The newest addition to the Greater Las Vegas skyline is the 366-foot-tall Sphere. Its exosphere, the exterior shell of Sphere, has 580,000 square feet of LED panels that morph into all types of images. Sphere’s images range from a giant eyeball and leaf-like color bursts to an architectural lattice and a vivid moon. The Rockettes’ kicking and dancing also fill the Sphere and seem particularly well-suited to light up a Las Vegas night. (Photos courtesy of Sphere Entertainment)
On the outskirts of the Las Vegas Strip, a 366-foot-tall eyeball gazes out at the urban landscape. The traffic-stopping orb, simply named Sphere, has an exosphere of 580,000 square feet of LED panels that morph into the moon, an immense pumpkin, vast fireworks and much more.
While the exterior of Sphere is now an imposing part of the Greater Vegas skyline, its interior is an immersive, scaled-up entertainment destination with seats for 17,600+. Films, concerts and events are displayed on the largest high-resolution LED screen in the world, an arena-sized canvas for live action and visual effects.
The wraparound 16K x 16K resolution interior display is 240 feet tall, covers 160,000 square feet and is comprised of 64,000 LED tiles manufactured by Montreal-based SACO Technologies. The audio system, powered by Berlin’s Holoplot, uses 3D audio beam-forming technology and wave-field synthesis. Sphere Entertainment’s $2.3 billion project was designed by global architectural design firm Populous.
Sphere Entertainment developed bespoke technology for the outsized format, including its Big Sky 18K x 18K, 120 fps camera system. The Sphere Studios division’s main Burbank campus is dedicated to production and post-production of visuals and mixing of immersive audio for Sphere and houses Big Dome, a 28,000-square-foot, 100-foot-high geodesic dome that is a quarter-sized version of Sphere, for content screening.
The rock band U2 inaugurated Sphere with a five-month-plus residency for “U2: UV Achtung Baby Live at Sphere,” and showed off the venue’s vast creative possibilities for live shows. Director Darren Aronofsky’s immersive 50-minute film Postcard from Earth, which debuted soon after U2’s launch, tells the story of our planet seen from the future. Postcard used the Big Sky camera as well as Sphere’s 4D technologies, including an infrasound haptic system to simulate the rumbles of thunder or a rocket launch and sensory effects like breezes and scents.
Nevada’s most endangered species crowd Sphere’s interior in Es Devlin’s “Nevada Ark” for U2’s show. (Photo: Es Devlin. Courtesy of disguise and U2)
“At its best, cinema is an immersive medium that transports the audience out of their regular life, whether that’s into fantasy and escapism, another place and time or another person’s subjective experience. The Sphere is an attempt to dial up that immersion,” Aronofsky wrote in a press release.
Soon after Sphere’s opening, Autodesk and Marvel Studios teamed up to create an ad celebrating the former’s software and The Marvels film for an Autodesk customer event in Las Vegas. The Mill helped with the VFX, utilizing the Autodesk tools Maya and Arnold. The segment featured a gigantic Goose the flerken (a cat-like creature that transforms into a monstrous alien) on the exterior of Sphere, another massive visual certain to draw attention for miles around.
7thSense provides Sphere’s in-house media servers, processing and distribution systems utilized fully on Postcard from Earth. They are the venue’s main playback system. For “U2:UV,” the visuals were coordinated by Treatment Studio and powered at Sphere by a disguise playback system.
U2ATSPHERE
Brandon Kraemer served as a Technical Director for Treatment Studio on the “U2:UV” residency at Sphere. He comments, “The unique thing that Sphere brings to the concert experience is a sense of immersion. Given that it’s a spherical image format and covers much of your field of view – and it’s taller than the Statue of Liberty on the inside – means it becomes an instant spectacle, and if you leverage that for all its uniqueness, you can’t help but blow audiences’ minds.”
Kraemer recalls, “Willie Williams [U2 Creative Director and Co-Founder of London-based Treatment Studio] contacted me in September of 2022 about the project. That was very early on in the process. Early creative was being discussed then, but just as importantly we started to embark on just how we were going to technically pull this off.”
Kraemer continues, “The majority of the visuals were designed by the artists at Treatment under the creative direction of Williams and Producer Lizzie Pocock. However, there were other collaborators on key pieces as well. Khatsho Orfali, David Isetta and their team from Industrial Light & Magic created an amazing cityscape that deconstructs itself for U2’s new song ‘Atomic City.’ And, he adds, “Marco Brambilla and his team at The Mill in Paris created a unique world for ‘Even Better Than the Real Thing,’ a dense psychedelic collage.”
The newest addition to the Greater Las Vegas skyline is the 366-foot-tall Sphere. Its exosphere, the exterior shell of Sphere, has 580,000 square feet of LED panels that morph into all types of images. Sphere’s images range from a giant eyeball and leaf-like color bursts to an architectural lattice and a vivid moon. The Rockettes’ kicking and dancing also fill the Sphere and seem particularly well-suited to light up a Las Vegas night. (Photos courtesy of Sphere Entertainment)
To capture large-scale, ultra-high-resolution imagery, Sphere Entertainment’s Burbank-based unit, Sphere Studios, developed the 18K x 18K, 120fps Big Sky camera system, used in spectacular fashion by Darren Aronofsky’s Postcard from Earth. (Photo courtesy of Sphere Entertainment)
A massive cross of light is a simple but powerful visual at this scale, part of the band’s “U2: UV Achtung Baby Live at Sphere” residency. (Photo Kevin Mazur. Courtesy of disguise and U2)
There were numerous technical challenges and quite a few diplomatic challenges as well, and these two areas often overlapped. Kraemer explains, “Opening a building and working in a construction site while stepping through rehearsal programming is quite a feat. My hats off to U2’s legendary Production Manager, Jake Berry, for keeping the whole operation moving forward in the face of what were, at times, some serious headwinds. Getting content rendered on that screen has lots of challenges along the way, and we were also very fortunate to have the support of disguise and their [GX 3] servers as the backbone of the playback system. We couldn’t have produced the show we did without their support.” In addition, the show utilized a custom stage, based on a turntable design by Brian Eno, and covered by Yes Tech and ROE panels.
U2’s reaction was very positive, according to Kraemer. “The band put a lot of trust in the teams that Willie Williams put together, and they were pretty blown away by it all.”
DISGUISE
Peter Kirkup, disguise’s Solutions and Innovation Director, recalls, “We first became involved in Sphere through [U2’s Technical Director and Video Director] Stefaan ‘Smasher’ Desmedt. Together with Smasher, disguise has been working on U2 shows for decades, so it was a perfect fit.”
Kirkup adds, “Disguise’s software and hardware powered the visuals that were displayed on Sphere’s wraparound LED screen during the U2 show. First, our Designer software was used to help previsualize and edit the visual content – all brought together by the creative minds at Treatment Studio, including Brandon Kraemer and Lizzie Pocock as well as Willie Williams.”
Disguise’s Designer software allowed the creative team to previs their visuals on a computer with the help of a 3D digital twin of the Sphere stage. “This real-time 3D stage simulator meant ideas could be communicated more clearly and quickly to get everyone on the same page,” Kirkup notes. “Designer also helped the team to sequence the visuals into a timeline of beats and bars – and import audio to lock visuals to the beat. This helped create snappy, rhythmic edits and some extra looping segments that could be pulled in on the fly in case the band decided to do an extra riff on the day of the show.”
Kirkup continues, “Once the visuals were complete, our software split and distributed the 16K video into sections. We were working with one contiguous LED screen but still needed to split the video into sections because of the sheer volume of content involved. We were playing real-time Notch effects and pre-rendered NotchLC content at 60fps across the Sphere’s 256,000,000 pixel, 16K x 16K interior canvas.
“Finally, our GX 3 media servers enabled all individual pieces to be perfectly in sync throughout the show,” Kirkup says. “This technology also allowed us to composite layers of video together in real time. For example, the video feed of the band that cinematic cameras were capturing during the show could be composited into our LED visuals from the Designer software. Each server was also upgraded with a 30-terabyte hard drive, so we had local storage machines for playout and 100GB networking back to the content store for file transfers and media management.”
Kirkup adds, “We furthered our Single Large Canvas workflows, which enable content to be broken up into pieces and distributed across a cluster of machines – essential work to make a project like this come to life. We also introduced some custom color pipeline work for Sphere, adapting our standard color pipeline to match the unique characteristics of the in-house LED system.” Adds Kirkup. “A big challenge was handling such a large volume of content across 256,000,000 pixels – in real time. There were 18,000 people watching the show, and they all had their camera phones ready to broadcast to even more people, so we really had to make sure the show went well.”
Kirkup remarks, “Bono mentioned this during the show, but I believe the most important thing about Sphere is that for the first time, a venue of this scale is being created with musicians in mind. In the past, musicians needed to squeeze into sporting arenas or stadiums that weren’t created for music – they may have had tiny screens or the wrong acoustics. With Sphere, that’s all changed. For real-time graphics and VFX artists, that’s a big trend to watch for in 2024 and beyond. I expect to see more venues designed specifically to highlight 3D visuals. With that, more VFX artists and studios will be pulled in to develop not only movie and TV effects – but incredible visuals for live events, too. The two industries will start to blur.”
7THSENSE
7thSense – a creative software and technology company based in Sussex, England – put together the Sphere in-house playback system and provides hardware for media serving, pixel processing and show control. “Building a first-of-its-kind venue like Sphere brought with it a significant number of challenges that the 7thSense team was keen to dig their collective fingers into,” explains Richard Brown, CTO of 7thSense.
Brown notes, “Managing exceptionally large canvases of playback, generative and live media as a single harmonious system is of utmost importance in a venue of this scale, and it is a workflow and underpinning technology we have been working on for quite some time. With a 16K x 16K canvas size, Sphere placed a priority on accelerating the development of the tools for media playback, multi-node rendering of generative assets and live compositing from multiple ST 2110 streams, as well as for pre-visualizing the show without having access to the full system. Because time in the venue is an incredibly rare commodity, anything that can be done ‘offline’ helps to make the time in the venue more productive.”
The visuals for U2’s “Atomic City,” with VFX work by ILM, includes a stunning deconstruction of Las Vegas going back in time. (Photo: Rich Fury. Courtesy of disguise and U2)
The desert landscape around Las Vegas became a backdrop for U2’s “Atomic City.” (Photo: Rich Fury. Courtesy of disguise and U2)
Marco Brambilla’s dense psychedelic collage “King Size,” put together with the help of the Mill in Paris, is an ode to Elvis Presley that accompanies the U2 song “Even Better than the Real Thing.” (Photo: Rich Fury. Courtesy of disguise and U2)
The interior display of Sphere is 240 feet tall and covers 160,000 square feet with LED panels from SACO Technologies. (Photo: Rich Fury/Ross Andrew Stewart. Courtesy of disguise and U2)
The interior display of Sphere can create huge individual displays for any performer, and the venue uses 3D audio beam-forming technology and wave field synthesis for an appropriately big and precise sound. (Photo courtesy of disguise and U2)
The huge $2.3 billion Sphere has altered the Greater Las Vegas skyline and become an entertainment destination, celebrating its launch in September 2023 with the “U2: UV Achtung Baby Live at Sphere” residency. (Photo courtesy of Sphere Entertainment)
Brown adds, “High-speed streaming of uncompressed media from Network Attached Storage (NAS) is something we have been wanting to do for a long time, but the technology was not sufficiently advanced to support the bandwidth and timely delivery of data until very recently. Fortunately, the use case for this technology aligned very much with the desired workflow at Sphere, giving us the chance to really dig into what could be an industry-changing technology for media production and presentation systems.”
Brown continues, “Managing synchronized media playback across dozens of servers is one thing, but making it straightforward for a show programmer to build the show that spans dozens of servers is quite another. 7thSense developed an Asset Logistics workflow that simplifies what actual movie frames each server streams from the NAS based on representative meta-media used for programming the show timeline.”
Brown explains, “Each server is configured with what section of the dome it is responsible for playing back, and this information, coupled with the name of the movie from the timeline, is used to determine the file path on the NAS that each media server uses to access the appropriate movie frames. This workflow reduces user error and makes timeline programming significantly faster than managing individual movies per server.”
Brown comments that Sphere is the first entertainment venue of its kind when it comes to the size and resolution of the media being presented to an audience. He says, “It is imperative that all media players, generative engines and pixel processors are working in absolute synchronization, or the illusion of immersion is lost for the audience. Worse than that, image tearing or jitter, could cause the audience to become ill because of the immersive nature of the media plane. Everywhere you look, you are surrounded by the media.”
In addition, Brown notes, “Not only is it our first major application of ST 2110, it just happens to be the largest ST 2110 network in an entertainment venue on the planet!” 7thSense has been in the world of immersive presentations in planetaria, domed theaters, museums and theme park attractions since going into business nearly 20 years ago. But what has been created at Sphere is something new, a destination live-event venue, and the technology far surpasses what has been built to date. This hybrid type of entertainment has the potential to create its own category of immersive live show experience. It’s exciting to be part of the team building it from the ground up.”
“I think it’s an experience like no other,” Treatment Studio’s Kraemer says about Sphere. “It was a thrilling experience to be part of the first creative team to produce an amazing show there.
I think ‘U2:UV’ will be a very tough act to follow, but I think there is a tremendous opportunity to give an audience something that is impossible in a stadium or arena show, and I look forward to seeing how this all evolves.”
Snoop Dogg at Astro Project motion capture studio in Santa Monica for his “Crip Ya Enthusiasm” music video utilizing the Vicon system and StretchSense gloves. (Image courtesy of Vicon and Astro Project, LLC)
Motion capture, performance capture and volumetric video technologies are rapidly advancing, incorporating AI and ML to a greater extent and focusing on enhancing realism, precision and accessibility. Peter Rabel, Technical Product Manager at Digital Domain, comments, “The trend towards real-time capabilities has become prominent, allowing for immediate feedback and integration into virtual environments, video games and live events. As we integrate artificial intelligence and machine learning as tools to enhance these functions’ capabilities further, it will enable automated analysis and capture of movements in real-time, which will help save time on the process, leading to cost savings. It’s essential for us to stay updated on recent developments and industry trends to understand the current trajectory of these capture technologies as technology continues to evolve so we can better serve our clients.”
VICON:MARKERLESS
Vicon made a splash in 2023 with its Los Angeles SIGGRAPH announcement of the debut of its machine learning (ML) powered markerless mocap. The news came after some three years of research and development focusing on the integration of ML and AI into markerless motion capture at Vicon’s R&D facility in Oxford, U.K. Vicon collaborated on the technology with Artanim, the Swiss research institute that specializes in motion capture, and Dreamscape Immersive, the VR experience and tech company.
“The ability to capture motion without markers while maintaining industry-leading accuracy and precision is an incredibly complex feat,” says Mark Finch, Vicon’s Chief Technology Officer. “After an initial research phase, we have focused on developing the world-class markerless capture algorithms, robust real-time tracking, labeling and solving needed to make this innovation a reality. It was our first step towards future product launches, which will culminate in a first-of-its-kind platform for markerless motion capture.”
On the mocap set of She-Hulk: Attorney at Law with diode suit and Digital Domain’s Charlatan “face-swapping” system. (Photo: Chuck Zlotnick. Courtesy of Marvel Studios)
Finch continues, “What we demonstrated at SIGGRAPH was markerless recognition of the human form – using prototype cameras, software and algorithms – to track six people, with their full body solved in real-time, in a VR experience. This completely the need for participants to wear heavy gear with motion capture markers. As a result, the VR experience is more seamless and believable as the motion capture technology is largely invisible and non-invasive.” Finch adds, “Of the technology we showcased, Sylvain Chagué, Co-Founder and CTO of Artanim and Dreamscape, said, ‘Achieving best-in-class virtual body ownership and immersion in VR requires both accurate tracking and very low latency. We spent substantial R&D effort evaluating the computational performance of ML-based tracking algorithms, implementing and fine-tuning the multi-modal tracking solution, as well as taking the best from the full-body markerless motion capture and VR headset tracking capabilities.’ ”
ROKOKO VISION
Based in Copenhagen, Rokoko had two major announcements on the product front in the last year, “First, with Rokoko Vision, our vision AI solution that allows for suit-less motion capture from any camera. We released the first iteration mainly to get to know the space and gather insights from early use of the product,” CEO and Founder Jakob Balslev comments. “It’s becoming increasingly clear to us what the users need, and we are excited to release more updates on that front.
Rokoko’s Coil Pro is the company’s recent innovation in motion capture hardware, featuring no drift and no occlusion through a fusion of EMF and IMU capture. (Image courtesy of Rokoko)
OptiTrack’s Primex 120 and Primex 120W cameras offer the company’s longest camera-to-marker range for Passive and Active markers. OptiTrack accuracy with more range enables very large tracking volumes for a wide variety of training and simulation scenarios, extreme ground or aerial robotic facilities and larger cinematic virtual production studios. (Image courtesy of OptiTrack)
OptiTrack’s Primex cameras quickly identify and track Passive and Active markers. (Image courtesy of OptiTrack)
He adds, “Second, we unveiled our Coil Pro – the biggest innovation we’ve ever done on the hardware side – and, in my eyes, probably the biggest innovation ever in motion capture. Through a fusion of EMF and IMU capture, the Coil Pro unlocks the holy grail of motion capture: No drift and no occlusion. With drift-free global position over time and no need for line of sight from optical solutions, the Coil Pro is the best of both worlds of mocap [IMU and optical]. The underlying platform, named Volta Tracking Technology, fuses EMF and IMU and will be at the core of all our motion capture hardware solutions going forward.”
DIGITALDOMAIN:CHARLATAN
Digital Domain is further developing its machine learning neural rendering software Charlatan (sometimes referred to as a face-swapping tool). “Acknowledging the expense and time associated with traditional methods, including our top-tier Masquerade [facial capture] system, we developed Charlatan to introduce efficiency and affordability,” Rabel comments. “Several years ago, Charlatan was created using machine learning techniques. This innovative approach involves utilizing real photography of an individual’s face and applying enhancements, seamlessly transferring it to another person’s face, or even manipulating discrete aspects such as aging or de-aging. Recently, we have been developing Charlatan 3D, which evolves this technology to produce full 3D geometry from this process but at a lower cost and simpler capture conditions than Masquerade. In essence, Charlatan represents a significant stride towards streamlining the creation of lifelike digital humans with unparalleled realism.”
OPTITRACK:NEWCAMERAS
OptiTrack provides tracking solutions that vary in use, including AAA game studios, medical labs, and consumer and prosumer budget solutions. In November the firm announced its three most advanced motion capture cameras; the PrimeX 120, PrimeX 120W and SlimX 120. “With higher resolution and increased field of view, these new additions enable larger tracking areas for a wider variety of training and simulation scenarios and larger cinematic virtual production studios,” says Anthony Lazzaro, Senior Director of Software at OptiTrack. All three cameras, which are designed and manufactured at OptiTrack’s headquarters in Corvallis, Oregon, feature their highest-yet resolution, 12 megapixels. With the PrimeX 120, customers benefit from a standard 24mm lens while the PrimeX 120W comes with an 18mm lens with a wider field of view. [And] we have 24mm or 18mm wide lens options available with the Slim X 120.”
Lazzaro continues, “We also released a more informative and intuitive version of our mocap software, which is now compatible with all OptiTrack mocap cameras. Motive 3.1 is aimed at simplifying high-quality, low-latency performance motion tracking, offering users easy-to-use presets and labeling for tracked items that deliver the best possible motion data while saving time and eliminating extra steps. Customers also have greater visibility into possible issues and can automatically resolve against the harshest of tracking environments.”
STRETCHSENSE:MOCAPGLOVES
Founded in Auckland in 2012, StretchSense took on the mission to build the world’s best stretchable sensors for comfortably measuring the human body. “Building on top of our sensor technology, in 2019 we pivoted the business to focus on motion capture gloves for AAA studios, indie studios, streamers, VR/AR, live shows and more,” explains StretchSense Co-Founder and VP Partnerships & New Markets Benjamin O’Brien.
“Our Studio Gloves are incredibly unobtrusive, with a less than 1mm thick sensor layer on top of breathable athletic fabric, and a small transmitting module,” O’Brien says. “This is more than just a comfort and style thing though; it means that our gloves don’t get in your way, and you can continue to type, use a mouse, hold a prop, use your phone or just get a pizza from the door. Once you start to think about mixed-reality applications, this becomes even more critical, as our gloves allow you to switch seamlessly between interacting with virtual spaces and the real world.”
O’Brien adds, “Our mission is to democratize motion capture, allowing independent content creators and streamers to create incredible and immersive stories and experiences. To achieve this, we have a long-term goal of getting our gloves down to a true consumer price point, which will really open up the space. At $795, we think our latest StretchSense Studio Glove is the biggest step the industry has ever taken towards this goal; less than two years ago, something with similar performance would have cost well over $5,000.”
ARCTURUSANDVOLUMETRICVIDEO
Based in Beverly Hills, Arcturus Studios was founded in 2016 by veterans of DreamWorks, YouTube, Autodesk, Netflix and other notable companies. “Together, they saw the potential for volumetric video and decided to work together to steer its development,” recalls Piotr Uzarowicz, Head of Partnerships and Marketing at Arcturus. “That led to the creation of the HoloSuite tools, consisting of HoloEdit – a tool that can edit the 3D performances of performers recorded with volumetric video – and HoloStream, software that can compress a completed volumetric video file and stream it to any 2D or 3D device, even if the broadband signal is unstable. Together, HoloSuite has helped make it possible to use volumetric video for everything from e-commerce to AR projects to virtual production and more.”
Uzarowicz continues, “Arcturus took over Microsoft’s Mixed Reality Capture Studios (MRCS) business [in 2023], including the development of that capture system – the most sophisticated in the world – as well as the rights to maintain and supply MRCS licenses to studios around the world. That has put Arcturus in a unique position where it is now developing for all stages of volumetric video, from the capture and editing all the way to the final distribution.”
“One of our goals has always been to make volumetric video more accessible. We’re looking at new ways to make it easier to capture volumetric videos using fewer cameras, including the use of AI and machine learning. With the MRCS technology and our licensees, we are working with some of the best and most creative content creators in the world to find where the technology can evolve and improve the production experience,” comments Uzarowicz. “We just released a new video codec called Accelerated Volumetric Video (AVV) that makes it possible to add more volumetric characters to a digital environment. With the MRCS technology, the quality of a captured performance is better than ever. Volumetric video is constantly evolving,” he adds.
OptiTrack’s Motive 3.1 advanced motion capture software can be paired with any of OptiTrack’s motion capture cameras, including the premium PrimeX, Slim or low-cost Flex series. Motive 3.1 also offers trained markersets, enhanced sensor fusion and pre-defined settings. (Image courtesy of OptiTrack)
StretchSense makes motion capture gloves for major and indie studios, streamers, VR/AR and live shows. (Image courtesy of StretchSense)
StretchSense’s mocap gloves are unobtrusive, with a less than 1mm-thick sensor layer on top of breathable athletic fabric and a small transmitting module. StretchSense’s $795 Studio Glove is a step toward the company’s goal of getting its gloves down to a true consumer price point. (Image courtesy of StretchSense)
“The trend towards real-time capabilities has become prominent, allowing for immediate feedback and integration into virtual environments, video games and live events. As we integrate artificial intelligence and machine learning as tools to enhance these functions’ capabilities further, it will enable automated analysis and capture of movements in real-time, which will help save time on the process, leading to cost savings.”
—Peter Rabel, Technical Product Manager, Digital Domain
Arcturus took over Microsoft’s Mixed Reality Capture Studios (MRCS) business in 2023, including development of the capture system, as well as rights to maintain and supply MRCS licenses to studios worldwide. Arcturus also now develops for all stages of volumetric video. (Image courtesy of Arcturus)
Arcturus’s HoloSuite tools consist of HoloEdit – a tool that can edit the 3D performances of performers recorded with volumetric video – and HoloStream, software that can compress a completed volumetric video file and stream it to any 2D or 3D device, even if the broadband signal is unstable. With HoloSuite it’s possible to use volumetric video for e-commerce, AR projects and virtual production. (Image courtesy of Arcturus)
MOVEAI
Move AI has announced the official release of a single-camera motion capture app, Move One, the company revealed in late November. “The app is now available to animators and creditors looking to bring realistic human motion to their 3D characters,” said the company. “Move AI makes it easy to capture and create 3D animations.”
AI/ML
“Arcturus is currently experimenting with AI and machine learning in several ways. From the moment we were founded, one of our main goals has always been to make volumetric video more accessible, and AI can help us do that in a few different ways,” Uzarowicz comments. “Among other things, one of the areas we are currently focusing on in our R&D is using AI to help us capture the same level of quality – or better – we can currently capture but use fewer cameras. One of the things that makes our MRCS technology the best in the world is the software that converts the multiple captured recordings into a single 3D file. With AI, we hope to improve that process.” Regarding AI/ML, O’Brien says, “We are seeing many companies using motion capture to create their own proprietary databases for training or tuning generative AI models, and we are looking at how we can lean into this. Finally, we are ourselves constantly investing in machine learning to improve the data quality [of ] our products.”
“Given our experience with machine learning, we see Gen AI as a tool like any other in our toolbox, enabling us to create artistically pleasing results efficiently in support of the story,” Digital Domains’s Rabel says. “We have found that the combination of powerful tools, such as machine learning and AI, with our artists’ creative talent produces the photorealistic, relatable, believable and lifelike performances we are striving for. We feel the nuances of an actor’s performance in combination with our AI and machine learning toolsets are critical to achieving photorealistic results that can captivate an audience and cross the uncanny valley.”
Lazzaro comments, “OptiTrack already uses ML algorithms to derive optimal solutions for things like continuous calibration and trained markersets. Continuous calibration takes existing visible objects in a scene, i.e. markers, and uses that data to determine how to make small adjustments to fix calibration issues related to bumps, heat or human error. Trained markersets allow you to feed marker data into an algorithm to make a model that can track objects that were previously not trackable, such as trampolines, jump ropes and other non-rigid objects. Lazzaro adds, “Advances in AI and ML will continue to shape the way that objects are tracked in the future.” Rokoko’s Balslev notes, “AI/ML will fundamentally change the motion capture space. Text-to-motion tools are emerging and maturing and will eventually completely disrupt the stock space for online marketplaces and libraries. These tools will however not be able to replace any custom mocap that requires acting and specific timing.”
Our mission is to democratize motion capture, allowing independent content creators and streamers to create incredible and immersive stories and experiences. To achieve this, we have a long-term goal of getting our gloves down to a true consumer price point, which will really open up the space. At $795, we think our latest StretchSense Studio Glove is the biggest step the industry has ever taken towards this goal; less than two years ago, something with similar performance would have cost
well over $5,000.”
—Benjamin O’Brien, Co-Founder and
VP Partnerships & New Markets, StretchSense
Move AI offers a single-camera motion capture app, Move One, for animators looking to bring realistic human motion to their 3D characters, making it easy to capture and create 3D animations. (Images courtesy of Move AI)
VR AND MOCAP
“We [Vicon and Dreamscape Immersive] are together mapping out just how far markerless mocap can go in providing a more true-to-life adventure than any other immersive VR experience by allowing for more free-flowing movement and exploration with even less user gear,” Vicon’s Finch comments. “Dreamscape has said it has long awaited the time when markerless could break from concept and into product, where the technology could support the precision required to realize its amazing potential. We’re testing that potential together now.” Finch adds, “Seeing people’s initial reactions to VR when they’re fully immersed is remarkable. The fantasy-reality line blurs, the more freedom you have in a VR space, which is reduced when a user is tethered and they feel the pull of the cable or know they’re wearing a backpack.” He continues, “There’s also the customer experience element that’s a central driver in all of this. People’s experience with markerless is a big wow moment. Markerless is going to lead to more magic – more wow.”
Lazzaro explains, “Mocap is used in all sorts of VR and AR applications. Typically, home systems use what is called inside-out tracking to have a head-mounted display [HMD] track the world around a user. This works great for HMD and controller tracking, but can’t be used to see other people wearing HMDs. OptiTrack uses an approach called outside-in tracking where we track the HMD, controllers and props using external cameras. This allows users to build location-based VR experiences in which multiple people can go through an experience together or engineers can work on designs in VR as a group.”
OUTLOOK
“We think these markets [motion capture, performance capture and volumetric video] will all be changed with the continued increase in accessibility,” comments StretchSense’s O’Brien. You can now do full-body mocap for less than the cost of a new iPhone, and basic volumetric capture can now be had for free on that same iPhone. This means different things for different markets: On a major AAA studio, you are going to see mocap happening on all of the people all of the time, and also on more ambitious projects that have more animated content than ever before. For independent creators, the financial costs of getting into mocap are dropping away so more people can join the space. Finally, there are millions of streamers worldwide who are getting new ways to connect with their community and make money while doing so by stepping into virtual worlds.”
“Mocap has a bright future in a variety of markets,” OptiTrack’s Lazzaro says. “This includes but is not limited to movies, video games, medical applications, robotics, measurement and VR. Mocap techniques are also becoming more commonplace with V-Tubers and other prosumer applications.”
A major visual effects undertaking was constructing the environment and crowd at Tsinghua University watching the torture of intellectuals during the Chinese Cultural Revolution.
A computational conundrum occurs when the motion of three celestial bodies mutually influences each other’s gravitation pull. This serves as the premise for the science fiction series 3 Body Problem by novelist/series writer Liu Cixin, where an alien race living on an environmentally unstable planet caught between a trio of suns sets in motion a plan to invade Earth with the assistance of human conspirators. Adapting the novels for Netflix is Game of Thrones duo, David Benioff and D.B. Weiss, along with True Blood veteran Alexander Woo. The first season of 3 Body Problem encompasses eight episodes that feature major visual effects spanning environment builds, a multi-dimensional supercomputer compressed into a proton, a sliced and diced oil tanker, characters being rehydrated/dehydrated and a virtual reality game that literally feels real. The epic scope of the project required the creation of 2,000 shots by Scanline VFX, Pixomondo, BUF, Image Engine, Screen Scene and El Ranchito. An in-house team took care of additional cleanups, which ranged from a character blinking too much to having to paint out an unwanted background element.
Previs was an indispensable tool. “It’s a complete game-changer being able to do everything in Unreal Engine,” Visual Effects Supervisor Stefen Fangmeier states. “We did nearly no storyboarding. It was essentially camerawork. The funny thing was they were trying to get me to use a camera controller, and I said, ‘No. I’m a curve guy.’ I set a keyframe here and a keyframe there and interpolate. I even reanimated characters, which you can do in Unreal Engine in the most elegant way. You can take a couple of big performances and mix them together; it’s a fantastic tool. We worked with NVIZ in London who would prep all of these scenes, do the animation, then I would go shoot and light it; that was a great joy for me, being interactive. What was so interesting about 3 Body Problem was there is an incredible variety of work.”
Vedette Lim as Vera Ye in one of the many environments given the desired scope and vastness through digital set extensions.
A unique cinematic moment involves an oil tanker being sliced by nanowires as part of an elaborate trap to capture a hard drive belonging to a cult that supports the San-Ti invading Earth. “People get sliced every 50 cm, which we did mostly with digital doubles and a few practically built hallways and interior buildings. When you slice something that heavy vertically at 50 cm increments, the weight of what’s above it keeps it in place until the bow hits the shoreline. The dish on top of it collapses into the Panama Canal, which we created as a full CG environment,” Fangmeier states.
Opening the series is a massive crowd gathering at Tsinghua University during the Chinese Cultural Revolution to watch the torture of intellectuals, and because of the controversial nature of the subject matter shooting in Beijing was not an option. “Ultimately, we built the environment from photography and then took some liberties,” Visual Effects Producer Steve Kullback describes. “We wanted it to be realistic, but how big is the quad? What did the buildings actually look like? I don’t think anybody is tracking it quite that precisely, but what we ended up with is having 100,000 screaming students in front of us, and that was all shot quite virtually with a stage set that was built out and extended. It was an array of bluescreens on Manitous that were set up to move around and reposition behind 150 extras.” Crowd tiling was minimal. “We did one shot, which was a poor artist’s motion control. The director wanted a shot where the camera is pushing out towards the stage over the crowd, so what we did was start in the foreground pushing over it, repeat the move pushing over it and move everyone up. We put the pieces together, and it worked quite well. We didn’t have a motion control crane, just a 50-foot Technocrane and a good team that was able to repeat their moves nicely,” Kullback says.
