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!”
New Zealand
Kia Ora and Welcome to VES New Zealand
With an active and growing membership throughout New Zealand we are pleased to be able to bring you a wide range of events.
The locally elected board are based in Wellington and Auckland. They bring a broad variety of skills.
Please feel free to touch base should you have any queries.
VES Members and Their Guests are Invited to a Screening of Columbia Pictures’ GHOSTBUSTERS: FROZEN EMPIRE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, April 6, 2024 at 2:00PM (RSVPs close on Friday, April 5 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 Click here for a map
***VES members please register your name in the “Attendee 1″ fields***
In an effort to prevent the spread of COVID-19, we ask that you or your guests do not attend VES events if you are experiencing any symptoms or if you have been exposed to the virus.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
By signing up for this on-site, in-person screening/event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this screening/event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
VES Members and Their Guests are Invited to a Screening of Warner Bros. Pictures’ DUNE: PART TWO
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, March 9, 2024 at 1:30PM (RSVPs close on Friday, March 8 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 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.
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
Get ready to mingle because the most fabulous time of the year is here! We’re thrilled to invite you to our exclusive VES Member’s Holiday Party on Dec 3rd, kicking off at 3:30PM at Seatoun Bowls Club.
Join us for a family friendly event filled with camaraderie, laughter, and plenty of cheer. We’ve got some delicious nibbles, a bar that’s ready to sleigh, and of course, the chance to hang out with the fantastic folks that make up our VES community.
We can’t wait to share this wonderful afternoon with you.
VES Members and Their Guests are Invited to an Opening Weekend Screening of Apple TV+’s KILLERS OF THE FLOWER MOON
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, October 21, 2023 at 2:00PM (RSVPs close on Friday, October 20 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 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.
Friday, October 13, 2023, at 12:00PM (AEDT), 12:30PM (ACDT) & 2:00PM (NDT), 5:30AM (IST)
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 Asia, Australia & New Zealandunde!
VES Members and Their Guests are Invited to an Opening Weekend Screening of 20th Century Studios’ THE CREATOR
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Saturday, September 30, 2023 at 2:00PM (RSVPs close on Friday, September 29 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 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 Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to RSVP)
Thursday, July 27, 2023 at 6:30PM (RSVPs close on Thursday, July 27 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 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 Paramount Pictures’ MISSION: IMPOSSIBLE – DEAD RECKONING PART 1
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Click here to RSVP
Saturday, July 22, 2023 at 7:00PM (RSVPs close on Friday, July 21 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 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.
VES Members and up to Four (4) Guests are Invited to an Opening Weekend Screening of Walt Disney Pictures’ INDIANA JONES AND THE DIAL OF DESTINY
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Sunday, July 2, 2023 at 12:00PM (RSVPs close on Friday, June 30 at 12:00PM) Park Road Post Cinema
141 Park Road, Miramar, Wellington 6022 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 up to Four (4) Guests are Invited to an Opening Weekend Screening of Sony Pictures’ SPIDER-MAN: ACROSS THE SPIDER-VERSE
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Saturday, June 3, 2023 at 2:00PM (RSVPs close on Friday, June 2 at 12:00PM) Miramar Creative Centre Screening Room
133 Park Road, Miramar, Wellington 6022 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 up to Four (4) Guests are Invited to a Screening of Walt Disney Pictures’ THE LITTLE MERMAID
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Saturday, May 27, 2023 at 2:00PM (RSVPs close on Friday, May 26 at 12:00PM) Miramar Creative Centre Screening Room
133 Park Road, Miramar, Wellington 6022 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 up to Four (4) Guests are Invited to a Screening of Universal Pictures’ FAST X
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Thursday, May 25, 2023 at 7:00PM (RSVPs close on Thursday, May 25 at 12:00PM) Miramar Creative Centre Screening Room
133 Park Road, Miramar, Wellington 6022 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.
Members and non members are invited to join us for a pub night and a chance to find out more about the VES.
Come and catch up with your fellow creatives!
This event is for members, VFX Artists, Animators, SFX Artists, Producers, Coordinators, Engineers and Educators with a minimum of 5 years’ experience in Games, AR, VR, Film, TV, VFX, Education and related creative industries.
Date:Wednesday 22nd February
Time: 6.30pm-8.00pm
Location: Double Vision Brew Pub, 128 Park Road, Miramar
Double Vision will provide some snacks. And of course beer!
VES Members and up to Four (4) Guests are Invited to a Screening of Walt Disney Pictures’ and Marvel Studios’ BLACK PANTHER: WAKANDA FOREVER
Masks or face coverings are encouraged, but not mandatory. Please observe social distancing whenever possible.
Please RSVP below (VES members must login to sign up.)
Saturday, November 12, 2022 at 10:30AM (RSVPs close on Friday, November 11 at 12:00PM) The Roxy Cinema
5 Park Road, Miramar, Wellington 6022 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.
Join the Visual Effects Society Australia and New Zealand sections for a conversion around Virtual Production in the region. Interact with local guest speakers who have first hand experience in all things virtual production. This panel will be moderated by Befores and Afters, Ian Failes.
Saturday, September 24th at 9:30am ACST via ZOOM (10am AEST, 12 noon NZST)
Panelists
Habib Zargarpour, Virtual Production Supervisor at Unity Technologies
Michela Ledwidge, Director MOD
Gary Marshall, Senior Director of Virtual Production, NantStudios
Thomas Mansencal, Technology Supervisor, Weta FX
Sam Folkard, Head of Labs NZ, disguise
Bree Whitford-Smith, Virtual Production Producer
Log in for access to the webinar registration link below.
Join us for the return of the Teq Talks! A series of fascinating short talks from artists and innovators with a social mixer to follow. Drinks and nibbles provided. Free for VES members, koha donation for non-members. For this session, we have three great speakers:
Sophie Thorn, Curator Collections, Te Pātaka Toi Adam Art Gallery
Talk Title: The Copy Paste Aesthetic
Sophie Thorn is the Curator Collections, Te Pātaka Toi Adam Art Gallery. She looks after the Victoria University of Wellington Art Collection. She holds a Master of Arts in Art History and Theory from the University of Canterbury and a Diploma in Law and Collections Management through the London Institute of Art Law. She studied Heritage Materials Science through the Physical Sciences department at Te Herenga Waka–Victoria University of Wellington and Metallurgy at the Chemical Institute of Technology in Prague, Czech Republic. She has held positions at the Canterbury Museum, Experience Wellington, and Te Manawa Museums Trust. She has been with Te Pātaka Toi Adam Art Gallery since 2014.
Shinichi Maruyama is a Wellington-based artist/photographer.
He exemplifies the Japanese concept of wabi-sabi–the beauty of things imperfect, impermanent, and incomplete.
Having majored in photographical chemistry at university, he is interested in both the artistic and technical aspects of photography, seeking new expressions for each project.
He is represented by Bruce Silverstein Gallery in NY and has had three solo exhibitions.
NZ Govt. Covid-19 rules require Vaccine Certificates for all attendees over age 12.
Masks are required and please observe social distancing best practices.
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, have been exposed to the virus, are awaiting a test result, have been contact traced, have been asked to self isolate or have been in an MIQ facility within the last 14 days.
By signing up for this on-site, in-person event sponsored by VES (Visual Effects Society), you willingly accept any potential inherent risks associated with COVID-19. VES cannot be held liable from any consequences that may transpire from said risk. Therefore, signing up for this event infers implied consent of yourself and your party and hereby indemnifies and holds harmless VES, its directors, its employees and any other affiliated persons from any adverse medical or financial impact that may result from our participation.
Please login to RSVP Below by December 1st. VES Members: Please enter your details and those of ALL your guests/Family who are attending with you. Please be sure to put your own name down as one of the attendees: eg. Joe Smith, next guest: Suzy Smith etc. Please DO include children and babies.
On behalf of Searchlight Pictures and ANZ distributor Disney we’re delighted to invite you and your guest to this Wellington preview screening of THE FRENCH DISPATCH.
Synopsis: THE FRENCH DISPATCH brings to life the final issue of an American magazine published in a fictional French city. It features Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray and Owen Wilson.
When: Wednesday 1 December
Time: 6.15pm for a 6.30pm start
Location: The Roxy (cinema 2), 5 Park Road, Miramar, Wellington
Duration: 107 minutes. You can view the trailer here
RSVP is essential here. Invitation is strictly non-transferable.
COVID protocols: As of 29th November, The Roxy will require anyone entering the premises to show a valid NZ Vaccination Pass. You may also be required to show a government issued form of photographic ID. Please arrive with your Vaccination Pass and government issued photo ID ready.
This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
All attendees must be fully vaccinated before you arrive at the cinema. You will be required to show a NZ Vaccination Pass, or proof of exemption.
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch.
On behalf of Apple Original Films we’re delighted to invite you and your guest to an industry preview screening of
When: Tuesday 30 November
Time: 6.15pm for a 6.30pm start
Location: The Roxy (cinema 2), 5 Park Road, Miramar, Wellington
Duration: 116 minutes. You can view the trailer here
Synopsis: In the near future, SWAN SONG tells the journey of Cameron (Mahershala Ali), a loving husband and father with a terminal illness who is offered a confidential solution to shield his wife (Naomie Harris) and son from grief. As he considers it, he learns more about life and love than he ever imagined.
RSVP is essential here. Invitation is strictly non-transferable.
COVID protocols: As of 29th November, The Roxy will require anyone entering the premises to show a valid NZ Vaccination Pass. You may also be required to show a government issued form of photographic ID. Please arrive with your Vaccination Pass and government issued photo ID ready.
This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
All attendees must be fully vaccinated before you arrive at the cinema. You will be required to show a NZ Vaccination Pass, or proof of exemption.
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch.
On behalf of Amazon Studios we’re delighted to invite you and your guest to an industry preview screening of The Tender Bar.
When: Saturday 27 November
Time: 1.45 for a 2pm start
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Duration: 104 minutes. You can view the trailer here
Synopsis: From director George Clooney and based on the memoir, The Tender Bar follows an aspiring writer (Tye Sheridan) pursuing his romantic and professional dreams. From a stool in his uncle’s (Ben Affleck) bar, he learns what it means to grow up from a colorful group of local characters.
RSVP is essential here. Invitation is strictly non-transferable.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch.
On behalf of Netflix we’re delighted to invite you and your guest to an industry preview of The Harder They Fall.
When: Tuesday 19 October
Time: 7.20 for a 7.30pm start (please allow time for Covid protocols upon arrival – see below)
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Please login to RSVP below. Seating is limited and invitation is strictly non-transferable.
Synopsis: When outlaw Nat Love (Jonathan Majors) discovers that his enemy (Idris Elba) is being released from prison, he reunites his gang to seek revenge. The cast also includes Zazie Beetz, Delroy Lindo, LaKeith Stanfield and Regina King.
Directed by Jeymes Samuel, from a screenplay by Jeymes Samuel and Boaz Yakin.
Producers are James Lassiter, Lawrence Bender, Jeymes Samuel and Shawn Carter.
Cinematographer is Mihai Malaimare Jr., Production Designer is Martin Whist and Editor is Tom Eagles.
Films At 42 will be releasing the film nationally on 21 October.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
There will be contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61428727303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding theses screenings, please don’t hesitate to get in touch.
On behalf of Amazon Studios we’re delighted to invite you and your guest to an industry screening of THE ELECTRICAL LIFE OF LOUIS WAIN.
When: Sunday 17 October
Time: 10.50 for 11am start (please allow time for Covid check-in – see below)
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Synopsis: A true story of British artist Louis Wain (Benedict Cumberbatch), whose surreal pictures transformed the public’s perception of cats. From the late 1800s-1930s, he sought to unlock the world’s mysteries and, in so doing, to understand himself and the love of his life, Emily Richardson (Claire Foy).
RSVP is essential here. Seating is limited and invitation is strictly non-transferable.
THE ELECTRICAL LIFE OF LOUIS WAIN will be available to stream on Amazon Prime Video from 5 November.
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COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
Contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61 428 727 303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
If you have any questions or concerns regarding these screenings, please don’t hesitate to get in touch
Join us for a global ‘Speed Networking’ event, hosted by the VES Los Angeles section. This is a wonderful opportunity to meet with VES members in NORTH AMERICA, AUSTRALIA, NEW ZEALAND and INDIA.
You could make 5+ new international VFX industry connections in just one hour. If you have not made it to one of these fast paced sessions before, this is the one you simply can’t miss!
Saturday, October 16th
3:00 pm NZDT
Members can register for FREE at the link below (Members must login to the website).
On behalf of Amazon Studios we’re delighted to invite you and your guest to an industry screening of THE TOMORROW WAR.
When: Tuesday 5 October
Time: 7.30pm start
Location: Roxy Cinema (cinema 2), 5 Park Road, Miramar, Wellington
Synopsis: The world is stunned when a group of time travelers arrives to deliver an urgent message: Thirty years in the future mankind is losing a global war against a deadly alien species. The only hope for survival is for soldiers and civilians from the present to be drafted in a future war.
Starring Chris Pratt, Yvonne Strahovski, J.K. Simmons and Sam Richardson
RSVP is essential here. Seating is limited and invitation is strictly non-transferable.
THE TOMORROW WAR is now available to stream on Amazon Prime Video.
________________________
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (VES number, mobile and email) must be supplied 24 hours in advance for anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
You will need to check-in via the QR code upon entry.
Contactless temperature checks – anyone displaying any symptoms will not be admitted.
Hand sanitiser and face masks will be provided – all attendees must wear a face mask during the screening.
You will be able to sit with your guest but social distancing will be employed in the cinema to ensure that you are at a safe distance from other attendees.
If you develop symptoms or test positive to Covid19 following a screening, please call +61 428 727 303 immediately or email celia@bluecatpictures.com.au in order that we can advise all other guests.
Auckland University of Technology has extended an invitation to all VFX Industry Professionals in New Zealand for a Zoom Presentation/Q&A with Alvy Ray Smith. This event is host by the LA ACM Siggraph.
WEDNESDAY 29th SEPT at 2:00 pm NZT
TUESDAY 28th SEPT at 6:00 pm PDT
About the talk:
Many CG innovations taken for granted today can be traced back to a handful of pioneers. Alvy Ray Smith, co-founder of Pixar, shares these interesting stories, taking us up to the point where the first Toy Story movie is made, and where all these stories, related by the concept of digital light, come together.
This is followed by a discussion/Q&A with this pioneer of animation, moderated by Ed Lantz.
This is a FREE virtual event – CLICK HERE to register.
Members and non members are invited to join us for a mid winter pub night and a chance to find out more about the VES.
Come and catch up with your fellow creatives!
This event is for members, VFX Artists, Animators, SFX Artists, Producers, Coordinators, Engineers and Educators with a minimum of 5 years’ experience in Games, AR, VR, Film, TV, VFX, Education and related creative industries.
Date:Thursday 26th August
Time:7pm-9pm
Location: Double Vision Brew Pub – Park Road Mirama
Double Vision will have a food truck and live music on the night
Members and Non Members Please RSVP Below
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 for a mid winter catch up and find out more about the VES and a chance to catchup with your fellow creatives.
This event is for Artists, Producers, Coordinators, Engineers and Educators with a minimum of 5 years’ experience in Games, AR, VR, Film, TV, VFX, Education and related creative industries.
On behalf of WingNut Films, the Visual Effects Society New Zealand is delighted to invite you and your guests to a special exclusive ANZAC Weekend screening of:
They Shall Not Grow Old In 3D and in Dolby Atmos
With extra behinds the scenes content!
When: Saturday, April 24th
Time: 2:00pm
Please RSVP below (VES members must login to RSVP and see venue information)
Using state-of-the-art technology and materials from the BBC and Imperial War Museum, filmmaker Peter Jackson allows the story of World War I to be told by the men who were there. Life on the front is explored through the voices of the soldiers, who discuss their feelings about the conflict, the food they ate, the friends they made and their dreams of the future.
On behalf of Apple Original Films we’re delighted to invite you and your guest to an industry screening of
When: Thursday 25 February
Time: 7pm start
Location: Roxy Cinema (Cinema 1), 5 Park Road, Miramar, Wellington
RSVP: nzrsvp@vesglobal.org Required information
Your name & mobile Your guest’s name and mobile
Please no outside food or drink. VES NZ encourages our membership to support our local theater and patronize the concessions available on site.
Synopsis: In a time of superstition and magic, a young apprentice hunter, Robyn Goodfellowe, journeys to Ireland with her father to wipe out the last wolf pack. While exploring the forbidden lands outside the city walls, Robyn befriends a free-spirited girl, Mebh, a member of a mysterious tribe rumored to have the ability to transform into wolves by night. As they search for Mebh’s missing mother, Robyn uncovers a secret that draws her further into the enchanted world of the Wolfwalkers and risks turning into the very thing her father is tasked to destroy.
Written by Will Collins. Directed by Tomm Moore and Ross Stewart.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hoursin advancefor anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
Contactless temperature checks upon entry. Anyone displaying any symptoms will not be admitted.
If you or your guest develop symptoms or test positive to Covid19 following a screening, please call +021936110 immediately or email nzrsvp@vesglobal.org in order that we can advise all other guests.
Click here to see the Roxy Cinema’s COVID-19 response. New Zealand businesses are required to support contact tracing. Please sign in when entering the Roxy by either scanning the venue’s QR code into your preferred contact tracing app or using the available sign in sheet.
By signing up for this on-site, in-person screening/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 said screening/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.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of Apple Original Films we’re delighted to invite you and your children to a Wellington VES screening of
RSVP: nzrsvp@vesglobal.org Required information
Your name & mobile Your child or adult guest’s name and mobile (max 1 adult guest)
Child name and parent’s mobile (if not your child)
Child name and parent’s mobile (if not your child)
When: Saturday 20 February
Time: 10.30am start
Location: Roxy Cinema (Cinema 1), 5 Park Road, Miramar, Wellington
Please no outside food or drink. VES NZ encourages our membership to support our local theater and patronize the concessions available on site.
Synopsis: In a time of superstition and magic, a young apprentice hunter, Robyn Goodfellowe, journeys to Ireland with her father to wipe out the last wolf pack. While exploring the forbidden lands outside the city walls, Robyn befriends a free-spirited girl, Mebh, a member of a mysterious tribe rumored to have the ability to transform into wolves by night. As they search for Mebh’s missing mother, Robyn uncovers a secret that draws her further into the enchanted world of the Wolfwalkers and risks turning into the very thing her father is tasked to destroy.
Written by Will Collins. Directed by Tomm Moore and Ross Stewart.
COVID protocols: This private screening will adhere to all government recommendations for Covid safety and will include some additional measures:
As a condition of entry, we must keep a contact register for every screening. Contact details (mobile and email) must be supplied 24 hoursin advancefor anyone attending including these details for your guest.
You must not attend the screening if you are feeling unwell or have any symptoms.
Contactless temperature checks upon entry. Anyone displaying any symptoms will not be admitted.
If you or your guest develop symptoms or test positive to Covid19 following a screening, please call +021936110 immediately or email nzrsvp@vesglobal.org in order that we can advise all other guests.
Click here to see the Roxy Cinema’s COVID-19 response. New Zealand businesses are required to support contact tracing. Please sign in when entering the Roxy by either scanning the venue’s QR code into your preferred contact tracing app or using the available sign in sheet.
By signing up for this on-site, in-person screening/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 said screening/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.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Netflix is delighted to invite you and your guest to a Visual Effects Society New Zealand advance screening of George Clooney’s
Please RSVP below (VES members must login to RSVP and see venue information)
Synopsis: This post-apocalyptic tale follows Augustine (George Clooney), a scientist in the Arctic, as he races to stop a group of astronauts from returning home to a mysterious global catastrophe.
Directed by Clooney, co-starring Felicity Jones, David Oyelowo, Kyle Chandler, Demián Bichir, Tiffany Boone.
The New Zealand Section board invite VES Members, their partners and families to join us at Double Vision Brewing this Saturday for the best of what they brew and good food from Wilsons BBQ food truck. RSVP essential.
