I Design Your Eyes » VES Awards 2010 http://idesignyoureyes.com Mon, 07 Nov 2011 19:54:31 +0000 http://wordpress.org/?v=2.9.2 en hourly 1 ‘FlashForward’ Flashback: Zoic Studios’ Steve Meyer on the Award-Nominated VFX for the Pilot http://idesignyoureyes.com/2010/04/01/%e2%80%98flashforward%e2%80%99-flashback-zoic-studios%e2%80%99-steve-meyer-on-the-award-nominated-vfx-for-the-pilot/ http://idesignyoureyes.com/2010/04/01/%e2%80%98flashforward%e2%80%99-flashback-zoic-studios%e2%80%99-steve-meyer-on-the-award-nominated-vfx-for-the-pilot/#comments Thu, 01 Apr 2010 20:56:07 +0000 Erik Even http://idesignyoureyes.com/?p=1005 flashforward1_630x354Property of ABC; screencap from the Zoic Television Reel.

Based on the science fiction novel by Robert J. Sawyer, ABC’s FlashForward tells the story of the aftermath of a bizarre global event. For 137 seconds, every person on Earth (except perhaps one) loses consciousness, and experiences visions of their own future.

The pilot episode presents the immediate aftermath of the worldwide disaster, with the consequences of the worldwide blackout – millions of deaths due to traffic collisions, crashed aircraft, and other accidents. Star Joseph Fiennes, portraying FBI agent Mark Benford, survives an auto wreck and looks out over a chaotic Los Angeles cityscape. Culver City, California’s Zoic Studios was tapped to create the disastrous tableau; the company’s work on the episode was nominated for two VES awards, for Outstanding Supporting Visual Effects in a Broadcast Program and for Outstanding Created Environment in a Broadcast Program or Commercial.

stevemeyer_188x250Zoic VFX Supervisor Steve Meyer discusses the creation of the complex scene, which required a tremendous amount of rotoscoping and motion tracking. The amount of roto was necessary, Meyer says, “because they shot in downtown LA, looking from the 4th St. overpass, over the southbound and northbound 110 Freeway. So naturally you can’t stop all that traffic, or get a greenscreen up.

“There’s a big, swooping hero shot following Joseph Fiennes as he jumps up on a car and looks down, and it’s a huge vista. Then we reverse it and look northbound. Everything in the foreground on that overpass we had to roto out. We had a team of seven or eight people going for weeks, just rotoing that and a bunch of other shots.

“We ended up having to remove all the traffic on the freeway; then added in overturned cars, cars burning, flames, smoke, helicopters crashing, just debris everywhere. We had to build a 3D matte painting in that environment. There’s a lot of detail – you can look at the shot over and over, and always see something new.”

The production brought on an experienced feature film matte painter, Roger Kupelian (2012, Alice in Wonderland) to create a “road map” of the shot. “Kupelian took a still of the freeway overpass shots, and he just dialed it in with Kevin Blank, the VFX supervisor – we want smoke here, we want the helicopter to hit here, we want fire and destruction here, we want this tree burning. They gave us a template – this is what we need it to look like. Kupelian sent us the files, and sometimes we used his elements.

“There are about 45 shots we ended up doing for the pilot, and the majority of them were for that overpass sequence. For most of the shots, nothing was locked off – every shot had some sort of roto, because there was no greenscreen. We had to roto everything to build the shots, and then try to match the smoke, fire, debris, people and other elements from shot to shot.

“We were working with different formats — stock footage, film footage, the Red Camera — trying to mix all these different formats to create one environment.”

All the scenes were tracked in Andersson Technologies’ SynthEyes camera tracking software, from which the team was able to build a 3D environment. The artists used this 3D information in Adobe After Effects to rebuild the plate with clean pieces of freeway, overpasses, signs, etc.

There’s a lot of detail – you can look at the shot over and over, and always see something new…

“The smoke was a combination of digital photographs, Google images, CG smoke, and moving elements that we had in our vault. Some of the smoke was a dust cloud that we slowed down. One of the smoke passes was a photo of a brush fire I took up by my house with my iPhone. I took the image, gave it to one of my compositors, and said ‘this will look good off in the distance.’ It’s so far off you don’t see it moving, so it fit in fine.