Bai Mulin (Yang Hewen) sits alongside Young Ye Wenjie (Zine Tseng) who makes a fateful first contact with the San-Ti, which sets their invasion plans in motion.
A radar dish test at Red Coast Base kills a flock of birds that were entirely CG.
Sophon (Sea Shimooka) is an avatar in a VR game created by the San-Ti to illustrate the destructive environmental impact of living next to three suns.
The reflective quality of the VR headset meant that extensive photogrammetry had to be taken so each set piece could be reconstructed digitally.
One of the major environments simulated in the VR game is the observation deck of the Pleasure Dome constructed by Kublai Khan.
Another key environment build was the Red Coast Base where astrophysics prodigy Ye Wenjie makes first contact with the San-Ti in the 1960s, which sparks an invasion conspiracy. “For Red Coast Base, we had part of an observation base in Spain that was on a mountaintop, and it was a windy day with no rain, so we had some nice sunsets and great clouds,” Visual Effects Supervisor Rainer Gombos remarks. “Some of the buildings didn’t match what we wanted, and the main building was missing the large radar dish. We only had the base built for that. We had some concepts from the art department for how the extensions should work, and then we did additional concept work once we had the specific shots and knew how the sequence would play out.” The years leading up to the present day have not been kind to the Chinese national defense facility. “The roofs have collapsed, so we had to design that. It had to look like winter and cold when it was actually a hot spring day with lots of insects flying around, which had to be painted out. There is a sequence where the radar dish is being used for some test, and birds are flying from the forest and get confused by what is happening, fly close to the dish and die. There were a lot of full CG shots there and CG birds that had to be added. Also, one of the characters revisits the base to commit suicide, so we had to introduce a digital cliff that allowed her to walk up to the side of the dish and look over,” Gombos adds.
30 million Mongol soldiers appear in front of the Pleasure Dome before being lifted into the air because of the gravitational pull of the three suns.
Simulating what life is like on Trisolaris is a virtual reality experience developed by the San-Ti that demonstrates the global catastrophes caused by living in close proximity to three suns. “It was described as a simple arid desert landscape,” Fangmeier explains. “The more unique aspect of that was a certain lighting change. One sun, small and in the distance, was rising, and then suddenly that goes away and it’s night again. Having the light on the actors move that quickly was tricky to achieve on set. We decided along with Jonathan Freeman, the DP for Episodes 101 and 102, to shoot that in a LED stage with a bunch of sand on the ground where we could animate hot spots and the colors of the panels even though we were going to replace all of that in CG.” Being in the realm of VR meant that the destruction could be fantastical, such as 30 million Mongol soldiers being lifted in the air because gravity no longer exists, or witnessing the entire landscape engulfed by a sea of lava. Fangmeier explains, “Then, we have some pseudoscience, like going inside of a particle accelerator. The San-Ti have sent these two supercomputers the size of a proton to stop the progress of human technology, so when they arrive 400 years later [Trisolaris is over three light years from Earth], we won’t be able to easily destroy their fleet. The proton [referred to as a sophon] unfolds into this giant two-dimensional sphere that then gets etched with computer circuitry. We talked a lot about going from 10 dimensions down to two and then going back to a 10-dimensional object. It’s stuff where you go, ‘That’s what it said in the book and script. But how do you visualize that?’”
The VR game created by the San-Ti is so sophisticated that it stimulates the five senses of users such as Jin Cheng (Jess Hong).
The VR game setting allowed for a more hyper-real visual language and the ability to defy physics, like when Sophon (Sea Shimooka) talks with Jin Cheng (Jess Hong) and Jack Rooney (John Bradley) in Episode 103.
The Follower (Eve Ridley) and Sophon (Sea Shimooka) are San-Ti appearing in human form to make it easier for VR users from Earth to relate to them.
Eiza González portrays Auggie Salazar, a member of the Oxford Five, which attempts to foil the invasion plans of the San-Ti.
Cinematographer Jonathan Freeman made use of complex and specific lighting panels for the VR setting shots to emulate what it would be like surrounded by three suns.
To preserve their species until the chaotic era gives way to a stable one, the San-Ti have a specific methodology that involves dehydrating and rehydrating their bodies. “It happens in two places and provided us with unique challenges and creative opportunities,” Kullback observes. “The first time we see it is when the rolled-up dehydrated bodies are being tossed into the water by the army to bring our characters back to life. The rolled-up bodies that get rehydrated were a prop that was designed by the prosthetics artists and looked quite beautiful. We go underwater and see the roll land and begin to unfold. The camera is below it and the sun is above the water, so you have these beautiful caustics and an opportunity for all kinds of subsurface scattering and light effects that make the image magical and ethereal and support the birthing process that it’s meant to represent. At the end of the experience, you have a beautiful nude woman who comes to the surface. Then, you find there are other nude folks who have been rebirthed. We shot in a tank at Pinewood to have the underwater shots and the shots of the woman, who is the final realization of this rebirthing. For the elements of the roll landing in the water, we did shoot one for real, but ultimately that was CG. Then the environment above the surface was fully CG. But then you go to the virtual reality game where Jin Cheng is walking with the Emperor and the Follower, and a chaotic era suddenly comes upon us, and there is no room to hide behind a rock from the immense forces of the sun getting ready to melt everybody. The Follower lies down on the ground in a vast desert with the pyramid off in the distance and has to dehydrate. That one presented a bit more of a challenge because you didn’t have the opportunity to travel around her and have these beautiful caustics. We heavily researched the footage of things dehydrating, like fruit left in the sun rotting, to try to get a look that was like how the body would deflate when it was completely sapped of water.”
Being able to digitally reconstruct sets and locations was made even more important by having a highly reflective VR headset. “The reflective headset required some photogrammetry type work while you were shooting because it was often in smaller places, and there’s some crew, all of the lighting equipment, and everything is dressed in one direction,” Gombos remarks. “You had to capture that three-dimensionally because as production turned around, you needed it for the paint-out from the other direction. We had HDRI panorama photography of that, but then we also had good spatial information about the room and how that would connect to the shot lighting we would do. We wanted to be precise, and on top of that, we often did a special reconstruction shoot after we were done. I would come in for a few hours and do the photography and LiDAR required for locations. These assets were created on the fly, so we had them to review our work but also to send off to the vendors, and they were using them in post. The 3D assets were helpful in quality-controlling the work and a good tool for orienting our teams. I could have this little 3D representation of the set and share and discuss that with the DP or director. I would say, ‘If they are here, it’s going to look like this.’ It wasn’t theoretical but quite precise.”
“One thing that was a bit different for me was that I did a lot of the concept work,” Gombos observes. “I enjoyed doing that for set extensions that then Stefen and the visual effects vendor working with him would execute.” Fangmeier is intrigued by what the viewer reaction will be beyond hardcore sci-fi fans of the books. “It’s not your typical sci-fi where you spend a lot of time in outer space or meet aliens, and it’s not an alien invasion per se. It’s the first season, so it’s fairly mellow and highbrow. It’s deals with concepts other than the stuff that people are usually used to when they watch sci-fi. I’m curious what the mainstream viewer will think about that.”
There is a core mandate no matter the project for Kullback. “If we are able to help tell the story visually in areas where you can’t photograph something, then that’s our dimension. We’re never creating eye candy for the sake of eye candy. We work hard to have everything that we do fit into the greater whole and to do it in a seamless and attractive way. And, most importantly, in a way that communicates and moves the story forward and realizes the vision of the filmmakers.”
With the release of “Self,” a cautionary tale about the desire to please and be accepted by others, Searit Huluf got an opportunity to showcase her filmmaking talents as part of the Pixar SparkShort program. The project was partly inspired by her parents trying to adjust to life in America after immigrating from Ethiopia, which, at the time, was ravaged by civil war.
“My mom and dad separated, so it was just my mom looking after me. I had a lot more independence because she was working a lot. I mainly stayed in the east side of Los Angeles, which became my playground. It wasn’t until I got to UCLA that I started to explore more of Los Angeles, in particular the west side, which felt like being in a different country because everything is so clean, and there were a lot more shops.”
An opportunity presented itself to visit Ethiopia right before the coronavirus pandemic paralyzed international travel. “It was our first mother/daughter trip, and I had forgotten what it was like to be under my mom again,” Huluf recalls. “While in Ethiopia, my mother was cautious because the capital of Addis Ababa is not where my people are from, which is the Tigray region. It wasn’t until we got to Mekelew where my mom’s side of the family lives that we got to relax and meet people.” Huluf watched her aunts make coffee called ‘buna’ from scratch. “After roasting the coffee, they take it to everyone to smell to say thanks before grinding. Then you have to hand-grind the roasted coffee with a mortar and pestle. My friends and I made it every day. It was so much fun.”
Participating in sports was not an affordable option growing up, so Huluf consumed a heavy dose of anime consisting of Sailor Moon, Naruto, One Piece and Bleach. What was made available to her in high school was the ability to take community college classes on computer coding and engineering through STEM [Science Technology Engineering and Mathematics] programming. “I did a website competition inside of which there was a film competition, so I did a live-action short with all of the seniors in my group, and afterward I was like, ‘I want to go to art school.’” The art school in question was the UCLA School of Theater, Film and Television where she studied screenwriting and stop-motion animation. “I was trying to figure out what is the closest I could get to animation but not have to draw, and it was stop-motion; that was the happy medium because I do love live-action and animation. My schooling was live-action, but a lot of my internships were animation; that’s how I divided it up.”
Internships included Cartoon Network and DreamWorks Animation, then Pixar came to UCLA. “I kept in contact with the recruiter and started at Pixar as an intern in production management while making films on the side,” Huluf remarks. “I am also big in the employee resource groups within Pixar. I spearheaded the first celebration of Black History Month at Pixar and decided to make a documentary where Black Pixar employees talk about what it is like to be Black in America. The 19th Amendment documentary came about because I cared about people voting for the 2020 elections. It was a way to promote Pixar fans to go out and vote by having Pixar women talk about why they should do it and the complicated history of the 19th Amendment. Documentaries are scary because you go in with what’s there and make the story in the editing room. That was a lot of fun, and I gained more confidence to be a filmmaker, and I switched back to making narrative films.”
Soul was the first high-profile project at Pixar for Searit Huluf.
“I got to work with Tippett Studio, which I love! … There’s that Pixar comfort where everybody knows each other or someone adjacent. But these were complete strangers, and there was a big age gap between us. A little bit of me was going, ‘Are they not going to respect me?’ And it was the exact opposite. They were so loving and caring.”
—Searit Huluf, Writer and Director of “Self”
Critiquing, not writing, is where Huluf excels. “I went to a talk where a writer said that you have to wear different hats when you’re writing. When you’re wearing the writing hat, you’re writing all of your thoughts and ideas. Once you’re done writing, you put on the critique hat, and that’s where you start editing what you wrote. Is this actually good? Is it going to help your story? Is your structure right? You can’t wear both hats at the same time. I think a lot about that when I write. What is also great is that I went to UCLA and did screenwriting. I’m still in touch with all my screenwriting friends, and everyone is still writing. It’s nice to write something and the next week we do a writing session together and talk about the things that we’re writing.” Two individuals standout for their guidance, she says. “I still keep in touch with my UCLA professor, Kris Young, and am part of the Women in Animation mentorship program; [director] Mark Osborne is my mentor. It’s nice talking with him. He did Kung Fu Panda and The Little Prince. Mark is doing everything I want to do with my life! He’s doing live-action and animation. In this mentorship program, other women are working on their own projects. One Saturday we have it with him and the other Saturday is just us. That has been great.”
“Self” was inspired by Searit Huluf desiring to gain social acceptance as well as by the struggles her parents faced immigrating to America from Ethiopia.
“Self” marks the first time since WALL-E that live-action elements have been integrated with computer animation by Pixar.
Soul afforded Huluf the opportunity to work with one of her role models, writer/director Kemp Powers, who co-directed Soul.
Spearheading the first celebration of Black History Month at Pixar, Huluf went on to serve as a cultural consultant on Soul.
Searit Huluf helped to facilitate brainstorming sessions to make sure that there was cultural authenticity to the story, character designs and animation for Soul.
“[Director] Mark [Osbourne] is doing everything I want to do with my life! He’s doing live-action and animation. In this mentorship program, other women are working on their own projects. One Saturday we have it with him and the other Saturday is just us. That has been great.”
—Searit Huluf, Writer and Director of “Self”
Huluf has a support network at Pixar. “Luckily for me, I’m not the first Black shorts director at Pixar. Aphton Corbin made “Twenty Something,” so it‘s nice to be able to talk to her about it. Michael Yates did the Win or Lose streaming [series for Disney+], and I keep regular contact with Kemp Powers. It’s nice to talk to people who are in your arena. Personally, too, that’s why I do both live-action and animation, because there’s something about both mediums that gives me motivation and hope.”
Like Mark Osborne with The Little Prince, Huluf was able to combine computer animation and stop-motion to make “Self,” where the protagonist is a wooden puppet surrounded by environments and metallic characters created digitally. “I got to work with Tippett Studio, which I love! I studied stop-motion at UCLA, so I know what the process looks like, but I have never done it in a professional setting, and I’m not the animator; other people are doing this who have worked on James and the Giant Peach and The Nightmare Before Christmas. There’s that Pixar comfort where everybody knows each other or someone adjacent. But these were complete strangers, and there was a big age gap between us. A little bit of me was going, ‘Are they not going to respect me?’ And it was the exact opposite. They were so loving and caring. I still text with them.”
“I spearheaded the first celebration of Black History Month at Pixar and decided to make a documentary where Black Pixar employees talk about what it is like to be Black in America. The 19th Amendment documentary came about because I cared about people voting for the 2020 elections. It was a way to promote Pixar fans to go out and vote by having Pixar women talk about why they should do it and the complicated history of the 19th Amendment.”
—Searit Huluf, Writer and Director of “Self”
Going through various characters designs for the character of Self.
A significant lesson was learned when making “Self.” “I did a lot of my independent films by myself, and this time I had people who are paid and wanted to be involved,” Huluf notes. “Working with the animators was one of the most insightful moments for me. I would film myself and say, ‘How about we do this?’ They would be like, ‘We could do that, but how about this?’ And it was so much better. In the beginning, I was very precious about it and slowly realized, ‘They know what this film is and what needs to be told, too.’ It was a learning curve for me.” The transition to feature directing is more likely to first occur in live-action rather than animation. “That’s primarily because the stakes are higher in animation than a live-action film. This is purely based on budgets.”
A comparison of Self with one of the female Goldies.
A personal joy for Huluf was being able to design the costume for Self.
“When I think about filmmakers I look up to, I see that they start with smaller indie features. Barry Jenkins is a perfect example. Moonlight was only a couple of million dollars, and then he made a higher-ground film If Beale Street Could Talk. I want to start small and slowly build myself up. The big jump for me now is to do a feature. Luckily for me, I’m not too intimidated to do it. It’s more about when someone will give me the chance. I do believe in my ideas and storytelling capabilities. Right now, I’m writing and seeing how things go. I look forward to people watching ‘Self’ and being able to talk to them about it because that’s something new for me.”
Tippett Studio Senior Art Director and Lead Puppeteer Mark Dubeau explains the puppet design to Searit Huluf.
The hair of Self was the hardest aspect to get right. It was inspired by the hairstyle of Searit Huluf.
A dream come true for Huluf was being able to collaborate with Tippett Studio on “Self.”
Showcasing the detailed eyeballs for the stop-motion puppet crafted by Tippett Studio.
Pixar SparkShorts Build “Self” Esteem for Emerging Filmmakers
Treading a path blazed by WALL-E where live-action footage was incorporated into the storytelling, the Pixar SparkShort “Self,” conceived by Searit Huluf, revolves around a wooden stop-motion puppet desperate to be accepted into a society of metallic beings.
“For me, it was, ‘I really want to do stop-motion. I want to visually see something alive onscreen that you can see the handprint of a human touching it,” Huluf states. “I wanted the story to be the reason it had to be stop-motion.”
A central theme is the personal cost of gaining social acceptance. “I will play this game in my head of hiding parts of myself so I can conform and be part of the group,” Huluf explains. “That’s how I visualized Self as she literally rips herself apart to be like everyone else. The other aspect is my mom immigrated to America from Ethiopia, and I wanted to talk about how immigrants are usually not seen or heard. I wanted Self to feel like she is Ethiopian, so she has natural wood that has been carved by a masterful craftsman. There is something nice about her being so natural herself but wanting to be something so shiny, plastic and fake. There is something visually beautiful about that. Another layer on top is that she is even animated differently. Self is stop-motion, so she’s animated on 2s and 3s versus the CG Goldies, which are on 1s and are so slick when they move. Self is poppy and jumpy at points when she tries to talk and interact with them.”
Excitement and fear were felt when working out the logistics for the project. “I was excited about doing something so different and unique, but at the same time I had no idea of how you properly schedule out and manage a stop-motion film,” remarks Eric Rosales, Producer of “Self.” “I was like, ‘Alright, let’s learn this on the fly.’ You’re taking this whole new element and trying to fit pieces into our puzzle and take their puzzle pieces and put them all together.” The other puzzle pieces belonged to Tippett Studio which constructed, animated and shot the stop-motion puppet. Rosales says, “It was a breath of fresh air in the sense that you get to see how other studios approach their scheduling, decision-making and problem-solving. It was exciting for us to learn from them as much as they were learning from us, and learn how to take the different aspects of the stop-motion process and incorporate it into our pipeline. And vice versa, how we would handle something and transfer that information back over to Tippett. We did a lot of back and forth with them and shared a lot of thoughts.”
Complimenting and informing the design of the physical puppet was the digital version. “We had a digital puppet that Pixar was able to move around in the computer and act out what they wanted the puppet to do. That informed us in terms of how we needed to build the puppet to be able to effectively move in those ways,” states Mark Dubeau, Senior Art Director and Lead Puppeteer at Tippett Studio. “There is a lot you can do digitally that you can’t do with a puppet, and so we knew probably that we would have to build about three or four puppets to be able to do that number of shots.” Nine different faces were constructed to express panic, sadness, happiness and anger.
For a long time, the digital double of Self was a placeholder for 19 shots that utilized stop-motion animation. “But as things progressed, we turned off our character as she is now being added in the comp,” states Nathan Fariss, Visual Effects Supervisor of “Self.” “The amount of color tweaking and general polish that was happening in comp, and even the color grading steps in post, were much more than any of our other projects because we needed to match a photographic element to our CG world and vice versa.”
“Self” Producer Eric Rosales and Huluf examine the various pieces that go into making a stop-motion puppet.
Various body parts and variations had to be created by Tippett Studio to give the stop-motion puppet the correct range of physicality and emotion.
Previs and layout dictated the shot design for the stop-motion scenes. “We had a first lighting pass that was already done and even before Tippett started lighting everything up,” Rosales remarks. “We sent members of our lighting team over there to do the last bits of tweaking. Searit acted out every single shot that Tippett was going to do. She did it in her living room by herself. To sell the foot contact, Tippett ended up building a concrete slab out of Styrofoam so we were able to see Self physically walking on top of something.”
Self makes a wish upon a falling star that enables her to exchange wooden body parts with metallic ones. “I usually talk about what the character is feeling at the moment,” Huluf states. “The way we talked about that scene of her jumping off of the roof, I wanted to show how she goes from, ‘Oh, cool these body pieces are falling from the sky,’ to slowly becoming more obsessive in finding them. That face is the last piece for her. ‘I’m going to finally belong.’ A lot of people do a lot of crazy things to belong. In Self’s case she’ll rip herself apart to be like everyone. Self-jumping off of the roof is the climax of the film because it’s her craziness and obsessiveness all wrapped into one as she falls into darkness. We had a lot of conversations about how she snaps out of it, and for me, your face is who you are. As she steps on her own face, it snaps her back into reality and makes her realize and go, ‘Oh, my God! Why did I do this?’”
The cityscape did not have to be heavily detailed. “We ended up settling up a look that was a flat color or a gradient so it felt like there was a little bit of life in the city and things were lit up,” Fariss reveals. “There were other people present in the buildings, but it didn’t necessarily draw the audience into the lives that are going on in the buildings around there. The cities were mostly hand-built. There wasn’t enough scope to warrant going a procedural route to put the cities together, so they were hand-dressed, and there was a lot of shot-by-shot scooting some buildings around to get a more pleasing composition.”
More problematic was getting the hair right for the puppet. States Dubeau, “Once we figured out what urethane to use then we did all of the hair. However, we found out it was too heavy for the head. We had to go back and make two pieces of hair that go down and frame either side of her face. Those were made out of that material and painted. We hollow-cast the ones on the back, which had a wire that went into the head, and then you could move those pieces around, but you couldn’t bend them. The ones in front could swing and twist. It totally worked. Now you got the sense of this light, fluffy hair that was bouncing around on her head.”
“Self” was an educational experience. “One of the things that we learned from Lisa Cooke [Stop-Motion Producer] at Tippett is you end up saving your time in your shot production,” Rosales notes. “It’s all of the pre-production and building where you’re going to spend the bulk of your money. There was a lesson in patience for us because with CG we can take everything up to the last minute and say, ‘I want to make this or that change.’ But here we needed to zero in and know what we’ve got going on. Once the animators get their hands on the puppet and start doing the shots, the first couple of shots take a little bit of time. After that handful of shots, they get a feel for the character, movement and puppet, and it starts moving quickly. Then we were able to get our team on, and they were able to start learning their cadence as well. It started becoming a nice little machine that we were putting together.”
Searit appreciated the collaborative spirit that made the stop-motion short possible. “I’m approving things at Tippett and going back to Pixar to approve all of the CG shots multiple times a week. We had a lot of people who were big fans of ‘Self’ and helped us while they were on other shows or even on vacation or working on the weekend because they were so passionate. I’m grateful that Jim Morris [President of Pixar] let me have this opportunity to make a stop-motion film, which has never been done before at Pixar.”
Actor Hiroyuki Sanada had a key role in making sure that period-accurate Japanese was spoken by the characters.
Inspired by the power struggle in feudal Japan that led to the rise of Tokugawa Ieyasu to Shōgun and his relationship with English sailor William Adams, who became a key advisor, James Clavell authored the seminal historical fiction novel Shōgun, adapted into a classic NBC miniseries starring Richard Chamberlain and Toshiro Mifune. Forty-four years later, the story has been revisited by FX and Hulu as a limited 10-episode production under the creative guidance of Justin Marks and Rachel Kondo.
“What we felt made Shōgun interesting today would be to tell more of an E.T. the Extra-Terrestrial story of an outsider who has shown up in the world that we let the audience inhabit,” states Justin Marks, Creator, Executive Producer and Showrunner. “We worked with our producers and star, Hiroyuki Sanada, as well as Eriko Miyagawa [Producer], to use their expertise to craft the dialogue in the right kind of Japanese.”
Regarding depicting the Sengoku Period, compromises had to be made. “There will always be a gap between accuracy and authenticity, which means negotiating which spaces are necessary to keep distance and which ones you need to close the gap,” states Creator and Executive Producer Rachel Kondo. “We were constantly defining and redefining what we’re trying to be authentic to. Are we trying to be authentic to a time or people or specific place?” Originally, the plan was to shoot in Japan, but the [COVID-19] pandemic caused British Columbia to become the stand-in for the island nation. “Very little cleanup was required relative to what it would be in Japan where you would be removing power lines all day just to get something to look natural, and then you want to plus it to the premise of the story,” Marks says. “With Michael Cliett [Visual Effects Supervisor and Visual Effects Producer], we worked out a system that would keep us flexible in post-production with what we would call a high and low appetite version of a shot; that element of protection was for storytelling reasons but largely for budget reasons. Then, what it allowed us to do was to say, ‘This is a show about landscapes,’ and on some level, we have broad landscapes and what we called ‘landscapes of detail,’ such as close-ups of tatami mats because they were shot with macro lenses.”
Anna Sawai felt completely in the role of Toda Mariko when the Christian cross was hung around her neck.
Osaka was the most straightforward of the three cities to develop because extensive reference material exists from 1600 and the general topography has not changed. “Ajiro was a gorgeous little cove on the waterfront, but the area itself wasn’t quite large enough to create a whole village. So, we had to make a mental jump to say that the upper village is where the samurai class live and the lower village was where the much poorer fishing folk live,” Production Designer Helen Jarvis explains. “We ended up using two different locations and then knit them together in a few establishing shots. Edo [modern-day Tokyo] was the city that Yoshii Toranaga [cinematic persona of Tokugawa] was actually in the process of developing and building at the time. We saved a portion of the waterfront Osaka set and didn’t fully develop it until much later in the series knowing that we had to create two city blocks that were in the process of being built. One of our set designers did a preliminary model of the shape of the city and how the castle might relate to the city; that ended up being much more in Michael Cliett’s hands. He had people scanning the buildings that we had and we had various other 3D files of buildings that we would like to see represented, like temples.”
Kashigi Yabushige attempting to rescue Vasco Rodrigues from drowning was a challenge to assemble for Editor Maria Gonzales.
Exterior garden shots of Osaka Palace were captured inside of Mammoth Studios, requiring soundstage ceilings to be turned into CG skies. “There was a lot of fake bounce light as if the set was lit by the sky rather than sunshine,” reveals Christopher Ross, Cinematographer, Episodes 101 and 102. “We would light the garden as if it was an exterior and then each of the sets would not only have direct light from whatever lighting rig, but they also had borrowed light from the gardens themselves. The way to create chaos in the imagery was to allow the sun to splash across the garden at times then let that borrowed light from the splash of sun push itself into the environment. Thanks to the art department, all of the ceilings were painted wood paneling, and we could raise and open each of them. Each ceiling had a soft box, so for the interiors there was a soft-colored bounce fill light that we could utilize should we need to.” A complicated cinematic moment was executed onboard the galleon, which gets hit by a huge wave. “You start on deck, end up below deck then return to the top deck, all within the space of a two-and-half-minute sequence. It required a lot of pre-planning and collaboration between the departments and in total unison with the performers on the day, getting the camera to track with one character, change allegiance and track with a different character, and track with yet another. It forced everybody to be very collaborative. It was great that we could pull that sequence off, and it looks epic.”
Originally, the plan was to shoot in Japan, but the COVID-19 pandemic caused principal photography to take place throughout British Columbia.
Contributing to the collaborative spirit was Special Effects Supervisor Cameron Waldbauer. “You take the boat sequence, for example. We’re dumping water on a ship that is on a gimbal, and Lauro David Chartrand-DelValle [Stunt Coordinator] has guys going off the side of the boat, and we’re rehearsing that and putting that together. Then, Michael Cliett takes that, puts it out into an open ocean, and it looks seamless in the end,” Waldbauer says. Storyboards were provided early on. “We would do tests of things and make things that we wanted to do. We would almost go backward so they would get the information from those tests and put that into the storyboards that were presented to everybody else,” Waldbauer adds. Shōgun offered an opportunity to return to old-school special effects. “I’ve done several superhero movies with lots of greenscreen and stage work, and that wasn’t what this was. This was interesting for me and the crew to work outside for the next seven months. Now you’re dealing with all of the weather and elements, and you’re working on a show that doesn’t have the time to come back to do it later. You deal with what’s happening on the day. We did get the weather that we wanted for the most part. The desire to get everything in-camera meant incorporating effects rigs into sets and hiding them on location. We have tried to match what would actually happen on the day and what would happen at the time. A sword hits a person in 2024 the same way as it did in 1600. However, you need to make sure to get the look that the director wants out of it dramatically, instead of having to adhere to what it used to look like,” Waldbauer explains.
Hiroyuki Sanada portrays Yoshii Toranaga, who author James Cavell based on Tokugawa Ieyasu, founder of the last shogunate in Japan.
Serving as a translator between Yoshii Toranaga and John Blackthorne is Toda Mariko (based on Akechi Tama), portrayed by Anna Sawai. “For Shōgun, there wasn’t that much acting with visual effects,” Sawai notes. “It was more, we have an amazing set, and on top of that when they go in on a wider shot, they’ll be able to see through visual effects what Japan looks like. There is an ambush scene, which was supposed to be arrows flying and, obviously, they weren’t going to do that, so we had to pretend they were coming at us. For the ship scenes, I would have to look out into blackness because we were shooting that at night and visualize it being a beautiful ocean. It’s difficult when they zoom into my face, and you’re thinking about, ‘I’m visualizing this, but I’m actually seeing a camera thrown right in my face!’ Those things are hard, but it’s part of our job that we use our imagination.” Two years were spent training at Takase Dojo prior to production. “Then on Shōgun,” Sawai continues, “I found out that I had to do the naginata fighting, which is a completely different thing because now you’re working with something that is super long and hard to control because it’s heavy, which it should be because if it’s light it’s not going to show that you’re actually fighting.” Performing stunts is not a problem for Sawai. “I love it! I love it so much! I feel lucky that when Lash [Lauro David Chartrand-DelValle] saw me fighting, he was like, ‘Let’s try to use as much of you as we can, and other times we will go with Darlene Pineda [who did an amazing job as my stunt double].’”
The opening of the series was altered to have the Erasmus appear like a ghost ship during a vicious storm.
Osaka was the most straightforward city to construct because extensive reference material exists from 1600.
“We didn’t have a lot of previs for this show, which is unusual considering the scope of it,” observes Maria Gonzales, Editor, Episodes 101, 104, 107, 110. “We did have some storyboards and used those when we could. I stayed in touch with Michael Cliett as much as possible because he was my go-to in terms of understanding the potential for some of these shots. You try to put the thing together in the way that makes the most sense, and some of it we had to pick up later on once we met with the directors and talked with Michael. Sometimes, he was able to send me artwork that helped guide us in a certain direction.” Temp visual effects were created within the Avid Media Composer by the editorial team. Gonzales adds, “I did the pilot episode where there was a huge storm and some of those big reveals of Osaka. Our guys decided to pull in as many shots as they could to give an idea what the real scope of the scene was going to be.” The cliffside rescue of a drowning Vasco Rodrigues was a mindbender to assemble. Gonzales explains. “I had some of the close-ups and wider shots. I had no idea of what this was going to look like and what the height of the cliff really was. My first assembly was very different from what you saw in the final. Once Michael and Justin came to the cutting room, we were able to finesse it and get it to what you see today. But it was with Michael’s help that I was able to finally see what this was supposed to be. It’s like, ‘No. No. No. These guys are supposed to be way up and Kashigi Yabushige is supposed to be falling way down.’”
Three different locations were involved in creating the scene mentioned above. “We were on a six-foot-high set piece in a field of grass in Coquitlam, B.C.,” reveals Michael Cliett, Visual Effects Supervisor and Visual Effects Producer. “Everything on the top of the cliff was shot on that set piece. Every time you looked over the top, that was all CG water, coastline and Rodrigues. We did another set piece that was on the side of the cliff when Yabushige was repelling down. We shot all of the profile shots and him hanging from the top down on a vertical cliff piece in our backlot over where we had the Osaka set ready as well. Then we had the gulch where the water was out on a 60-foot tank special effects setup with the rocks. We were praying for the right weather and light at all three locations because each of them was outside.” Another dramatic water moment is when the Portuguese carrack known as the Black Ship attempts to prevent Toranaga from leaving the harbor of Osaka. “The galley was stationary, but we did put the Black Ship on 150 feet of track. We got the Black Ship from Peter Pan & Wendy that had just finished shooting here, chopped it up and made our own design. It’s roughly one-eighth of the ship. We did have some motion where it appeared that the ships were jostling for position. We shot a bunch of footage, but at the end of the day we weren’t quite sure how we were going to fill in the gaps, what the ships would be doing, what shots we needed of the ships that were going to be all visual effects and how that story was going to come together. ILP and I cut things together differently and tried to fill in those gaps. Over two months in the summer of 2022, we finally had it working with a bunch of greyshade postvis.”
Three different locations were assembled together for when Kashigi Yabushige descends a cliff to rescue a shipwrecked Vasco Rodrigues.