Shawn Dunn has been involved in the 3D industry for 27 years. During that time he spent 5 years at Alias|Wavefront on the software side of the business and 13 years at Weta Digital on both the art and technical side, which have given him a unique perspective on how technology serves the creative and artistic process and enables him to produce consistently high quality work. Dunn has also worked as a Professor of 3D Digital Animation at Seneca and Sheridan college. From 2016 Dunn was CTO for Original Force for 3.5 years, helping improve their technological footprint, quality and capacity of work. Since October 2019 he has been a Senior Product Manager with Epic Games focusing on the Film and Television industry. Shawn has worked on over 30 feature films during this time such as Steven Spielberg’s “The BFG”, “The Jungle Book”, James Cameron’s “Avatar”, Peter Jackson’s Hobbit trilogy, “Rise of The Planet of The Apes”, “Iron Man 3”, “Man Of Steel”, “The Adventures of Tintin”, “Dawn of the Planets of the Apes”, “The Avengers”, “X-Men: First Class”, “King Kong” and one of his favourites “The Lord Of The Rings: The Return of the King”.
Join us online on Tuesday 8th September at 8pm for a fun hour of chatting all things VFX, networking and quiz questions with prize giveaways!
We will have a range of prizes available to online attendees: Restaurant Vouchers, Gym vouchers, A hot off the press brand new 3rd Edition of The VES handbook of Visual Effects.
It’s only an hour of your time and we aim to make it fun! So grab a glass of your favourite bevvy and join us online for a Covid safe event.
Sign up here to ensure you receive the Zoom Code and Password which will be mailed to all those who sign up.
*Please note all prizes are intended for use within New Zealand only. The book is only able to be posted to attendees within New Zealand.
VES Members and Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ TENET
In an effort to prevent the spread of COVID-19, 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) Wednesday, September 2, 2020 at 8:15PM
As artists are slowly moving back to the office, come join your VES colleagues for Beer o Clock this Friday at Double Vision on Park Rd to share war stories from lockdown.
How are your pets coping without their office mates? Did you wear out your slippers or forget to wear pants? Who’s got the worst “oops that’s not on mute” conference call disaster story?
Double Vision have a launch of their new Beer for Good this Friday, supporting the Kiwi mental health charity I Am Hope. It’s a great time to check in with your workmates over a Hazy IPA (name to be released on the day) and the Ombrellos food truck will be serving too.
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.
The VES New Zealand Screening of Paramount Pictures’ A QUIET PLACE PART II has been cancelled because the studio has postponed the release due to concerns related to the COVID19 outbreak.
RSVPs are closed Tuesday, March 24, 2020 at 7:30PM
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand 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) Tuesday, March 10, 2020 at 7:30PM
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Lucasfilm’s STAR WARS: THE RISE OF SKYWALKER
Please RSVP below (VES members must login to RSVP and see venue information) Tuesday, January 14, 2020 at 7:30PM
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!
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ THE GOLDFINCH
Please RSVP below Tuesday, October 1, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Warner Bros. Pictures’ IT CHAPTER TWO
Please RSVP below Tuesday, September 10, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 few friendly rounds of Pool at The Ballroom on Courtney Pl.
Join us from 7.30pm on Thursday 5th of September. Tables, Pizza and pool partners will be provided.
This is also a recruitment event so please invite your colleagues that have been thinking of joining the VES. The next membership round closes on Sept 15th, so they will have a week to get their applications together.
VES Members and their guests are invited to a few friendly rounds of Pool at The Ballroom on Courtney Pl.
Join us from 7.30pm on Thursday 5th of September. Tables, Pizza and pool partners will be provided.
This is also a recruitment event so please invite your colleagues that have been thinking of joining the VES. The next membership round closes on Sept 15th, so they will have a week to get their applications together.
VES Members and their VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Millenium Films’ ANGEL HAS FALLEN
Please RSVP below Tuesday, August 27, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of 20th Century Fox’s THE ART OF RACING IN THE RAIN
Please RSVP below Tuesday, August 20, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of Universal Pictures’ FAST & FURIOUS PRESENTS: HOBBS & SHAW
Please RSVP below Tuesday, August 13, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ THE LION KING
Please RSVP below Tuesday, July 23, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 20th Anniversary Screening of Paramount Pictures’ GALAXY QUEST
Please RSVP below Thursday, July 18, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please e-mail nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 20th Anniversary Screening of Paramount Pictures’ GALAXY QUEST
Please RSVP below Thursday, July 18, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please e-mail nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a Screening of 20th Century Fox’s STUBER
Please RSVP below Saturday, July 13, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
Please do not bring food or drink to this venue. Only VES/Weta/Wingnut affiliated guests will be permitted to events at Camperdown Cinema. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed with Weta Digital or Wingnut Films will not be admitted. Please be prepared to show VES or Weta ID if asked.)
Screenings are overbooked to 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 VES/Weta/Wingnut Affiliated Guests in New Zealand are Invited to a 3D Screening of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: FAR FROM HOME
Please RSVP below Tuesday, July 9, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Only VES/Weta/Wingnut affiliated guests will be permitted. VES members who would like to bring VES/Weta/Wingnut affiliated guests to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(Additional seats are strictly for Weta affiliates. Guests who are not employed at weta Digital will not be admitted.)
Screenings are overbooked to 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 are Invited to a 3D Screening of GENERAL MAGIC.
There will no longer be any +1s available for this screening.
Please RSVP below Saturday, July 4th, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 are Invited to a 3D Screening of GENERAL MAGIC.
There will no longer be any +1s available for this screening.
Please RSVP below Saturday, July 4th, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Disney•Pixar’s TOY STORY 4
Please RSVP below Saturday, June 29, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Columbia Pictures’ MEN IN BLACK: INTERNATIONAL
Please RSVP below Tuesday, June 25, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 in New Zealand are Invited to a 3D Screening of 20th Century Fox’s and Marvel Studios’ DARK PHOENIX
Please RSVP below Tuesday, June 11, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Paramount Pictures’ ROCKETMAN
Please RSVP below Tuesday, June 4, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s THE SECRET LIFE OF PETS 2
Please RSVP below Saturday, June 1, 2019 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a Screening of Screen Gems’ and Sony Pictures Entertainment’s BRIGHTBURN
Please RSVP below Tuesday, May 28, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand 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 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: ENDGAME
Please RSVP below Tuesday, April 30, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Paramount Pictures’ PET SEMATARY
Please RSVP below Tuesday, April 16, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Walt Disney Pictures’ DUMBO
Please RSVP below Tuesday, April 2, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ CAPTAIN MARVEL
Please RSVP below Wednesday, March 13, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of DreamWorks Animation’s and Universal Pictures’ HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD
Please RSVP below Wednesday, March 6, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
VES members are actively encouraged to attend. If you have colleagues who have been thinking about becoming a VES member, bring them along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions.
The next membership application cutoff date is March 15th. – Apply HERE
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of 20th Century Fox’s ALITA: BATTLE ANGEL
Please RSVP below Wednesday, February 27, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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:In Disney’s MARY POPPINS RETURNS an all new original musical and sequel, Mary Poppins is back to help the next generation of the Banks family find the joy and wonder missing in their lives following a personal loss. Emily Blunt (A Quiet Place, The Girl on the Train) stars as the practically-perfect nanny with unique magical skills who can turn any ordinary task into an unforgettable, fantastic adventure and Lin-Manuel Miranda (Hamilton, Moana) plays her friend Jack, an optimistic street lamplighter who helps bring light—and life—to the streets of London. The film also stars Ben Whishaw (Spectre) as Michael Banks; Emily Mortimer (Hugo) as Jane Banks; Julie Walters (Harry Potter films) as the Banks’ housekeeper Ellen; Pixie Davies, Nathanael Saleh and introducing Joel Dawson as the Banks’ children, with Colin Firth (The King’s Speech) as Fidelity Fiduciary Bank’s William Weatherall Wilkins; and Meryl Streep (Florence Foster Jenkins) as Mary’s eccentric cousin, Topsy. Angela Lansbury appears as the Balloon Lady, a treasured character from the PL Travers books and Dick Van Dyke is Mr. Dawes, Jr., the retired chairman of the bank now run by Firth’s character.
MARY POPPINS RETURNS is directed by Rob Marshall (Into the Woods, Chicago) from a screenplay by David Magee (Life of Pi) and the screen story is by Magee, Rob Marshall & John DeLuca (Into the Woods) based upon the Mary Poppins Stories by PL Travers. The music score is by Marc Shaiman (Hairspray) and the film features all new original songs with music by Shaiman and lyrics by Scott Wittman (Smash) and Shaiman. Cinematography is by Dion Beebe.
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ WELCOME TO MARWEN
Please RSVP below Wednesday, January 30, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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’VE NOW RESCHEDULED THIS FOR FRIDAY, 25th January!
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
WE’VE NOW RESCHEDULED THIS FOR FRIDAY, 25th January!
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Warner Bros. Pictures’ AQUAMAN
Please RSVP below Wednesday, January 23, 2019 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
THERE HAS BEEN A MECHANICAL FAILURE AT THE VENUE RESULTING IN THE IMMEDIATE CANCELLATION OF THIS EVENT. A REPLACEMENT EVENT WILL BE ORGANISED AT THE EARLIEST OPPORTUNITY. APOLOGIES FOR ANY INCONVENIENCE.
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
THERE HAS BEEN A MECHANICAL FAILURE AT THE VENUE RESULTING IN THE IMMEDIATE CANCELLATION OF THIS EVENT. A REPLACEMENT EVENT WILL BE ORGANISED AT THE EARLIEST OPPORTUNITY. APOLOGIES FOR ANY INCONVENIENCE.
Come on down to the VES NZ Section Nominations Celebration!
After a long weekend of nominations judging the results are in!
Congratulations to all 2019 VES awards nominees and a huge thankyou to all our NZ based judges.
The VES NZ Section invite you to join us in celebrating the 2019 VES awards nominations.
This is a great chance to catch up with friends/colleagues, and celebrate the achievements of your peers.
If you are a VES member, or nominee or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is March 15th. – Apply HERE
On behalf of Annapurna Pictures and local distributor Fox Universal we’re delighted to invite you and your guest to an industry preview screening of Jacques Audiard’s, The Sisters Brothers – winner of the Silver Lion Best Director at Venice.
When:Sunday 13 January 2019
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington (cinema 2)
Synopsis: From director Jacques Audiard, and based on the novel by Patrick deWitt, The Sisters Brothersis a reimagining of the cinematic Western.
It is 1851, and Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly) are both brothers and assassins, boys grown to men in a savage and hostile world as guns for hire. Eli rides hard with his younger sibling Charlie, yet dares to dream of a normal life. But the hard-drinking Charlie has taken charge with gusto as lead man on the duo’s assignments. Each increasingly questions, and quibbles with, the other’s methods as they embark on a journey that will test the deadly family ties that bind.
Also starring Jake Gyllenhaal and Riz Ahmed,The Sisters Brothers features an adapted screenplay by Jacques Audiard and Thomas Bidegain based on the novel of the same name.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally on 7th March 2019.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally on 7th March 2019.
Synopsis: Based on the acclaimed novel by James Baldwin, IF BEALE STREET COULD TALK is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.
Adapted for the screen and directed by Barry Jenkins (Moonlight), IF BEALE STREET COULD TALK stars KiKi Layne as “Tish” and Stephan James as “Fonny”.
Duration: 117 minutes
eOne is releasing the film nationally on 7 March 2019
DUE TO THE URGENT CLOSURE OF THE READING CINEMA DUE TO EARTHQUAKE RISKS THIS SCREENING HAS BEEN CANCELLED.
On behalf of Netflix, we’re delighted to invite you and your guest to an industry screening of ROMA.
The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.
DUE TO THE URGENT CLOSURE OF THE READING CINEMA DUE TO EARTHQUAKE RISKS THIS SCREENING HAS BEEN CANCELLED.
On behalf of Netflix, we’re delighted to invite you and your guest to an industry screening of ROMA.
The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.
RSVP is essential: RSVP HERE (invitation is strictly non-transferable)
First Man has received the following Golden Globe nominations:
Best Supporting Actress – Claire Foy
Best Original Score – Justin Hurwitz
Synopsis: On the heels of their six-time Academy Award®-winning smash, La La Land, Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for Universal Pictures’ First Man, the riveting story behind the first manned mission to the moon, focusing on Neil Armstrong and the decade leading to the historic Apollo 11 flight. A visceral and intimate account told from Armstrong’s perspective, based on the book by James R. Hansen, the film explores the triumphs and the cost—on Armstrong, his family, his colleagues and the nation itself—of one of the most dangerous missions in history.
The cast includes Gosling, Claire Foy, Jason Clarke and Kyle Chandler.
Written by Academy Award® winner Josh Singer (Spotlight, The Post), the epic drama of leading under the pressure of grace and tragedy is produced by Wyck Godfrey & Marty Bowen (The Twilight Saga, The Fault in Our Stars) through their Temple Hill Entertainment banner, alongside Isaac Klausner (Love, Simon) and Chazelle. Steven Spielberg, Adam Merims and Singer executive produce.
Running time: 141 minutes
Universal Pictures International released the film nationally on 11th October 2018.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an industry screening of Spike Lee’s
When:Sunday 30th December
Time:10am
Location:
Roxy Cinema, 5 Park Road, Miramar, Wellington – Cinema 2
RSVP is essential: RSVP HERE(invitation is strictly non-transferable)
BlacKkKlansman has received the following Golden Globe nominations:
Best Motion Picture – Drama
Best Director – Spike Lee
Actor in a Motion Picture – Drama – John David Washington
Supporting Actor in any Motion Picture – Adam Driver
And Screen Actors Guild nominations:
Cast in a Motion Picture
Male Actor in a Leading Role – John David Washington
Male Actor in a Supporting Role – Adam Driver
Synopsis: From filmmaker Spike Lee comes the true story of an American hero. It’s the early 1970s, and Ron Stallworth (John David Washington) is the first African-American detective to serve in the Colorado Springs Police Department. Determined to make a name for himself, Stallworth bravely sets out on a dangerous mission: infiltrate and expose the Ku Klux Klan. The young detective soon recruits a more seasoned colleague, Flip Zimmerman (Adam Driver), into the undercover investigation of a lifetime. Together, they team up to take down the extremist hate group as the organization aims to sanitize its violent rhetoric to appeal to the mainstream. The film also stars Laura Harrier and Topher Grace as David Duke.
Duration: 135 mins.
Universal Pictures International released the film nationally on 16th August.
Synopsis:An inspired labor of love for zine-making teens Sandi Tan, Jasmine Ng and Sophie Siddique, SHIRKERS was a Singapore-made 1992 cult classic—or it would have been, had the 16mm footage not been stolen by their enigmatic American collaborator Georges Cardona, who disappeared. More than two decades later, Tan, now a novelist in L.A., returns to the country of her youth and to the memories of a man who both enabled and thwarted her dreams. Magically, too, she returns to the film itself, revived in a way she never could have imagined.
Directed by Sandi Tan, SHIRKERS won the 2018 Sundance Film Festival World Cinema Documentary Directing Award.
Synopsis:An inspired labor of love for zine-making teens Sandi Tan, Jasmine Ng and Sophie Siddique, SHIRKERS was a Singapore-made 1992 cult classic—or it would have been, had the 16mm footage not been stolen by their enigmatic American collaborator Georges Cardona, who disappeared. More than two decades later, Tan, now a novelist in L.A., returns to the country of her youth and to the memories of a man who both enabled and thwarted her dreams. Magically, too, she returns to the film itself, revived in a way she never could have imagined.
Directed by Sandi Tan, SHIRKERS won the 2018 Sundance Film Festival World Cinema Documentary Directing Award.
On behalf of Disney we’re delighted to invite you and your guest to a special industry screening of the critically acclaimed international box office hit
When:Sunday 23 December
Time:10.15am start Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
RSVP is essential:RSVP HERE(invitation is strictly non-transferable)
Synopsis:BLACK PANTHER is director Ryan Coogler’s take on a modern African hero and a utopian vision of what an uncolonized Africa might look like. The film explores the conflict between two powerful men, one African and one African-American, who are mirror images of each other, each grappling with his own history, home and very identity. When Prince T’Challa (Chadwick Boseman) becomes king of the hidden, technologically advanced kingdom Wakanda, he is forced to defend his throne against rogue mercenary Erik Killmonger (Michael B. Jordan). Wakanda is also alive with strong, intelligent women—from Wakanda’s elite all-female security force, led by Okoye (Danai Gurira), to the international spy Nakia (Lupita Nyong’o), to T’Challa’s tech-savvy sister (Letitia Wright) and mother (Angela Bassett)—who are portrayed as equals to the men they protect and advise.
Synopsis:In Disney’s MARY POPPINS RETURNS an all new original musical and sequel, Mary Poppins is back to help the next generation of the Banks family find the joy and wonder missing in their lives following a personal loss. Emily Blunt (A Quiet Place, The Girl on the Train) stars as the practically-perfect nanny with unique magical skills who can turn any ordinary task into an unforgettable, fantastic adventure and Lin-Manuel Miranda (Hamilton, Moana) plays her friend Jack, an optimistic street lamplighter who helps bring light—and life—to the streets of London. The film also stars Ben Whishaw (Spectre) as Michael Banks; Emily Mortimer (Hugo) as Jane Banks; Julie Walters (Harry Potter films) as the Banks’ housekeeper Ellen; Pixie Davies, Nathanael Saleh and introducing Joel Dawson as the Banks’ children, with Colin Firth (The King’s Speech) as Fidelity Fiduciary Bank’s William Weatherall Wilkins; and Meryl Streep (Florence Foster Jenkins) as Mary’s eccentric cousin, Topsy. Angela Lansbury appears as the Balloon Lady, a treasured character from the PL Travers books and Dick Van Dyke is Mr. Dawes, Jr., the retired chairman of the bank now run by Firth’s character.
MARY POPPINS RETURNS is directed by Rob Marshall (Into the Woods, Chicago) from a screenplay by David Magee (Life of Pi) and the screen story is by Magee, Rob Marshall & John DeLuca (Into the Woods) based upon the Mary Poppins Stories by PL Travers. The music score is by Marc Shaiman (Hairspray) and the film features all new original songs with music by Shaiman and lyrics by Scott Wittman (Smash) and Shaiman. Cinematography is by Dion Beebe.
Duration: 130 minutes
Disney is releasing the film nationally on 1 January 2019.
On behalf of Disney we’re delighted to invite you and your guest to a special advance screening of Rob Marshall’s
When:Wednesday 19 December
Time:6.30pm start Location:The Embassy Event Cinemas, 10 Kent Street, Wellington
Please note: This is a ticketed commercial event and seating is limited. Celia will provide tickets if they are available (See second Screening option email).
RSVP is essential to: ENQUIRE HERE(invitation is strictly non-transferable) and pending availability, we will book and email you with the tickets.
Synopsis:In Disney’s MARY POPPINS RETURNS an all new original musical and sequel, Mary Poppins is back to help the next generation of the Banks family find the joy and wonder missing in their lives following a personal loss. Emily Blunt (A Quiet Place, The Girl on the Train) stars as the practically-perfect nanny with unique magical skills who can turn any ordinary task into an unforgettable, fantastic adventure and Lin-Manuel Miranda (Hamilton, Moana) plays her friend Jack, an optimistic street lamplighter who helps bring light—and life—to the streets of London. The film also stars Ben Whishaw (Spectre) as Michael Banks; Emily Mortimer (Hugo) as Jane Banks; Julie Walters (Harry Potter films) as the Banks’ housekeeper Ellen; Pixie Davies, Nathanael Saleh and introducing Joel Dawson as the Banks’ children, with Colin Firth (The King’s Speech) as Fidelity Fiduciary Bank’s William Weatherall Wilkins; and Meryl Streep (Florence Foster Jenkins) as Mary’s eccentric cousin, Topsy. Angela Lansbury appears as the Balloon Lady, a treasured character from the PL Travers books and Dick Van Dyke is Mr. Dawes, Jr., the retired chairman of the bank now run by Firth’s character.