“They shot lots of people on greenscreen, and they all needed to have the right camera lens perspective. They’re way off in the distance; you have to get up close to an HD screen to see them. But we didn’t want any nuances to be overlooked. We don’t want to shoot a person head-on when the camera is going to be looking down at them.

“Another complication with the overpass sequence was that it was shot on a bright day, so we had a lot of technical problems. If you look at someone up against a bright sky, the sun wraps around them a bit, like a halo – and we were trying to put a dark smoke cloud behind them. It just doesn’t work right. We had a lot of technical things to try to work through when we ran into those kinds of problems. Every shot had to be 3D tracked. We took that 3D track into our environment, and we placed things in our 3D world shot by shot by shot.

“We also had a CG tanker in there that blew up. They actually had a real tanker with a big hole in it, and they threw in six gallons of gasoline and lit it and boom! It was huge. We had to put the shell of the tanker on there before the practical explosion; and then we just blew it up in Autodesk Maya and added CG debris, camera shake, heat ripple and dynamic smoke trails; plus glass shattering on the buildings and other background effects.”

flashforward3_630x354Property of ABC; screencap from the Zoic Television Reel.

Wreckage from the tanker explosion strikes an overturned car and knocks it off the overpass onto the freeway below. Zoic created the car in CG. “They shot everybody running up to the guardrail and looking over,” Meyer explains. “We had to remove the railing and put in our own CG railing, so when the car goes down it takes it with it. So we had the complicated roto of recreating the people’s bodies that were behind the railing. We had to rebuild lots of people’s legs and waists. We put in the smoke and stuff that dynamically reacts to the car, so when it gets sucked down it creates a vortex and pulls the smoke down. Also, there’s an orange cart right nearby. We try to get every detail right, so when the car goes down we have a couple of oranges that roll away with it.

flashforward2_630x354Property of ABC; screencap from the Zoic Television Reel.

“Then we had the falling LAPD helicopter. We took a panoramic image of a building, so we’re working on one frame and can do a pan-and-tilt in post. The helicopter has already crashed into the building, and we needed to have the smoke barreling out through most of the sequence, with the rotor blades still spinning — then we get to a certain point, and there’s an explosion that pushes the helicopter out. It tumbles and it’s scraping the building, tearing it apart and opening it up.

“Roger Kupelian labored intensely on a matte painting of the inside of the building, with what would be exposed – wires, beams, pipes, office equipment. As the CG helicopter was falling down the face of the building and opening it up, our compositor just revealed it with little mattes. At the same time we threw in sparks, debris, dust and smoke. It ended up pretty good. It was tough making an animation that made everyone happy, but in the end it looked great on the big screen at the viewing.

“Some of the shots were fun, because you can really push the envelope — let’s see what happens when we do this or when we do that. It took a lot of planning and careful choreography to between our 2D and 3D teams to keep the action and look continuous. Our teams worked tirelessly to create seamless product because anything out of place would be glaring.

“This isn’t ‘sci-fi’ with spaceships and aliens,” Meyers says, “which allow a bit of imagination – but rather, real-life vehicles, smoke, fire, people and buildings that have to look real.”

More info: FlashForward on ABC.com; the latest Zoic Studios Television Reel on ZoicStudios.com; Steven Meyer on IMDb.

]]> flashforward1_630x354Property of ABC; screencap from the Zoic Television Reel.

Based on the science fiction novel by Robert J. Sawyer, ABC’s FlashForward tells the story of the aftermath of a bizarre global event. For 137 seconds, every person on Earth (except perhaps one) loses consciousness, and experiences visions of their own future.