Over the 10 episodes, 2,900 shots were created by SSVFX, Important Looking Pirates, Goodbye Kansas Studios, Refuge VFX, Barnstorm VFX, Pixelloid Studios and Render Imagination, while Melody Mead joined the project as a Visual Effects Associate Producer, allowing Cliett to focus more on supervision side of the visual effects work. “At the beginning of Episode 105, Toranaga is arriving with his 100,000-person army, which was 99% digital, as we rise up and move past him,” Cliett remarks. “The Japanese have a way of moving and walking, so we did do a number of motion capture shoots with Japanese soldiers and instilled a lot of that into the digital versions of them.” Toranaga’s army establishes a base camp on an encampment that subsequently gets destroyed by a massive earthquake. “This is why we had to put mountains surrounding the training fields, because there are huge landslides that come down which bury the army, and we had to make it on the magnitude where we could sell that 75,000 people died,” Cliett notes. FX Networks Chairman John Landgraf raised a narrative question when trying to lock the pilot episode about how the Erasmus, the Dutch ship piloted by Blackthorne, gets to Ajiro. Cliett explains, “I said to Justin, ‘Why don’t we look into having the ship being towed in? The samurai are running about 50 skiffs, but the villagers are doing all of the work. Then, we can fly past the ship into Ajiro, which you get to see for the first time.’ Justin loved it. Then, John Landgraf loved it. I ended up taking a second unit out, directing that plate and doing that whole shot. It’s one of my favorite shots of the series.”
The prevailing question for Aaron Eaton in regard to holograms is how to make something that does not exist look like something that could be captured by a camera, such as this one featured in Avengers: Endgame. (Image courtesy of Cantina Creative and Marvel Studios)
When the final credits roll, it becomes quite clear that you literally need an army of talented individuals spanning a wide variety of professions to make a film or television production a reality. To take a more micro perspective, one can look at the visual effects section where hundreds upon hundreds of names are listed for each of the vendors, and then it truly sinks in – the number of unsung heroes who have contributed their time and talents far from the public spotlight. This lack of awareness also happens within the visual effects industry as generalists have given way to specialists who are more insulated from the contributions of their colleagues in other departments. In an effort to rectify the situation, a number of visual effects companies were asked to put forward candidates deserving of recognition for their exemplary professionalism and skillset. Think of those listed below as just a small sampling of people and occupations that are pivotal in making the visual spectacle and invisible transformation possible.
Aaron Eaton, VFX Supervisor, Cantina Creative
I like that I’m not specialized because I would hate to be doing one single thing all day long! I’m happy to have found Cantina Creative where I can still be a generalist even today. You don’t just work on a shot for an hour, send it off to somebody and never see it again. I’m able to work on something, and it can be very much my own, and you’re involved with it through all of the stages; that has been cool. Compositing is definitely my favorite. It’s that final creative push of bringing something extra to a shot that makes it sit in there and look awesome.
Holograms are a lot trickier than it seems because you’re working on something that doesn’t exist. How do you make the hologram absolutely believable as if it’s something you could film with a camera? There are numerous things that it takes to make the hologram feel integrated into the shot. It has a lot to do with mimicking everything that the camera is doing, with lots of depth in the element, textural elements, noise, grain and glitches. All kinds of subtle features that could come with all of these holograms because a hologram may not be perfection. You have to think about the technology that is projecting or creating the hologram and all of the aspects of how it would actually work.
Understanding composition and cinematography was important to Cameron Widen when doing the layout of the exterior train shots for Season 3 of Snowpiercer. (Image courtesy of Image Engine Design and TNT)
“As workflows and techniques are ever-evolving, for me, it is more important to be on top of the questions that often do not change. How do I stay efficient so that I can be creative? How do I continue to be inspired and to inspire? How do I stay proud of my work?”
—Jason Martin, Layout Artist, ILP
Alan Puah, Head of Systems, Territory Studio
Systems is responsible for some of the most critical parts of the pipeline, things like the storage, network and render farm, which form the backbone of the infrastructure in a visual effects studio. Sometimes the existing infrastructure will dictate how the pipeline works, but often it works the other way around, and we’ll need to upgrade and adapt things to support how a project pipeline is structured.
Creating CGI places some of the highest demands on the technology used, so it’s important to make sure that you’re keeping up with new technology. There is probably more happening now than at any other time as advancements in machine learning and how the exponential growth in computing power impacts our industry. But there’s also been some reversal in trends. For example, in some cases utilizing the cloud hasn’t been the best fit, so there’s been a migration back to on-premise for various reasons that include saving costs or maintaining more control over data and security.
Cameron Ward produced previs for the Black Panther: Wakanda Forever sequence of Namora leading a squad of Taloncail to take out the sonic emitter on the Royal Sea Leopard. (Image courtesy of Digital Domain and Marvel Studios)
Technical animation had to be created by Jason Martin for Lost in Space Season 2 to support the effects needed for destruction shots. (Image courtesy of ILP and Netflix)
Jeremie Lodomez believes that compositing is vital to seamlessly blend CG, animation and live-action footage, which was the case for the Heroes of the Horn reveal in Season 2 of The Wheel of Time. (Image courtesy of Framestore and Prime Video)
It was the book The Art of The Lord of the Rings that made Jeremy Melton want to be involved with world-building for shows such as The Orville: New Horizons. (Image courtesy of FuseFX and Hulu)
For Maike Fiene, it’s important not to be too precious about visualization, as the needs of a production like Jingle Jangle: A Christmas Journey will evolve over time. (Image courtesy of Framestore and Netflix)
Alicia Carvalho, Senior Rigger, DNEG
I broadly describe my job to people who aren’t in VFX as “putting in the control structures so that animators can animate. “Coming mostly from feature animation, TV and game cinematics, working in a visual effects pipeline has been a really interesting experience, especially when you’re working on rigs where the end result has to match a plate. You have another layer of restrictions of what can move and in what way compared to the relatively free rein you have in Feature when the bounds of what you can do are based on the needs/imagination of an animator.
With machine learning and the move towards game engine integration, it’s going to be more important for artists to hold onto their foundational skills. In general, I’ve noticed a promising trend among companies discussing and wanting to move more female colleagues into supervisory or lead roles, but there doesn’t seem to be enough mentorship support once those positions are filled. There’s definitely always room to improve.
CameronWard,PrevisualizationArtist,DigitalDomain
I was on Black Panther: Wakanda Forever, and there were some beautiful renders of the boat as the hydro bombs kept coming and explode beneath it. We had a little time so we could dial it in and make it look great before delivering it to the client, but that’s not always the case. It depends on the project and what the client requires because sometimes they’re only looking for rough. However, sometimes lighting and composition can sell a shot.
Years ago, I was on The Fate of the Furious, and we went to get scans of the city. We were laying out the streets and the heights of the buildings. We got a Dodge Challenger and mounted a camera on its hood. When the day came for shooting, they weren’t paying craft services for four days’ worth of shoots, but for one because they got it all in a day. There’s that aspect as well. You’re cutting down the cost of an actual day of production because you already know your camera angle, focal length, how high you want the camera off the ground and how fast it will be going.
Cameron Widen, Layout, Image Engine
The word ‘layout’ means a different thing for every studio – and often with every person you speak with in a studio. Layout in feature animation is wrapped up a whole lot more in previs-type tasks, like figuring out camera angles and composition. In visual effects, most of the time we’re working with plates that have been shot, so there are not a lot of choices to be made by us in that regard. That said, in almost every project there will be some full CG shots that don’t have associated photography with them, and that’s where we get to flex our creative muscles and use our composition and cinematography skills. Recently, we’ve been getting a push to give our layout versions and presentation that we send for review a much nicer look than what I’m typically used to doing. My preference is to send grayshaded renders for review because then people will be commenting on composition, speed of the camera and camera framing. If our layout versions look too nice and polished then we will start getting visual effects supervisors or other people who will see an issue with a texture map or some shading that we have no control over, and they will fixate on that and won’t make any comment on the layout part.
Meliza Fermin created a futuristic Brooklyn Bridge for The Orville. (Image courtesy of FuseFX and Hulu)
As a workflow supervisor, Michael Billette spends time informing the various departments at Image Engine how to best utilize the pipeline when working on projects like Bloodshot. (Image courtesy of Image Engine Design and Columbia Pictures/Sony)
Concept art of Lucifer’s Palace door by Niklas Wallén for the Season 1 of The Sandman. (Image courtesy of ILP and Netflix)
During pre-production and through post on The Marvels, Patrick Haskew provided visualization that was used to help convey a whole crew being swallowed up by Flerkens. (Image courtesy of The Third Floor and Marvel Studios)
A large part of the job for Sam Keehan is providing the necessary support so that artists can concentrate on their job and produce the best results for clients like Marvel Studios on Ant-Man and the Wasp: Quantumania. (Image courtesy of Territory Studio and Marvel Studios)
Turntables are indispensable when submitting textures for review to make sure that the final image has the right reflectivity and surface deformation, such as when working on Shang-Chi and the Legend of the Ten Rings. (Image courtesy of Digital Domain and Marvel Studios)
GeorgeSears,HeadofVirtualProduction, The Imaginarium Studios
Essentially, my job is to look after all of the real-time technologies on our stage, and that’s everything from basic characters to in-camera effects to LED walls. We also tend to get involved with pre-production looking at assets, the things that we will be driving live and what the director wants to achieve. Then we put together a bunch of real-time technologies that we have at our disposal for that project. I essentially see the job as a tie-in with the animation, mocap and visual effects for films, video games, television, AR and the web. We use Unreal Engine 5 to stream all of our live motion-capture data onto, and that’s where we’ll do the live characters and virtual cameras to support the director. The main reason we do this is that the client can go away on the day, have signed off shots, know exactly what they’re doing and bringing into post-production and, depending on the workflow, sometimes walk away with a real-time edit. They can go into post-production confident that they’ve got everything, and generally it saves a bunch of money and time in the decision-making process. Also, I oversee our pipeline and head a R&D team.
JasonMartin,LayoutArtist,ILP
As workflows and techniques are ever-evolving, for me, it is more important to be on top of the questions that often do not change. How do I stay efficient so that I can be creative? How do I continue to be inspired and to inspire? How do I stay proud of my work? [One of the most complex tasks] would be something we call “Technical Animation” that I did on Lost in Space S1 and S2 to support effects on the destruction task where large environments or spacecrafts collapse or get destroyed. I would supply a semi-detailed version of the event to effect, made with various methods in Maya, like keyframe animation, rigid simulation, cloth simulation or deformation, that talented effects artists would enhance, develop or add to. This workflow enabled us to maintain a high level of artistic control on small-sized teams often consisting of me plus one to two persons, but the sheer amount made it complex.
Jeremie Lodomez, Global Head of 2D – Film & Episodic, Framestore
Compositing plays a vital role in the visual effects pipeline, seamlessly blending elements such as CG, animations and live-action footage in the final output. It enhances realism and supports storytelling by ensuring all elements are consistent in lighting, perspective, and color. My aspiration is for compositors to perform rapid iterations within their software. For instance, tweaking a CG environment without getting entangled in lengthy interdepartmental revisions. This approach would enable swift creative iterations, with the potential to integrate these fixes into later stages of the pipeline. The rise of technologies like USD and Unreal Engine heralds a future where compositors could emerge as more dynamic players in the field, evolving into Image Composition Artists. The fact that audiences are unable to discern our visual effects work speaks volumes about the quality and realism we achieve.
I saw The Art of The Lord of the Rings when it came out, and my mind was blown. I said, ‘That’s what I want to do.’ As an art director supervisor, I try to encourage everyone to be an artist, be the best that they can, and encourage them to go in the direction that they want to go. Not pigeonhole someone or make them do something that they don’t want to do. But at the same time there is the corporate side of making sure that the budgets and all of the rules are being followed, that we’re doing everything that we’re supposed to do. It’s wild. I was never trained in it. I worked into the position by experience. You have to be open, especially with the advent of AI using Blender or ZBrush, whatever helps the artist to get to where they need to be to create the best possible image. That’s one thing I want to encourage. Instead of, ‘This is how it’s done,’ let’s open it up.
Thomas Mouraille believes that the term ‘Environment/Generalist’ is better than ‘Matte Painter’ as it more accurately describes the work done for shots of the gulag in Black Widow. (Image courtesy of Wētā FX and Marvel Studios)
Thomas Mouraille makes use of 3D software, such as Maya, ZBrush and Substance combined with 2D elements created in Photoshop, to produce matte paintings for The Eternals. (Image courtesy of Wētā FX and Marvel Studios)
When creating technology for the big screen, one has to keep in mind how it would actually work, which was the case for Aaron Eaton when working on Black Adam. (Image courtesy of Cantina Creative and Warner Bros. Pictures)
When working with plate photography. Cameron Widen has a lot less creative freedom for layout than when dealing with full CG shots, as reflected in The Book of Boba Fett. (Image courtesy of Image Engine Design and Lucasfilm Ltd.)
There are constant questions that Jason Martin is always trying to answer, such as how to stay efficient in order to be creative when working on an image of Sundari in Season 3 of The Mandalorian. (Image courtesy of ILP and Lucasfilm Ltd.)
Being an art department supervisor means that Jeremey Melton also has to be conscious of budgetary restrictions when working on The Orville: New Horizons. (Image courtesy of FuseFX and Hulu)
Katie Corr, Lead Facial Animator and Facial Capture Technical Director, The Imaginarium Studios
It’s quite fun working with a lot of different clients because you’ve got some realistic projects that use metahumans, and that’s one of our pipelines. Then you have stylized projects that are cartoony, and I get to have a bit more freedom with that. My job begins from onstage with capture, and that means taking care of the actors, making sure that the client is happy, and capturing the date so that the post team can make sure that they get a good result on their tracking. Then, we move on and start tracking through one of our pipelines. From there we take it onto their provided rig and do final cleanup to their specs that they have been asked for depending on the game, movie, TV show or ad. Anything you can think of, we’ve attempted! The more time you spend on it, the higher quality it becomes. It’s quite a subjective area. You try to nail down little nuances like nose flares or when someone is breathing or little eye twitches. The fun part of the job is you get to hear the request from the client, then challenge yourself, find ways around it and maintain their expectations.
Maike Fiene, Visualization Supervisor, Framestore
Visualization being the first step to showing the interaction with the CG elements, it is essential to accept that there will be changes to the work as it develops, and you need to be able to adapt and cannot be too precious about it. It is also rewarding as you get to shape the interaction of fun and sweet character moments. This is a very fast-paced environment and requires a general skillset of: understanding of practical filming techniques; being able to interpret storyboards and scripts; general overview and intention of the sequence you are working on (tone, timing, what purpose does this sequence have in the film? What is the director trying to communicate?); general understanding of cinematography (staging, lighting, composition); and all-round technical troubleshooting skills.
In postvis, we’re often collaborating with the finals teams as they might have developed assets further or are developing character animations, and we try to incorporate as much of that as possible to stay true to the final look of the project. This gives the director a chance to shape his vision of the edits at an early stage and test out ideas, and it gives the finals teams a solid foundation to start from.
MelizaFermin,LeadDigitalMattePainter and Sr. Compositor
As a matte painter, you’re in the beginning of the process, and I prefer that because you have more time, it’s a lot more creative, and you’re choosing more of the elements that are going to be used. Our clients say, ‘I want New York in the 1960s.’ You have to create that, but I’m the one who chooses all of the photographic elements to put together so it works in that environment. You have some creative input. Some studios have me do the matte painting and comp it, or I have worked where I was strictly a matte painter and hand it off to the compositor. The nice thing about having both is I know the problems compositors are going to run into; I have already prepped the matte painting so it does work, and they don’t have to come back to me. Compositing is more technical than creative. Sometimes there’s no time to go back to CG or matte painting, so you have to find fast ways to fix it. You’re a problem-solver.
MichaelBillette,WorkflowSupervisor, Image Engine Design, Inc.
We’re constantly talking to every department about the challenges of their day-to-day job, and we think about how things can be improved and how can they utilize the parts of the pipeline we have already developed they might not be aware of or understand how it could be applied. We do a lot of trying to teach people how to use the tools. Then we also think about how can we improve upon our processes and keep things in sync. We can only do so much as a support department, and it’s not necessarily fast enough for what people need on the floor. Often times, if artists are developing their own workflows or tools, things get very fragmented very fast. Each person tries to do their own solution and can go down different roads. We try to keep things in line because it’s a lot easier for the technical teams to develop when they don’t have all of these parallel processes to work on. They can create some core features and make sure they can support the other workflows that are needed.
NiklasWallén,ConceptArtist,ILP
You need to have your fundamentals as a concept artist and some design rules that you can always apply that will make it look better. But sometimes I get given things and go, ‘I don’t see the problem here.’ When I began at ILP, my mentor, Martin Bergquist, told me, ‘Your job is to check out the art direction and documents from the client and what they had in mind from the start, be good with that and create a design rule book. But then you take those design rules and have fun with them.’ If you have these design rules in yourself always, it’s easy to spot when something is wrong with an image. Whether it’s The Mandalorian or The Sandman that have totally different shape languages, I can tell quickly if this is out of line because there’s usually someone who has built the stuff, has been with it for a long while, and maybe they have put themselves into a rabbit hole and forgotten what the shape language is. It’s my job to go in and say, ‘That will work better if I did this.’
Visualization helps build the foundation of what you see on the silver screen. Because you can iterate quickly and work closely with many collaborators – including the VFX Supervisor – from day one on the production, the process is invaluable in helping develop the look of the visuals as it relates to telling a believable [shootable] story. We are also able to provide and use technical visualization and virtual production tools that help connect what’s visualized to shots and equipment on set, and ensure that work and plans from pre-production carry through and can be built upon through post.
The industry is always trying to figure out how to make film and television cheaper and faster, and we are at the forefront of that endeavor. But, at the end of the day, the relationships built with the directors, producers and VFX supervisors are at the heart of the process. Technology will always change, but it all starts from an idea to tell a story audiences will love. We are in that room and help represent that storytelling vision.
PatrickSmith,HeadofVisualization,MPC
Visualization has grown out of its infancy and is starting to get into its teenage punk-rock years. With the advent of all the tools and real-time technology that is coming to the forefront with virtual production, visualization is certainly a key component of that evolving filmmaking pipeline, and it shines a spotlight on everything that we’re doing. It’s taken off like wildfire. Everybody and their brother have a visualization studio now, and every visual effects house is folding a visualization department into the front-end of their pipeline. The easiest way of understanding visualization is likening it to sculpture. Imagine starting with a giant slab of marble and saying, ‘We’re going to sculpt the Statue of David.’ And everybody is wondering, ‘What does that look like?’ What you’re doing is helping to develop and shape what the visual aesthetic of that actually looks like. You can consider previs to be your rough draft, go and shoot, and then finalizing what that draft is so you are setting up your finals team for success on the back-end of that.
Sam Keehan, Creative Director, Territory Studio
The most important thing about being a creative director has always been to try as often as I can – whether that be when we’re resourcing projects or hiring people – to surround myself with people who are better than me. There will be particular skills that people will be way better at than me. We can talk, and they can go and enjoy the thing that they’re really good at and come up with interesting stuff. I will be able to sit back and say, ‘Yes. That’s exactly what I was thinking.’ The inherent difficulty is if you’ve got multiple people across multiple jobs. You want to make sure that everyone is getting the best work out, but the only people getting the best work out are the ones getting enough support. For my job, in particular, it feels like a lot of it is facilitation and making sure that people have the support they need to just concentrate on the job that has to get finished.
StuartAnsley,LeadTextureArtist,DigitalDomain
The way I describe being a texture painter is to imagine if you went to a toy model shop, got a figurine or car and have to paint colors and details onto them. Sometimes there is metallic stuff or shiny things and you have to decide what color something is going to be, how reflective it is going to be and how dirty it is going to be. We put in all of those little details. In order to be good at the job, you have to have an eye for color, composition and detail. You have to see the little things. I get into trouble when sometimes I have conversations with people and I zone out and my eyes glaze over. It’s because I’m looking at their forehead pores or the way their eyes wrinkle. My wife will always call me out! Whenever submitting our work for review, we always view it in a turntable so the object itself is turning and the lights are turning around it as well, because it’s so important the way the light scrapes across the surface so that you’re getting the right reflectivity and surface deformation.
Thomas Mouraille, Lead Matte Painter, Wētā FX
In a nutshell, we could group the software we use in three categories. We use the first group for creating 3D assets, the second for assembling scenes and the third for creating and adjusting 2D content. We create 3D elements using software such as Maya, ZBrush, Substance and Mari, as well as Houdini and Gaea for terrain. The scene assembly process is done within Clarisse iFX and Houdini. The 2D elements are created and adjusted using Photoshop and Nuke. When required, we use specific software such as Terragen, Reality Capture or Unreal Engine for bespoke tasks.
The matte painting step represents around 10% to 20% of the entire work we actually produce on a show. The bulk of the work is now done using 3D packages. “Environment/Generalist” would be a more correct name to define what we do. The tools evolve quickly, and the current AI breakthrough will likely bring new tools to our toolbox soon. It is already happening with software like Photoshop and Nuke, which have some AI-driven tools. The real-time engines are also being incorporated into the visual effects industry as a solution to render final pixel. It is something we keep a close eye on, and are slowly integrating in our pipeline.
All photos by Danny Moloshok, Al Seib and Josh Lefkowitz.
Captions list all members of each Award-winning team even if some members were not present or out of frame. For more Show photos and a complete list of nominees and winners of the 22nd Annual VES Awards, visit vesglobal.org.
Nearly 1,200 guests from around the globe gathered at The Beverly Hilton for the 22nd Annual VES Awards.
Actor-comedian Jay Pharoah led the evening as the VES Awards show host.
VES Executive Director Nancy Ward welcomed guests and nominees.
The Visual Effects Society held the 22nd Annual VES Awards, the prestigious yearly celebration that recognizes outstanding visual effects artistry and innovation in film, animation, television, commercials, video games and special venues, with generous support from our premier sponsor AMD.
Comedian and master impressionist Jay Pharoah served as host of the capacity crowd gala as nearly 1,200 guests gathered at The Beverly Hilton hotel in Los Angeles on February 21st to celebrate VFX talent in 25 awards categories.
TheCreator was named the photoreal feature winner, garnering five awards. Spider-Man: Across the Spider-Verse was named top animated film, winning four awards. The Last of Us was named best photoreal episode, winning four awards. Coca-Cola topped the commercial field. There was a historic tie in the Outstanding Visual Effects in a Special Venue Project category with honors going to both Rembrandt Immersive Artwork and Postcard From Earth.
Award-winning actor-producer Seth MacFarlane presented the VES Award for Creative Excellence to legendary actor-director William Shatner. Award-winning VFX Supervisor Richard Hollander, VES presented the VES Lifetime Achievement Award to pioneering VFX Producer Joyce Cox, VES. Award presenters included: The Creator director Gareth Edwards; actors Ernie Hudson, Fortune Feimster, Katee Sackhoff, Andrea Savage and Kiersey Clemons; and Leona Frank, Autodesk’s Director of Media & Entertainment Marketing, presented the VES-Autodesk Student Award.
VES Chair Kim Davidson kicked off the evening by presenting several VES Awards categories.
The Award for Outstanding Visual Effects in a Photoreal Feature went to The Creator and the team of Jay Cooper, Julian Levi, Ian Comley, Charmaine Chan and Neil Corbould, VES.
The Award for Outstanding Visual Effects in a Photoreal Episode went to The Last of Us; Season 1; Infected and the team of Alex Wang, Sean Nowlan, Stephen James, Simon Jung and Joel Whist.
The Award for Outstanding Supporting Visual Effects in a Photoreal Episode went to Winning Time: The Rise of the Lakers Dynasty; Season 2; BEAT LA and the team of Raymond McIntyre Jr., Victor DiMichina, Javier Menéndez Platas and Damien Stantina.
The Award for Outstanding Visual Effects in an Animated Feature went to Spider-Man: Across the Spider-Verse and the team of Alan Hawkins, Christian Hejnal, Michael Lasker and Matt Hausman.
The Award for Outstanding Supporting Visual Effects in a Photoreal Feature went to Nyad and the team of Jake Braver, Fiona Campbell Westgate, R. Christopher White and Mohsen Mousavi.
Actor Ernie Hudson accepted the Award for Outstanding Visual Effects in a Real-Time Project on behalf of Alan Wake 2 and the team of Janne Pulkkinen, Johannes Richter, Daniel Konczyk and Damian Olechowski.
The Award for Outstanding Compositing & Lighting in a Commercial went to Coca-Cola; Masterpiece and the team of Ryan Knowles, Greg McKneally, Taran Spear, and Jordan Dunstall.
The Creator director Gareth Edwards cheered on the nominees.
Guests enjoyed the festive cocktail reception, thanks to generous support from Premier Sponsor AMD.
The Award for Outstanding Visual Effects in a Special Venue Project was a TIE and was awarded to both Postcard From Earth and the team of Aruna Inversin, Eric Wilson, Corey Turner and William George (pictured); as well as Rembrandt Immersive Artwork and the team of Andrew McNamara, Sebastian Read, Andrew Kinnear and Sam Matthews (not pictured).
The Award for Outstanding Animated Character in a Photoreal Feature went to Guardians of the Galaxy Vol. 3;Rocket and the team of Nathan McConnel, Andrea De Martis, Antony Magdalinidis and Rachel Williams.
The all-volunteer VES Awards Committee celebrated the success of the 22nd Annual VES Awards Show (Stephen Chiu, Daniel Rosen, Rob Blau, Olun Riley, David “DJ” Johnson, Kathryn Brillhart, Martin Rushworth, Sarah McGee, Den Serras, Lopsie Schwartz, Reid Paul, Sarah McGrail Michael Ramirez, Eric Greenlief, Scott Kilburn).
The Award for Outstanding Animated Character in an Animated Feature went to Spider-Man: Across the Spider-Verse; Spot and the team of Christopher Mangnall, Craig Feifarek, Humberto Rosa and Nideep Varghese.
The Award for Outstanding Created Environment in a Photoreal Feature went to The Creator; Floating Village and the team of John Seru, Guy Williams, Vincent Techer and Timothée
Leona Frank, Director of Media & Entertainment Marketing, Autodesk, presented the VES Autodesk Student Award.
The Award for Outstanding Animated Character in an Episode, Commercial, Game Cinematic or Real-Time Project went to The Last of Us; Endure and Survive;Bloater and the team of Gino Acevedo, Max Telfer, Dennis Yoo and Fabio Leporelli.
The Award for Outstanding Created Environment in an Animated Feature went to Spider-Man: Across the Spider-Verse; Mumbattan City and the team of Taehyun Park, YJ Lee, Pepe Orozco and Kelly Han.
Comedian/ Actress Fortune Feimster brought the laughs to The Beverly Hilton.
Actress Andrea Savage (Tulsa King) presented several Award categories.
Academy Award-winning Senior VFX Producer, Richard Hollander, VES introduced VES Lifetime Achievement Award recipient Joyce Cox, VES.
The Award for Outstanding Virtual Cinematography in a CG Project went to Guardians of the Galaxy Vol. 3 and the team of Joanna Davison, Cheyana Wilkinson, Michael Cozens and Jason Desjarlais.
The Award for Outstanding Created Environment in an Episode, Commercial, Game Cinematic or Real-Time Project went to The Last of Us: Post-Outbreak Boston and the team of Melaina Mace, Adrien Lambert, Juan Carlos Barquet and Christopher Anciaume.
Joyce Cox, VES received the VES Lifetime Achievement Award.
The Award for Outstanding Model in a Photoreal or Animated Project went to The Creator; Nomad and the team of Oliver Kane, Mat Monro, Florence Green and Serban Ungureanu.
The Award for Outstanding Effects Simulations in a Photoreal Feature went to The Creator and the team of Ludovic Ramisandraina, Raul Essig, Mathieu Chardonnet and Lewis Taylor.
The Award for Outstanding Effects Simulations in an Episode, Commercial, Game Cinematic or Real-Time Project went to The Mandalorian; Season 3; Lake Monster Attack Water and the team of Travis Harkleroad, Florian Witzel, Rick Hankins and Aron Bonar.
The Award for Outstanding Effects Simulations in an Animated Feature went to Spider-Man: Across the Spider-Verse and the team of Pav Grochola, Filippo Maccari, Naoki Kato and Nicola Finizio.
The Award for Outstanding Compositing & Lighting in a Feature went to The Creator; Bar and the team of Phil Prates, Min Kim, Nisarg Suthar and Toshiko Miura.
The Award for Outstanding Compositing & Lighting in an Episode went to The Last of Us; Endure and Survive; Infected Horde Battle and the team of Matthew Lumb, Ben Roberts, Ben Campbell and Quentin Hema.
The Award for Outstanding Compositing & Lighting in a Commercial went to Coca-Cola; Masterpiece and the team of Ryan Knowles, Greg McKneally, Taran Spear, and Jordan Dunstall.
The Award for Outstanding Special (Practical) Effects in a Photoreal Project went to Oppenheimer and the team of Scott Fisher, James Rollins and Mario Vanillo.
The Award for Outstanding Visual Effects in a Student Project (Award Sponsored by Autodesk) was awarded to Silhouette and the team of Alexis Lafuente, Antoni Nicolaï, Chloé Stricher, Elliot Dreuille (with Baptiste Gueusguin).
Actress Kiersey Clemons (Monarch: Legacy of Monsters) joined the show as a presenter.
The VES Emerging Technology Award was awarded to The Flash; Volumetric Capture and the team of Stephan Trojansky, Thomas Ganshorn, Oliver Pilarski and Lukas Lepicovsky.
Seth MacFarlane, award-winning Actor and Creator of Family Guy and The Orville, prepared to present William Shatner with the VES Award for Creative Excellence.
Board Chair Kim Davidson with Lifetime Achievement Award recipient Joyce Cox, VES, VFX Producer Richard Hollander, VES and Executive Director Nancy Ward.
The Creator director Gareth Edwards met up on the red carpet with Takashi Yamazaki, Godzilla Minus One director and VFX Supervisor.
James Knight, left, Global Director, Media & Entertainment Visual Effects, AMD, with director Gareth Edwards.
Friends William Shatner and Seth MacFarlane enjoyed a moment together backstage.
Acclaimed Actor, Director and Producer William Shatner received the VES Award for Creative Excellence.
Actress Katee Sackhoff (The Mandalorian) congratulated all the nominees and winners.
The VES Award for Outstanding Visual Effects in a Photoreal Feature went to The Creator, which garnered five VES Awards including Outstanding Created Environment in a Photoreal Feature (Floating Village), Outstanding Model in a Photoreal or Animated Project (Nomad), Outstanding Effects Simulations in a Photoreal Feature and Outstanding Compositing & Lighting in a Feature (Bar). (Photos courtesy of Walt Disney Studios)
SPIDER-MAN: ACROSS THE SPIDER-VERSE
Outstanding Visual Effects in an Animated Feature went to Spider-Man: Across the Spider-Verse, which won four VES Awards including Outstanding Animated Character in an Animated Feature (Spot), Outstanding Created Environment in an Animated Feature (Mumbattan City) and Outstanding Effects Simulations in an Animated Feature. (Photos courtesy of Columbia Pictures/Sony)
THE LAST OF US
Outstanding Visual Effects in a Photoreal Episode went to The Last of Us; Season 1; Infected, which won four VES Awards including Outstanding Animated Character in an Episode, Commercial, Game Cinematic or Real-Time Project (Endure and Survive; Bloater), Outstanding Created Environment in an Episode, Commercial or Real-Time Project (Post-Outbreak Boston) and Outstanding Compositing & Lighting in an Episode (Endure and Survive; Infected Horde Battle). (Photos courtesy of HBO)
Toronto-based Herne Hill Media worked on Guillermo del Toro’s Cabinet of Curiosities soon after the firm opened its doors in Toronto. (Image courtesy of Herne Hill Media and Netflix)
Powered by studios in Vancouver, Toronto and Montreal, Canada continues to grow and evolve as a major hub of the global VFX industry. Tax incentives, immigration policy, quality of life, excellent VFX and animation schools and beneficial time zones have all contributed to Canada’s prominence in global VFX. Moreover, a consistent number of Hollywood productions are lensed there, confirming Canada’s reputation as a world-class source of talent and innovation.
