Drumroll, please! The Visual Effects Society have announced the winners of the 22nd Annual VES Awards, honoring the best in visual effects craftsmanship. Congratulations to everyone!
OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL FEATURE
The Creator
Jay Cooper
Julian Levi
Ian Comley
Charmaine Chan
Neil Corbould, VES
OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL FEATURE
Nyad
Jake Braver
Fiona Campbell Westgate
Christopher White
Mohsen Mousavi
OUTSTANDING VISUAL EFFECTS IN AN ANIMATED FEATURE
Spider-Man: Across the Spider-Verse
Alan Hawkins
Christian Hejnal
Michael Lasker
Matt Hausman
OUTSTANDING VISUAL EFFECTS IN A PHOTOREAL EPISODE
The Last of Us; Season 1; Infected
Alex Wang
Sean Nowlan
Stephen James
Simon Jung
Joel Whist
OUTSTANDING SUPPORTING VISUAL EFFECTS IN A PHOTOREAL EPISODE
Winning Time: The Rise of the Lakers Dynasty; Season 2; BEAT LA
Raymond McIntyre Jr.
Victor DiMichina
Javier Menéndez Platas
Damien Stantina
OUTSTANDING VISUAL EFFECTS IN A REAL-TIME PROJECT
Alan Wake 2
Janne Pulkkinen
Johannes Richter
Daniel Ko?czyk
Damian Olechowski
OUTSTANDING VISUAL EFFECTS IN A COMMERCIAL
Coca-Cola; Masterpiece
Ryan Knowles
Antonia Vlasto
Gregory McKneally
Dan Yargici
OUTSTANDING VISUAL EFFECTS IN A SPECIAL VENUE PROJECT- TIE (two winners)
Postcard From Earth
Aruna Inversin
Eric Wilson
Corey Turner
William George
Rembrandt Immersive Artwork
Andrew McNamara
Sebastian Read
Andrew Kinnear
Sam Matthews
OUTSTANDING ANIMATED CHARACTER IN A PHOTOREAL FEATURE
Guardians of the Galaxy Vol. 3; Rocket
Nathan McConnel
Andrea De Martis
Antony Magdalinidis
Rachel Williams
OUTSTANDING ANIMATED CHARACTER IN AN ANIMATED FEATURE
Spider-Man: Across the Spider-Verse; Spot
Christopher Mangnall
Craig Feifarek
Humberto Rosa
Nideep Varghese
OUTSTANDING ANIMATED CHARACTER IN AN EPISODE, COMMERCIAL, GAME CINEMATIC OR REAL-TIME PROJECT
The Last of Us; Endure and Survive; Bloater
Gino Acevedo
Max Telfer
Dennis You
Fabio Leporelli
OUTSTANDING CREATED ENVIRONMENT IN A PHOTOREAL FEATURE
The Creator; Floating Village
John Seru
Guy Williams
Vincent Techer
Timothée Maron
OUTSTANDING CREATED ENVIRONMENT IN AN ANIMATED FEATURE
Spider-Man: Across the Spider-Verse; Mumbattan City
Taehyun Park
YJ Lee
Pepe Orozco
Kelly Han
OUTSTANDING CREATED ENVIRONMENT IN AN EPISODE, COMMERCIAL, GAME CINEMATIC OR REAL-TIME PROJECT
The Last of Us: Post-Outbreak Boston
Melaina Mace
Adrien Lambert
Juan Carlos Barquet
Christopher Anciaume
OUTSTANDING VIRTUAL CINEMATOGRAPHY IN A CG PROJECT
Guardians of the Galaxy Vol. 3
Joanna Davison
Cheyana Wilkinson
Michael Cozens
Jason Desjarlais
OUTSTANDING MODEL IN A PHOTOREAL OR ANIMATED PROJECT
The Creator; Nomad
Oliver Kane
Mat Monro
Florence Green
Serban Ungureanu
OUTSTANDING EFFECTS SIMULATIONS IN A PHOTOREAL FEATURE
The Creator
Ludovic Ramisandraina
Raul Essig
Mathieu Chardonnet
Lewis Taylor
OUTSTANDING EFFECTS SIMULATIONS IN AN ANIMATED FEATURE
Spider-Man: Across the Spider-Verse
Pav Grochola
Filippo Maccari
Naoki Kato
Nicola Finizio
OUTSTANDING EFFECTS SIMULATIONS IN AN EPISODE, COMMERCIAL, GAME CINEMATIC OR REAL-TIME PROJECT
The Mandalorian; Season 3; Lake Monster Attack Water
Travis Harkleroad
Florian Witzel
Rick Hankins
Aron Bonar
OUTSTANDING COMPOSITING & LIGHTING IN A FEATURE
The Creator; Bar
Phil Prates
Min Kim
Nisarg Suthar
Toshiko Miura
OUTSTANDING COMPOSITING & LIGHTING IN AN EPISODE
The Last of Us; Endure and Survive; Infected Horde Battle
Matthew Lumb
Ben Roberts
Ben Campbell
Quentin Hema
OUTSTANDING COMPOSITING & LIGHTING IN A COMMERCIAL