The pilot episode presents the immediate aftermath of the worldwide disaster, with the consequences of the worldwide blackout – millions of deaths due to traffic collisions, crashed aircraft, and other accidents. Star Joseph Fiennes, portraying FBI agent Mark Benford, survives an auto wreck and looks out over a chaotic Los Angeles cityscape. Culver City, California’s Zoic Studios was tapped to create the disastrous tableau; the company’s work on the episode was nominated for two VES awards, for Outstanding Supporting Visual Effects in a Broadcast Program and for Outstanding Created Environment in a Broadcast Program or Commercial.

stevemeyer_188x250Zoic VFX Supervisor Steve Meyer discusses the creation of the complex scene, which required a tremendous amount of rotoscoping and motion tracking. The amount of roto was necessary, Meyer says, “because they shot in downtown LA, looking from the 4th St. overpass, over the southbound and northbound 110 Freeway. So naturally you can’t stop all that traffic, or get a greenscreen up.

“There’s a big, swooping hero shot following Joseph Fiennes as he jumps up on a car and looks down, and it’s a huge vista. Then we reverse it and look northbound. Everything in the foreground on that overpass we had to roto out. We had a team of seven or eight people going for weeks, just rotoing that and a bunch of other shots.

“We ended up having to remove all the traffic on the freeway; then added in overturned cars, cars burning, flames, smoke, helicopters crashing, just debris everywhere. We had to build a 3D matte painting in that environment. There’s a lot of detail – you can look at the shot over and over, and always see something new.”

The production brought on an experienced feature film matte painter, Roger Kupelian (2012, Alice in Wonderland) to create a “road map” of the shot. “Kupelian took a still of the freeway overpass shots, and he just dialed it in with Kevin Blank, the VFX supervisor – we want smoke here, we want the helicopter to hit here, we want fire and destruction here, we want this tree burning. They gave us a template – this is what we need it to look like. Kupelian sent us the files, and sometimes we used his elements.

“There are about 45 shots we ended up doing for the pilot, and the majority of them were for that overpass sequence. For most of the shots, nothing was locked off – every shot had some sort of roto, because there was no greenscreen. We had to roto everything to build the shots, and then try to match the smoke, fire, debris, people and other elements from shot to shot.

“We were working with different formats — stock footage, film footage, the Red Camera — trying to mix all these different formats to create one environment.”

All the scenes were tracked in Andersson Technologies’ SynthEyes camera tracking software, from which the team was able to build a 3D environment. The artists used this 3D information in Adobe After Effects to rebuild the plate with clean pieces of freeway, overpasses, signs, etc.

There’s a lot of detail – you can look at the shot over and over, and always see something new…

“The smoke was a combination of digital photographs, Google images, CG smoke, and moving elements that we had in our vault. Some of the smoke was a dust cloud that we slowed down. One of the smoke passes was a photo of a brush fire I took up by my house with my iPhone. I took the image, gave it to one of my compositors, and said ‘this will look good off in the distance.’ It’s so far off you don’t see it moving, so it fit in fine.

“They shot lots of people on greenscreen, and they all needed to have the right camera lens perspective. They’re way off in the distance; you have to get up close to an HD screen to see them. But we didn’t want any nuances to be overlooked. We don’t want to shoot a person head-on when the camera is going to be looking down at them.

“Another complication with the overpass sequence was that it was shot on a bright day, so we had a lot of technical problems. If you look at someone up against a bright sky, the sun wraps around them a bit, like a halo – and we were trying to put a dark smoke cloud behind them. It just doesn’t work right. We had a lot of technical things to try to work through when we ran into those kinds of problems. Every shot had to be 3D tracked. We took that 3D track into our environment, and we placed things in our 3D world shot by shot by shot.

“We also had a CG tanker in there that blew up. They actually had a real tanker with a big hole in it, and they threw in six gallons of gasoline and lit it and boom! It was huge. We had to put the shell of the tanker on there before the practical explosion; and then we just blew it up in Autodesk Maya and added CG debris, camera shake, heat ripple and dynamic smoke trails; plus glass shattering on the buildings and other background effects.”

flashforward3_630x354Property of ABC; screencap from the Zoic Television Reel.

