The blockbuster took nine of the 14 awards for which it was nominated.
Avatar: The Way of Water emerged as the big winner at the Visual Effects Society’s Ves Awards on Wednesday (February 15) night, taking nine awards including the prize for photoreal feature.
Guillermo del Toro’s Pinocchio was the most honoured animated film, winning the animated feature award and two other prizes.
The Way of Water had gone into the ceremony, held at the Beverly Hilton Hotel in Los Angeles, with 14 nominations, and Pinocchio with five.
The Ves Lifetime Achievement award went to producer Gale Anne Hurd and the...
Avatar: The Way of Water emerged as the big winner at the Visual Effects Society’s Ves Awards on Wednesday (February 15) night, taking nine awards including the prize for photoreal feature.
Guillermo del Toro’s Pinocchio was the most honoured animated film, winning the animated feature award and two other prizes.
The Way of Water had gone into the ceremony, held at the Beverly Hilton Hotel in Los Angeles, with 14 nominations, and Pinocchio with five.
The Ves Lifetime Achievement award went to producer Gale Anne Hurd and the...
- 2/16/2023
- by John Hazelton
- ScreenDaily
James Cameron’s “Avatar: The Way of Water” swept the 21st annual Ves Awards Wednesday night in an unprecedented wave of dominance in every category, winning nine of its record-breaking 14 nominations, including the top photoreal feature, and the newest category, The Emerging Technology Award, for its innovative water toolset.
Although the prestigious visual effects honorary society has not been a reliable Oscar bellwether in recent years — picking the VFX winner only twice in the last six years — this now looks like a lock for the “Avatar” sequel.
Hosted by Patton Oswalt at the Beverly Hilton Hotel, “Guillermo del Toro’s Pinocchio” (from Netflix) — the favorite to win the Best Animated Feature Oscar — won the top animation trophy and took home three awards; Amazon’s “Thirteen Lives” snagged the supporting prize, and Amazon Prime Video’s “The Lord of the Rings: The Rings of Power” grabbed the episodic prize and also took home three awards.
Although the prestigious visual effects honorary society has not been a reliable Oscar bellwether in recent years — picking the VFX winner only twice in the last six years — this now looks like a lock for the “Avatar” sequel.
Hosted by Patton Oswalt at the Beverly Hilton Hotel, “Guillermo del Toro’s Pinocchio” (from Netflix) — the favorite to win the Best Animated Feature Oscar — won the top animation trophy and took home three awards; Amazon’s “Thirteen Lives” snagged the supporting prize, and Amazon Prime Video’s “The Lord of the Rings: The Rings of Power” grabbed the episodic prize and also took home three awards.
- 2/16/2023
- by Mark Peikert
- Indiewire
“Avatar: The Way of Water” topped the 21st Annual Ves Awards with nine wins, including for photoreal feature.
Meanwhile, Guillermo del Toro’s “Pinocchio” was named best animated feature and took home three awards total. On the TV side, Amazon’s “The Lord of the Rings: The Rings of Power” won three awards and was named best photoreal episode.
Rian Johnson, Domee Shi, Tig Notaro, Jay Pharoah, Tyler Posey and Randall Park were among the presenters for the night. James Cameron presented the Ves Lifetime Achievement award to acclaimed producer Gale Anne Hurd.
Former Ves executive director Eric Roth received the Board of Directors Award from the current board, which includes Lisa Cooke, current Ves Chair; Jim Morris, Ves, president of Pixar Animation and founding Ves Chair; and former Chairs Jeffrey A. Okun, Ves; Mike Chambers, Ves; Carl Rosendahl, Ves; and Jeff Barnes.
“As we celebrate the 21st Annual Ves Awards,...
Meanwhile, Guillermo del Toro’s “Pinocchio” was named best animated feature and took home three awards total. On the TV side, Amazon’s “The Lord of the Rings: The Rings of Power” won three awards and was named best photoreal episode.
Rian Johnson, Domee Shi, Tig Notaro, Jay Pharoah, Tyler Posey and Randall Park were among the presenters for the night. James Cameron presented the Ves Lifetime Achievement award to acclaimed producer Gale Anne Hurd.
Former Ves executive director Eric Roth received the Board of Directors Award from the current board, which includes Lisa Cooke, current Ves Chair; Jim Morris, Ves, president of Pixar Animation and founding Ves Chair; and former Chairs Jeffrey A. Okun, Ves; Mike Chambers, Ves; Carl Rosendahl, Ves; and Jeff Barnes.
“As we celebrate the 21st Annual Ves Awards,...
- 2/16/2023
- by Jazz Tangcay
- Variety Film + TV
Filmmakers frequently tout the old "this movie couldn't have been made X years ago" boast, but in the case of "Avatar: The Way of Water," that idea actually holds a lot of weight. The weight of water, to be specific. Given that a vast majority of the movie takes place in and around the oceans of Pandora, the technology to create a believable underwater environment just wasn't available until recently.
