer, is in agreement. “Across the board, we tried to represent if this was real, what would this really look like? Hopefully, that allows for a suspension of disbelief that when you’re watching the animated [series], you know that it’s not real, but we tried to make it feel like a real living, breathing world.”
Aang leaves his earthly body and enters the Spirit World.
Aang visits the Fire Nation temple of Avatar predecessor Roku in order to communicate with him.
Spanning eight episodes, the Netflix adaption concludes where the first season of the animated series ended with the Fire Nation laying siege to the home of the Northern Water Tribe as part of its plan to gain global supremacy over the other three nations that have the ability to control water, wind and earth. The main threat is the Avatar, a reincarnated spirit who can master all four elements, who has returned after freak natural accident imprisoned him in a frozen tomb for a century. “We always knew the scale, scope, quantity and quality were going to be difficult because those things never align with the time,” Raisani states. “Specific challenges were Appa and Momo. We knew that we had to nail those characters because how beloved they are, and it took a long time to get them just right. On the Netflix side, working with Ted Biaselli, he was a great resource to look to, talk through the characters and look at the animated series, and he helped us all shape that feeling to get the emotion right for those characters. Once we nailed that, the execution was much faster than we might have anticipated. Bending was hard, too. It was hard to figure out how to do it right. There was a lot of trail and error. It took us awhile to understand exactly what components went into each form of bending.”
“Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water. We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
—Jabbar Raisani, Executive Producer/Director
The Spirit World was shot in the forests of British Columbia and made otherworldly with lens effects such as chromatic aberrations.
A major storyline is watching Katara develop as a waterbender, which had to be reflected in the visual effects work throughout the eight episodes.
Around 3,400 visual effects shots were created for the eight episodes over a period of 18 months by Framestore, Scanline VFX, Important Looking Pirates, Accenture Song VFX, Pixomondo, Image Engine, Rodeo FX, Untold Studios, Outpost VFX, BigHugFX, Cadence Effects, The Resistance VFX, Atomic Pictures, NEXODUS, FABLEfx and DNEG VP. “We looked at the animated series and wanted to mimic everything that we could; however, what do we need to do to ground it in today’s reality?” Spates notes. “We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!” Simulations had to be art directed. “You’re trying to art direct something that is a random event and attempting to use forces to get exactly what you’re after,” Raisani notes. “We understand that you cannot art direct every single drop or drip or element.” A major part of the waterbending recipe was the concept of an underlying force that resembles a twirling barbershop pole. “Jared Higgins, who is a Visual Effects Supervisor, came up with the ‘barbershop pole’ as a way to always move the water,” Raisani explains. “We used it to a degree on the other forms as well, but the water is where you see it the most because what we didn’t want was a ball or orb of water. It always feels like it has a current. That you can see throughout the series.”
Various dangerous beings inhabit the Spirit World, like the angry forest deity known as Hei Bei.
Sokka and Katara witness Aang escaping his century-old frozen tomb.
Getting the glowing arrow and eyes of the Avatar State integrated with the plate photography took a lot of finessing.
Three departments that had to work closely were stunt, visual effects and special effects, all of which had multiple supervisors to manage the workload. “We all start from the moment we are on set,” Spates notes. “We didn’t have an opportunity to come on at the beginning in production, but we were definitely there for the reshoots. The way that Jabbar and I approach things is you get in and work with all of the different departments early on in the process so that way everyone is on the same page of what we’re trying to pull off. They can’t do it without us, and we can’t do it without them.” Easing the communication was an established shorthand. “Fortunately, with people like Jeff Aro, who was one of the stunt coordinators, we worked with him on Lost in Space for years, so there’s an existing relationship that helps to streamline the process,” Raisani remarks. “Nevin Swain was also the prop master on Lost in Space. I know a lot of the crew up in Vancouver from many years of working there.” The special effects team led by Chris Flemington and Mark Gibbard provided some clever solutions. “We had this cool contraption where they could blow wind from a hose,” Spates reveals. “For Aang’s landing, they could just blow the dirt out of the way, so that way we get that effect for free which was great.” Earthbending was mainly digital with exception of some practical debris. “For fire, we had the firelight on their hands to simulate the interactive lighting, and it had to be operated by the board operator, so when someone is bending and doing the firebending all of that has to be timed out and matched exactly,” Spates remarks. “We definitely had some things to figure out for Season 2 because we needed to tighten some areas as far as the interactive lighting and some things that we did on set.”
Along with being a firebender, Princess Azula has the ability to bend lightning, much to the pleasure of her father Firelord Ozai.
A lot of attention was paid to get enough detail between the iris, pupil and sclera for the Avatar State.
“[For the location of the Southern Air Temple] I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar. That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
—Marion Spates, Visual Effects Supervisor
Classic scenes were recreated, like when Aang is showing off his airbending skills to a group of children and accidentally crashes into a statue. “It was moments like that where you’re trying to emulate the animated series as well as you can,” Raisana observes. “For that particular shot, Gordon Cormier was on a practical driving rig that drove him around, then we do a swap to a full CG version of Aang. Once he comes to camera, he is digital and full CG, crashes and falls to the ground. We definitely used all of the magic of the practical stuff on set as well as full CG stuff, and pulling from this beloved animated series. Moments like that are fun.”
Something that had to be kept in mind was how and where Katara could summon mass amounts of water that she would be unable to carry.
A fun creature to create was the ostrich horse, which is a mode of transportation for the Earth Kingdom.
In the majority of cases, the earthbending was entirely digital, such as in the fight between Bumi and Aang.
Interestingly, a cinematic franchise that shares the same name but isn’t related provided the location of the Southern Air Temple. “I spent a lot of time in China on another project, but I knew where these amazing mountains [Zhangjiajie National Forest Park] are, which were used in the film Avatar” Spates recalls. “That’s exactly what we wanted because the scale of those mountains is unbelievable. There is a lot of imagery that we can steal from the Internet, which obviously is what helped us to make such awesome Avatar mountains, because that’s what they have been labeled over the course of the multiple shows that have been there. It was awesome.”
“[W]hat do we need to do to ground it in today’s reality? We looked at flamethrowers for firebending. For water, we didn’t find a whole lot of reference. We found some water that was in space and a lot of slow-motion buckets of water. You can’t find a water whip online anywhere, but if you do, let us know because we’ll use it for references!”
—Marion Spates, Visual Effects Supervisor
Acting alongside the live-action cast were CG characters, with two of the hardest being the air bison Appa and the flying lemur Momo. “There was a huge structure that was covered in fur for Appa that the actors are climbing or riding on top of,” Raisani explains. “There was a lot more of a physical representation of Appa on set and less so with Momo. There is a great scene in Episode 105, which Roseanne Liang directed, where Momo finds a little acorn. This acorn represents the fact that this forest has been burned down is going to be rebuilt. That’s a scene that we worked hard to ensure Momo brought an emotion to his performance and a connection, not only to Katara but to Aang, who is in the position of emotional strife, and make it feel like Momo makes a character choice to give this acorn that he wants to eat to Aang because Aang is struggling and he wants to do something for his friend. It’s moments like that we worked hard to ensure that they are giving a performance as opposed to being cool or cute-looking digital characters.”
The throne room of the Fire Nation made use of virtual production.
A fun creature was the ostrich horse ridden by the Earth Kingdom. “I love the ostrich horses,” Spates remarks. “Accenture Song VFX worked on that creature and did such a good job of bringing the movement of the ostrich into the ostrich horse. It’s unbelievable how [they captured] just little nuance motions of how they move around and walk. Also, there was the challenge of how do we make it into a horse and how do we make fur bend into the tail of a horse? Also, they had all of the armor, too. That becomes a big challenge because all of that stuff has to be simulated because there’s movement in the armor.”
Ian Ousley as Sokka leaps over the fur-covered buck for Appa with the help of wires and greenscreen.
Greenscreen props assisted Elizabeth Yu in achieving the acrobatic firebending that Princess Azula showcases in the series.
A classic pose is Aang flying using his staff as a glider which involved Gordon Cormier being shot against greenscreen and suspended by wires.
“Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
—Jabbar Raisani, Executive Producer/Director
On a different plane of existence is the Spirit World, which can be accessed via the Avatar State. “I won’t get into how the original footage was shot because we weren’t there,” Spates states. “That was one area we could get creative and stylized. Normally, Jabbar and I stay away from stylized stuff because we always try to keep it grounded.” It was a tricky balancing act achieving the proper visual aesthetic. “We were trying to come up with something that felt heightened but also photographic, so we were leaning on a lot of photographic elements like chromatic aberrations, treating it as if it was something that was happening with the lens but was also happening with Aang,” Raisani remarks. “Especially in that first scene where he hadn’t been in the Spirit World, and we were trying to make it feel almost out of focus. It’s overwhelming, and he doesn’t know how to process it. We were trying to get that visually into the footage, but also emotionally connected with what Aang is feeling. In terms of the color, Marion worked with our in-house vendor to figure out how we take this forest in Vancouver and make it feel heightened, but don’t break to where it does not feel like a real place at all.”
The stunt work was so extensive for the eight episodes that it was divided between Stunt Supervisors Jeff Avro and Dean Choe.
Clever devices, such as wind hoses that stirred up dirt, were critical in making the landings of Aang look believable.
Gordon Cormier performs alongside a stuffie of Momo.
A signature effect is the Avatar State when the Avatar achieves maximum power. “As far as the Avatar State and the arrow and eyes, that was something we put in a lot of effort into,” Spates reveals. “We figured out with one of our in-house vendors what that would look like. The tricky thing is you’re putting all of this illumination and light on an actual image of a character. It’s easier when it’s all in CG, but we couldn’t make the CG aspect of Aang be so far different than the physical production footage of Aang. We had to figure out how to illuminate his head. We have a little of subdermal that we put around the arrow and his eyes. How much detail between the iris, pupil and sclera? We spent days and hours [figuring that out].”
A partial set build of Agna Qel’a, which is the capital city of the Northern Water Tribe.
A gray proxie for the head of a shirshu is positioned beside Arden Cho, who portrays the professional bounty hunter June.
Nothing would have been possible without the contributions of the other three Production Visual Effects Supervisors: Jared Higgins, Christopher D. Martin and Alex Gitler. as well as the army of vendors. “Scanline VFX did this incredible sequence of Koizilla wreaking havoc on the Fire Nation, and it’s all done through animation combined with simulations,” Raisana states. “Really complex work that is a combination of character, story, performance and technical complexity. It’s a cool sequence.” Spates agrees with his colleague. “Definitely what I want people to see is Koizilla, which is insane,” Spates says. “You talk about simulation — that is a lot of simulations. It gives me chills to my bones every time I see it. The things that we did to it, also in color, to represent what happens in the animated series has turned out fabulous.”
A crane elevates Gordon Cormier as Aang loses control of his Avatar powers upon returning to the Southern Air Temple after witnessing the aftermath of the massacre caused by the Fire Nation.
Getting the cast to interact with the Appa was made easier by the furry gimbal constructed by the special effects team led by Chris Flemington and Mark Gibbard.
Raisani has a personal bias. “Another fun sequence is the Aang-Bumi fight, which is part of the block I directed in Episode 104. I leaned heavily on the animated series and tried to do everything I could to represent that animated series in living, breathing form. For every beat that I could, I would grab the animated series and say, ‘We’re going to do this shot and that shot.’ The crew had a fun time shooting it, and we definitely had a great time in post putting that onscreen.”
Images courtesy of Republic Pictures and Theodor Groeneboom.
The woman (Jodie Comer} and her baby navigate the flooded streets of London with the help of greenscreen. Comer’s compelling performance was one of the anchors of the film.
Mahalia Belo’s remarkable feature directorial debut The End We Start From follows a woman (Jodie Comer) and her newborn child as she embarks on a treacherous journey to find safe refuge after a devastating flood. Based on Megan Hunter’s 2017 novel, The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Theodor Groeneboom served as Visual Effects Supervisor on the film. “A friend of mine in London went to film school with Mahalia,” Groeneboom recounts. “Mahalia reached out to me because of him. I used to live in London and worked in a few of the big studios there doing visual effects. Then, I moved back out to Norway a couple of years ago and started my own little company. We do quite a bit of work for the U.K. visual effects companies and some of the independent UK films as well. It felt like an extension of keeping in touch with everything that was happening there. I was involved from the early stages – the screenplay breakdowns, planning on the shoot and throughout the shoot and post-production, so it has been a long journey. I very much enjoyed it.”
Jodie Comer and Joel Fry in British survival drama The End We Start From.
The post-apocalyptic elements in the film are a backdrop in the story. “It’s not a visual effects film,” Groeneboom acknowledges. “That’s very much true for how the book portrays it as well. Production Designer Laura Ellis Cricks and Mahalia were very much into making sure the film has some kind of texture to it, not just visually but the way the landscape conveys through the film that it’s not just front and center that everything is happening.”
“We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie [Comer] and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate.”
—Theodor Groeneboom, Visual Effects Supervisor
A woman (Jodie Comer) and her newborn child embark on a treacherous journey to find safe refuge after a devastating flood.
Explains Groeneboom, “It’s not so much a coherent film that goes from A to B; it sort of drifts in and out of these moments that you take in when you view the film that go away from the whole. We need to treat visual effects like some kind of story-driven element. They are just sprinkled around to provide texture to what is happening to Jodie and her character, which is quite different from making a big scene and point out of it. It just happens to be what they are going through. There are quite a few scenes where we just put stuff in the background that could tell some kind of environmental thing that something has happened and not draw any attention to it. I guess that’s part of the whole textural side of things; they just want to paint the world but not make it completely obvious. I suppose subdued and textual were words that were frequently used about how to make the visual effects integrate. Suzie Lavelle, the DP, was also a big part of that conversation in driving the lighting and the look of everything.”
The End We Start From is a hauntingly realistic depiction of a dystopian London submerged underwater.
Groeneboom and his team collected lots of material for visual references and relied heavily on the production design ‘bible’ that Production Designer Laura put together. “We were just looking at real photos of flooded areas such as farmland and cities around Europe and all from recent events,” Groeneboom explains. “It’s all based on real references that are quite current. The concepts from Laura were amazing, and it was sort of a bible – its own locations and references from both the recce and the [actual] places. There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
“There’s a bunch of scenes where there are animals trapped in a bit of mud, and you just see those skeletons sticking out. It’s just in the background, and you don’t notice it, but it’s everything that can tell some kind of story. Barbed wires being cut for some of the fences, just whatever environmental storytelling they can think of, we tried to put in the background for some of these shots.”
—Theodor Groeneboom, Visual Effects Supervisor
The biggest challenge for Visual Effects Supervisor Theodor Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. Greenscreen was required to isolate key elements to be added later.
“There were loads of references we were putting into the film,” he continues. “There were references for the textural quality of the rain and how much we should use. Some of it was more on the practical side of things and how to shoot, etc. and elements we want to use. As an overarching production design bible, there was a lot of stuff that came from Laura. A lot of ideas of not strictly stuff they wanted to see in the film, but Mahalia liked the feeling of it. There’s definitely less of the 28 Days Later vibe with the military and trying to keep it a bit more chaotic and grounded in the people around Jodie.”
“[Fleet Street underwater] was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. … I was taking photographs of every single façade, building, element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building.”
—Theodor Groeneboom, Visual Effects Supervisor
Groeneboom took photographs of every single façade and building, element and item that he could find of Fleet Street, then modeled them in 3D for textures and lighting, rebuilding the street from scratch.
Belo and Lavelle had a clear vision in their heads of what they wanted to achieve. “It wasn’t specific, but they were after a certain feeling. I think the production design bible picked all the right pieces,” Groeneboom remarks. “It was Suzie who set the real textural film quality to everything with her cinematography. We did really early development, sketches of trying to make things feel like they are underwater, like a suburban submerged in the city. This was all CG stuff that we were playing with beforehand to see whether or not it was doable with a small team and the amount of resources that we had. These were all based off the same references from the production bible.”
The biggest sequence for Groeneboom involved trying to figure out how to do London underwater, specifically Fleet Street. “Underwater in whatever capacity we could do,” he adds. “I think we got there in the end. It was all approached from the same angle as everything else, that it needs to be grounded in reality, and you shouldn’t really pay attention to the effects of it. You should just take in the image as this is something that’s happened. We rebuilt the whole of Fleet Street. I was dangling off a rental bus, one of the old Routemasters, and I was taking photographs of every single façade and building and element and item that I could find. We later modeled them up in 3D for textures and lighting ornament and rebuilt the street from scratch. There are some obvious liberties taken to make sure that lighting looks as good as it can, so there are gaps in-between the buildings just to put nice eye lights on every other building. Once the light hits a certain angle on Fleet Street, it just becomes completely obscured by the buildings.”
Recreating Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. The VFX team relied heavily on the production design bible put together by Production Designer Laura Ellis Cricks.