Wreckage from the tanker explosion strikes an overturned car and knocks it off the overpass onto the freeway below. Zoic created the car in CG. “They shot everybody running up to the guardrail and looking over,” Meyer explains. “We had to remove the railing and put in our own CG railing, so when the car goes down it takes it with it. So we had the complicated roto of recreating the people’s bodies that were behind the railing. We had to rebuild lots of people’s legs and waists. We put in the smoke and stuff that dynamically reacts to the car, so when it gets sucked down it creates a vortex and pulls the smoke down. Also, there’s an orange cart right nearby. We try to get every detail right, so when the car goes down we have a couple of oranges that roll away with it.

flashforward2_630x354Property of ABC; screencap from the Zoic Television Reel.

“Then we had the falling LAPD helicopter. We took a panoramic image of a building, so we’re working on one frame and can do a pan-and-tilt in post. The helicopter has already crashed into the building, and we needed to have the smoke barreling out through most of the sequence, with the rotor blades still spinning — then we get to a certain point, and there’s an explosion that pushes the helicopter out. It tumbles and it’s scraping the building, tearing it apart and opening it up.

“Roger Kupelian labored intensely on a matte painting of the inside of the building, with what would be exposed – wires, beams, pipes, office equipment. As the CG helicopter was falling down the face of the building and opening it up, our compositor just revealed it with little mattes. At the same time we threw in sparks, debris, dust and smoke. It ended up pretty good. It was tough making an animation that made everyone happy, but in the end it looked great on the big screen at the viewing.

“Some of the shots were fun, because you can really push the envelope — let’s see what happens when we do this or when we do that. It took a lot of planning and careful choreography to between our 2D and 3D teams to keep the action and look continuous. Our teams worked tirelessly to create seamless product because anything out of place would be glaring.

“This isn’t ‘sci-fi’ with spaceships and aliens,” Meyers says, “which allow a bit of imagination – but rather, real-life vehicles, smoke, fire, people and buildings that have to look real.”

More info: FlashForward on ABC.com; the latest Zoic Studios Television Reel on ZoicStudios.com; Steven Meyer on IMDb.

]]> http://idesignyoureyes.com/2010/04/01/%e2%80%98flashforward%e2%80%99-flashback-zoic-studios%e2%80%99-steve-meyer-on-the-award-nominated-vfx-for-the-pilot/feed/ 1 Zoic Studios Wins Big at 2010 VES Awards http://idesignyoureyes.com/2010/03/01/zoic-studios-wins-big-at-2010-ves-awards/ http://idesignyoureyes.com/2010/03/01/zoic-studios-wins-big-at-2010-ves-awards/#comments Mon, 01 Mar 2010 18:52:05 +0000 Erik Even http://idesignyoureyes.com/?p=876 zoicves2010_630x354From left: Mike Romey, Loni Peristere, Chris Irving, Karen Czukerberg, Andrew Orloff, Sabrina Arnold, Christina Spring, Derek Smith, Rik Shorten, Steve Meyer, Gina Fiore, Zach Zaubi.

It was the “night of Avatar and Zoic” on Sunday evening, as Zoic Studios was victorious in three categories at the VES Awards, held at the Hyatt Regency Century Plaza Hotel in Los Angeles, California. The annual event recognizes outstanding visual effects in more than twenty categories of film, animation, television, commercials and video games.

“Zoic Studios is extremely proud to have achieved this level recognition from the VES,” said Andrew Orloff, Zoic’s executive creative director. “It’s been a fantastic year for us, and it is great to be recognized for the creative work we’ve all put into the broadcast medium. All the artists from Zoic this year, winners and nominees alike should be proud of the work they have done in continuing to raise the bar in television visual effects.”

Zoic earned the following VES awards:

Outstanding Supporting Visual Effects in a Broadcast Program
CSI: Crime Scene Investigation - Ep. 1001 “Family Affair” — Rik Shorten, Sabrina Arnold, Steve Meyer, Derek Smith

Outstanding Created Environment in a Broadcast Program or Commercial
V – “Pilot” Atrium and Ship Interiors — Chris Zapara, Chris Irving, David Morton, Trevor Adams

Outstanding Compositing in a Broadcast Program or Commercial
CSI: Crime Scene Investigation - Ep. 1001 “Family Affair” — Derek Smith, Christina Spring, Steve Meyer, Zach Zaubi

In addition to Zoic’s honors, Avatar was the evening’s big winner, taking home six awards including Outstanding Visual Effects in a Visual Effects Driven Motion Picture. The animated feature film Up was honored with three awards, including Outstanding Animation in an Animated Feature Motion Picture.