“Canada has always been a leader in the industry from the early days of the National Film Board to companies like Alias (now Maya) and SideFX, who have defined the founding principles of VFX and animation,” says Dave Sauro, Partner and Executive Producer at Herne Hill Media, a Toronto studio founded in 2021. “Canada has become a center of excellence not just for VFX, but also for film production in its entirety. Whatever is scripted, we can bring it to life.” Herne Hill worked on Guillermo del Toro’s Cabinet of Curiosities soon after the firm opened its doors. Sauro notes, “We are currently in various states of post-production on a few different projects, including In the Lost Lands, which is an adaptation of a George R.R. Martin short story directed by Paul W.S. Anderson.” The firm is also finalizing Lee Daniels’ The Deliverance and The First Omen.
On the other hand, perhaps Canada’s VFX success “has got something to do with the long, cold, dark winters?” asks Shawn Walsh, Visual Effects Executive Producer, General Manager & Cinesite Group Chief Operating Officer VFX at Image Engine. Founded in Vancouver in 1995, Image Engine merged with Cinesite in 2015. “When you spend a good deal of time indoors following your passions, that creates a kind of fertile ground for the focus, creativity, technical knowledge and innovation that high-end visual effects require. It seems to me that Canadians have never been shy [about] a little hard work either! Canadians have had a strong presence in Hollywood, animation and visual effects for a very long time.”
In recent years, Image Engine has worked on a healthy mixture of high-end series like GameofThrones, TheMandalorian, 3Body Problem and Lost in Space as well as the Fantastic Beasts films, Mulan and District 9, Elysium and CHAPPiE for director Neill Blomkamp, and Zero Dark Thirty for director Kathryn Bigelow.
COMPUTERANIMATION
“Canada has always been a front-runner when it comes to computer animation. Maya, and Softimage before Maya, began in Canada. Canadians filled many of the earliest positions because we were more familiar with the software and skills needed for those early films and TV shows,” says Scott Thompson, CEO and Co-Founder of Think Tank Training Centre in Vancouver. “That legacy helped Canadian schools better address the positions made available at studios that have settled north of the border.”
SideFX, co-founded in Toronto in 1987 by current President Kim Davidson, used its software, PRISMS, to lay the groundwork for Houdini. SideFX technology has been recognized by the Academy of Motion Picture Arts and Sciences five times for Houdini and its breakthrough procedural-based technology. Numerous VFX studios working on Oscar-winning and/or blockbuster films have used the software.
With its flagship product Houdini, SideFX has been a key driver in the growth and innovation of the Canadian VFX industry, particularly in Toronto,” comments Christopher Hebert, SideFX Senior Director of Marketing. The company’s work “has led to significant advancements in VFX and animation, making Houdini a staple in many studios and pushing the boundaries of visual effects capabilities. This influence extends to job creation and talent development, with SideFX employing a significant portion of its workforce in Canada. Their contribution to the software development ecosystem – as well as initiatives like the Houdini Internship Program – not only supports the local economy but also ensures a high level of VFX expertise within the country, fostering a robust and skilled VFX workforce.”
Also in Canada, Alias Research launched in Toronto in 1983 and Softimage in Montreal in 1986, eventually resulting, after various acquisitions and mergers, in (Autodesk) Maya, the award-winning, widely-used 3D model and animation software. In 2003, Alias was given an Academy Award for Technical Achievement for the development of Maya software.
Image Engine Design in Vancouver has been a key contributor to the Netflix series 3 Body Problem. (Image courtesy of Netflix)
Recent projects for Montreal-based Raynault VFX include Secret Invasion Season 2 for Disney+ as well as Percy Jackson and the Olympians, All the Light We Cannot See, White Noise and Fantastic Beasts: The Secrets of Dumbledore. (Image courtesy of Raynault VFX and Disney+)
MARZ in Toronto contributed VFX to Moon Knight as well as WandaVision, Ant-Man and the Wasp: Quantumania, Spider-Man: No Way Home, Wednesday, Stranger Things and the Percy Jackson series. (Photo: Gabor Kotschy. Courtesy of Marvel Studios)
Canada’s early animation and VFX software legacy and long history with Hollywood have helped Canadian film and VFX schools, like the Think Tank Training Centre in Vancouver, consistently address the need for talent to fill available positions at studios. (Image courtesy of Think Tank Centre)
When new computer animation tools arrived, Canada’s art schools began “modifying their classical curriculums by adopting tech,” explains Lon Molnar, Co-Founder of MARZ, a VFX studio that launched in Toronto in 2018. “In the early days, Sheridan College outside of Toronto became a world-renowned leader for animation due to its talented faculty. In the ’90s, schools like Vancouver Film School built a reputation for training traditional and computer animation while cranking out amazing talent – and still do. The Canadian Government along with certain territories jumped on board and supported the industry with various incentives. Filmmaking in Canada as a stand-in for various locations grew while solid investment in soundstages in centers like Vancouver, Toronto and Montreal followed the demand.
Add all this up and eventually you have a vibrant industry with a reputation to deliver.” MARZ contributed VFX to projects such as WandaVision, Moon Knight, Ant-Man and the Wasp: Quantumania, Spider-Man: No Way Home, Wednesday, Stranger Things and the Percy Jackson series.
“[I]t’s hard to imagine a more multicultural, multinational visual effects company than a Canadian one. Canada has always been a tremendous draw for immigration, and the visual effects industry has been a strong contributor to that story. It seems like Canada has found the right soupy mixture of various factors that have created an environment that supports the talent that’s so crucial to visual effects work. The job now is to continue to grow that talent base through continuing immigration, creative and technical development opportunities and strong industry leadership.”
The acceleration of the visual effects industry in Canada over the last 25 years or so can also be attributed to “gradual factors such as the introduction of tax incentives in the late 1990s, strategic investments in education and the establishment of high-quality studios in cities like Vancouver and Montreal,” says Valérie Clément, VFX Producer for Raynault Visual Effects. In addition, Clément observes, “The boom in film and TV production in Canada has significantly boosted the exposure and vigor of the VFX and animation industry at large by creating increased demand for services, ensuring a steady flow of projects, fostering collaboration opportunities, contributing to the economy, driving talent development, gaining global recognition and spurring technological advancements.”
Clément points out, “Of course, the government incentives – generous tax credits, for example – played a huge role. There is also the skilled workforce, the strong infrastructure with more and more visual effects studios located mainly in Montreal, Vancouver and Toronto.” Clement’s firm, Raynault VFX, was founded in Montreal in 2011 by industry legend Mathieu Raynault, He surrounded himself with a small, select team of artists and grew the studio into a full-service VFX facility. Some 2022-2023 projects have included Percy Jackson and the Olympians, All the Light We Cannot See, White Noise, His Dark Materials, Season 3, Thor: Love & Thunder, Fantastic Beasts: The Secrets of Dumbledore, The Old Man and Invasion. Clément also emphasizes the advantage of Canada’s time zones compared to those of Hollywood. There is a limited or non-existent time difference, such as Vancouver sharing the same time zone as California as opposed to London being eight hours later.
Ryan Stasyshyn, Managing Director of Toronto-based Mavericks VFX, cites these reasons for Canada’s VFX success: generous tax incentives and rebates offered by various provinces, a skilled workforce, strong government support, a favorable exchange rate (vs. USD) and, as Clement notes, a significant amount of physical production taking place in Canada. Recent high-profile projects for Mavericks VFX are JohnWick:Chapter4,TheHandmaid’sTale, Fargo,FellowTravelers,TheOffer,Don’tWorryDarling,TheBoys, The Expanse and Halo.
Recent high-profile projects for Toronto-based Mavericks VFX include John Wick: Chapter 4 as well as Fargo, Fellow Travelers, The Offer, Don’t Worry Darling, The Boys, The Expanse and Halo. (Image courtesy of Lionsgate)
Toronto-based Mavericks VFX contributed VFX to the Hulu series The Handmaid’s Tale. (Image courtesy of Hulu)
TIPPINGPOINT–VANCOUVER
Walsh notes, “I think a key turning point in Vancouver’s history as a hub for high-end visual effects work was when Image Engine completed our work for Neill Blomkamp’s District 9 at more or less the same time that [Vancouver-based] The Embassy did some stunning work for Marvel’s first Iron Man and MPC created some solid work for Watchmen. I think this was around 2008-2009. This was the first time that Vancouver visual effects studios, broadly speaking, were really producing work that was the equal of any location, any company in the world. In fact, District 9 was the only project to beat Avatar in any category at the VES Awards that year! The town really grew from that point on. We were on the map, as they say. Since then, Vancouver has gone from strength to strength and has continued to lead the Canadian scene.”
LIFEPERKS
There are many advantages to living in the three major Canadian cities. In Toronto, Stasyshyn notes, “We have a vibrant cultural scene that’s extremely diverse. It’s also a very welcoming city with lots to explore and do.” Clément notes, “[Artists] also have access to all the perks of working and living in Canada: good quality of life, high living standards and a safe environment with the emphasis on a healthy work-life balance.”
Sauro also points to the opportunity to live and work in different parts of Canada. “Vancouver, Toronto and Montreal are all important VFX hubs in the Canadian market, and each offer something different from a lifestyle perspective. Whether it’s the great outdoors of Vancouver, the big city living of Toronto or the European feel of Montreal with its excellent restaurants, each can allow you to not only earn a living doing what you love, but also live in a city that best fits your interests outside of work,” he explains.
In addition to Guillermo del Toro’s Cabinet of Curiosities, Toronto-based Herne Hill Media is involved in In the Lost Lands, which is an adaptation of a George R.R. Martin short story directed by Paul W.S. Anderson, as well as Lee Daniels’ The Deliverance and The First Omen. (Image courtesy of Herne Hill Media and Netflix)
MARZ in Toronto provided VFX for Spider-Man: No Way Home. (Photo: Matt Kennedy. Courtesy of Marvel Studios)
Image Engine Design in Vancouver has worked on the Fantastic Beasts films, including Secrets of Dumbledore, and high-end series such as Game of Thrones, The Mandalorian, 3 Body Problem and Lost in Space. (Image courtesy of Warner Bros. Pictures)
Image Engine Design in Vancouver provided VFX for Venom: Let There Be Carnage. (Image courtesy of Columbia Pictures/Sony and Marvel Studios)
Image Engine Design provided VFX for 3BodyProblem. (Image courtesy of Netflix)
Montreal-based Raynault VFX contributed to FX Network series TheOldMan. (Image courtesy of Raynault VFX and FX Network)
BENEFITS&SUPPORT
In addition, “Employment standards in visual effects companies across Canada are generally very high,” Walsh notes. Wages are generally on par with anywhere in the world that’s doing equivalent levels of quality of execution. Aspects like healthcare and benefits again are on par or above those offered in other visual effects hubs around the world. And there’s a broadly diversified industry with many different companies in terms of shapes, sizes and focuses. [For artists], Canada represents a prime location to consider plying your trade.”
“Canada has a government that understands the importance of supporting the arts,” Sauro says. Part of that help comes in support for non-Canadians studying and working in VFX. Walsh notes that Canada “is a relatively open country that supports companies towards their immigration needs.” Aline Ngo, Image Engine recruiter, notes the importance of “facilitating the retention of skilled talent in Canada.” She says that enabling the stays of visual effects graduates with a government visa help is key. One path is “the possibility of getting a three-year post-graduate work permit after graduating.”
INCENTIVES
“Government support has played a pivotal role in Montreal’s VFX industry success,” Clément comments. “Generous tax incentives and subsidies attract studios, fostering growth. Investment in infrastructure and education ensures top-notch facilities and a skilled talent pool. In essence, government backing has been instrumental in shaping Montreal into a VFX pole.”
Walsh comments, “There’s great local support for the industry in the three main cities where the majority of the visual effects work transpires – Vancouver, Montreal and Toronto. Labor-based tax credit regimes certainly don’t hurt when attracting the client base, but without the talent to execute the work, no amount of tax credit will matter.” Likewise, Sauro affirms, “We can’t ignore the obvious benefits tax credits play, both at a provincial and federal level, in attracting studios and producers to Canada, but that alone is not enough.”
“When you look at the post-secondary institutions in this country, we’re fortunate to have some of the best for VFX, animation and design: OCAD University, Sheridan College,
Humber College, Vancouver Film School, etc. It’s an embarrassment of riches.”
—Dave Sauro, Partner and Executive Producer, Herne Hill Media
SCHOOLS
VFX and animation schools have also helped build the industry. Sauro comments, “When you look at the post-secondary institutions in this country, we’re fortunate to have some of the best for VFX, animation and design: OCAD University, Sheridan College, Humber College, Vancouver Film School, etc. It’s an embarrassment of riches.”
Stasyshyn points to Seneca College, Sheridan College and Vancouver Film School (VFS) as some of the top VFX and animation schools in Canada. “These schools have played a crucial role in shaping the skills of the Canadian VFX workforce. Their programs often include hands-on training, industry connections, networking events and exposure to some of the latest technologies.”
For SideFX, “The proximity to top-tier educational institutions – like the University of Waterloo and the University of Toronto, renowned for their software development and graphics labs, and colleges like Sheridan College, known for its CG education – ensures a steady stream of skilled graduates and potential innovations in VFX technology,” says Hebert. Clément adds, “In Montreal, the VFX talent pool has expanded through esteemed educational institutions like NAD [The School of Digital Arts, Animation and Design] providing industry-relevant education. The establishment of major VFX studios has also significantly expanded career opportunities for local artists.”
Noteworthy Canadian VFX/animation schools also include public schools Emily Carr University of Art and Design, Langara College, British Columbia Institute of Technology (BCIT) and Capilano University and private institutions like Lost Boys School of Visual Effects, Think Tank and Vancouver Film School (VFS), according to Ngo.
“Government support has played a pivotal role in Montreal’s VFX industry success. Generous tax incentives and subsidies attract studios, fostering growth. Investment in infrastructure and education ensures top-notch facilities and a skilled talent pool. In essence, government backing has been instrumental in shaping
“With a focus on story and problem-solving, we have been serving our industry with students who are prepared for an adaptable career in VFX,” says Colin Giles, Head of the School for Animation & VFX at Vancouver Film School. “Given the rapid changes in techniques and technology, we continue to upgrade our facilities and curriculum to not only stay in tune with current methodologies, but prepare our students on why these changes can enchant their storytelling and help them find their artistic voice.” Thompson remarks, “Canadian-based studios have a substantial piece of the VFX pie, so students are very close geographically to their first VFX job. These studios also give Canadian schools access to instructors and mentors that are working on the biggest VFX films and TV shows being made. At Think Tank, we are continually polling the industry to better understand the software, workflows and demands of the FX industry.”
Vancouver Film School continues to upgrade its facilities and curriculum to stay in tune with current methodologies and better prepare students for the evolving industry. (Image courtesy of Vanouver Film School)
Think Tank Training Centre in Vancouver is among the wealth of animation and VFX schools in Canada developing a steady stream of creative and technical talent that keeps the industry growing. (Image courtesy of Think Tank Centre)
Canadian VFX/animation schools work hard to stay in demand and stay in touch with the VFX companies. Lost Boys Co-Founder and Director Ria Ambrose Benard comments, “We were the first school to teach Houdini for FX and Katana for lighting. This helped our students stay ahead of the curve and in demand when the industry was growing. The FX program and the lighting program were designed at a request from the studios in the industry years ago.” Giles notes, “The growing talent pool is being fueled by high school interest, and international students are attracted to animation schools across Canada. This has allowed the VFX industry to tap into deep tax credits and build a sustainable nationwide industry. In addition, like VFS, we are able to bring in top instructors and mentors from the expanding VFX footprint.”
Walsh continues, “Bringing visual effects work north seems to have been a natural progression. Initially, many of us left home to work abroad because that’s what you had to do to experience working on the visual effects shots that captivated our attention. However, there was a turning point around the late 2000s when many of us returned home and brought our new-found friends from around the world with us! Since then, it’s hard to imagine a more multicultural, multinational visual effects company than a Canadian one. Canada has always been a tremendous draw for immigration, and the visual effects industry has been a strong contributor to that story. It seems like Canada has found the right soupy mixture of various factors that have created an environment that supports the talent that’s so crucial to visual effects work. The job now is to continue to grow that talent base through continuing immigration, creative and technical development opportunities and strong industry leadership.”
VFXSTUDIOS
Other notable Canadian VFX/animation firms include Spin VFX (Toronto), Rocket Science VFX (Toronto), Rodeo FX (Montréal, Québec City, Toronto), Soho VFX (Toronto), Guru Studio (Toronto), Folks VFX (Toronto), Zoic Studios (Vancouver), The Embassy (Vancouver), Hybridge Ubisoft (Montréal), Artifex Animation Studios (Montréal) and Alchemy 24 (Montréal).
Branches of foreign VFX and animation companies have also contributed to Canada’s growth in visual effects. Vancouver has outposts of Wētā FX, ILM, Framestore, DNEG, Pixomondo, Sony ImageWorks, Walt Disney Animation Studios, Digital Domain, Crafty Apes VFX, FuseFX, Scanline VFX (owned by Netflix), Ghost VFX, Luma Pictures, Clear Angle Studios, Animal Logic, CoSA VFX, Barnstorm VFX and Ingenuity Studios, among others.
Montréal branches include Framestore, DNEG, Pixomondo, Sony ImageWorks, MPC (Technicolor), Mikros Animation (Technicolor), Digital Domain, Mathematic Studio, Crafty Apes, Folks VFX (Fuse Group), Outpost VFX and Scanline VFX. Toronto facilities include DNEG, Tippett Studio and Ghost VFX, among others.
Marianne Speight, Chief Business Development Officer and Executive Producer, Milk VFX. (Photo: Simon Wicker)
Marianne Speight was born in Stockton-on-Tees in the North East of England but lived in New Zealand for a few years. Besides studying specific university courses, Speight didn’t receive any formal VFX training. “I wasn’t aware of any training availability when I started,” Speight says. “Mainly, it was on the job with artists/supervisors and producers passing on their knowledge to me on a daily basis. The only course I did take was compositing basics at Escape Studios as I wanted to learn what the compers were talking about with regard to various lighting and comp passes they needed when I was a coordinator.”
Speight broke into the visual effects industry after joining Peerless Camera Company. “Terry Gilliam had just started his film The Brothers Grimm at that time, so it was an exciting time to start my VFX journey – and a steep learning curve! I loved visual effects in Star Wars but had little concept of how VFX effects were actually made,” Speight notes. “It was really exciting having direct access to the filmmaker and learning how creative feedback would affect asset builds or shot composition and in turn what the impact on the schedule would be. Mostly, though, it felt like we were very connected to the creative process and the director’s vision, which was inspiring. It was also intriguing to work with a lot of very experienced artists who were happy to share their knowledge and also some amazing stories from the days of optical printers.”
Speight was very interested in the production budget/scheduling side of the effects from the beginning, and Peerless owner Kent Houston encouraged her to go in that direction. Speight served as Visual Effects Coordinator on the 2005 film Racing Stripes. “Racing Stripes was fascinating to me as a new coordinator because it had so many parts of the VFX process involved. So, it was a good learning experience to get me used to many parts of the process for muzzle replacements and full CG animals,” she explains. “I learned a lot about dependencies on different areas such as prep animation lighting and comp. I especially enjoyed watching the animators pull faces into a mirror and recreate those on the zebra! It gave me a good grounding to know how long different parts take and what can speed up or slow down the schedule.”
Speight was looking to expand her experience on challenging projects in terms of volume and complexity, and found both working on The Chronicles of Narnia: The Voyage of the Dawn Treader (2011). (Image courtesy of 20th Century Fox and Walden Media, LLC)
When Speight first joined MPC in 2009, she was already established as a visual effects producer, but was looking to take her career in a new direction. “I was looking to expand my experience on challenging projects in terms of volume and complexity, and I enjoyed The Chronicles of Narnia: The Voyage of the Dawn Treader, which had both. It was a fun and technically challenging show. It was my first experience working with CG water simulation and rendering. Back then, Flowline was the software of choice, and that presented its own set of challenges since simulation and render times were evolving during production. It was also a heavy creature and animation show, and I loved being involved in the development process of the creatures from initial concept to final shots. The show itself was quite an eclectic mix of challenges, but it was a really fun film to work on as there was a great team across the board and a collaborative client.”
Among Speight’s other credits as a Visual Effects Producer is X-Men:FirstClass. “I loved working on X-Men:FirstClass. It wasn’t a huge volume of shots, 200 max, but it was complex work with a host of separate technical and artistic problems to solve,” Speight remarks. “I particularly liked the Hank [McCoy] beast transformations involving muscle deformations and fur appearance/disappearance. It was a real challenge for rigging and groom, and it felt like we were learning a lot throughout the process in terms of how we developed our approach to using software. It was fun working with the creative team led by [MPC Visual Effects Supervisor] Nicolas Aithadi on this one as everyone loved the franchise. I also got to work with [Visual Effects Designer] John Dykstra. That was a huge honor to work with a VFX legend.”
As a new coordinator on Racing Stripes, Speight was introduced to many parts of the VFX process, including muzzle replacements and full CG animals, as well as to factors that impact a production schedule. (Photo: Alsbirk, Blid. Courtesy of Warner Bros. Pictures)
Speight began her visual effects career on Terry Gilliam’s The Brothers Grimm (2005). (Image courtesy of Dimension Films and MGM)
X-Men: First Class didn’t involve a large volume of shots, but Speight found it was complex work with a host of separate technical and artistic problems to solve. (Image courtesy of Marvel Studios)
Speight currently serves as Chief Business Development Officer and Executive Producer for Milk VFX. “I always admired Milk while working at other companies. They always had a talented team, and I was a fan of their creature work and their ability to be involved in a wide range of projects. Milk has always had a strong client base for repeat business, and when I came in, my goal was to expand that client base and reinforce our connections in the industry and with filmmakers and showrunners. I enjoy working with clients to break down scripts and work out methodologies that are going to give the look they want but also within their budget. We always want to be with clients, working to help them develop their ideas and inform their creative process. We are working to expand our client base to a more global reach while still offering a very personal interaction with our clients. As part of this, Milk now has studios in Bordeaux, Barcelona and Dublin, and it’s great to be able to access the range of talented artists in those areas. We are a full-service VFX house with very strong FX and environment teams, but our continuing specialization is creatures, so we are looking to develop that even further. In my role as Executive Producer, I also oversee projects from the bid stage through award through shot delivery. It’s great to have that continuity and to see how the ideas, assets and shots have evolved and all the various creative twists and turns it may have taken. It’s always very satisfying to see your work on the big screen!”
It was a career highlight for Speight to work with Ridley Scott on Prometheus (2012). (Image courtesy of Twentieth Century Fox)
Speight’s favorite shot from her career was the sequence of the Juggernaut crash from Prometheus as it was quite an epic build and a landmark part of the film. (Image courtesy of Twentieth Century Fox)
When it comes to selecting a favorite visual effect shot from her career, Speight is quick to point to one shot in particular. “My favorite shot from my career is probably actually a group of shots, which I guess is cheating, but it was the sequence of the juggernaut crash from Prometheus as it was quite an epic build of the asset and a landmark part of the film,” Speight says. “It was a huge asset, and the textures needed to be very high-res as they were coming very close to the camera. The animation and FX also had to be spot on to make the weight of the ships and crash believable so the audience felt how vast it was. It was a great sequence to develop as I’m a big fan of Ridley Scott. It was pleasing to develop that with him and see how happy he was with it.”
Choosing an overall project that she is most proud of is more of a daunting task for Speight. “It’s a tough choice on which project I’m the most proud of,” Speight notes. “I think in terms of my early career I was most proud of Casino Royale because I always wanted to work on a Bond film. I also was just very proud of getting that one delivered in a short space of time, comparatively speaking. It involved a range of visual effects from environment extensions to face replacements. It was a great project to work on. I particularly liked the crane sequence we did with Daniel Craig.”
“However, I think my favorite project they worked on was Guardians of the Galaxy because it was just such a big film with just so many different sequences requiring different elements, different characters that we needed to do,” Speight continues. “MPC and Framestore were building their own assets for Rocket and Groot, and they had to match exactly. Both used some proprietary software, so it was kind of ‘how do we make assets match while we are both building at the same time with our own setups?’ But I think everyone worked together really well. It was a good example of studios working together to get the best outcome for the film. I loved the process of building Groot as that was complicated from a rigging perspective, and groom was a challenge for Rocket, but the biggest one was making both characters ‘real,’ and I think the animators did a fantastic job. The spaceship fights were cool to work on both in terms of animation and in terms of having massive ships with an immense polygon count to render. There were just so many different stand-alone sequences over the project; it wasn’t like there was much repeating in terms of effects requirements, so that’s really challenging but satisfying to do. A lot of that fun came down to the team – they were brilliant, and I loved how well everyone worked together.”
Casino Royale involved a range of visual effects from environment extensions to face replacements, and Speight was proud of delivering a complex project in a comparatively short period of time. (Image courtesy of Columbia Pictures/Sony)
GuardiansoftheGalaxy was a “big film” in Speight’s career for its vast scope of demands because it was filled with many different sequences requiring different elements and different characters that needed to be realized. (Image courtesy of Marvel Studios and Walt Disney Studios)
Speight cites GuardiansoftheGalaxy as a good example of studios working together to get the best outcome for the film. (Image courtesy of Marvel Studios and Walt Disney Studios)
Technology-wise, the VFX industry is ever-evolving and has developed since the beginning of Speight’s career. “Certainly, when I first started my career it felt as though there was a new development monthly in terms of software, pipeline and hardware that could be used,” Speight details. “It has always been a very fascinating industry to be in. When faced with technical and creative challenges that haven’t been solved before, it is always incredible to see technical and artistic talent within our industry take on those challenges so readily and design and build something that works. During my career, we went from shooting on film to digital to LED walls, virtual production and virtual scouting, and I think those technical technological updates have been great for showrunners and filmmakers to give them all the tools they need to achieve their vision in a way that embraces VFX and how it can work for them. Having a facility that can consult early on to get the best possible outcome for their project is crucial, and I think we want to always try and advise on what tools could help them.”
In terms of inclusivity within the industry, Speight explains that it is an area that can always be improved, but the industry is heading in the right direction. “There is a lot more to be done to achieve a more diverse workplace through targeted recruiting and outreach to individuals and groups that wouldn’t necessarily have considered VFX as an option open to them due to its previously atypical demographic. For me, flexibility has led to inclusivity as a Mum, and it’s been great to be able to carry on with my career progression and have a family. It’s crucial for me to have a level of flexibility to be able to perform at the highest level, and there’s been a move towards flex and hybrid working in recent years, so I can juggle the needs of my family and the needs of the company. I feel that the industry is now more and more recognizing the benefits of that as it is retaining very experienced and talented crew who also want to have balance in their lives while working on some cool projects!”
VES Members and Their Guests are Invited to a Screening of Lions Gate’s THE MINISTRY OF UNGENTLEMANLY WARFARE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 21, 2024 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ ABIGAIL
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 28, 2024 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of Warner Bros. Pictures’ GODZILLA V KONG: THE NEW EMPIRE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 14, 2024 at 4:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Night Screening of A24’s CIVIL WAR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, April 12, 2024 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Studios’ THE FIRST OMEN
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 7, 2024 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families 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. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 7, 2024 at 4:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families 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. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Wednesday, April 3, 2024 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of Warner Bros. Pictures’ DUNE: PART TWO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Thursday, March 14, 2024 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
The 22nd Annual VES Awards season is underway, and it’s going to be more exciting than ever! Nomination Event to be held worldwide on Saturday, January 13, 2024.
This year we will have virtual and in-person Nomination Events. Current VES members can apply to judge on ANY in-person event that you can travel to or or ANY virtual panel in ANY time zone. This is the must-attend event of the awards season. You will see exclusive behind-the-scenes clips of the most striking visual imagery of 2023, and you’ll enjoy the single best networking opportunity of the year! Don’t miss your chance to meet the best and brightest in the VFX field, catch up with old friends, and learn about new VFX techniques. Plus, you’ll have the satisfaction of helping to decide the best work to be presented to our colleagues in the industry and the press, as well as fans across the globe.
The Nomination Event is an all-day event and judges will receive details about specific times closer to the event. Please apply to a specific in-person location, or a particular time zone of a virtual panel (view the Region Map for the time zone that best fits your schedule). Please submit your Judge Application early to make this year’s VES Awards Nomination Event successful.
-The 22nd Annual VES Awards Committee
JUDGE APPLICATIONS ARE CLOSED please contact cassidy@vesglobal.org with any questions
VES Members and Their Families are Invited to a Screening of Warner Bros. Pictures’ AQUAMAN AND THE LOST KINGDOM
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, January 7, 2024 at 2:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Netflix’s REBEL MOON Followed by a Live Interactive Q&A with the Filmmakers
Panelists will include Overall Visual Effects Supervisor Marcus Taormina, Special Effects Supervisor Michael Gaspar, Wētā FX Visual Effects Supervisor Ken McGaugh and Framestore Visual Effects Supervisor Robert Winter, moderated by VES Board member Robin Prybil. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESREBELMOON, in your tweet.)
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, January 6, 2024 at 1:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of Warner Bros. Pictures’ WONKA
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Wednesday, December 20, 2023 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
When: Thursday, December 14th, 8 PM EST
Where: 92 West Houston Street, New York, NY, 10012
Be sure to register at the door to win ONE of these great prizes: ** 1-year Subscription Full Effects Suite (BorisFX) ** 1-year Full Production Suite (Foundry)
Thank you so much BorisFX & Foundry for supporting us this year!!
VES Members and Their Families are Invited to a Screening of Toho Studios’ GODZILLA MINUS ONE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, December 9, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Screening of GKIDS’s THE BOY AND THE HERON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, December 9, 2023 at 4:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Lionsgate’s SILENT NIGHT
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, December 8, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Marvel Studios’ and Walt Disney Motion Pictures’ THE MARVELS followed by a Q&A with the Filmmakers
Panelists will include Production Visual Effects Supervisor Tara DeMarco and Additional Visual Effects Supervisor Sarah Eim, moderated by former VES Board member Gene Kozicki, VES. (All panelists’ participation based on availability.)
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMARVELS, in your tweet.)
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, November 11, 2023 at 2:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FIVE NIGHTS AT FREDDY’S
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Tuesday, October 31, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Crompton Ale House Thursday, October 26th
6:30 pm – 9:30 pm EDT
VES Members: Free (PLEASE LOG IN TO RSVP) Non-Members: 20$
REGISTRATION IS REQUIRED – No Walk-ins
Thursday, October 26th
159 West 26th St, New York, NY 10001
We’re holding another combo of good food and cool tech, courtesy of our friends at Imagine Products and Iodyne Pro Data. Thanks for sponsoring!!
Includes food, 2 drink tickets
Not a member? No problem – CLICK HERE to register.
VFX + Color When: Wed Oct 25, 2023 08:00pm to 09:30pm EDT
VFX + Color : Why does it matter?
How many times have you opened, or inherited a project and found that something was …off? The undistorted plate is correct, the camera profile matches, but something isn’t right, or worse: broken. What’s the deal?
VES NY held a virtual panel on the theoretical and practical knowledge of color management.
From on-set acquisition to final grade and delivery, we spoke with experts at each step of the process.
Wednesday, October 25th
8:00 pm EDT
Guest Speakers: Jep Hill || Alkemy X Austin Mayers || Crafty Apes Dr Chris Bai || BenQ Art Suwansung || BenQ Tashi Trieu || Colorist – Avatar: Way of the Water Diego Yhama || Estudio Roco
Dr Chris Bai – BenQ
Dr. Chris Bai is currently the Senior Color Expert at BenQ Corporation, and he also serves as the Vice Chair of ICC (International Color Consortium) and the Chair of ICC Displays Working Group. He is also the ISO TC-130 and IEC TC-110 Expert who defines international color standards. His passion in photography led him into the world of color science and color management. His research interests include color theory, observer metamerism, display technology and spectral-based color management.
Jep Hill – Alkemy X
With over 28 years of visual effects and imaging experience creating and supervising visual effects for features, Hill’s work includes classic studio-style visual effects production and leading teams through the entire process on live-action and full CG feature films at such facilities as Dream Quest Images, Sony Pictures Imageworks, Scanline, Digital Domain, and Industrial Light & Magic. In March 2021, Hill joined Alkemy X as a VFX Creative Director and Head of Imaging to expand Alkemy’s West Coast team, capabilities, and build a strong creative presence in both USA and Canada.