MARY POPPINS RETURNS is directed by Rob Marshall (Into the Woods, Chicago) from a screenplay by David Magee (Life of Pi) and the screen story is by Magee, Rob Marshall & John DeLuca (Into the Woods) based upon the Mary Poppins Stories by PL Travers. The music score is by Marc Shaiman (Hairspray) and the film features all new original songs with music by Shaiman and lyrics by Scott Wittman (Smash) and Shaiman. Cinematography is by Dion Beebe.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Sony Pictures Animation’s SPIDER-MAN: INTO THE SPIDER-VERSE
Please RSVP below Tuesday, December 18, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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: Mary Queen of Scots explores the turbulent life of Mary Stuart (Saoirse Ronan). Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. Upon her return, Elizabeth I (Margot Robbie) is England’s Protestant Queen, but Mary is a Catholic. Rivals in power and in love, and female monarchs in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones – and change the course of history.
Directed by Josie Rourke, the screenplay is by Beau Willimon, based on the book Queen of Scots: The True Life of Mary Stuart by John Guy. Producers are Tim Bevan, Eric Fellner and Debra Hayward.
Duration: 124 minutes
Universal Pictures is releasing the film nationally on 17 January 2019.
Synopsis: Mary Queen of Scots explores the turbulent life of Mary Stuart (Saoirse Ronan). Queen of France at 16 and widowed at 18, Mary defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. Upon her return, Elizabeth I (Margot Robbie) is England’s Protestant Queen, but Mary is a Catholic. Rivals in power and in love, and female monarchs in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion, and conspiracies within each court imperil both thrones – and change the course of history.
Directed by Josie Rourke, the screenplay is by Beau Willimon, based on the book Queen of Scots: The True Life of Mary Stuart by John Guy. Producers are Tim Bevan, Eric Fellner and Debra Hayward.
Duration: 124 minutes
Universal Pictures is releasing the film nationally on 17 January 2019.
On behalf of Netflix we’re delighted to invite you and your guest to a unique opportunity to see ROMA played in 4K projection with Dolby ATMOS as the film was intended to be seen.
This screening is made possible by the generous participation of Park Road Post Production.
The most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), ROMA follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s.
Cuarón’s first project since the groundbreakingGravityin 2013, ROMA will be available on Netflix later this year.
When:Wednesday 12th December
Time: 5.00pm start Location:Park Road Post Production, 141 Park Road, Miramar, Wellington
RSVP is essential: RSVP HERE(invitation is strictly non-transferable)
Synopsis: Cold Waris a passionate love story between a man and a woman who meet in the ruins of post-war Poland. With vastly different backgrounds and temperaments, they are fatefully mismatched and yet condemned to each other. Set against the background of the Cold War in 1950s Poland, Berlin, Yugoslavia and Paris, it’s the tale of a couple separated by politics, character flaws and unfortunate twists of fate — an impossible love story in impossible times.
Cold War earned Pawel Pawlikowski the Best Director award at the 2018 Cannes Film Festival. Pawlikowski’s previous film, Ida, was a global success, winning the Oscar® and BAFTA foreign-language film awards as well as five European Film Awards including Best European film, Director and Screenplay. His other feature credits include My Summer of Love and Last Resort.
Duration: 88 minutes
Palace Films is releasing the film nationally on 3rd January 2019.
Synopsis: Cold Waris a passionate love story between a man and a woman who meet in the ruins of post-war Poland. With vastly different backgrounds and temperaments, they are fatefully mismatched and yet condemned to each other. Set against the background of the Cold War in 1950s Poland, Berlin, Yugoslavia and Paris, it’s the tale of a couple separated by politics, character flaws and unfortunate twists of fate — an impossible love story in impossible times.
Cold War earned Pawel Pawlikowski the Best Director award at the 2018 Cannes Film Festival. Pawlikowski’s previous film, Ida, was a global success, winning the Oscar® and BAFTA foreign-language film awards as well as five European Film Awards including Best European film, Director and Screenplay. His other feature credits include My Summer of Love and Last Resort.
Duration: 88 minutes
Palace Films is releasing the film nationally on 3rd January 2019.
Members! Bring your partner and your kids to the Seatoun RSA on December 9th from 4:30 to 6:30pm for bowls, catered taco snacks from “Taco Addicts”, games, and drinks from the fully licensed bar! There’s plenty of fun to go around! A kids tv room is available with child-friendly content to entertain the little ones. Children are welcome to join in bowls but under 16s are not permitted to use the billiard/pool table or darts.
Members! Bring your partner and your kids to the Seatoun RSA on December 9th from 4:30 to 6:30pm for bowls, catered taco snacks from “Taco Addicts”, games, and drinks from the fully licensed bar! There’s plenty of fun to go around! A kids tv room is available with child-friendly content to entertain the little ones. Children are welcome to join in bowls but under 16s are not permitted to use the billiard/pool table or darts.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally in 2019.
On behalf of Annapurna Pictures and ANZ distributor Madman Entertainment we’re delighted to invite you and your guest to an advance industry screening of
Synopsis: DESTROYER follows the moral and existential odyssey of LAPD detective Erin Bell (Nicole Kidman) who, as a young cop, was placed undercover with a gang in the California desert with tragic results. When the leader of that gang re-emerges many years later, she must work her way back through the remaining members and into her own history with them to finally reckon with the demons that destroyed her past.
Directed by Karyn Kusama from a screenplay by Phil Hay & Matt Manfredi, DESTROYER stars Nicole Kidman, Bradley Whitford, Tatiana Maslany and Sebastian Stan.
Duration: 120 minutes
Madman Entertainment is releasing the film nationally in 2019.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: On the Basis of Sex is inspired by the true story of the young Ruth Bader Ginsburg, a new mother and an attorney struggling in a field dominated by men. The film details the early days of her fight for equal rights for women. When Ruth (Felicity Jones) takes on a groundbreaking case with her husband Marty (Armie Hammer), she knows it could forever change the way the courts and the United States view gender discrimination. The film also chronicles the storybook-like romance between Ruth and Marty, a partnership that succeeded both personally and professionally.
Directed by Mimi Leder and written by Daniel Stiepleman, On the Basis of Sexalso co-stars Justin Theroux, Kathy Bates, Sam Waterston, Jack Reynor, and Cailee Spaeny. Produced by Robert Cort, p.g.a. and Jonathan King, p.g.a.
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
Synopsis: From director Susanne Bier, BIRD BOX follows a woman (Sandra Bullock) who must guide her children down a treacherous river to escape an unseen threat that has torn the fabric of society. To avoid the mysterious danger, she’s blindfolded, with only her ferocious drive to keep them safe. The ensemble cast also includes Trevante Rhodes, Sarah Paulson and John Malkovich.
Synopsis: From director Susanne Bier, BIRD BOX follows a woman (Sandra Bullock) who must guide her children down a treacherous river to escape an unseen threat that has torn the fabric of society. To avoid the mysterious danger, she’s blindfolded, with only her ferocious drive to keep them safe. The ensemble cast also includes Trevante Rhodes, Sarah Paulson and John Malkovich.
Synopsis: Acclaimed actor and director Andy Serkis reinvents Rudyard Kipling’s beloved masterpiece, in which a boy torn between two worlds accepts his destiny and becomes a legend. Mowgli (Rohan Chand) has never truly belonged in either the wilds of the jungle or the civilized world of man. Now he must navigate the inherent dangers of each on a journey to discover where he truly belongs.
Christian Bale, Cate Blanchett, Benedict Cumberbatch, Andy Serkis, Freida Pinto, Rohan Chand, Matthew Rhys and Naomie Harris lead an all-star cast in this visually spectacular and emotionally moving adventure.
Synopsis: Based on the acclaimed novel by James Baldwin, IF BEALE STREET COULD TALK is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.
Adapted for the screen and directed by Barry Jenkins (Moonlight), IF BEALE STREET COULD TALK stars KiKi Layne as “Tish” and Stephan James as “Fonny”.
Duration: 117 minutes
eOne is releasing the film nationally on 14 Feb 2019
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Universal Pictures’ and Illumination Entertainment’s DR. SEUSS’ THE GRINCH
Please RSVP below Saturday, December 1, 2018 at 2:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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: Based on the acclaimed novel by James Baldwin, IF BEALE STREET COULD TALK is the story of Tish, a newly engaged Harlem woman who races against the clock to prove her lover’s innocence while carrying their first-born child. It is a celebration of love told through the story of a young couple, their families and their lives, trying to bring about justice through love, for love and the promise of the American dream.
Adapted for the screen and directed by Barry Jenkins (Moonlight), IF BEALE STREET COULD TALK stars KiKi Layne as “Tish” and Stephan James as “Fonny”.
Duration: 117 minutes
eOne is releasing the film nationally on 14 Feb 2019
On behalf of the ANZ distributor Madman Entertainment and Netflix we’re delighted to invite you and your guest to an industry screening of Sara Colangelo‘s
Lisa Spinelli (Maggie Gyllenhaal) is a kindergarten teacher in Staten Island who yearns to live a life of art and intellectualism. She takes an evening poetry class where, despite her best efforts, her work is overlooked and misunderstood. When she overhears Jimmy (Parker Sevak), one of her 5-year-old students, reciting an original poem in her classroom, she is floored. Convinced he is the equivalent of a young Mozart, she becomes obsessed with the child and embarks on a dangerous journey to nurture his talent and chase an impossible dream. Directed by Sara Colangelo, the film also stars Gael Garcia Bernal.
On behalf of the ANZ distributor Madman Entertainment and Netflix we’re delighted to invite you and your guest to an industry screening of Sara Colangelo‘s
Lisa Spinelli (Maggie Gyllenhaal) is a kindergarten teacher in Staten Island who yearns to live a life of art and intellectualism. She takes an evening poetry class where, despite her best efforts, her work is overlooked and misunderstood. When she overhears Jimmy (Parker Sevak), one of her 5-year-old students, reciting an original poem in her classroom, she is floored. Convinced he is the equivalent of a young Mozart, she becomes obsessed with the child and embarks on a dangerous journey to nurture his talent and chase an impossible dream. Directed by Sara Colangelo, the film also stars Gael Garcia Bernal.
VES Members and Their Guests are Invited to a Screening of Walt Disney Animation Studios’ RALPH BREAKS THE INTERNET
Please RSVP below Tuesday, November 27, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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: Acclaimed actor and director Andy Serkis reinvents Rudyard Kipling’s beloved masterpiece, in which a boy torn between two worlds accepts his destiny and becomes a legend. Mowgli (Rohan Chand) has never truly belonged in either the wilds of the jungle or the civilized world of man. Now he must navigate the inherent dangers of each on a journey to discover where he truly belongs.
Christian Bale, Cate Blanchett, Benedict Cumberbatch, Andy Serkis, Freida Pinto, Rohan Chand, Matthew Rhys and Naomie Harris lead an all-star cast in this visually spectacular and emotionally moving adventure.
Synopsis: The new film from Academy Award®-nominated filmmaker Tamara Jenkins (The Savages, Slums of Beverly Hills), PRIVATE LIFE is the bracingly funny and moving story of Richard (Academy Award®-nominee Paul Giamatti) and Rachel (Kathryn Hahn), a couple in the throes of infertility who try to maintain their marriage as they descend deeper and deeper into the insular world of assisted reproduction and domestic adoption. After the emotional and economic upheaval of in vitro fertilization, they’re at the end of their middle-aged rope, but when Sadie (breakout newcomer Kayli Carter), a recent college drop out, re-enters their life, things begin to look up.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
Synopsis: The epic story of how a bureaucratic Washington insider quietly became the most powerful man in the world as Vice-President to George W. Bush, reshaping the country and the globe in ways that we still feel today.
Written and directed by Adam McKay, VICE stars Christian Bale along with Amy Adams, Steve Carell and Sam Rockwell.
Duration: 125 minutes
eOne is releasing the film nationally on 26th December 2018
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ THE NUTCRACKER AND THE FOUR REALMS
Please RSVP below Saturday, November 24, 2018 at 2:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
In 22 JULY Academy Award®-nominated filmmaker Paul Greengrass (Captain Phillips, United 93) tells the true story of the aftermath of Norway’s deadliest terrorist attack. On 22 July 2011, 77 people were killed when a far-right extremist detonated a car bomb in Oslo before carrying out a mass shooting at a leadership camp for teens. 22 July uses the lens of a survivor’s physical and emotional journey to portray the country’s path to healing and reconciliation.
Synopsis: The new film from Academy Award®-nominated filmmaker Tamara Jenkins (The Savages, Slums of Beverly Hills), PRIVATE LIFE is the bracingly funny and moving story of Richard (Academy Award®-nominee Paul Giamatti) and Rachel (Kathryn Hahn), a couple in the throes of infertility who try to maintain their marriage as they descend deeper and deeper into the insular world of assisted reproduction and domestic adoption. After the emotional and economic upheaval of in vitro fertilization, they’re at the end of their middle-aged rope, but when Sadie (breakout newcomer Kayli Carter), a recent college drop out, re-enters their life, things begin to look up.
On behalf of Netflix we’re delighted to invite you and your guest to a unique opportunity to see ROMA, the most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), Roma follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s. Cuarón’s first project since the groundbreakingGravityin 2013, Roma will be available on Netflix later this year.
When:Monday 19th November
Time:6.30pm start Location:EVENT CINEMAS QUEEN ST (Cinema 6) – Level 3, Metro Building, 291-297 Queen St Auckland
On behalf of Netflix we’re delighted to invite you and your guest to a unique opportunity to see ROMA, the most personal project to date from Academy Award®-winning director and writer Alfonso Cuarón(Children of Men, Y Tu Mama Tambien), Roma follows Cleo (Yalitza Aparicio), a young domestic worker for a family in the middle-class neighborhood of Roma in Mexico City. Delivering an artful love letter to the women who raised him, Cuarón draws on his own childhood to create a vivid and emotional portrait of domestic strife and social hierarchy amidst political turmoil of the 1970s. Cuarón’s first project since the groundbreakingGravityin 2013, Roma will be available on Netflix later this year.
VES Members and Their Guests in New Zealand are Invited to a Screening of Columbia Pictures’ THE GIRL IN THE SPIDER’S WEB
Please RSVP below Tuesday, November 13, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of Netflix and ANZ distributor Vendetta Films, we’re delighted to invite you and your guest to an advance industry screening of Lukas Dhont’s GIRL
With the support of her loving father, Lara (Victor Polster) – a 15-year-old girl assigned male by birth – pursues her dream of becoming a professional ballerina.
Winner of the Camera d’Orfor best first film at this year’s Cannes Film Festival as well as the Best Performance and FIPRESCI International Critics Prize in Un Certain Regard, and the Queer Palm Award for outstanding LGBTQ filmmaking, GIRL is the feature directorial debut of Lukas Dhont. The film was written by Dhont and Angelo Tijssens, and produced by Dirk Impens.
On behalf of Netflix and ANZ distributor Vendetta Films, we’re delighted to invite you and your guest to an advance industry screening of Lukas Dhont’s GIRL
With the support of her loving father, Lara (Victor Polster) – a 15-year-old girl assigned male by birth – pursues her dream of becoming a professional ballerina.
Winner of the Camera d’Or for best first film at this year’s Cannes Film Festival as well as the Best Performance and FIPRESCI International Critics Prize in Un Certain Regard, and the Queer Palm Award for outstanding LGBTQ filmmaking, GIRL is the feature directorial debut of Lukas Dhont. The film was written by Dhont and Angelo Tijssens, and produced by Dirk Impens.
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
VES Members and Their Guests in New Zealand are Invited to a Screening of 20th Century Fox’s BOHEMIAN RHAPSODY
Please RSVP below Tuesday, November 6, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 BALLAD OF BUSTER SCRUGGS is a six-part Western anthology film, a series of tales about the American frontier directed by Joel and Ethan Coen. Each chapter tells a self-contained story that reflects the promise, the intrigue and the mystery of the American West.
THE BALLAD OF BUSTER SCRUGGS is a six-part Western anthology film, a series of tales about the American frontier directed by Joel and Ethan Coen. Each chapter tells a self-contained story that reflects the promise, the intrigue and the mystery of the American West.
VES Members and Their Guests in New Zealand are Invited to a Screening of 20th Century Fox’s BAD TIMES AT THE EL ROYALE
Please RSVP below Tuesday, October 30, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Please confirm venue with Celia during RSVP
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Please confirm venue with Celia during RSVP
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
On behalf of the ANZ distributor Universal Pictures International and Focus Features we’re delighted to invite you and your guest to an advance screening of Joel Edgerton’s
When:Sunday 28th October
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
** Please ensure you arrive on time to be seated before the film commences – the film must start promptly at 10.30am **
Boy Erased tells the story of Jared Eamons (Lucas Hedges), the son of a Baptist pastor in a small American town, who must overcome the fallout of being outed to his parents (Nicole Kidman and Russell Crowe). His parents struggle with reconciling their love for their son with their beliefs. Fearing a loss of family, friends, and community, Jared is pressured into attending a conversion therapy program. While there, Jared comes into conflict with its leader (Joel Edgerton) and begins his journey to finding his own voice and accepting his true self.
Joel Edgerton directs, writes, produces and co-stars. Edgerton produces alongside Kerry Kohansky-Roberts, p.g.a. and Steve Golin, p.g.a.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Columbia Pictures’ VENOM
Please RSVP below Tuesday, October 23, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
BEAUTIFUL BOY is a portrait of a family’s unwavering love and commitment to each other in the face of their son’s addiction and his attempts at recovery. The film was adapted for the screen by Luke Davies and Felix van Groeningenfrom two memoirs – one from father and journalist David Sheff (Beautiful Boy) and one from his son, Nic Sheff (Tweak).
Directed by Felix van Groeningen, BEAUTIFUL BOY stars Steve Carell, Timothée Chalamet, Maura Tierney and Amy Ryan and was produced by Brad Pitt, p.g.a., Dede Gardner, p.g.a. and Jeremy Kleiner, p.g.a.
Duration: 112 minutes
Transmission Films is releasing the film nationally on 29 November 2018
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ FIRST MAN
Please RSVP below Tuesday, October 16, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Incase members are unable to attend the VES screening on October 9th, Bluecat pictures have kindly extended us an invitation to their local industry screening.
See below.
On behalf of Annapurna Pictures we’re delighted to invite you and your guest to a special industry preview screening of Jacques Audiard’s
When:Sunday 14th October
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington, Cinema 2
Please note: This is a full security screening that will be monitored throughout. All mobile digital devices will be bagged and tagged prior to entry to the cinema so please allow sufficient time for this process. The screening must start promptly at 10.30am.
From director Jacques Audiard, and based on the novel by Patrick deWitt, THE SISTERS BROTHERS is a reimagining of the cinematic Western.
It is 1851, and Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly) are both brothers and assassins, boys grown to men in a savage and hostile world as guns for hire. Eli rides hard with his younger sibling Charlie, yet dares to dream of a normal life. But the hard-drinking Charlie has taken charge with gusto as lead man on the duo’s assignments. Each increasingly questions, and quibbles with, the other’s methods as they embark on a journey that will test the deadly family ties that bind.
Also starring Jake Gyllenhaal and Riz Ahmed, THE SISTERS BROTHERS features an adapted screenplay by Jacques Audiard and Thomas Bidegain based on the novel of the same name.
Please note: This is a full security screening that will be monitored throughout. All mobile digital devices will be bagged and tagged prior to entry to the cinema so please allow sufficient time for this process. The screening must start promptly at 10.30am.
From director Jacques Audiard, and based on the novel by Patrick deWitt, THE SISTERS BROTHERS is a reimagining of the cinematic Western.
