“Facing It,” a claymation/live-action film about how relationships mold people, has won the 2019 View Conference Award for best short film. The film was written and directed by Sam Gainsborough and co-written by Louisa Wood and produced at the National Film and Television School’s Beaconsfield Studio in Beaconsfield, U.K.
The View Awards are an offshoot of Italy’s View Conference, held each October. View, which stands for Virtual Interactive Emerging World, draws top talent in visual effects, animation, gaming, virtual reality, augmented reality and mixed reality to its weeklong conferences to give talks, participate in panels and hold master classes.
Other award winners are “Trois Francs, Six Sous,” a 3D-animated short about a farmer in World War II France by co-directors Clémence Ottevaere, Florence Blain, Louise Leblond, Varoon Indalkar, Morgane Ladjel and Hugo Valdelièvre-Rattier, which won the jury prize for story; “Blieschow,” a short written and directed by Christoph Sarow and animated,...
The View Awards are an offshoot of Italy’s View Conference, held each October. View, which stands for Virtual Interactive Emerging World, draws top talent in visual effects, animation, gaming, virtual reality, augmented reality and mixed reality to its weeklong conferences to give talks, participate in panels and hold master classes.
Other award winners are “Trois Francs, Six Sous,” a 3D-animated short about a farmer in World War II France by co-directors Clémence Ottevaere, Florence Blain, Louise Leblond, Varoon Indalkar, Morgane Ladjel and Hugo Valdelièvre-Rattier, which won the jury prize for story; “Blieschow,” a short written and directed by Christoph Sarow and animated,...
- 11/22/2019
- by Terry Flores
- Variety Film + TV
Dean DeBlois, director and executive producer of DreamWorks Animation’s “How to Train Your Dragon: The Hidden World,” and Pubg Corporation CEO Ch Kim are the first keynote speakers announced for the 2019 View Conference in Turin, Italy, in October.
Since it began 12 years ago, View, which stands for Virtual Interactive Emerging World, has continually attracted a who’s-who of luminaries in visual effects, animation, gaming, virtual reality, augmented reality and mixed reality to the weeklong conference to give talks, participate in panels and hold master classes.
Other speakers lined up so far include “Spider-Man: Into the Spider-Verse” visual effects supervisor Danny Dimian; Pixar’s global technology supervisor William Reeves; National Film Board of Canada’s Michael Fukushima; Guerrilla Games’ Jan-Bart van Beek; Google Vr and USC professor Paul Debevec; Milan Jovovic of Serbian game studio Nordeus; and Rovio’s Jack M. Gibson.
“I’m excited to reveal a stellar group...
Since it began 12 years ago, View, which stands for Virtual Interactive Emerging World, has continually attracted a who’s-who of luminaries in visual effects, animation, gaming, virtual reality, augmented reality and mixed reality to the weeklong conference to give talks, participate in panels and hold master classes.
Other speakers lined up so far include “Spider-Man: Into the Spider-Verse” visual effects supervisor Danny Dimian; Pixar’s global technology supervisor William Reeves; National Film Board of Canada’s Michael Fukushima; Guerrilla Games’ Jan-Bart van Beek; Google Vr and USC professor Paul Debevec; Milan Jovovic of Serbian game studio Nordeus; and Rovio’s Jack M. Gibson.
“I’m excited to reveal a stellar group...
- 5/24/2019
- by Terry Flores
- Variety Film + TV
Sony Pictures has released a wonderful behind-the-scenes featurette for one of the best films of 2018, Spider-Man: Into The Spider-Verse. The featurette puts a focus on the art of the film, which was spectacular in every way! The visual style was one of my favorite aspects of the film because it was so freakin’ fun, cool, and unique.
Visual effects supervisor Danny Dimian explains, “One thing we wanted to do with this movie was bring the hand of the artist back, bring line drawings back into it… Basically bring more of the art back into it.”
The head of animation Josh Beverage goes on to say, “[We decided] that we were going to prioritize good taste over accuracy. And accuracy is one of those things that computers do really well, and people are better at good taste. Sometimes having things miss a line or feel slightly imbalanced is appealing and adds to the design.
