Special effects maestro Brian Cox and producer and costume designer Catherine Martin were both honoured at the Australian Production Design Guild Awards on Sunday.
Cox, whose 40-year career has included credits such as The Matrix and Moulin Rouge, was awarded the Canal Road Artisan Lifetime Achievement Award, while Martin -Australia’s most prolific Academy Award winner – was recognised with the Cameron Creswell Outstanding Contribution to Design Award.
The awards, which celebrated their 10th anniversary, also marked the end of an era as Apdg president and founder George Liddle announced he was stepping down after more than a decade at the helm.
Speaking at the virtual event, he said the future looked positive for the guild.
“Technological advances change the way we work, but they are mere tools,” he said.
“The creative design mind remains. That means design practitioners will remain an essential part of all successful productions in the live performance,...
Cox, whose 40-year career has included credits such as The Matrix and Moulin Rouge, was awarded the Canal Road Artisan Lifetime Achievement Award, while Martin -Australia’s most prolific Academy Award winner – was recognised with the Cameron Creswell Outstanding Contribution to Design Award.
The awards, which celebrated their 10th anniversary, also marked the end of an era as Apdg president and founder George Liddle announced he was stepping down after more than a decade at the helm.
Speaking at the virtual event, he said the future looked positive for the guild.
“Technological advances change the way we work, but they are mere tools,” he said.
“The creative design mind remains. That means design practitioners will remain an essential part of all successful productions in the live performance,...
- 11/10/2021
- by Sean Slatter
- IF.com.au
High Ground, The Invisible Man and 2067 lead the feature film nominees and Hungry Ghosts, Stateless and Bump television for the upcoming Australian Production Design Guild (Apdg) Awards.
Production designer for High Ground Ross Wallace and The Invisible Man’s Alex Holmes will compete for the night’s top gong against Relic‘s Steven Jones-Evans and True History of the Kelly Gang‘s Karen Murphy.
In television, battling for the production designer award are Hungry Ghost‘s Carrie Kennedy, On Becoming A God In Central Florida‘s Annie Beauchamp, Stateless’ Melinda Doring and The Luminaries‘ Felicity Abbott.
There are 23 categories for this year’s awards, including the traditional live performance, film, television, event, animation and costume design awards, in addition to new categories that include set decorators, screen graphic designers and live performance video designers.
“Over the past 10 years our young emerging designers have flourished,” production designer and Apdg president George Liddle said.
Production designer for High Ground Ross Wallace and The Invisible Man’s Alex Holmes will compete for the night’s top gong against Relic‘s Steven Jones-Evans and True History of the Kelly Gang‘s Karen Murphy.
In television, battling for the production designer award are Hungry Ghost‘s Carrie Kennedy, On Becoming A God In Central Florida‘s Annie Beauchamp, Stateless’ Melinda Doring and The Luminaries‘ Felicity Abbott.
There are 23 categories for this year’s awards, including the traditional live performance, film, television, event, animation and costume design awards, in addition to new categories that include set decorators, screen graphic designers and live performance video designers.
“Over the past 10 years our young emerging designers have flourished,” production designer and Apdg president George Liddle said.
- 7/15/2021
- by Staff Writer
- IF.com.au
It’s truly a measure of the pandemic that the 19th annual Ves Awards (to be held virtually on April 6) was dominated by Disney+’s “The Mandalorian” with 13 nominations (topped by photoreal episode). Like the Oscar shortlist, there was an absence of big budget, VFX-intensive studio films. But, truth be told, Season 2 of Jon Favreau’s engaging “Star Wars” bounty hunter series offered the industry’s most innovative tech (wrapped around Industrial Light & Magic’s improved StageCraft virtual production system).
Pixar’s “Soul” was the top animation contender with five nominations, while the feature competition was split between “Project Power,” the Netflix superhero film, Robert Zemeckis’ “The Witches” (which streamed on HBO Max), and Disney’s live-action “Mulan” (which streamed on Disney+), each garnering three nominations.
Joining “Project Power” and “The Witches” in the top photoreal feature category were Netflix’s “Jingle Jangle: A Christmas Journey” and “The Midnight Sky...