For those unable to attend the live event, the 2010 VES Awards can be viewed on Friday, March 5 at 10pm ET/PT on REELZCHANNEL.

Congratulations to everyone at Zoic on this momentous achievement!

For more info: The official VES site; read about CSI and V.

]]> zoicves2010_630x354From left: Mike Romey, Loni Peristere, Chris Irving, Karen Czukerberg, Andrew Orloff, Sabrina Arnold, Christina Spring, Derek Smith, Rik Shorten, Steve Meyer, Gina Fiore, Zach Zaubi.

It was the “night of Avatar and Zoic” on Sunday evening, as Zoic Studios was victorious in three categories at the VES Awards, held at the Hyatt Regency Century Plaza Hotel in Los Angeles, California. The annual event recognizes outstanding visual effects in more than twenty categories of film, animation, television, commercials and video games.

“Zoic Studios is extremely proud to have achieved this level recognition from the VES,” said Andrew Orloff, Zoic’s executive creative director. “It’s been a fantastic year for us, and it is great to be recognized for the creative work we’ve all put into the broadcast medium. All the artists from Zoic this year, winners and nominees alike should be proud of the work they have done in continuing to raise the bar in television visual effects.”

Zoic earned the following VES awards:

Outstanding Supporting Visual Effects in a Broadcast Program
CSI: Crime Scene Investigation - Ep. 1001 “Family Affair” — Rik Shorten, Sabrina Arnold, Steve Meyer, Derek Smith

Outstanding Created Environment in a Broadcast Program or Commercial
V – “Pilot” Atrium and Ship Interiors — Chris Zapara, Chris Irving, David Morton, Trevor Adams

Outstanding Compositing in a Broadcast Program or Commercial
CSI: Crime Scene Investigation - Ep. 1001 “Family Affair” — Derek Smith, Christina Spring, Steve Meyer, Zach Zaubi

In addition to Zoic’s honors, Avatar was the evening’s big winner, taking home six awards including Outstanding Visual Effects in a Visual Effects Driven Motion Picture. The animated feature film Up was honored with three awards, including Outstanding Animation in an Animated Feature Motion Picture.

For those unable to attend the live event, the 2010 VES Awards can be viewed on Friday, March 5 at 10pm ET/PT on REELZCHANNEL.

Congratulations to everyone at Zoic on this momentous achievement!

For more info: The official VES site; read about CSI and V.

]]> http://idesignyoureyes.com/2010/03/01/zoic-studios-wins-big-at-2010-ves-awards/feed/ 2 Zoic Studios Nominated for 8 VES Awards http://idesignyoureyes.com/2010/01/19/zoic-studios-nominated-for-8-ves-awards/ http://idesignyoureyes.com/2010/01/19/zoic-studios-nominated-for-8-ves-awards/#comments Wed, 20 Jan 2010 01:51:12 +0000 Erik Even http://idesignyoureyes.com/?p=656 vesawardstable_630x354

Zoic Studios has been nominated for eight VES Awards this year! Here are the nominees:

Outstanding Visual Effects in a Broadcast Miniseries, Movie or a Special

Ben 10: Alien Swarm - “Montage
Evan Jacobs, Visual Effects Supervisor
Sean McPherson, Visual Effects Supervisor
Andrew Orloff, Visual Effects Supervisor

Outstanding Visual Effects in a Broadcast Series

Fringe – episode 206 “Earthling”
Robert Habros, VFX Supervisor
Eric Hance, Visual Effects Artis
Andrew Orloff, VFX Supervisor
Jay Worth, VFX Supervisor/Producer

V - “Pilot”
Johnathan R. Banta, Lead Compositor
Karen Czukerberg, VFX Producer
Andrew Orloff, VFX Supervisor
Chris Zapara, VFX Supervisor