Visual effects supervisor Danny Dimian explains, “One thing we wanted to do with this movie was bring the hand of the artist back, bring line drawings back into it… Basically bring more of the art back into it.”
The head of animation Josh Beverage goes on to say, “[We decided] that we were going to prioritize good taste over accuracy. And accuracy is one of those things that computers do really well, and people are better at good taste. Sometimes having things miss a line or feel slightly imbalanced is appealing and adds to the design.
- 2/19/2019
- by Joey Paur
- GeekTyrant
The well-worn superhero genre and one of its best-known icons are unlikely vehicles for creating a visually fresh animated feature. But Sony Pictures Animation’s work on the Oscar-nominated animated feature “Spider-Man: Into the Spider-Verse” shows throwing out the rule book and letting everyone play in the creative sandbox can pay off big.
“I think we all had one boss, and that boss is the movie,” says head of character animation Josh Beveridge, who oversaw just over 180 animators working mostly out of Sony Pictures Imageworks’ Vancouver facility.
Seeking to replicate on screen the graphic style of comic book art and illustration using everything from ink lines and half-tone dots to multi-panel images, Beveridge says the movie was animated almost entirely “on twos.” That typically refers to holding a single image for two frames instead of one so only 12 are required to produce one second of film, but it meant many things on this film.
“I think we all had one boss, and that boss is the movie,” says head of character animation Josh Beveridge, who oversaw just over 180 animators working mostly out of Sony Pictures Imageworks’ Vancouver facility.
Seeking to replicate on screen the graphic style of comic book art and illustration using everything from ink lines and half-tone dots to multi-panel images, Beveridge says the movie was animated almost entirely “on twos.” That typically refers to holding a single image for two frames instead of one so only 12 are required to produce one second of film, but it meant many things on this film.
- 2/16/2019
- by Thomas J. McLean
- Variety Film + TV
“Spider-Man: Into the Spider-Verse” is on quite an awards roll (sweeping the animated Ves categories for VFX on Tuesday), and so is its architect, production designer Justin Thompson, who last weekend picked up Annie and Art Directors Guild nods for his innovative work.
Oscar glory still awaits, but it all began with a vision by producers Phil Lord and Chris Miller to make an experimental moving comic that introduced Miles Morales — the first Spidey of color — while breaking the rules of animation at Sony Pictures Imageworks.
Read More: 2019 Oscars: Best Animated Feature Predictions
And the producers recruited their go-to production designer to help execute their ambitious vision: “As somebody obsessed with comics my whole life, I had seen films translated from comics and I always thought something got lost in the translation,” said Thompson. “So I thought it would be amazing to make a movie from Miles Morales’ point of view,...
Oscar glory still awaits, but it all began with a vision by producers Phil Lord and Chris Miller to make an experimental moving comic that introduced Miles Morales — the first Spidey of color — while breaking the rules of animation at Sony Pictures Imageworks.
Read More: 2019 Oscars: Best Animated Feature Predictions
And the producers recruited their go-to production designer to help execute their ambitious vision: “As somebody obsessed with comics my whole life, I had seen films translated from comics and I always thought something got lost in the translation,” said Thompson. “So I thought it would be amazing to make a movie from Miles Morales’ point of view,...
- 2/7/2019
- by Bill Desowitz
- Indiewire
Last night, the 17th annual Visual Effects Society Awards were held. The gala represented a moment to honor some of the types of films that don’t usually get cited during the precursor season. Mostly, it’s an opportunity to see which movie or movies are the frontrunners in the Best Visual Effects category at the Oscars. Even beyond the Academy Awards, it’s just a perfect time to honor the craftsmen and craftswomen who do the sort of work that’s too often overlooked. So, even though the Academy voters are looking at this for one specific reason, there’s multiple reasons to take interest in the Ves results from yesterday. Below you can see all of the Ves victors, though leading the way was Avengers: Infinity War and Spider-Man: Into the Spider-Verse, with four wins each. The former actually took the top honor of the night, which is...