Austin Meyers – Crafty Apes
Austin Meyers is a visual effects supervisor and post production specialist. He is an Emmy and VES award-winning visual effects artist with over 15 years of film, television, and commercial experience. With a degree in film, a background in turn-key video production and web design, he ultimately found himself working as a compositor and then worked his way up through the ranks and is currently Head of 2D for Crafty Apes, NY. He has a unique vision of how production and post flow together, and is driven to create fast, flexible, and efficient teams and workflows
Art Suwansang – BenQ
Art is BenQ Pro Display Line Global Ambassador, Calibrite Ambassador, X-Rite Coloratti and Adobe Partner & Influencer. He is a photographer, YouTuber and an expert in color management with a technical background in computer engineering.
Tashi Trieu – Colorist
Tashi Trieu has over 10 years of post-production finishing experience as well as an extensive background in compositing and digital and film photography. Utilizing a strong eye for story-centric visual aesthetics, Tashi combines both technical and artistic strengths to enhance feature films, commercials, short form, and episodic productions.
Tashi is the co-author of the textbook “Modern Post”, an internationally recognized authority on modern Hollywood post-production finishing.
Diego Yhamá – Estudio Roco
Post supervisor, colorist, and educator based in Bogota Colombia, Diego has worked on a variety of productions as a colorist and currently as a post supervisor in his own company Estudio Roco, as an educator he is the designated DaVinci Resolve Master trainer for Latin America by Blackmagic design and has taught different classes for universities, tv channels and post-production houses in around 13 countries, he also works as a demo artist with Maxon and Eizo Monitors.
Wednesday, October 11, 2023 at 12:00PM (PDT) & 3:00PM (EDT)
Mark your Calendars! The Visual Effects Society and TELUS Health (formerly Lifeworks) will present an overview of the services offered as part of the FREE VES Member Assistance Program. Don’t miss this chance to find out about the mental health, fitness, legal, financial, online resources, and more that are part of this amazing program. Don’t miss learning about all of these phenomenal benefits specifically for VES members throughout Canada and the United States!
VES Members and Their Guests are Invited to an Advance Screening of 20th Century Studios’ THE CREATOR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Thursday, September 28, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE NUN II
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Tuesday, September 19, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of 20th Century Studios’ A HAUNTING IN VENICE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Monday, September 18, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES NYers! Bring a friend, have a drink, grab a bite and learn more about member benefits!!
VES Members RSVP below (please log in first) Non-members check-in at the door. Tuesday, September 12, 2023 at 7:00PM Crompton Ale House
159 W. 26th Street, New York, NY 10001
***Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Sony Pictures’ GRAN TURISMO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, August 27, 2023 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and a Guest are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
RSVPs are closed Wednesday, July 19, 2023 at 7:00PM (Please arrive early, as seating is first come first served) AMC Lincoln Square IMAX 13 (Theater #4)
1998 Broadway (at 68th St.) New York, NY 10023 Click here for a map
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ THE LITTLE MERMAID
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, May 28, 2023 at 2:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
PUB NIGHT & TECH DEMO
Sponsored by Iodyne Pro Data
Come by Westside Tavern (across from SVA Theatre)
Welcome the new and returning members, grab a drink and check out some new tech from our friends at Iodyne Pro Data.
Please RSVP below (VES members must login to RSVP) Tuesday, May 23rd @ 7:00PM WESTSIDE TAVERN
360 W. 23rd Street (closer to 9th Avenue) New York, NY 10011
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Universal Pictures’ FAST X
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, May 21, 2023 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES members receive a US $995 special rate to register for the RealTime Economics Summit (full regular ticket price is US $2,995).
Don’t miss out on the chance to join a select cohort of executives from industries including virtual production, broadcast, digital fashion, retail & 3D commerce, manufacturing, architecture, automotive, advertising, and enterprise management. RTES takes place in New York, on May 15 & 16. Click here to register now!
Join your peers at an invitation-only gathering of 250 decision-makers and executives to discover how real-time technology adoption will impact your bottom line. Connect with the leaders you’ve always wanted to meet from across industries around the world and explore honest perspectives on strategic technology decisions in the face of economic uncertainty. Get insight into economic issues rippling across industries and how real-time technologies promise to address those challenges. Discuss real-time economic and management issues specific to your industry in private break-out spaces, facilitating candid and open discussion. VES members offering insights on the future of real-time applications will include:
Doug Cooper, CTO of Spire Animation Studios
Barbara Ford Grant, President of Prysm Stages and VES Technology Committee member
Rob Legato, ASC, President of KTM Productions and recipient of the VES Award for Creative Excellence
Paolo Tamburrino, Virtual Production & Visual Effects Producer
Ed Ulbrich, CEO of Digital Domain, former President at Method Studios
Philipp Wolf, Executive-in-Charge of Corporate Strategy at DNeg and VES Board member
VES Members and Their Guests are Invited to an Opening Night Screening of Sony Pictures’ KNIGHTS OF THE ZODIAC
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, May 12, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Marvel Studios’ and Walt Disney Pictures’ GUARDIANS OF THE GALAXY, VOL. 3 followed by a live interactive Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Stephane Ceretti and Sony Pictures Imageworks Visual Effects Supervisor Theo Bialek, moderated by Van Ling, VES. (All panelists’ participation based on availability.) Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESGUARDIANS3, in your tweet.)
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, May 7, 2023 at 2:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Itinerary: Intro Seminar – conducted by Final Pixel. (approx 1-hr)
2 x Breakout groups (approx 1-hr)
A – Technical: Deeper dive into Unreal, camera tracking and Disguise – led by Michael Komer
B – Management: Deeper dive into VAD & OSVP/Volume Control Team set up and management – led by Final Pixel. Industry Mingle – beverages provided (approx 1-hr)
**Attendees will leave this event with a broad understanding of Virtual Production, a deeper understanding of the technologies involved and how a working Virtual production set operates.
VES Members and a Guest FREE!
Please RSVP below (VES members must login to RSVP) Saturday, May 6th 1:00PM to 4:00pm EST
Fuse42
229 W. 42nd Street New York, NY 10036
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE POPE’S EXORCIST
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 16, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Universal Pictures’ RENFIELD
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 16, 2023 at 5:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Metro-Goldwyn-Mayer Studios’ AIR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, April 8, 2023 at 6:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SUPER MARIO BROS. MOVIE
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, April 8, 2023 at 3:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Lionsgate’s JOHN WICK: CHAPTER 4
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Monday, April 3, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Focus Features’ A THOUSAND AND ONE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Sunday, April 2, 2023 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Paramount Pictures’ DUNGEONS & DRAGONS: HONOR AMONG THIEVES
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Saturday, April 1, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Come by Westside Tavern (across from SVA Theatre) and bring a friend, grab a drink on us. First come, first serve.
There are a LOT of things happening in the industry and the world-what do YOU want from your section this year?
Please RSVP below (VES members must login to RSVP) Friday, February 24, 2023 at 9:15PM WESTSIDE TAVERN
360 W. 23rd Street (closer to 9th Avenue) New York, NY 10011
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Night Screening of Universal Studios’ COCAINE BEAR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.Click herefor full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Friday, February 24, 2023 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Presidents’ Day Weekend 3D Screening of Marvel Studios’ and Walt Disney Pictures’ ANT-MAN AND THE WASP: QUANTUMANIA
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages. Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP) Monday, February 20, 2023 at 4:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and One (1) Guest are Invited to an Opening Weekend Dolby Vision 3D HFR Dolby Atmos Screening of Walt Disney Pictures’ and 20th Century Studios’ AVATAR: THE WAY OF WATER followed by a live interactive Q&A with the Filmmakers
Masks or face coverings are recommended, but not required. Please observe social distancing whenever possible.
Panelists will include VES Lifetime Achievement Award-winning Director-Writer-Producer-Editor James Cameron, Oscar winning Producer Jon Landau, Executive Producer, VES Award-winning Visual Effects Supervisor at Wētā FX Richard Baneham, VES Georges Méliès Award-winning Senior Visual Effects Supervisor at Wētā FX JoeLetteri, VES, Wētā Visual Effects Producer Lena Scanlan, VES Award-winning Head of FX at Wētā FX JohnathanNixon and VES Award-winning Animation Supervisor at Wētā FX Eric Reynolds, moderated by VES Chair Lisa Cooke. (All panelists’ participation based on availability.)
Please RSVP below (VES members login to get your free ticket).
Event Details: This is an outdoor event in the covered garden space. There will be heaters outside.
12 Vandam St, New York, NY 10013
Come enjoy the food, have a few drinks and welcome the new members!!
VES Members and a Guest FREE!
Not a Member? No problem! You’re still welcome to come!!
$30 at-the-door(CASH)
All attending this event need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this “live event” infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees, and any other affiliated persons from any adverse medical or financial impact that may result from our participation. ***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
Please RSVP below (VES members must login to RSVP) Sunday, November 20, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ BLACK ADAM
Please RSVP below (VES members must login to RSVP) Saturday, November 5, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DON’T WORRY DARLING
Please RSVP below (VES members must login to RSVP) Friday, September 30, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of The Avenue Entertainment’s MEDIEVAL
Please RSVP below (VES members must login to RSVP) Sunday, September 11, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Studios’ BARBARIAN
Please RSVP below (VES members must login to RSVP) Saturday, September 10, 2022 at 7:30PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of United Artists Releasing’s THREE THOUSAND YEARS OF LONGING
Please RSVP below (VES members must login to RSVP) Saturday, September 3, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Universal Pictures’ BEAST
Please RSVP below (VES members must login to RSVP) Tuesday, August 23, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Please RSVP below (VES members must login to sign up)
Event Details: This is an outdoor event in the covered garden space.
12 Vandam St, New York, NY 10013
Food, drinks, and laughter. Plus enter to win prizes from a few of our sponsors: BorisFX – 1-year subscription to Mocha Pro $595 value || 1-year subscription to Silhouette $795 value ActionVFX – $490 Annual Pro Plan (15 elements per month, plus direct access to 30+ (normally-paid) free collections as a perk of being a Pro subscriber) GridMarkets – 2 winners will receive 500 Gridmarket’s Credits.
VES Members and a Guest FREE with RSVP by Friday, August 12, 2022 at 8:00 pm!
$30 at-the-door (Cash only)
All attending this event need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable for any consequences that may transpire from said risk. Therefore, signing up for this “live event” infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees, and any other affiliated persons from any adverse medical or financial impact that may result from our participation. ***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
Topic of Discussion:
Join us Thursday, July 28th to learn how to make the most of the Member Assistance Program (MAP), and how to win some prizes at the Summer Party in August. We’ll be on for a few hours. All are welcome to come and go throughout the night!
VES Members and Their Guests are Invited to a Screening of Netflix’s THE GRAY MAN
Please RSVP below (VES members must login to RSVP) Sunday, July 24, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Universal Pictures’ NOPE
Please RSVP below (VES members must login to RSVP) Saturday, July 23, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ WHERE THE CRAWDADS SING
Please RSVP below (VES members must login to RSVP) Monday, July 18, 2022 at 7:00PM SVA Theatre
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Families are Invited to a Pre-Release 3D Screening of Universal Pictures’ and Illumination Entertainment’s MINIONS: THE RISE OF GRU
Please RSVP below (VES members must login to RSVP) Tuesday, June 28, 2022 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ ELVIS
Please RSVP below (VES members must login to RSVP) Monday, June 27, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ LIGHTYEAR
Please RSVP below (VES members must login to RSVP) Sunday, June 26, 2022 at 2:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD DOMINION
Please RSVP below (VES members must login to RSVP) Saturday, June 25, 2022 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to an Advance Screening of Netflix’s THE SEA BEAST followed by a Q&A with the filmmakers. Panelists will include Writer / Producer / Director Chris Williams
Click here to RSVP (be sure to choose which screening you wish to attend.) Tuesday, June 21, 2022 at 6:30PM The Paris Theater
4 W 58th St., New York, NY 10019
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
I would like to invite you to SVA’s Industry Mixer to celebrate the School of Visual Arts’ BFA Computer Art, Computer Animation, and Visual Effects graduating Class of 2022.
This event is invite-only and RSVP is required. If you would like to add someone to the list, please let me know.
I hope you are able to join us for food and drinks to celebrate a year of hard work and meet the graduating students.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS
Please RSVP below (VES members must login to RSVP) Wednesday, May 11, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Topic of Discussion:
The role of acquiring talent comes by many names, Recruiter, Artist Manager, Talent Acquisition, etc, but the question is the same: how do you find good people and how do you keep them? Join VES NY in conversation with recruiters from Crafty Apes, Chicken Bone FX and Pixar Animation Studios.
Please RSVP and register for a seat at the zoom table!
Meet our guests:
Melissa Blakey’s journey began in a tiny little Connecticut seaside town, where the only access to “Hollywood” was the big movie theater complex, about a 45-minute drive away. It was during one of those many movie outings that she suddenly became curious to learn what goes on behind-the-scenes. After two decades of VFX Producing, she transitioned into recruiting. Melissa is thrilled to be a part of growing the Crafty Apes team globally, aiding in the launch of multiple locations, and seeking out the best talent our industry has to offer. In her spare time, she’s heading to the beach with her son, traveling, and dabbling in meditative hobbies such as cooking and gardening.
Mindy Berardini joined Pixar Animation Studios March 2021 as a Recruiter. Before Pixar, Mindy was at Blue Sky Studios and has been working in Talent Development for 10 years. She’s recruited for roles for the entire animation pipeline but currently supports departments like Layout, FX, Sim, Lighting and Rendering.
Emma Everett is the Director of Talent & Culture at Chicken Bone FX Studios. She is responsible for recruiting visual effects professionals, talent planning and retention, company culture, and marketing. Throughout her career, Emma has always been driven by a drive for success balanced against a people-first ethos. She has worked in multiple industries taking best practices with her everywhere she goes. Outside of work, Emma enjoys nature, good food, and family with her two young daughters and husband. She is passionate about social issues related to Aspergers/Autism and homelessness.
VES Members and Their Families are Invited to an Opening Weekend Screening of Universal Pictures’ and DreamWorks Animation’s THE BAD GUYS.
Please RSVP below (VES members must login to RSVP) Sunday, April 24, 2022 at 2:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ MORBIUS.
Please RSVP below (VES members must login to RSVP) Saturday, April 16, 2022 at 2:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Universal Pictures’ AMBULANCE
Please RSVP below (VES members must login to RSVP) Friday, April 15, 2022 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click herefor full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ MORBIUS.
Please RSVP below (VES members must login to RSVP) Monday, April 11, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join us for our first Live@5!!! in the new year. Come and meet your new board members, bring up important topics of discussion, and catch up with old coworkers. RSVP for a link to the Zoom invite here.
VES Members and Their Guests are Invited to a Screening of Sony Pictures’ SPIDER-MAN: NO WAY HOME.
Please RSVP below (VES members must login to RSVP) Friday, January 21, 2022 at 7:30PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and a Guest are Invited to a Pre-Release IMAX® Screening of Warner Bros. Pictures’ THE MATRIX RESURRECTIONS. All VES members and guests must show photo ID & proof of vaccination against COVID-19 for admission and masks must be worn at all times in indoor public settings.
** Please help protect the mysteries inside of the Matrix and do not reveal plot points or twists in your social posts. Do not post any teases in advance. Social: Thursday, December 16 @ 6:30PM (PST), 9:30PM (EST) – Review: Tuesday, December 21 @ 8:00AM (PST), 11:00AM (EST)
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of United Artists’ NO TIME TO DIE.
Friday, October 29, 2021 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
Please RSVP below (VES members must login to RSVP)
***VES Members: Please enter your first and last name in the “Attendee 1″ fields***
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES MEMBERS SIGN UP BELOW (login required) Attendee #1 is the VES member / Attendee #2 is the VES member’s guest.
NOTE: Per New York City guidelines, proof of vaccination will be required and masks indoors.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join us Thursday Sept. 30th for a social Zoom room to catch up with your local artists and friends. You don’t need to be a member to join. Click on the poster or the link below to sign up! Cheers!
VES Members and Their Guests are Invited to a 3D Screening of Marvel Studios’ and Walt Disney Pictures’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS.
All those entering SVA Theatre need to be fully vaccinated with an FDA / WHO authorized vaccine and must show proof of vaccination upon entrance. “Fully vaccinated” means at least 14 days past the final dose of the vaccine received. The only exception to the above will be for guests under the age of 12, or those who need reasonable accommodations due to a medical condition or sincerely held religious belief. Guests requesting an exemption must provide proof of the exemption, in addition to either a negative COVID-19 PCR test taken within 72 hours of the event, or a negative COVID-19 rapid antigen test taken within 6 hours of the event. Guests may present proof of vaccination or a negative test on paper or a smartphone. The NY State Excelsior Pass is an acceptable form of proof. In addition to proof of vaccination, all guests 18 years or older must also present a government-issued photo ID, such as a driver’s license or passport. The name on the ID must match the name on the proof of vaccination / negative test. Guests under 18 may use a school photo ID or must be accompanied by an adult who meets the above requirements.
Everyone entering SVA theatre must wear acceptable face coverings that cover the nose and mouth at all times. Masks may be removed briefly in order to drink water or other non-alcoholic beverages.
Click here for full requirements for all attendees.
Please RSVP below (VES members must login to RSVP)
Wednesday, September 15, 2021 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
***VES Members: Please register your name as “Attendee 1″***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES MEMBERS SIGN UP BELOW (login required) Attendee #1 is the VES member / Attendee #2 is the VES member’s guest.
NOTE: Per New York City guidelines, proof of vaccination will be required.
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), we willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of myself and my party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a 3D Opening Weekend Screening of Marvel Studios’ and Walt Disney Pictures’ BLACK WIDOW. Theater rules require that nobody will be admitted without proof of vaccination or a negative test within the past 72 hours. Masks must be worn at all times and no food or drink is permitted except water.
Each attendee must present a photo ID and a photo of your vaccination card, or a NY State Excelsior Pass. Unvaccinated guests must present evidence of a negative test within the past 72 hours and will be required to sit in a different area of the auditorium, socially distant from other guests.new
Please RSVP below (VES members must login to RSVP)
Saturday, July 10, 2021 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Join us this Thursday for a social Zoom room to catch up with your local artists and friends. You don’t need to be a member to join. Click on the poster to sign up!
VES NY is happy to announce the first of our web speaker series. An interview with Hal Hickel, Animation Supervisor at ILM. We’ll talk about career paths, inspirations, robots, whatever strikes our fancy. VES Members can register to view this webinar on Zoom; We’ll also be streaming live on our NY Section Facebook page https://www.facebook.com/VESNewYork.
When: Monday April 12, 2021 at 8:00pm EDT
Please login to register in advance for this webinar.
Join us for a special town hall panel on Friday, February 12th from 3-4pm EST. We will take your questions and concerns regarding changing work landscapes and new opportunities.
You are invited to the east coast, VES Netflix Party on Wednesday, October 28th, 8PM ET. And once again, you choose the movie!
Click on the image below to votefor the movie we will screen(member login required). Chat with your fellow VES colleagues from all over the east coast, including New York, Montreal, Georgia, Florida and Louisiana.
Look for your Netflix Party url and instructions email about an hour or so before showtime.
See you there!
Brought to you by your Montreal, New York, Georgia, Florida and Louisiana Board of Managers and members.
Join the Visual Effects Society and the Post NY Alliance for a two-part event Post Break: VFX Solutions to Covid problems Part I & Part II. How can Visual Effects help production & post in a post-covid Landscape? These two panels will join Visual effects experts and have conversations geared towards post production. The initial panel will be an overall view of what is being asked of Visual Effects and what that means for production and post. The second panel would be covering and discussing new technology and new tools Visual Effects can offer.
Leslie’s dreams of being an artist began when she was three years old, drawing on the walls and furniture of her childhood home in New York City. In time, her artistic pursuits led her to the School of Visual Arts, where she majored in computer art before landing in the world of VFX. Now a 12 year veteran of the industry, the roster of studios she has worked for is numerous. Some highlights include several years at Psyop, Look FX, MPC, and now Crafty Apes. Leslie has worked on commercials, game cinematics, films and TV shows as a compositor, producer, and supervisor, with credits including VFX designer for The Knick, Midsommar, Deadpool 2, Boardwalk Empire, Marvel Runaways and most recently 3 seasons of Star Trek Discovery. In addition to her day job, she has also spent the last six years helping to grow the VFX community in New York, and has been heavily involved on the VES New York board as a past chair officer. But she still makes time for her artistic passions, including illustration, painting, and photography, along with taking care of her three adorable pet rats.
David Eschrich, CG Supervisor / On-Set Supervisor / VESNY Co-Chair
David Eschrich is a seasoned CG supervisor with extensive experience across episodic, feature film and commercial. A self-taught artist, he built his own portfolio and left a career in finance to become a highly sought after artist and now supervisor in the NYC VFX industry. He has worked for top NYC shops including The Mill, Look Effects, Brainstorm Digital, The Molecule and Alkemy X, and is currently at Zoic studios. His credits include work on films and episodics such as Noah, Warrior, Iron Fist, The Walking Dead, Game of Thrones, Homeland and The Lost City of Z. David is an active member of the visual effects community and currently serves on the VES New York board as Co-Chair.
Robert Keyghobad, Virtual Productions Producer
Robert Keyghobad began his career in Hollywood working for former Sony Pictures
Entertainment CEO Peter Guber. Over the past 20 years, Robert set up several major studio
deals including the acclaimed HBO series “Carnivále,” and the detective comedy “Honey
Vicarro” with Jenny McCarthy at 20th Century Fox and Fox Broadcasting Corporation. Robert
has also worked on numerous projects with artists such as screenwriter-producer David S.
Goyer (Man of Steel), pilot director David Nutter (Game of Thrones), and producer David
Heyman (Harry Potter).
After working on director Robert Zemeckis’ “A Christmas Carol,” and Disney’s “Tron Legacy,”
Robert took a position with video game developer Electronic Arts (EA) at its worldwide virtual
production studio in Vancouver, Canada. In this role, Robert oversaw all aspects of EA’s
worldwide physical and virtual production. From there he worked as Consultant/UPM on the
Starz sci-fi drama series “Incursion,” created by Steven DeKnight (Spartacus); as Virtual
Production Producer for Legendary and Universal Studios on “Warcraft”; and as Production
Consultant/UPM on Alejandro G. Iñárritu’s virtual reality short, “Carne y Arena” for
Prada/Legendary Entertainment.
Robert then took an executive consulting position at Netflix, and in that capacity covered over
50 International Original series. He returned to the freelance market and is currently consulting
for Amazon Studios.
Dan Pack, Managing Director
Dan Pack has been working in NY production and post for nearly the past 20 years. As a founding partner and Managing Director of Brooklyn-based Silver Spoon, Dan Pack oversees all production, client relationships and R&D, notably in the ever expanding field of virtual production. Dan and his team have contributed their motion capture and animation services to numerous commercials, video games, television shows, and features, with recent innovations in real-time character animation, broadcast AR and LED wall production. Prior to Silver Spoon, he held the position of Director of Business Development for Click 3X, and served as an Executive Producer for ASB, a global 3D previz shop. He began his career as a production assistant at Aero Film before joining Grey NY as a producer.
Join the Visual Effects Society and the Post NY Alliance for a two-part event Post Break: VFX Solutions to Covid problems Part I & Part II. How can Visual Effects help production & post in a post-covid Landscape? These two panels will join Visual effects experts and have conversations geared towards post production. The initial panel will be an overall view of what is being asked of Visual Effects and what that means for production and post. The second panel would be covering and discussing new technology and new tools Visual Effects can offer.
Jim Rider is a NYC-based visual effects supervisor with 30 years of experience in the industry. After starting his career in New York in commercial production, Jim moved to Los Angeles in the ’90s, where he specialized in motion control camera work and models/miniatures, shooting fun things like spaceships for Star Trek and submarines for Titanic. As the industry moved toward more digital visual effects, Jim transitioned to Flame and Nuke compositing, working as an artist and VFX supervisor at facilities such as Method, Gravity and The Mill. As an independent visual effects supervisor, Jim is able to bring his extensive on-set experience as well as post-production knowledge to help clients solve problems and bring their projects to life. Jim’s recent credits include The Plot Against America, The Deuce and Fahrenheit 451.
Julie Long, Visual Effects Producer
Julie Long is an award-winning Visual Effects Producer for Film and Television. After graduating from NYU’s Tisch, she began her career at CHRLX, an animation and design studio in New York. She went on to join the initial VFX team at Shade New York, where she discovered her passion for producing. In her four years at Shade, she led her team to Emmy nominations and awards for their work on Marvel / Netflix’s Daredevil and HBO’s Westworld. Following Shade, Julie explored working production side, joining the VFX production team for Sci-Fi’s Happy! Season 2. Missing direct collaboration with the artists and working on multiple projects at a time, she decided to return back to the vendor side and helped establish the Episodic Department at Framestore New York, alongside Creative Director, John Kilshaw. Julie’s passion for visual effects is deepened by her team’s enthusiasm for the work and collaborating with creatives to help realize their vision
Greg Anderson, Sr. VFX Supervisor/Head of Studio
Greg Anderson is currently Sr. VFX Supervisor and Head of Studio for the New York office of FuseFX, a global visual effects studio for television, features and commercials. He started the office in 2014 and since then, it has grown to over 70 employees. In his role as VFX Supervisor, most recently, he supervised the visual effects for the Netflix limited series, When They See Us, written and directed by Ava DuVernay. He has directly supervised the visual effects for several hit Marvel television shows as well; Luke Cage, The Punisher and Iron Fist. In addition, he has overseen the work on several other award-winning shows like The Blacklist, The Get Down and Mr. Robot; the last of which, he and his team were nominated in 2018 for an Emmy in the category of Outstanding Special Visual Effects in a Supporting Role. Originally from St. Louis, Greg attended Massachusetts Institute of Technology and earned a B.S. in Art and Design and an M.S. with a focus in Design and Computation, both from the School of Architecture and Planning. He started his career at Sony Pictures Imageworks designing the visual effects for several blockbuster, Oscar-nominated features including Starship Troopers, Hollow Man, Spider-Man and Matrix Revolutions. He then transitioned into advertising as a visual effects supervisor and director of campaigns for Target, Nissan, Microsoft, and many others. In 2009, he co-founded his own design/vfx studio called burn.crash.repeat., producing promos for MTV, Comedy Central and OWN. This experience led to his current position with FuseFX. Greg is a member of both the Television Academy and the Academy of Motion Picture Arts and Sciences.
Lotta Forssman, VFX Supervisor / VESNY Board Member
Lotta Forssman is a VFX supervisor at The Molecule VFX. She grew up in Sweden prior to graduating College at Ohio University with a major in Video Production and minor in film. She was introduced to the world of Post-production at her first internship on a Swedish Game Show. She started as a PA then got experience as an Assistant Editor and Motion Graphics Artist before making a move into Visual Effects. In 2009 she moved to New York and in 2010, joined The Molecule team as an artist. From there she transitioned to a VFX editor and worked her way up to a Visual Effects Producer and now, Visual Effects Supervisor. Experience being the best teacher, Lotta credits her understanding of the full process to her having had many seats within the company.
Some of the projects Lotta has overseen as VFX Supervisor have been Ballers for HBO, Good Cop, Master of None & Gypsy for Netflix, Red Oaks for Amazon and most recently the Apple series Dickinson.
Leah has 15 years of TV/Film Production experience beginning her career in production for commercials in 2005 before moving to post in 2008, then finding her passion for visual effects in 2011. She has worked as a VFX Producer on TV, Feature Films and commercials for several companies including Framestore, Method, Alkemy X and Zoic where she was nominated for a Creative Arts Emmy. For the past 2.5 years Leah has been working as a VFX Producer on the show side recently completing 2 seasons of WARRIOR for Cinemax. Once shooting resumes, she will be in production for HBO’s, The Gilded Age. In her spare time, Leah enjoys photography, music and spending time with her family, including her new 10-month old baby boy, her husband & their rescue dog, Clark.
You’re invited to our exclusive webinar Common VFX workflows with CityEngine and Houdini. We’re excited to be joined by the hardworking team who recently released CityEngine 2020, Simon Haegler and Taisha Fabricius from Esri. We will also be joined by special guest Ellie Ansell, Groom/CFX TD at One of Us, who will talk about her work with CityEngine for Netflix’s The Witcher.
In this 1 hour webinar, we will showcase VFX workflows, diving deeper into exporting a CityEngine scene to Houdini and rendering it with Karma using the new CityEngine USD exporter. Click here to check out some great new features in CityEngine 2020!
VES members, please log in and RSVP below. Non-members can RSVP here. Webinar info will be sent out prior to the event.
You are invited to our second VES East Coast Netflix Party! You choose the movie!
Click here to vote for the movie. Then on Wednesday May 27 at 8PM we will watch together and join an online chat with our fellow VES colleagues from New York, Georgia, Florida and Louisiana.
FINE PRINT: NETFLIX SUBSCRIPTION REQUIRED TO PARTICIPATE. DON’T HAVE AN ACCOUNT? SIGN UP AT NETFLIX.COM FOR A FREE 30 DAY SUBSCRIPTION. NETFLIX PARTY CHROME EXTENSION REQUIRED TO BE INSTALLED. THIS IS AN UNMODERATED EVENT. PLEASE BE KIND TO ONE ANOTHER.
You are invited to the first-ever, east coast, VES Netflix Party! Click here to vote for the movie. Then on Wednesday April 29 at 8PM we will watch together and join an online chat with our fellow VES colleagues from New York, Georgia, Florida and Louisiana.
FINE PRINT: NETFLIX SUBSCRIPTION REQUIRED TO PARTICIPATE. DON’T HAVE AN ACCOUNT? SIGN UP AT NETFLIX.COM FOR A FREE 30 DAY SUBSCRIPTION. NETFLIX PARTY CHROME EXTENSION REQUIRED TO BE INSTALLED. THIS IS AN UNMODERATED EVENT. PLEASE BE KIND TO ONE ANOTHER.
You are invited to the join the ves-newyork Slack workspace to help you connect to your fellow section members and engage in discussions ranging from general, jobs, events, 2d and 3d vfx, all the way to the topic on everyone’s mind covid19.
This Slack workspace is open to all New York VES section members that wish to participate. To start our rollout we are requesting you “sign-up” via the VES website reservation system. There you can register for the ves-newyork Slack workspace with a different email than the one that you use for your VES account, if you so wish. As rsvp requests come in, we will be extending the invite from Slack to your preferred email.
Thank you.
First, sign in the VES website using the MEMBER LOGIN with your VES credentials on the left. You’ll then see “Welcome, USERNAME” if your login was successful. The signup features will not show up if you’re not logged in.
Reload the Slack Signup Event page and enter 1 and only 1 RSVP. Enter your Full Name and and the Email Address that you would like to use for the Slack invite, and press CONFIRM RSVP.
Please note, your member credentials will be auto populated in the Send RSVP confirmation to widget below; please leave that information as is. That info will not be used for the Slack Invitation.
As you may know, over the last couple of years, we have been working hard to put together a one-of-a-kind event that would gather cross-industry pioneers from around the globe, and bring to you the most advanced real-time tools, technologies and practices that are changing the way we live and do business.
By this time, we should have been polishing the last details with our venues, preparing signs, printing out programs and badges, sending you directions… But 2020, it seems, has decided otherwise.
Still, we know that this community has the power, even – or maybe especially – in this disruptive time, to transform our practices and maintain communication across industries – together and in real-time. After all, digital agility is part of our DNA here at RealTime Conference, as we have been working with a 100% remote community from day 1. Since the COVID-19 pandemic thwarted our original plans for trans-Atlantic convenings, connected in real-time, we have been working relentlessly to pivot to bring you a 100% virtual RealTime Conference, without sacrificing the richness of our program, and remaining as engaged and interactive as possible. And we are grateful to have been blessed with such a supportive community of partners, speakers, and collaborators that is the RealTime family.
In the spirit of fellowship, community, solidarity, and faith in the future, we are waiving all registration fees, and invite you to join us, at no cost, at the RealTime Conference in real-time online.