Pixar’s “Soul” was the top animation contender with five nominations, while the feature competition was split between “Project Power,” the Netflix superhero film, Robert Zemeckis’ “The Witches” (which streamed on HBO Max), and Disney’s live-action “Mulan” (which streamed on Disney+), each garnering three nominations.
Joining “Project Power” and “The Witches” in the top photoreal feature category were Netflix’s “Jingle Jangle: A Christmas Journey” and “The Midnight Sky...
- 3/2/2021
- by Bill Desowitz
- Indiewire
The nominations for the 19th Annual Visual Effects Society Awards have been announced with “The Mandalorian” and “Soul” leading.
“The Mandalorian” leads with 13 nominations including outstanding visual effects in a photoreal episode. “Soul” was next with five nominations, followed by “The Witches” and “Project Power.”
The Ves awards will be handed out in a virtual ceremony and will stream worldwide on April 6.
“Traditions find a way to persist,” said Lisa Cooke, Ves Board Chair. “With vision and a lot of hard work, we are proud to host our annual celebration of the artistry, ingenuity and passion of visual effects practitioners around the world – virtually. We are seeing best in class work that elevates the art of storytelling and engages the audience in new and innovative ways. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of all our nominees!
“The Mandalorian” leads with 13 nominations including outstanding visual effects in a photoreal episode. “Soul” was next with five nominations, followed by “The Witches” and “Project Power.”
The Ves awards will be handed out in a virtual ceremony and will stream worldwide on April 6.
“Traditions find a way to persist,” said Lisa Cooke, Ves Board Chair. “With vision and a lot of hard work, we are proud to host our annual celebration of the artistry, ingenuity and passion of visual effects practitioners around the world – virtually. We are seeing best in class work that elevates the art of storytelling and engages the audience in new and innovative ways. The Ves Awards is the only venue that showcases and honors these outstanding artists across a wide range of disciplines, and we are extremely proud of all our nominees!
- 3/2/2021
- by Jazz Tangcay
- Variety Film + TV
The Visual Effects Society today announced the nominees for its 19th annual Ves Awards, which recognize VFX artistry in 25 categories spanning film, TV, animation, commercials and video games. Winners will be announced during a virtual ceremony on Tuesday, April 6.
Disney+’s The Mandalorian leads all TV shows and films with 13 noms, and Disney/Pixar’s animated Soul tops the film side with five. Project Power and The Witches tied for second among movies with three noms apiece in a decidedly strange year for VFX-heavy projects.
Vying for the Visual Effects in a Photoreal Feature prize are Jingle Jangle: A Christmas Journey, The Midnight Sky, Project Power, Tenet and The Witches. The films up for
Supporting Visual Effects in a Photoreal Feature are Da 5 Bloods, Extraction, Mank, News of the World and Welcome to Chechnya.
Soul will battle it out for the Visual Effects in an Animated Feature trophy against fellow Pixar pic Onward,...
Disney+’s The Mandalorian leads all TV shows and films with 13 noms, and Disney/Pixar’s animated Soul tops the film side with five. Project Power and The Witches tied for second among movies with three noms apiece in a decidedly strange year for VFX-heavy projects.
Vying for the Visual Effects in a Photoreal Feature prize are Jingle Jangle: A Christmas Journey, The Midnight Sky, Project Power, Tenet and The Witches. The films up for
Supporting Visual Effects in a Photoreal Feature are Da 5 Bloods, Extraction, Mank, News of the World and Welcome to Chechnya.
Soul will battle it out for the Visual Effects in an Animated Feature trophy against fellow Pixar pic Onward,...
- 3/2/2021
- 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
‘Upgrade’.
The nominees for this year’s Australian Production Design Guild Awards have been unveiled, with 106 nominees across 27 categories – six of which are new.
The production designers behind Winchester, Upgrade, Peter Rabbit and The Lego Ninjago Movie are in contention for the best production on a feature film award, while those who helped to put together Harrow, Top of the Lake: China Girl, Friday On My Mind and Picnic at Hanging Rock will vie for the equivalent award in TV.
Apdg president George Liddle said: “The Guild is thrilled to represent all the talent from the diverse areas of design and to highlight and award the outstanding work produced over the last year in our annual awards.
With a growing membership from screen and live performance design practitioners, and the inclusion of the six new categories, we can also highlight the achievements of designers working on international productions, web series and in the game industry.