- 2/6/2019
- by Joey Magidson
- Hollywoodnews.com
Ves Awards 2019: ‘Avengers: Infinity War’ and ‘Spider-Man: Into the Spider-Verse’ Win Top VFX Prizes
Marvel’s “Avengers: Infinity War” was the big VFX winner at the 17th annual Ves Awards Tuesday at the Beverly Hilton, grabbing four prizes, including photoreal feature. And Sony’s animated Oscar favorite, “Spider-Man: Into the Spider-Verse,” also scored four awards, including animated feature.
While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.
“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.
On the TV side,...
While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.
“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.
On the TV side,...
- 2/6/2019
- by Bill Desowitz
- Indiewire
It was a great night for Marvel at the 17th annual Visual Effects Society Awards on Tuesday night. The comic book publisher’s wares led the film fields, with “Avengers: Infinity War” and “Spider-Man: Into the Spider-Verse” nabbing four wins apiece.
“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”
“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.
On the television side, Netflix’s “Lost in Space” dominated with four wins as well.
“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...
“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”
“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.
On the television side, Netflix’s “Lost in Space” dominated with four wins as well.
“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...
- 2/6/2019
- by Kristopher Tapley
- Variety Film + TV
The 17th annual Ves Awards are being handed out tonight at the Beverly Hilton in Los Angeles, and Deadline will be live-blogging the affair and updating the winners list live. Patton Oswalt is hosting the Visual Effects Society’s gala, which celebrates the best VFX artistry and innovation in film, animation, TV, commercials and video games across 24 categories.
The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.
The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.
- 2/6/2019
- by Erik Pedersen
- Deadline Film + TV
The Visual Effects Society announced nominees for the organization’s 17th annual awards on Tuesday.
Leading the way in the film and TV fields, respectively, were Marvel’s “Avengers: Infinity War” and Netflix’s “Lost in Space.” Each picked up six nominations. Pixar’s “Incredibles 2” received the most nominations among animated feature contenders with five.
“Ready Player One” also landed five nominations, while “Jurassic World: Fallen Kingdom,” “Solo: A Star Wars Story,” and “Welcome to Marwen” each earned three. “Christopher Robin” and “First Man” picked up a pair apiece, while “Ant Man and the Wasp” landed one. Those films joined “Avengers: Infinity War” on the Academy’s list of 10 semifinalists for the category, each of which displayed their wares at the organization’s annual Visual Effects Bake-Off on Jan. 5.
Notably, Marvel’s “Black Panther” and Disney’s “Mary Poppins Returns” — the final two films on the Academy’s bake-off...
Leading the way in the film and TV fields, respectively, were Marvel’s “Avengers: Infinity War” and Netflix’s “Lost in Space.” Each picked up six nominations. Pixar’s “Incredibles 2” received the most nominations among animated feature contenders with five.
“Ready Player One” also landed five nominations, while “Jurassic World: Fallen Kingdom,” “Solo: A Star Wars Story,” and “Welcome to Marwen” each earned three. “Christopher Robin” and “First Man” picked up a pair apiece, while “Ant Man and the Wasp” landed one. Those films joined “Avengers: Infinity War” on the Academy’s list of 10 semifinalists for the category, each of which displayed their wares at the organization’s annual Visual Effects Bake-Off on Jan. 5.
Notably, Marvel’s “Black Panther” and Disney’s “Mary Poppins Returns” — the final two films on the Academy’s bake-off...
- 1/15/2019
- by Kristopher Tapley
- Variety Film + TV
The Visual Effects Society has revealed nominations for the 17th annual Ves Awards, which will recognize the best VFX artistry and innovation in film, animation, TV, commercials and video games.
Disney/Marvel’s Avengers: Infinity Wars and Netflix’s Lost In Space lead the film and TV categories this year with six nominations, respectively. Disney/Pixar’s Incredibles 2 tops the animation field with five noms.
Winners will be announced during a ceremony February 5 at the Beverly Hilton hosted by Patton Oswalt. Also at the gala, the annual Ves Visionary Award will be presented to Westworld‘s Jonathan Nolan, while the Ves Award for Creative Excellence will be presented to Game of Thrones masterminds David Benioff and D.B. Weiss.