This is your opportunity to connect, learn, and share with leaders and cutting-edge innovators who are forging the future of real-time engagement. You may be under the impression that real-time technology only impacts a few industries, but our incredible RealTime family, featuring top-tier speakers from companies such as Intel, Epic Games, Google, Facebook, Adobe, Activision, Foundry, Weta Digital, Magnopus, Spatial, Daimler, 3Lateral, Oculus VR, Digital Domain, Pixar, and more… will be sharing with you extraordinary real-time’s enabling technologies and present-day applications on their own infrastructure, business, and resources. Topics will touch on everything from “Crafting Real and Virtual Architecture in Real-Time” and “Fostering Customers Engagement Though Real-Time Interactive Experiences” to “Bringing Real-Time Pipelines to Movie Making” and “The Real in Real-Time Photoreal Digital Humans”.
Last, but not least, a panel will address a sensitive topic as of today: “How to address the current climate and what studios, producers and companies could do to combat this in the future by making the most of real time technology”.
While we are still tweaking the hows & abouts of this online conferencing, please bear with us, and check our websitefor updates!! We’ll be back soon with more details as to how to register and a full program of keynotes and panel discussion.
This event has now been cancelled to be rescheduled at a later date.
Join the VES for a studio tour of FX WRX and a discussion of the in-camera process for visual effects. The technical and creative workflow with be explored through case studies and an open conversation with directors, artists and technicians.
In an effort to prevent the spread of COVID19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
New York VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Pixar Animation Studios’ ONWARD
In an effort to prevent the spread of COVID19, we ask you or your guests who may show any symptoms or who might have been exposed to the virus do not attend VES events.
Please RSVP below (VES members must login to RSVP and see venue information) Monday, March 9, 2020 at 7:30PM
Please join the VES New York Section for the 6th Annual VES Awards Celebration as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society’s New York Section is proud to present the 2020 VES NY Empire Award to Academy Award Winner and Director of NYU’s Future Reality Lab, Ken Perlin.
Ken Perlin, Academy Award Winner and Director of NYU’s Future Reality Lab will receive the 2020 VES Empire Award in recognition of his achievements in visual effects.
A professor in the Department of Computer Science at New York University, Perlin directs the Future Reality Lab, and is a participating faculty member at NYU MAGNET. His research interests include future reality, graphics and animation, user interfaces and education. He is chief scientist at Parallux, Tactonic Technologies and Autotoon, and is an advisor for High Fidelity. He received an Academy Award for Technical Achievement for his noise and turbulence procedural texturing techniques, which are widely used in feature films and television, as well as membership in the ACM/SIGGRAPH Academy, the 2008 ACM/SIGGRAPH Computer Graphics Achievement Award, the TrapCode award for achievement in computer graphics research, the NYC Mayor’s award for excellence in Science and Technology and the Sokol award for outstanding Science faculty at NYU, and a Presidential Young Investigator Award from the National Science Foundation.
Cocktail attire
$55 for VES members; $95 for non-members
Online ticketing is now closed.
You can still join us tonight and purchase tickets at the door.
Now that the 18th Annual VES Awards season is underway, we once again invite VES members to participate in our Nomination Panels. The Nomination Event will be held worldwide on January 4, 2020.
Any active VES member who can travel to one of the cities listed below may participate.
This is your chance to determine who will ultimately walk up to the podium on January 29, 2020, to collect a coveted VES Award. A single vote may make the difference between being nominated… or not… and that vote could be yours!
Past participants know that this is the must-attend event of the awards season. Not only will you view some of the most amazing visual imagery of 2019, you’ll get to see exclusive behind-the-scenes footage while participating in the single best networking opportunity of the year. It’s a chance to see old friends, meet the best and brightest in the visual effects field, and learn new techniques that you can apply to your own craft. All of that, plus the satisfaction of knowing that you have participated in choosing what will ultimately be the Nominations announced to the press for the 18th Annual VES Awards.
Judges who register to participate will receive information about specific times and locations from their local section representatives once their applications are received. If you are ready to make a difference, please submit your Panel Judge Application BELOW. Make sure you check the box indicating which of the Nomination Event locations you are applying for.
The Nomination Event is a full-day event held on Saturday, January 4, 2020 around the globe. Nominees will be announced on Monday, January 6, 2020. We look forward to receiving your Judge Application to make this year’s Nomination Event a success!
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER followed by a live interactive Q&A with the Filmmakers.
Panelists will include Director J.J. Abrams as well as Visual Effects Supervisors Roger Guyett and Patrick Tubach, moderated by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information) Saturday, December 21, 2019 at 2:00PM
New York VES Members and Their Guests are Invited to a Screening of Netflix’s THE IRISHMAN followed by a live interactive Q&A with Visual Effects Supervisor Pablo Helman, moderated by VES Fellow Paul Debevec, VES. (All panelists’ participation based on availability.)
Please RSVP below (VES members must login to RSVP and see venue information)
(RSVPs close at 12:00PM on Friday, December 6) Sunday, December 8, 2019 at 2:00PM
VES Members: If you would like to signup for this event, please log in to RSVP. Attendee #1 is the VES member / Attendee #2 is the VES member’s guest. RSVPS for non-members are now closed
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DOCTOR SLEEP Please RSVP below Friday, November 15, 2019 at 8:00PM
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. PicturesTHE GOLDFINCH
Please RSVP below Tuesday, September 17, 2019 at 7:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The School of Visual Arts Invites New York VES Members and Their Guests to a Pre-Release Screening of DreamWorks Animation’sABOMINABLE followed by a Q&A with Director Jill Culton
Please RSVP below Tuesday, September 10, 2019 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night Screening of Warner Bros. PicturesIT CHAPTER TWO
Please RSVP below Friday, September 6, 2019 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Millenium Films’ ANGEL HAS FALLEN
Please RSVP below Monday, August 26, 2019 at 8:00PM Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ GOOD BOYS
Please RSVP below Monday, August 19, 2019 at 8:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
This film is Rated R for strong crude sexual content, drug and alcohol material, and language throughout – all involving tweens.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below Saturday, August 17, 2019 at 4:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
We thank our sponsors Molecule, Alkemy-X, Framestore, Crafty Apes, FuseFX, Cadence Effects and Nice Shoes for helping make this event possible. We also thank our Raffle sponsors BorisFX, Foundry and SideFX.
We thank our sponsors Molecule, Alkemy-X, Framestore, Crafty Apes, FuseFX, Cadence Effects and Nice Shoes for helping make this event possible. We also thank our Raffle sponsors BorisFX, Foundry and SideFX.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ FAST & FURIOUS PRESENTS: HOBBS & SHAW
Please RSVP below Wednesday, August 7, 2019 at 8:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ THE LION KINGfollowed by a live interactive Q&A with the Filmmakers
Panelists will include Director Jon Favreau, Visual Effects Supervisor Rob Legato, and Cinematographer Caleb Deschanel, ASC, moderated by Michael Fink, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 27, 2019 at 2:00PM SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLIONKING, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of 20th Century Fox’s STUBER
Please RSVP below Tuesday, July 16, 2019 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME
Please RSVP below Saturday, July 13, 2019 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Disney•Pixar’s TOY STORY 4
Please RSVP below Saturday, June 22, 2019 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Screening of Focus Features’ THE DEAD DON’T DIE
Please RSVP below.
Thursday, June 20, 2019 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenues) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below Saturday, June 15, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
June 12th – doors open 7:00PM (CEST) and there will be beer and pizza!
ZOOM stream starts at 7:30PM (CEST)
Masterclass starts at 8:00PM (CEST)
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The VES invites you to our 3rd MEGABRAIN Masterclass where you can learn and share your knowledge with colleagues in the VFX industry. The idea is not to simply present show reels – but to teach actual techniques that help every artist to improve their skillset. This event will take place on June 12th 7:00PM at multiple locations and will also be streamed via ZOOM.
RSVP for your specific location on the appropriate event pages please:
Efficient facial rigging tools for emotionally believable digital humans
presented by Volker Helzle – Head of Research & Development at Filmakademie
Live from Munich Using Machine-learning to classify a VFXElements Library
presented by Jonas Kluger – Pipeline TD at ARRI
Live from Berlin Camera Technology: Sensors, Noise Properties, and Raw Processing
presented by Charles Poynton, PhD
We are overbooking to compensate for no-shows.
Seating is limited and will be available on a first come, first served basis.
An RSVP does not guarantee seating.
VES-Members and their registered guests only (except for Ludwigsburg and Cologne). No admission without registration – also at the streaming locations!
The event will also be recorded for everyone who can’t make it.
The event will be streamed live from (and to) Berlin, Munich, Stuttgart and Ludwigsburg. For the first time we also provide direct access to the ZOOM stream for ALL VES MEMBERS around the world!
VES Germany is a proud Partner of the FMX Conference in Stuttgart.
VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below.
Monday, June 10, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenues) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below Sunday, June 2, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening ofWarner Bros. Pictures’ and Legendary Entertainment’s GODZILLA: KING OF THE MONSTERS followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Supervisor Guillaume Rocheron, MPC Senior Animation Supervisor Spencer Cook, Method Studios Visual Effects SupervisorDaryl Sawchuk and Double Negative Visual Effects Supervisor Brian Connor, moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below Sunday, June 2, 2019 at 2:00PM SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESGODZILLA, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Pre-Release 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below Saturday, June 1, 2019 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Summit Entertainment’s JOHN WICK 3: PARABELLUM
Please RSVP below Monday, May 27, 2019 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN
Please RSVP below Monday, May 27, 2019 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ ALADDIN
Please RSVP below.
Saturday, May 25, 2019 at 7:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Warner Bros. Pictures’ and Legendary Entertainment’s POKEMON: DETECTIVE PIKACHU
Please RSVP below Saturday, May 18, 2019 at 8:00PM SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us as fellow VES member Ari Rubenstein shares the pipeline and remote-based workflow used to produce his short film “The Blues Crab”. The production took over 2 years with a crew of 60 spanning 15 countries and was the first film to be lit and rendered entirely within a Compositing application using the production renderer Vray for Nuke.
Foundry’s own Matt Mazerolle, the Athera Senior Product Manager, will be joining us as well to show how to use the latest version of Nuke in the cloud.
Seating is limited.
The event will be held near the Flatiron. Street address will be emailed to registered attendees before the date.
VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME followed by a Q&A with the Filmmakers
Panelists will include Visual Effects Producer Jen Underdahl, ILM Visual Effects Supervisor Russell Earl, Digital Domain Visual Effects Supervisor Kelly Port, and Associate Visual Effects Supervisor Mårten Larsson, moderated by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below.
Saturday, May 4, 2019 at 6:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESENDGAME, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Annapurna Pictures’ MISSING LINK
Please RSVP below Saturday, April 20, 2019 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below Sunday, April 14, 2019 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below Sunday, March 31, 2019 at 6:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Paramount Pictures’ WONDER PARK
Please RSVP below Monday, March 18, 2019 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN MARVEL followed by a Q&A with the Filmmakers.Panelists will include Directors Anna Boden and Ryan Fleck as well as Additional Visual Effects Supervisor Janelle Croshaw Ralla, moderated by Bill Taylor, VES, ASC. (Panelists will be announced as they are confirmed.)
Please RSVP below.
Sunday, March 10, 2019 at 2:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESCAPTAINMARVEL, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join the VES New York Section for the 5th Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society’s New York Section is proud to present the 2019 VES NY Empire Award to Bob Greenberg and the 2019 VES NY Empire Innovator Award to Jonah Friedman and Andy Jones.
Bob Greenberg, Founder and Executive Chairman of R/GA, will receive the 2019 VES Empire Award in recognition of his trailblazing work in the advertising and communications industry for nearly four decades.
Under his tutelage, R/Greenberg Associates and R/GA Digital Studios have been on the forefront of the rapidly changing visual effects industry since the 1970s and evolved from a world-class movie title shop, to a digital studio, to a major digital advertising agency. Today RGA is an all-in-one full-service agency, product and service innovator. R/GA developed leading-edge motion graphics live-action film and video production and created groundbreaking visual effects for movies such as ALIEN,PREDATOR, SE7EN and has a body of work spanning 400 feature films and 4,000 television commercials. Bob has won almost every industry award for creativity including the Academy Award, D&AD Pencils, Cannes Lions lifetime achievement Lion of St. Mark, the CLIP Lifetime Achievment Award, and has been inducted inot the Advertising Hall of Fame, Marketing Hall of Fame, and the Creative Hall of Fame, and more.
Jonah Friedman and Andy Jones will receive the 2019 VES Empire Innovator Award for their technological innovations that have dramatically influenced and elevated the status of the visual effects industry in New York City.
Cocktail attire
$55 for VES members; $95 for non-members
(For facilities purchasing 6 or more tickets, please call 818.981.7861 for special pricing)
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD
Please RSVP below Saturday, February 23, 2019 at 5:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s ALITA BATTLE ANGEL
Please RSVP below Sunday, February 17, 2019 at 8:00PM
SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGO MOVIE 2: THE SECOND PART
Please RSVP below Sunday, February 17, 2019 at 4:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
17h Annual VES Awards
Tuesday, February 5, 2019
The Beverly Hilton Hotel
9876 Wilshire Boulevard
Beverly Hills, CA 90210
5:30 Reception
6:45 Dinner and Awards Presentation
CBS All Access cordially invites VES members and a guest to attend the Live Premiere Event for season two of STAR TREK: DISCOVERY on in New York City. (VES members must login in order to RSVP)
New York VES Members and Their Guests are Invited to a Pre-Release 3D Screening of Paramount BUMBLEBEE
Please RSVP below Tuesday, December 18, 2018 at 8:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below Sunday, December 16, 2018 at 8:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The NY VES sincerely thanks our annual Platinum Sponsors: Alkemy-X, ShadeFX, and The Molecule, plus our Silver Sponsors: East Side Effects and Big Film Designs for helping make this event possible.
The NY VES sincerely thanks our annual Platinum Sponsors: Alkemy-X, ShadeFX, and The Molecule, plus our Silver Sponsors: East Side Effects and Big Film Designs for helping make this event possible.
New York VES Members and Their Families are Invited to a 3D Screening of Netflix’s MOWGLI followed by a live interactive Q&A with Director Andy Serkis, Animation Supervisor Max Solomon and Members of the Visual Effects Team T.B.A. moderated by VES Board member Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, December 1, 2018 at 2:00PM Dolby Screening Room NYC 1350 6th Ave, New York, NY 10019 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMOWGLI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DR. SEUSS’ THE GRINCH
Please RSVP below Sunday, November 18 2018 at 4:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Pre-Release Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET followed by a Q&A with Visual Effects Supervisor Scott Kersavage, Character Look Development Supervisor Michelle Robinson and Head of Effects Animation Cesar Velazquezmoderated by VES Board member Charlie Iturriaga. (All panelists’ participation based on availability.)
Please RSVP below Saturday, November 17, 2018 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESRALPH, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ OVERLORD
Please RSVP below Monday, November 12, 2018 at 9:30PM
SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below Sunday, November 4, 2018 at 7:30PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ HALLOWEEN
Please RSVP below Wednesday, October 31, 2018 at 10:00PM
SVA’s Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members & Visual Effects Professionals – Come join the VES New York Board, your fellow Members and other visual effects professionals for some good conversation, a beverage or two, and meet new contacts.
VES Members & Visual Effects Professionals – Come join the VES New York Board, your fellow Members and other visual effects professionals for some good conversation, a beverage or two, and meet new contacts.
VES Members and Their Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER followed by a live interactive Q&A with Writer/Director Ryan Coogler, Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Craig Hammack, Additional Visual Effects Supervisor Jesse James Chisholm and Special Effects Supervisor Dan Sudick moderated by VES Board member David Tanaka. (All panelists’ participation based on availability.)
Please RSVP below.
Saturday, October 20, 2018 at 3:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWAKANDA4EVER, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below Monday, October 15, 2018 at 8:00PM
SVA’s Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below Sunday, September 23, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below Sunday, September 23, 2018 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below Saturday, September 22, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE PREDATOR
Please RSVP below Saturday, September 22, 2018 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
NY VES Members, Guests and Industry Non-Members are invited to
Pub Night & Membership Drive at The Gray Mare.
VES Members – Come join the VES New York Board, your fellow Members and other visual effects professionals for some good conversation, a beverage or two, and meet new contacts.
NON Members – Come and meet current members and get needed contacts for help in getting recommendation letters. Two letters of recommendation are needed to apply to the VES.
The VES Fall membership drive ends September 15th.
Snacks! will be served. VES Members get drink tickets!
New York VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ ALPHA
Please RSVP below Saturday, August 25, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night Screening of STX Entertainment’s THE HAPPYTIME MURDERS followed by a live interactive Q&A with Director Brian Henson, Actors and Puppeteers Bill Barretta and Drew Massey with Visual Effects Producer Melissa Brockman, Compositing Supervisor Caleb Knueven and CG Supervisor Efram Potelle moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
This film is Rated R, and is not intended for children. Click here to watch the trailer.
Please RSVP below Friday, August 24, 2018 at 10:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESHAPPYTIME, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below Friday, August 17, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s THE DARKEST MINDS
Please RSVP below Saturday, August 11, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ CHRISTOPHER ROBIN
Please RSVP below Saturday, August 11, 2018 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Friday, August 10, 2018 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below Saturday, July 28, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Saturday, July 14, 2018 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 3: SUMMER VACATION
Please RSVP below Saturday, July 14, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Take the G/M/J train to Flushing Ave stop. Located in the large white Pfizer building on Flushing Ave. The Flushing Ave location is only open 8AM-4PM so use the second entrance through the parking lot on Tompkins Avenue. Come to the 3rd floor, walk right off the elevator and all the way down the hall.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN AND THE WASP followed by a Live Interactive Q&A with Director Peyton Reed as well as Visual Effects Supervisor Stephane Ceretti moderated by VES Archives Committee Chair Gene Kozicki. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 7, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWASP, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ and Blumhouse Pictures’ THE FIRST PURGE
Please RSVP below Friday, July 6, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Special Fathers’ Day Opening Weekend Screening of Walt Disney Pictures’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below Sunday, June 17, 2018 at 6:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Special Fathers’ Day 3D Screening of Universal Pictures’ and Amblin Entertainment’s JURASSIC WORLD: FALLEN KINGDOM followed by a Live Interactive Q&A with Director J.A. Bayona, ILM Visual Effects Supervisor David Vickery, ILM Animation Director Jance Rubinchik and ILM Visual Effects Supervisor Alex Wuttke with moderation by VES London Section Secretary Gavin Graham (All panelists’ participation based on availability.)
Please RSVP below Sunday, June 17, 2018 at 2:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in London) immediately following the screening. (be sure to include the hashtag, #VESJURASSIC, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Global Road Entertainment’s HOTEL ARTEMIS
Please RSVP below Saturday, June 16, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
NY VES Members, Guests and Industry Non-Members are invited to
Pub Night at The Gray Mare.
Come join the VES New York Board, Members and other visual effects professionals for some good conversation, a beverage or two, and new contacts. Bring your co-workers and introduce them to the VES.
New York VES Members and Their Families are Invited to a 3D Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY followed by a live interactive Q&A with Overall Visual Effects Supervisor Rob Bredow, ILM Visual Effects Supervisor Pat Tubach, ILM Roto/Paint Supervisor Beth D’Amato and Hybride Visual Effects Supervisor Joseph Kasparian with moderation by VES Board member David Tanaka. (All panelists’ participation based on availability.) * Limited Seats available – Please arrive early – Show starts on-time
Please RSVP below Sunday, May 27, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESSOLO, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL 2
Please RSVP below Sunday, May 20, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR followed by a Live Interactive Q&A with Visual Effects Producers Jen Underdahl and Lisa Marra, Weta Digital Visual Effects Supervisor Matt Aitken, Industrial Light + Magic Visual Effects Supervisor Russell Earl and Digital Domain Visual Effects Supervisor Kelly Port with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.) * Limited Seats available – Please arrive early – Show starts on-time
Please RSVP below Sunday, May 6, 2018 at 3:00PM Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESINFINITYWAR, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below Tuesday, April 10, 2018 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ and Amblin Entertainment’s READY PLAYER ONE
Please RSVP below Sunday, April 7, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below Sunday, March 25, 2018 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME followed by a Live Interactive Q&A with Visual Effects Supervisor Rich McBride and Previs Supervisor Chris Batty with moderation by VES Board member Lisa Cooke.
Please RSVP below Saturday, March 17, 2018 at 3:00PM Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in San Francisco) immediately following the screening. (be sure to include the hashtag, #VESWRINKLE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s RED SPARROW
Please RSVP below Tuesday, March 13, 2018 at 9:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join the VES New York Section for the 4th Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe. This year, the Visual Effects Society is proud to present the VES Empire Award to beloved VFX supervisor Lesley Robson-Foster.
Lesley Robson-Foster – this year’s Empire Award honoree
Revered by broadcasters and directors, admired by the VFX industry, Lesley is a force of nature in her world. She has dedicated her professional life in the pursuit of perfection and she has come pretty close. In the process she has managed to push the envelope in some of the most prestigious television series in recent decades.
Lesley Robson-Foster’s career began at BBC television and continued at ILM until she eventually went on her own as a freelance visual effects supervisor.
She has shared her talents in NYC and LA on television series and feature films, including Six Feet Under, Sex and the City, The Wire, Ugly Betty, HBO mini-series Mildred Pierce, The Great Gatsby, Boardwalk Empire, Martin Scorsese’s Vinyl and Steven Soderbergh’s The Knick, Mosaic and Logan Lucky.
Most recently she worked with Amy Sherman Palladino on Amazon’s The Marvelous Mrs. Maisel, Reed Morano’s feature I Think We’re Alone Now and is currently working on the movie based on the Pulitzer Prize winning book The Goldfinch.
It is with great pride that the New York Section is able to honor Ms. Robson-Foster with the 2018 VES Empire Award.
Cocktail attire
$50 for VES members; $90 for non-members
(For facilities purchasing 6 or more tickets, please call 818.981.7861 for special pricing)
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening Of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER
Please RSVP below Sunday, February 18, 2018 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
2018 VES Awards When: Tue Feb 13, 2018 05:30pm to 11:00pm PST
Tickets & Sponsorship Information
For more information and to purchase tickets and/or sponsorships please use the links below. If you have any questions or would like additional information, please contact MTA Events at 818-814-6670 or ves@mtaevents.com. Thank You
16th Annual VES Awards
Tuesday, February 13, 2018
The Beverly Hilton Hotel
9876 Wilshire Boulevard
Beverly Hills, CA 90210
5:30 Reception
6:45 Dinner and Awards Presentation
New York VES Members and Their Guests are Invited to a Screening Of Columbia Pictures’ ONLY THE BRAVE
Please RSVP below Sunday, January 28, 2018 at 3:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI plus a live interactive Q&A.
Panelists will include Writer/Director Rian Johnson, ILM San Francisco Visual Effects Supervisor Eddie Pasquarello, ILM Vancouver Visual Effects Supervisor Dan Seddon, Cinematographer Steve Yedlin, ASC and Editor Bob Ducsay with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, December 17, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESLASTJEDI, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s and BlueSky Studios’ FERDINAND
Please RSVP below Saturday, December 16, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below Saturday, December 9, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Focus Features’ DARKEST HOUR
Please RSVP below Sunday, November 26, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below Sunday, November 26, 2017 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of 20th Century Fox’s MURDER ON THE ORIENT EXPRESS
Please RSVP below Friday, November 17, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening Of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Tuesday, November 7, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating,
New York VES Members and Their Guests are Invited to a Screening Of Warner Bros. Pictures’ BLADE RUNNER 2049
Please RSVP below Saturday, October 14, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Please be sure to bring your VES membership card. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of 20th Century Fox’s KINGSMAN: THE GOLDEN CIRCLE
Please RSVP below Friday, September 29, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Focus Features’ VICTORIA & ABDUL
Please RSVP below Tuesday, September 26, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Paramount Pictures’ MOTHER! followed by a Q&A with Visual Effects Supervisor Dan Schrecker
Please RSVP below Monday, September 25, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a 3D Screening of GHOSTBUSTERS followed by a Q&A with the Filmmakers.
Click here to RSVP Sunday, September 17, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 3D screening of last year’s hit paranormal comedy, Ghostbusters (2016), followed by a Q&A with three of the film’s visual effects artists, Arsen Arzumanyan (BFA 2012 Computer Art, Computer Animation and Visual Effects), Elizabeth Martin (BFA 2015 Computer Art, Computer Animation and Visual Effects), and Jun Zee Myers (BFA 2004 Computer Art). Preceded by the cinematic premiere of the new Betty Boop short Betty Goes A-Posen (2017), by Mike Carlo (BFA 2002 Animation) of Titmouse Animation and Frank Caruso (BFA 1985 Media Arts) of Hearst’s King Features. The Q&A will be moderated by current student Sunhea Oh (BFA 2018 Computer Art, Computer Animation and Visual Effects).
Synopsis: Following a ghost invasion of Manhattan, paranormal enthusiasts Erin Gilbert and Abby Yates, nuclear engineer Jillian Holtzmann, and subway worker Patty Tolan band together to stop the otherworldly threat.
Ghostbusters is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of TASHI’S TURBINE Documentary followed by a Q&A with the Filmmakers.
Click here to RSVP Sunday, September 17, 2017 at 5:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free evening of documentaries, including the documentary feature Tashi’s Turbine (2015) by Amitabh Joshi and Erik Spink (MFA 2013 Social Documentary alumni), followed by a Q&A with the filmmakers. The film will be preceded by the short documentaries Hali (2016) by Peter Hristoff (BFA 1981 Fine Arts) and Skull + Bone (2017) by Victoria Rivera (BFA 2011 Film and Video). The Q&A will be moderated by current student Ana Montgomery Neutze (MFA 2018 Social Documentary).
Synopsis: Tashi Bista dreams to install a makeshift wind turbine in Namdok, a remote village nestled high amongst the Himalayas of Nepal. Namdok, battered by wind and cold has been in darkness for centuries. Wearing Ray Bans to shield his eyes from the dust and just a leather jacket to insulate him from the bitter cold he surveys the village. He grew up in this region without electrical power. He is determined to bring lights to Namdok in an effort to prove himself to the skeptical village community. Tashi’s Turbine is a character driven film that shows the impact of one man’s dream for light, in a village waiting for development.
The films shown at this event are not rated by the MPAA, and some material may be inappropriate for children under the age of 8. Children under the age of 5 may not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 10th Anniversary 35mm Screening of RATATOUILLE followed by a Q&A with the Filmmakers.
Click here to RSVP Sunday, September 17, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 10th anniversary screening of the Academy Award-winning Disney·Pixar family favorite, Ratatouille (2007), followed by a Q&A with Pixar animation and visual effects artists Ye Won Cho (MFA 2002 Computer Art), Andrew Dayton (BFA 1998 Computer Art), and Maria Lee (BFA 1988 Media Arts). The movie will be screened on 35mm film. Preceded by Jesse Willmon’s (MFA 2006 Design) Draw me a [blank] (2016) videos and the animated short Bluehilda (2017) by James Sugrue (BFA 2007 Animation) of Titmouse Animation. The Q&A will be moderated by current student Denian Ouyang (MFA 2018 Computer Arts).
Synopsis: A rat who can cook makes an unusual alliance with a young kitchen worker at a famous restaurant.
Ratatouille is rated G and is considered appropriate for all ages.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 20th Annuversary Midnight Screening of THE GAME.
Click here to RSVP Saturday, September 16, 2017 at 11:59PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 20th anniversary midnight screening of David Fincher’s brilliant thriller, The Game (1997), in honor of its late cinematographer Harris Savides (BFA 1982 Film and Video). Preceded by a special introduction by SVA cinematography faculty member Dejan Georgevich.
Synopsis: After a wealthy banker is given an opportunity to participate in a mysterious game, his life is turned upside down when he becomes unable to distinguish between the game and reality.
The Game is rated R, and some material may be inappropriate for children under the age of 17. Children under the age of 8 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 20th Annivesary 35mm Screening of TITANIC followed by a Q&A with the Filmmakers.
Click here to RSVP Saturday, September 16, 2017 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 20th anniversary screening of the Academy Award-winning blockbuster, Titanic (1997), followed by a Q&A with the film’s Oscar-winning sound mixer, Mark Ulano (1975 Film and Video). The movie will be screened on 35mm film. The Q&A will be moderated by current student Sage Love (BFA 2019 Film).
Synopsis: A seventeen-year-old aristocrat falls in love with a kind but poor artist aboard the luxurious, ill-fated R.M.S. Titanic.
Titanic is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of Gillian Robespierre’s LANDLINE followed by a Q&A with the Filmmakers.
Click here to RSVP Saturday, September 16, 2017 at 5:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of Landline (2017), the newest film by director Gillian Robespierre and editor Casey Brooks (both BFA 2005 Film and Video alumni), followed by a Q&A with both. Preceded by the first episode in Elisa-Sofia Fioretti’s (MPS 2016 Directing) short-film series, Through Your Eyes (2017). The Q&A will be moderated by current student Isabel Montes (BFA 2018 Film).
Synopsis: In 1995, a teenager living with her sister and parents in Manhattan discovers that her father is having an affair.
Landline is rated R, and some material may be inappropriate for children under the age of 17. Children under the age of 10 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 3D Screening of DOCTOR STRANGE followed by a Q&A with the Filmmakers.
Click here to RSVP Saturday, September 16, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening and Q&A with SVA alumni animators and artists from Cartoon Network — the studio behind such hits as Adventure Time, Steven Universe, and Teen Titans Go! Guests include Hilary Florido (BFA 2007 Cartooning), Kat Morris (BFA 2008 Animation), and Mike Roth (BFA 1999 Animation). Join us for an afternoon of old favorites and new, never-before-seen work. Preceded by the animated short, Cartoons and You, by Mark Newgarden (BFA 1982 Media Arts), the co-creator of the infamous “Garbage Pail Kids”. The Q&A will be moderated by current student Shannon Baney (BFA 2020 Animation).
Some material shown in this screening may be inappropriate for children under the age of 8. Children under the age of 3 may not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening Special Premieres 2017: A Showcase of New Film, Animation & VFX Work.
Click here to RSVP Friday, September 15, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As the Friday night screening of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present “SVA Premieres” — an evening of exceptional live action, documentary, and animated shorts by School of Visual Arts‘ most recent graduates from nine different academic departments, including films nominated for Student Academy Awards. Following the event, join the filmmakers and artists in the lobby for drinks and dessert. (A by-invitation-only reception will precede the screening. For questions related to that, please email premieres@sva.edu.)
The SVA Premieres 2017 Screening includes:
The Astronomical, Astrological and Mythological (excerpt) by Kijin Jang, MFA Photography, Video and Related Media Desde El Principio by Miguel J. Soliman, MPS Directing Dykes, Camera, Action! (excerpt) by Caroline Berler, MFA Social Documentary Fishy by Joseph Sulsenti, BFA Animation KCLOC by Ninaad Kulkarni, MFA Computer Art Nymph by Miwa Sakulrat, BFA Film Playground Warfare by Christin Scarborough, BFA Computer Art, Computer Animation and Visual Effects Under Your Spell by Mikey Asanin, MPS Fashion Photography Untitled by Fuzhong Yang, BFA Photography and Video
Virtual Reality experiences in the lobby include:
As Above So Below by Daniel Finn, BFA Computer Art, Computer Animation and Visual Effects
Meow No Want by Nina Park, MFA Computer Art
The films included in the evening are not rated by the MPAA. Parents are strongly cautioned – some material may be inappropriate for children under 13, and children under the age of 5 will not be admitted.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a 3D Screening of DOCTOR STRANGE followed by a Q&A with the Filmmakers.
Click here to RSVP Thursday, September 14, 2017 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free 3D screening of the Marvel Entertainment blockbuster, Doctor Strange (2016), followed by a Q&A with two of the film’s visual effects artists, Jesse Flores (BFA 2010 Computer Art, Computer Animation and Visual Effects) and Paul Liaw (BFA 2002 Computer Art). Preceded by the world premiere of the short film End of the Line, Inwood (2017), written and co-directed by Efraim Acevedo Klein (BFA 2012 Film and Video). The Q&A will be moderated by current student Derrick Forkel (BFA 2018 Computer Art, Computer Animation and Visual Effects).