Coca-Cola; Masterpiece
Ryan Knowles
Greg Mckneally
Taran Spear
Jordan Dunstall
OUTSTANDING SPECIAL (PRACTICAL) EFFECTS IN A PHOTOREAL PROJECT
Oppenheimer
Scott Fisher
James Rollins
Mario Vanillo
EMERGING TECHNOLOGY AWARD
The Flash; Volumetric Capture
Stephan Trojansky
Thomas Ganshorn
Oliver Pilarski
Lukas Lepicovsky
OUTSTANDING VISUAL EFFECTS IN A STUDENT PROJECT (AWARD SPONSORED BY AUTODESK)
How was the collaboration with Director Christopher McQuarrie?
(Jeff): Chris was very involved in the visual effects work on Dead Reckoning. He has a sharp eye and really good instincts about where the audience is focusing their attention at any moment. And his very close relationship with and trust in his longtime editor, Eddie Hamilton, and client-side VFX supervisor, Alex Wuttke (also from ILM), were also big features of our collaboration. All three of them were almost always present in our director reviews, and ideas and opinions were bounced around freely. It was a great creative atmosphere.
(Simone): Collaborating with the Director Christopher McQuarrie was a fantastic experience; his expertise in crafting action movies, refined over years of collaboration with Tom Cruise, resulted in the creation of something truly exhilarating. His ability to instinctively discern the desired outcome for each shot streamlined the process, ensuring feedback was concise and clear, without any unnecessary time spent.
What was his approach regarding the visual effects?
(Jeff): Christopher McQuarrie wants to get as much in-camera as is practically possible. This actually really helps the visual effects work because so much of the physics of a shot has a strong foundation in the photography. Even for shots that might be more reliant on CG, Chris acts as a sort of gravitational pull to keep things grounded in reality.
(Simone): His approach to visual effects involved maximizing realism by consistently referencing authentic photography. Recognizing the significance of VFX in storytelling, he ensured that it seamlessly integrated with the narrative, avoiding any distractions for the audience.
Like every Mission Impossible movie, we are traveling a lot. Can you elaborate on the environments and set-extension work?
(Jeff): All the major sequences in the film started with location photography, whether it was the streets of Rome or a Norwegian valley standing in for the Alps. But, because of Covid-related production delays and a long shoot schedule, photography was extended across many months and therefore crossed many seasons. Some of the major environment work for the Orient Express train sequence involved recreating the shots to match seasons from beat to beat in the cut. And large chunks of that sequence were also filmed later in the UK. So backgrounds were created for those shots to match in with the plates that were shot in Norway. For the Rome chase sequence, it was amazing how much of the city the production was able to lock off for shooting. But there were some landmarks and areas that were off limits and needed to be protected from careening vehicles. The historic Spanish Steps is an example of that. A lot of it was shot at the top and bottom of the steps in Rome. But all of the action that took place on the steps themselves was shot on a UK backlot using a full-scale practical build which represented about 1/3 of the height of the actual steps in Rome. Our visual effects artists provided a full set extension for those shots including the steps themselves and the surrounding buildings.