Fleet Street proved to be a challenging task as it’s an iconic street in London that people are very familiar with. “There are so many great photo references of it as well,” Groeneboom details. “It was a matter of bouncing between what Mahalia felt was real, or what she would accept being real, and what Suzie thought of the texturing and lighting of the scene and how she would approach it from a practical point of view. Obviously, she can’t light an entire street, but how as a DP would she approach it from a practical point of view? We had lots of discussions trying to figure out the right angle for the sun, but also blocking out certain elements to create interesting patterns on one side and having the other side a bit more muted. The opening shot of that scene was quite challenging as well, just trying to make it feel like London specifically. It was shot on a little greenscreen.”
There were around 120 visual effects shots in total, with 13 or 14 of those being Fleet Street. “The film is quite slow-paced, especially in terms of number of cuts in the film. Every single little detail and item on Fleet Street was modeled up and painstakingly created. There are some hints of hope in this scene as well. For example, there are few people dotted around in the windows. The bus was a challenge as well because the chassis of the bus was not favorable to any particular lighting. If you see the Routemasters buses in the city and take pictures of them, they are just uniformly red. It’s very hard to see any shading on them. Getting some prospective lighting on them proved to be a little bit difficult, so we had to exaggerate the amount of light and shadow that the material actually has. It’s a combination of plastics and metal, so that was a bit of a faffle.”
Groeneboom studied real photos of flooded areas such as farmland and cities around Europe based on current references.
Continues Groeneboom, “[Lighting was also an issue on] quite a few shots where there is flooding on some of the signs, but it’s all CG. We rebuilt a lot of environments and tried to make it all as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background. One of my favorite shots is of a traffic jam. There is a giant boom mic on the windshield of the car, which was a bit of pain to remove. We just extended the whole background with a bit of the M25 in the background, and there are fires and fire trucks and lots of things happening, but you probably don’t see it. In terms of rain enhancements, it was just putting more in. On the day, you can only get rain so far close to certain things before you have to do some augmentation with visual effects because of rain. Working with real effects elements is always a bit unwieldy. We also worked on the little baby bumps as well, which are partially prosthetics and partially visual effects.”
Groeneboom and his team also worked on the little baby bumps, which are partially prosthetics and partially visual effects.
Groeneboom and his team had ample support from every department in pre-production and on set. The riggers and the gaffers were especially helpful in pulling up greenscreens if needed and accommodating for the lighting and tracking markers whenever Groeneboom and his team were able to be on set for supervision. “We were there for the most important days, but they would take our potential work into consideration by just phoning us up and asking if we need tracking markers here, for example,” he adds. “So, in terms of on the shoot, we were quite welcome and an integral part of solving some of these shots. In terms of the post-production side, it was me and my company [Rebel Unit in Bergen, Norway] doing it. SunnyMarch were producing the whole film, and they were our client for the job. We are a small team of 10-11 people. I think we had six people on this at the most. The idea of my company is most of the people working there have worked in larger facilities before, so we are trying to move away from the idea of thinking large pipelines and overcomplicating, or over-engineering things, which we are trying to do as much as we can in off-the-shelf software and just being a bit more nimble about the approach. I’m quite happy with a small team of six people doing the work. There were two of us, including myself, doing the modeling for the Fleet Street elements.”
“We rebuilt a lot of environments and tried to make it as integrated as possible. For instance, the subtly of some of the elements, like dead animals floating. Maybe you don’t pick it up when you watch the film for the first time, but there are quite a few of these images where they are driving and there is stuff in the background. I quite like that because a lot of films I’ve worked on previously have been blockbusters and the effects are front and center, but here they are subdued in the background.”
—Theodor Groeneboom, Visual Effects Supervisor
There were around 120 visual effects shots in total, with more than a dozen of those being Fleet Street.
Groeneboom concludes,“Given the fact we are a small team and what we were able to achieve, I’m quite proud of the work we did. I really enjoyed working with Mahalia. It’s her first film, and I think she’s approached it in such an interesting and inspiring manner. I’m very interested in seeing what she does next. It was also great working with Suzie, as she’s lovely to work with, and working with the production team was one of my favorite parts. Reading good reviews, and the fact that the film has an important backdrop about the state of the world is interesting. From a visual effects point of view, you tend to go with more lackluster ideas of what apocalyptic visions happen to be. I thought this felt more real and important. Also, watching Jodie perform was really cool. She’s absolutely phenomenal.”
A parallelogram was implemented for when Tarak seeks to tame a Bennu, which is a hybrid of a crow, raven and tiger.
As Akira Kurosawa was a major influence on George Lucas’ The Hidden Fortress in particular, Zack Synder was inspired by Seven Samurai for what was initially meant to be a Star Wars pitch that has since been retooled for Netflix as a multiplatform original IP. A feature film was shot that has been divided into two parts with the first being Rebel Moon: Part One – A Child of Fire followed by Rebel Moon: Part Two – The Scargiver. Participating in what Synder has termed a “giant atmospheric space adventure” is Visual Effects Supervisor Marcus Taormina who previously collaborated with the filmmaker known for speed ramping, hyper-real, painterly compositions and lens flares on another Netflix production, Army of the Dead. “What has been nice about working on both movies simultaneously, both shooting them and doing post-production, is that we’re looking at both movies at the same time,” Taormina states. “A lot of what is set up in Part One we use in Part Two.”
Planetary skies were peppered in when needed to give scenes the proper tone.
Nemesis lethally wields two swords which are a combination of molten metal, a streaking light effect and a heat signature.
A flashback of when Kora was a soldier for the Imperium.
Overall, 1,380 visual effects shots were created by Framestore, Luma Pictures, Mammal Studios, Rodeo FX, Scanline VFX and Wētā FX for Rebel Moon: Part One – A Child of Fire, which revolves around an adopted daughter of a despot standing up against him by assembling a gang of notorious renegades to protect a planet that she now calls home. What makes the production somewhat unusual is that Synder doubles as his own cinematographer. “It’s nice to have a director/DP because I only have to go to one side of the set versus splitting time,” Taormina notes. “Days of Heaven was a huge inspiration for this movie, which means organic filming, daylight dependent, lots of lens flares, and we also had a custom one-of-a-kind anamorphic package that Zack created for the film, which in itself was a huge challenge. What was nice was that I could go to him about things that I needed. ‘I love the lens flares, but I need you to do a clean pass as I have to erase that flare and put it back over the work later on.’ He was understanding to that and granted me those opportunities on set.”
A hard job for Framestore was incorporating energy tracers into 300 shots for the Gondival gunfight.
While playing JC-1435 (aka Jimmy) on set, Dustin Ceithamer listened to the voice of Anthony Hopkins to make sure that their two performances were in sync with each other.
Skies set the tone for scenes, and Snyder sent a whole library of them to Taormina. “It would always be, ‘I like this and that reference,’” Taormina explains. “I would pull them together and go, ‘What do you like about this one?’ I would smash them all together. We had a lot of discussions about the gas giant Mara at the beginning of the movie, which is not a sky, but it’s [related] enough that it’s an important part. Zack found a colored look that he liked that was a dirtier orange. Obviously, he had to put the lightbox up there, which was headache in itself because the flare contaminated the lens a lot. There was a lot of compositing needed to put those shots together, but it adds to the believability because when you get this dirty orange wash over Kora [Sofia Boutella] it feels cohesive.” Over 38 worlds had to be conceptualized with the main ones being Veldt, Neu Wodi, Daggus, Castor, Sharaa, Gondival and Motherworld. “It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role. When going to Sharaan we meet King Levitica. It’s moody because it feels like we’re not supposed to be there as the viewers,” Taormina remarks.
To make Neu Wodi more threatening, rocky spires caused by a collision with asteroid were added to the arid terrain.
While Jena Malone is strapped to a rig to limit her movements, stunt performers dressed in green shift the legs of Harmada.
“It starts with our production designers, Stephen Swain and Sefan Dechant; they sent a lot of reference packages our way. Obviously, if there were practical pieces, we would try to infuse those back into our digital worlds. But trying to make them unique yet familiar was a challenge. Atmospherics, the mood and lighting, all of those things were important and played a role.”
—Marcus Taormina, Visual Effects Supervisor
Clean plates were shot at times with the distinct lens flares caused by the custom-made anamorphic lenses added later in post.
For arid Neu Wodi, the ranch was a real location; however, when the creature known as a Bennu takes flight, the entire environment becomes digital. “We talk about how we wanted to get a lot more claustrophobic,” Taormina states. “When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it. Designing that was fun.” The Bennu harkens back to Pegasus. “It’s neither a raven or crow but both at the same time, and a gryphon, too.” Stunt performer Albert Valladares was placed in the middle of a parallelogram with his colleagues holding on to ropes that were attached to his backpack to simulate what it would be like trying to restrain a rearing Bennu. “Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense,” Taormina says. Nair was subsequently captured sitting on a gimbal setup in a parking lot for the aerial sequence. “I said to Zack, ‘I know that we have these anamorphic lenses, which are great. However, let’s do one camera anamorphic and shoot the other three spherically. It will be super sharp, but don’t worry, we’ll add our optics later on to it to make it feel anamorphic.’ We basically reanimated and recomposed all of those shots and scaled them down so that it feels like he’s flying through.”
Stunt performers provide the resistance on set of a person being captured by ecto-shackle, otherwise known as the ‘Beetlejuice Chair.’
“We talk about how we wanted to get a lot more claustrophobic. When we fly through the spires, it feels like they’re closing in on us, and then the Bennu [nicknamed Beatrice] smashes Tarak [Staz Nair] off onto the cliff. We have to make sure that when Tarak jumps that he jumps down into a huge ravine, which feels threatening. We let it open back up towards the end where there’s this majestic scale and beauty to it.”
—Marcus Taormina, Visual Effects Supervisor
The CG went up to the rib cage of Jena Malone to believably integrate her into the body of a spider to create the Daggus-dwelling creature known as Harmada.
Influencing the aesthetic of the cobalt-mining planet Daggus was Blade Runner. “I wanted it to feel dark, dingy and moist,” Taormina states. “A lot of narrative and production design determined that environment as we had a lot of built pieces to the set.” Dwelling in the basement level is a native spider/humanoid hybrid called Harmada (Jena Malone) which abducts a child and in doing so comes into conflict with Nemesis (Bae Donna). “The stuntvis or previs was a combination of digital shots and stunts in motion capture suits. Because that space was so small, stunts had to be careful about the movements. Jena Malone is on this huge swivel rig, which is best described as a cart that she is strapped to because we didn’t want her body moving too much, as we needed to see her just below the navel or bust to make it cohesive. We had three to five stunt performers swiveling the rig while having it going up and down to the performances. They also have noodles that are interacting with Donna. It was a harmonious integration of everything together because we didn’t want to replace Jena as her performance was too great.” Nemesis wields two swords that avoid being replicas of lightsabers. “When I had that initial conversation with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
Tony Amendola gets transformed into King Levitica.
“Every take I was like, ‘Zack, hang on. I’ve got to give a note.’ I’m giving notes to special effects and creature stunt performers while Zack is giving notes to Staz Nair. On occasion I would say, ‘Staz, just imagine that at this moment that you’re going to get ripped apart, and now you have a subtle moment where you get to interact with him. Live in that moment. And also let Albert do some of the performances and lead you, in a sense.”
—Marcus Taormina, Visual Effects Supervisor
The three massive explosions that occur during battle on Gondival were entirely CG.
Anthony Hopkins voices a robot called JC-1435, also referred to as ‘Jimmy,’ that decides to participate in the rebellion against the oppressive Imperium led by Kora. “I asked Zack if we could video record and do a ADR scratch session with Anthony Hopkins,” Taormina reveals. “If you don’t have your performer listening to the way that Anthony delivers the lines then there may be a mismatch, and when you put them all together in the end, your brain is going ‘something is wrong or odd here.’ The inflections and body movements are not right. We made the Jimmy suit for Dustin Ceithamer that had chest plates in the front and back, shoulder pads, a face plate and some hands, but the hands had to be replaced digitally. When we got into post, Dustin’s performance and Zack’s direction were so great and minimal that it was less robotic and more human. I actually mandated that when we could, which is about 90% of the shots, to keep the practical chest and face plates, which is a lot more difficult to do because it was so beautiful in the way Zack captured them in the available light.”
Augmenting natural elements like mountain ranges and waterfalls helped to make the Southern California location for Veldt unrecognizable.
“When I had that initial conversation [about the swords of Nemesis and avoiding the lightsabers of Star Wars] with Zack. all we knew is that we were going to have acrylic rods with LEDs in them that had a warmer amber color. I had this light painting of streaking sparklers. I was like, ‘That’s cool. I think that we can do that almost like a synthetic shutter or delayed shutter on the swords, add a heat signature and smoke and then add what we call ‘sword popcorn’ as well. It’s those sparks that came off of it.”
—Marcus Taormina, Visual Effects Supervisor
The Bennu gimbal was shot in parking lot while the aerial environment was fully digital.
Another interesting approach was for the restraining devices that have a mechanical base resemble a crab. Explains Taormina, “Those are called ecto-shackles in the script, but we named them ‘Beetlejuice Chairs.’ We have stunt performers grabbing the cast when they get thrown back, and then we swap out and put the practical prop in there. Like for Gondival or in Providence when the gentleman gets captured, we do the stunt followed by the digital version of it and then swap it out, and we had special effects create this RC-controlled base of the ecto-shackle. We put him on that with only the spine and added all of the digital pieces of it walking. Again, with your brain you’re trying to do the trickery of ‘what’s real and not.’ That’s a great example of stunts, props and special effects doing a fantastic job. We get the plates and go, ‘Let’s make this look cool.’”
Michael Fassbender portrays an assassin simply known as The Killer in the latest feature film collaboration between David Fincher and Netflix.
Producer and long-time David Fincher collaborator Peter Mavromates extend their partnership in the The Killer where an assassin seeks revenge after a botched assignment. The Netflix feature consists of 900 digitally-augmented shots that range from shortening the tail of a dog to CG airplanes, tasked to a vendor list that includes Ollin VFX, Artemple-Hollywood, Savage VFX and Wylie Co. as well as an in-house team. “Visual Effects Compositor Christopher Doulgeris and I will go into the color bay with [Colorist] Eric Weidt and talk about some issue that we had,” Mavromates explains. “Even sometimes if it’s an outside vendor, we’ll focus to help problem-solve. It’s this wonderful and fluid atmosphere, and it works for David Fincher because he’s always got ideas flowing. He doesn’t want to be on a clock at a facility where you’ve got from 2 p.m. to 5 p.m. and then it’s overtime. There’s none of that. David will walk the halls and stop in on people to check on stuff.”
Each setting was given a different color palette with the most vibrant being the Dominican Republic.
The Parisian apartment window shots were captured onstage in New Orleans and inserted into a digital recreation of the actual building by Artemple-Hollywood.
“The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute! David calls me in and says, ‘We’ve got to get this tail down to two inches.’ … Ollin VFX in Mexico doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!”
—Peter Mavromates, Producer
A vintage glass effect had to be created by Artemple-Hollywood for the Parisian apartment footage shot in New Orleans.
Savage was responsible for the gunshot enhancements.
An unusual visual effects situation arose when a guard dog pursues The Killer, played by Michael Fassbender, after its owner has been murdered. “The dog gives a vicious performance but had a tail that is probably about 12 or 14 inches long, which drove David crazy because when it wagged, he looked too cute!” Mavromates laughs. “David calls me in and says, ‘We’ve got to get this tail down to two inches.’ This is a night scene, so in terms of the type of work that you have to do on manipulating an image, it was tough footage. We had 37 shots, and for that we worked with Ollin VFX in Mexico, and they doctored the tail. When you look at the movie and see that tail, there is another 10 inches or so that you’re not seeing anymore!” What has become more common is the reframing of shots in the DI. “That is something David discovered while we were still shooting on film for Panic Room,” Mavromates remarks. “Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
The stage shoot combined with an exterior matte painting.
The attention to detail was so fine that the shadow of the red cross inside of the scope moves along with the rifle.
[The reframing of shots in DI] is something David discovered while we were still shooting on film for Panic Room. Once you had all of that film scanned and you’re in the DI suite, there is an opportunity to improve on the headroom. You couldn’t move it right or left that much because of the way it was shot on the negative, but you have a lot of north and south. We did about 100 shots then, and that number has continued to go up where it’s more than 50% of the shots in recent movies where the framing is adjusted.”
—Peter Mavromates, Producer
Because of the desire to control the reflections and fractions of the helmet visor, Wylie Co. created a digital double of both Michael Fassbender and his scooter.
A landscaping matte painting was executed by Ollin VFX.