Synopsis: While on a journey of physical and spiritual healing, a brilliant neurosurgeon is drawn into the world of the mystic arts.
Doctor Strange is rated PG-13, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of Bill Plympton’s REVENGEANCE followed by a Q&A with the Filmmakers.
Click here to RSVP Wednesday, September 13, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of Bill Plympton (1969 Cartooning) and Jim Lujan’s newest animated feature, Revengeance (2016), followed by a Q&A with the two directors. Plympton will appear live, and Lujan will appear via Skype. The film will be preceded by the award-winning animated short film Late (2014), by Christi Bertelsen (BFA 2002 Animation).
Synopsis: A low-rent bounty hunter named Rod Rosse, The One Man Posse, gets entangled in a web of danger when he takes on a job from an ex-biker/ex-wrestler turned U.S. senator named “Deathface.”
Revengeance is not rated by the MPAA, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of DISABILITY & VISIBILITY followed by a Q&A with the Filmmakers.
Click here to RSVP Tuesday, September 12, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
The Blind, Seen (2016) is the autobiographical story of photographer David Snider (BFA 1992 Photography) and his blind parents. Anelisa Garfunkel’s (MFA 2016 Visual Narrative) We Will Ride (2016), being given its theatrical premiere, follows disabled riders fighting for public transportation improvements in Boston. Finally, the NYC premiere of the feature documentary Tin Soldiers (2015), by Ben Duffy (Film and Video) & Michael J. Sassano (BFA 2011 Film and Video), highlights members of the adaptive sports community. The Q&A will be moderated by current student Wega Chen (BFA 2018 Design).
The films shown at this event are not rated by the MPAA, and some material may be inappropriate for children under the age of 8. Children under the age of 3 may not be admitted.
…. And come early to enjoy virtual reality and music video experiences in the lobby.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
VES Members and a Guest are Invited to a Screening of ART OF THE PRANK Documentary followed by a Q&A with the Filmmakers.
Click here to RSVP Monday, September 11, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
As part of After School Special: The 2017 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of the documentary Art of the Prank (2017), followed by a Q&A with the film’s subject, the godfather of the media hoax, Joey Skaggs (BFA 1982 Media Arts). Preceded by the short film Hello Norman (2014), co-written by Maëlle Doliveux (MFA 2013 Illustration as Visual Essay). The Q&A will be moderated by current student Katy-May Hudson (MPS 2018 Directing).
Synopsis: Art of the Prankis an emotional and humorous journey following the evolution of Joey Skaggs, Godfather of the media hoax, as he tries to pull off the most challenging prank of his career. This is interwoven with amazing archive footage of his earlier escapades-all reported as fact by prestigious journalists. The resulting twists and turns provide unprecedented insight into Joey’s work as an artist, activist and social satirist.
Art of the Prank is not rated by the MPAA, and some material may be inappropriate for children under the age of 13. Children under the age of 5 will not be admitted.
In honor of September 11th, Lance Cain’s (1990 Film and Video) A Few Days After will be on view in the lobby before and after the screening.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs via Eventbrite are appreciated, but not necessary, and do not guarantee admittance. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
If you would like to attend this event, but require assistive devices and/or accommodations, please email svatheatre@sva.edu or call 212-592-2980 at least one week prior.
Concessions Information
A limited amount of free popcorn and water will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions. Guests subject to change.
New York VES Members and Their Guests are Invited to a Screening of Lionsgate’s and Millennium Films’ THE HITMAN’S BODYGUARD
Please RSVP below Saturday, August 26, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Columbia Pictures’ THE DARK TOWER
Please RSVP below Friday, August 11, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of The Weinstein Company’s WIND RIVER
Please RSVP below Thursday, August 10, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening Of Focus Features’ ATOMIC BLONDE
Please RSVP below Friday, August 4, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to 3D Screening of STX Entertainment’s VALERIAN AND THE CITY OF A THOUSAND PLANETS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Scott Stokdyk, Visual Effects Producer Sophie Leclerc, Rodeo FX Associate Visual Effects Supervisor Peter Nofz and Weta Digital Visual Effects Supervisor Martin Hill with moderation by VES Board member Bill Taylor, VES, ASC. (All panelists’ participation based on availability.)
Please RSVP below Sunday, July 30, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESVALERIAN, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us for great food, cold beverages, and raffle prizes that you won’t want to miss.
Members and Non-Members are welcome, so come out and mingle with the entire NY VFX Community! Tickets are required for this event. Please purchase and reserve at the link below:
New York VES Members and Their Guests are Invited to a Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Saturday, July 15, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s WAR FOR THE PLANET OF THE APES, plus a live interactive Q&A with the filmmakers.
Panelists will include Senior Visual Effects Supervisor Joe Letteri and Director Matt Reeves with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 15, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESWARFORTHEPLANET, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below Friday, June 30, 2017 at 9:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night 3D Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below Friday, June 30, 2017 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s been a while since we’ve all gotten together! Please join the VES NY for another Pub Night.
Location will be at the Loreley Beer Garden. We can hang outside at the Garden or by the tables that will be reserved on the main floor.
Open to members and non members. Drink tickets will be given to VES members. Snacks will be provided.
New York VES Members and Their Guests are Invited to an Opening Weekend Fathers’ Day Screening of Walt Disney Pictures’ and Pixar Animation Studios’ CARS 3
Please RSVP below Sunday, June 18, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Universal Pictures’ THE MUMMY
Please RSVP below Monday, June 12, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ WONDER WOMAN
Please RSVP below Saturday, June 10, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Q&A immediately following with Bong Joon Ho (Director/Co-Writer), Jon Ronson (Co-Writer), Darius Khondji (Cinematographer), Erik-Jan de Boer (Visual Effects Supervisor) and Catherine George (Costume Designer).
For 10 idyllic years, young Mija (An Seo Hyun) has been caretaker and constant companion to Okja—a massive animal and an even bigger friend—at her home in the mountains of South Korea. But that changes when a family-owned multinational conglomerate Mirando Corporation takes Okja for themselves and transports her to New York, where image obsessed and selfpromoting CEO Lucy Mirando (Tilda Swinton) has big plans for Mija’s dearest friend. With no particular plan but single-minded in intent, Mija sets out on a rescue mission, but her already daunting journey quickly becomes more complicated when she crosses paths with disparate groups of capitalists, demonstrators and consumers, each battling to control the fate of Okja…while all Mija wants to do is bring her friend home.
Deftly blending genres, humor, poignancy and drama, Bong Joon Ho (Snowpiercer, The Host) begins with the gentlest of premises—the bond between man and animal—and ultimately creates a distinct and layered vision of the world that addresses the animal inside us all. Okja, which also stars Paul Dano, Steven Yeun, Lily Collins and Giancarlo Esposito, will premiere exclusively on Netflix on June 28.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below Saturday, May 20, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below Tuesday, May 16, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below Friday, May 12, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Night Screening of Universal Pictures’THE FATE OF THE FURIOUS
Please RSVP below Friday, April 14, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to an Opening Weekend 3D Screening of Sony Pictures Animation’s SMURFS: THE LOST VILLAGE
Please RSVP below Sunday, April 9, 2017 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Please bring your VES membership and photo ID for entry, and guests must check-in with the VES member. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Picture’s BEAUTY AND THE BEAST
Please RSVP below Sunday, March 26, 2017 at 2:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ KONG: SKULL ISLAND
Please RSVP below Saturday, March 25, 2017 at 9:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Fox’s LOGAN
Please RSVP below Saturday, March 4, 2017 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Please join us for the Annual VES Awards Judging Nomination Event, Saturday, January 7th, 2017, at The Mill NY.
This is your opportunity to view and vote on the best VFX work in the world and to help decide the nominees for the 15th Annual VES Awards. We are looking forward to see as many of you as possible so please put this on your calendar and register right now, using the link below to join us for one of the main VES events of the year.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s ROGUE ONE: A STAR WARS STORY plus a Q&A.
Panelists will include Executive Producer and Visual Effects Supervisor John Knoll and Animation Supervisor Hal Hickel with moderation by VES 1st Vice Chair Jeffrey A. Okun, VES. (All panelists’ participation based on availability.)
Please RSVP below Sunday, December 18, 2016 at 3:00PM Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESROGUEONE, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests are Invited to a Pre-Release Screening of Columbia Pictures’ PASSENGERS, plus a live interactive Q&A with the filmmakers.
Panelists will include Visual Effects Supervisor Pete Dionne, Co-Producer Greg Baxter, Film Editor Maryann Brandon and Production Designer Guy Hendrix Dyas with moderation by VES Board member Jeff Kleiser. (All panelists’ participation based on availability.)
Please RSVP below Saturday, December 17, 2016 at 3:00PM
Dolby 88 Screning Room 1350 6th Ave. (Avenue of the Americas), New York, NY 10019 Click here for a map.
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESPASSENGERS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
It’s Business Time: A Personal Finance Discussion for VFX Professionals
Thursday, December 8, 7pm-9pm
School of Visual Arts
133/139 West 21 Street, NYC
Featuring:
Kelli Grant– Personal Finance and Consumer Spending Reporter, CNBC
Dale Siegel – Mortgage Broker, Award winning author of “The New Rules for Mortgages”
While many of us have a great deal of knowledge when it comes to UV Maps, HDRIs and inverse kinematics, some of us are less familiar with Roth IRAs, 401-Ks and LTV ratios.
In our ongoing effort to educate our members, the NY Section of the VES is proud to present a panel discussion on some of the financial matters that VFX professionals face in today’s world:
– What are the benefits of being freelance vs. staff?
– Is it possible to buy property as a freelancer or young staffer?
– Do I need an accountant?
– As a freelancer, should I incorporate?
– Can we talk about credit and debt, please?
– What’s the best way to get health care coverage outside of a full-time job?
– Whats the best ay to get started with long term financial planning?
– Will I ever be able to retire?
New York VES Members and a Guest are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please call (800) 905-6918 to RSVP (be sure to specify the date, time and location of the screening you’d like to attend) Saturday, November 26, 2016 at 1:00PM
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating. Click here for more studio screenings.
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP below Monday, November 21, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
From director Mark Osborne and Netflix, THE LITTLE PRINCE is a feature length animated film inspired by the French novella Le Petit Prince, first published in 1943 by poet, author and aviator Antoine de Saint-Exupéry. Osborne’s film uses four types of animation: hand drawn 2D animation, CG animation, paper cutout animation and stop-motion animation to bring this fable of friendship, love, loss and loneliness to life. THE LITTLE PRINCE is voiced by Jeff Bridges, Rachel McAdams, Mackenzie Foy, Marion Cotillard, James Franco, Albert Brooks, Benicio Del Toro, Ricky Gervais, Bud Cort, and Riley Osborne with Paul Giamatti. THE LITTLE PRINCE includes an original score and songs by Hans Zimmer & Richard Harvey featuring Camille.
VES Members and a Guest are Invited to Join Seth Rogan for a Very Special Screening of SAUSAGE PARTY
Click here to RSVP Sunday, November 13, 2016 at 5:00PM
Auditorium on Broadway at the New York Institute of Technology (NYIT)
1871 Broadway (between 61st & 62nd Streets), New York, NY 10023 Click here for a map
Cocktail reception immediately following the screening
Empire Hotel Rooftop – West Terrace
44 West 63rd Street (between Broadway and Columbus), New York, NY 10023
Courtesy of Columbia Pictures and Annapurna Pictures
DreamWorks Animation and 20th Century Fox Invite VES Members and Their Families to an Advance Screening of TROLLS
Join us for a reception before the feature with Filmmakers Mike Mitchell, Walt Dohrn and Gina Shay.
Click here to RSVP
Thursday, November 3, 2016 at 6:00PM
(Reception with filmmakers begins at 5:00PM)
Walter Reade Theater
165 W. 65th Street (between Broadway and Amsterdam), New York, NY 10023-6905 Click here for a map.
This invitation is absolutely non-transferable The use of cell phones or recording devices during screenings is strictly prohibited. This screening will be monitored for unauthorized photography and recordings. If you attempt to record any footage or audio without authorization, you consent to your immediate removal from the screening room, a physical search of your belongings and person, and the forfeiture of any Fox-distributed content found on you which may include the confiscation of recording equipment. Unauthorized photography or recordings may also subject you to criminal and/or civil liability. Thank you for your understanding and cooperation.
New York VES Members and Their Guests are Invited to an Opening Night Screening of Columbia Pictures’ INFERNO
Please RSVP below Friday, October 28, 2016 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ THE ACCOUNTANT
Please RSVP below Sunday, October 23, 2016 at 7:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below Friday, September 30, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a Pre-Release Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON, plus a Q&A with the filmmakers.
Panelists will include Director Peter Berg, Special Effects Supervisors Burt Dalton and Matt Kutcher and Lead Post-Vis Artist at ILM Keith Johnson with moderation by VES Board member Dan Schrecker. (All panelists’ participation based on availability.)
Please RSVP below Saturday, September 24, 2016 at 3:00PM
New York Institute of Technology’s Broadway Theater
1871 Broadway (between 61st & 62nd Streets), New York, NY 10023 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Synopsis:
On April 20th, 2010, one of the world’s largest man-made disasters occurred on the Deepwater Horizon in the Gulf of Mexico. Directed by Peter Berg (LONE SURVIVOR), this story honors the brave men and women whose heroism would save many on board, and change everyone’s lives forever. Click here to watch the trailer.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Starring: Jeff Bridges, Rachel McAdams, James Franco, Marion Cotillard, Benicio Del Toro, Ricky Gervais, Paul Rudd, Paul Giamatti, Albert Brooks, Mackenzie Foy and introducing Riley Osborne
Directed by: Mark Osborne
From director Mark Osborne and Netflix, “The Little Prince” is a feature length animated film inspired by the French novella Le Petit Prince, first published in 1943 by poet, author and aviator Antoine de Saint-Exupéry.
Osborne’s film uses four types of animation: hand drawn 2D animation, CG animation, paper cutout animation and stop-motion animation to bring this fable of friendship, love, loss and loneliness to life.
THE LITTLE PRINCE focuses on a young girl we come to know as “The Little Girl,” who is being prepared by her mother for the very grown-up world in which they live. As The Little Girl adjusts to a new home, school and surroundings, her world is suddenly interrupted by an eccentric, kind-hearted neighbor we come to know as “The Aviator.” The Aviator introduces her to a new world where anything is possible, a world that he himself was initiated into long ago by “The Little Prince.” It’s there that The Little Girl embarks on a personal odyssey into the universe of The Little Prince, a world where it is only with the heart that one can see rightly; what is essential is invisible to the eye.
THE LITTLE PRINCE was produced by Aton Soumache, Dimitri Rassam and Alexis Vonarb with Jinko Gotoh and Osborne serving as executive producers. The international team of artists and actors working on the film includes Jeff Bridges (“The Aviator”), Rachel McAdams (“The Mother”), Mackenzie Foy (“The Little Girl”), Marion Cotillard (“The Rose”), James Franco (“The Fox”), Albert Brooks (“The Businessman”), Benicio Del Toro (“The Snake”), Ricky Gervais (“The Conceited Man”), Bud Cort (“The King”), and Riley Osborne (“The Little Prince”) with Paul Giamatti (“The Teacher”). THE LITTLE PRINCE includes an original score and songs by Hans Zimmer & Richard Harvey featuring Camille, production design by Lou Romano, Alexander Juhasz and Céline Desrumaux, stop-motion creative director Jamie Caliri, character design by Alexander Juhasz and Peter de Seve, editing by Matt Landon and Carole Kravetz, sound design by Tim Neilson, and an adapted screenplay by Irena Brignull and Bob Persichetti, based on a story conceived by Osborne.
Please RSVP below Friday, August 19, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Focus Features and Laika Entertainment Invites VES Members and a Guest to a Special Advance Screening of KUBO AND THE TWO STRINGS followed by a Q&A with Director Travis Knight
Please arrive early, as noone will be admitted after the film has begun.
From animation studio LAIKA comes an action-adventure set in a fantastical Japan. Clever, kindhearted Kubo (Art Parkinson) ekes out a humble living, telling stories to the people of his seaside town. But his relatively quiet existence is shattered when he accidentally summons a spirit from his past which storms down from the heavens to enforce an age-old vendetta. Now on the run, Kubo joins forces with Monkey (Charlize Theron) and Beetle (Matthew McConaughey), and sets out on a quest to save his family and solve the mystery of his fallen samurai warrior father. With the help of his shamisen – a magical musical instrument – Kubo must battle gods and monsters, including the vengeful Moon King (Ralph Fiennes) and the evil twin Sisters (Rooney Mara), to unlock the secret of his legacy, reunite his family, and fulfill his heroic destiny. The film, produced by Travis Knight and Arianne Sutner, also features the voices of George Takei, Cary-Hiroyuki Tagawa, and Brenda Vaccaro.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below Friday, August 12, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s ICE AGE: COLLISION COURSE
Please RSVP below Sunday, August 7, 2016 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Columbia Pictures’ GHOSTBUSTERS
Please RSVP below Sunday, July 24, 2016 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Paramount Pictures’ STAR TREK BEYOND, plus a Q&A with the visual effects team.
Panelists will include Kelvin Optical Visual Effects Supervisor Stefano Trivelli, Visual Effects Producer Ron Ames, Atomic Fiction Visual Effects Supervisor Ryan Tudhope with moderation by VES Fellow and Founders Award winner Bill Taylor, VES. (All panelists’ participation based on availability.)
Please RSVP below Saturday, July 23, 2016 at 3:00PM Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARTREK, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ THE BFG
Please RSVP below.
Saturday, July 16, 2016 at 3:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below Friday, July 15, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below Friday, July 15, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Sony Pictures’ THE SHALLOWS
Please RSVP below Tuesday, July 5, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Sony Pictures’ THE SHALLOWS
Please RSVP below Tuesday, July 5, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below Thursday, June 30, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 2D Screening of Pixar Animation Studios’ and Walt Disney Pictures’ FINDING DORY
Please RSVP below Thursday, June 30, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Sunday, June 26, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to an Opening Weekend 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Please RSVP below Sunday, June 26, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Friday, June 17, 2016 at 7:30PM SVA Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ WARCRAFT
Please RSVP below Friday, June 17, 2016 at 7:30PM SVA Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Saturnday, June 11, 2016 at 1:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below Saturnday, June 11, 2016 at 1:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Sunday, May 29, 2016 at 12:00PM SVA Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a 3D Screening of 20th Century Fox’s X-MEN: APOCALYPSE
Please RSVP below Sunday, May 29, 2016 at 12:00PM SVA Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
Please RSVP below.
Sunday, May 15, 2016 at 2:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below.
Sunday, April 24, 2016 at 2:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Please RSVP below.
Sunday, April 24, 2016 at 2:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Whether it is for cinema, broadcast or web, a good color grade makes an enormous difference on the end result of a piece. Color can affect the entire mood, feel & tone on the final piece.
Nice Shoes invites VES members to join along with master colorists for a night to discuss ‘The Art of a Color Grade.’
VES members can learn the true art and value of color grading from a colorist’s perspective. Nice Shoes is thrilled to give VES members an opportunity to hear from master colorists what is involved in actually color grading.
Colorist & Nice Shoes Partner Chris Ryan will lead the night’s class by introducing new techniques, technology, and best practices that Nice Shoes colorists employ. We will then open this up for a Q&A w/ VES members, giving you an opportunity to ask questions, for best workflow practices, or anything related to the color grading.
We will then do a few break-out rooms with additional Nice Shoes colorists, where we can show you some case studies and get into detail about the grade on particular projects. Nice Shoes will also discuss the best practices to prep for your color grade.
Whether it is for cinema, broadcast or web, a good color grade makes an enormous difference on the end result of a piece. Color can affect the entire mood, feel & tone on the final piece.
Nice Shoes invites VES members to join along with master colorists for a night to discuss ‘The Art of a Color Grade.’
VES members can learn the true art and value of color grading from a colorist’s perspective. Nice Shoes is thrilled to give VES members an opportunity to hear from master colorists what is involved in actually color grading.
Colorist & Nice Shoes Partner Chris Ryan will lead the night’s class by introducing new techniques, technology, and best practices that Nice Shoes colorists employ. We will then open this up for a Q&A w/ VES members, giving you an opportunity to ask questions, for best workflow practices, or anything related to the color grading.
We will then do a few break-out rooms with additional Nice Shoes colorists, where we can show you some case studies and get into detail about the grade on particular projects. Nice Shoes will also discuss the best practices to prep for your color grade.
New York VES Members and Their Guests are Invited to a 3D Screening of Warner Bros. Pictures’ BATMAN V SUPERMAN: DAWN OF JUSTICE
Please RSVP below Sunday, April 10, 2016 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Saturday, March 12, 2016 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Please RSVP below Saturday, March 12, 2016 at 4:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Join the VES New York Section for the 2nd Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe.
Cocktails Food Entertainment VES Awards Highlights Networking Door Prize
Honoring: Chris Wedge with the VES Empire Award
An Oscar winning film director, producer, and co-founder of Blue Sky Studios, Chris Wedge is a creative innovator who has made extraordinary contributions to animation and entertainment here in the New York area and around the world. After starting Blue Sky in 1987, Chris went on to direct Bunny, which took home the Oscar for Best Animated Short Film in 1998. He followed this up by directing Blue Sky’s first two feature films, Ice Age and Robots, and has since served as an executive producer on a number of other Blue Sky Films. More recently, Chris directed Epic (2013), and just completed his first live action/hybrid film Monster Trucks, due in 2017.
Join the VES New York Section for the 2nd Annual VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe.
Cocktails Food Entertainment VES Awards Highlights Networking Door Prize
Honoring: Chris Wedge with the VES Empire Award
An Oscar winning film director, producer, and co-founder of Blue Sky Studios, Chris Wedge is a creative innovator who has made extraordinary contributions to animation and entertainment here in the New York area and around the world. After starting Blue Sky in 1987, Chris went on to direct Bunny, which took home the Oscar for Best Animated Short Film in 1998. He followed this up by directing Blue Sky’s first two feature films, Ice Age and Robots, and has since served as an executive producer on a number of other Blue Sky Films. More recently, Chris directed Epic (2013), and just completed his first live action/hybrid film Monster Trucks, due in 2017.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Sunday, February 21, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s DEADPOOL
Please RSVP below Sunday, February 21, 2016 at 7:30PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Saturday, February 6, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ THE 5TH WAVE
Please RSVP below Saturday, February 6, 2016 at 8:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, January 10, 2016 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS, plus a Q&A with the visual effects team.
Panelists will include Visual Effects Supervisors Roger Guyett and Pat Tubach, Special Effects Supervisor Chris Corbould and Creature Effects Supervisor Neal Scanlan with moderation by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below Sunday, January 10, 2016 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESSTARWARS, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
“In the history of the movies, there may be no robot more alluring, more eerily fascinating to look at, than Ava, the star and subject ofEX MACHINA.”
Ty Burr, The Boston Globe
“Ava has enough allure and cunning to become a classic noir robot vixen – an apocalyptic, silicon femme fatale.”
Maureen Dowd, The New York Times
“One reason for the success ofEX MACHINAis that Ava is such a remarkable and compelling creation. Her look is an edgy combination of human and machine.”
Kenneth Turan, Los Angeles Times
Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), an A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined. Written and directed by Alex Garland.
Click hereor call646-568-6044 to RSVP
Wednesday, December 16, 2015 at 7:00PM
“In the history of the movies, there may be no robot more alluring, more eerily fascinating to look at, than Ava, the star and subject ofEX MACHINA.”
Ty Burr, The Boston Globe
“Ava has enough allure and cunning to become a classic noir robot vixen – an apocalyptic, silicon femme fatale.”
Maureen Dowd, The New York Times
“One reason for the success ofEX MACHINAis that Ava is such a remarkable and compelling creation. Her look is an edgy combination of human and machine.”
Kenneth Turan, Los Angeles Times
Caleb Smith (Domhnall Gleeson), a programmer at an internet-search giant, wins a competition to spend a week at the private mountain estate of the company’s brilliant and reclusive CEO, Nathan Bateman (Oscar Isaac). Upon his arrival, Caleb learns that Nathan has chosen him to be the human component in a Turing Test—charging him with evaluating the capabilities, and ultimately the consciousness, of Nathan’s latest experiment in artificial intelligence. That experiment is Ava (Alicia Vikander), an A.I. whose emotional intelligence proves more sophisticated––and more deceptive––than the two men could have imagined. Written and directed by Alex Garland.
Click hereor call646-568-6044 to RSVP
Wednesday, December 16, 2015 at 7:00PM
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
It’s the end of the year and time to celebrate a fantastic 2015
If you are from out of town and will be visiting Montreal NEXT Wednesday – RSVP to MONTREAL@VISUALEFFECTSSOCIETY.COM with the subject MEGA PARTY 2015.
Yes you heard us well… Join us on Wednesday December 9, at Theatre de la Plaza for Drinks, Laughter, Prizes, Music, Dancing and did I mention LOTS of Drinks ? 🙂
Celebrate the talent of Montreal’s VFX, TV and Game professionals at one of the great remaining art deco theaters of Montreal. Catch up with old colleagues and make new friends.
Party is open to ALL artist and production of Montreal and their family and friends. Not ONLY for VES Members. The theatre has capacity of 600 so plenty of room for everybody.
Over 20 prizes handed out during the night to VES Members and non-Members alike… Best Buy, and iTunes gift cards, Mont Tremblant Ski and Spa packages, Cineplex Tickets, Star Wars surprises and more. Free drinks to be won all night long. Along with a LIVE in house VES PhotoBooth – It’s gonna be a fun night to remember and share with your online friends via social media.
Huge thanks to all of this year’s sponsors… Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar and Ubisoft.
Doors open at 7:00PM – 6505 Rue St-Hubert, Corner Beaubien (Beaubien Metro) till 2:00AM.
————————–
C’est la fin de l’année et le temps de célébrer un fantastique 2015 !!!
Si vous visitez Montreal la semaine prochaine, et voulez nous rejoindre mercredi, faite nous un RSVP par courriel a MONTREAL@VISUALEFFECTSSOCIETY.COM et comme sujet: MEGA PARTY 2015.
Rejoignez-nous la semaine prochaine, le mercredi 9 Décembre au Théâtre de la Plaza pour des boissons, des rires, prix, musique, danse et ai-je mentionné bierre gratuite a gagner ? :)
Célébrer le talent de VFX Cinéma, TV et de jeux vidéos avec les profesionnels de Montréal à l’un des grands théâtres art déco de Montréal. Jaser avec de vieux collègues et faite de nouveaux amis.
Party est ouvert à tous les artistes et la production de Montréal et de leur famille et leurs amis. Le théâtre a une capacité de 600 alors beaucoup de place pour tout le monde.
Plus de 20 prix remis lors de la nuit aux Membres VES ainsi qu’au NON membres … cartes-cadeaux Best Buy, et iTunes, des forfaits ski Mont-Tremblant et massage, billets Cineplex, Surprises STAR WARS et plus encore. Des boissons gratuites à gagner toute la nuit. Ça va être une nuit de plaisir à se rappeler.
Un grand merci à tous les commanditaires de cette année … Atomic Fiction – Cinesite – Dioramaworkshop.com – Effects 16 – The Foundry – Framestore – Mikros – Mokko – MPC – Raynault VFX – Rodeo Visual Effects Company, Scalar et Ubisoft.
Les portes ouvrent à 19 heures – 6505 Rue St-Hubert, coin Beaubien (métro Beaubien) jusqu’à 2 heures du matin.
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Saturday, November 21, 2015 at 2:00PM School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of 20th Century Fox’s THE PEANUTS MOVIE
Please RSVP below Saturday, November 21, 2015 at 2:00PM School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Monday, November 9, 2015 at 9:00PM School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of MGM’s, Columbia Pictures’ and Eon Productions’ SPECTRE
Please RSVP below Monday, November 9, 2015 at 9:00PM School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Friday, October 30, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a Screening of Universal Pictures’ CRIMSON PEAK
Please RSVP below
Friday, October 30, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of DreamWorks SKG’s BRIDGE OF SPIES
Click here to RSVP
(You’ll need to choose which screening to sign up for through the DreamWorks SKG awards website.) Thursday, October 29, 2015 at 7:00PM
DGA Theater
110 W. 57th St., New York, NY 10019 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Screening of DreamWorks SKG’s BRIDGE OF SPIES
Click here to RSVP
(You’ll need to choose which screening to sign up for through the DreamWorks SKG awards website.) Thursday, October 29, 2015 at 7:00PM
DGA Theater
110 W. 57th St., New York, NY 10019 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and a Guest are Invited to a Pre-Release Screening of Paramount Pictures’ ANOMALISA, Followed by a Q&A with the filmmakers.
Panelists will include Producer/Director/Writer Charlie Kaufman and Producer/Director Duke Johnson. (All panelists’ participation based on availability.)
Click hereto RSVP
Tuesday, October 13, 2015 at 7:30PM
AMC Empire 25, Theater #14
234 W. 42nd Street, (Between 7th & 8th Avenues) New York, NY 10036 Click here for a map.
Screenings are overbooked to compensate for no-shows. Please arrive at least 30 minutes early and be sure to bring your valid VES card for admission. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Charlie Kaufman & Duke Johnson
Written by Charlie Kaufman
Produced by Rosa Tran, Duke Johnson, Charlie Kaufman, Dino Stamatopoulos
Starring Jennifer Jason Leigh, Tom Noonan, David Thewlis
Michael Stone (David Thewlis), husband, father and respected author of How May I Help You Help Them? is a man crippled by the mundanity of his life. On a business trip to Cincinnati, where he’s scheduled to speak at a convention of customer service professionals, Michael checks into the Fregoli Hotel and meets Lisa Hesselman (Jennifer Jason Leigh), a socially awkward sales rep from Akron who may or may not be the love of his life. Directed by Charlie Kaufman and Duke Johnson and written by Charlie Kaufman comes a darkly comedic, stop-motion journey.
VES Members and Their Guests in New York are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating;
VES Members and Their Guests in New York are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below
Thursday, October 8, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating;
VES Members and a Guest are Invited to a Pre-Release IMAX® 3D Screening of TriStar Pictures’ in Association with LStar Capital’s THE WALK, Followed by a Q&A with the filmmakers.
Panelists will include Director Robert Zemeckis, Producers Steve Starkey and Jack Rapke, Visual Effects Supervisor Kevin Baillie, Visual Effects and Stereo Producer Camille Cellucci, and Music by Alan Silvestri. (All panelists’ participation based on availability.)
Click here or call (323) 900-0265 to RSVP
Sunday, September 27, 2015 at 7:00PM
AMC Loews Lincoln Square
1998 Broadway, New York, NY 10023 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Robert Zemeckis
Screenplay by Robert Zemeckis & Christopher Browne
Based on the book “To Reach the Clouds” By Philippe Petit
Produced by Steve Starkey, p.g.a., Robert Zemeckis, p.g.a., Jack Rapke, p.g.a.
Executive Producers Cherylanne Martin, Jacqueline Levine, Ben Waisbren
Director of Photography Dariusz Wolski, ASC
Production Designer Naomi Shohan
Edited by Jeremiah O’Driscoll
Visual Effects Supervisor Kevin Baillie
Music by Alan Silvestri
Sound Designer/Re-recording Mixer Randy Thom
Starring Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale
Synopsis: THE WALK – Twelve people have walked on the moon. Only one has ever, or will ever, walk in the immense void between the World Trade Center towers.
Philippe Petit (Joseph Gordon-Levitt), guided by his real-life mentor, Papa Rudy (Ben Kingsley), is aided by an unlikely band of international recruits, who overcome long odds, betrayals, dissension and countless close calls to conceive and execute their mad plan. Robert Zemeckis, the master director of such marvels as FORREST GUMP, CAST AWAY, BACK TO THE FUTURE, POLAR EXPRESS and FLIGHT, again uses cutting edge technology in the service of an emotional, character-driven story. With innovative photorealistic techniques and IMAX® 3D wizardry, The Walk is genuine big-screen cinema, a chance for moviegoers to viscerally experience the feeling of reaching the clouds.