The nominees for this year’s Australian Production Design Guild Awards have been unveiled, with 106 nominees across 27 categories – six of which are new.
The production designers behind Winchester, Upgrade, Peter Rabbit and The Lego Ninjago Movie are in contention for the best production on a feature film award, while those who helped to put together Harrow, Top of the Lake: China Girl, Friday On My Mind and Picnic at Hanging Rock will vie for the equivalent award in TV.
Apdg president George Liddle said: “The Guild is thrilled to represent all the talent from the diverse areas of design and to highlight and award the outstanding work produced over the last year in our annual awards.
With a growing membership from screen and live performance design practitioners, and the inclusion of the six new categories, we can also highlight the achievements of designers working on international productions, web series and in the game industry.
- 11/16/2018
- by jkeast
- IF.com.au
Last night, the Visual Effects Society handed out their awards at their annual gathering. It was mainly a good night for The Jungle Book, which took the top prize, known as Outstanding Visual Effects in a Photoreal Feature. It beat back Doctor Strange, Fantastic Beasts and Where to Find Them, Miss Peregrine’s Home For Peculiar Children, and Rogue One: A Star Wars Story, while at the Academy Awards, it’ll be up against Deepwater Horizon, Doctor Strange, Kubo and the Two Strings, and Rogue One: A Star Wars Story. It was an expected win, but one that was eagerly awaited to try and figure out the Oscar category of Best Visual Effects. The Jungle Book ended up with five prizes in total, easily besting the rest of the bunch. As mentioned above, this top award ties directly into the Visual Effects category at the Oscars. Nine out of the...
- 2/8/2017
- by Joey Magidson
- Hollywoodnews.com
“The Jungle Book” is on its way to VFX Oscar gold after getting five Ves nods Tuesday night at the Beverly Hilton. “Rogue One,” the “Star Wars” standalone, however, came away empty-handed after receiving seven nominations.
Innovative Disney hybrid “The Jungle Book” won for outstanding feature, King Louie’s animated performance, virtual cinematography, effects simulations, and compositing.
Laika’s Oscar-nominated “Kubo and the Two Strings” earned VFX animation props, “Deepwater Horizon” took supporting VFX and model work for Industrial Light & Magic, and “Game of Thrones: Battle of the Bastards” continued its TV dominance.
Disney’s “Moana” grabbed two animation awards (created environment and simulations), Pixar won for Hank’s animated performance, and Marvel’s “Doctor Strange” won for its New York City environment
The Ves Visionary Award went to Victoria Alonso, producer and Marvel Studios Evp of physical production. Five-time Oscar winner Ken Ralston (“Return of the Jedi” and “Who Framed Roger Rabbit?...
Innovative Disney hybrid “The Jungle Book” won for outstanding feature, King Louie’s animated performance, virtual cinematography, effects simulations, and compositing.
Laika’s Oscar-nominated “Kubo and the Two Strings” earned VFX animation props, “Deepwater Horizon” took supporting VFX and model work for Industrial Light & Magic, and “Game of Thrones: Battle of the Bastards” continued its TV dominance.
Disney’s “Moana” grabbed two animation awards (created environment and simulations), Pixar won for Hank’s animated performance, and Marvel’s “Doctor Strange” won for its New York City environment
The Ves Visionary Award went to Victoria Alonso, producer and Marvel Studios Evp of physical production. Five-time Oscar winner Ken Ralston (“Return of the Jedi” and “Who Framed Roger Rabbit?...
- 2/8/2017
- by Bill Desowitz
- Indiewire
Aussie VFX outfit Rising Sun Pictures has been nominated for Outstanding Compositing in a Photoreal Feature at the 15th Annual Ves Awards..
The Visual Effects Society Awards will be handed out on February 7 at the Beverly Hilton Hotel in Los Angeles..
Alana Newell and compositors Jess Burnheim, Andy Peel and Matthew Shaw are nominated for their work on the 'Quicksilver Rescue' sequence in Fox's X-Men: Apocalypse.
In the sequence, Quicksilver (Evan Peters) uses his hyper-speed ability to rescue mutants (and a bulldog) from an exploding building..
According to Newell, the scene was built using a combination of practical stunts, motion control cinematography, slow motion, CG environments, effects simulations and re-timed footage..