Considering that the entire first reel of the movie has the protagonist surveying the building across the street in Paris, one would have thought that Rear Window would have been an influence. “It’s astonishing how little we talked about that movie,” Mavromates notes. “The movie that David referenced and has nothing to do with the look of it is Le Samourai in terms of the tone and what the character is.” The daytime building in Paris actually exists and has been featured in Emily in Paris. “The initial shooting was in Paris and was in that square,” Mayromates explains. “We had eight cameras rolling so that David could capture the images of the people walking in the square and the façade of the building in the daytime. You could capture them simultaneously with different lens lengths so that the action matches perfectly because it’s literally the same take. Later, in New Orleans, they shot the individual window settings all laid out on a stage for the night scenes. Based on the daytime footage of that building and some nighttime plates, Artemple built an element where they put those windows in that were shot in New Orleans, then added tinted glass on the foreground.”
Bloodstains were added later in post-production.
CG traffic was created by Ollin VFX for the scenes in the Dominican Republic.
“Special effects put a wick in the bottle [of the Molotov cocktail that Fassbender throws] that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
—Peter Mavromates, Producer
All of the planes were fully CG.
A lot of work went into recoloring and creating taxi logos and numbers by Ollin VFX.
A digital double was created for the scooter escape of The Killer through the streets of Paris after the botched assignment. “The scooter and Michael Fassbender are all CG,” Mavromates reveals. “They did shoot Michael Fassbender on a scooter. That was in our early edits. Then Wylie Co. came in and slowly replaced everything. The background is a photographic plate behind the digital character and scooter in the foreground. If you were doing that all from scratch, that’s a big ask. At least when you have those plates, a lot of lighting decisions are made inherently.”
LED lights were placed in a bottle that was thrown by Michael Fassbender and later turned into a Molotov cocktail by Ollin VFX.
“There might be a few Fitbits that are actually photographic. I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’”
—Peter Mavromates, Producer
An unexpected visual effect was having to shorten the tail by 10 inches to avoid undermining the vicious performance of the dog.
Even the Fitbit that Fassbender wears got a facelift. “There might be a few Fitbits that are actually photographic,” Mavromates observes. “I doubt it, because we created an interface in post for it. The interface that you see is not one that is exactly right for a commercial product as with the little music player that he has. Somebody asked me, ‘What is that MP3 player? Is that the Microsoft one? What is that?’ I answered, ‘No, that is the Fincher pod.’” The Molotov cocktail that Fassbender throws was also digitally augmented. “Special effects put a wick in the bottle that had these LED lights, which were golden, and Ollin VFX went in and put the flame over that. What was astonishing is Fassbender threw the bottle that far and it landed a little bit to the left of the door. I couldn’t do that, for sure!”
An effort was made to heighten the fear by bringing Godzilla closer to the characters.
Not since Neill Blomkamp released District 9 in 2009 has an international production received receive Academy Award and VES Award nominations for its visual effects work. But Takashi Yamazaki has repeated the feat by stomping through the box office beyond Japan along with an iconic kaiju that has been cinematic staple since 1954. Godzilla Minus One revolves around a World War II kamikaze pilot suffering from survivor’s guilt having a re-encounter with the title character, which has gone through further mutation because of American nuclear tests at Bikini Atoll.
It was always important to convey the proper scale, which meant at times only showing parts of Godzilla in the frame.
“In the current digital era, we tried to use technology that could only be used digitally. We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG.”
Visual and special effects have dramatically evolved like the creatures in the Godzilla franchise. “In the current digital era, we tried to use technology that could only be used digitally,” notes Yamazaki, who was previously responsible for the live-action adaption of Parasyte. “We have a lot of close-up shots of Godzilla to instill fear in the audience because it’s quite rare in Godzilla films for Godzilla to appear in the same scenes as people. We made it possible because of the high level of detail we included in the CG. On the story side, 1954 Godzilla does a great job balancing the human drama with the Godzilla scenes; therefore, we were mindful in trying to have strong story and character development, and to make sure that it’s woven together with what Godzilla is doing on screen.”
The art department created a period-appropriate street surface, sidewalks and storefronts in a parking lot.
Along with being the director, Yamazaki was the Visual Effects Supervisor on the project. “Let me add screenwriter to that as well! Being all three had its benefits, although having said that, when I went to shoot on location, I wanted to ask the writer why he wrote in that specific scene because it was so difficult to shoot! When we went into post, I wanted to ask the director why did he shot the scene in that particular way because it made the visual effects that much more challenging! But of course, I only have myself to blame for all of it!” The different roles had an influence on each other. “Normally, when I write a screenplay, I have to pay some consideration to the visual effects team. Can they achieve this scene? However, in this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
Atmospherics were a big part in creating the proper mood for shots.
Godzilla was treated as both a god and monster, which had to be reflected in the movements and physique.
“[I]n this instance I decided to trust my future self for the sake of efficiency. In post-production, because the director was the one and same as the visual effects supervisor, it allowed for more trial and error in the same amount of time. We were able to avoid any miscommunication or difference in creative direction when it came time for approvals.”
“We watched various Godzilla movies again and learned what makes everyone think, ‘This is Godzilla,’” Yamazaki explains. “We analyzed a great deal of photos and videos for historical background. The assistant director’s team collected a variety of background materials, and I remember being terrified that we could no longer use existing materials. Once we had a clear picture of what was going on at the time, we couldn’t just fudge it.” Storyboards drove the design process. “I drew everything that involved visual effects. It was a huge amount of work. The assistant director [Kôhei Adachi] and Kiyoko Shibuya [Visual Effects Supervisor at Shirogumi, which was the sole vendor] were very impatient with me! Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for. If something is closely related to the shooting, I made it before the shooting starts. However, if it was necessary to include it in the editing, after the shooting is over [for example, a full CG shot], I made postvis in the same way to set the rhythm of the editing.”
A lot of time and effort were spent developing the walk of Godzilla.
The dorsal fin was made more acute and the legs thicker to emphasize the ferocious nature of Godzilla.
The camera circling around Godzilla while its holding and crushing the heavy cruiser Takao was an extremely complex undertaking. On land, trains got the same treatment, though no water was involved.
The overall silhouette of the creature is based on the previous Godzilla suits. “The dorsal fin is more acute and the legs are thicker to give a more ferocious impression,” Yamazaki remarks. “We tried to heighten the fear by making Godzilla closer to the characters, so we included many fine details to allow the camera to get closer to the characters.” No motion capture was utilized in the animation of Godzilla. “However, to help define Godzilla’s look, the animator and I spent a lot of time testing Godzilla’s walk. In Shin Godzilla, Godzilla’s posture feels very straight and uptight. In Hollywood, Legendary’s Godzilla feels more aggressive, like an animal ready to pounce. But we wanted something different from both of those. In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design,” Yamazaki states.
“Basically, there was no such thing as concept art. Based on the storyboards, I set up the scenes and created previsualization with some staff members using simple CGI. From that point on, I sat next to the CG artists and gave them direct instructions if they were not going in the direction I was aiming for.”
Breaking the down the destruction that Godzilla causes in the Tokyo shopping district of Ginza.
As for the world-building, it was important to transport audiences back to 1947. “We collected a large number of photos and videos from that time and were conscious of recreating the atmosphere of that period,” Yamazaki explains. “We could not use any existing open sets, and we did not have the budget to construct new buildings, so we created a composite of a digital building on a simple road set. It was difficult to make the two fit together.” The visual effects shot count is misleading. “Although there were 610 cuts, screentime amounted to two thirds of the entire film. Production time was roughly eight months after the shoot was over and in full swing. Although several people were involved in modeling and scene design before the shoot.”
“In Japan, Godzilla represents both God and Monster, so we wanted its movement to feel almost divine or God-like. We adjusted the height of its waist, how it moves and its posture many times before arriving at its current design.”
The first ocean battle was the most complex scene to execute. “We wanted to shoot this on location at sea because I felt it gave the picture this cool documentary style,” Yamazaki reveals. “What I didn’t expect is that everyone got seasick, and the weather was quite unstable, which made filming difficult. Once we took the footage back to the office, the natural waves that we captured were both beautiful and complex, which made it difficult making a giant creature swim through it creating its own waves. With that said, filming on one location and overcoming this challenge unified the team, and that natural imagery we were able to capture made the shot more powerful and convincing. Would I write an ocean scene into my next screenplay? That’s debatable!”
Compositing explosion and environmental elements together to create the final shot.
Simulating the ocean was hard because of the amount of data and work to make it appear believable. “A young staff member showed us a simulation of the ocean that he had made as a hobby using his home-made computer,” Yamazaki recalls. “It was so good that we rewrote part of the scenario and increased the number of ocean scenes considerably. However, in the latter half of the work, I regretted why I did that. We didn’t have a server with plenty of data to store it, so we had to make do by deleting cuts as they became available. I was astonished when I was told that the total amount of data exceeded one peta!” A personal favorite is Godzilla emitting a heat ray and destroying the entire Ginza area. Yamazaki comments, “Including the gimmick of the dorsal fin and the depiction of the area after it is destroyed, I believe I was able to create a heat ray that is more powerful and more horrific than ever before; that is a proper metaphor for the atomic bombing.”
Images courtesy of Apple+ and Legendary Entertainment.
Cinematographer Jess Hall decided to go with anamorphic lenses because they compress perspective thereby bringing the creatures even closer to the viewer.
The AppleTV+ series Monarch: Legacy of Monsters provides the backstory for the mysterious organization formed upon the discovery of kaiju through a family drama where two half-siblings learn of each other’s existence and their father’s connection to Monarch. The MonsterVerse production created by Chris Black and Matt Fraction on behalf of Legendary Entertainment, Toho Company and Warner Bros. Entertainment consists of 10 episodes that required Visual Effects Supervisor Sean Konrad to craft over 3,000 shots with the help of Rising Sun Pictures, Rodeo FX, Framestore, FuseFX, Outpost VFX, Crafty Apes, Wētā FX, MPC, Storm Studios, Vitality VFX, BOT VFX, Mr. Wolf, Scarab Digital, The Third Floor, Proof, MPC Visualization and an in-house team.
MPC, Rodeo FX, Rising Sun Pictures and Wētā FX worked on Godzilla, which appears in two different forms over the course of the series.
The Frost Vark is a cross between a giant star-nosed mole and pangolin, and has the ability to suck the heat out of objects.
Integrated into the narrative are previous MonsterVerse installments that appeared on the big screen. “What’s interesting about the show is the scene in the beginning of Episode 101 has this Kong: Skull Island [2017] classic adventure movie tone that is a bit off-the-wall crazy and every second has a new amplification of stakes through the action,” Konrad notes. “Then you get back to Kate Randa’s [Anna Sawai] perspective later on in the episode, and you’re going to Godzilla [2014] and you’re having that serious tone of this is a city being destroyed. You need to communicate those ideas visually in a way to people that is meaningful and serious. Then you have the final creature scene in the episode, which is a bunch of new monsters coming out of the ground and attacking our protagonist. Each one of them has a different tone.” Do not expect shots from the kaiju point of view. “A lot of the series is constructed around a subjective point of view of our characters experiencing the action from their perspective and reinforcing that with the visual effects design. A lot of times we knew the kind of creature we wanted and the terrain was immaterial to what the creature was doing, but it did influence how and where we shot it,” Konrad says.
The Endoswarm nest is lighted by the hole in the ceiling of the reactor.
Adding to the mystery of the Ion Dragon is it being an aquatic creature with wings living in the middle of a jungle.
The Frost Vark is one of the new additions to the MonsterVerse.
Taking advantage of the physical location rather than rely heavily on bluescreen was the mandate. “We went to a bunch of locations in Hawaii for Episode, 101 and one of them was Lānaʻi Lookout [on O’ahu],” Konrad recalls. “It is this beautiful volcanic rock cone that points out into the ocean. If you’re running away from a monster that’s a great place to be heading towards. We looked at the terrain and the action we wanted to plan. There is a big bamboo forest in the corner of this landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs. Simultaneously, I was doing the concept for the crab itself. All of that happened within a five-week period where we concepted, re-prevised and re-storyboarded the whole thing. It’s so much better than trying to shoot that into a bluescreen. It’s a hard process and definitely time-consuming. People did some brilliant work to get that done. We wanted the characters to feel in the action.”
The lighting was naturalistic for the contemporary scenes in Tokyo.
The Mother Longlegs makes a reappearance in what feels like a cut scene from Kong: Skull Island.
The design of the Mantleclaw was inspired by the volcanic environment where the scene takes place.
“There is a big bamboo forest in the corner of this [volcanic Hawaiian] landscape, and we let that take you through Bill Randa [John Goodman] being chased by the Mother Longlegs spider from Kong: Skull Island to a single point on that landmass, and this giant crab, which is made from the same volcanic rock, comes out of the ground. It was difficult because we prevised the scene based on some storyboards before scouting it, which is always a dangerous thing. We didn’t have a crab designed, so we grabbed The Third Floor graphic crab out of their archive and animated that for the previs.”
—Sean Konrad, Visual Effects Supervisor
A pivotal location is the nuclear reactor that experiences a meltdown, which has become as portal where monsters can enter Earth.
Television production happens at a quicker pace than movies. “When you’ve got one movie, you have over six months to do an hour and a half episode as supposed to 30 days to shoot a movie,” sates Special Effects Supervisor Paul Benjamin. “The setups have to be doable to make it into TV land. We had a bit of prep time for the first two episodes. It helps if the directors are on beforehand to know if you have some bigger builds. However, it’s always hard to get the directors before the episode starts.” Some visual research was done regarding the MonsterVerse. “I took a quick view of what they’ve been up to and been doing. When you watch the movies, sometimes it’s hard to figure out how they did everything, or how you block it out and film it. You get a general sense of what you’re up against or what they’re going to be looking for. But as far as pulling builds from watching the movies, it’s quite difficult,” Benjamin adds. Atmospherics were not a significant part of the visual language. “We did a couple of episodes of heavy smoke when they went to the Lost Lands to give a different look to the environment. We definitely did some snow but didn’t do a lot of exterior snow dressing, except for the base camp.” The weather was not always agreeable. “We did a snow dress and had a heavy rain that night, but luckily it held up and we didn’t plug any drains. We had somebody there watching just in case all of our paper snow came down and plugged one of the drains,” Benjamin remarks.
Originally, the Endoswarm was suppose to resemble a millipede, but the decision was made to make it appear more alien.
“We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking. The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.”
—Paul Benjamin, Special Effects Supervisor
Keiko getting attacked by the Endoswarm is made more horrific by them piling onto each other to cause her to fall.
Airbag decks were favored over hydraulic gimbals, such as when the school bus is tipping over the severely damaged Golden Gate Bridge. “We did one shaky gimbal set and that was for the hallway scene in the USSR when the ship was shaking,” Benjamin explains. “The monster comes in there and starts bashing around. We built that whole big deck on a floor and made it flip back and forth and tilted it up to whatever angle we wanted. We had big shaker motors on it and rocked it back and forth this way and tilted it that way. We shook that one pretty good.” It was not all about shaking things. “For the last few episodes we did a vortex, so we had a lot of big wind machines and ratcheting things and pulling things into the vortex. I want to see that portion of it. For the vortex in Alaska, we were shaking the trucks and equipment. But when the creature was chasing them, we didn’t do any explosions for that. The only thing that we did was blast air cannons to have some snow flying around. We did some pyro for the seismic charges that were set off at the power plant. Then we had Kurt Russell running through the lightning field. We had a bunch of mortars going off around them at that point, too.” After being in special effects for 23 years, Benjamin learned a particular lesson. “A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.” The practical elements are critical in making the stunts and visual effects believable. “We’re trying to do anything to help give the set some life so that the actors can get into it a bit more. You don’t have to fully act when you have the set moving around.”
A Fletcher Class Destroyer is found inland.
“A lot of times, I find that the smaller gags are trickier than the bigger ones, like the dripping goo coming down from the ship. Something like that can be a lot of work, and testing to the desired look that everyone wants for that is sometimes more work than flipping a car over.”
—Paul Benjamin, Special Effects Supervisor
One of the challenging special effects to get right was the goo that belongs to the Ion Dragon.
Collaboration is pivotal to the success of any project. “Ultimately, my attitude is that visual effects are a big part of the show,” states Jess Hall, Cinematographer, Episodes 101 and 102. “The CG has to be integrated into the photography, so I take it as my responsibility that those things have to work together. That means being collaborative and also organized about how you light; for example, on greenscreen matching lighting and doing the work in advance in terms previs and storyboards. But, ultimately, I treat it as a collaboration for which I bare a lot of responsibility for the end result. It’s not like I’m going to shoot someone on a greenscreen, hand it over to visual effects and let them do their thing; that’s not going to produce a good result.” A different color palette was adopted for the series. “We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones, but the lighting was always naturalistic. The composition was reasonably consistent. The lenses I would shoot the faces on were a similar composition. You’re building this thread of visual language that is bulletproof in a way. You can apply these period looks or more action-sequence elements in there, but it doesn’t feel out of place. That was the challenge of the show, and a lot of thinking around design for me was about bringing them together enough, but having them different enough because you also had to understand these timelines. It was important that Skull Island did look different from the 1950s content, otherwise I don’t think you understand where you were.”