Outstanding Supporting Visual Effects in a Broadcast Program

CSI: Crime Scene Investigation – episode 1001 “Opening Sequence”
Sabrina Arnold, VFX Producer
Steve Meyer, Compositor
Rik Shorten, VFX Supervisor
Derek Smith, Compositor

FlashForward - “No More Good Days”
Kevin Blank, Visual Effects Supervisor
Andrew Orloff, VFX Producer
Steve Meyer, 2D Supervisor
Jonathan Spencer Levy, Facility VFX Supervisor

Outstanding Created Environment in a Broadcast Program or Commercial

FlashForward - “Pilot” “Freeway Overpass”
Colin Feist, Compositor
Paul Ghezzo, CG Supervisor
Roger Kupelian, Matte Painter
Steve Meyer, Compositor

V – “Pilot” “Atrium and Ship Interiors”
Trevor Adams, CG Artist
Chris Irving, Lead Compositor
David Morton, Matte Painter
Chris Zapara, VFX Supervisor

Outstanding Compositing in a Broadcast Program or Commercial

CSI: Crime Scene Investigation – episode 1001 “Opening Sequence”
Steve Meyer, VFX Supervisor
Derek Smith, Compositor
Christina Spring, Compositor
Zach Zaubi, Compositor

Congratulations to all the Zoicians who received nominations:

Trevor Adams Sabrina Arnold
Johnathan R. Banta Karen Czukerberg
Colin Feist Paul Ghezzo
Chris Irving Steve Meyer
Andrew Orloff Rik Shorten
Derek Smith Christina Spring
Chris Zapara Zach Zaubi

The Visual Effects Society is a professional honorary society, dedicated to advancing the arts, sciences, and applications of visual effects, and to improving the welfare of its members by providing professional enrichment and education, fostering community, and promoting industry recognition. It claims 1,500 members in 17 countries.

The 8th Annual VES Awards will take place on February 28, 2010, at the Hyatt Regency Century Plaza Hotel in Los Angeles.

Good luck in February, everyone!

More info: “VES Announces Nominees for 8th Annual VES Awards” on VES web site.

]]> vesawardstable_630x354

Zoic Studios has been nominated for eight VES Awards this year! Here are the nominees:

Outstanding Visual Effects in a Broadcast Miniseries, Movie or a Special

Ben 10: Alien Swarm - “Montage
Evan Jacobs, Visual Effects Supervisor
Sean McPherson, Visual Effects Supervisor
Andrew Orloff, Visual Effects Supervisor

Outstanding Visual Effects in a Broadcast Series

Fringe – episode 206 “Earthling”
Robert Habros, VFX Supervisor
Eric Hance, Visual Effects Artis
Andrew Orloff, VFX Supervisor
Jay Worth, VFX Supervisor/Producer

V - “Pilot”
Johnathan R. Banta, Lead Compositor
Karen Czukerberg, VFX Producer
Andrew Orloff, VFX Supervisor
Chris Zapara, VFX Supervisor

Outstanding Supporting Visual Effects in a Broadcast Program

CSI: Crime Scene Investigation – episode 1001 “Opening Sequence”
Sabrina Arnold, VFX Producer
Steve Meyer, Compositor
Rik Shorten, VFX Supervisor
Derek Smith, Compositor

FlashForward - “No More Good Days”
Kevin Blank, Visual Effects Supervisor
Andrew Orloff, VFX Producer
Steve Meyer, 2D Supervisor
Jonathan Spencer Levy, Facility VFX Supervisor

Outstanding Created Environment in a Broadcast Program or Commercial

FlashForward - “Pilot” “Freeway Overpass”
Colin Feist, Compositor
Paul Ghezzo, CG Supervisor
Roger Kupelian, Matte Painter
Steve Meyer, Compositor

V – “Pilot” “Atrium and Ship Interiors”
Trevor Adams, CG Artist
Chris Irving, Lead Compositor
David Morton, Matte Painter
Chris Zapara, VFX Supervisor