It is 1851, and Charlie and Eli Sisters (Joaquin Phoenix and John C. Reilly) are both brothers and assassins, boys grown to men in a savage and hostile world as guns for hire. Eli rides hard with his younger sibling Charlie, yet dares to dream of a normal life. But the hard-drinking Charlie has taken charge with gusto as lead man on the duo’s assignments. Each increasingly questions, and quibbles with, the other’s methods as they embark on a journey that will test the deadly family ties that bind.
Also starring Jake Gyllenhaal and Riz Ahmed, THE SISTERS BROTHERS features an adapted screenplay by Jacques Audiard and Thomas Bidegain based on the novel of the same name.
VES Members and Their Guests in New Zealand are Invited to a Screening of Annapurna Pictures’ THE SISTERS BROTHERS
Please RSVP below Tuesday, October 9, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On the heels of their six-time Academy Award®-winning smash, La La Land, Oscar®-winning director Damien Chazelle and star Ryan Gosling reteam for Universal Pictures’ First Man, the riveting story behind the first manned mission to the moon, focusing on Neil Armstrong and the decade leading to the historic Apollo 11 flight. A visceral and intimate account told from Armstrong’s perspective, based on the book by James R. Hansen, the film explores the triumphs and the cost—on Armstrong, his family, his colleagues and the nation itself—of one of the most dangerous missions in history.
The cast includes Gosling, Claire Foy, Jason Clarke and Kyle Chandler.
Running time: 141 minutes
Universal Pictures International is releasing the film nationally on 11th October 2018.
Morgan Neville’s documentary Won’t You Be My Neighbor? takes a look at America’s favorite neighbor: Mister Fred Rogers. A portrait of a man whom we all think we know, this documentary is a film that takes you beyond zip-up cardigans and the land of make-believe, and into the heart of a creative genius, who inspired generations of children with compassion and limitless imagination.
Morgan Neville’s documentary Won’t You Be My Neighbor? takes a look at America’s favorite neighbor: Mister Fred Rogers. A portrait of a man whom we all think we know, this documentary is a film that takes you beyond zip-up cardigans and the land of make-believe, and into the heart of a creative genius, who inspired generations of children with compassion and limitless imagination.
VES Members and Their Guests in New Zealand are Invited to a Screening of Universal Pictures’ THE HOUSE WITH A CLOCK IN ITS WALLS
Please RSVP below Tuesday, October 2, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Sony Pictures’ WHITE BOY RICK
Please RSVP below Tuesday, September 25, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Walt Disney Pictures’ CHRISTOPHER ROBIN
Please RSVP below Saturday, September 22, 2018 at 1:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Columbia Pictures’ ALPHA
Please RSVP below Tuesday, September 4, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 on down to the VES NZ Section Networking Mixer.
This is a great chance to catch up with friends/colleagues.
If you are a VES member or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone apply on the spot or just answer your questions. Come for a drink and say Hi!
Price: FREE Members/$5 Non Members
The next membership application cutoff date is September 15th. – Apply HERE
What to expect:
Welcome Glass of wine (while stocks last)
Discounted and Subsidised Drinks (until the bar tab runs out)
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 R16, and is not intended for children. Click here to watch the trailer.
Please RSVP below Saturday, August 25, 2018 at 12:00PM
Camperdown Cinema
Please contact the local Board for directions.
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.
VES Members and Their Guests in New Zealand are Invited to a Screening of Focus Features’ BLACKkKLANSMAN
Please RSVP below Tuesday, August 21, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE – FALLOUT
Please RSVP below Tuesday, August 7, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Sony Pictures’ THE EQUALIZER 2
Please RSVP below Tuesday, July 31, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Universal Pictures’ SKYSCRAPER
Please RSVP below Tuesday, July 24, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Sony Pictures Animation’s HOTEL TRANSYLVANIA 3: SUMMER VACATION
Please RSVP below Saturday, July 21, 2018 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand 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.)
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
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.
VES Members and Their Families are Invited to a Screening of Walt Disney Studios’ and Pixar Animation Studios’ INCREDIBLES 2
Please RSVP below
Saturday, June 30, 2018 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 nearly six decades since Frank Drake conducted the first, modern experiment to eavesdrop on signals from cosmic beings. Many searches have been undertaken since, but the bottom line is that we still haven’t heard a peep from the aliens. Does that mean that we’re the smartest things in this part of the universe, or that they’ve decided to deliberately keep a low profile?
In this fascinating talk, Dr Shostak looks at the modern efforts to discover other intelligence in the universe and what – if anything – our failure might be telling us.
Dr Shostak has also appeared on The Colbert Report, Star Trek, and the 2008 remake ofThe Day the Earth Stood Still.
“The Visual Effects Society (VES) NZ Section is a wholly-owned subsidiary of a U.S.-based tax exempt organization. Monies paid to VES NZ cannot be considered a charitable contribution; however, they may qualify as abusiness deduction. Please consult with your tax professional.”
Discoveries in some of the oldest landscapes on Earth preserving evidence for life, laboratory experimental evidence and computational models have all converged to suggest that life may have begun not deep in the oceans but on land, in fluctuating hot spring pools. Charles Darwin’s 1871 intuition that life began in a “warm little pond” may be proven right if science successfully tests this novel “Hot Spring Hypothesis” and creates an evolving artificial chemical form of pre-life called the “progenote”. The hypothesis is being used by researchers and NASA to decide where and how to look for evidence for past life on Mars in the Mars 2020 rover mission. This new thinking also guides consideration of the key questions of how widespread life might be in the universe.
“The Visual Effects Society (VES) NZ Section is a wholly-owned subsidiary of a U.S.-based tax exempt organization. Monies paid to VES NZ cannot be considered a charitable contribution; however, they may qualify as abusiness deduction. Please consult with your tax professional.”
Did life exist on Mars? What will it take for humans to live there? What do the recent findings of organic compounds on Mars tell us about our origins?
This month, The Visual Effects Society – NZ Section is proud to present a series of Astrobiology events, beginning with a panel discussion next week with NASA scientistsDr Mitch Schulte &Dr Lindsay Hays, & astrobiologist Angelica Angles on Friday, 22 June.
There will be a presentation by each speaker followed by an extended Q&A, with a meet & greet in the lobby afterwards. Refreshments provided by the VES.
“The Visual Effects Society (VES) NZ Section is a wholly-owned subsidiary of a U.S.-based tax exempt organization. Monies paid to VES NZ cannot be considered a charitable contribution; however, they may qualify as abusiness deduction. Please consult with your tax professional.”
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Lucasfilm Ltd’s SOLO: A STAR WARS STORY
Please RSVP below Tuesday, May 29, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Visual Effects Society – NZ Section is proud to present a Meet & Greet with a special returning guest from the National Aeronautics and Space Administration (NASA), Mission Specialist Dr Jen Blank.
Dr Blank is currently a Mission Specialist on the Mars Curiosity Rover, probing the chemisty on Mars by zapping materials with the chemcam laser and collecting the light that’s emitted from the target plasma.
There will be a short talk followed by an extended Q&A in which Dr Blank will answer all of your questions about Mars, Outer Space, and New Zealand’s place in the future of space travel. Refreshments provided by the VES.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: INFINITY WAR
Please RSVP below Tuesday, May 1, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ A QUIET PLACE
Please RSVP below Tuesday, April 10, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Universal Pictures’ PACIFIC RIM UPRISING
Please RSVP below Tuesday, March 27, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Walt Disney Pictures’ A WRINKLE IN TIME
Please RSVP below Tuesday, March 20, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Paramount Pictures’ and Netflix’s ANNHILATION
Please RSVP below Tuesday, March 13, 2018 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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.
The VES awards nominations judging event is taking place on January 13th, here in Wellington.
All judges who have registered to take part, please check your emails for further details.
If you have not received an email please notify Emma or Joe, your local section co-chairs ASAP so that they can ensure you are provided with all necessary information.
This is a strictly INVITATION ONLY event for registered judges.
No other VES members are eligible to attend.
Please no children, partners, and strictly no photography/recording of any kind.
Blue Cat Pictures on behalf of A24 Films and NZ distributor FoxUniversal is delighted to invite you and your guest to this special preview screening of Greta Gerwig’s LADY BIRD
Please note: All screenings are on auto-start so we are unable to delay the start time for late arrivals.
Synopsis: Set in Sacramento, California in 2002, amidst a rapidly shifting American economic landscape, LADY BIRD focuses on the loving yet turbulent bond between a mother and her teenage daughter. Christine “Lady Bird” McPherson (Saoirse Ronan) fights against but is exactly like her deeply caring, highly opinionated and strong-willed mom (Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird’s father (Tracy Letts) loses his job. Featuring an ensemble cast that also includes Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Lois Smith, and Stephen McKinley Henderson, LADY BIRDis a look at the relationships that shape us, the beliefs that define us, and the unmatched beauty of a place called home.
LADY BIRD is written and directed by Greta Gerwig, and produced by Eli Bush, Evelyn O’Neill and Scott Rudin.
Duration: 93 minutes
FoxUniversal is releasing the film nationally on 15 February, 2018.
Blue Cat Pictures on behalf of Annapurna Pictures and ANZ distributor eOne is delighted to invite you and your guest to a screening of Kathryn Bigelow’s DETROIT
Synopsis: From director Kathryn Bigelow, and screenwriter Mark Boal, DETROIT is the dramatic true story of a racially motivated crime that took place over one dark night in 1967. Up-and-coming Motown musician, Larry Reed (Algee Smith), six other young African American men and two young white women were terrorized by local police, despite the presence of the State Police, the National Guard, and an African American security guard (John Boyega). Before the sun rose in the motor city, three of the young males were slain in cold blood. Set against the civil unrest of ’67, DETROIT charts the crime and the survivors’ futile search for justice. Larry Reed’s dreams of stardom disappear as he struggles to find a way forward.
DETROIT also stars Will Poulter and Anthony Mackie.
DETROIT is produced by Megan Ellison, p.g.a., Kathryn Bigelow, p.g.a., Matthew Budman, p.g.a., Mark Boal, p.g.a. and Colin Wilson, p.g.a.
Duration: 143 minutes
eOne released the film nationally on 2nd November, 2017.
Synopsis: Set in the rural American South during World War II, Dee Rees’ Mudbound is an epic story of two families pitted against one another by a ruthless social hierarchy, yet bound together by the shared farmland of the Mississippi Delta.
MUDBOUND follows the McAllan family, newly transplanted from the quiet civility of Memphis and unprepared for the harsh demands of farming. Despite the grandiose dreams of Henry (Jason Clarke), his wife Laura (Carey Mulligan) struggles to keep the faith in her husband’s losing venture. Meanwhile, Hap and Florence Jackson (Rob Morgan, Mary J. Blige) — fellow sharecroppers who have worked the land for generations — struggle bravely to build a small dream of their own despite the rigidly enforced social barriers they face.
The war upends both families’ plans as their returning loved ones, Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), forge a fast but uneasy friendship that challenges the brutal realities of the Jim Crow South in which they live.
Duration: 134 minutes
Please note: these invitations are strictly non-transferable.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor Transmission Films is delighted to invite you and your guest to a preview screening of Richard Linklater’s LAST FLAG FLYING
Synopsis: In 2003, 30 years after they served together in the Vietnam War, former Navy Corps medic Richard “Doc” Shepherd (Steve Carell) re-unites with Former Marines Sal (Bryan Cranston) and Richard Mueller (Laurence Fishburne) on a different type of mission: to bury Doc’s son, a young Marine killed in the Iraq War. Doc decides to forgo a burial at Arlington Cemetery and, with the help of his old buddies, takes the casket on a bittersweet trip up the East Coast to his home in suburban New Hampshire. Along the way, Doc, Sal and Mueller reminisce and come to terms with shared memories of the war that continues to shape their lives. Director Richard Linklater and author Darryl Ponicsan collaborated on the screenplay which follows the trio as they wrestle with the pangs of war both past and present.
LAST FLAG FLYINGis produced by Ginger Sledge, p.g.a., Richard Linklater, p.g.a., and John Sloss, p.g.a.
Duration: 124 minutes
Transmission Films is releasing the film nationally on 25th April 2018.
Blue Cat Pictures on behalf of Focus Features and NZ distributor FoxUniversal is delighted to invite you and your guest to a special preview screening of Paul Thomas Anderson’s PHANTOM THREAD.
Please note: All screenings are on auto-start so we are unable to delay the start time for late arrivals.
Synopsis: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written and directed by Paul Thomas Anderson.
PHANTOM THREAD is produced by JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi.
Duration: 115 minutes
FoxUniversal is releasing the film nationally on 1 February, 2018.
Blue Cat Pictures on behalf of Focus Features and NZ distributor FoxUniversal is delighted to invite you and your guest to a special preview screening of Paul Thomas Anderson’s PHANTOM THREAD.
When:Saturday 30th December, 2017
Time:10am
Location:Reading Courtney Cinemas (cinema 6), Level 1, 100 Courtenay Place
(All screenings are on auto-start so we are unable to delay the start time for late arrivals)
Synopsis: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written and directed by Paul Thomas Anderson.
PHANTOM THREAD is produced by JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi.
Duration: 115 minutes
FoxUniversal is releasing the film nationally on 1 February, 2018.
Synopsis:Set in an alternate present-day, this action-thriller directed by David Ayer (Suicide Squad, End of Watch, writer of Training Day) follows two cops from very different backgrounds (Ward, a human played by Will Smith, and Jakoby, an orc played by Joel Edgerton) who embark on a routine patrol night that will ultimately alter the future as their world knows it. Battling both their own personal differences as well as an onslaught of enemies, they must work together to protect a thought-to-be-forgotten relic, which in the wrong hands could destroy everything.
The Netflix original film stars Will Smith, Joel Edgerton, Noomi Rapace, Lucy Fry, Edgar Ramirez, Ike Barinholtz, Enrique Murciano, Jay Hernandez, Andrea Navedo, Veronica Ngo, Alex Meraz, Margaret Cho, Brad William Henke, Dawn Oliveri, and Kenneth Choi. The film is directed by David Ayer and written by Max Landis. David Ayer, Eric Newman, and Bryan Unkeless serve as producers.
Duration: 117 minutes
Please note: these invitations are strictly non-transferable.
Synopsis: From writer/director Noah Baumbach, THE MEYEROWITZ STORIES (NEW AND SELECTED) is the emotional, and comic intergenerational tale of adult siblings (Adam Sandler, Ben Stiller and Elizabeth Marvel) contending with the long shadow their strong-willed father (Dustin Hoffman) has cast over their lives.
With an original screenplay by Baumbach, the film also stars Emma Thompson, Grace Van Patten, Adam Driver, Candice Bergen, Judd Hirsch and Rebecca Miller.
The film was produced by Scott Rudin, Baumbach, Lila Yacoub and Eli Bush.
Duration: 110 minutes
Please note: These screening invitations are strictly non-transferable.
VES Members and Their Guests in New Zealand are Invited to a Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s STAR WARS: THE LAST JEDI
Please RSVP below Thursday, December 21, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Focus Features and NZ distributor FoxUniversal is delighted to invite you and your guest to this preview screening of Darkest Hour:
When:Sunday 17th December
Time:10am start
Location:Reading Courtenay Cinemas (cinema 6), Level 1, 100 Courtenay Place
Synopsis: During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman). While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. Directed by Joe Wright. Written by Anthony McCarten. Also starring Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, Samuel West and Ben Mendelssohn as King George VI.
DARKEST HOUR is produced by Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski.
Duration: 125 mins
The film opens nationally through FoxUniversal on 11 January 2018.
Blue Cat Pictures on behalf of ANZ distributor eOne is delighted to invite you and your guest to this special preview screening of Steven Spielberg’s THE POST:
When:Saturday 16th December
Time:10am
Location:Reading Courtenay Cinemas (cinema 6), Level 1, 100 Courtenay Place
– please note this will be a security screening so please arrive a few minutes early.
Synopsis: Steven Spielberg directs Meryl Streep and Tom Hanks in THE POST, a drama about the unlikely partnership between The Washington Post’s Katharine Graham (Streep), the first female publisher of a major American newspaper, and editor Ben Bradlee (Hanks), as they race to catch up with The New York Times to expose a massive cover-up of government secrets that spanned three decades and four U.S. Presidents. The two must overcome their differences as they risk their careers – and their very freedom – to help bring long-buried truths to light.
Spielberg produces along with Amy Pascal and Kristie Macosko Krieger. The script was written by Liz Hannah and Josh Singer, and the film features an ensemble cast including Alison Brie, Carrie Coon, David Cross, Bruce Greenwood, Tracy Letts, Bob Odenkirk, Sarah Paulson, Jesse Plemons, Matthew Rhys, Michael Stuhlbarg, Bradley Whitford and Zach Woods.
Duration: 115 minutes
eOne is releasing the film nationally on 11 January, 2018
Blue Cat Pictures on behalf of Focus Features and ANZ distributor Universal Pictures is delighted to invite you and your guest to a special preview screening of Paul Thomas Anderson’s PHANTOM THREAD.
RSVP is essential: RSVP HERE – (please note – this will be a full security screening).
Synopsis: Set in the glamour of 1950’s post-war London, renowned dressmaker Reynolds Woodcock (Daniel Day-Lewis) and his sister Cyril (Lesley Manville) are at the center of British fashion, dressing royalty, movie stars, heiresses, socialites, debutants and dames with the distinct style of The House of Woodcock. Women come and go through Woodcock’s life, providing the confirmed bachelor with inspiration and companionship, until he comes across a young, strong-willed woman, Alma (Vicky Krieps), who soon becomes a fixture in his life as his muse and lover. Once controlled and planned, he finds his carefully tailored life disrupted by love. Written and directed by Paul Thomas Anderson.
PHANTOM THREAD is produced by JoAnne Sellar, Paul Thomas Anderson, Megan Ellison and Daniel Lupi.
Duration: 115 minutes
Universal Pictures is releasing the film nationally on 1 February, 2018.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor Roadshow Films is delighted to invite VES members and their guests to a special preview screening of Todd Haynes’ WONDERSTRUCK.
Synopsis: Based on Brian Selznick’s critically acclaimed novel, Ben and Rose are children from two different eras who secretly wish their lives were different. Ben longs for the father he has never known, while Rose dreams of a mysterious actress whose life she chronicles in a scrapbook. When Ben discovers a puzzling clue in his home and Rose reads an enticing headline in the newspaper, both children set out on quests to find what they are missing that unfold with mesmerizing symmetry.
WONDERSTRUCK is directed by Todd Haynes, from an adapted screenplay by Brian Selznick, and produced by Christine Vachon, p.g.g., Pam Koffler, p.g.a., and John Sloss, p.g.a.
The cast includes Oakes Fegley, Jaden Michael, Julianne Moore and Millicent Simmonds.
Duration: 116 minutes
Roadshow Films is releasing the film in the first quarter of 2018.
VES Members and Their Guests in New Zealand are Invited to a Pre-Release Screening Of Fox Searchlight’s THE SHAPE OF WATER
Please RSVP below Tuesday, December 5, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of A24 Films and ANZ distributor Icon Film Distribution is delighted to invite VES members and guests to a special preview screening of Sean Baker’s THE FLORIDA PROJECT.
Synopsis: Set on a stretch of highway just outside the imagined utopia of Disney World, director Sean Baker’s THE FLORIDA PROJECT follows six-year-old Moonee (Brooklynn Prince) and her rag-tag gang of friends. Moonee and her rebellious mother Halley (Bria Vinaite) live week to week at a budget motel managed by Bobby (Willem Dafoe), whose stern exterior hides a deep reservoir of kindness and compassion. Despite her harsh surroundings, Moonee has no trouble making each day a celebration of life, her afternoons overflowing with mischief and adventure. Unbeknownst to Moonee, however, her delicate fantasy is supported by the struggle and sacrifice of Halley, who is forced to explore increasingly dangerous possibilities in order to provide for her daughter. Written by Sean Baker and Chris Bergoch, THE FLORIDA PROJECToffers a depiction of contemporary lives lived in the margins and how anywhere can be a Magic Kingdom – it just depends on how you see it.
THE FLORIDA PROJECTis produced by Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri and Shih-Ching Tsou.