The Rome car chase is really cool. How did you enhance it with cars and crowds?
(Jeff): The Rome car chase was filmed on the locked-off and mostly empty streets of Rome. A typical shot would use real cars for the BMW, the little yellow Fiat 500, the Hummer, and sometimes a few other cars they might need to interact with. We added dozens of CG cars to the sequence to give the feeling of heavy traffic congestion and, at times, to create a number of close calls with the hero vehicles. The large red bus that narrowly avoids the Hummer, and the many cars that the Fiat weaves between would be examples of this. The hero cars in the plates were also often covered with multiple camera and stunt rigs. So we created digital versions of those cars too which were often used in whole or in part to clean up the rigs. A mix of extras and digital crowds were used to populate the shots. Populating the Spanish Steps was particularly tricky as the real location in Rome is always mobbed with tourists, and the action careens down the steps right through the middle of the crowd with lots of wide and close-up camera views. A certain number of extras were in the hero car background plates. But for many shots, our camera moves were reproduced as closely as possible with a motion controlled Technodolly, and actors were shot and composited into the action. We used CG crowds to fill both the midground and backgrounds, as well as to fill out the wide shots.
Can you tell us more about the impressive cliff jump sequence?
(Simone): Alex, our VFX Supervisor, along with the on-set team, meticulously scanned, photogrammetry, and collected references for the entire mountaintop. Their dedication allowed us to seamlessly replace the jump ramp used by Tom Cruise, navigating numerous iterations to precisely define the terrain’s shape and rock coverage. The goal was to ensure a flawless viewing experience as we substituted the constructed ramp with a terrain that harmonized with the surroundings. Additionally, we enhanced the realism by replacing only the suspension and tires of the bike, transforming it into a dynamic element within the natural landscape.
The train sequence is really intense. Can you tell us more about that shoot and especially the train crash?
(Simone): Regarding the train crash the filmmakers opted for authenticity by capturing a specially-built prop train driven off the edge of a cliff at Darlton Quarry in the Peak District village of Stoney Middleton. The locomotive was seamlessly incorporated into all of the final shots, adding a realism and pulse-pounding moment for audiences. In our photographic homage to the iconic Kylling Bridge in Norway, we recreated its surroundings on each plate of the train crash, capturing the essence envisioned by the filmmakers. At the base of the cliff, we add a water simulation, immersing the scene in the dramatic spectacle of a train’s cinematic crash into it.
What were the main challenges with the train sequence?
(Jeff):
The Orient Express train sequence had a lot of huge challenges since the action takes place on top of, inside, underneath and even through the side of the train carriages when Ethan makes his parachute entrance through one of the side windows. The practical SFX crew built a full scale Orient Express locomotive and a couple of replica carriages to shoot with. We built a full ten carriage digital train to extend the train in shots, replace parts of the train, or add it entirely when the practical carriages could not be used. Since the photography was split between the location work in Norway and backlots in the UK, multi-camera array passes were shot from the top and front of the train running through the Norwegian valley to use as backgrounds. While the array footage was used to provide views of the Alpine valley from the interior of the train in some shots, it was much more challenging when stitched backgrounds were needed for the Ethan and Gabriel fight shots done on top of the train where much wider views were necessary with no place to hide seams. And lots of digital environment work was done when the camera positions were neither on nor inside the train to enhance the location photography when needed. Digital trees, foliage, mountains, and a tunnel were added to a number of shots, and a flowing CG river was created for the down angle shots from the crumbling bridge above. And, of course, complex FX simulations were used for the bridge destruction, explosions and the crumbling bridge itself as the train carriages crept toward the edge of the disintegrating bridge and, one by one tumbled over the edge splashing into the river below. Large practical SFX builds of sections of the carriages that could be tilted a full 90 degrees were mounted on gimbals and cranes and used to allow the actors to perform the stunts in the shots where the carriages go vertical before detaching and falling into the river below. High detail digital interiors were made for the dining and bar carriages and used to either extend or replace the partial carriage builds, and to remove any safety rigging. FX simulations were done for the swinging curtains and tumbling digital furniture, dishes and debris, and a full destruction sim was done for the grand piano breaking through the bottom of the bar carriage and plunging into the river below.