Outstanding Compositing in a Broadcast Program or Commercial

CSI: Crime Scene Investigation – episode 1001 “Opening Sequence”
Steve Meyer, VFX Supervisor
Derek Smith, Compositor
Christina Spring, Compositor
Zach Zaubi, Compositor

Congratulations to all the Zoicians who received nominations:

Trevor Adams Sabrina Arnold
Johnathan R. Banta Karen Czukerberg
Colin Feist Paul Ghezzo
Chris Irving Steve Meyer
Andrew Orloff Rik Shorten
Derek Smith Christina Spring
Chris Zapara Zach Zaubi

The Visual Effects Society is a professional honorary society, dedicated to advancing the arts, sciences, and applications of visual effects, and to improving the welfare of its members by providing professional enrichment and education, fostering community, and promoting industry recognition. It claims 1,500 members in 17 countries.

The 8th Annual VES Awards will take place on February 28, 2010, at the Hyatt Regency Century Plaza Hotel in Los Angeles.

Good luck in February, everyone!

More info: “VES Announces Nominees for 8th Annual VES Awards” on VES web site.

]]> http://idesignyoureyes.com/2010/01/19/zoic-studios-nominated-for-8-ves-awards/feed/ 0 Zoic Studios Hosts VES Holiday Party 2009 http://idesignyoureyes.com/2009/12/10/zoic-studios-hosts-ves-holiday-party-2009/ http://idesignyoureyes.com/2009/12/10/zoic-studios-hosts-ves-holiday-party-2009/#comments Thu, 10 Dec 2009 21:03:14 +0000 Erik Even http://idesignyoureyes.com/?p=440 The VES Holiday Party 2009 at Zoic Studios.

Yesterday evening, Zoic Studios hosted the Visual Effects Society 2009 Holiday Party from 7:00 – 10:00 PM. About 200 VES members showed up at Zoic’s Culver City studio to schmooze over booze and enjoy delicious catered hors d’œuvre.

From the VES web site:

The Visual Effects Society (VES) is the entertainment industry’s only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio leaders, supervisors, PR/marketing specialists and producers in all areas of entertainment from film, television and commercials to music videos and games. Comprised of a diverse group of more than 2,000 members in 20 countries, the VES strives to enrich and educate its own members and members of the entertainment community at large through a multitude of domestic and international events, screenings and programs.

The 8th Annual VES Awards Show will be held on February 28, 2010 at the Hyatt Regency Century Plaza Hotel in Beverly Hills.

More info: The new VES web site; the photoset on Flickr.

]]> The VES Holiday Party 2009 at Zoic Studios.

Yesterday evening, Zoic Studios hosted the Visual Effects Society 2009 Holiday Party from 7:00 – 10:00 PM. About 200 VES members showed up at Zoic’s Culver City studio to schmooze over booze and enjoy delicious catered hors d’œuvre.

From the VES web site:

The Visual Effects Society (VES) is the entertainment industry’s only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio leaders, supervisors, PR/marketing specialists and producers in all areas of entertainment from film, television and commercials to music videos and games. Comprised of a diverse group of more than 2,000 members in 20 countries, the VES strives to enrich and educate its own members and members of the entertainment community at large through a multitude of domestic and international events, screenings and programs.

The 8th Annual VES Awards Show will be held on February 28, 2010 at the Hyatt Regency Century Plaza Hotel in Beverly Hills.

More info: The new VES web site; the photoset on Flickr.

]]> http://idesignyoureyes.com/2009/12/10/zoic-studios-hosts-ves-holiday-party-2009/feed/ 0 VES Awards Submissions End November 30th http://idesignyoureyes.com/2009/11/09/ves-awards-submissions-end-november-30th/ http://idesignyoureyes.com/2009/11/09/ves-awards-submissions-end-november-30th/#comments Mon, 09 Nov 2009 18:41:39 +0000 Erik Even http://idesignyoureyes.com/?p=313 "The Curious Case of Benjamin Button," the 2008 winner for Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture

The Visual Effects Society (VES) has issued a call for entries for its 8th Annual VES Awards. The last day to submit entries is November 3oth; the awards ceremony will be held in February.