Duration: 111 minutes
Icon Film Distribution is releasing the film nationally on 21st December, 2017.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor EOne is delighted to invite VES members and their guests to a special preview screening of Woody Allen’s WONDER WHEEL.
Synopsis: WONDER WHEEL, a dramatic tale of passion, violence and betrayal, tells the story of four characters whose lives intertwine amid the hustle and bustle of the Coney Island amusement park in the 1950s.
WONDER WHEEL is written and directed by Woody Allen, and produced by Letty Aronson p.g.a., Erika Aronson p.g.a. and Edward Walson.
The cast includes Jim Belushi, Juno Temple, Justin Timberlake and Kate Winslet.
Duration: 101 minutes
EOne is releasing the film nationally – release date to be confirmed.
Blue Cat Pictures on behalf of Amazon Studios and ANZ distributor Transmission Films is delighted to invite VES members and your guests to a special preview screening of Richard Linklater’s LAST FLAG FLYING.
Synopsis: In 2003, 30 years after they served together in the Vietnam War, former Navy Corps medic Richard “Doc” Shepherd (Steve Carell) re-unites with Former Marines Sal (Bryan Cranston) and Richard Mueller (Laurence Fishburne) on a different type of mission: to bury Doc’s son, a young Marine killed in the Iraq War. Doc decides to forgo a burial at Arlington Cemetery and, with the help of his old buddies, takes the casket on a bittersweet trip up the East Coast to his home in suburban New Hampshire. Along the way, Doc, Sal and Mueller reminisce and come to terms with shared memories of the war that continues to shape their lives. Director Richard Linklater and author Darryl Ponicsan collaborated on the screenplay which follows the trio as they wrestle with the pangs of war both past and present.
LAST FLAG FLYINGis produced by Ginger Sledge, p.g.a., Richard Linklater, p.g.a., and John Sloss, p.g.a.
Duration: 124 minutes
Transmission Films is releasing the film nationally in 2018.
VES Members and a Guest are Invited to an Opening Weekend Screening of Walt Disney Studios’ and Pixar Animation Studios’ COCO
Please RSVP below
Saturday, November 25, 2017 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 guest are invited to the New Zealand Chapter’s Christmas Party at the Seatoun RSA. We will have activities and bowling outdoors (while the light lasts).
16 Dundas St Seatoun, Wellington 6022
Nibbles and subsidised drinks will be available.
(please eat prior to attending as this event is not fully catered).
If you’re keen to attend please RSVP.
If you’d like to bring your children please email us on nz@vesglobal.org with ages and numbers.
RSVPS are expected to close next Wednesday 22nd November to enable us to confirm numbers with the venue.
Blue Cat Pictures on behalf of A24 and ANZ distributor Universal Pictures is delighted to invite VES members and your guests to a special preview screening of Greta Gerwig’s LADY BIRD.
When:Sunday 19th November
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
Synopsis: Set in Sacramento, California in 2002, amidst a rapidly shifting American economic landscape, LADY BIRD focuses on the loving yet turbulent bond between a mother and her teenage daughter. Christine “Lady Bird” McPherson (Saoirse Ronan) fights against but is exactly like her deeply caring, highly opinionated and strong-willed mom (Laurie Metcalf), a nurse working tirelessly to keep her family afloat after Lady Bird’s father (Tracy Letts) loses his job. Featuring an ensemble cast that also includes Lucas Hedges, Timothée Chalamet, Beanie Feldstein, Lois Smith, and Stephen McKinley Henderson, LADY BIRDis a look at the relationships that shape us, the beliefs that define us, and the unmatched beauty of a place called home.
LADY BIRD is written and directed by Greta Gerwig, and produced by Eli Bush, Evelyn O’Neill and Scott Rudin.
Duration: 93 minutes
Universal Pictures is releasing the film nationally on 15 February, 2018.
Blue Cat Pictures on behalf of A24 Films and ANZ distributor Roadshow Films is delighted to invite VES members and your guests to a special preview screening of James Franco’s THE DISASTER ARTIST.
When:Saturday 18th November
Time:10.30am
Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
Synopsis: With THE DISASTER ARTIST, director and star James Franco re-creates the tragicomic true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau—an artist whose passion was as sincere as his methods were questionable. Based on Greg Sestero’s book, screenwriters Scott Neustadter and Michael H. Weber tell the behind-the-scenes story of the production of Tommy’s 2003 disasterpiece THE ROOM.
THE DISASTER ARTIST is directed by James Franco, and produced by James Franco, Vince Jolivette, Evan Goldberg, Seth Rogenand James Weaver. The film also stars Dave Franco, Seth Rogen, Josh Hutchinson, Paul Scheer, Alison Brie and Ari Graynor.
Duration: 103 minutes
Roadshow Films is releasing the film nationally on 30 November, 2017.
Blue Cat Pictures on behalf of Focus Features and ANZ distributor Universal Pictures is delighted to VES members and your guests to this preview screening of Joe Wright’s DARKEST HOUR.
Synopsis: During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman).
While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. Directed by Joe Wright. Written by Anthony McCarten. Also starring Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, Samuel West and Ben Mendelssohn as King George VI.
DARKEST HOUR is produced by Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski.
Duration: 125 mins
The film opens nationally through Universal Pictures on 11 January 2018.
VES Members and Their Guests in New Zealand are Invited to a Pre-Release Screening Of Focus Features’ DARKEST HOUR
Please RSVP below Tuesday, November 14, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening Of Walt Disney Pictures’ and Marvel Studios’ THOR: RAGNAROK
Please RSVP below Tuesday, November 7, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 special screening.
Blue Cat Pictures on behalf of Focus Features and ANZ distributor Universal Pictures is delighted to invite you and your guest to this preview screening of Joe Wright’s DARKEST HOUR.
Synopsis: During the early days of World War II, with the fall of France imminent, Britain faces its darkest hour as the threat of invasion looms. As the seemingly unstoppable Nazi forces advance, and with the Allied army cornered on the beaches of Dunkirk, the fate of Western Europe hangs on the leadership of the newly-appointed British Prime Minister Winston Churchill (Gary Oldman).
While maneuvering his political rivals, he must confront the ultimate choice: negotiate with Hitler and save the British people at a terrible cost or rally the nation and fight on against incredible odds. Directed by Joe Wright.Written by Anthony McCarten. Also starring Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, Samuel West and Ben Mendelssohn as King George VI.
DARKEST HOUR is produced by Tim Bevan, Eric Fellner, Lisa Bruce, Anthony McCarten and Douglas Urbanski.
Duration: 125 mins
The film opens nationally through Universal Pictures on 11 January 2018.
Synopsis: From director Kathryn Bigelow, and screenwriter Mark Boal, DETROIT is the dramatic true story of a racially motivated crime that took place over one dark night in 1967. Up-and-coming Motown musician, Larry Reed (Algee Smith), six other young African American men and two young white women were terrorized by local police, despite the presence of the State Police, the National Guard, and an African American security guard (John Boyega). Before the sun rose in the motor city, three of the young males were slain in cold blood. Set against the civil unrest of ’67, DETROIT charts the crime and the survivors’ futile search for justice. Larry Reed’s dreams of stardom disappear as he struggles to find a way forward.
DETROIT also stars Will Poulter and Anthony Mackie.
DETROIT is produced by Megan Ellison, p.g.a., Kathryn Bigelow, p.g.a., Matthew Budman, p.g.a., Mark Boal, p.g.a. and Colin Wilson, p.g.a.
Duration: 143 minutes
EOne is releasing the film nationally on 2nd November, 2017.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Annapurna Pictures and ANZ distributor EOne is delighted to invite VES NZ members and your guest to a special preview screening of Kathryn Bigelow’s DETROIT.
Synopsis: From director Kathryn Bigelow, and screenwriter Mark Boal, DETROIT is the dramatic true story of a racially motivated crime that took place over one dark night in 1967. Up-and-coming Motown musician, Larry Reed (Algee Smith), six other young African American men and two young white women were terrorized by local police, despite the presence of the State Police, the National Guard, and an African American security guard (John Boyega). Before the sun rose in the motor city, three of the young males were slain in cold blood. Set against the civil unrest of ’67, DETROIT charts the crime and the survivors’ futile search for justice. Larry Reed’s dreams of stardom disappear as he struggles to find a way forward.
DETROIT also stars Will Poulter and Anthony Mackie.
DETROIT is produced by Megan Ellison, p.g.a., Kathryn Bigelow, p.g.a., Matthew Budman, p.g.a., Mark Boal, p.g.a. and Colin Wilson, p.g.a.
Duration: 143 minutes
EOne is releasing the film nationally on 2nd November, 2017.
Screenings are overbooked to 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.
Synopsis: 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 self-promoting 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.
Duration: 120 minutes
Please advise Blue Cat Pictures if you would like to opt out of receiving correspondence regarding screening schedules, or of receiving mailings or e-mail of any kind.
Blue Cat Pictures on behalf of Netflix is delighted to invite VES NZ Members and a guest to a special preview screening of THE MEYEROWITZ STORIES (NEW AND SELECTED):
When:Sunday 1st October, 2017
Time:10.30am Location:Roxy Cinema, 5 Park Road, Miramar, Wellington
Synopsis: From writer/director Noah Baumbach, THE MEYEROWITZ STORIES (NEW AND SELECTED) is the emotional, and comic intergenerational tale of adult siblings (Adam Sandler, Ben Stiller and Elizabeth Marvel) contending with the long shadow their strong-willed father (Dustin Hoffman) has cast over their lives.
With an original screenplay by Baumbach, the film also stars Emma Thompson, Grace Van Patten, Adam Driver, Candice Bergen, Judd Hirsch and Rebecca Miller.
The film was produced by Scott Rudin, Baumbach, Lila Yacoub and Eli Bush.
Synopsis: Director Bryan Fogel’s gambit was this: to investigate doping in sports, Fogel (an amateur bike racer) would dope himself, observe the changes in his performance, and see if he could evade detection. In doing so, he was connected to a renegade Russian scientist, Dr. Grigory Rodchenkov, a pillar of his country’s “anti-doping” program. Over dozens of Skype calls, urine samples, and badly administered hormone injections, Fogel and Rodchenkov grow closer despite allegations that place Rodchenkov at the center of Russia’s state-sponsored Olympic doping program. The two realise they hold the power to reveal this international sports scandal. The film follows the two as the news of Rodchenkov’s allegations breaks and the aftermath that implicates the Russian government and subsequent Olympic and professional sports programs.
VES Members and Their Guests in New Zealand are Invited to a Screening Of 20th Century Fox’s KINGSMEN: THE GOLDEN CIRCLE
Please RSVP below Thursday, September 28, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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: Directed by Angelina Jolie, First They Killed My Fatheris dedicated to all those who died under the Khmer Rouge and all those who survived. It focuses on the love and dedication of a Cambodian family, and celebrates the beauty, spirit and resilience of the Cambodian people and culture.
First They Killed My Father is the adaptation of Cambodian author and human rights activist Loung Ung’s gripping memoir of surviving the deadly Khmer Rouge regime from 1975 to 1978. The story is told through her eyes, from the age of five, when the Khmer Rouge came to power, to nine years old. The film depicts the indomitable spirit and devotion of Loung and her family as they struggle to stay together during the Khmer Rouge years.
Ung survived and wrote First They Killed My Father: A Daughter of Cambodia Remembers, which was first published in 2000. After reading Ung’s memoir, Angelina contacted her over a decade ago and they have been close friends ever since.
Duration: 136 minutes
Please advise Blue Cat Pictures if you would like to opt out of receiving correspondence regarding screening schedules, or of receiving mailings or e-mail of any kind.
VES Members and Their Guests in New Zealand are Invited to a Screening Of Paramount Pictures’ MOTHER!
Please RSVP below Tuesday, September 19, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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:Set in the rural American South during World War II, Dee Rees’s MUDBOUND is an epic story of two families pitted against one another by a ruthless social hierarchy, yet bound together by the shared farmland of the Mississippi Delta. MUDBOUNDfollows the McAllan family, newly transplanted from the quiet civility of Memphis and unprepared for the harsh demands of farming. Despite the grandiose dreams of Henry (Jason Clarke), his wife Laura (Carey Mulligan) struggles to keep the faith in her husband’s losing venture. Meanwhile, Hap and Florence Jackson (Rob Morgan, Mary J. Blige) — fellow sharecroppers who have worked the land for generations — struggle bravely to build a small dream of their own despite the rigidly enforced social barriers they face.
The war upends both families’ plans as their returning loved ones, Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), forge a fast but uneasy friendship that challenges the brutal realities of the Jim Crow South in which they live. Duration: 134 minutes
On behalf of Focus Features and ANZ distributor Universal Pictures, we are very pleased to invite VESNZ members and guests to a special preview screening of Stephen Frears’ Victoria & Adbul.
When: Sunday 10th September, 2017
Time: 10:30AM
Where: Roxy Cinema Wellington, 5 Park Road, Miramar, Wellington
Synopsis: Victoria & Abdul tells the true story of the amazing and unlikely friendship between Queen Victoria (Judi Dench) and a young clerk, Abdul Karim (Ali Fazal), who becomes her teacher, her spiritual advisor, and her devoted friend. In 1887, Abdul travels from India to present a ceremonial medal as part of the Queen’s Golden Jubilee but surprisingly finds favor with the elderly Queen. The unlikely relationship causes a battle royale within the royal household, pitting the Queen against court and family. Victoria & Abdul explores questions of race, religion, power, and the farce of Empire through the prism of an unusual and moving friendship.
Victoria & Abdul is directed by Stephen Frears, from an adapted screenplay by Lee Hall and produced by Tim Bevan, Eric Fellner, Beeban Kidron and Tracey Seaward. The film stars Judi Dench and Ali Fazal with Eddie Izzard and Adeel Akhtar. Cinematography is by Danny Cohen BSC and editing by Melanie Ann Oliver ACE. Production design is by Alan Macdonald, the set decorator is Michael Standish with costume design by Consolata Boyle. Production sound mixer is Peter Lindsay AMPS, re-recording mixers are Mike Dowson and Dafydd Archard, and supervising sound editors are Becki Ponting and Ian Wilson. Make-up and hair designer is Daniel Phillips and co-hair designer is Lou Sheppard. Original score by Thomas Newman.
Duration: 112 minutes
Universal Pictures is releasing the film nationally on 14th September 2017.
This is a great chance to catch up with friends/colleagues.
If you are a VES member or have been thinking about becoming a VES member, come along! We’ll have board members available on the night to help anyone who’d like to apply or just answer your questions. Come for a drink and say Hi!
The next membership application cutoff date is September 15th.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Europacorp’s VALERIAN AND THE CITY OF A THOUSAND PLANETS
Please RSVP below Tuesday, September 5, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Columbia Pictures’ and Marvel Studios’ SPIDER-MAN: HOMECOMING
Please RSVP below Tuesday, July 11, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening Of Paramount Pictures’ TRANSFORMERS: THE LAST KNIGHT
Please RSVP below Thursday, July 6, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 an Opening Weekend 3D Screening of Universal Pictures’ and Illumination Entertainment’s DESPICABLE ME 3
Please RSVP below
Saturday, July 1, 2017 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
VES Members and Their Guests in New Zealand are Invited to a Screening Of 20th Century Fox’s ALIEN: COVENANT
Please RSVP below Tuesday, May 23, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening Of Warner Bros. Pictures’ KING ARTHUR: LEGEND OF THE SWORD
Please RSVP below Thursday, May 18, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 at the Park Road Post Cinema this Friday for a fascinating chat with some amazing people working outside our orbit.
The Visual Effects Society – NZ Section is proud to present a Meet & Greet with some very special guests from the National Aeronautics and Space Administration (NASA), including Astronaut Dr Yvonne Cagle and Mars Curiosity research scientist Dr Jen Blank. They will talk about their current work and upcoming missions, and will hang around after so you can meet them. There will also be a Q & A,and refreshments, provided by the VES.
Space is very limited (no pun intented), so no guests please. RSVPs essential.
VESNZ – NASA Meet & Greet + Q & A
Friday, 12 May
6-7pm
Park Road Post Cinema
Dr Yvonne Cagle
NASA Astronaut, flight surgeon
Yvonne Cagle is a NASA Astronaut and flight surgeon. After earning her undergraduate degree from San Francisco State University, Dr. Cagle earned an M.D. from the University of Washington.
Dr. Cagle retired as a Colonel in the United States Air Force (USAF) where she served as a Senior Flight Surgeon. She is the recipient of the National Defense Service Medal, Air Force Achievement Medal, United States Air Force Air Staff Exceptional Physician Commendation and National Technical Association Distinguished Scientist Award.
In 2012 Dr. Cagle was a Brussels TEDx Speaker and has held adjunct professorships with Stanford University, UC Davis, and The University of Texas Medial Branch. Dr. Cagle, in collaboration with NASA, is currently a Visiting Professor at Fordham University, NY where she was awarded an honorary Ph.D. recognizing her cumulative body of career work advancing science, medicine, technology, and humanity.
Dr Jennifer Blank
research scientist, Mars Curiosity Rover
Jen Blank (@jenblank) is an astrobiologist at the NASA Ames Research Center in the heart of Silicon Valley.
She is a member of the Mars Curiosity rover science team and studies Mars analog environments on Earth, focusing on the potential of water-rock interactions to support microbial life and the geochemical signatures of such life that are captured in the rock record.
Jen earned BS/BA degrees in Geology/English from Stanford, an MS in Oceanography from the University of Washington, and a PhD in geochemistry from CalTech. She’s also studied fluid evolution and phase changes in real time using diamond cell pressure chambers and vibrational spectroscopy.
Scaling up, she’s fired large cannons to generate conditions akin to those of a comet hitting the earth – and found that amino acids can polymerize to peptides in these ballistic impacts. When not working, Jen spends time with her thoroughbred, Billy, and coding.
Hari is on the board of the Space Science Festival, KiwiSpace Foundation, Mars Society New Zealand, and former executive member of the NZ Institute for Intelligence Professionals.
She took part in the analogue Mars missions in Utah at the Mars Desert Research Station as the first NZ crew, and received the NASA Ames internship for planetary protection. Hari is also an organizer for Spacewardbound New Zealand, with participation from NASA Ames.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening Of Marvel Studios’ and Walt Disney Pictures’ GUARDIANS OF THE GALAXY, VOL. 2
Please RSVP below Tuesday, May 9, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Universal Pictures’ THE FATE OF THE FURIOUS
Please RSVP below Thursday, April 20, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Paramount Pictures’ GHOST IN THE SHELL
Please RSVP below Tuesday, April 11, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Lionsgate’s POWER RANGERS
Please RSVP below
Saturday, April 1, 2017 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand VES Members and Their Guests are Invited to a Screening of 20th Century Fox’s LOGAN
Please RSVP below Tuesday, March 7, 2017 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Important note: Logan is rated R16. No under-aged guests will be allowed in the cinema for this screening.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Walt Disney Pictures’ and Lucasfilm Ltd.’s ROGUE ONE: A STAR WARS STORY
Please RSVP below Tuesday, December 20, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 are very pleased to invite you and your guest to a special pre-release screening of J.A. Bayona’s A MONSTER CALLS. This screening has been made possible with the generous participation of ANZ distributor eOne and the Roxy Cinema.
Synopsis: 12-year-old Conor (Lewis MacDougall), dealing with his mother’s (Felicity Jones) illness, a less-than-sympathetic grandmother (Sigourney Weaver), and bullying classmates, finds a most unlikely ally when a Monster appears at his bedroom window. Ancient, wild, and relentless, the Monster (portrayed by Liam Neeson) guides Conor on a journey of courage, faith, and truth. The script is adapted by Patrick Ness from his novel A Monster Calls, and A MONSTER CALLS is directed by J.A. Bayona.
We are very pleased to invite you and your guest a special preview screening of Jim Jarmusch’s PATERSON. This screening have been made possible with the generous participation ofANZ distributor Madman Entertainment and the Roxy Cinema.