It is also one of the rare live-action films that is a PG-rated, all-audience entertainment for moviegoers 8 to 80 – and a triumphant true story to boot. It is unlike anything audiences have seen before, a love letter to Paris and New York City in the 1970s, but most of all, to the towers of the World Trade Center.
VES Members and a Guest are Invited to a Pre-Release IMAX® 3D Screening of TriStar Pictures’ in Association with LStar Capital’s THE WALK, Followed by a Q&A with the filmmakers.
Panelists will include Director Robert Zemeckis, Producers Steve Starkey and Jack Rapke, Visual Effects Supervisor Kevin Baillie, Visual Effects and Stereo Producer Camille Cellucci, and Music by Alan Silvestri. (All panelists’ participation based on availability.)
Click here or call (323) 900-0265 to RSVP
Sunday, September 27, 2015 at 7:00PM
AMC Loews Lincoln Square
1998 Broadway, New York, NY 10023 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Directed by Robert Zemeckis
Screenplay by Robert Zemeckis & Christopher Browne
Based on the book “To Reach the Clouds” By Philippe Petit
Produced by Steve Starkey, p.g.a., Robert Zemeckis, p.g.a., Jack Rapke, p.g.a.
Executive Producers Cherylanne Martin, Jacqueline Levine, Ben Waisbren
Director of Photography Dariusz Wolski, ASC
Production Designer Naomi Shohan
Edited by Jeremiah O’Driscoll
Visual Effects Supervisor Kevin Baillie
Music by Alan Silvestri
Sound Designer/Re-recording Mixer Randy Thom
Starring Joseph Gordon-Levitt, Ben Kingsley, Charlotte Le Bon, James Badge Dale
Synopsis: THE WALK – Twelve people have walked on the moon. Only one has ever, or will ever, walk in the immense void between the World Trade Center towers.
Philippe Petit (Joseph Gordon-Levitt), guided by his real-life mentor, Papa Rudy (Ben Kingsley), is aided by an unlikely band of international recruits, who overcome long odds, betrayals, dissension and countless close calls to conceive and execute their mad plan. Robert Zemeckis, the master director of such marvels as FORREST GUMP, CAST AWAY, BACK TO THE FUTURE, POLAR EXPRESS and FLIGHT, again uses cutting edge technology in the service of an emotional, character-driven story. With innovative photorealistic techniques and IMAX® 3D wizardry, The Walk is genuine big-screen cinema, a chance for moviegoers to viscerally experience the feeling of reaching the clouds.
It is also one of the rare live-action films that is a PG-rated, all-audience entertainment for moviegoers 8 to 80 – and a triumphant true story to boot. It is unlike anything audiences have seen before, a love letter to Paris and New York City in the 1970s, but most of all, to the towers of the World Trade Center.
VES Members and Their Guests in New York are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Saturday, September 26, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below
Saturday, September 26, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 2
Please RSVP below
Saturday, September 26, 2015 at 5:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 2
Please RSVP below
Saturday, September 26, 2015 at 5:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present the acclaimed documentary THANK YOU FOR PLAYING (2015), recently featured at the 2015 Tribeca Film Festival, followed by a Q&A with co-director David Osit (MFA 2011 Social Documentary). Osit and co-director Malika Zouhali-Worrall, will join us live via Skype. The Q&A will be moderated by current SVA student Fernando Venegas (MFA 2016 Social Documentary).
Synopsis: Ryan Green’s four-year-old son, Joel, has terminal cancer. Ryan, an indie video game developer, is building an unusually poetic video game to document his experiences raising a dying child, and to honor Joel while he is still alive. The film follows the creation and growing success of Ryan’s game, as his son’s health continues to decline.
The film will be preceded by the Sports Emmy Award-nominated documentary short THE PERFECT 18 (2014) by Mickey Duzyj (BFA 2004 Illustration) and Kyle Stecker (BFA 2011 Illustration).
THANK YOU FOR PLAYING is not rated by the MPAA. Parents are strongly cautioned – some material may be inappropriate for children under 13, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions
– See more at: http://svatheatre.com/events/thank-you-for-playing-documentary-screening-and-qa/#sthash.9YSnzLct.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present the acclaimed documentary THANK YOU FOR PLAYING (2015), recently featured at the 2015 Tribeca Film Festival, followed by a Q&A with co-director David Osit (MFA 2011 Social Documentary). Osit and co-director Malika Zouhali-Worrall, will join us live via Skype. The Q&A will be moderated by current SVA student Fernando Venegas (MFA 2016 Social Documentary).
Synopsis: Ryan Green’s four-year-old son, Joel, has terminal cancer. Ryan, an indie video game developer, is building an unusually poetic video game to document his experiences raising a dying child, and to honor Joel while he is still alive. The film follows the creation and growing success of Ryan’s game, as his son’s health continues to decline.
The film will be preceded by the Sports Emmy Award-nominated documentary short THE PERFECT 18 (2014) by Mickey Duzyj (BFA 2004 Illustration) and Kyle Stecker (BFA 2011 Illustration).
THANK YOU FOR PLAYING is not rated by the MPAA. Parents are strongly cautioned – some material may be inappropriate for children under 13, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions
– See more at: http://svatheatre.com/events/thank-you-for-playing-documentary-screening-and-qa/#sthash.9YSnzLct.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of Fox’s FAMILY GUY & COSMOS: A SPACETIME ODYSSEY (2014). Join Kara Vallow (BFA 1985 Media Arts), executive producer of two of Seth MacFarlane’s hit shows, for a special presentation of the two shows as you’ve never seen them before — on the big screen! We’ll screen the Season One pilot episode of COSMOS and a special extended sneak preview of the never-before-seen, soon-to-air Season 14 premiere of FAMILY GUY. Don’t worry, you’ll make it home in time for FOX’s Sunday Animation Domination lineup. The Q&A will be moderated by current student Silver Paul (BFA Animation 2016).
FAMILY GUY Synopsis: In a wacky Rhode Island town, a dysfunctional family strive to cope with everyday life as they are thrown from one crazy scenario to another. Featuring the voices of Seth MacFarlane, Alex Borstein, Mila Kunis, and Seth Green.
COSMOS Synopsis: A documentary series that explores how we discovered the laws of nature and found our coordinates in space and time. Starring Neil deGrasse Tyson.
The screening will be preceded by the short film THE DIRTY BIRDY REDUX (2014) by Academy Award-nominated animator John Dilworth (BFA 1985 Animation).
FAMILY GUY is rated TV-14 and COSMOS is rated TV-PG. Parents are strongly cautioned – some material may be inappropriate for children under 14, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions
– See more at: http://svatheatre.com/events/foxs-family-guy-cosmos-screening-and-qa/#sthash.MCD822be.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of Fox’s FAMILY GUY & COSMOS: A SPACETIME ODYSSEY (2014). Join Kara Vallow (BFA 1985 Media Arts), executive producer of two of Seth MacFarlane’s hit shows, for a special presentation of the two shows as you’ve never seen them before — on the big screen! We’ll screen the Season One pilot episode of COSMOS and a special extended sneak preview of the never-before-seen, soon-to-air Season 14 premiere of FAMILY GUY. Don’t worry, you’ll make it home in time for FOX’s Sunday Animation Domination lineup. The Q&A will be moderated by current student Silver Paul (BFA Animation 2016).
FAMILY GUY Synopsis: In a wacky Rhode Island town, a dysfunctional family strive to cope with everyday life as they are thrown from one crazy scenario to another. Featuring the voices of Seth MacFarlane, Alex Borstein, Mila Kunis, and Seth Green.
COSMOS Synopsis: A documentary series that explores how we discovered the laws of nature and found our coordinates in space and time. Starring Neil deGrasse Tyson.
The screening will be preceded by the short film THE DIRTY BIRDY REDUX (2014) by Academy Award-nominated animator John Dilworth (BFA 1985 Animation).
FAMILY GUY is rated TV-14 and COSMOS is rated TV-PG. Parents are strongly cautioned – some material may be inappropriate for children under 14, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions
– See more at: http://svatheatre.com/events/foxs-family-guy-cosmos-screening-and-qa/#sthash.MCD822be.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special midnight screening of the cult horror hit THE HOUSE OF THE DEVIL (2009), shown on 35mm film, accompanied by a Q&A with director Ti West (BFA 2003 Film and Video) and producer Peter Phok (BFA 2003 Film and Video). The Q&A will be moderated by current SVA student Amanda DiMartino (BFA 2017 Film).
Synopsis: College student Samantha Hughes takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret. Starring Jocelin Donahue, Greta Gerwig, and Tom Noonan.
The film will be preceded by the world cinematic premiere of The Hate My Day Jobs’ music video DOUBLE VISION (2015), by creative director Daniel Giachetti (BFA 2002 Advertising) and alumni from the BFA Illustration and BFA Photography departments.
THE HOUSE OF THE DEVIL is rated R. Parents are strongly cautioned – some material may be inappropriate for children under 17, and children under the age of 12 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions
– See more at: http://svatheatre.com/events/the-house-of-the-devil-midnight-screening-and-qa/#sthash.HEUQl69B.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of PACIFIC RIM (2013), followed by a Q&A and behind-the-scenes look at the film with visual effects supervisor John H. Han (BFA 2003 Computer Art). The Q&A will be moderated by current SVA student Sebastian Gat (BFA 2017 Computer Art, Computer Animation & Visual Effects).
Synopsis: As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to drive a seemingly obsolete special weapon in a desperate effort to save the world from the apocalypse. Starring Charlie Hunnam, Idris Elba, Charlie Day, Diego Klattenhoff, and Rinko Kikuchi, and directed by Guillermo del Toro.
The screening will be preceded by the short film BRINK (2011), featuring visual effects by Luke DiTommaso (BFA 2001 Computer Art) and SVA BFA Computer Art alumni-artists from VFX studio The Molecule.
PACIFIC RIM is rated PG-13. Parents are strongly cautioned – some material may be inappropriate for children under 13, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions
– See more at: http://svatheatre.com/events/pacific-rim-screening-and-qa/#sthash.hPlx2mkR.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special free screening of Disney•Pixar’s MONSTERS UNIVERSITY (2013) in 3D, followed by a Q&A with past and present Pixar artists Ye Won Cho (MFA 2002 Computer Art), Andrew Dayton (BFA 1998 Computer Art), Christian Haniszewski (BFA 2009 Computer Art, Computer Animation and Visual Effects), Nancy Kato (MFA 1991 Computer Art), and Maria Lee (BFA 1988 Media Arts). The Q&A will be moderated by current SVA student Jaime Klein (MFA 2016 Computer Art).
Synopsis: A look at the relationship between Mike and Sulley during their days at MONSTERS UNIVERSITY — when they weren’t necessarily the best of friends. The sequel to the family-friendly animated hit MONSTERS INC., MONSTERS UNIVERSITY features the voices of Billy Crystal, John Goodman, Steve Buscemi, Alfred Molina, and Helen Mirren.
The film will be preceded by the animated short QUIET (2015) by Kyle Samuels (BFA 2012 Animation).
MONSTERS UNIVERSITY is rated G and is appropriate for all ages. Bring the entire family!
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions.
– See more at: http://svatheatre.com/events/monsters-university-in-3d-with-disney%e2%80%a2pixar-artists/#sthash.cE3DjOGv.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of Amazon’s Emmy-nominated comedy series, TRANSPARENT, featuring one of the show’s associate producers and actresses, Zackary Drucker (BFA 2005 Photography). Drucker, who will be on hand live via Skype from Los Angeles on the eve of the Emmy Awards, will present two of the show’s Season One (2014) episodes, alongside some behind-the-scenes footage and a special webisode produced in conjunction with the series. The Q&A will be moderated by current SVA student Samantha Mottola (BFA 2017 Photography & Video). This screening is sponsored by NewFest & New York Women in Film and Television.
Synopsis: An LA family with serious boundary issues have their past and future unravel when a dramatic admission causes everyone’s secrets to spill out. Starring Jeffrey Tambor, Judith Light, Gaby Hoffman, Amy Landecker, and Jay Duplass.
The screening will be preceded by the award-winning short film AWAY (2012) by Elisa Bates (MFA 2012 Design) and the experimental video HOW TO NOT GET RAPED (2014) by Cat Del Buono (MFA 2008 Photography, Video and Related Media).
TRANSPARENT is rated TV-MA. Parents are strongly cautioned – some material may be inappropriate for children under 17, and children under the age of 5 will not be admitted.
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions.
– See more at: http://svatheatre.com/events/amazons-transparent-screening-and-qa/#sthash.NhWb2yRA.dpuf
As part of After School Special: The 2015 School of Visual Arts Alumni Film & Animation Festival, we are pleased to present a special screening of some of Bill Plympton’s (1969 Cartooning) greatest works, followed by a Q&A with the award-winning master animator himself. The evening will include Plympton’s Academy Award-nominated short film YOUR FACE (1987), the New York City premiere of the new short THE LONLIEST STOPLIGHT (2015) featuring the voice of Patton Oswalt, the award-winning feature film CHEATIN’ (2013), and sneak previews of the upcoming films HITLER’S FOLLY and REVENGEANCE. The Q&A will be moderated by current SVA student Steven Duffy (BFA 2016 Animation). Following the screening and Q&A, a special signing with Plympton will be held in the SVA Theatre lobby.
The evening will be preceded by the New York City premiere of the short film DIME CRIMES #34, by director Ed Hellman (MPS 2013 Live Action Short Film) and alumni from the MPS Live Action Short Film & BFA Cartooning departments.
All films shown during this screening are unrated by the MPAA. Parents are strongly cautioned – some material may be inappropriate for children under 17, and children under the age of 5 will not be admitted.
To RSVP please click here or on the ticket icon above.
Ticket Information
All After School Special festival screenings are free and open to the public. General Admission RSVPs are appreciated, but not necessary. Seating is on a first-come, first-served basis. Doors will open approximately 30 minutes prior to each screening.
Concessions Information
A limited amount of free popcorn will be offered at all screenings. Otherwise, concessions are not available for purchase at SVA Theatre. Guests are welcome to bring food and drink. Glass bottles and alcohol are not permitted.
Please contact svatheatre@sva.edu with questions.
– See more at: http://svatheatre.com/events/a-tribute-to-animator-bill-plympton/#sthash.rR5vsGnr.dpuf
VES Members and Their Guests in New York are Invited to a Screening of Warner Bros. Pictures’ THE MAN FROM U.N.C.L.E.
Please RSVP below
Sunday, August 23, 2015 at 3:00PM
Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Friday, August 14, 2015 at 8:00PM
Paramount Screening Room
1515 Broadway, 3rd Floor, New York, NY, 10036 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Guests are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Friday, August 14, 2015 at 8:00PM
Paramount Screening Room
1515 Broadway, 3rd Floor, New York, NY, 10036 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
Where:
JW Marriott Los Angeles L.A. Live
Platinum Ballroom D
900 West Olympic Blvd.
Los Angeles, CA 90015
[map]
The Visual Effects Society and the VES Los Angeles Section invite you to celebrate SIGGRAPH in Los Angeles.
Unwind from all the action of the conference and enjoy a beverage and some nibbles with fellow VES movers and shakers from around the globe! DJ Don Gatito will also be spinning some old skool vinyl for the party. Open to all VES members and a guest.
VES Members and Their Guests in New York are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Monday, July 27, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Columbia Pictures’ PIXELS
Please RSVP below
Monday, July 27, 2015 at 8:00PM
School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below
Sunday, July 26, 2015 at 3:00PM
Beatrice Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Come celebrate a year of membership with the Visual Effects Society!
There will be an open bar, great food, prizes, and fellow members to mix and mingle with.
Hope to see you there!
Click here to RSVP
(Free to VES members, non-members at a nominal cost.) Thursday, July 23, 2015 from 7:00PM to 11:00PM
Amity Hall
80 West 3rd Street, New York, NY 10012 Click here for a map.
Come celebrate a year of membership with the Visual Effects Society!
There will be an open bar, great food, prizes, and fellow members to mix and mingle with.
Hope to see you there!
Click here to RSVP
(Free to VES members, non-members at a nominal cost.) Thursday, July 23, 2015 from 7:00PM to 11:00PM
Amity Hall
80 West 3rd Street, New York, NY 10012 Click here for a map.
VES Members and Their Guests in New York are Invited to a 3D Screening of Universal Pictures’ MINIONS
Please RSVP below
Sunday, July 19, 2015 at 3:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Universal Pictures’ MINIONS
Please RSVP below
Sunday, July 19, 2015 at 3:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below
Friday, July 17, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
VES Members and Their Guests in New York are Invited to a 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below
Friday, July 17, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
After years of research and development, the Academy Color Encoding System (ACES) 1.0 has arrived! It is becoming the standard for color management and image interchange for motion pictures, television, commercials and other forms of professional content. This session will deliver an overview of the engineering and science as well as practical information needed to understand and implement ACES into postproduction and VFX pipelines.
ACES enables DPs and directors to better preserve their creative intent from on-set monitoring and look management, to dailies, editorial, VFX, the DI and on into archiving. It does this by addressing the long-standing color management issues facing today’s productions. ACES expands the creative palette with its high dynamic range and wide color gamut capabilities, while streamlining collaboration with standardized encodings and file formats.
Alex Forsythe, Academy technical lead on the ACES project, is traveling to New York to speak about the development of, and latest innovations in, ACES and how it helps color management and workflows. His presentation will be followed by a discussion about practical, real-world implications with several key members of the New York post production and VFX community.
Hear how ACES is being implemented with today’s tools on-set and at leading facilities in VFX, post and mastering. Seating is limited so please RSVP to seminars@postnewyork.org to reserve your place.
VES Members and Their Guests in New York are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below
Wednesday, July 8, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a Screening of Universal Pictures’ TED 2
Please RSVP below
Wednesday, July 8, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Saturday, June 27, 2015 at 2:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below
Saturday, June 27, 2015 at 2:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD, plus a live interactive Q&A with the visual effects team.
Panelists will include Overall Visual Effects Supervisor Tim Alexander, and Animation Supervisor Glen McIntosh and moderated by VES 2nd Vice Chair Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, June 14, 2015 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESJURASSICWORLD, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD, plus a live interactive Q&A with the visual effects team.
Panelists will include Overall Visual Effects Supervisor Tim Alexander, and Animation Supervisor Glen McIntosh and moderated by VES 2nd Vice Chair Richard Winn Taylor II, VES. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, June 14, 2015 at 3:00PM SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESJURASSICWORLD, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Sunday, May 31, 2015 at 7:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below
Sunday, May 31, 2015 at 7:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Saturday, May 30, 2015 at 3:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a Screening of Walt Disney Pictures’ TOMORROWLAND
Please RSVP below
Saturday, May 30, 2015 at 3:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Friday, May 22, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New York are Invited to a 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below
Friday, May 22, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members and Their Families are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON, plus a live interactive Q&A with the visual effects team
Panelists will include Overall Visual Effects Supervisor Christopher Townsend, Additional Visual Effects Supervisor Geoffrey Baumann, ILM Visual Effects Supervisor Ben Snow, ILM Animation Supervisor Marc Chu, Trixter Animation Supervisor Simone Kraus and moderated by VES Chair Mike Chambers. (All panelists’ participation based on availability.)
Please RSVP below
Sunday, May 17, 2015 at 3:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESAVENGERS2, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of A24’s EX MACHINA
Please RSVP below
Saturday, May 2, 2015 at 6:30PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of A24’s EX MACHINA
Please RSVP below
Saturday, May 2, 2015 at 6:30PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below
Sunday, April 12, 2015 at 7:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families in New York are Invited to a Screening of Universal Pictures’ FURIOUS 7
Please RSVP below
Sunday, April 12, 2015 at 7:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below
Friday, March 20, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Families are Invited to a Screening of Columbia Pictures’ CHAPPIE
Please RSVP below
Friday, March 20, 2015 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Join the VES New York Section for the first ever VES Awards after-after party as we celebrate the finest achievements in visual effects artistry – from New York’s VFX community to the VES Award winners around the globe.
Cocktails * Food * Entertainment * VES Awards Highlights * Networking * Door Prizes
Honoring: Randy Balsmeyer with the VES Empire Award
We’re proud to bestow this inaugural award to New York’s own Randy Balsmeyer, the prolific entertainment industry professional who has made enormous contributions to visual arts and filmed entertainment. Throughout his 35 year career as an award winning titles designer and VFX supervisor, Randy has become the go-to partner of choice for the world’s most acclaimed filmmakers like Woody Allen, Spike Lee, Joel and Ethan Coen and Martin Scorcese.
25th Anniversary Screening of Tim Burton’s “Batman”
Monday, December 15, 2014 Silas Theatre , 7:30 pm
Event hosted by: SVA Theatre Reserve Tickets
Please join the School of Visual Arts for a special 25th anniversary presentation of Tim Burton’s iconic, Academy-Award-winning film, Batman (1989), shown on the big screen on 35mm film.
VES New York Members And Their Families Are Invited To A 3D Pre-Release Screening Of 20th Century Fox’s EXODUS: GODS AND KINGS
Please RSVP below Saturday, December 6, 2014 at 2:00PM
AMC Empire 25
234 W 42nd St, 42nd Street Entertainment Center, New York, NY 10036 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members And Their Guests Are Invited To A 3D Screening Of 20th Century Fox’s and DreamWorks Animation’s HOW TO TRAIN YOUR DRAGON 2 plus Q&A with Producer and VES member Bonnie Arnold and Head of Character Animation Simon Otto moderated by NYU Tisch School of the Arts Professor John Canemaker followed by a reception.
Click here to RSVP
Thursday, October 23, 2014 at 6:00PM
(6:00PM Screening, 7:45PM Q&A, 8:15PM Reception)
The Crosby Street Hotel Screening Room
79 Crosby Street (Lower Level), New York, NY, 10012 Click here for a map.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The second chapter of the epic HOW TO TRAIN YOUR DRAGON trilogy returns to the fantastical world of the heroic Viking Hiccup and his faithful dragon Toothless. The inseparable duo must protect the peace – and save the future of men and dragons from the power-hungry Drago.
Producer Bonnie Arnold, and Head of Character Animation Simon Otto, will talk about the process behind the film’s animation techniques.
Rated PG
Runtime is 101 minutes
Released in theaters June 13, 2014
New York VES Members And Their Families Are Invited To A Pre-Release 3D Screening Of Focus Features’ And LAIKA’s THE BOXTROLLS followed by a Q&A with the filmmakers
Panelists will include with LAIKA CEO/Lead Animator Travis Knight and Directors Anthony Stacchi & Graham Annable, and moderated by John Canemaker.
World Premiering at the Venice International Film Festival – In theaters nationwide September 26, 2014
Voice Cast: Ben Kingsley, Isaac Hempstead Wright, Elle Fanning, Dee Bradley Baker, Steve Blum, Toni Collette, Jared Harris, Nick Frost, Richard Ayoade, Tracy Morgan, and Simon Pegg
Directed by: Anthony Stacchi, Graham Annable
Screenplay by: Irena Brignull, Adam Pava
Based on the novel Here Be Monsters by Alan Snow
Produced By: David Bleiman Ichioka, Travis Knight
A family event movie from the creators of CORALINE and PARANORMAN that introduces audiences to a new breed of family – THE BOXTROLLS, a community of quirky, mischievous creatures who have lovingly raised a human boy named Eggs (voiced by Isaac Hempstead Wright) in the amazing cavernous home they’ve built beneath the streets of Cheesebridge. When the town’s villain, Archibald Snatcher (Academy Award winner Ben Kingsley), comes up with a plot to get rid of the Boxtrolls, Eggs decides to venture above ground, “into the light,” where he meets and teams up with fabulously feisty Winnifred (Elle Fanning). Together, they devise a daring plan to save Eggs’ family.
VES Members And Their Families Are Invited To A 3D Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP below
Friday, August 8, 2014 at 8:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
All the stuff you want at a summer party: Good Food – Cold Drinks – Friends (new and old!):
And some stuff you didn’t know you wanted at a summer party but why should you: Over $25,000 in Door Prizes
VES Members In Free
$25 For Non-Members (Payable at the door)
VES Members And Their Families Are Invited To A 3D Screening Of 20th Century Fox’s DAWN OF THE PLANET OF THE APES plus a live interactive Q&A with the filmmakers
Panelists will include Senior Visual Effects Supervisor Joe Letteri, Animation Supervisor Dan Barrett, Motion Capture Supervisor Dejan Momcilovic, CG Supervisor Phillip Leonhardt, and Terry Notary who plays the character of ‘Rocket’.
Please RSVP below
Sunday, July 13, 2014 at 5:00PM
SVA Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in New Zealand) immediately following the screening. (be sure to include the hashtag, #VESDAWNOFTHEAPES, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members & Guests Are Invited To A 3D Screening Of Paramount Pictures’ TRANSFORMERS: AGE OF EXTINCTION
Please RSVP below Friday, July 11, 2014 at 7:00PM
Paramount Screening Room
1515 Broadway, 3rd Floor, New York, NY, 10036 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
The Producers Guild of America East is inviting 15-20 VES members to attend a Screening and Filmmaker Chat. Please RSVP with at PGAEastScreening2@gmail.com, type your name + “VES Member” + if you’ll be bringing a guest in the ”subject” line of the email.
This screening is preceded by a conversation with Writer/Director/Producer Mike Cahill and Producers Hunter Gray & Alex Orlovsky, moderated by PGA member Jay Van Hoy.
Panelists will include overall Visual Effects Supervisor Carey Villegas, MPC Visual Effects Supervisor Adam Valdez and Digital Domain Visual Effects Supervisor Kelly Port, and Digital Domain Digital Effects Supervisor Darren Hendler, moderated by VES 2nd Vice Chair Nancy St. John.
Please RSVP Below Sunday, June 8, 2014 at 3:00PM
Dolby Laboratories screening room
1350 Avenue of the Americas, Ground Floor, New York, NY, 10019-4703
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screening. (be sure to include the hashtag, #VESMALEFICENT, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Stick around for a Q&A panel that will include Writer/Executive Producer Ari Handel, Editor Andrew Weisblum and Visual Effects Supervisor Dan Schrecker pending availability.
Silas Theater at the School of Visual Arts
333 W. 23rd Street (Between 8th and 9th Avenue) New York, NY 10011 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members & Their Guests Are Invited To A 3D Screening Of Columbia Pictures’ THE AMAZING SPIDER-MAN 2
Sunday, May 4, 2014 at 3:00PM
Sony Screening Room
550 Madison Ave., 7th Floor (between 55th & 56th), New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
For those of you who couldn’t make it to the previous color event, and for those who did and want a more VFX-focused discussion on color, this event is for you!
Come and learn about color space in a smaller and more interactive environment. We’ll also be opening up Nuke scripts as part of the presentation.
Question and Answer session at the end will feature Light Iron CEO Michael Cioni and CEO from The Molecule, Chris Healer.
Time
7:00 Doors Open and Cocktails
7:30 Presentation begins
9:00 Q&A for Chris Healer & Michael Cioni
New York VES Members & Their Guests Are Invited To A Stereo 3D Screening Of DreamWorks Animation Studios’ & 20th Century Fox’s MR. PEABODY & SHERMAN
Followed By Q&A With Director Rob Minkoff
Monday, April 28, 2014 at 4:30PM
Q&A with Director Rob Minkoff will begin at 6:00PM
Regal Union Square Theater
850 Broadway, New York, NY 10003 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members & Their Guests Are InvitedTo A Stereo 3D Screening Of DreamWorks Animation Studios’ & 20th Century Fox’s MR. PEABODY & SHERMAN
Sunday, April 27, 2014 at 11:00AM
Q&A with Director Rob Minkoff will begin at 12:30PM
Museum of the Moving Image
36-01 35th Ave., New York, NY 11106
Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members And Their Guests Are Invited To Attend A 3D Screening Of Walt Disney Pictures’ & Marvel Studios’ CAPTAIN AMERICA: THE WINTER SOLDIER
RSVP
Friday, April 11, 2014 at 8:00PM
Park Avenue Screening Room
500 Park Ave., Lobby Level (at the corner of 59th St.) New York, NY 10022 Click here for a map
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES NY & PNYA would like to invite you to attend their upcoming event, Color Space and Workflow for Post Production Professionals. This event brings industry professionals together to learn more about color theory, workflows and why this topic is so important for such a broad range of disciplines across production & post production.
Open to VES NY & PNYA members, with limited tickets for SVA students, we are anticipating seats will go fast so please rsvp as soon as you can. Any seats not filled by March 14th will be opened up for non-members who would like to attend.
March, 19 2014 730pm 930pm School of Visual Arts
133-141 W 21st Street, 3rd Floor, #301
New York, NY 10011
This event is intended to an introductory explanation of the complete color chain from camera (ingest) to delivery format (output).
With:
Mark Russell (VFX Supervisor): Host, Moderator
Chris Healer (CEO, The Molecule): “Color Theory & Practice in a Nutshell: Condensed Version”
Joe Gawler (Colorist, Harbor Entertainment): The Art of Color
Dave Satin (DIT): On-Set Color Decisions
VES NY & PNYA would like to invite you to attend their upcoming event, Color Space and Workflow for Post Production Professionals. This event brings industry professionals together to learn more about color theory, workflows and why this topic is so important for such a broad range of disciplines across production & post production.
Open to VES NY & PNYA members, with limited tickets for SVA students, we are anticipating seats will go fast so please rsvp as soon as you can. Any seats not filled by March 14th will be opened up for non-members who would like to attend.
March, 19 2014 730pm 930pm School of Visual Arts
133-141 W 21st Street, 3rd Floor, #301
New York, NY 10011
This event is intended to an introductory explanation of the complete color chain from camera (ingest) to delivery format (output).
With:
Mark Russell (VFX Supervisor): Host, Moderator
Chris Healer (CEO, The Molecule): “Color Theory & Practice in a Nutshell: Condensed Version”
Joe Gawler (Colorist, Harbor Entertainment): The Art of Color
Dave Satin (DIT): On-Set Color Decisions
Panelists include Visual Effects Producer Josh Jaggars, Visual Effects Supervisor John ‘D.J.’ Des Jardin, and 3D Stereographer Sean Santiago.
Warner Bros. Screening Room
1325 Avenue of the Americas (entrance on 53rd St.), New York, NY 10019
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in the Bay Area) immediately following the screening, and be sure to include #VESSUPER in your tweet.
Screeenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Deluxe New York
435 Hudson Street, 9th Floor, New York, NY 10014
Please tweet your questions after the screening in order to participate in the Q&A panel (which will take place in Los Angeles) immediately following the screenings. (be sure to include the hashtag, #vesoblivion, in your tweet.)
375 Greenwich Street (Between Franklin and Moore) New York, NY 10013-2376
Click here for a map
Screenings are This event is overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Plus live interactive Q&A with VFX Supervisor Bill Westenhofer & key members of the VFX Team.
Panelists will include overall Visual Effects Supervisor Bill Westenhofer, MPC Visual Effects Supervisor Guillaume Rocheron, Digital Supervisor Jason Bayever, and Animation Supervisor Erik de Boer, and will be moderated by VES Board-member Tim McGovern.
Sunday, December 2, 2012 at 3:00PM
Deluxe New York
435 Hudson Street, 9th Floor, New York, NY 10014
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place in Los Angeles) immediately following the North American and London screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
New York VES Members And Guests Are Invited
To A 3D Screening Of 20th Century Fox’s
PROMETHEUS
Plus a live interactive Q&A w/ overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Charley Henley Moderated by VES London Events Committee member Jason Halverson.
GUILD MEMBER SCREENING:
Wednesday, November 11th – 7:30PM
Directors Guild of America Theater
110 West 57th Street
New York, NY 10019
Q&A to follow with director Wes Anderson
Please RSVP to (212) 556-8282
This screening will be monitored for unauthorized recording. By attending, you agree not to bring any recording device into the theatre and you consent to physical search of your belongings and person for recording devices. If you attempt to enter with a recording device, you will be denied admission. If you attempt to use a recording device, you consent to your immediate removal from the theatre and forfeiture of the device. Unauthorized recording will be reported to law enforcement and may subject you to criminal and civil liability. Screening paid for by Fox Searchlight Pictures.
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