.Our compositors worked with the layout and effects teams to calibrate the timing and composition of the explosions," she said..
"Debris and re-timed plates were laid out to plot how they would work with the live action footage. Passes were rendered in deep,...
The Visual Effects Society Awards will be handed out on February 7 at the Beverly Hilton Hotel in Los Angeles..
Alana Newell and compositors Jess Burnheim, Andy Peel and Matthew Shaw are nominated for their work on the 'Quicksilver Rescue' sequence in Fox's X-Men: Apocalypse.
In the sequence, Quicksilver (Evan Peters) uses his hyper-speed ability to rescue mutants (and a bulldog) from an exploding building..
According to Newell, the scene was built using a combination of practical stunts, motion control cinematography, slow motion, CG environments, effects simulations and re-timed footage..
.Our compositors worked with the layout and effects teams to calibrate the timing and composition of the explosions," she said..
"Debris and re-timed plates were laid out to plot how they would work with the live action footage. Passes were rendered in deep,...
- 1/16/2017
- by Staff Writer
- IF.com.au
Aussie VFX outfit Rising Sun Pictures has been nominated for Outstanding Compositing in a Photoreal Feature at the 15th Annual Ves Awards..
The Visual Effects Society Awards will be handed out on February 7 at the Beverly Hilton Hotel in Los Angeles..
Alana Newell and compositors Jess Burnheim, Andy Peel and Matthew Shaw are nominated for their work on the 'Quicksilver Rescue' sequence in Fox's X-Men: Apocalypse.
In the sequence, Quicksilver (Evan Peters) uses his hyper-speed ability to rescue mutants (and a bulldog) from an exploding building..
According to Newell, the scene was built using a combination of practical stunts, motion control cinematography, slow motion, CG environments, effects simulations and re-timed footage..
.Our compositors worked with the layout and effects teams to calibrate the timing and composition of the explosions," she said..
"Debris and re-timed plates were laid out to plot how they would work with the live action footage. Passes were rendered in deep,...
The Visual Effects Society Awards will be handed out on February 7 at the Beverly Hilton Hotel in Los Angeles..
Alana Newell and compositors Jess Burnheim, Andy Peel and Matthew Shaw are nominated for their work on the 'Quicksilver Rescue' sequence in Fox's X-Men: Apocalypse.
In the sequence, Quicksilver (Evan Peters) uses his hyper-speed ability to rescue mutants (and a bulldog) from an exploding building..
According to Newell, the scene was built using a combination of practical stunts, motion control cinematography, slow motion, CG environments, effects simulations and re-timed footage..
.Our compositors worked with the layout and effects teams to calibrate the timing and composition of the explosions," she said..
"Debris and re-timed plates were laid out to plot how they would work with the live action footage. Passes were rendered in deep,...
- 1/16/2017
- by Staff Writer
- IF.com.au
Hacksaw Ridge has picked up four Aacta Awards so far..
The first winners of this year.s Aacta Awards were unveiled yesterday at the Aacta Industry Luncheon.
Some 33 awards were presented during the event, celebrating screen craft excellence across features, television, shorts, and documentary. The remainder of the awards will be announced at the 6th Aacta Awards Ceremony on Wednesday evening.
Hacksaw Ridge picked up the most gongs: four from a possible six, including Best Editing, Best Production Design, Best Cinematography and Best Sound. Mel Gibson's film is up for another seven awards, to be presented at Wednesday evening's ceremony..
Composer Antony Partos picked up his sixth AFI/Aacta award for his work on Tanna, while Simon Stone took out Best Adapted Screenplay for his debut feature The Daughter..Girl Asleep's Jonathan Oxlade won Best Costume Design.
The Aacta Award for Best Short Animation was presented to Angie Fielder,...
The first winners of this year.s Aacta Awards were unveiled yesterday at the Aacta Industry Luncheon.
Some 33 awards were presented during the event, celebrating screen craft excellence across features, television, shorts, and documentary. The remainder of the awards will be announced at the 6th Aacta Awards Ceremony on Wednesday evening.
Hacksaw Ridge picked up the most gongs: four from a possible six, including Best Editing, Best Production Design, Best Cinematography and Best Sound. Mel Gibson's film is up for another seven awards, to be presented at Wednesday evening's ceremony..