(Simone): Navigating between the real locations in Norway, alternate settings, and studio shots presented a unique challenge during the filming of the train sequence. The task involved seamlessly integrating shots between each location, from removing safety cables and extending the train with CG carriages to replacing backgrounds and foregrounds, all to ensure a cohesive and harmonious visual narrative that seamlessly blended with the authentic environment of Norway.
Can you explain the effects for the different face masks?
(Jeff): The face mask shots were fun to do. Each shot was kind of its own puzzle with a bit of a unique approach because it’s not really the same thing happening in each one. The common denominator in them, though, is the careful planning. So the photographed elements provided a solid foundation, and then, honestly, a lot came down to the skill and cleverness of the artists using a pretty wide-ranging bag of tricks and tools. The artists really enjoy working on these and I think that comes through in the final shots. And in this movie we didn’t just have mask pull-off shots to pull off, we also got to do a mask put-on shot when Grace dons the face of the White Widow in Venice. Definitely a fun one!
The movie is full of motion graphics. Can you elaborate about their design and animations?
(Jeff): The motion graphics in this movie were handled by a studio called Blind. They were wonderful!
Which sequence or shot was the most challenging?
(Simone): The cliff jump shot posed the utmost challenge, with Tom Cruise bravely risking his life for the daring stunt. Our paramount focus was ensuring that the shot emphasized Tom’s courageous feat, crafting the scene to prevent any distractions that might draw the audience’s attention away from the gravity and intensity of the breathtaking (and very real) leap.
What is your favorite shot or sequence?
(Jeff): The train chase-then-fight-then-destruction sequence was clearly the most challenging because it was such a big and long part of the movie. So many different things happened while they were on that train, each with its own problems to solve. But a more overlooked sequence that was fun to do was the culmination of the Rome chase that takes place near the Colosseum and ends up down in a Metro tunnel. The way the scene was written, shot and edited was brilliant and had equal parts action, suspense, humor as well as chemistry between the actors. The tunnel environment was a nice blend of set pieces shot on a stage with foreground, midground and background digital extensions. Similarly the Metro collision with the Fiat was a great example of collaboration between SFX and VFX, the genesis of the shot being practical giving the collision a lot of weight and violence, but handing off to digital effects to really make the shots work and look nice. And the timing of everything was so crucial for both the suspense and humor aspects of the sequence.
(Simone): The train crash scene for the movie was an exhilarating challenge, involving the destruction of a bridge and the intense collision of the train at the bottom of the cliff in the water. It is always fun to blow up stuff!
What is your favorite memory on this show?
(Simone): A week on set with Christopher McQuarrie and Tom Cruise. I had the incredible opportunity to witness firsthand the behind-the-scenes magic, gaining insight into the meticulous process and marveling at Tom Cruise’s hands-on approach, especially when performing his own stunts.
(Jeff): So it’s hard to pick a single favorite memory. But I have to say that McQ bringing his dog to the reviews at ILM was a highlight. (Hi, Gypsy!)
How long have you worked on this show?
(Jeff): With Covid and the various delays, my work on this show spanned the better part of 3 years.
(Simone): I worked approximately two years on the show, including a six-month hiatus.