The wings of the Ion Dragon had to increased to get a flying cycle that looked believable.
“We scaled back a little bit on the gaudier and pulp elements of some of the movies. We tried to bring it more into the dramatic cinematic space. Even if you look at our version of Skull Island. my reference for that was more Apocalypse Now. It was the golden warm light but naturalistic approach. Then we go to Tokyo and you have these cool tones. but the lighting was always naturalistic.”
—Jess Hall, Cinematographer
A prevailing challenge for visual effects was conveying the proper size and scale of the creatures.
Hall partnered with filmmaker Matt Shakman on Episodes 101 and 102. “Matt is a dramatist and a real actor’s director,” Hall describes. “Having to try to pretend that things are moving around you, and you’re on a bluescreen and saying, ‘Okay, the crowd is coming from the right.’ Or, ‘Now turn to look at the crowd 300 feet away.’ ‘Follow the tennis ball.’ We’ve all seen how that can be quite tough for actors and performers. Matt is always looking to put the actors in the position where they’re comfortable and can give the best performance, but also feel the scene. We went to practical photography. There were a lot of visual effects but a lot of photography on location, and a lot of in-camera stunt action and real effects work that went on in all of these scenes that added to the sense of realism, which is what we wanted.” Atmospherics like smoke were never utilized without intention. “You have to be careful about how much you put in because quickly you lose the contrast of the shot. It’s something that you rely on special effects to operate. Ultimately, I’m the one who has to say, ‘Turn the smoke on or off.’ The whole show had this low-level haze. I was going for a softer, more dramatic look with a bit of texture in there and in the shadows.” The legacy of what has come before loomed large over the production. Hall observes. “You’ve got this huge IP and franchise and so many different elements to it. How do you take that, respect that and do that justice, but also do something that is distinct and appropriate for the show that you’re making and is your own work. Threading that needle was hard.”
France’s heritage of abandoned buildings provided vacant hospitals, schools and churches for zombies to be found. (Photos: Emmanuel Guimier. Courtesy of AMC)
Following the events of the final season of The Walking Dead, Daryl Dixon washes ashore in France and must undertake a perilous journey in order to find a way home in the series The Walking Dead: Daryl Dixon. Jao M’Changama served as Overall Visual Effects Supervisor on the show, with Sébastien Voisin and Justine Paynat-Sautivet working as VFX producers. “Excuse My French is the French supervision company that hired me for the show. The show’s French line producers, Raphael Benoliel and Augustin de Belloy, found the Excuse My French team, and AMC hired them. It was unreal for me at the beginning. having the Walking Dead come to Paris and getting the chance to be the Visual Effects Supervisor – and getting to destroy Paris. I was finishing a day on a cute CGI commercial spot with friends, and we were aiming to go to a bar when I got the call. That was surprising because we weren’t expecting this big of a show to come over to France, and being selected to work on it was like a dream come true,” M’Changama says.
When it came to the initial conversations about the look of the show, M’Changama and his team set up a Zoom call with creator and showrunner David Zabel and the AMC team. “They were asking not how I see the show but questioning me about my strengths and what I like and how I feel about zombies,” M’Changama adds. “I explained that I come from advertising. I’ve been supervising advertisements for 10 years for both big and small campaigns. They were very pleased to know that I worked in various worlds and with different types of narratives, including the Ubisoft live campaigns, exploring sci fi- gladiators and war action styles. It meant that I can easily change worlds, which is one of my strengths. It was really cool to be only focused on the Walking Dead world and to transfer the 15 years of Walking Dead that I’ve been watching to France and know that I have a huge part to play in that role. I wanted to create trust with AMC, and I know it’s the first time they’ve worked in France, so that was mainly the first exchange. Then, the week after there were some tech recces in the south of France. David [Zabel] was there as well as the director, Dan Percival, and Executive Producer Greg Nicotero, father of the Dead. It was great to switch between the U.S. TV show and being part of it [in France] in the best way we could.”
France doesn’t have the same variety of weapons as the U.S., and they tend to be historically older, so the VFX team designed weapons that weren’t too old school for The Walking Dead universe. (Photo: Emmanuel Guimier. Courtesy of AMC)
In terms of visual references, M’Changama looked at France’s urbex (urban exploration) culture to define the apocalypse in France. “There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures,” he notes. “The government won’t clean them, so they just stay there until something happens to them. One of my goals was to chase a lot of those urban exploration references. There are tons of Youtubers and photographers that goes everywhere, so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen. We have this huge heritage In France. That was one of my first directions.”
Visual Effects Supervisor Jao M’Changama looked at France’s urbex (urban exploration) culture to locate and define the apocalypse in France. (Photo: Emmanuel Guimier. Courtesy of AMC)
“There are still a lot of abandoned buildings left here in France, which we can’t destroy because they’re national treasures. The government won’t clean them, and so they just stay there until something happens to them. One of my goals was to chase those urban exploration references. … so I look for those dead hospitals, dead schools and dead churches. It gave us visual satisfaction because a lot of those places haven’t been touched and are still there waiting to be seen.”
M’Changama paid close attention to weaponry as it’s such a large part of the Walking Dead universe. “France doesn’t have the same variety of weapons as the U.S., so this was an important part of our research,” he details. “For the visual effects, we shot specific plates because we have a heritage with older weapons on France. We wanted to design something that wasn’t too old school and fit into the Walking Dead universe. It was the same thing for Norman’s [Norman Reedus portrays Daryl Dixon] mace. He’d already used a mace in Season 10. In France it’s smaller, so we needed to put the green tape on the mace and ask Norman to do it a bit slower to make it seem heavier. We couldn’t slow down the movement with VFX. We needed to adapt a bit.”
The boat scene was initially located only at sea, but the script was changed just before shooting to make part of the scene happen in a harbor – which changed the way the show was filmed. (Photos: Stephanie Branchu. Courtesy of AMC Networks)
M’Changama worked closely with Series Production Designer Clovis Weil. “We went to the same school and hadn’t seen each other for about 15 years. At the first meeting about the set decoration, we remembered when we were in school and how we built a frame and a picture, which was something learned at school,” M’Changama explains. “It was great to work with Clovis as a friend and very talented individual. His team was working on the show around three months before I arrived, so they’d already been thinking about the show. It was a real collaboration between the set design and the VFX department.”
Norman Reedus (Daryl Dixon) used a mace in Season 10 of The Walking Dead, but in France the mace was smaller. Green tape was placed on the mace so VFX could enlarge it in post to match. Reedus also had to wield the mace slower to make it seem heavier. (Photo: Emmanuel Guimier)
“David has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX and instructed these departments on how to do that best. It was a very smart move,” M’Changama adds. “Expectations were high. We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
“[Creator/showrunner David Zabel] has a great knowledge of France culture, but when it came to destroying it, he put a lot of trust in set decoration and VFX. … We wanted to get out of the Emily in Paris perfect world and show how we, the French, see the apocalypse. It was all about telling little stories in the background that helped us build the world around the main characters.”
There were 740 VFX shots in total, and over 400 artists worked on the show. “We managed the workload with confidence,” M’Changama says. “It wasn’t an issue, but we knew that we weren’t the usual Walking Dead team. We had to show everyone that we could bring something new to the show. Sébastien, like me, has a solid background in advertising. On the other end, Justine had one in feature films. We are used to holding a huge workflow and doing a lot of work in a small amount of time. We knew that working in that way was achievable because we had the team needed to do the job. What is specific to our way of working is that we prioritize everything. Every single frame is important and every shot is important. ‘Scope’ and ‘details’ were the words from David with all the teams. We just wanted to build a consistent and imaginative show. We want the first episode to be as good as the last episode and all the fights done with the same love and care.”
Creator/showrunner David Zabel, Executive Producer Greg Nicotero, director Dan Percival and Overall Visual Effects Supervisor Jao M’Changama scouted potential shooting locations in France, including Mont-Saint-Michel and its bay in Brittany. (Photo: Emmanuel Guimier)
M’Changama worked with five top Paris studios: BUF, MPC, Mathematic Light and Mac Guff. “Paris is a fairly small city, so we knew each other and each other’s work. I worked at MPC for 10 years before, so I knew that MPC had solid strength in environmental work and digital matte painting. So, for the deconstruction of the city, we just wanted them to work on it very closely. We exchanged lots of concept art. BUF just made Eiffel, so we knew that they had all the assets of the iron lady. We knew it would be fun for the team to destroy what they’d built. We also knew that Mathematic had a solid comp and craft vision that is very elaborate, and they are fast at adapting a lot of simulation techniques and lighting. We felt that they were the best guys to work on the zombies. The French zombies needed a lot of love and ingenuity. Greg Nicotero brought some incredible concepts of new species appearing in the Walking Dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood, and more details not to be spoiled here. One of the supervisors with Light is also a flame artist – like me, and we knew they could craft technical shots, including 2D and CGI, very quickly. This process allows us to quickly share the steps with David Zabel and the AMC team. Mac Guff is a studio known for their generalists who can adapt to reconstructing towns to matte painting. They handled several shots successfully. So, by knowing our studios’ strengths, we managed the shot dispatch with accuracy, and this also helped us to build trust with David and AMC.”
Mathematic Light handled work on the zombies. The VFX team wanted to get away from the “Emily in Paris perfect world” image of France and show a contemporary French view the apocalypse. (Photo: Emmanuel Guimier)
“The French zombies needed a lot of love and ingenuity. [Executive Producer] Greg Nicotero brought some incredible concepts of new species appearing in the walking dead universe. I think the VFX team succeeded in bringing a gorgeous update to zombies: Pulsating veins, burning blood and more…”
When it came to filming the streets of Paris, the Eiffel Tower was, of course, the main event, but for M’Changama and his team, every street was important. “The most challenging locations for us involved the locations with bluescreens because we faced last-minute changes on the script,” M’Changama remarks. “For the bluescreens scenes, there was the rooftop camp, the cargo ship and the Eiffel Tower. The screenplay wasn’t completely finished as we were going to shoot. The good ideas from the showrunner and the director came in very late in the process, and as they were amazing ideas, we needed to adapt our initial plans. For example, the location of the boat was initially only in the sea and finally a part of it happens in a harbor, What could we do regarding the visual effects in the harbor? It changed the way we would film. It was challenging because we changed our vision to the good ideas that sometimes came 10 minutes before shooting. The on-set VFX team provided a large panel of solutions, not only on bluescreen but all along the road trip we made in France. Then, when we were in the VFX post-production process, we were honestly excited and impatient to share our vision with David and all the team.”
Zombie blood and how the zombies are killed – specifically, the exploding head in the arena towards the end of the series – was one of the most creative aspects of the show for M’Changama and his VFX team. (Photo: Emmanuel Guimier)
One of the biggest challenges for M’Changama was matching their work with the rest of the Walking Dead universe. “We had a vision of how the zombies work, but we are not doing another show about zombies, we are bringing the Walking Dead to France. We can bring something new to it, but we need it to match what already exists and we need it to be accurate. The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. The lights were changing, and it was becoming dark, and the blood was very specific. We needed to make those little details match. That one single shot was very fun to do, and we did a great job. It wasn’t too digital or too gory, but it was 100% CGI.”
“The zombie blood and how we will kill the zombies has been one of the most creative aspects for us. Specifically, the exploding head in the arena towards the end of the series. Greg Nicotero brought in several SFX components to make the pumping zombie skin and other makeup FX magic. But one of the biggest challenges was shooting in a national treasure area where we were not allowed to put blood on the walls and the ground. … It wasn’t too digital or too gory, but it was 100% CGI.”
Clémence Poséy as Isabelle in Paris. BUF made the Eiffel Tower and all associated assets – and enjoyed destroying what they built. (Photo: Emmanuel Guimier)
M’Changama and his team also faced issues with anachronism. For one of the flashback sequences, Notre Dame’s spire, which was destroyed in the recent fire, had to be recreated. For M’Changama, working on these fine details was an important part of the process “I’m happy that Hollywood trusted France’s VFX ecosystem. I think we did a great job, and I’m proud of what we’ve achieved. We’re eager for the next challenge!”
Many different iterations were attempted for the reveal of the Heroes of the Horn before settling upon what appeared in the show.
Essential for any successful digital augmentation is having a member of the visual effects team present during the live-action shooting to ensure that are the required elements, whether it be plate photography or LiDAR scans of sets, are acquired and provided to vendors, thereby establishing a solid foundation for the work to be done in post-production. In the case of the second season of The Wheel of Time, the on-set visual effects supervision was equally divided between Roni Rodrigues and Mike Stillwell.
It was always important to have practical plate photography to build from when creating CG environments.
“When living away, you start immersing yourself in the project 24/7,” explains Roni Rodrigues, On-Set VFX Supervisor. “I did block one which was Episodes 201 and 202 and then straightaway did block two which was Episodes 203 and 204. Then Mike Stillwell did blocks three and four. When shooting block one, you will do some scenes from Episodes 201 and 202 together because we’re revisiting a lot of those locations. For block one, we had Thomas Napper as the director and for block two Sanaa Hamri as the director, so the team changed as well, including the DP and 1st AD.”
No matter the type of element, an effort was made to incorporate the weaving associated with channeling.
“We did previs and then postvis [of Heroes of the Horn] with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
—Mike Stillwell, On-Set VFX Supervisor
Location shooting took place in the Czech Republic, Italy and Morocco.
Overseeing the fantasy series is creator and showrunner Rafe Judkins. “Rafe’s position was important to give consistency on the visual identity of the show,” Rodrigues notes. “Even though the directors changed, we always kept everything in the same universe. That’s one of the reasons why it was so important for us to spend quite a lot of time in pre-production, because we managed to plan ahead for many of the details in every single scene. It was easy for us to transfer that information from the first block to the second block and achieve the desired results.” A lot of time was spent developing relationships with other departments, “from the collaboration with the DP discussing on-set light interaction to the production designer and how we want to build sets so there is a seamless line between what is practical and a CG extension,” Rodrigues adds.
A major new environment in Season 2 is the city of Falme.
“The relationships that Roni had started in the first four episodes made it so much easier for me because I was able to come in and build upon on what was already there,” remarks Mike Stillwell, On-Set VFX Supervisor. “The stunt guys would be showing me their stuntvis before they’ve shown other people and asking, ‘What do you think? Is this going to work?’ Jan Petrina, the Stunt Supervisor, would do incredible stuntvis with fantastic After Effects work in it. It paved the way for what we wanted to do. It was a constant dialogue. He never promised something that we couldn’t deliver and vice versa. We had each other’s backs wherever possible.”
Waygates are important means of travel – and tricky to pull off, especially when horses are involved.
The smoke reveal of the Heroes of the Horn was not the original idea. Stillwell observes, “We did previs and then postvis with the stunt team trying to work out how these heroes would appear and be involved in a battle. We wanted to shoot in a visceral handheld -in-amongst-it way, but it didn’t lend itself to shooting one plate with them and shooting it again without. We thought going back to the smoke gave them that ethereal quality without looking like Casper the Friendly Ghost.”
Witness cameras capture every single body gesture and finger movement to get the proper channeling interaction.
“It was nice to work with Andy Scrase [Visual Effects Supervisor] as he was on the same page about the details, and the more information that we actually give to the post-production team, the more they can do,” Rodrigues states. “The cyberscan booth was there [in the studio] 24/7 for us. Hats off to the visual effects production team, production manager and production coordinators because we wanted not just everyone being scanned, every time our lead actors changed their clothes, we wanted that variation as well.” A variety of exterior locations were found in the Czech Republic. “The whole city of Cairhein was built, and was so vast and rich in details that it was incredibly helpful,” Rodrigues notes. “Also, we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
Practical and digital smoke were combined to create the dramatic reveal of the Whitecloaks calvary just before it attacks Falme.
“[In addition to the Czech Republic] … we went to Italy and Morocco. There is a scene where the guys are riding horses, and those epic mountains in the background are real. Obviously, we as visual effects did enhancements that make it better. However, having a good location and production designer are not just good for the showrunner but for the actors as well, as it’s easier for them to perform and to get into the character.”
—Roni Rodrigues, On-Set VFX Supervisor.
Killing Turak (Daniel Francis) was not as easy for the production team as it was for Rand al’Thor (Josha Stradowski). “When Rand is approaching the tower and Turak [Daniel Francis] has his heron-marked blade and does some fancy moves, we had so many meetings where I was presenting different ideas on, ‘How do we kill Turak?’” Stillwell recalls. “Rand has unbelievable power and is pissed. How would he do this? We were talking about turning someone to stone and then shattering them. Or having Rand fill them with lava and they explode from within. Or Rand whipping through these blades of air and doing the classic thing where they look fine and then slowly slide apart because of being sliced in half. What Rand ends up doing is so nonchalant, but it shows the power that he has. We spoke to Josha about it. Josha even plays it like he didn’t expect it to be that easy.”