Composer Antony Partos picked up his sixth AFI/Aacta award for his work on Tanna, while Simon Stone took out Best Adapted Screenplay for his debut feature The Daughter..Girl Asleep's Jonathan Oxlade won Best Costume Design.
The Aacta Award for Best Short Animation was presented to Angie Fielder,...
- 12/6/2016
- by Jackie Keast
- IF.com.au
The Battle of the Bastards.
Next week Ait And Apdg are presenting a special in-conversation event with Iloura VFX artist Glenn Melenhorst, going in-depth on the episode that defined Game of Thrones season 6 - episode 9, The Battle of the Bastards.
Nominated for an Emmy in Outstanding Special Visual Effects, Melenhorst and his team at Iloura delivered photoreal shots for the episode, working in particular on the episode.s battle sequence, "combining 3D visual effects and hand animation to realize the production.s vision," according to a statement.
"The battle that was created by Iloura required numerous collisions between photoreal horses and riders, 3,000-strong armies and close-up shots of live-action actors and sets composited with CG humans and animals and massive crowd simulations. Hundreds of assets — CG armoury, weapons, flags, saddlery, body parts and environmental assets such as blood, mud, smoke, fire and mist — were also needed to augment the plate photography.
Next week Ait And Apdg are presenting a special in-conversation event with Iloura VFX artist Glenn Melenhorst, going in-depth on the episode that defined Game of Thrones season 6 - episode 9, The Battle of the Bastards.
Nominated for an Emmy in Outstanding Special Visual Effects, Melenhorst and his team at Iloura delivered photoreal shots for the episode, working in particular on the episode.s battle sequence, "combining 3D visual effects and hand animation to realize the production.s vision," according to a statement.
"The battle that was created by Iloura required numerous collisions between photoreal horses and riders, 3,000-strong armies and close-up shots of live-action actors and sets composited with CG humans and animals and massive crowd simulations. Hundreds of assets — CG armoury, weapons, flags, saddlery, body parts and environmental assets such as blood, mud, smoke, fire and mist — were also needed to augment the plate photography.
- 8/12/2016
- by Staff Writer
- IF.com.au
Ghostbusters.
Aussie visual effects and animation company Iloura, part of Deluxe Entertainment Services Group, was behind 500 VFX shots for Paul Feig.s Ghostbusters reboot, including creation of the film.s ghosts.
The Iloura team was led by VFX supervisors Glenn Melenhorst — who helped to create the battle sequence in the penultimate episode of Game of Thrones season six, Battle of the Bastards —. and Andrew Hellen, along with Iloura VFX producers Ineke Majoor and Jeannette Manifold.
Pete Travers, Sony Studios. VFX supervisor for Ghostbusters, said Iloura played .such a strong role in the design of our ghosts..
.From the first test in pre-production which they hit out of the park, everything Iloura produced was not only of extremely high quality, but had such a strong aspect of creative design, in ways that we hadn't asked [for] or expressed. They went the extra mile, and it always paid off from our vantage point.
Aussie visual effects and animation company Iloura, part of Deluxe Entertainment Services Group, was behind 500 VFX shots for Paul Feig.s Ghostbusters reboot, including creation of the film.s ghosts.
The Iloura team was led by VFX supervisors Glenn Melenhorst — who helped to create the battle sequence in the penultimate episode of Game of Thrones season six, Battle of the Bastards —. and Andrew Hellen, along with Iloura VFX producers Ineke Majoor and Jeannette Manifold.
Pete Travers, Sony Studios. VFX supervisor for Ghostbusters, said Iloura played .such a strong role in the design of our ghosts..
.From the first test in pre-production which they hit out of the park, everything Iloura produced was not only of extremely high quality, but had such a strong aspect of creative design, in ways that we hadn't asked [for] or expressed. They went the extra mile, and it always paid off from our vantage point.
- 7/25/2016
- by Staff Writer
- IF.com.au
The penultimate episode of Game of Thrones season six, Battle of the Bastards, was one of the most acclaimed in the show's history.
Centering around a large battle sequence straight out of Braveheart, the episode featured charging cavalry, giants, and a cast of thousands - or so it looked.
The VFX artists working on the battle sequence included a team from Iloura.s Melbourne office, who used a mix of VFX and hand-crafted animation techniques to realize the director's vision for the ep, led by VFX supervisor Glenn Melenhorst.