When:Saturday 17th December
Time:10.00am
Location:The Roxy Cinema, Cinema 2, 5 Park Road, Miramar, Wellington
Synopsis: Paterson is a bus driver in the city of Paterson, New Jersey – they share the same name. Every day, Paterson adheres to a simple routine: he drives his daily route, observing the city as it drifts across his windshield and overhearing fragments of conversation swirling around him; he writes poetry into a notebook; he walks his dog; he stops in a bar and drinks exactly one beer; he goes home to his wife, Laura. By contrast, Laura’s world is ever-changing. New dreams come to her almost daily. Paterson loves Laura and she loves him. He supports her newfound ambitions; she champions his gift for poetry.
PATERSON is directed by Jim Jarmusch and stars Adam Driver. The film is produced by Joshua Astrachan and Carter Logan from an original screenplay by Jim Jarmusch and edited by Affonso Goncalves ACE. The cinematographer is Frederick Elmes, ASC, production design is by Mark Friedberg, the set decorator is Lydia Marks and the costume design is by Catherine George. Makeup is headed by Margie Durand with Jennifer Serio as key hair stylist.
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ ALLIED
Please RSVP below Tuesday, December 13, 2016 at 8:00PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 are very pleased to invite you and your guest to a special pre-release screening of Jeff Nichols’ LOVING. This screening has been made possible with the generous participation of ANZ distributor EOne and the Roxy Cinema.
When: Sunday 11th December, 2016
Time: 11am
Location: ROXY CINEMA, Cinema 2, 5 Park Road, Miramar, Wellington
Synopsis: The real-life story of an interracial couple, Richard and Mildred Loving (portrayed in the film by Joel Edgerton and Ruth Negga), who married and then spent the next nine years fighting for the right to live as a family in their hometown. Their civil rights case, Loving v. Virginia, went all the way to the Supreme Court, which in 1967 reaffirmed the very foundation of the right to marry – and their love story has become an inspiration to couples ever since. Jeff Nichols is the writer and director of LOVING.
EOne is releasing the film nationally on 9 February 2017.
Thank you.
Please observe the strict embargo for social media comment or publication of any kind on this film.
Please advise Blue Cat Pictures if you would like to opt out of receiving correspondence regarding screening schedules, or of receiving mailings or e-mail of any kind.
We are very pleased to invite you and your guest to a special pre-release screening ofKenneth Lonergan‘s MANCHESTER BY THE SEA. This screening has been made possible with the generous participation of ANZ distributor Universal Pictures International and the Roxy Cinema.
When:
Saturday 10 December. 2016
Time:
10.30am
Location: Cinema 2, ROXY CINEMA, 5 Park Road, Miramar, Wellington
Synopsis: After the death of his older brother Joe (Kyle Chandler), Lee Chandler (Casey Affleck) is shocked to learn that Joe has made him sole guardian of his nephew Patrick (Lucas Hedges). Taking leave of his job, Lee reluctantly returns to Manchester-by-the-Sea to care for Patrick, a spirited 16-year-old, and is forced to deal with a past that separated him from his wife Randi (Michelle Williams) and the community where he was born and raised. Bonded by the man who held their family together, Lee and Patrick struggle to adjust to a world without him.
MANCHESTER BY THE SEA is written and directed by Kenneth Lonergan, and produced by Matt Damon p.g.a., Kimberly Steward p.g.a, Chris Moore p.g.a., Lauren Beck p.g.a. and Kevin J. Walsh p.g.a. The film stars Casey Affleck, Kyle Chandler, Lucas Hedges and Michelle Williams. Cinematography is by Jody Lee Lipes, editing by Jennifer Lame, original score by Lesley Barber, production design by Ruth De Jong, the set decorator is Florencia Martin, and costume design by Melissa Toth.
We are very pleased to invite you and your guest to a special pre-release screening of A24 / EOne’s 20th CENTURY WOMEN. This screening has been made possible with the generous participation ofANZ distributor eOne and the Roxy Cinema.
Synopsis: With 20th Century Women, writer-director Mike Mills presents a richly multilayered, funny, heart-stirring celebration of the complexities of women, family, time, and the connections for which we search our whole lives.
Set in Santa Barbara in the summer of 1979, the film follows Dorothea Fields (Annette Bening), a determined single mother in her mid-50s who is raising her adolescent son, Jamie ( Lucas Jade Zumann) at a moment brimming with cultural change and rebellion. Dorothea enlists the help of two younger women in Jamie’s upbringing – via Abbie (Greta Gerwig), a free-spirited punk artist living as a boarder in the Fields’ home, and Julie (Elle Fanning), a savvy and provocative teenage neighbor.
Mills recreates the warmth and passion of a great memory – but also the urgency and energy of three generations in the throes of momentous transition. Dorothea, conveys her unconditional love for her son together with her increasing bewilderment about the world she is watching him enter. As members of a share house with the Fields, Gerwig, Fanning, and Billy Crudup are the unique characters who each contribute in crucial ways to Jamie’s upbringing. 20th Century Women is a poignant love letter to the people who raise us – and the times that form us – as this makeshift family forges fragile connections that will mystify, haunt and inspire them through their lives.
We are very pleased to invite you and your guest to a special pre-release screening of Barry Jenkins’ MOONLIGHT. This screening has been made possible by US producer and distributor A24 Films with the generous participation of the Roxy Cinema.
Synopsis: A timeless story of human connection and self-discovery, MOONLIGHT chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.
At once a vital portrait of contemporary African American life and an intensely personal and poetic meditation on identity, family, friendship, and love, MOONLIGHT reverberates with compassion and truth. Anchored by performances from Mahershala Ali, Shariff Earp, Alex Hibbert, Janelle Monåe and Naomie Harris, MOONLIGHT is a moving portrayal of the moments, people, and unknowable forces that shape lives and identities.
MOONLIGHT is directed and written by Barry Jenkins from a story by Tarell McCraney. The film is produced by Dede Gardner, Jeremy Kleiner and Adele Romanski with cinematography by James Laxton. The film is edited by Joi Mcmillan and Nat Sanders, the composer is Nicholas Brittle and Production Design by Hannah Beachler. Art Director is Mabel Barba, Set Decorator Regina McLarney with Costume Design by Caroline Eselin, Makeup by Doniella Davy and Hair by Gianna Sparacino.
VES Members and a Guest are Invited to a Screening of Walt Disney Animation Studios’ MOANA
Please RSVP below
Saturday, November 26, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to a Screening of Warner Bros. Pictures’ FANTASTIC BEASTS AND WHERE TO FIND THEM
Please RSVP below Tuesday, November 22, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Paramount Pictures’ ARRIVAL
Please RSVP below Tuesday, November 15, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 an Opening Weekend 3D Screening of 20th Century Fox’s and DreamWorks Animation’s TROLLS
Please RSVP below
Saturday, November 5, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Zealand are Invited to an Opening Night 3D Screening of Marvel Studios’ and Walt Disney Pictures’ DOCTOR STRANGE
Please RSVP below Thursday, November 3, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to an Screening of Columbia Pictures’ INFERNO
Please RSVP below Thursday, October 27, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of 20th Century Fox’s MISS PEREGRINE’S HOME FOR PECULIAR CHILDREN
Please RSVP below
Thursday, October 13, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of
THE FIFTH ELEMENT
Please RSVP below Tuesday, October 11, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 VES NZ are excited to announce a private Q&A with Luc Besson.
Join us for a conversation with this wonderful director, whose work includes the Fifth Element and next year’s release Valerian and the city of a thousand planets.
This is a strict RSVP only event. Seating is limited.
Location: Camperdown cinema
Time: 2:30-4pm
Date: Tuesday 11th October.
The event is followed in the evening by a tie in screening of the Fifth Element. Please RSVP for the film seperately.
Many thanks to all that worked hard to get this event a green light.
Disclaimer: Should an event beyond our control result in the cancellation of this event we apologise for any inconvenience caused.
Hacksaw Ridge is directed by Mel Gibson and stars Andrew Garfield, Teresa Palmer, Sam Worthington, Rachel Griffiths, Vince Vaughn, Hugo Weaving and Luke Bracey. The film is produced by Bill Mechanic, Bruce Davey and David Permut from a screenplay by Robert Schenkkan and Andrew Knight and edited by John Gilbert. The cinematographer is Simon Duggan, production design is by Barry Robison and costume design by Lizzy Gardiner
Hacksaw Ridge is the extraordinary true story of Desmond Doss (Andrew Garfield) who, in Okinawa during the bloodiest battle of Word War II, saved 75 men without firing or carrying a gun. He was the only American soldier in WWII to fight on the front lines without carrying a weapon as he believed that while the war was justified, killing was nevertheless wrong. As an army medic he single-handedly evacuated the wounded from behind enemy lines, braved fire while tending to soldiers and was wounded by a grenade and hit by snipers. Doss was the first conscientious objector awarded the Congressional Medal of Honor.
Duration: 130 mins
Icon Films is releasing the film nationally on 3 November.
VES Members and Their Guests in New Zealand are Invited to a Screening of Sony Pictures’ and MGM’s THE MAGNIFICENT SEVEN
Please RSVP below Friday, September 30, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Pre-Release Screening of Lionsgate’s and Summit Entertainment’s DEEPWATER HORIZON
Please RSVP below Saturday, September 24, 2016 at 3:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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
Join the VES New Zealand Section for a networking mixer as we celebrate the finest achievements in visual effects artistry.
This is a chance to introduce prospective VES members and the local industry to the Visual Effects Society and enjoy an evening of socialising and networking.
The first 40 guests to arrive will enjoy a glass of welcome bubbles.
The first 50 VES members who bring a prospective member as a guest will enjoy discounted drinks. (offer may be extended)
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ PETE’S DRAGON
Please RSVP below
Saturday, August 20, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
For members with young children who would like to bring them to this screening, please email nz@vesglobal.org and we will book you up to 4 seats in total.
(These additional 2 seats are strictly for use by children only, there is a maximum of 2 adults per booking please).
Screenings are overbooked to 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 Universal Pictures’ JASON BOURNE
Please RSVP below
Thursday, August 18, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Warner Bros. Pictures’ SUICIDE SQUAD
Please RSVP below
Tuesday, August 9, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Paramount Pictures’ STAR TREK BEYOND
Thurday, July 28, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Columbia Pictures’ GHOSTBUSTERS
Tuesday, July 19, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ THE BFG
Please RSVP below
Thursday, July 14, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below
Thursday, July 7, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Warner Bros. Pictures’ THE LEGEND OF TARZAN
Please RSVP below
Thursday, July 7, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 2D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ FINDING DORY
Please RSVP below
Saturday, June 25, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a 2D Screening of Walt Disney Pictures’ and Pixar Animation Studios’ FINDING DORY
Please RSVP below
Saturday, June 25, 2016 at 3:00PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a 3D Screening of 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Thursday, June 23, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 20th Century Fox’s INDEPENDENCE DAY: RESURGENCE
Thursday, June 23, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Universal Pictures’ WARCRAFT
Please RSVP below
Tuesday, June 14, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Universal Pictures’ WARCRAFT
Please RSVP below
Tuesday, June 14, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below
Thursday, June 9, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ ALICE THROUGH THE LOOKING GLASS
Please RSVP below
Thursday, June 9, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 20th Century Fox’s X-MEN: APOCALYPSE
Friday, June 3, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 20th Century Fox’s X-MEN: APOCALYPSE
Friday, June 3, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ and Marvel Studios’ CAPTAIN AMERICA: CIVIL WAR
Thursday, May 12, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Universal Pictures’ THE HUNTSMAN: WINTER’S WAR
Thursday, May 5, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ THE JUNGLE BOOK
Thursday, April 28, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a 3D Screening of Walt Disney Pictures’ THE JUNGLE BOOK
Thursday, April 28, 2016 at 7:30PM
Camperdown Cinema
Please contact the local Board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
BOOKINGS: +1 guest (adult or child) + 1 additional child per booking.
(ie. max two adults including the member per booking please)
VES Members and a Guest are Invited to a Screening of Walt Disney Animation Studios’ ZOOTOPIA
Saturday, March 19, 2016 at 4:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Walt Disney Animation Studios’ ZOOTOPIA
Saturday, March 19, 2016 at 4:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
RSVPs are closed, as this event is overbooked. Wednesday, January 27, 2016 at 7:00PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ STAR WARS: THE FORCE AWAKENS
RSVPs are closed, as this event is overbooked. Wednesday, January 27, 2016 at 7:00PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 NZ Nominations judging panel for the 14th Annual VES awards is to take place on January 9th 2016.
If you’d be interested in being a judge for the event please rsvp so we can keep you abreast of things and ensure that HQ know you are interested in being a judge.
The nominations judging panel is the VES equivilant of a bakeoff. It is the votes cast at this event that select the finalists in the VES awards.
The NZ Nominations judging panel for the 14th Annual VES awards is to take place on January 9th 2016.
If you’d be interested in being a judge for the event please rsvp so we can keep you abreast of things and ensure that HQ know you are interested in being a judge.
The nominations judging panel is the VES equivilant of a bakeoff. It is the votes cast at this event that select the finalists in the VES awards.
Join us again at the Lanes for some end of year Holiday wind down!
This year we’ll be in the downstairs “Arena” area at the Lanes, with three lanes of bowling, pool tables, air hockey, racing simulators, drinks and some hearty nibbles. Come let your hair down with your fellow VES members. No need to form teams – the bowling lanes will have rolling games going on.
Teq Talks is back with a line up of four new tasty speakers!
Belinda Griffiths – “From Paintbrush to Pixel” – Fragmented reality; a hybrid of traditional and digital technologies in studio practice
Astrid Visser – stop motion animation
James Doyle – check back later for the talk topic
Chris Welch – “Generative Form-Finding in Architecture” – A rundown of two projects that use cutting edge generative techniques in the design and fabrication processes
As well as some provided nibbles, La Boca Loca will be having Taco Tuesday, so they will be open from 5pm for anoyone who wants to get some delicious tacos before the talks begin, or you can order once we’re under way.
Short talks with Q & A and tequila on a Tuesday night. Perfect combination IMO.
FREE for VES members, $5 for non-members and $2 for students
Teq Talks is back with a line up of four new tasty speakers!
Belinda Griffiths – “From Paintbrush to Pixel” – Fragmented reality; a hybrid of traditional and digital technologies in studio practice
Astrid Visser – stop motion animation
James Doyle – check back later for the talk topic
Chris Welch – “Generative Form-Finding in Architecture” – A rundown of two projects that use cutting edge generative techniques in the design and fabrication processes
As well as some provided nibbles, La Boca Loca will be having Taco Tuesday, so they will be open from 5pm for anoyone who wants to get some delicious tacos before the talks begin, or you can order once we’re under way.
Short talks with Q & A and tequila on a Tuesday night. Perfect combination IMO.
FREE for VES members, $5 for non-members and $2 for students
NZ VES with the generous participation of Roadshow Film Distributors is pleased to invite you and your guest to a special screening of John Well’s Burnt.
time: 7.45pm
date: Wednesday 18th November
venue: Camperdown Cinema, Wellington
Chef Adam Jones (Bradley Cooper) had it all – and lost it. A two-star Michelin rockstar with the bad habits to match, the former enfant terrible of the Paris restaurant scene did everything differently every time out and only ever cared about the thrill of creating explosions of flavour. To land his own kitchen and that third elusive Michelin star he’ll need the best of the best on his side, including the beautiful Helene (Sienna Miller). Burnt is a remarkably funny story about the love of food, the love between two people and the power of second chances.
Burnt also features performances by Omar Sy, Emma Thompson, Daniel Brühl, Alicia Vikander, Uma Thurman and Lily James
Burnt is directed by John Wells (August: Osage County) from a screenplay by Steven Knight (Dirty Pretty Things) based on a story by Michael Kalesniko. The film is produced by Stacey Sher (Django Unchained) Michael Shamberg (Pulp Fiction) and Erwin Stoff (Unbroken). Director of Photography is Adriano Goldman (August: Osage County); Editor is Nick Moore (She’s Funny That Way); Composer is Rob Simonsen (Foxcatcher); Production Designer is David Gropman (Life of Pi); Costume Designer is Lyn Paolo (The Company Men).
NZ VES with the generous participation of Roadshow Film Distributors is pleased to invite you and your guest to a special screening of John Well’s Burnt.
time: 7.45pm
date: Wednesday 18th November
venue: Camperdown Cinema, Wellington
Chef Adam Jones (Bradley Cooper) had it all – and lost it. A two-star Michelin rockstar with the bad habits to match, the former enfant terrible of the Paris restaurant scene did everything differently every time out and only ever cared about the thrill of creating explosions of flavour. To land his own kitchen and that third elusive Michelin star he’ll need the best of the best on his side, including the beautiful Helene (Sienna Miller). Burnt is a remarkably funny story about the love of food, the love between two people and the power of second chances.
Burnt also features performances by Omar Sy, Emma Thompson, Daniel Brühl, Alicia Vikander, Uma Thurman and Lily James
Burnt is directed by John Wells (August: Osage County) from a screenplay by Steven Knight (Dirty Pretty Things) based on a story by Michael Kalesniko. The film is produced by Stacey Sher (Django Unchained) Michael Shamberg (Pulp Fiction) and Erwin Stoff (Unbroken). Director of Photography is Adriano Goldman (August: Osage County); Editor is Nick Moore (She’s Funny That Way); Composer is Rob Simonsen (Foxcatcher); Production Designer is David Gropman (Life of Pi); Costume Designer is Lyn Paolo (The Company Men).
Screenings are overbooked to 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.
The Weinstein Company in association with local distributor Roadshow Films is pleased to invite you and your guest to a private screening of Woman in Gold.
Woman in Gold is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting Portrait of Adele Bloch-Bauer. Together with her inexperienced but plucky young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way.
Woman In Gold is directed by Simon Curtis from a screenplay by Alexi Kaye Campbell based on the life stories of E Randol Schoenberg and Maria Altman. The film features supporting performances by Daniel Bruhl, Tatiana Maslany, Katie Holmes and Charles Dance. Cinematography is by Ross Emery with Production Design by Jim Clay, Costume Design by Beatrix Pasztor and is edited by Peter Lambert. Music is by Martin Phipps and Hans Zimmer. The film is produced by David M Thompson and Kris Thykier
The film is eligible for your consideration in all categories.
The Weinstein Company in association with local distributor Roadshow Films is pleased to invite you and your guest to a private screening of Woman in Gold.
Woman in Gold is the remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann (Helen Mirren), starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting Portrait of Adele Bloch-Bauer. Together with her inexperienced but plucky young lawyer Randy Schoenberg (Ryan Reynolds), she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court, and forces her to confront difficult truths about the past along the way.
Woman In Gold is directed by Simon Curtis from a screenplay by Alexi Kaye Campbell based on the life stories of E Randol Schoenberg and Maria Altman. The film features supporting performances by Daniel Bruhl, Tatiana Maslany, Katie Holmes and Charles Dance. Cinematography is by Ross Emery with Production Design by Jim Clay, Costume Design by Beatrix Pasztor and is edited by Peter Lambert. Music is by Martin Phipps and Hans Zimmer. The film is produced by David M Thompson and Kris Thykier
The film is eligible for your consideration in all categories.
This event has been cancelled and is not going to be rescheduled.
Due to time constraints in his schedule the event’s time slot was unable to be held.
We apologise for any inconvenience but hope you can appreciate how busy his schedule must be.
We are very appreciative that monsieur Besson was able to try to allocate some of his time to us and we hope he enjoys the remainder of his visit in NZ.
Many thanks, Your local VES Board
Q&A with Luc Besson
We are fortunate to get a bit of esteemed filmmaker Luc Besson’s time while he is here in Wellington.
Luc has agreed to do a Q&A for our VES section during lunch tomorrow between 11:30 and 12:30 at Camperdown.
Bring your questions about his films or filmmaking in general and take advantage of this special opportunity.
There is very limited space at this event.
