Force- ful Show­ing

Animation Magazine - - Spotlight -

Stakes four top VFX hon­ors, with in TV cat­e­gories at the 14th an­nual VES Awards.

tar Wars: The Force Awak­ens won a lead­ing four cat­e­gories at the 14th an­nual VES Awards, in­clud­ing Out­stand­ing Vis­ual Ef­fects in a Pho­to­real Fea­ture, while HBO’s hit se­ries Game of Thrones sim­i­larly dom­i­nated the TV side, also with four awards.

Pre­sented Feb. 2 at the Bev­erly Hil­ton Ho­tel, Pixar’s The Good Di­nosaur led an­i­mated fea­tures with three wins — a tally matched by VFX wins for The Revenant.

Hosted by co­me­dian Pat­ton Oswalt, the show kicked off with VES di­rec­tor Eric Roth mis­tak­enly re­fer­ring to Life­time Achieve­ment Award re­cip­i­ent Sir Ri­d­ley Scott as “Ri­d­ley Thomas,” prompt­ing an evening-long meme of name er­rors. Pre­sen­ters in­cluded Pete Doc­ter, Zack Sny­der, Niko­laj Coster-Wal­dau, Terry Crews, Michael Pena, Den­nis Hays­bert, Por­tia Dou­ble­day, Erika Chris­tensen and Camilla Lud­ding­ton.

High­lights in­cluded pre­sen­ta­tion of the VES Vi­sion­ary Award to fu­tur­ist and con­cep­tual artists Syd Mead, who has con­trib­uted to dozens of films from Scott’s Blade Run­ner to more-re­cent films such as Ely­sium.

“This is phe­nom­e­nal,” said Mead. “It’s at once hum­bling and ex­hil­a­rat­ing.”

Scott de­liv­ered a ram­bling ac­cep­tance speech that started with his work on Alien and Blade Run­ner through The Mar­tian and his next project, the about-to-shoot Alien: Covenant.

“My hat comes off to all you guys and gals, with all your pas­sion and ge­nius and evolv­ing ideas,” said Scott. “You save our asses fre­quently, let me tell ya,” said Scott. The full list of win­ners fol­lows. Vis­ual Ef­fects in a Pho­to­real Fea­ture: Star Wars: The Force Awak­ens — Roger Guyett, Luke O’Byrne, Patrick Tubach, Paul Ka­vanagh, Chris Cor­bould Sup­port­ing Vis­ual Ef­fects in a Pho­to­real Fea­ture: The Revenant — Rich McBride, Ivy Agre­gan, Ja­son Smith, Ni­co­las Che­val­lier, Vis­ual Ef­fects in an An­i­mated Fea­ture: The Good Di­nosaur — San­jay Bak­shi, Denise Ream, Michael Ven­turini, Jon Reisch Vis­ual Ef­fects in a Real-Time Project: The Or­der: 1886 — Nathan Phail-Liff, Dana Jan, Anthony Vi­tale, Scot An­drea­son Vis­ual Ef­fects in a Pho­to­real Episode: Game of Thrones, “The Dance of Dragons” — Joe Bauer, Steve Kull­back, Eric Car­ney, Derek Spears, Stu­art Bris­don Vis­ual Ef­fects in a Com­mer­cial: SSE, “Pier” — Neil Davies, Tim Lyall, Hitesh Pa­tel, Jorge Mon­tiel Vis­ual Ef­fects in a Spe­cial Venue Project: Fast and Fu­ri­ous: Su­per­charged — Chris Shaw, Alysia Cot­ter, Ben White, Diego Guer­rero Cre­ated En­vi­ron­ment in a Pho­to­real Fea­ture: Star Wars: The Force Awak­ens, Fal­con Chase / Grave­yard — Yan­ick Dusseault, Mike Wood, Justin van der Lek, Quentin Marmier Sup­port­ing Vis­ual Ef­fects in a Pho­to­real Episode: Vik­ings, “To the Gates” — Do­minic Re­mane, Bill Hal­l­i­day, Paul Wishart, Ovidiu Ci­nazan, Paul Byrne An­i­mated Per­for­mance in a Pho­to­real Fea­ture: The Revenant, “The Bear” — Matt Shumway, Gaelle Mo­rand, Karin Cooper, Le­an­dro Este­becorena An­i­mated Per­for­mance in an An­i­mated Fea­ture: Inside Out, “Joy” — Shawn Krause, Tanja Krampfert, Ja­cob Mer­rell, Alexis An­ge­lidis Cre­ated En­vi­ron­ment in an An­i­mated Fea-

