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"page_name": "Best Visual Effects | Oscars Wiki | Fandom",
"page_url": "https://oscars.fandom.com/wiki/Best_Visual_Effects",
"page_snippet": "The Academy Award for Best Visual Effects is an Academy Award that recognizes the finest or most outstanding visual effects in film. The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1928, presenting ...The Academy Award for Best Visual Effects is an Academy Award that recognizes the finest or most outstanding visual effects in film. The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1928, presenting a plaque for Best Engineering Effects to the first Best Picture Oscar winner, the World War I flying drama Wings. The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1928, presenting a plaque for Best Engineering Effects to the first Best Picture Oscar winner, the World War I flying drama Wings. Producer David O. Selznick, then production head at RKO Studios, petitioned the Academy Board of Governors to recognize the work of animator Willis O'Brien for his groundbreaking work on 1933's King Kong (1933). But it was not until 1938 when a film was actually recognized for its effects work, when a \"Special Achievement Award for Special Effects\" was given to the Paramount film Spawn of the North. Special Achievement Academy Award \u2014 Return of the Jedi \u2014 Richard Edlund, Dennis Muren, Ken Ralston, Phil Tippett ... Indiana Jones and the Temple of Doom \u2014 Dennis Muren, Michael McAlister, Lorne Peterson, George Gibbs ... Predator \u2014 Joel Hynek, Robert M. Greenberg, Richard Greenberg, Stan Winston ... Special Achievement Academy Award \u2014 Total Recall \u2014 Eric Brevig, Rob Bottin, Tim McGovern, Alex Funke But it was not until 1938 when a film was actually recognized for its effects work, when a \"Special Achievement Award for Special Effects\" was given to the Paramount film Spawn of the North. The following year, Best Special Effects became a recognized category, although on occasion the Academy has chosen to honor a single film outright rather than nominate two or more films.",
"page_result": "\n\n\n\nBest Visual Effects | Oscars Wiki | Fandom\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\n\n\n\t\n\n\t\n\n\t\n\n\t\n\n\t\n\n\t\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t
The Academy Award for Best Visual Effects is an Academy Award that recognizes the finest or most outstanding visual effects in film.\n
The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1928, presenting a plaque for Best Engineering Effects to the first Best Picture Oscar winner, the World War I flying drama Wings.\n
Producer David O. Selznick, then production head at RKO Studios, petitioned the Academy Board of Governors to recognize the work of animator Willis O'Brien for his groundbreaking work on 1933's King Kong (1933).\n
But it was not until 1938 when a film was actually recognized for its effects work, when a \"Special Achievement Award for Special Effects\" was given to the Paramount film Spawn of the North. The following year, Best Special Effects became a recognized category, although on occasion the Academy has chosen to honor a single film outright rather than nominate two or more films. From 1939 to 1963, it was an award for a film's visual effects as well as audio effects, so usually it was given to two persons, although some years only one or the other type of effect was recognised. In 1964, it was given only for visual effects, and the following year the name of the category was changed to Best Special Visual Effects.\n
Between 1972 and 1977, there was no specific award for visual effects. As such work was awarded within the umbrella award called Special Achievement Academy Award. In 1977, a specific award category for visual effects was reintroduced with the current name, Best Visual Effects, although until 1995, visual effects could for some years continue to be given within the Special Achievement Academy Award instead. Which 1990 was the last year there was no official nominations, but instead a special achievement given.\n
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Nominees & winners[]
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1927/28: The category was named Best Engineering Effects
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"page_last_modified": " Tue, 19 Mar 2024 04:30:22 GMT"
},
{
"page_name": "Academy Award for Best Visual Effects - Wikipedia",
"page_url": "https://en.wikipedia.org/wiki/Academy_Award_for_Best_Visual_Effects",
"page_snippet": "The Academy Award for Best Visual Effects is an Academy Award given for the best achievement in visual effects. The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1929, presenting a plaque for ...The Academy Award for Best Visual Effects is an Academy Award given for the best achievement in visual effects. The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1929, presenting a plaque for \"Best Engineering Effects\" to the first Best Picture Oscar winner, the World War I flying drama Wings. However, according to the rules of the Academy in effect at the time, only three persons could be nominated for their work on a single film, which would have resulted in the omission of either Trumbull, Tom Howard, Con Pederson or Wally Veevers. Ultimately, it was Kubrick's name that was submitted as a nominee in this category, resulting in his winning the award, which many consider a slight to the four men whose work contributed to the film's success. The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1929, presenting a plaque for \"Best Engineering Effects\" to the first Best Picture Oscar winner, the World War I flying drama Wings. Producer David O. Selznick, then production head at RKO Studios, petitioned the Academy Board of Governors to recognize the work of animator Willis O'Brien for his groundbreaking work on 1933's King Kong. It was not until 1938 when a film was actually recognized for its effects work, when a \"Special Achievement Award for Special Effects\" was given to the Paramount film Spawn of the North. According to the official Academy Award rules, the criteria are: (a) consideration of the contribution the visual effects make to the overall production and (b) the artistry, skill and fidelity with which the visual illusions are achieved. A number of filmmakers have had their movies honored for their achievements in visual effects; i.e., six by director James Cameron (who began his career in Hollywood as an effects technician), five films produced by George Pal, five by director/producer George Lucas, four by directors Richard Fleischer, Steven Spielberg and Peter Jackson, three by directors Robert Zemeckis and Christopher Nolan, and two by directors Clarence Brown, Cecil B. DeMille, Mark Robson, Ridley Scott, Robert Stevenson and Denis Villeneuve. Honorees for this award have been bestowed several times as a Special Achievement Academy Award. In 1977, the category was given its current name \"Best Visual Effects.\" For decades, shortlisted finalists were selected by a steering committee. They are presently chosen by the visual effects branch executive committee.",