Hardened air can be effective in producing weapons and shields.
Lessons were learned, in particular, when it came to characters channeling the One Power, which involves manipulating intricate illuminated weaves of water, fire, earth, air and spirit. “They used interactive light on Season 1, and when we received the plates, the lighting was baked into the plate, and it was too much,” Rodrigues explains. “We ended up painting out interactive light from all of those scenes. We wanted the showrunner to have a full scope of flexibility to decide in post-production which direction he wants to go. What we did was to do a performance take without interactive light and then we did it again, but with interactive light. The idea was once they decided on the take to use, we would get the plate with the interactive light and paint light in. In this way, we had the flexibility to paint the light as many times as we wanted in any position we wanted.”
The fire dragon required careful attention to detail to stand out properly in the daylight.
“It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.”
—Mike Stillwell, On-Set VFX Supervisor
Prosthetic makeup was digitally enhanced for the Trollocs.
Hallucinations allowed for surreal imagery. “For the psychedelic visions Matt Cauthon [Barney Harris] has after drinking the tea, we did a lot of work on how things would work with the mirrors, how it would look when his hands and veins are becoming distorted and enlarged,” Stillwell states. “There were lots of discussions about how to make that trip look terrifying, and the switching out of him and his mother. It was a case of myself, Rafe, directors and writers throwing ideas out. No idea is a bad idea. ‘What if every time we see him it’s a different person, but they all have his face?’ And then we would discuss how possible is that? How good is it going to look? We wanted people to be as confused as Matt was. We looked at a lot of different concept art from different shows, and we watched a lot of different films, like those of Gasper Noé. We were trying to get reference from not-obvious things.” A character gets turned into stone and dissipates into the air. “The art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
Rather than be a straight white light, the Waygates reflected the environment about to be entered.
“[For a character that gets turned into stone and breaks up] the art department did a couple of busts for us to use as reference. I remember having so many show-and-tells about dust and discussions about how fine a grain we wanted for the ashes. We shot a load of reference of all of this stuff blowing away and being shattered and thrown around. But the main thing was to make sure to get clean plates because we had to have a tight body track with witness cameras to create a good CG model.”
—Mike Stillwell, On-Set VFX Supervisor
A dramatic moment occurs when Moiraine does fire channeling on a beach that goes through the water like torpedoes to destroy the Seanchan fleet.
One of the cool visual effects are the shields created by channeling air. “The ideas for that were still broad when we were actually shooting,” Stillwell reveals. “It was a case of talking to the actors and giving them something to work with, because so often they’re having to do all of this channeling and having to imagine what it is and how it’s affecting them. When Marcus Rutherford [Perrin Aybara] is protecting them from Ishamael [Fares Fares] at the end when we were rehearsing it, I asked if it was okay for me to go and show something. I was slamming my body onto his shield and saying, ‘This is the weight of what’s hitting you. You’re not just deflecting bullets like Captain America. These are massive large forces, not little pinpricks.’ I was just trying to give him something to work with so he can imagine it, because if the actor’s performance works, the visual effects work so much better.”
Avant tout, et au nom de l’ensemble du conseil d’administration du chapitre VES Montréal nous espérons, que vous êtes tous en bonne santé et en sécurité dans ce contexte particulièrement difficile.
De plus, nous avons effectué des recherches et constitué une liste de ressources spécifiques, pour vous faciliter la vie au quotidien (vous la trouverez plus bas).
Alors, pour aider l'industrie des effets visuels du chapitre Montréal à se rapprocher, nous avons mis en place un serveur Discord, auquel vous pouvez vous joindre ici: https://discord.gg/crc66xD.
Ressources gouvernementales
Informations générales de l’Organisation Mondiale de la Santé (FR)
Informations générales du Gouvernement du Canada (FR)
Informations générales du Gouvernement du Québec (FR)
Informations générales de la ville de Montréal (FR)
Ressources financières
Plan d'intervention économique du Canada pour répondre à la COVID-19 (FR)
Crash Course propose de multiples cours allant de l’astronomie à l’anatomie via YouTube (EN)
Le programme d'alphabétisation des enfants de la Fondation SAG-AFTRA diffuse des vidéos mettant en vedette des acteurs célèbres lisant des livres pour enfants (EN)
#SAVEWITHSTORIES offre aussi des vidéos mettant en vedette des acteurs célèbres lisant des livres pour enfants (EN)
Audible: livres audios gratuits pour les enfants (EN)
Divertissement
Netflix Party vous permet d'assister à une soirée cinéma à distance (EN)
2020 TCM Classic Film Festival: Edition familiale (EN)
Mail Chimp propose les courts métrages de SXSW 2020 (EN)
We hope you are all healthy and safe during these unprecedented and troubling times. As we all try our best to navigate through our days, balancing family and work obligations, we have rounded up some resources to help those in need and tips to keep you and your family connected and informed.
Additionally, to help the visual effects industry in Montreal to grow closer together we have set up a Discord server for you to join: https://discord.gg/crc66xD.
Government Resources
General Information from the World Health Organisation (EN/FR)
General information from the Canadian Government (EN/FR)
General information from the Quebec Government (EN/FR)
General information from the City of Montreal (EN/FR)
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ GHOSTBUSTERS: FROZEN EMPIRE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, March 30, 2024 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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’ MONKEY MAN
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, April 6, 2024 at 2:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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’ DUNE: PART TWO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, March 9, 2024 at 1:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Les membres de la section VES Montréal organisent un événement Pubnight.
Développons notre communauté et reconnaissons les personnes talentueuses.
Les membres de VES sont invités et encouragés à amener jusqu’à deux non-membres à notre événement Pubnight.
Rencontrons tous ces talents et discutons de ce que VES peut offrir en termes de réseautage, de formation continue et de communauté, y compris des projections et d’autres événements sociaux.
Le 27 février de 19h00 à 21h00.
Où : 1738 St Denis – Petit Bangkok
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VES Montreal Section membership drive Pubnight event.
Let’s grow our community and recognize talented people.
VES members are invited and incouraged to bring up to two non members to our Pubnight event.
Let’s meet all that talent and have a talk about what VES can offer in terms of networking, continued education and community, including screenings and other social events.
When the 27th Feb from 7:00 to 9:00 PM.
Where: 1738 St Denis – Little Bangkok
VES Montreal is thrilled to invite its members to a private viewing of the 22nd VES Awards ceremony LIVE from Los Angeles, in collaboration with Rodeo FX.
Wednesday, February 21, 9:00 PM EST until (very) late! The webcast begins at 10:30 PM EST (7:30 PM PST)
Rodeo FX Montreal 99 Prince Street, 2nd floor
A selection of wines, beers, non-alcoholic options, and snacks will be provided courtesy of Rodeo FX and VES Montreal.
The event is open to VES Montreal members only.
Log In for the Eventbrite link
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Les 22e prix annuels VES chez Rodeo FX
VES Montréal est ravi d’inviter ses membres à un visionnement privé de la cérémonie des 22e Prix VES en direct de Los Angeles, en collaboration avec Rodeo FX.
Mercredi, 21 février, 21h HNE jusqu’à (très) tard ! La webdiffusion débute à 22:30 HNE (19:30 HNP).
Rodeo FX Montréal 99, rue Prince, 2e étage
Une sélection de vins, bières, options sans alcool, et grignotines vous seront offerts gracieusement par Rodeo FX et VES Montréal.
L’événement est réservé aux membres VES Montréal seulement.
The 22nd Annual VES Awards season is underway, and it’s going to be more exciting than ever! Nomination Event to be held worldwide on Saturday, January 13, 2024.
This year we will have virtual and in-person Nomination Events. Current VES members can apply to judge on ANY in-person event that you can travel to or or ANY virtual panel in ANY time zone. This is the must-attend event of the awards season. You will see exclusive behind-the-scenes clips of the most striking visual imagery of 2023, and you’ll enjoy the single best networking opportunity of the year! Don’t miss your chance to meet the best and brightest in the VFX field, catch up with old friends, and learn about new VFX techniques. Plus, you’ll have the satisfaction of helping to decide the best work to be presented to our colleagues in the industry and the press, as well as fans across the globe.
The Nomination Event is an all-day event and judges will receive details about specific times closer to the event. Please apply to a specific in-person location, or a particular time zone of a virtual panel (view the Region Map for the time zone that best fits your schedule). Please submit your Judge Application early to make this year’s VES Awards Nomination Event successful.
-The 22nd Annual VES Awards Committee
JUDGE APPLICATIONS ARE CLOSED please contact cassidy@vesglobal.org with any questions
VES Members and Their Guests are Invited to a Screening of Toho Studios’ GODZILLA MINUS ONE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, December 9, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 Apple TV+’s KILLERS OF THE FLOWER MOON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, October 28, 2023 at 11:00AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Join us for the VES Montreal Mental Wellbeing Workshop—a transformational experience tailored to your world.
Our goals are clear:
Uncover Impact: Understand how industry challenges affect your mental health
Solutions at Hand: Leave with actionable strategies for mental wellness.
Self-Care, Reimagined: Integrate meaningful self-care practices into your life.
Work-Life Harmony: Learn the art of balancing creativity and personal life.
Stress Resilience: Master stress management techniques for industry pressures.
This workshop is not just theoretical; it’s experiential. Dive into stressors, explore stress management techniques, and create a work-life balance that fortifies your mental health.
Your creativity deserves to flourish, but so do you. Reserve your spot and redefine what it means to be a VFX artist—in work and in life.
Elevate your wellbeing with us.
The event starts at 7:10 pm SHARP doors open at 7 pm
Event is hosted at U.N.I Gym at 1750 St. Patrick
Wednesday, October 11, 2023 at 12:00PM (PDT) & 3:00PM (EDT)
Mark your Calendars! The Visual Effects Society and TELUS Health (formerly Lifeworks) will present an overview of the services offered as part of the FREE VES Member Assistance Program. Don’t miss this chance to find out about the mental health, fitness, legal, financial, online resources, and more that are part of this amazing program. Don’t miss learning about all of these phenomenal benefits specifically for VES members throughout Canada and the United States!
VES Members and Their Guests are Invited to 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.
Please RSVP below (VES members must login to sign up)
Saturday, September 23, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 Montreal Fall Cocktail Bash Hosted by Autodesk
Date: [ Thursday 21 September ] Time: [ Door opens at 6:00pm ] Location: Autodesk HQ, Montreal
Dear Esteemed VES Members,
In the whirlwind of our ever changing industry the time has come to come together.
We invite you to partake in an evening that promises to be nothing short of exceptional, the Annual VES Montreal Fall Cocktail— kindly hosted by Autodesk.
Here’s What Awaits:
Guests: Extend this invitation to not just one, but TWO of your non VES member friends. Let us broaden our horizons and share in the collective knowledge that defines our association.
Food: Indulge in an assortment of culinary delights, artfully curated and presented by none other than the renowned Schwartz’s Deli of Montreal. We’ve also ensured a delightful vegan option to cater to diverse palates.
Beverage Selection: We will be offering Wine and Beer alongside non-alcoholic beverages this evening
Engaging Discourse: Anticipate an evening infused with meaningful networking opportunities and captivating dialogues. Reconnect with old acquaintances, forge new alliances, and immerse yourself in the evolving spirit of innovation.
This gathering presents a unique occasion to partake in the industry’s ever-evolving discourse, networking in a casual social setting – and some time away from the screens that fill our everyday lives.
Join us for the Annual VES Montreal Fall Cocktail, an event that embodies the spirit of our industry and our shared commitment to excellence.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE EQUALIZER 3
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, September 9, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 Sony Pictures’ GRAN TURISMO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Monday, August 28, 2023 at 9:00PM Cinéma Moderne
5150 Saint-Laurent Montréal, QC, H2T 1R8 Click here for a map.
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ OPPENHEIMER
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Monday, July 31, 2023 at 9:00PM Cinéma Moderne
5150 Saint-Laurent Montréal, QC, H2T 1R8 Click here for a map.
***VES members please register your 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 Walt Disney Pictures’ INDIANA JONES AND THE DIAL OF DESTINY
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Monday, Junly 3, 2023 at 9:00PM Cinéma Moderne
5150 Saint-Laurent Montréal, QC, H2T 1R8 Click here for a map.
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ELEMENTAL
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, June 24, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: ACROSS THE SPIDER-VERSE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, June 10, 2023 at 11:00AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ THE LITTLE MERMAID
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, May 27, 2023 at 11:00AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) 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.
Please RSVP below (VES members must login to sign up)
Saturday, May 20, 2023 at 11:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) 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.
Please RSVP below (VES members must login to sign up)
Saturday, April 15, 2023 at 11:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Universal Pictures’ and Illumination Entertainment’s THE SUPER MARIO BROS. MOVIE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, April 8, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) Guests are Invited to a Screening of Universal Pictures’ COCAINE BEAR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, March 11, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Collecte de membres de la section VES Montréal Événement Pubnight.
Faisons grandir notre communauté et reconnaissons les personnes talentueuses.
Les membres VES sont invités et encouragés à amener jusqu’à deux non-membres à notre événement Pubnight.
Rencontrons tous ces talents et discutons de ce que VES peut offrir en termes de réseautage, de formation continue et de communauté, y compris des projections et d’autres événements sociaux.
VES Montreal Section membership drive Pubnight event.
Let’s grow our community and recognize talented people.
VES members are invited and incouraged to bring up to two non members to our Pubnight event.
Let’s meet all that talent and have a talk about what VES can offer in terms of networking, continued education and community, including screenings and other social events.
VES Members and up to Four (4) Guests are Invited to an Opening Weekend Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up)
Saturday, February 18, 2023 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) Guests are Invited to a Screening of Searchlight Pictures’ THE MENU
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, December 10, 2022 at 11:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to Four (4) Guests are Invited to a Screening of Walt Disney Animation Studios’ STRANGE WORLD
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, December 3, 2022 at 10:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
WHERE REALTIME TECHNOLOGY REVOLUTIONIZES VISUAL STORYTELLING and will be hosted at MELS, By AMD, Nvidia, Foundry and MELS.
This is an open for all event, but due to the security we need every name in on the list.
If your name is not on the list you dont get it.
This means that you cant book for your friends on the eventbride, the non ves members you would like to join, will have to signup themselfs.
The VES MEMBER NUMBER field on the eventbride is also not madetory, but if you are a member I suggest you add it.
There will be busses going from Square Victoria, starting with the first pick up at 6:30pm until the end of the event.
WHERE REALTIME TECHNOLOGY REVOLUTIONIZES VISUAL STORYTELLING et sera hébergé au MELS, par AMD, Nvidia, Foundry et MELS.
Ce sera une soirée avec un couple d’orateurs, – ceux-ci seront annoncés bientôt
Après les exposés et les présentations, il y aura un mixer
Il s’agit d’un événement ouvert à tous, mais pour des raisons de sécurité, nous avons besoin de tous les noms sur la liste.
Si votre nom n’est pas sur la liste, vous ne l’aurez pas.
Cela signifie que vous ne pouvez pas réserver pour vos amis sur l’eventbride, les membres non ves que vous souhaitez rejoindre devront s’inscrire eux-mêmes.
Le champ VES MEMBER NUMBER sur l’eventbride n’est pas non plus obligatoire, mais si vous êtes membre, je vous suggère de l’ajouter.
Il y aura des bus partant du Square Victoria, à partir du premier ramassage à 18h30 jusqu’à la fin de l’événement.
diffusion en direct lorsque l’événement est en cours – https://fb.me/e/39VssmwXb
Presenters / Présentatrices
Marieke van Neutigem
Title: Pipeline Supervisor
Company: DNEG
Bio:
Marieke van Neutigem is a Pipeline Supervisor at DNEG Animation.
Graduating with a degree in game development she joined the industry in the rigging department at Trixter, working on projects including “Captain Marvel”, before joining the pipeline team at DNEG Animation.Marieke is currently supervising on “Nimona”, her previous projects include “Entergalactic”, “Ron’s Gone Wrong”, and the short film “Mr. Spam Gets a New Hat” produced using Unreal Engine.
Damien Fagnou
Title: Vice President of Omniverse Engineering
Company: NVIDIA
Bio:
Damien Fagnou is currently vice president of Omniverse engineering at NVIDIA, working in the NVIDIA Omniverse group focused on its Developer Platform, where he brings together his expertise in software and VFX production to help build the Omniverse Kit Application platform. Before that, Damien was the senior vice president of technology for Technicolor, where he oversaw technology and software strategy for the VFX group, including MPC Film, for which he was the CTO for many years, working directly on the Oscar-winning films “The Jungle Book” and “1917.” During that time MPC also created the VFX for the groundbreaking “Lion King” remake. With almost 20 years of experience in VFX, many-time GTC contributor Damien looks forward to contributing to the future of graphics software at NVIDIA, built around compute, raytracing, and AI.