The time of this event may change so please keep an eye on your emails after your rsvp in order to stay tuned of any updates.
This event has been cancelled and is not going to be rescheduled.
Due to time constraints in his schedule the event’s time slot was unable to be held.
We apologise for any inconvenience but hope you can appreciate how busy his schedule must be.
We are very appreciative that monsieur Besson was able to try to allocate some of his time to us and we hope he enjoys the remainder of his visit in NZ.
Many thanks, Your local VES Board
Q&A with Luc Besson
We are fortunate to get a bit of esteemed filmmaker Luc Besson’s time while he is here in Wellington.
Luc has agreed to do a Q&A for our VES section during lunch tomorrow between 11:30 and 12:30 at Camperdown.
Bring your questions about his films or filmmaking in general and take advantage of this special opportunity.
There is very limited space at this event.
The time of this event may change so please keep an eye on your emails after your rsvp in order to stay tuned of any updates.
The Weinstein Company in association with ANZ distributor Transmission Films and with the generous participation of Reading Courtenay Place is delighted to invite you and your guest to a special preview screening of Todd Haynes’ Carol. The film will be released nationally in New Zealand on 11 February 2016.
An adaptation of Patricia Highsmith’s debut novel The Price of Salt, Carol follows two women from very different backgrounds who find themselves in an unexpected love affair in 1950s New York. As conventions of the time challenge their undeniable attraction, a story emerges to reveal the resilience of the heart in the face of change. A young woman in her 20s, Therese Belivet (Rooney Mara) is a clerk working in a Manhattan department store and dreaming of a more fulfilling life when she meets Carol (Cate Blanchett) an alluring woman trapped in a loveless, convenient marriage. As an immediate attraction sparks between them, the innocence of their first encounter dims and their connection deepens. While Carol breaks free from the confines of marriage, her husband (Kyle Chandler) begins to question her competence as a mother as her involvement with Therese and close relationship with her best friend Abby (Sarah Paulson) come to light.
Carol is directed by Todd Haynes and adapted from the novel by Phyllis Nagy with performances from Rooney Mara, Cate Blanchett, Sarah Paulson and Kyle Chandler. The film is shot by Edward Lachman, designed by Judy Becker, edited by Affonso Gonçalves with the score composed by Carter Burwell. Carol is produced by Elizabeth Carlsen, Christine Vachon and Stephen Woolley.
VES NZ is proud announce a special presentation on The Peanuts Movie by Rob Cavaleri this Saturday, 7 November, at 4pm.
Venue: Camperdown Cinema
Rob Cavaleri is CG Supervisor at Blue Sky Studios, where he has worked on several animated films including Ice Age, Robots, and the Academy Award winning short, Bunny.
Their latest film, The Peanuts Movie, pushed the studio into new ground with a design and animation style to fit the universally known aesthetic of Charles Schulz.
Rob will talk about the artistic & technical challenges they faced. And how the Blue Sky team brought the classic pen lines of Charles Schulz to the big screen.
VES NZ is proud announce a special presentation on The Peanuts Movie by Rob Cavaleri this Saturday, 7 November, at 4pm.
Venue: Camperdown Cinema
Rob Cavaleri is CG Supervisor at Blue Sky Studios, where he has worked on several animated films including Ice Age, Robots, and the Academy Award winning short, Bunny.
Their latest film, The Peanuts Movie, pushed the studio into new ground with a design and animation style to fit the universally known aesthetic of Charles Schulz.
Rob will talk about the artistic & technical challenges they faced. And how the Blue Sky team brought the classic pen lines of Charles Schulz to the big screen.
Screenings are overbooked to 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.
VES Members and Their Guests in New Zealand are Invited to a 3D Screening of TriStar Pictures’ THE WALK
Please RSVP below Thursday, October 22, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of TriStar Pictures’ THE WALK
Please RSVP below Thursday, October 22, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below Thursday, October 15, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of Universal Pictures’ EVEREST
Please RSVP below Thursday, October 15, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below Tuesday, October 13, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Zealand are Invited to a 3D Screening of 20th Century Fox’s THE MARTIAN
Please RSVP below Tuesday, October 13, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
Blue Cat Pictures on behalf of Netflix and with the generous participation of Reading Courtenay Place is delighted to invite you and your guest to a special preview screening of Cary Joji Fukunaga’s Beasts of No Nation.
Time and date:10.30am Sunday 11 October
Venue:Cinema 3
Reading Courtenay Place
Wellington
From director Cary Joji Fukunaga, Beasts of No Nation, set in West Africa, tells the story of a young villager Agu (Abraham Attah) whom we meet playing with his older brother, making mischief with his friends at a nearby refugee camp and enjoying dinner with his family. But the happy routines of childhood are shattered when army troops from the capital city arrive to quash a rebellion against the country’s corrupt regime. His mother and sister escape to a nearby city, but Agu is left behind with his father and brother, and shortly thereafter, he is suddenly on his own. Terrified and alone, Agu escapes to the forest where he’s discovered by a company of young rebels led by the charismatic Commandant (Idris Elba). There he undergoes a barrage of harsh treatment, initiation rituals and fiery speeches from the Commandant, but also finds a kindred spirit in Strika (Emmanuel “King Kong” Nii Adom), a mute fellow recruit. As the ragtag army sets off on a series of battles, Agu is eventually promoted from ammo carrier to rifle-toting soldier.Beasts of No Nation follows Agu’s journey and the loss of innocence, as he attempts to find the remains of a childhood that seems so out of reach.
Netflix presents Beasts of No Nation, a Red Crown Production in association with Participant Media and Levantine Films, and New Balloon and Mutressa Films.
Written for the screen and directed by Cary Joji Fukunaga.
Based on the book by Uzodinma Iweala.
Produced by Amy Kaufman, Cary Joji Fukunaga, Daniela Taplin Lundberg, Riva Marker, Daniel Crown and Idris Elba. Director of photography is Cary Joji Fukunaga. Production designer is Inbal Weinberg and set decorator is Katie Hickman. Costume designer is Jenny Eagan. Editors are Mikkel E.G. Nielsen and Pete Beaudreau. Music is composed by Dan Romer.
Beast of No Nation is launched worldwide on Nexflix on 16 October 2015 (17 October Aus/NZ) and simultaneously will be on theatrical release in the UK and US.
For this exclusive opportunity to see the film on the big screen, please RSVP to me on:celia@bluecatpictures.com.au
Blue Cat Pictures on behalf of Netflix and with the generous participation of Reading Courtenay Place is delighted to invite you and your guest to a special preview screening of Cary Joji Fukunaga’s Beasts of No Nation.
Time and date:10.30am Sunday 11 October
Venue:Cinema 3
Reading Courtenay Place
Wellington
From director Cary Joji Fukunaga, Beasts of No Nation, set in West Africa, tells the story of a young villager Agu (Abraham Attah) whom we meet playing with his older brother, making mischief with his friends at a nearby refugee camp and enjoying dinner with his family. But the happy routines of childhood are shattered when army troops from the capital city arrive to quash a rebellion against the country’s corrupt regime. His mother and sister escape to a nearby city, but Agu is left behind with his father and brother, and shortly thereafter, he is suddenly on his own. Terrified and alone, Agu escapes to the forest where he’s discovered by a company of young rebels led by the charismatic Commandant (Idris Elba). There he undergoes a barrage of harsh treatment, initiation rituals and fiery speeches from the Commandant, but also finds a kindred spirit in Strika (Emmanuel “King Kong” Nii Adom), a mute fellow recruit. As the ragtag army sets off on a series of battles, Agu is eventually promoted from ammo carrier to rifle-toting soldier.Beasts of No Nation follows Agu’s journey and the loss of innocence, as he attempts to find the remains of a childhood that seems so out of reach.
Netflix presents Beasts of No Nation, a Red Crown Production in association with Participant Media and Levantine Films, and New Balloon and Mutressa Films.
Written for the screen and directed by Cary Joji Fukunaga.
Based on the book by Uzodinma Iweala.
Produced by Amy Kaufman, Cary Joji Fukunaga, Daniela Taplin Lundberg, Riva Marker, Daniel Crown and Idris Elba. Director of photography is Cary Joji Fukunaga. Production designer is Inbal Weinberg and set decorator is Katie Hickman. Costume designer is Jenny Eagan. Editors are Mikkel E.G. Nielsen and Pete Beaudreau. Music is composed by Dan Romer.
Beast of No Nation is launched worldwide on Nexflix on 16 October 2015 (17 October Aus/NZ) and simultaneously will be on theatrical release in the UK and US.
For this exclusive opportunity to see the film on the big screen, please RSVP to me on:celia@bluecatpictures.com.au
The Weinstein Company in association with ANZ distributor Transmission Films is delighted to invite you and your guest to a special preview screening of Justin Kurzel’s Macbeth.
Time and date:10.30am Sunday 4 October
VenueReading Courtenay Place
Wellington
THIS IS A STUDIO ARRANGED SCREENING – RSVP TO: victoria@bluecatpictures.com.au
Please be aware that Victoria is our Studio liaison, NOT a VES affiliate and therefore communication with her should ONLY be for rsvp.
We are guests to this screening and attendance is at Victoria’s discretion.
Based on the play by William Shakespeare this cinematic adaptation of the classic tale of Macbeth is directed by Justin Kurzel (Snowtown) from a script by Jacob Koskoff, Michael Lesslie and Todd Louiso. Macbeth stars Michael Fassbender in the title role of Macbeth, a Duke of Scotland who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by Lady Macbeth, Marion Cotillard, Macbeth murders his king and takes the throne for himself. Macbeth also features Elizabeth Debicki as Lady Macduff, Sean Harris as Macduff and David Thewlis as King Duncan.
Macbeth is produced by Iain Canning, Emile Sherman and Laura Hastings-Smith. Director of Photography is Adam Arkapaw; Editor is Chris Dickens;Composer is Jed Kurzel; Production Designer is Fiona Crombie;Costume Designer is Jacqueline Durran.
Duration is 113 min
Macbeth opens nationally in select venues on 1 October via ANZ distributor Transmission Films.
The Weinstein Company in association with ANZ distributor Transmission Films is delighted to invite you and your guest to a special preview screening of Justin Kurzel’s Macbeth.
Time and date:10.30am Sunday 4 October
VenueReading Courtenay Place
Wellington
THIS IS A STUDIO ARRANGED SCREENING – RSVP TO: victoria@bluecatpictures.com.au
Please be aware that Victoria is our Studio liaison, NOT a VES affiliate and therefore communication with her should ONLY be for rsvp.
We are guests to this screening and attendance is at Victoria’s discretion.
Based on the play by William Shakespeare this cinematic adaptation of the classic tale of Macbeth is directed by Justin Kurzel (Snowtown) from a script by Jacob Koskoff, Michael Lesslie and Todd Louiso. Macbeth stars Michael Fassbender in the title role of Macbeth, a Duke of Scotland who receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by Lady Macbeth, Marion Cotillard, Macbeth murders his king and takes the throne for himself. Macbeth also features Elizabeth Debicki as Lady Macduff, Sean Harris as Macduff and David Thewlis as King Duncan.
Macbeth is produced by Iain Canning, Emile Sherman and Laura Hastings-Smith. Director of Photography is Adam Arkapaw; Editor is Chris Dickens;Composer is Jed Kurzel; Production Designer is Fiona Crombie;Costume Designer is Jacqueline Durran.
Duration is 113 min
Macbeth opens nationally in select venues on 1 October via ANZ distributor Transmission Films.
Screenings are overbooked to 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 New Zealand members and their guests are invited to
as screening of STUDIOCANAL’s Blinky Bill the Movie.
September 5th
4pm
Camperdown Cinema
(This is an advance screening so we’d prefer if mobile phones were not brought to the cinema)
A story of one of Australia’s classic childhood characters, this is a G rated title that’s completely family friendly. Run time 91 minutes.
Made by the talented crew at Flying Bark Australia.
Bring along your little ones and enjoy an afternoon screening of this cuddly chap’s adventures.
Blinky Bill (voiced by Ryan Kwanten) is a little koala with a big imagination. An adventurer at heart, he dreams of leaving the little town of Green Patch and following in his missing father’s footsteps. When Blinky discovers a mysterious marker that hints at his Dad’s whereabouts, he embarks on a journey that takes him beyond the boundary of Green Patch and into the wild and dangerous Outback. He quickly makes friends with Nutsy, a zoo koala, and Jacko, a nervous frill-necked lizard. Pursued relentlessly by a vengeful Cat who has a personal score to settle with Blinky, the trio must learn to work together if they ever want to survive the rugged Australian landscape and find Blinky’s father!
Follow Blinky as he gears up for his big screen adventure!
Join the VES New Zealand Section for a networking mixer as we celebrate the finest achievements in visual effects artistry.
This is a chance to introduce prospective VES members and the local industry to the Visual Effects Society and enjoy an evening of socialising and networking.
The first 40 guests to arrive will enjoy a glass of welcome bubbles.
The first 50 VES members who bring a prospective member as a guest will enjoy discounted drinks. (offer may be extended)
Join the VES New Zealand Section for a networking mixer as we celebrate the finest achievements in visual effects artistry.
This is a chance to introduce prospective VES members and the local industry to the Visual Effects Society and enjoy an evening of socialising and networking.
The first 40 guests to arrive will enjoy a glass of welcome bubbles.
The first 50 VES members who bring a prospective member as a guest will enjoy discounted drinks. (offer may be extended)
After a fantastic kick off to this event series TEQ talks is back and even better!
This second time round our speakers will include:
Josh Herrig – 365 Days to Plan, One Photo
Kate Venables – The Modern Applications of Dance in the Entertainment Industry
Jordan McLachlan – Semi Anonymous Photo Sharing
and one other, TBC.
This time the Teq Talk also coincides with La Boca Loca’s Taco Tuesday, so those getting there early will be able to order a taco or two (or three). Some cold nibbles will be provided, and you are welcome to order more of your own. Come along, hear something new, meet new people or old friends and try the margarita special.
Free for VES members, $2 for students and $5 for eveyone else (cash preferred).
Thanks to Goodnest cleaning company there will be door prizes if you get in quick enough!
After a fantastic kick off to this event series TEQ talks is back and even better!
This second time round our speakers will include:
Josh Herrig – 365 Days to Plan, One Photo
Kate Venables – The Modern Applications of Dance in the Entertainment Industry
Jordan McLachlan – Semi Anonymous Photo Sharing
and one other, TBC.
This time the Teq Talk also coincides with La Boca Loca’s Taco Tuesday, so those getting there early will be able to order a taco or two (or three). Some cold nibbles will be provided, and you are welcome to order more of your own. Come along, hear something new, meet new people or old friends and try the margarita special.
Free for VES members, $2 for students and $5 for eveyone else (cash preferred).
Thanks to Goodnest cleaning company there will be door prizes if you get in quick enough!
VES Members and Their Guests in New Zealand are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Tuesday, August 18, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Zealand are Invited to a Screening of Paramount Pictures’ MISSION: IMPOSSIBLE ROGUE NATION
Please RSVP below Tuesday, August 18, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 are Invited to a 3D Screening of Walt Disney Pictures’ and Marvel Studios’ ANT-MAN
Please RSVP below Thursday, July 23, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below Thursday, July 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Paramount Pictures’ TERMINATOR GENISYS
Please RSVP below Thursday, July 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Universal Pictures’ TED 2
Please RSVP below Tuesday, July 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Universal Pictures’ TED 2
Please RSVP below Tuesday, July 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
This month we'll be debuting our newest social event, TEQ Talks at La Boca Loca!
As series of short talks by local artists, innovators, and generally interesting people paired with tequila and beer on the last Tuesday of every month.
Members-Free, $5 Non-Members/$2-Students, cash only, paid at door
Signups Now Open
Limited Availability – if tickets are no longer required, please email rsvp.ves.nz@gmail.com to relase them
VES Members and Their Guests are Invited to a 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below Thursday, June 25, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 2D Screening of Disney’s and Pixar’s INSIDE OUT
Please RSVP below Thursday, June 25, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(A special thanks to the New Zealand Film Commission for their continued support!)
You are invited to join us at 7.30pm on Thurs 18 June, for an evening of six local Kiwi Shorts.
We are delighted to be hosting award winning filmmaker and actor Sima Urale, as we enjoy 3 of Sima’s short films, which range over her 20 year career in film. There will be a Q&A opportunity with Sima after.
As previous, the event will be hosted at Camperdown Cinema.
If you require directions, please ask the Board for directions.
(A special thanks to the New Zealand Film Commission for their continued support!)
You are invited to join us at 7.30pm on Thurs 18 June, for an evening of six local Kiwi Shorts.
We are delighted to be hosting award winning filmmaker and actor Sima Urale, as we enjoy 3 of Sima’s short films, which range over her 20 year career in film. There will be a Q&A opportunity with Sima after.
As previous, the event will be hosted at Camperdown Cinema.
If you require directions, please ask the Board for directions.
VES Members and Their Guests are Invited to a 3D Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below Tuesday, June 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Universal Pictures’ JURASSIC WORLD
Please RSVP below Tuesday, June 16, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ TOMORROWLAND
Please RSVP below Wednesday, June 3, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Walt Disney Pictures’ TOMORROWLAND
Please RSVP below Wednesday, June 3, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Opening Night Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below Thursday, May 28, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Opening Night Screening of Warner Bros. Pictures’ SAN ANDREAS
Please RSVP below Thursday, May 28, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below Thursday, May 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Warner Bros. Pictures’ MAD MAX: FURY ROAD
Please RSVP below Thursday, May 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Universal Pictures’ EX MACHINA
Please RSVP below Tuesday, May 12, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Universal Pictures’ EX MACHINA
Please RSVP below Tuesday, May 12, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON
Please RSVP below Thursday, May 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 3D Screening of Walt Disney Pictures’ and Marvel Studios’ AVENGERS: AGE OF ULTRON
Please RSVP below Thursday, May 7, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 are Invited to a special Classics Screening of JAWS
Please RSVP below Sunday, April 26th, 2015 at 11:30AM
Time Cinema- Lyall Bay
Address:191 Sutherland Rd, Lyall Bay, Wellington 6022
The seating at this cinema is strictly limited and rsvp’s have now been opened further.
Once capacity has been reached no further seats will be on offer.
Doors open 11:30am for a screening start time of between 12 and 12:30, prior to which refreshments will be provided and you will have the opportunity to peruse the fabulous boutique film museum that is Time Cinema. For more info about our venue check here.
VES Members are Invited to a special Classics Screening of JAWS
Please RSVP below Sunday, April 26th, 2015 at 11:30AM
Time Cinema- Lyall Bay
Address:191 Sutherland Rd, Lyall Bay, Wellington 6022
The seating at this cinema is strictly limited and rsvp’s have now been opened further.
Once capacity has been reached no further seats will be on offer.
Doors open 11:30am for a screening start time of between 12 and 12:30, prior to which refreshments will be provided and you will have the opportunity to peruse the fabulous boutique film museum that is Time Cinema. For more info about our venue check here.
VES Members and Their Guests are Invited to a Universal Studios’ Furious 7
Please RSVP below Tuesday, April 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Universal Studios’ Furious 7
Please RSVP below Tuesday, April 21, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Columbia Pictures’ CHAPPIE
Please RSVP below Tuesday, March 17, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 Columbia Pictures’ CHAPPIE
Please RSVP below Tuesday, March 17, 2015 at 7:30PM
Camperdown Cinema
Please contact the local board for directions.
Screenings are overbooked to 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 that time of year again! Pursuant to the VES Section bylaws, the VES NZ section will be meeting on Thursday 19 February to elect our board members for 2014. All members are encouraged to attend! This meeting will also serve as the local section’s AGM.
If you have any thoughts about the VES or the NZ Section that you want to discuss at the meeting let us know and we can add it to the agenda.
And if you would like to play a more active role in the Section’s activities over the coming year, why not put yourself forward for a position on the board? If you would like to stand for election please let me know or just turn up on the night.