Films fêted in last year’s ceremony included David Fincher’s The Curious Case of Benjamin Button (four awards, including Outstanding Visual Effects in a Visual Effects Driven Motion Picture); plus Christopher Nolan’s The Dark Knight and Pixar’s Wall-E took home three awards each. Television winners included FOX’s Fringe, Sci Fi’s Battlestar Galactica and the BBC’s Doctor Who.

From the VES site:

The 8th Annual VES AwardsAn exciting awards season lies just ahead. The winners will be announced at the 8th Annual Awards event on February 28, 2010[, a]t the Hyatt Regency Century Plaza Hotel [in Century City, California].

Submission Forms may be downloaded from www.vesawards.com. There you may also access the Rules & Procedures [PDF] and Awards Policies [PDF] that will guide you through a successful submission process.

Submission Forms will be accepted until close of entries on November 30, 2009. Please note that viewing materials must be uploaded between November 16 and November 30, 2009. (Please see schedule below.)

If you have any questions, please contact us at awards[at]visualeffectssociety.com. We are here to help.

The 2009 VES Awards Committee

Entry Forms Available – Oct. 12, 2009
Upload Viewing Materials – Nov. 16 – Nov. 30, 2009
Submission Deadline – Nov. 30, 2009
Nominations Announced – Jan. 18, 2010
On-Line Viewing & Voting (Members Only) – Feb. 11 – Feb. 22, 2010
Awards Event – Feb.28, 2010

The Visual Effects Society is a professional honorary society, dedicated to advancing the arts, sciences, and applications of visual effects, and to improving the welfare of its members by providing professional enrichment and education, fostering community, and promoting industry recognition. It claims 1,500 members in 17 countries.

More info: the Visual Effects Society website; the VES Awards website; the Rules & Procedures on PDF; the VES Awards Policies on PDF.

]]> "The Curious Case of Benjamin Button," the 2008 winner for Outstanding Visual Effects in a Visual Effects Driven Feature Motion Picture

The Visual Effects Society (VES) has issued a call for entries for its 8th Annual VES Awards. The last day to submit entries is November 3oth; the awards ceremony will be held in February.

Films fêted in last year’s ceremony included David Fincher’s The Curious Case of Benjamin Button (four awards, including Outstanding Visual Effects in a Visual Effects Driven Motion Picture); plus Christopher Nolan’s The Dark Knight and Pixar’s Wall-E took home three awards each. Television winners included FOX’s Fringe, Sci Fi’s Battlestar Galactica and the BBC’s Doctor Who.

From the VES site:

The 8th Annual VES AwardsAn exciting awards season lies just ahead. The winners will be announced at the 8th Annual Awards event on February 28, 2010[, a]t the Hyatt Regency Century Plaza Hotel [in Century City, California].

Submission Forms may be downloaded from www.vesawards.com. There you may also access the Rules & Procedures [PDF] and Awards Policies [PDF] that will guide you through a successful submission process.

Submission Forms will be accepted until close of entries on November 30, 2009. Please note that viewing materials must be uploaded between November 16 and November 30, 2009. (Please see schedule below.)

If you have any questions, please contact us at awards[at]visualeffectssociety.com. We are here to help.

The 2009 VES Awards Committee

Entry Forms Available – Oct. 12, 2009
Upload Viewing Materials – Nov. 16 – Nov. 30, 2009
Submission Deadline – Nov. 30, 2009
Nominations Announced – Jan. 18, 2010
On-Line Viewing & Voting (Members Only) – Feb. 11 – Feb. 22, 2010
Awards Event – Feb.28, 2010

The Visual Effects Society is a professional honorary society, dedicated to advancing the arts, sciences, and applications of visual effects, and to improving the welfare of its members by providing professional enrichment and education, fostering community, and promoting industry recognition. It claims 1,500 members in 17 countries.

More info: the Visual Effects Society website; the VES Awards website; the Rules & Procedures on PDF; the VES Awards Policies on PDF.

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