Marc Petit
Title: VP and General Manager, Unreal Engine at Epic Games
Company: Epic Games
Bio:
Marc Petit is VP and general manager of Unreal Engine at Epic Games, where he oversees growth across markets using real-time technology, including architecture, engineering and construction (AEC); automotive and manufacturing; computer and video games; education; media and entertainment (M&E); product design and visualization; and simulation and training.
Prior to joining Epic Games in mid-2016, Marc was a partner and Entrepreneur-In-Residence at XPND Capital, a Montreal-based investment fund where he co-founded and launched Taxelco, a sustainable urban transportation company. Between 2002 and 2013, Marc ran Autodesk’s Media & Entertainment business unit steering development and marketing of the industry’s leading 3D animation and VFX software products. Marc started his career at TDI in 1988, and joined Softimage in 1991 where he ran 3D Products and oversaw the design and development of Softimage XSI.
Mathieu Mazerolle
Title: Director of Product – New Technology
Company: Foundry
Bio:
Mathieu Mazerolle has over 25 years of engineering and product experience in the VFX, cloud and gaming industries. He is currently the Director of Product, New Technology, at Foundry. With a 20-year heritage and a portfolio of award-winning products, Foundry advances the art and technology of visual experience. Prior to Foundry, Mathieu has worked for Amazon Web Services, Electronic Arts, Autodesk, Digital Domain, and Ubisoft.
James Knight
Title: Global Media & Entertainment/VFX Director
Company: AMD
Bio:
James Knight is the Global Director of Media and Entertainment at AMD (Advanced Micro Devices). He leads a team that supervises alliances with video streaming, VFX, virtual production, and post-production computing applications. Knight and his team also work directly with the worlds most prominent media brands, studios, and content streaming platforms. Knights work spans two decades in production, post-production, visual effects, and virtual production.
He is a member of the Visual Effects Society (VES), a member of the British Academy of Los Angeles (BAFTA), where he served on the board from 2010-2016, and a member of the Academy of Motion Picture Arts and Sciences (AMPAS).
Richard Cormier
Title: Vice President Digital Creative Services/Executive Producer – Virtual production
Company: MELS
Robert Magee
Title: Senior Product Marketing Manager
Company: SideFX
Bio:
Robert Magee is a Senior Product Marketing Manager at SideFX who has been working with Houdini for over 20 years. He has created lots of learning material and demos designed to help artists understand how going procedural with Houdini can benefit their work
Moderator
Philipp Wolf
Title: Co-Chair
Company: VES Montreal
Bio:
Philipp Wolf (He/Him) is Executive-In-Charge, Corporate Strategy at DNEG based in Montreal with an impressive line of projects spanning more than a decade. His recent projects include Denis Villeneuve’s ‘Dune’ and Rian Johnson’s ‘Glass Onion: A Knives Out Mystery’.An active force in the industry, Philipp is a Member of the VES Board of Directors as well as Co-Chair of the VES Montreal Section and Co-Chair of the VES Health & Wellbeing committee. He is also Co-Chair of the Animation and VFX committee at the Producers Guild of America, a Board Member of Access: VFX Montreal and Counselor of the RealTime Conference.
VES Members and up to Four (4) Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN ENDS
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Sunday, October 23, 2022 at 10:30AM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Click Here to RSVP
Montreal’s Annual Fall Cocktail Celebration Hosted by Autodesk
Montreal’s Annuel Fall Cocktail Accueilli Par Autodesk Thursday, October 13, 2022 at 7:00PM Jeudi, 13 Octobre, 2022 á 7:00PM
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.
Events are overbooked to 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 for 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.
Afin d’empêcher la propagation du COVID-19, nous vous demandons, à vous ou à vos invités, de ne pas assister aux événements VES si vous présentez des symptômes ou si vous avez été exposé au virus.
Les événements sont surréservés pour compenser les non-présentations. Les places sont limitées et seront disponibles selon le principe du premier arrivé, premier servi. Un RSVP ne garantit pas une place assise.
En vous inscrivant à cette projection/événement sur place et en personne parrainé par la VES (Visual Effects Society), vous acceptez volontairement tous les risques inhérents potentiels associés à la COVID-19. VES ne peut être tenu responsable des conséquences pouvant découler dudit risque. Par conséquent, l’inscription à cette projection/événement implique le consentement implicite de vous-même et de votre parti et indemnise et dégage par la présente VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier négatif pouvant résulter de notre participation.
VES Members and up to 4 Guests are Invited to a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, October 1, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to 4 Guests are Invited to a Screening of VVS Films’ MEDIEVAL
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, September 17, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.MEDIEVAL
VES Members and up to 4 Guests are Invited to an Opening Weekend Screening of Universal Pictures’ BEAST
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, August 27, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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
The live online panel will include Academy Award nominated Director Jeff Fowler, Producer Toby Ascher, VES Award and Academy Award nominated Visual Effects Supervisor Ged Wright and Co-Producer, Lead Designer at Blur Studios and Storyboard Supervisor Tyson Hesse, moderated by VES Montreal Board Member Frederick Lissau. The discussion will delve into the making of the Visual Effects of Paramount Pictures hit sequel, SONIC THE HEDGEHOG 2 which has grossed over $400 Million worldwide.
La face cachée des effets visuels de SONIC THE HEDGEHOG 2
Frederick Lissau, membre du Conseil d’administration de VES Montréal, se penchera sur la suite à succès de Paramount Pictures SONIC THE HEDGEHOG 2, et la production de ses effets visuels, qui a rapporté plus de 400 millions de dollars dans le monde.
Nos invités spéciaux comprennent le réalisateur du film – Jeff Fowler ; le producteur – Toby Ascher, le superviseur des effets visuels – Ged Wright, et le co-producteur – Tyson Hesse.
VES Members and up to 4 Guests are Invited to an Opening Weekend Screening of Sony Pictures’ BULLET TRAIN
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, August 6, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to 4 Guests are Invited to an Opening Weekend Screening of Universal Pictures’ NOPE
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, July 23, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to 4 Guests are Invited to an Opening Weekend 3D Screening of Sony Pictures’ WHERE THE CRAWDADS SING
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, July 16, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to 4 Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: LOVE AND THUNDER
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, July 9, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to 4 Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios LIGHTYEAR
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, June 25, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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 up to 4 Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD DOMINION
Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, June 18, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Les membres du VES sont invites a l’évènement CAFÉ – Conférence, Animation, FX et Expertise du mardi 7 juin au mercredi 8 juin.
Vous pouvez bénéficier d’une reduction en entrant le code sur les liens sous dessous
Voici le lien pour la réduction de 50% pour 50 billets :
50 billets à 50% pour billets-conférences (Virtuels, réguliers et étudiants) Code : CAFE-LDR-CONF-VY5TS URL : www.eventbrite.ca/e/332066207967/?discount=CAFE-LDR-CONF-VY5TS
Pour rappel, je te mets aussi le lien de la réduction de 25% ci-après :
Code 25% de rabais sur tous les billets (BCTQ) Code : CAFE-BCTQ-25-99IQ5 URL : www.eventbrite.ca/e/332066207967/?discount=CAFE-BCTQ-25-99IQ5
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The VES member are invited to the CAFÉ – Conférence, Animation, FX et Expertise from Tuesday June 7th to Wednesday June 8th.
You can benefit from a reduction by entering the code on the links below
Here is the link for the 50% discount for 50 tickets:
50 tickets at 50% off for conference tickets (virtual, regular and student)
As a reminder, I also put the link of the 25% discount below: Code 25% discount on all tickets (BCTQ)
Code : CAFE-BCTQ-25-99IQ5 URL : www.eventbrite.ca/e/332066207967/?discount=CAFE-BCTQ-25-99IQ5
INVITATION SOIREE RÉSEAUTAGE COCKTAIL INDUSTRIE VFX / ANIMATION vendredi 22 avril 2022 | 19h00 EST | EN PRESENTIEL | NAD University
Marine Lelièvre, VES Montréal, vous invite à une soirée de réseautage VFX-Animation en présentiel au NAD, incluant un panel, un cocktail et une activité spéciale de révision de portfolio en temps réel par son panel d’experts avec François Schneider – Creative Supervisor / ReDefine, David Francois – Digital Compositor Lead / Reel FX, Brent George – Realization Director – Compulsion Games & Co-Founder Agora Community.
Places limitées, soumission de votre portfolio avant le 15 avril.
INVITATION NETWORK EVENT COCKTAIL VFX INDUSTRY Friday April 22, 2022 | 7:00PM EST | IRL | NAD University
Marine Lelievre will be hosting a VFX-Animation networking event in person at NAD university, featuring a cocktail and live portfolio review by her panel of experts with François Schneider – Creative Supervisor / ReDefine, David Francois – Digital Compositor Lead / Reel FX, Brent George – Realization Director – Compulsion Games & Co-Founder Agora Community.
Limited seats, submit your demo reels before April 15.
VES Members and up to 4 Guests are Invited to an Opening Weekend Screening of Warner Bros. Pictures’ FANTASTIC BEASTS: THE SECRETS OF DUMBLEDORE. Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, April 16, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Les membres du VES sont invites à rejoindre plusieurs événements et conférences web durant le mois de mars.
Vous trouverez ci-dessous une liste complète ainsi que des les liens.
ANIMATION ROUNDTABLE animé par Fortunato Frattasio avec comme invité le superviseur d’animation de Dneg Bartek Kujbida
Mardi 24 Mars 2022 à 19:00 EDT zoom: https://us02web.zoom.us/j/83279725172
S’il vous plaît RSVP avec une question que vous aimeriez poser aux invités à: montreal@vesglobal.org
VES members are invited to join different events and webinar during the month of March.
Check below for an exhaustive list below.
ANIMATION ROUNDTABLE hosted by Fortunato Frattasio and the guest Dneg animation Supervisor Bartek Kujbida
Thursday March 24 at 7:00PM EDT zoom: https://us02web.zoom.us/j/83279725172
Please RSVP with One question that you would like us at: montreal@vesglobal.org
VES Members and up to 4 Guests are Invited to a Screening of Warner Bros. Pictures’ THE BATMAN. Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, March 12, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #1 (Salle Principale)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your 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.
Due to Governmental Restrictions the VES Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS has been cancelled.
This screening is cancelled
Saturday, January 8, 2022 at 12:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand- Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 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.
Join us in celebrating the holidays at our annual VES Mega Party at Don B Comber’s! Special VIP entrance and drinks for VES Members and your guest. Mix and mingle while enjoying live music with DJ Franssu.
Vaccination passport with Photo ID required and all attendees must abide by all COVID 19 requirements.
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 from any consequences that may transpire from said risk. Therefore, signing up for this 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 your participation.
Please Login to RSVP Below VES Members: Please enter your first and last name in the “Attendee 1″ field and your guest(s) as subsequent attendees.
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Le party annuel des Fêtes de VES Montréal est de retour!
Joignez-vous à nous pour célébrer les fêtes lors de notre méga-party VES annuel au bar Don B Comber’s! Entrée VIP et consommations gratuites pour les membres VES et vos invités. Une belle opportunité de réseautage tout en profitant de la musique live avec DJ Franssu.
Passeport de vaccination avec photo d’identité requis. Tous les participants doivent se conformer aux exigences sanitaires de la COVID 19.
En vous inscrivant à cet événement sur place, en personne, parrainé par VES (Visual Effects Society), vous acceptez tous les risques inhérents potentiels associés à la COVID-19. VES ne pourra être tenu responsable des conséquences pouvant découler de ce risque. Par conséquent, l’inscription à cet événement implique votre consentement implicite ainsi que celui de vos invités et par la présente indemnise et dégage VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier défavorable pouvant résulter de votre participation.
Veuillez répondre ci-dessous Membres VES : veuillez entrer votre nom et prénom dans le champ « Participant 1 » et vos invités dans les champs suivants
Nous sommes très heureux de vous inviter à notre premier événement de réseautage en personne de l’année. Nous nous sommes associés à la Microbrasserie 4 Origines.
Jeudi 21 octobre – à partir de 19h30
Microbrasserie 4 Origines
1304, rue Saint-Patrick, Montréal H3K 1A4
Bière : Gratuite jusqu’à épuisement de la note
Nourriture : camion de nourriture de Burly Boys qui sert des sandwichs et des salades, mais vous pouvez également commander dans d’autres restaurants locaux
Musique live : le guitariste Bud Rice se produira à partir de 19h30. ce soir-là
S’il vous plaît RSVP en utilisant le lien suivant, nous avons 50 places disponibles.
Veuillez noter que les membres doivent être inscrits à l’événement sur notre site Web pour pouvoir assister à l’événement et recevoir des tickets boissons.
Afin de prévenir la propagation du COVID-19, nous vous demandons de ne pas assister aux événements VES si vous présentez des symptômes ou si vous avez été exposé au virus.
Les événements sont surbookés pour compenser les non-présentations. Les places sont limitées et seront disponibles selon le principe du premier arrivé, premier servi.
En vous inscrivant à cette projection/événement en personne sur place parrainé par VES (Visual Effects Society), vous acceptez volontiers tous les risques inhérents potentiels associés à COVID-19. VES ne pourra être tenu responsable des conséquences pouvant découler de ce risque. Par conséquent, l’inscription à cette projection / événement implique le consentement implicite de vous-même et de votre parti et par la présente indemnise et dégage VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier négatif pouvant résulter de notre participation.
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We are very excited to invite you to our first in-person networking event of the year. We have teamed up with Microbrasserie 4 Origines.
Thursday October 21st – starting at 7:30 pm
4 Origins microbrewery
1304 Saint-Patrick St., Montreal H3K 1A4
Beer: Free until our tab lasts
Food: Food truck from Burly Boys that serves sandwiches and salads, though you are also welcome to order from other local restaurants
Live music: guitarist Bud Rice will be performing as of 7:30 p.m. that evening
Please RSVP using the following link we have 50 spots available.
Please note that members must be registered for the event on our website to gain to attend the event and receive drink tickets.
In an effort to prevent the spread of COVID-19, we ask that you to not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
The events are overbooked to compensate for no-shows. Space is limited and will be available on a first come, first served basis.
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 up to 3 Guests are Invited to a Screening of United Artists’ NO TIME TO DIE. Theater rules and Montreal safety guidelines require all attendees must be fully vaccinated show proof in the form of their vaccine passports and photo ID and that masks must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, October 16, 2021 at 1:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand- Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your name in the “Attendee 1″ field***
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 up to 3 Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Theater rules and Montreal safety guidelines require that face coverings must be worn at all times in indoor public settings (except while actively enjoying food and drinks).
Please RSVP below (VES members must login to sign up)
Saturday, October 2, 2021 at 2:00PM Cinémathèque Québécoise Screening Room #2 (Salle Fernand- Séguin)
335, boul. de Maisonneuve Est, Montréal, QC, H2X 1K1 Click here for a map.
***VES members please register your name in the “Attendee 1″ field***
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.
Fortunato Frattasio présentera le 17 septembre 2021 de 19:00 à 20:30 un événement qui donnera la possibilité aux étudiants de rencontrer et de poser des questions interessantes aux professionnels de l’industrie. Ainsi que de réseauter avec leur pairs et futurs collègues.
Réservez et posez une question a l’invité à: montreal@vesglobal.org
lien Zoom: https://us02web.zoom.us/j/86736716568#success
Fortunato Frattasio will present on September 17, 2021 from 7:00 p.m. to 8:30 p.m. an event that will give students the opportunity to meet and ask interesting questions to industry professionals. As well as to network with their peers and future colleagues.
Book and ask a question to the guest at: montreal@vesglobal.org
lien Zoom: https://us02web.zoom.us/j/86736716568#success
VES Montréal vous invite pour une soirée de réseautage informelle au parc vendredi 30 juillet ! (18:45 – 20:00 Evènement en présentiel)
Nous sommes désormais en zone verte, alors nous aimerions inviter ceux d’entre vous, qui se sentent à l’aise à nous rejoindre au parc le vendredi 30 juillet (18:45 – 20:00), dans le cadre de nos séances de réseautage et de rencontre occasionnelles.
C’est tout simplement une façon de se retrouver enfin et pouvoir échanger à nouveau en présentiel de facon reguliere !
Si vous souhaitez venir, veuillez-vous inscrire à l’adresse suivante : https://www.eventbrite.com/e/ves-montreal-informal-park-gathering-registration-163778599199
Nous avons hâte de vous revoir !