match­ing its tally

ture: The Good Di­nosaur, The Farm — David Mu­nier, Matthew Webb, Matt Ku­ruc, Tom Miller An­i­mated Per­for­mance in an Episode, Com­mer­cial, or Real-Time Project: SSE, “Pier,” Orangutan — Jorge Mon­tiel, Sauce Vi­las, Philippe Moine, Sam Driscoll Cre­ated En­vi­ron­ment in an Episode, Com­mer­cial, or Real-Time Project: Game of Thrones, City of Volan­tis — Do­minic Piche, Chris­tine Le­clerc, Pa­trice Poissant, Thomas Mont­miny-Brodeur Vir­tual Cine­matog­ra­phy in a Pho­to­real Project: Star Wars: The Force Awak­ens, Fal­con Chase / Grave­yard — Paul Ka­vanagh, Colin Benoit, Susumu Yukuhiro, Greg Salter Ef­fects Sim­u­la­tions in an Episode, Com­mer­cial, or Real-Time Project: Game of Thrones, “Hard­home” — David Ramos, An­to­nio Lado, Piotr Weiss, Félix Bergés Com­posit­ing in a Pho­to­real Fea­ture: The Revenant, Bear At­tack — Donny Rausch, Alan Travis, Charles Lai, TC Har­ri­son Mod­els in a Pho­to­real or An­i­mated Project: Star Wars: The Force Awak­ens, “BB-8” — Joshua Lee, Matthew Den­ton, Lan­dis Fields, Cyrus Jam Ef­fects Sim­u­la­tions in a Pho­to­real Fea­ture: Mad Max: Fury Road, Toxic Storm — Dan Bethell, Clin­ton Downs, Chris Young Com­posit­ing in a Pho­to­real Episode: Game of Thrones, “Hard­home” — Ed­uardo Díaz, Guillermo Orbe, Os­car Perea, In­mac­u­lada Nadela Ef­fects Sim­u­la­tions in an An­i­mated Fea­ture: The Good Di­nosaur — Stephen Marshall, Mag­nus Wren­ninge, Michael Hall, Hema­giri Aru­mugam Com­posit­ing in a Pho­to­real Com­mer­cial: SSE, “Pier” — Gary Driver, Greg Spencer, Grant Con­nor Vis­ual Ef­fects in a Stu­dent Project: Ci­ti­pati — An­dreas Feix, Francesco Faranna [

An­i­mag: What is your aim in cu­rat­ing the Car­toons on the Bay festival? Roberto Gen­ovesi: Since 2009, my main goal has been to prove that an­i­ma­tion is a lan­guage, not a prod­uct. A lan­guage that can be parsed in seem­ingly widely sep­a­rated worlds. Car­toons on the Bay is the first Euro­pean festival that opened the door to cross-me­dia — a choice made when it seemed a heresy. The aim of the festival is to look be­yond the hori­zon to see the fu­ture of an­i­ma­tion. An­i­mag: Are there any big changes to the festival this year? Gen­ovesi: This year, the festival turns 20. To cel­e­brate, we de­cided to es­tab­lish the chil­dren’s prize, be­cause kids are the main tar­get au­di­ence of the festival and we need to know not only what the ex­perts think, but what the au­di­ence thinks. An­i­mag: What sort of trends are you see­ing in this year’s sub­mis­sions? Gen­ovesi: 3D and CGI are the most-used tech­niques and, in some cases, the mostabused. I think the choice of tech­nique should de­pend not on trends but on what you want to com­mu­ni­cate and who your au­di­ence is. An­i­mag: Are there any spe­cial guests lined up? Gen­ovesi: This year, we will have two gu­rus of au­dio­vi­sual lan­guage: Richard Gar­riott, the fa­ther of on­line games, and Chris Vogler, the fa­ther of an­i­ma­tion screen­writ­ing. And, we an­tic­i­pate the ar­rival of hun­dreds of stu­dents An­i­mag: Do you have any pre­dic­tions for the an­i­ma­tion in­dus­try in the next few years? Gen­ovesi: A change not only in the tech­niques of re­al­iza­tion, but also and above all in the script. A rad­i­cal change in the con­cept of the project that puts cre­ative vision and busi­ness on the same level. And then, the fi­nal and de­fin­i­tive ex­pan­sion into other, con­tigu­ous worlds. [ The of­fi­cial se­lec­tion for Car­toons on the Bay 2016 will be an­nounced March 31. Re­sponses have been edited for clar­ity of lan­guage.

Paul Ka­vanagh, Patrick Tubach, Luke O’Byrne and Roger Guyett won Best VFX in a Pho­to­real fea­ture for Star Wars: The Force Awak­ens. Jon Reisch, Michael Ven­turini and San­jay Bak­shi won Best Ef­fects in an An­i­mated Fea­ture for Pixar’s TC Har­ri­son, Charles Lai

Syd Mead ac­cepts the VES Vi­sion­ary Award.

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