WANT TO KNOW MORE? RISE: Dedicated page about The Hunger Games: The Ballad of Songbirds & Snakes on RISE website. Adrian de Wet & Eve Fizzinoglia: Here’s my interview of Adrian de Wet (Production VFX Supervisor) & Eve Fizzinoglia (Production VFX Producer).
Prepare to be transported to a world of awe-inspiring visuals with The Creator, featuring impressive visual effects made by the legendary studio Industrial Light & Magic. From lifelike robots to futuristic cityscapes and the sprawling space station Nomad, experience a visual feast that pushes the boundaries of imagination and technology:
WANT TO KNOW MORE? ILM: Dedicated page about The Creator on ILM website. Disney+: You can watch The Creator on Disney+ now.
Step into a world of samurais, honor, and intrigue with this stylish full CG introduction directed by Steve Viola to the Shogun series. In just six minutes, you’ll be transported to a realm filled with stunning landscapes, intricate costumes, and epic battles:
// CREDITS
Directed By: Steve Viola Written By: Dan Masciarelli and Steve Viola, Synderela Peng Produced By: Dara Barton Producer: Richard Hassen Executive Producers: Stephanie Gibbons, Steve Viola, Synderela Peng, Dara Barton Art Direction: Synderela Peng Edited By: Dan Masciarelli Sound Editing: Dan Masciarelli (FX), Gavin Little (Echolab) Sound Mixing: Gavin Little (Echolab) Visual Effects Producers: Richard Hassen (FX), Claire Dorwart (Method) Visual Effects Supervisors: Jean Chiu (FX), Jon Noorlander (Method) Voiceover By: Maya Aoki Design By: FX Design & VFX Concept By: FX Design & VFX Motion Capture: Animatrik Film Design Visual Effects & Animation By: FX Design & VFX, Method Studios
Can you provide some insight into your past experiences and how you started working in VFX?
I studied film production in Toronto and fell into VFX after university. Starting as a PA at Mr X, I quickly was able to jump on-set collecting data for several projects. Then moved to working into the 3D department at Dneg. I moved onto on-set supervising and eventually VFX Supervising!
How did you and MPC get involved on this movie?
MPC came into the project early with David Sewell from MPC’s London office supervising pre-production and the principal photography in Italy. We handed off the project to the MPC Toronto team with myself and MPC’s VFX producer Emma Gorbey in post-production and then I spent most of my time in LA with Michael and the post-production team.
What were your impressions of collaborating with director Michael Mann and can you share your experience working alongside him?
I’ve been such a fan since my childhood from The Last of the Mohicans, The Insider and of course Heat! My first meetings with Michael were great, he was very welcoming, we watched all the sequences together and discussed the film. It’s amazing to watch Michael work, he leads by example by being the hardest working person in the room. The energy is infectious and the fact that he has been trying to make this film for over 20 years, everyone really wants to make the best movie possible.
For Michael, it always started with reference, and basing the shot in the film’s reality. The emphasis was always on what was in the plates and everything had to be informed by those elements. Anything added had to blend and at no point could it distract from the drama of the film. We had so much research to go on, so many photos and reports from the real races and events If there was ever a question of what something should look like we always started with going back to the reference. And Michael always wanted to make sure accuracy was first and of paramount importance. It was very interesting spotting shots because often we got into the conversation of what the shot was about, where the audience’s eye should be focusing which was an interesting approach. If something didn’t work, we would discuss and diagnose the various issues that may be there, but usually we tried to distill and change to the simplest form to try to not change too much.
How did you choose the various vendors and split the work amongst them?
MPC was the main vendor and provided the bulk of the heavy VFX 3D work, environments, and crowds covering the entire span of the film. The shot count for a film of this size wasn’t incredibly high so we really wanted to keep the simple VFX in house as much as possible with our team of about four compositors led by our in-house compositing lead Nick Reynolds. We brought on Savage VFX who were recommended to us and had a great reputation, notably Mindhunter which we were a big fan of. Savage took on the pre-title racing sequence as well as some sequences of the Mille Miglia. We also brought on BOT VFX to do some tricky paint work.