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VES Montreal invites you for an informal networking evening at the park on Friday July 30! (6pm45 – 8pm Face-to-face event)
With our return to a status of being a green zone we’d like to invite those of you who feel comfortable to head out to the park on Friday as part of our ongoing casual networking/meet sessions.
This is simply a way for us to provide a pre-arranged time/place to drop in and say hi to people they might not have seen in a while.
Considérations liées à la COVID-19
Afin de prévenir la propagation du COVID-19, nous vous demandons, à vous ou à vos invités, de ne pas assister aux événements VES si vous présentez des symptômes ou si vous avez été exposé au virus.
Nous respecterons les directives actuelles pour les rassemblements extérieurs (voir https://www.quebec.ca/sante/problemes-de-sante/a-z/coronavirus-2019/systeme-alertes-regionales-et-intervention-graduelle/palier-1-vigilance-zone-verte/ )
En vous inscrivant à cet événement en personne parrainé par VES (Visual Effects Society), vous acceptez volontiers tous les risques inhérents potentiels associés à COVID-19. VES ne pourra être tenu responsable des conséquences pouvant découler de ce risque. Par conséquent, l’inscription à cet événement implique le consentement implicite de moi-même et de mon parti et indemnise et dégage VES, ses administrateurs, ses employés et toute autre personne affiliée de tout impact médical ou financier indésirable pouvant résulter de notre participation.
COVID-19 Considerations
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.
We will be complying with current guidelines for outdoor gatherings (see https://www.quebec.ca/en/health/health-issues/a-z/2019-coronavirus/progressive-regional-alert-and-intervention-system/level-1-vigilance-green/ )
By registering for this 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 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.
Marine Lelievre vous invite à une soirée réseautage spéciale RÉVISION DE PORTFOLIO EN TEMPS RÉEL! Places limitées, inscription et soumission de votre portfolio avant le 5 Juillet 2021 pour obtenir les meilleurs conseils de nos invités.
Marine Lelievre will be hosting a networking event featuring a LIVE VFX PORTFOLIO REVIEW! Limited seats, Register & submit your demo Reels before July 5, 2021 to get our guest experts the best live constructive feedback.
Pour participer à la réunion du conseil, qui est ouverte à tous les membres, ou si vous avez des questions et / ou des suggestions, n’hésitez pas à nous contacter via montreal@vesglobal.org
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To join the board meeting, which is open to all members, or if you have any questions and/or suggestions, please feel free to contact us via montreal@vesglobal.org
CopyCat puts machine learning to work for artists by letting them train customized effects that are limited only by their imagination. Foundry’s release of NukeX 13.0 is the first tool of its kind to unleash machine learning as a flexible extension of the creative process.
Rejoignez Mathieu Mazerolle, directeur des produits pour les nouvelles technologies chez Foundry, pour une discussion sur la vision de Foundry en matière d’apprentissage automatique et sur la manière dont CopyCat aide les flux de travail des artistes. DJ Matias, spécialiste créatif chez Foundry, montrera également des exemples pratiques des possibilités illimitées que CopyCat offre aux artistes et vous apprendra comment créer votre propre réseau de neurones.
Join Mathieu Mazerolle, Director of Product for New Technology at Foundry, for a discussion about Foundry’s vision for machine learning and how CopyCat assists artist workflows. DJ Matias, Creative Specialist at Foundry, will also show practical examples of the limitless possibilities that CopyCat offers artists and teach you how to build your own neural network.
Cette session intéressera particulièrement les directeurs techniques créant des outils et des pipelines pour les studios d’effets visuels, ainsi que les artistes intéressés par les flux de travail assistés par ML pour les effets visuels.
This session will be of particular interest to technical directors building tools and pipelines for visual effects studios, as well as artists interested in ML-assisted workflows for visual effects.
Orateurs/Speakers:
DJ Matias – Creative Specialist
Matthieu Mazerolle – Director of Product – New Technology
Rejoignez-vous à nous pour souhaiter la bienvenue à nos nouveaux membres de la section de Montréal lors de cet événement de réseautage du vendredi.
Join us in welcoming our newest Members to the Montreal Section in this Fridays networking event.
Nous sommes très heureux que les professionnels suivants rejoignent la société :
We are very excited to have the following professionals join the society:
Eve Chauvet
Peter Dominik
Mahmoud Ellithy
Laura Jones
Lee Sullivan
Sebastien Terme
Benoit Terminet Schuppon
Andrea Weidlich
Pour participer à la réunion du conseil, qui est ouverte à tous les membres, ou si vous avez des questions et / ou des suggestions, n’hésitez pas à nous contacter via montreal@vesglobal.org
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To join the board meeting, which is open to all members, or if you have any questions and/or suggestions, please feel free to contact us via montreal@vesglobal.org
Nous sommes heureux de vous inviter à notre Rendez-vous du vendredi 14 mai – 19 h. Rejoignez-nous pour une discussion informelle et du réseautage.
Inscrivez-vous à l’événement: http://bit.ly/VESFridayHangoutMay2021
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We are happy to invite you to our Friday Hangout May 14th – 7pm. Join us for some casual chat and networking.
Register for the event: http://bit.ly/VESFridayHangoutMay2021
Dans la tête des gestionnaires embaucheurs en VFX & Animation… Inside the brain of VFX & Animation hiring managers…
April 20, 2021 – 7:00PM ET (Zoom)
Marine Lelievre, Co-Présidente VES Montréal présentera un panel de conférenciers invités provenant de studios d’effets visuels et d’animation, modéré par Pierre-Luc Labbée, Président de rhum – humans and resource. Les gestionnaires embaucheurs seront interrogés notamment sur leur processus de décision en matière d’embauche, des compétences techniques aux compétences humaines. Une session de questions / réponses à ne pas manquer suivra !
Marine Lelievre, VES Montreal Co-Chair will be hosting a panel of guest speakers from VFX/Animation studios, moderated by Pierre-Luc Labbée, rhum – humans and resource’ President, which will dive deep into their decision-making process when it comes to hiring, from technical to human skills.
Speakers:
*Hosted by Marine Lelievre, Co-Chair VES Montreal
*Moderated by Pierre-Luc Labbée, President Of rhum – humans and resource
*Ted Ty, Global Head of Character Animation at DNEG
*Sonia Marques, Executive Producer at Squeeze animation studio
*Jennifer Fairweather, Executive Producer at DNEG
Production virtuelle 101 et conversation sur écran vert
*English message to follow
Nous sommes heureux de vous inviter à notre premier événement industriel de l’année, la compagnie MELS organise une conversation sur la production virtuelle 101 et sur les écrans verts. 16 mars – 19h.
Inscrivez-vous à l’événement: http://bit.ly/VESMELSVP
Cette évènement est ouvert a tous. Pensez a en parler avec vos colleges.
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Virtual production 101 & Green screen conversation
We are happy to invite you to our first industry event of the year MELS is hosting a Virtual production 101 & Green screen conversation. March 16th – 7pm.
Register for the event: http://bit.ly/VESMELSVP
This event is open to everyone. Consider discussing it with your colleges.
The VES Screening of Warner Bros. Pictures’ TENET in Montreal has Been Cancelled. Due to new governmental restrictions in an effort to prevent the spread of COVID-19, the Cinémathèque Québécoise will be closed for the next 28 days.
RSVPs are closed Saturday, October 10, 2020 at 1:00PM
Le sommet international du jeux vidéo à Montréal vous propose un rabais exclusif ! 25 et 26 septembre et 12 et 13 novembre 2020 (Edition en ligne) (Conférences, recrutement, réseautage, rendez-vous d’affaires…) https://megamigs.com/fr/
MEGAMIGS 2020 100% virtuel | Septembre et novembre | Billets en vente
MEGAMIGS, l’événement numéro un dans le secteur du jeu vidéo au Canada proposera cette année une formule éclatée. Les 25 et 26 septembre 2020 – Formations et carrières – incluant du recrutement de tous les niveaux, du recrutement international et en plus une vitrine de l’écosystème des programmes académiques Les 12 et 13 novembre – Développement des affaires, conférenciers et …
megamigs.com
MEGAMIGS, La seule conférence au Canada depuis plus de 15 ans consacrée à l’ensemble de l’industrie des jeux vidéo. MEGAMIGS 2020 sera une édition toute particulière avec notre format en ligne et diffusée en deux temps, soit les 25 et 26 septembre et les 12 et 13 novembre ! Septembre pour l’axe formations et carrières et novembre quant à lui sera axé sur le développement des affaires et la visibilité médias. Le tout avec une programmation diffusée en direct, une plateforme de réseautage ainsi qu’une variété d’activités sur notre application. Et bien d’autres choses ! L’événement réunit chaque année des centaines de créateurs de jeux vidéo des quatre coins du globe.
Montreal international video game summit exclusive special rebate! Sept. 25-26 & Nov.12-13 2020 (Online edition) (session, careers, networking, B2B plateform…) https://megamigs.com/en/
MEGAMIGS, the number one event in the video game industry in Canada, will offer a new formula this year. September 25 and 26, 2020 – Training and careers – including recruitment at all levels, international recruitment and in addition a showcase of the ecosystem of academic programs November 12 and 13 – Business development, lecturers and …
MEGAMIGS, the only conference in Canada for more than 15 years dedicated to the entire video game industry. MEGAMIGS 2020 will be a very special edition with our online format and will be broadcast in two parts, on September 25-26 and November 12-13! September for the training and careers section and November for the business development and media visibility section. All this with live programming, a networking platform and a variety of activities on our application. And much more! The event brings together hundreds of video game creators from around the world every year.
VES members are invited to join online for the new ACM SIGGRAPH Webinar series on Thursday, May 21 at 2:00 PM (EDT). The panel is about challenges of working from home in VFX.
The VES Montreal Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD has been cancelled. In an effort to prevent the spread of COVID19, all VES Montreal events for the next 30 days are cancelled.
RSVPs are closed Saturday, March 14, 2020 at 12:30PM
VES Montréal invite tous les personnes dans l’industrie VFX à la Mega Party Annuelle au Theatre Plaza va être en feu! Préparez-vous à faire la fête avec les plus remarquables acteurs des effets visuels et de l’animation de MTL.
Voici quelques points importants:
* DJ Franssu en tête d’affiche
* Espace fête de deux étages
* Choisissez votre scène: Piste de danse et / ou regarder par-dessus tout sur la mezzanine
* Cocktail d’entrée pour les premiers arrivées
* Deux bars
* Snacks: Vous pourrez goûter au produit de Uniburgers (option Végétarien est inclus).
* Le populaire photomaton VES
* Prix à gagner!
* Bracelets VIP
Admission générale et options de billets pour membres VES (VIP) consulter l’email envoyé il y a quelques jours.
Quelles sont mes options de transport / stationnement pour aller à l’événement?
Metro Beaubien / Bus / Uber / Street Parking
Que puis-je apporter à l’événement?
collègues, conjoints et amis
Puis-je contacter l’organisateur pour toute question?
Oui, et nous ferons de notre mieux pour vous répondre rapidement
Dois-je apporter mon billet imprimé à l’événement?
Oui, et / ou option numérique sur votre application Eventbrite
Merci aux généreux commanditaires et membres de notre organisation. Venez nous rejoindre pour une soirée amusante!
** S’il vous plaît confirmer votre présence pour cet événement tôt. Le nombre de billet est limité ! **
VES Montreal is inviting you to our annual Mega Party at The Theatre Plaza and it will be pumping! Get ready to party to some of the hottest dance tracks and rubbing shoulders with MTL’s most notable visual effects and animation movers and shakers.
Here are some of the highlights:
* Headlining DJ Franssu who spinning today’s hottest dance music
* Two story party space equipped with state-of-the-art sound and lighting
* Choose your scene: Dance Floor and/or looking over it all with Loft Seating
* Early Cocktail – First 100 Arrivals
* Two Premium Cash Bars
* Snacks: Uniburgers before the raffle so everyone can grab a bite (veggie option included).
* The popular VES Photo Booth
* Prizes to Win!
* VIP Wristbands
General Admission and (VIP) VES Member Ticket Options. Check your previous email wit the General Admission and (VIP) VES Member Ticket Options
FAQ’s:
What are my transportation/parking options for getting to and from the event?
Metro Beaubien / Bus / Uber / Street Parking
What can I bring into the event?
Co-Workers, Spouses and Friends!
Can I contact the organizer with any questions?
Yes, and will do our best to answer in a timely manner
Do I have to bring my printed ticket to the event?
Yes, and/or digital option on your Eventbrite App
Thanks to the generous sponsors and members of our organization. Come join us for a fun filled night!
** Please RSVP for this event early as it will sell out! **
Montreal VES Members and Their Guests are Invited to a 3D Screening ofColumbia Pictures’ MEN IN BLACK: INTERNATIONAL Please RSVP below Wednesday, June 26, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2 Please RSVP below Wednesday, June 19, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a Pre-Release 3D Screening ofDisney•Pixar’s TOY STORY 4 Please RSVP below Saturday, June 15, 2019 at 2:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening ofWarner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS Please RSVP below Wednesday, June 12, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ ROCKETMAN Please RSVP below Wednesday, June 5, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a Screening of Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN Please RSVP below Wednesday, May 29, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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 Wednesday, May 15, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME Please RSVP below Wednesday, May 1, 2019 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below Wednesday, April 17, 2019 at 8:00PM
Difuze Inc. Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below Wednesday, April 3, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ WONDER PARK
Please RSVP below Tuesday, March 19, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families 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
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 3:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below Wednesday, February 20, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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 Wednesday, February 13, 2019 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to an Opening Night 3D Screening of Paramount Pictures’ BUMBLEBEE
Please RSVP below Thursday, December 20, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below Tuesday, December 18, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a Pre-Release Screening of Universal Pictures’ MORTAL ENGINES followed by a Q&A with Visual Effects Supervisor Ken McGaugh, Animation Supervisor Dennis Yoo, Visual Effects Supervisor Luke Millar and Visual Effects Supervisor Kevin Smith moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Sunday, December 2, 2018 at 2:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #VESMORTALENGINES, 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.
Montreal VES Members and Their Families are Invited to a 3D Screening of Netflix’s MOWGLI followed by a 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
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 Wednesday, November 28, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ OVERLORD
Please RSVP below Wednesday, November 21, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a Pre-Release Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET
Please RSVP below Saturday, November 17, 2018 at 3:30PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below Wednesday, November 14, 2018 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below Wednesday, November 7, 2018 at 8:00PM
Difuze Montreal’s Covitec Screening Room
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below Wednesday, October 24, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FIRST MAN
Please RSVP below Wednesday, October 17, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below Wednesday, October 3, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS followed by a Q&A with VFX Supervisor Francois Lambert (Hybride)
Please RSVP below Wednesday, September 26, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE PREDATOR
Please RSVP below Wednesday, September 19, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of STX Entertaiment’s PEPPERMINT
Please RSVP below Wednesday, September 12, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ ALPHA
Please RSVP below Wednesday, August 29, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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 18A, and is not intended for children. Click here to watch the trailer.
Please RSVP below Friday, August 24, 2018 at 10:00PM Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below Wednesday, August 15, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Wednesday, August 8, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below Wednesday, August 1, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Wednesday, July 25, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP
Please RSVP below Wednesday, July 18, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below Wednesday, July 11, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SICARIO: DAY OF THE SOLDADO followed by a Q&A with Visual Effects Supervisors Derek Wentworth and Alexandre Lafortune.
Please RSVP below Wednesday, July 4, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal 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 11:00AM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of WME Endeavor’s HOTEL ARTEMIS
Please RSVP below Wednesday, June 13, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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.)
Please RSVP below Sunday, May 27, 2018 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL 2
Please RSVP below Wednesday, May 23, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Focus Features’ TULLY
Please RSVP below Wednesday, May 9, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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.)
Please RSVP below Sunday, May 6, 2018 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below Wednesday, April 11, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE followed by a live interactive Q&A with Co-Producer and Visual Effects Producer Jennifer Meislohn, ILM Visual Effects Supervisor Grady Cofer, Digital Domain Visual Effects Supervisor Matthew Butler and Digital Domain Previsualization Supervisor Scott Meadows as well as Digital Domain Virtual Production Supervisor Gary Roberts, moderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Please RSVP below Saturday, April 7, 2018 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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, #VESRPO, 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictires’ PACIFIC RIM UPRISING
Please RSVP below Wednesday, March 28, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s RED SPARROW
Please RSVP below Wednesday, March 14, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below Wednesday, February 21, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ ONLY THE BRAVE
Please RSVP below Wednesday, January 31, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ PADDINGTON 2 followed by a Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Carlos Monzon and Animation Supervisor Laurent Laban, moderated by VES Montreal Section Chair Chloe Grysole. (All panelists’ participation based on availability.)