We will meet at 7:30 pm in the Camperdown Cinema. Wine and nibbles will be provided! We want this to be a fun social get-together as well as an opportunity to conduct some necessary board business. It would be great to get numbers in advance so please rsvp below.
VES NZ Section board member elections and AGM
7:30 pm Thursday 19th February
Camperdown Cinema
As always, if you need directions to the cinema, please email ves-nz-board@googlegroups.com
It’s that time of year again! Pursuant to the VES Section bylaws, the VES NZ section will be meeting on Thursday 19 February to elect our board members for 2014. All members are encouraged to attend! This meeting will also serve as the local section’s AGM.
If you have any thoughts about the VES or the NZ Section that you want to discuss at the meeting let us know and we can add it to the agenda.
And if you would like to play a more active role in the Section’s activities over the coming year, why not put yourself forward for a position on the board? If you would like to stand for election please let me know or just turn up on the night.
We will meet at 7:30 pm in the Camperdown Cinema. Wine and nibbles will be provided! We want this to be a fun social get-together as well as an opportunity to conduct some necessary board business. It would be great to get numbers in advance so please rsvp below.
VES NZ Section board member elections and AGM
7:30 pm Thursday 19th February
Camperdown Cinema
As always, if you need directions to the cinema, please email ves-nz-board@googlegroups.com
To celebrate the VES awards and to have a post-awards chinwag about the results, on Sunday the 8th we are holding a post-awards BBQ at Worser Bay.
This family friendly event will start at 1pm at the boat club end of Worser Bay. We’ll be providing sausages, bread, condiments and a few other bits and pieces as well as some drinks, so please BYO any particular drinks, foods and extras you want. Don’t forget your sunscreen and bring your togs if it’s hot!
Sunday the 8th, 1pm to 4pm
Worser Bay, Wellington
It looks like it will be wind, but if it turns out it’s too windy on the day (current forcast is for strong Northerlies), the bad weater plan is to meet at Gasworks instead.
On behalf of The Weinstein Company and local distributor Roadshow Films we are pleased to invite you and your guest to the following special preview screenings:
BIG EYES starring Amy Adams and Christoph Waltz
time + date: 10am Sunday 4 January
venue: Reading Courtenay Place Cinemas
Wellington
From the whimsical mind of director Tim Burton, Big Eyes tells the outrageous true story of one of the most epic art frauds in history.
In the late 1950s and early 1960s, painter Walter Keane (Christoph Waltz) had reached success beyond belief, revolutionising the commercialisation of popular art with his enigmatic paintings of waifs with bigeyes. The bizarre and shocking truth would eventually be discovered: Walter’s works were actually not created by him at all, but by his wife Margaret (Amy Adams). The Keanes, it seemed, had been living a colossal lie that had fooled the entire world.
A tale too incredible to be fiction, Big Eyescenters on Margaret’s awakening as an artist, the phenomenal success of her paintings, and her tumultuous relationship with her husband, who was catapulted to international fame while taking credit for her work.
Big Eyes is in New Zealand cinemas on January 29 2015.
On behalf of The Weinstein Company and local distributor Roadshow Films we are pleased to invite you and your guest to the following special preview screening:
THE IMITATION GAME starring Benedict Cumberbatch with Keira Knightly, Charles Dance and Matthew Goode
time + date: 10am Saturday 3 January
venue: Reading Courtenay Place Cinemas
Wellington
In The Imitation Game, Benedict Cumberbatch stars as Alan Turing, the genius British mathematician, logician, cryptologist and computer scientist who led the charge to crack the German Enigma Code that helped the Allies win WWII. Turing went on to assist with the development of computers at the University of Manchester after the war, but was prosecuted by the UK government in 1952 for homosexual acts which the country deemed illegal.
The Imitation Game is directed by Morten Tyldum and is in New Zealand cinemas on January 8 2015.
On behalf of The Weinstein Company and Roadshow Film Distributors I am pleased to be able to invite you and your guest to a special advance screening of The Imitation Game directed by Morten Tyldum from a screenplay by Graham Moore adapted from the book Alan Turing: The Enigma by Andrew Hodges.
PLEASE NOTE: RSVP’s are COMPULSORY- THIS IS NOT A VES ORGANISED EVENT- LACK OF CONFIRMED RSVP WILL RESULT IN NON-ADMITTANCE.
In The Imitation Game, Benedict Cumberbatch stars as Alan Turing, the genius British mathematician, logician, cryptologist and computer scientist who led the charge to crack the German Enigma Code that helped the Allies win WWII. Turing went on to assist with the development of computers at the University of Manchester after the war, but was prosecuted by the UK government in 1952 for homosexual acts which the country deemed illegal.
The Imitation Game was produced by Nora Grossman, Ido Ostrowsky and Teddy Schwarzman with Cinematographer Oscar Faura, Composer Alexandre Desplat and editor William Goldenburg. Cumberbatch stars with key cast Keira Knightly, Charles Dance and Matthew Goode.
New Zealand VES Members and a guest are invited to a very special screening.
How to Train your Dragon 2
Followed by a Live Q&A with Dean DeBlois- Director
Light refreshments will be on offer- (wine/nibbles)
This is a strict RSVP event due to limited numbers, acadamy guests & guests of Dean.
At this point in time we can only offer +1 guest.
Should you wish to bring your children please send an email to rsvp@vesnz.com and should additional seats become available we will try to accomodate should there be spare seats available.
Please RSVP Below Sunday, November 23, 2014 at 11:00AM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Section Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
New Zealand VES Members And A Guest Are Invited To A Screening Of Paramount Pictures’ INTERSTELLAR
Please RSVP Below Saturday, November 22, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Section Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of The Weinstein Company and Roadshow Film Distributors I am pleased to be able to invite you and your guest to a special advance screening of The Imitation Game directed by Morten Tyldum from a screenplay by Graham Moore adapted from the book Alan Turing: The Enigma by Andrew Hodges.
PLEASE NOTE: RSVP’s are COMPULSORY- THIS IS NOT A VES ORGANISED EVENT- LACK OF CONFIRMED RSVP WILL RESULT IN NON-ADMITTANCE.
THIS IS A SECURITY SCREENING DUE TO THIS BEING PRE-RELEASE.
PLEASE DO NOT BRING ANY RECORDING DEVICES.
PHONES ARE ACCEPTABLE BUT WE WOULD PREFER IF THESE WERE AVOIDED IF POSSIBLE.
In The Imitation Game, Benedict Cumberbatch stars as Alan Turing, the genius British mathematician, logician, cryptologist and computer scientist who led the charge to crack the German Enigma Code that helped the Allies win WWII. Turing went on to assist with the development of computers at the University of Manchester after the war, but was prosecuted by the UK government in 1952 for homosexual acts which the country deemed illegal.
The Imitation Game was produced by Nora Grossman, Ido Ostrowsky and Teddy Schwarzman with Cinematographer Oscar Faura, Composer Alexandre Desplat and editor William Goldenburg. Cumberbatch stars with key cast Keira Knightly, Charles Dance and Matthew Goode.
On behalf of The Weinstein Company and local distributor Roadshow Films I am pleased to invited you and your guest to the Wellington preview screening of St. Vincent starring Bill Murray, Naomi Watts and Melissa McCarthy.
PLEASE NOTE: RSVP’s are COMPULSORY- THIS IS NOT A VES ORGANISED EVENT- LACK OF CONFIRMED RSVP WILL RESULT IN NON-ADMITTANCE.
In St. Vincent, Maggie (Melissa McCarthy), a single mother, moves into a new home in Brooklyn with her 12-year old son, Oliver (Jaeden Lieberher). Forced to work long hours, she has
no choice but to leave Oliver in the care of their new neighbor, Vincent (Bill Murray), a retired curmudgeon with a penchant for alcohol and gambling. An odd friendship soon blossoms
between the improbable pair. Together with a pregnant stripper named Daka (Naomi Watts), Vincent brings Oliver along on all the stops that make up his daily routine – the race track, a strip club,
and the local dive bar. Vincent helps Oliver grow to become a man, while Oliver begins to see in Vincent something that no one else is able to: a misunderstood man with a good heart.
St. Vincent is directed by Theodore Melfi from his own screenplay.For further information on the film please visit http://stvincentfilm.com
New Zealand VES Members And A Guests Are Invited To A Screening Of Sony Pictures Entertainment & Columbia Pictures’ FURY
Please RSVP Below Friday, October 24, 2014 at 7:30PM
Camperdown Cinema
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
On behalf of IFC Films and local distributor Universal Pictures International and with the generous participation of Reading Courtenay Place VES Members are invited to a special screening of Richard Linklater’sBoyhood.
This event has been organised by the distributors and requires an RSVP direct to them in order to secure access/a seat.
Boyhood– a fictional drama made with the same group of actors over a 12 year period from 2002-2013 – takes a one of a kind trip, at once epic and intimate, through the exhilaration of childhood, the seismic shifts of a modern family and the very passage of time. The film tracks 6 year-old Mason (Ellar Coltrane) over life’s most radically fluctuating decade, through a familiar whirl of family moves, family controversies, faltering marriages, re-marriages, new schools, first loves, lost loves, good times, scary times and a constantly unfolding mix of heartbreak and wonder. But the results are unpredictable, as one moment braids into the next, entwining into a deeply personal experience of the incidents that shape us as we grow up and the ever-changing nature of our lives. As the story begins, dreamy-eyed primary schooler Mason faces upheaval: his devoted, struggling, single mother Olivia (Patricia Arquette)has decided to move him and older sisterSamantha (Lorelei Linklater) to Houston – just as their long absent father Mason Sr. (Ethan Hawke) returns from Alaska to re-enter their world. Thus begins life’s non-stop flux. Yet through a tide of parents and stepparents, girls, teachers and bosses, dangers, yearnings and creative passions, Mason emerges to head down his own road.
Written and directed byRichard Linklaterand produced byLinklater,Jonathan Sehring,John SlossandCathleen Sutherland. Cinematography byLee DanielandShane F Kelly,Edited bySandra Adairwith Production Design byRodney BeckerandGay Studebaker.
Kiwi Shorts V When: Tue Sep 09, 2014 07:30pm to 07:30pm PDT
The New Zealand VES Section invites members and non-members to our fifth screening of Kiwi Shorts.
(A special thanks to the New Zealand Film Commission for their continued support!)
Please join us to celebrate & enjoy 8 kiwi short films including a unique opportunity for a Q&A session with some of the film makers afterwards.
As always, the event will be hosted at Camperdown Cinema, if you require directions, please let us know
Please RSVP below.
Queenie (director Paul Neason, writers Sam Burt/Jeremy Liss)
Danny, a university Geography tutor in his 30s, embarks on a cutting edge academic project which has nothing to do with his ex-wife.
Blankets (director Louise Leitch, writer Casey Whelan, Producer Melissa Dodds)
What would you do for love? Jack spends an afternoon alone in his room, reliving the magic of a teenage love story and the tragic events that threaten to tear it apart. As he considers his world without his girl, he is left questioning what it really means to do the right thing.
Warbrick (director/writers Meihana Durie & Peter Durie, producer Mina Mathieson)
This short follows Joe Warbrick (Calvin Tuteao), captain of the New Zealand Natives rugby team, as he tries to rouse his battle-weary players to head unto the breach once more, for a test against England. It’s midwinter during the trailblazing 1888-89 tour (17 months and a staggering 107 matches) that left a black jersey and silver fern legacy. In a changing room that resembles a casualty ward, Warbrick draws breath and leads a stirring haka. Made by brothers Pere and Meihana Durie, Warbrick inspired the All Blacks the day before a 33-6 demolition of Australia in 2009.
Day Trip (director Zoe McIntosh, writer Costa Botes/Bill Payne, Producer Costa Botes/Gareth Moon)
A gang member wakes up one morning and decides he needs a day off. Inspired by a newspaper advertisement he impulsively decides to take a short ferry trip between islands. With his tattooed face, black leather clothing, and prominent gang patch, the gangster is a fish out of water when he arrives in the idyllic small port town of Picton. The experience he has there will change his outlook on life forever.
Double Happy (director/writer Shahir Daud, producers Shivali Gulab & Andrew Brettell)
This short film finds four 90s teenagers caught in the vicissitudes of growing up in Hutt Valley suburbia. Rising tensions during a day hanging out at the local park see misfit Rory ignite a cracker bag of cravings for belonging, furtive sexual feelings, violence, racism and boredom. The combustive results of his misdirected teen spirit give the film’s title a grim irony. Fijian-born director Shahir Daud based the story loosely on his own teen experiences; Double Happy screened at Montreal Film Festival and was a Short of the Week website pick in May 2011
Ebony Society (writer/director Tammy Davis, producers Ainsley Gardiner & Chelsea Winstanley)
Vinnie and his friend Jonah spend their nights on the streets of South Auckland tagging and stealing. One night Vinnie has had enough. He tries to break away from his overbearing friend but is drawn back in when Jonah threatens and humiliates him. When they break into a house and find themselves confronted with an unexpected situation it will be a test of their friendship, forcing Vinnie to take the lead and show Jonah another way.
Snow in Paradise (director/writer Nikki Si’ulepa & Justine Simei-Barton, producer Paul Simei-Barton)
A snapshot of life on a remote, picturesque island in the south Pacific through the eyes of a young Polynesian girl. As she ventures out on her daily routine she encounters the familiar faces of her family and the small community that she loves. Like her, they are all unsuspecting of the devastating power that lies beyond the ocean reef in a nuclear testing facility. In one moment her world will change forever.
Meathead (director/writer Sam Holst, producer Desray Armstrong/Chelsea Winstanley)
In this award-winning short film Michael is a 17-year-old who gets the abattoir blues during his first day at ‘the works’. Fitting in turns out to be the least of Michael’s worries as young blood is welcomed on the line in the old fashioned way, and rite of passage is interpreted literally to meaty effect. Meathead was filmed at the Wallace Meat plant in Waitoa. Based on the true story of a mate of his, director Sam Holst’s debut short was selected for Cannes and won the Crystal Bear in the Generation (14plus) section of the 2012 Berlin Film Festival.
New Zealand VES Members And A Guests Are Invited To A 3D Screening Of Marvel Studios’ And Walt Disney Pictures’ GUARDIANS OF THE GALAXY
Please RSVP Below Wednesday, August 13, 2014 at 7:30PM
Park Road Post Cinema
141 Park Rd, Miramar, Wellington Click here for a map.
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to 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 New Zealand Chapter’s social night is coming up at CGR Merchants on the Thursday the 7th of August. Come on down to meet your fellow VES members, find out more about the people in our local chapter while sipping some of CGR Merchant’s infused gins and rums.
You may be asking where CGR Merchants is – it’s one of Courtney Places’s hidden gems. Tucked away up the stairs above Cafe Baba, this place infuses spirits to create its unique drinks.
Intimate and laid back, come and talk shop in and make a Thursday night special! RSVPs are open! Plus ones available to bring your partner or a friend who’s interested in joining the VES.
Can’t wait to see you there
(the earlybirds get the bar tab)!
New Zealand VES Members And A Guests Are Invited To A 3D Screening Of 20th Century Fox’s DAWN OF THE PLANET OF THE APES
Please RSVP Below Friday, July 11, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to 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 Zealand VES Members And A Guests Are Invited To A 3D Screening Of Paramount Pictures’ TRANSFORMERS: AGE OF EXTINCTION
Please RSVP Below Monday, July 7, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
NZCS, CODEX and PARK ROAD POST invite NZCS members to an informative evening
When: June 30, 2014 6pm to 8:30pm Where: Park Road Post, 141 Park Road, Miramar Wellington Please RSVP – events@nzcine.com or Kevin on 027 2939059
Come see the Codex Vault and the new Codex Action CAM. We will have a brief presentation and then hands on time.
The frenetic pace of a TV production, the quick turnaround of a commercial, the longer production cycle of a feature film– no matter what type of project you’re making, Codex Vault can streamline your production and simplify your workflow. Vault brings your digital negative into one standard, secure workflow, saving you time and money and protecting your valuable asset. And now featuring CODEX REVIEW – superfast GPU processing for dailies, playback to an HD or 4K monitor and QC and color tools.
Introducing the Codex Action CAM – the small camera with a big workflow. Whether you’re making commercials, TV or movies, sometimes your camera package is just too big for the situation or location you’re trying to shoot in.
Enter Codex Action CAM…A complete shooting, capture, transcoding and data management solution for situations that require a compact form factor and low weight. Codex Action CAM itself is a tiny remote head camera for shooting at up to 60fps. It comes with the Codex Camera Control Recorder, providing full remote control of the camera, plus the proven workflow of the industry-standard Codex recorder.
New Zealand VES Members And A Guest Are Invited To A 3D Screening Of Warner Bros. Pictures’ EDGE OF TOMORROW
Please RSVP Below Thursday, June 19, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
One (1) guest maximum per member, and guests must be accompanied by the member.
To release tickets or for ticketing problems please e-mail rsvp@vesnz.com.
Screenings are overbooked to 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 Zealand VES Members & Guests Are Invited To A 3D Screening Of Walt Disney Pictures’ MALEFICENT
Please RSVP Below Tuesday, June 10, 2014 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board member.)
Screenings are overbooked to 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 Zealand VES Members & Guests Are Invited To A 3D Screening Of 20th Century Fox’s X-MEN: DAYS OF FUTURE PAST
Click here to RSVP
Monday, May 26, 2014 at 7:30PM
The Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board-member.)
Screenings are overbooked to 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 Zealand VES Members & Guests Are Invited To A 3D Screening Of Columbia Pictures’ The Amazing Spiderman 2- 3D
Click here to RSVP
Friday, May 09, 2014 at 7:30PM
The Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board-member.)
Screenings are overbooked to 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 Zealand VES Members & Their Guests Are Invited To An Opening Night Screening Of Universal Pictures’
OBLIVION
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Board-member.)
Please tweet your questions after the screening to the panel that will take place the next day in Los Angeles. Panelists so far will include Visual Effects Supervisors Eric Barba and Björn Mayer, Visual Effects Producer for Pixomondo Fiona Westgate, Animation Supervisor for Digital Domain Steve Preeg, and CG Supervisor for Pixomondo Gavyn Thompson, and will be moderated by VES member Gene Kozicki. (be sure to include the hashtag, #vesoblivion, in your tweet.) VES members will be notified when the panel video is available on the site.
With an introduction by VFX Supervisor Joe Letteri plus live interactive Q&A with the VFX team from Weta Digital
Panelists will include Visual Effects Supervisors Eric Saindon & Matt Aitken, Animation Supervisor David Clayton and will be moderated by a VES New Zealand Board-member to be announced.
Sunday, December 16, 2012 at 2:00PM
The Camperdown Cinema
(If you require directions, please contact a VES New Zealand Board-member.)
Please tweet your questions after the screening in order to participate in the live interactive Q&A panel (which will take place at Weta Digital in New Zealand) immediately following the North American and Sydney screenings. (be sure to include our Twitter handle, @vesben, in your tweet.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(If you require directions, please ask a local VES New Zealand Board-member.)
Screenings are overbooked to 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 recorded 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.
Thursday, December 13, 2012 at 7:30PM
Camperdown Cinema
(If you require directions, please ask a VES New Zealand Boardmember)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(If you require directions, please contact a VES New Zealand Board-member.)
Screenings are overbooked to compensate for no-shows. Seating is limited and will be available on a first come, first served basis. An RSVP does not guarantee seating.
(If you require directions, please aske a local VES New Zealand Board-member.)
Screenings are overbooked to 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 Zealand VES Members And Their Families
Are Invited To Attend A Screening Of
20th Century Fox’s
PROMETHEUS
Followed by recorded Q&A w/ overall VFX Supervisor Richard Stammers and MPC VFX Supervisor Charley Henley Moderated by VES London Boardmember Nicola Instone.
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This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".
cookielawinfo-checbox-functional
11 months
The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".
cookielawinfo-checbox-others
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.
cookielawinfo-checkbox-necessary
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".
cookielawinfo-checkbox-performance
11 months
This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".
viewed_cookie_policy
11 months
The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.