How did you manage coordination between the visual effects teams and the other departments?
Once we had all vendors including in-house up and running, it was a matter of just doing daily meetings with everyone. Because I was situated with team in LA, we would constantly communicate with editorial who were a huge help in making temps for almost all the visual effects shots before we sent them to vendors. This was essential to giving us an inexpensive way to do some trial and error and get temp sign off with Michael before getting the vendor’s involved. Of course, things would develop and change but it’s always useful to jump start the shots. Our lovely production team led by Beth Howe coordinated with editorial, Company 3 and the vendors for keeping on schedule and deliveries.
What were the main challenges faced by the visual effects team in recreating the city of Modena?
With principal photography being done in Modena not a lot had to be done to many filming locations. Production shot in most of the historical locations the film took place so really we had the perfect reference of what it should look like! VFX contributed to tying together the city with the famous race track, once situated in the city and is now a park. Production rebuilt a racetrack in another location. VFX tied the two locations together through 2.5D matte paintings and set extensions at the track location so we would see the Modena skyline behind the tree line, notably the bell tower, the Torre della Ghirlandina, of the Duomo Di Modena.
Can you elaborates about the crowd work for Modena and the races?
Crowds were a big part of our work in the Mille Miglia sequences. One of the famous and most dangerous features of the Italian race was being run on open roads and very few barriers. So crowds had to be right in the action, sometimes only a few feet away from the cars. On set crowd elements were shot on green screen during production and this served as the base for most of MPC’s crowd extensions. In wider shots where we need a massive amount of people we switched to digital crowd assets to help fill out the back rows. The combination of the two really helps a sense of realism.
MPC also contributed to the final crash of the Ferrari crashing into the crowd at Guidizzolo. The crash was filmed on location in Italy and SFX delivered an incredible crash throwing the Ferrari down the street. Even without the crowds it was a visceral shot. Our onset team then shot elements of the crowd in place acting up until impact. In post those characters were duplicated as digi-doubles, tracked into the scene and as the car makes impact were taken over to continue the animation.
What were the key elements the visual effects team had to consider to make the car races authentic to the era?
The emphasis was always match the reference and match the plate. The production shot so much beautiful footage, a lot of the job was done for us. So anything added to these plates really needed to be seamless.
What aspect of the visual effects in Ferrari are you most proud of?
I think the fact the VFX are almost invisible, the are there to support the drama of the film. It’s very rare to work on a project of this size with a director like Michael which is a pure drama with complex characters and not purely an action film.
What was the most complex sequence to achieve in terms of visual effects, and why?
The final crash crowd was the most complex sequence and ends the film so we knew we had to get it right.
What are the main mistakes to avoid when creating invisible visual effects?
I always learned to try capture something in camera. Even if you know you’re going to replace it in post. Starting from something even if it’s wrong is always easier than a blank canvas and there are so many things you can pick up from a plate, even small things to add realism.
What is your favorite shot or sequence?
One shot I absolutely love is when the camera is riding on board with the Ferrari as it enters the square. Also the camera following De Portago into Rome with the cheer crowd. Great epic shots!
What is your best memory on this show?
Every once in a while I could squeeze a story out of Michael about one of his past films. He had some great stories!
What’s the VFX shots count?
477.
What are the four movies that gave you the passion for cinema?
Dive deep into the fascinating world of visual effects with really interesting making of about Godzilla Minus One and discover how a team of 35 passionate artists at Shirogumi created the jaw-dropping VFX that bring this iconic monster to life on the big screen:
From sleek, high-tech vehicles to sprawling futuristic landscapes, delve into the futuristic world of The Creator with this VFX Breakdown at the visual effects crafted by Fin Design + Effects:
WANT TO KNOW MORE? Fin Design + Effects: Dedicated page about The Creator on Fin Design + Effects website. Disney+: You can watch The Creator on Disney+ now.
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