Here are the nominees announced Tuesday in 24 categories:
Outstanding Visual Effects in a Photoreal Feature
Avengers: Infinity War
Daniel DeLeeuw
Jen Underdahl
Kelly Port
Matt Aitken
Daniel Sudick
Christopher Robin
Chris Lawrence...
Disney/Marvel’s Avengers: Infinity Wars and Netflix’s Lost In Space lead the film and TV categories this year with six nominations, respectively. Disney/Pixar’s Incredibles 2 tops the animation field with five noms.
Winners will be announced during a ceremony February 5 at the Beverly Hilton hosted by Patton Oswalt. Also at the gala, the annual Ves Visionary Award will be presented to Westworld‘s Jonathan Nolan, while the Ves Award for Creative Excellence will be presented to Game of Thrones masterminds David Benioff and D.B. Weiss.
Here are the nominees announced Tuesday in 24 categories:
Outstanding Visual Effects in a Photoreal Feature
Avengers: Infinity War
Daniel DeLeeuw
Jen Underdahl
Kelly Port
Matt Aitken
Daniel Sudick
Christopher Robin
Chris Lawrence...
- 1/15/2019
- by Patrick Hipes
- Deadline Film + TV
While “Avengers: Infinity War” topped the 17th annual Ves Awards (to be held February 5th at the Beverly Hilton Hotel) with six nominations, “Black Panther,” Marvel’s other Oscar frontrunner, was shut out. And Damien Chazelle’s acclaimed “First Man,” another frontrunner, was included in the supporting category as a result of its invisible VFX. Disney’s “Mary Poppins Returns,” meanwhile, was also snubbed.
However, joining “Infinity War” in the top VFX category were a surprising list: “Ready Player One” (with five nominations), “Solo: A Star Wars Story,” “Christopher Robin” and “Welcome to Marwen.” Joining “First Man” for supporting VFX were “12 Strong,” Bird Box,” “Bohemian Rhapsody,” and “Outlaw King”.
In animation, Pixar’s “Incredibles 2” was the big winner with five nominations, followed by Sony’s “Spider-Man: Into the Spider-Verse” and Disney’s “Ralph Breaks the Internet” with four. They were joined by Illumination’s “The Grinch” and Wes Anderson’s “Isle of Dogs.
However, joining “Infinity War” in the top VFX category were a surprising list: “Ready Player One” (with five nominations), “Solo: A Star Wars Story,” “Christopher Robin” and “Welcome to Marwen.” Joining “First Man” for supporting VFX were “12 Strong,” Bird Box,” “Bohemian Rhapsody,” and “Outlaw King”.
In animation, Pixar’s “Incredibles 2” was the big winner with five nominations, followed by Sony’s “Spider-Man: Into the Spider-Verse” and Disney’s “Ralph Breaks the Internet” with four. They were joined by Illumination’s “The Grinch” and Wes Anderson’s “Isle of Dogs.
- 1/15/2019
- by Bill Desowitz
- Indiewire
One of the reasons why “Spider-Man: Into the Spider-Verse” has become an Oscar contender and the most honored animated feature this season is because of its bold, innovative style. In bringing Miles Morales to the big screen, producers Phil Lord and Chris Miller wanted to break the rules of animation by making a moving comic book.
The producers supplied the vision, assembling a trio of talented directors and an impressive voice cast (led by Shameik Moore as Morales). But Lord and Miller relied on go-to production designer Justin Thompson to design the ambitious look.
“As somebody obsessed with comics my whole life, I had seen films translated from comics and I always thought something got lost in the translation,” said Thompson. “So I thought it would be amazing to make a movie from Miles Morales’ point of view, living inside a comic book and staring out at me: those Ben-Day dots,...
The producers supplied the vision, assembling a trio of talented directors and an impressive voice cast (led by Shameik Moore as Morales). But Lord and Miller relied on go-to production designer Justin Thompson to design the ambitious look.
“As somebody obsessed with comics my whole life, I had seen films translated from comics and I always thought something got lost in the translation,” said Thompson. “So I thought it would be amazing to make a movie from Miles Morales’ point of view, living inside a comic book and staring out at me: those Ben-Day dots,...
- 12/12/2018
- by Bill Desowitz
- Indiewire
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