Iloura was selected to work on the episode after presenting the show.s VFX producer and supervisor, Steve Kullback and Joe Bauer, with a series of tests presenting photoreal CG horses and riders colliding with other horses, rendered from various points of view..
.Battle of the Bastards is shocking in its audacity,. said Kullback. .More shocking still that we pulled it...
Centering around a large battle sequence straight out of Braveheart, the episode featured charging cavalry, giants, and a cast of thousands - or so it looked.
The VFX artists working on the battle sequence included a team from Iloura.s Melbourne office, who used a mix of VFX and hand-crafted animation techniques to realize the director's vision for the ep, led by VFX supervisor Glenn Melenhorst.
Iloura was selected to work on the episode after presenting the show.s VFX producer and supervisor, Steve Kullback and Joe Bauer, with a series of tests presenting photoreal CG horses and riders colliding with other horses, rendered from various points of view..
.Battle of the Bastards is shocking in its audacity,. said Kullback. .More shocking still that we pulled it...
- 6/30/2016
- by Staff Writer
- IF.com.au
Clemenger Bbdo Melbourne was named agency of the year at the Melbourne Advertising & Design Club Awards tonight.
The agency won top honours for the second year running. However, rival Gpy&R Melbourne – which won more lions at Cannes this year than any Australian agency – did not enter for the second consecutive year. Last year, Patts Ecd Ben Coulson cited cost reasons for not supporting the event, which is Melbourne’s top awards show.
The awards list in full:
The Adstream Award for Agency of the Year
Winner
Clemenger Bbdo Melbourne
The Madc Award for Best in Show
Winner
Guilt Trips V/Line Agency McCann
The Madc Award for Lifetime Achievement
Winner
Scott Whybin, Whybin Tbwa
The Blackley Award for Creative Leader of the Year
Winner
Jason Williams, Leo Burnett
The Madc Award for Client of the Year
Winner
Carlton United Brewers
The Exit Films Award for Best Junior
Winners
Jono...
The agency won top honours for the second year running. However, rival Gpy&R Melbourne – which won more lions at Cannes this year than any Australian agency – did not enter for the second consecutive year. Last year, Patts Ecd Ben Coulson cited cost reasons for not supporting the event, which is Melbourne’s top awards show.
The awards list in full:
The Adstream Award for Agency of the Year
Winner
Clemenger Bbdo Melbourne
The Madc Award for Best in Show
Winner
Guilt Trips V/Line Agency McCann
The Madc Award for Lifetime Achievement
Winner
Scott Whybin, Whybin Tbwa
The Blackley Award for Creative Leader of the Year
Winner
Jason Williams, Leo Burnett
The Madc Award for Client of the Year
Winner
Carlton United Brewers
The Exit Films Award for Best Junior
Winners
Jono...
- 10/4/2012
- by Robin Hicks
- Encore Magazine
This article originally appeared in If Magazine #142 (August-September 2011).
There is no more fertile territory than the mind of filmmaker Guillermo Del Toro . a place where grotesque and bizarre horror is regularly shaped into creatures never before seen on screen.
Films such as Pan.s Labyrinth, Hellboy and Blade II present entire worlds that shock as well as entertain by stretching the boundaries of the imagination. The 10-inch .homunculi. that populate Melbourne-filmed horror Don.t Be Afraid of the Dark . first inspired by the 1970s made-for-tv film of the same name . are just the latest in a long-line of creatures dredged from Del Toro.s mind.
The original telemovie used a variety of effects to shrink heavily-masked actors to pint-sized beings, which then terrorise a family who have moved into an old mansion.
.Guillermo had intended to do exactly that,. says Spectral Motion founder and long time Del Toro collaborator Mike Elizalde...
There is no more fertile territory than the mind of filmmaker Guillermo Del Toro . a place where grotesque and bizarre horror is regularly shaped into creatures never before seen on screen.
Films such as Pan.s Labyrinth, Hellboy and Blade II present entire worlds that shock as well as entertain by stretching the boundaries of the imagination. The 10-inch .homunculi. that populate Melbourne-filmed horror Don.t Be Afraid of the Dark . first inspired by the 1970s made-for-tv film of the same name . are just the latest in a long-line of creatures dredged from Del Toro.s mind.