Please RSVP below Wednesday, January 10, 2018 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a Screening of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below Wednesday, December 13, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Focus Features’ DARKEST HOUR
Please RSVP below Wednesday, December 6, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below Wednesday, November 29, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s MURDER ON THE ORIENT EXPRESS
Please RSVP below Wednesday, November 15, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Wednesday, November 8, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ SUBURBICON
Please RSVP below Wednesday, November 1, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE SNOWMAN
Please RSVP below Wednesday, October 25, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening & Q&A Sesssion Of Warner Bros. Pictures’ BLADE RUNNER 2049
Richard Hoover, VFX Supervisor (Framestore) will be on hand to answer questions after the screening,
Please RSVP below Wednesday, October 18, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMERICAN MADE
Please RSVP below Wednesday, October 11, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening Of 20th Century Fox’s KINGSMAN: THE GOLDEN CIRCLE
Please RSVP below Wednesday, October 4, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening Of Focus Features’ VICTORIA & ABDUL
Please RSVP below Wednesday, September 27, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening Of Paramount Pictures’ MOTHER!
Please RSVP below Wednesday, September 20, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal est heureux d’annoncer que les membres du VES sont maintenant admissibles à une réduction de 25% sur tous les laissez-passer à la conférence effectsMTL17 les 6 et 7 septembre. Veuillez contacter Marie Gislais pour obtenir votre code promotionnel.
VES Montreal is happy to announce that VES members are now eligible for a 25% discount on all passes to the effectsMTL17 conference on September 6th & 7th. Please contact Marie Gislais to obtain your promo code.
VES Montreal est heureux d’annoncer que les membres du VES sont maintenant admissibles à une réduction de 25% sur tous les laissez-passer à la conférence effetsMTL17 les 6 et 7 septembre. Veuillez contacter Marie Gislais pour obtenir votre code promotionnel.
VES Montreal is happy to announce that VES members are now eligible for a 25% discount on all passes to the effectsMTL17 conference on September 6th & 7th. Please contact Marie Gislais to obtain your promo code.
Members are invited (+1 guest) to our annual Fall Cocktail on September 5th at the offices of Autodesk (10 Duke, Montreal) from 6pm to 9pm. We’re hosting it this year as part of the start of the effects MTL17 conference! This should be our most well attended event yet!
Montreal VES Members and Their Guests are Invited to a Screening of Lionsgate’s and Millennium Films’ THE HITMAN’S BODYGUARD
Please RSVP below Wednesday, August 30, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening Of The Weinstein Company’s WIND RIVER
Please RSVP below Wednesday, August 9, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening Of Focus Features’ ATOMIC BLONDE
Please RSVP below Wednesday, August 2, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of STX Entertainment’s VALERIAN AND THE CITY OF A THOUSAND PLANETS
Please RSVP below Wednesday, July 26, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
Montreal VES Members and Their Guests are Invited to a 3D Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Wednesday, July 12, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below Wednesday, July 5, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below Wednesday, June 28, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below Wednesday, June 21, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ THE MUMMY
Please RSVP below Wednesday, June 14, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below Wednesday, June 7, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES
Please RSVP below Wednesday, May 31, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s ALIEN: COVENANT2
Please RSVP below Wednesday, May 24, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below Wednesday, May 17, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal 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 Wednesday, May 10, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Pre-Release Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below Wednesday, April 19, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below Wednesday, April 5, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Lionsgate’s POWER RANGERS
Please RSVP below Wednesday, March 29, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’KONG: SKULL ISLAND
Please RSVP below Wednesday, March 15, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s LOGAN
Please RSVP below Wednesday, March 8, 2017 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 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
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
PLEASE ARRIVE BETWEEN 2:15 AND 2:30 TO ALLOW TIME FOR PHOTO OPS WITH SPECIAL VIP GUESTS
THIS will ALSO be FRANK D’IORIO’s (Montreal chair) LAST BIG 2016 QUIZZ GIVEAWAY EXTRAVAGANZA. over 2,000$ in prizes from his own PERSONAL STAR WARS COLLECTION. Prizes will be won in a VERY SPECIAL WAY – HALF BEFORE and HALF AFTER THE Q&A – INCLUDING the FINAL MEMBERS ONLY GRAND PRIZE Valued 700$.
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
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada 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.
VES Members and Their Guests in Montreal are Invited to a Screening of Walt Disney Animation Studios’MOANA
Please RSVP below Wednesday, November 30, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a VIP Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
FOLLOWED BY LIVE in house Q&A with MPC Supervisors
Please RSVP below Wednesday, November 23, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please RSVP below Wednesday, November 16, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE
Please RSVP below Wednesday, November 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a 3D Screening of 20th Century Fox’s and DreamWorks Animation’sTROLLS
Please RSVP below Wednesday, November 2, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a Pre-Release Screening of Columbia Pictures’ INFERNO
Please RSVP below Wednesday, October 26, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a Screening of Warner Bros. Pictures’ THE ACCOUNTANT
Please RSVP below Wednesday, October 19, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN
Please RSVP below Wednesday, October 12, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal are Invited to a Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON
Please RSVP below Wednesday, October 5, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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
VES Members and Their Guests in Montreal are Invited to a Screening of Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below Wednesday, September 28, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Atomic Fiction, Autodesk and Rodeo Visual Effects Company invite you to
Montreal’s Annual Fall Membership Drive cocktail party.
Open to all members and their guests
A great evening to connect with your friends, fellow artists and if you haven’t done so already… the perfect place to find your 2 sponsors.
When you leave the party, you will have everything you need to fill out your membership application to join VES Montreal’s 100+ members.
Free Drinks and Food and cool Door Prizes. Doors open at 6pm.
Autodesk 10 Duke Street.
Thank you to all our sponsors
Cinesite Studios, Mels, Framestore, MPC, Quantum and Scalar
for more information or questions… montreal@vesglobal.org
Please RSVP below Wednesday, August 31, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below Wednesday, August 24, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JASON BOURNE
Please RSVP below Wednesday, August 3, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Pramount Pictures’ STAR TREK BEYOND, plus a Q&A with the visual effects team.
Panelists will include Kelvin Optical Visual Effects Supervisor Stefano Trivelli, Visual Effects Producer Ron Ames, Atomic Fiction Visual Effects Supervisor Ryan Tudhope with moderation by VES Fellow and Founders Award winner Bill Taylor, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 23, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARTREK, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ GHOSTBUSTERS
Please RSVP below Wednesday, July 20, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ THE BFG
Please RSVP below Wednesday, July 13, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Thursday, June 30, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Thursday, June 30, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below **DATE CHANGE**
Wednesday, June 22, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below **DATE CHANGE**
Wednesday, June 22, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Thursday, June 16, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Thursday, June 16, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Thursday, June 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Thursday, June 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Thursday, June 2, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Thursday, June 2, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
Please RSVP below Wednesday, MAy 11, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HUNTSMAN: WINTER’S WAR
Please RSVP below Wednesday, May 4, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below Wednesday, April 27, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below Wednesday, April 27, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ BATMAN V SUPERMAN: DAWN OF JUSTICE
Please RSVP below Wednesday, April 13, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Wednesday, March 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Wednesday, March 9, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Wednesday, Febuary 17, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Wednesday, Febuary 17, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Thursday, Febuary 4, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Thursday, Febuary 4, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s and Regency Enterprises’ THE REVENANT
with SPECIAL SURPRISE VIP Guests
Please RSVP below Thursday, January 28, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s and Regency Enterprises’ THE REVENANT
with SPECIAL SURPRISE VIP Guests
Please RSVP below Thursday, January 28, 2016 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, January 10, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, January 10, 2016 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
Montreal VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Thursday, November 19, 2015 at 8:00PM Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Thursday, November 19, 2015 at 8:00PM Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Thursday, November 12, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Thursday, November 12, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Thursday, October 29, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Thursday, October 29, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ PAN
Please RSVP below
Thursday, October 22, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ PAN
Please RSVP below
Thursday, October 22, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Thursday, October 1, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Thursday, October 1, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE MAN FROM U.N.C.L.E.
Please RSVP below
Thursday, August 27, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below
Thursday, August 6, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below
Thursday, August 6, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Thursday, July 30, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Thursday, July 30, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below
Thursday, July 23, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’TERMINATOR GENISYS
Please RSVP below
Thursday, July 9, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’TERMINATOR GENISYS
Please RSVP below
Thursday, July 9, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Thursday, June 25, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Thursday, June 25, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below
Thursday, June 18, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below
Thursday, June 18, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Thursday, June 4, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Thursday, June 4, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Thursday, May 28, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Thursday, May 28, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Thursday, May 21, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Thursday, May 21, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON, plus a live interactive Q&A with the visual effects team
Panelists will include Overall Visual Effects Supervisor Christopher Townsend, Additional Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Ben Snow, ILM Animation Supervisor Marc Chu, Trixter Animation Supervisor Simone Kraus and moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, May 17, 2015 at 3:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESAVENGERS2, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Mongrel Media’s EX MACHINA
Please RSVP below
Thursday, May 7, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members and Their Guests are Invited to a Screening of Mongrel Media’s EX MACHINA
Please RSVP below
Thursday, May 7, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada Click here for a map
Screenings are overbooked to 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 Montreal Members and Their Families are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below Thursday, April 16, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
Screenings are overbooked to 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 Montreal Members and Their Families are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below Thursday, April 16, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
Screenings are overbooked to 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 Montreal Members and Their Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below Thursday, March 19, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
Screenings are overbooked to 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 Montreal Members and Their Guests are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below Thursday, March 19, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
Screenings are overbooked to 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 Montreal Members And Their Guests Are Invited To A 3D Screening Of Warner Bros. Pictures’ THE HOBBIT: THE BATTLE OF THE FIVE ARMIES
Please RSVP below Thursday, January 8, 2015 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6
(Time your arrivals for the Quiz at 7:45PM)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Start your weekend early , mark your calendar… Thursday December 11, 7 pm to 2 am, Our very FIRST – 2014 Year End Mega Party
Theatre de la plaza
http://www.theatreplaza.ca/photos/
6505, rue Saint-Hubert – Montreal, Quebec – H2S 2M6 – 1 block from METRO BEAUBIEN
This is NOT just for VES members but for all VFX professionals, all ranks, from junior artists to production,
to celebrate Montreal’s year in Film, TV and Video Game productions.
There is space for 500 people, so bring your co-workers, friends, come drink and dance the night away.
DJ will divide the night into themes.
7-8 Movie Music, 8-9 70’s Disco – 9-9:30 PRIZE give aways – 9:30-10:30 80’s Hits – 10:30-11:00 90’s Techno and 11 to closing – Today’s current young generation ;p club music
Thanks to Framestore, ILM, HP Canada, Ubisoft, Atomic Fiction, Cinema Du Parc and Scalar – we have cool prizes – over $3500 – to give away too.
If you are a VES member, make sure to bring your card, to be eligible for EXCLUSIVE members only prizes.
If you aren’t a member yet – don’t worry, we have great giveaways for you as well.
If you are a member from out of town, we’d love you to join in the fun too.
No need to RSVP. Just show up. If capacity does exceed 500, there maybe a line up outside to get in.
Come and celebrate the great work done in Montreal for 2014.
See you on the dance floor 🙂
————
Commencez votre week-end de bonheur, a mettre dans vos agendas … Jeudi 11 Décembre, 19 heures-2 heures, notre tout premier – Mega Party VES Fin d’année 2014
Théâtre de la place
http://www.theatreplaza.ca/photos/
6505, rue Saint-Hubert – 1 bloc de METRO BEAUBIEN
Pas seulement pour les membres VES mais pour tous les professionnels VFX, tous les rangs, de juniors à la production,
pour célébrer l’année 2014 VFX de Montréal dans le cinéma, la télévision et les productions de jeux vidéo.
Il ya de l’espace pour 500 personnes, donc amenez vos collègues, amis, venez boire et danser toute la nuit.
DJ diviseras la nuit en thèmes.
7-8 Music Film, 8-9 Années 70 Disco – 9-9: 30 TIRAGE des PRIX – 9: 30-10: 30 hits ’80 – 10: 30-11: 00 Techno ’90 et 11 jusqu’à la fermeture – musique de club d’aujourd’hui pour la jeune génération actuelle 🙂
Grâce à Framestore, ILM, HP Canada, Ubisoft, Atomic Fiction, Cinéma du Parc et Scalar – nous avons des prix cool à donner.
Si vous êtes membre VES, assurez-vous d’apporter votre carte, pour être éligible pour les prix EXCLUSIFS aux membres .
Si vous n’êtes pas encore membre – ne vous inquiétez pas, nous avons de grands cadeaux pour vous aussi.
Si vous êtes membre d’une autre ville, venez prendre un verre avec nous
Pas besoin de RSVP – pointez vous a la porte, si la capacité de 500 est atteinte, risque de faire la queue pour entrer
Venez célébrer le super travail que vous et vos amis avez fait à Montréal en 2014.
Rendez-vous sur la piste de danse 🙂
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members And Their Guests Are Invited To A Screening Of Paramount Pictures’ INTERSTELLAR
Please RSVP below
Thursday, November 20, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members And Their Guests Are Invited To A Screening Of Columbia Pictures’ FURY
Please RSVP below
Thursday, October 30, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members And Their Guests Are Invited To A 3D Screening Of Marvel Studios And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP below Wednesday, August 6, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Eight (8) Seats Are Available for Montreal VES Members To Attend the Framestore Crew Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Click here to RSVP
Monday, August 4, 2014 at 8:00PM
(Interested members must RSVP by midnight on August 3)
Scotia Bank Cineplex
977 Rue Sainte-Catherine Ouest Click here for a map
Due to the limited quantity, members only, no guests allowed. If too many people are interested, there will be a draw and you’ll receive a confirmation e-mail if you’re picked.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members And Their Guests Are Invited To A 3D Screening Of 20th Century Fox’s DAWN OF THE PLANET OF THE APES plus a live interactive Q&A with the filmmakers
Panelists will include Senior Visual Effects Supervisor Joe Letteri, Animation Supervisor Dan Barrett, Motion Capture Supervisor Dejan Momcilovic, CG Supervisor Phillip Leonhardt, and Terry Notary who plays the character of ‘Rocket’.
Please RSVP below Sunday, July 13, 2014 at 5:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in New Zealand) immediately following the screening. (be sure to include the hashtag, #VESDAWNOFTHEAPES, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members And Their Guests Are Invited To A 3D Screening Of Paramount Pictures’ TRANSFORMERS: AGE OF EXTINCTION
Please RSVP below Wednesday, July 9, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West, Montreal, QC H3H 1M6 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Due to the limited quantity, members only, no guests allowed.
If too many people are interested, there will be a draw and you’ll receive a confirmation e-mail if you’re picked.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Panelists will include overall Visual Effects Supervisor Carey Villegas, MPC Visual Effects Supervisor Adam Valdez and Digital Domain Visual Effects Supervisor Kelly Port, and Digital Domain Digital Effects Supervisor Darren Hendler, moderated by VES 2nd Vice Chair Nancy St. John.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMALEFICENT, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members & Guests Are Invited To A 3D Screening Of 20th Century Fox’s X-MEN: DAYS OF FUTURE PAST
Click here to RSVP
Wednesday, May 28, 2014 at 8:00PM
Technicolor Montreal
2101 Ste Catherine O, Montréal, QC H3H 1M6, Canada
Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Montreal VES Members And Their Guests Are Invited To Attend A 3D Screening Of Walt Disney Pictures’ & Marvel Studios’ CAPTAIN AMERICA: THE WINTER SOLDIER
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Panelists include Visual Effects Producer Josh Jaggars, Visual Effects Supervisor John ‘D.J.’ Des Jardin, and 3D Stereographer Sean Santiago.
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
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, and be sure to include #VESSUPER in your tweet.
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screenings. (be sure to include the hashtag, #vesoblivion, in your tweet.)
With an introduction by VFX Supervisor Joe Letteri plus live interactive Q&A with the VFX team from Weta Digital
Panelists will include Visual Effects Supervisors Eric Saindon & Matt Aitken, Animation Supervisor David Clayton and will be moderated by a VES New Zealand Board-member to be announced.
Saturday, December 15, 2012 at 8:00PM
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
Click here for a map
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place at Weta Digital in New Zealand) immediately following the North American and Sydney screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Plus live interactive Q&A with VFX Supervisor Bill Westenhofer & key members of the VFX Team.
Panelists will include overall Visual Effects Supervisor Bill Westenhofer, MPC Visual Effects Supervisor Guillaume Rocheron, Digital Supervisor Jason Bayever, and Animation Supervisor Erik de Boer, and will be moderated by VES Board-member Tim McGovern.
Sunday, December 2, 2012 at 3:00PM
Technicolor Montreal
2101 Ste Catherine West Montreal, QC, H3H 1M6
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place in Los Angeles) immediately following the North American and London screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
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