In charge of Metkayina Village and the water surrounding it were, respectively, VFX supervisor Pavani Bodapatti and FX supervisor Johnathan Nixon, both of Weta FX. I had the opportunity to speak with them recently, and they eagerly detailed their various challenges while making the movie, which included breaching Tulkun and incorporating costume design onto a digital character, as well as being inspired by the natural wonders of New Zealand.
Note: This interview has been lightly edited for clarity and brevity.
In charge of Metkayina Village and the water surrounding it were, respectively, VFX supervisor Pavani Bodapatti and FX supervisor Johnathan Nixon, both of Weta FX. I had the opportunity to speak with them recently, and they eagerly detailed their various challenges while making the movie, which included breaching Tulkun and incorporating costume design onto a digital character, as well as being inspired by the natural wonders of New Zealand.
Note: This interview has been lightly edited for clarity and brevity.
- 12/22/2022
- by Bill Bria
- Slash Film
Visual effects have been around since the early days of the silent era, when filmmakers like Georges Méliès used stage magic tricks and early photographic and editing experiments to make characters appear from out of nowhere, float on-screen, or travel to other planetoids and meet bizarre alien life forms. And while in many respects nothing has changed — we're still making movies packed with visual effects to trick audiences into thinking they're watching something real — the technology we use to create these illusions has evolved so rapidly that even Monsieur Méliès would probably have no idea how a film like "Avatar: The Way of Water" pulled off its incredible images.
Even the visual effects artists who worked on "Avatar: The Way of Water" were faced with highly unusual challenges. This wasn't the usual sci-fi spectacular, where villains shoot skybeams into the air while costumed do-gooders and do-badders hold their hands out...
Even the visual effects artists who worked on "Avatar: The Way of Water" were faced with highly unusual challenges. This wasn't the usual sci-fi spectacular, where villains shoot skybeams into the air while costumed do-gooders and do-badders hold their hands out...
- 12/21/2022
- by William Bibbiani
- Slash Film
The theatrical landscape has drastically changed in the 13 years since the original "Avatar" was released in theaters to massive financial success. But James Cameron necessarily has spent all that time since the 2009 release still in Pandora, creating his vision for a series of films that spans decades and tells a multi-generational story. Just as Cameron spent years developing new technology, he has also worked hard on the narrative side of things. The story of Jake Sully of the Jarhead clan would grow into something even more extensive than initially planned.
In the vein of massive productions like Peter Jackson's "Lord of the Rings" trilogy and even, to some degree, the Marvel Cinematic Universe, Cameron has carefully crafted an alien world filled with rich details. Pandora is filled with life and an ecosystem that makes the films feel even more real when paired with groundbreaking visual effects. However, none of this worldbuilding came easy,...
In the vein of massive productions like Peter Jackson's "Lord of the Rings" trilogy and even, to some degree, the Marvel Cinematic Universe, Cameron has carefully crafted an alien world filled with rich details. Pandora is filled with life and an ecosystem that makes the films feel even more real when paired with groundbreaking visual effects. However, none of this worldbuilding came easy,...
- 12/21/2022
- by Ernesto Valenzuela
- Slash Film
“War for the Planet of the Apes” from Weta Digital could well be on its way to the elusive VFX Oscar after winning four Ves trophies Tuesday night at the Beverly Hilton (including the top feature prize). Christopher Nolan’s “Dunkirk” won for supporting VFX, Pixar’s “Coco” earned four awards (including VFX for animation), and “Game of Thrones” took home five awards (including VFX for TV).
The “Apes” finale, directed by Matt Reeves, benefited from a Shakespearean performance from Andy Serkis as Caesar, with Weta working its wizardry in much harsher conditions for the performance-captured animation. Not surprisingly, “Apes” additionally won for Caesar, the effects simulations for the thrilling avalanche, and compositing. However, although both “Rise” and “Dawn” captured Ves prizes, neither won the Oscar, so “War” is not a certainty in its race with “Blade Runner 2049.”
Speaking of which, Denis Villeneuve’s “Blade Runner” sequel won two...
The “Apes” finale, directed by Matt Reeves, benefited from a Shakespearean performance from Andy Serkis as Caesar, with Weta working its wizardry in much harsher conditions for the performance-captured animation. Not surprisingly, “Apes” additionally won for Caesar, the effects simulations for the thrilling avalanche, and compositing. However, although both “Rise” and “Dawn” captured Ves prizes, neither won the Oscar, so “War” is not a certainty in its race with “Blade Runner 2049.”
Speaking of which, Denis Villeneuve’s “Blade Runner” sequel won two...
- 2/14/2018
- by Bill Desowitz
- Indiewire
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