The original telemovie used a variety of effects to shrink heavily-masked actors to pint-sized beings, which then terrorise a family who have moved into an old mansion.
.Guillermo had intended to do exactly that,. says Spectral Motion founder and long time Del Toro collaborator Mike Elizalde...
- 7/3/2012
- by Brendan Swift
- IF.com.au
A new film by the creator of animated TV series Family Guy has opened strongly in a pre-release weekend at the box office.
The film Ted, about a 30-something named John and his life-long companion Ted, a foul-mouthed teddy bear, was written and directed by Seth MacFarlane.
The film, distributed by Universal, made $4.383m at the box office in a pre-release weekend taking an impressive $18,000 screen average across 243 screens.
Melbourne-based VFX company Iloura delivered over 500 shots for the film which animated the bear off of captured movements from MacFarlane who also voiced the character.
Glenn Melenhorst, VFX supervisor at Iloura said: “Seth has had a long career in animation and he understands it intricately. He also understood Ted’s character perfectly and clearly communicated his vision to the Iloura team. He was really encouraging of our work and he trusted us and gave us latitude in the staging of the...
The film Ted, about a 30-something named John and his life-long companion Ted, a foul-mouthed teddy bear, was written and directed by Seth MacFarlane.
The film, distributed by Universal, made $4.383m at the box office in a pre-release weekend taking an impressive $18,000 screen average across 243 screens.
Melbourne-based VFX company Iloura delivered over 500 shots for the film which animated the bear off of captured movements from MacFarlane who also voiced the character.
Glenn Melenhorst, VFX supervisor at Iloura said: “Seth has had a long career in animation and he understands it intricately. He also understood Ted’s character perfectly and clearly communicated his vision to the Iloura team. He was really encouraging of our work and he trusted us and gave us latitude in the staging of the...
- 7/2/2012
- by Colin Delaney
- Encore Magazine
With a modest budget of just $US60 million for a VFX-intensive film, the filmmakers of Priest had to be creative. With 750 VFX shots in total, about a dozen companies were employed to help bring the dark vampire tale to life.
Creative Cartel served as the VFX head on the production, while other facilities included Tippett Studio, Spin VFX, Spy Post and Melbourne-based Iloura. The latter.s recent credits include Killer Elite, Don.t Be Afraid of the Dark, Ghost Rider: Spirit of Vengeance, Sanctum and The Pacific.
Iloura.s work on Priest . essentially a .911 stress call. . commenced about 18 months ago. The company employed a team of up to 15 to produce about 60 shots over a two-month period.
The Scott Stewart-directed project, shot on anamorphic film with rare Panasonic C-series lenses, tells the story of a battle-hardened supernatural priest who embarks on a perilous quest to save his niece from an army of vampires.
Creative Cartel served as the VFX head on the production, while other facilities included Tippett Studio, Spin VFX, Spy Post and Melbourne-based Iloura. The latter.s recent credits include Killer Elite, Don.t Be Afraid of the Dark, Ghost Rider: Spirit of Vengeance, Sanctum and The Pacific.
Iloura.s work on Priest . essentially a .911 stress call. . commenced about 18 months ago. The company employed a team of up to 15 to produce about 60 shots over a two-month period.
The Scott Stewart-directed project, shot on anamorphic film with rare Panasonic C-series lenses, tells the story of a battle-hardened supernatural priest who embarks on a perilous quest to save his niece from an army of vampires.
- 2/6/2012
- by Sam Dallas
- IF.com.au
VFX company Iloura will create complex character animation work on over 250 shots for Seth MacFarlane's feature comedy Ted. MacFarlane (Family Guy) will direct the film, which.revolves around a man (played by Mark Wahlberg) whose childhood teddy bear (also played by McFarlane) comes to life. MacFarlane gave some insight, according to media reports, about the film's visual effects earlier this year. .I.m doing that whole motion-capture thing where they put me in a suit with a lot of electrodes on it and I.m playing a teddy bear,. he said. Iloura creative director, Glenn Melenhorst, said the company's early R&D was instrumental in establishing the overall look and nuances of the character. "This included development and testing...
- 9/19/2011
- by Fay Al-Janabi
- IF.com.au
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