Disney’s “The Lion King” was the big VFX winner Wednesday at the 18th annual Ves Awards at the Beverly Hilton, grabbing three prizes. Meanwhile. Martin Scorsese’s “The Irishman” won for supporting VFX and feature compositing.
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
This now gives the edge to “The Lion King” (supervised by three-time Oscar winner Rob Legato) in the VFX Oscar race. Jon Favreau’s breakthrough virtual production and faux live-action aesthetic was due to Mpc Film’s accomplished photoreal animation. Of course, “The Irishman” has been given a boost, too. And we shouldn’t count out “Avengers: Endgame,” seeking to become the first Marvel movie to win the VFX Oscar, even though it came away empty-handed for its extraordinary end battle and outstanding character work on Thanos and Smart Hulk.
Laika’s stop-motion “Missing Link,” the Golden Globe animation winner, took two awards (VFX for animated feature and the Susan Sasquatch animated character...
- 1/30/2020
- by Bill Desowitz
- Indiewire
“The Lion King,” the Disney “live-action” remake that is made up almost entirely of computer-generated characters and backgrounds, has won three awards at the Visual Effects Society’s 18th annual Ves Awards, which were handed out Wednesday night in Los Angeles.
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
The film won for its virtual cinematography and created environment, and also took the award for Outstanding Visual Effects in a Photoreal Feature, the Ves category that corresponds most closely to the Academy Awards’ Best Visual Effects category.
“The Irishman,” with its extensive use of de-aging technology, won two awards, including Outstanding Supporting Effects in a Photoreal Feature. “Missing Link” was the top animated feature with two awards.
Also Read: 'The Lion King' Crosses $500 Million Domestic, Will Soon Pass 'Beauty and the Beast'
In the television categories, “Stranger Things” and “Game of Thrones” each received a pair of awards. So did “The Mandalorian” — including one for “The Child,...
- 1/30/2020
- by Steve Pond
- The Wrap
Though it might seem like just any other puppet you’d find at the Laika stop-motion animation studio, its hardest challenge yet was creating the furry, plump and bright orange monster that became the title character of their latest film “Missing Link.”
The team of stop motion animators had to determine how to make Link’s belly jiggle as it walked, how to stretch its arms, and how its fur should move in the wind. And like any troublesome actor, that often meant this diva of a puppet frequently showed up late to set.
“This little avocado with a face is the most complicated thing we’ve ever created at the studio,” Brian McLean, Laika’s director of rapid prototyping told TheWrap’s Steve Pond following a screening of “Missing Link” at the Landmark Theatres in Los Angeles. “His simple shape and silhouette was really difficult to figure out how...
The team of stop motion animators had to determine how to make Link’s belly jiggle as it walked, how to stretch its arms, and how its fur should move in the wind. And like any troublesome actor, that often meant this diva of a puppet frequently showed up late to set.
“This little avocado with a face is the most complicated thing we’ve ever created at the studio,” Brian McLean, Laika’s director of rapid prototyping told TheWrap’s Steve Pond following a screening of “Missing Link” at the Landmark Theatres in Los Angeles. “His simple shape and silhouette was really difficult to figure out how...
- 10/20/2019
- by Brian Welk
- The Wrap
With “Missing Link”, Laika shifts gears for its fifth stop-motion feature, getting more playful yet more epic with the help of its game-changing tech. It’s a Victorian buddy comedy-adventure about explorer Sir Lionel Frost (Hugh Jackman) and a Sasquatch named Mr. Link (Zach Galifianakis) embarking on a globetrotting quest in search of the legendary Shangri-La, home of Link’s ancestry. They team up with adventurer Adelina Fortnight (Zoe Saldana), who possesses the only known map to their secret destination.
For director Chris Butler (“ParaNorman”), it meant “stepping out of the shadows and embracing that colorful, wide open space kind of palette,” he said. “I think stop-motion often has this connotation of making creepy or dark kinds of stories. And there have been some great ones and we’ve made some great ones, but I don’t think that’s all it can do. For years, I’ve wanted to...
For director Chris Butler (“ParaNorman”), it meant “stepping out of the shadows and embracing that colorful, wide open space kind of palette,” he said. “I think stop-motion often has this connotation of making creepy or dark kinds of stories. And there have been some great ones and we’ve made some great ones, but I don’t think that’s all it can do. For years, I’ve wanted to...
- 4/5/2019
- by Bill Desowitz
- Indiewire
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