"page_result": "\n\n\n\nAcademy Award for Best Visual Effects - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
The Academy of Motion Picture Arts and Sciences first recognized the technical contributions of special effects to movies at its inaugural dinner in 1929, presenting a plaque for \"Best Engineering Effects\" to the first Best Picture Oscar winner, the World War I flying drama Wings.\n
Producer David O. Selznick, then production head at RKO Studios, petitioned the Academy Board of Governors to recognize the work of animator Willis O'Brien for his groundbreaking work on 1933's King Kong.\n
It was not until 1938 when a film was actually recognized for its effects work, when a \"Special Achievement Award for Special Effects\" was given to the Paramount film Spawn of the North. The following year, \"Best Special Effects\" became a recognized category, although on occasion the Academy has chosen to honor a single film outright rather than nominate two or more films. From 1939 to 1963, it was an award for a film's visual effects as well as audio effects, so it was often given to two persons, although some years only one or the other type of effect was recognized. In 1964, it was given only for visual effects, and the following year the name of the category was changed to \"Best Special Visual Effects\".\n
Honorees for this award have been bestowed several times as a Special Achievement Academy Award. In 1977, the category was given its current name \"Best Visual Effects.\" For decades, shortlisted finalists were selected by a steering committee. They are presently chosen by the visual effects branch executive committee.[1] 1990 was the last year there were no official nominees. Back to the Future Part III, Dick Tracy, Ghost and Total Recall advanced to a second stage of voting, but only Total Recall received a requisite average and it was given a special achievement Oscar.[2]\n
In 1979, there were five films nominated. For most of the next three decades, there were three nominees a year, although at some times there were two and at others, a single film was given the award outright.\n
In 2007, it was decided that a list of no more than 15 eligible films would be chosen, from which a maximum of seven would be shortlisted for further consideration. A vote would then proceed, with a maximum of three nominees. Since 2010, there are ten shortlisted finalists which, using a form of range voting, produce five nominees.[5][6] No more than four people may be nominated for a single film.[7]\n
According to the official Academy Award rules, the criteria are:\n
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(a) consideration of the contribution the visual effects make to the overall production and \n(b) the artistry, skill and fidelity with which the visual illusions are achieved.
Only two directors have won in the same category: British filmmaker Stanley Kubrick's only Oscar win for 1968's 2001: A Space Odyssey, and Japanese filmmaker Takashi Yamazaki's first Oscar win for 2023's Godzilla Minus One.[4][8] The credits for 2001 list four effects contributors, including Douglas Trumbull. However, according to the rules of the Academy in effect at the time, only three persons could be nominated for their work on a single film, which would have resulted in the omission of either Trumbull, Tom Howard, Con Pederson or Wally Veevers. Ultimately, it was Kubrick's name that was submitted as a nominee in this category, resulting in his winning the award, which many consider a slight to the four men whose work contributed to the film's success.[9]\n
Finalists for Best Visual Effects are selected by the Visual Effects Branch Executive Committee. Beginning with a long list of up to 20 titles, the committee then advances ten films to the shortlist.[13] Prior to the 83rd Academy Awards, only fifteen films were long-listed, and only seven films were shortlisted.[14] The full membership of the Visual Effects Branch is invited to view excerpts and is provided with supporting information at a \"bake-off\" where balloting determines the five nominees. These are the additional films that presented at the bake-off.\n
^The nomination for Ralph Hammeras was not associated with any individual film.\n
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^According to the Academy's in-house records, the nomination for Nugent Slaughter was most often connected with The Jazz Singer. It is not considered an official nomination for that film.\n
^From 1939 until 1962, visual effects and sound effects artists competed in a combined Best Special Effects category.\n
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^When nominations were announced on February 9, 1942, Dive Bomber was nominated in place of The Sea Wolf. Both were Warner Bros. productions with photographic effects by Byron Haskin and sound effects by Nathan Levinson. By February 19, the Dive Bomber nomination was replaced with The Sea Wolf. The reason for the substitution is unknown.\n
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^In 1957, The Enemy Below won the Best Special Effects Oscar for audible effects by Walter Rossi. It was not cited for its visual effects.\n
^\"89TH ANNUAL ACADEMY AWARDS OF MERIT\"(PDF). oscars.org. 2016. RULE TWENTY-TWO SPECIAL RULES FOR THE VISUAL EFFECTS AWARD. Archived(PDF) from the original on July 2, 2016. Five productions shall be selected using reweighted range voting to become the nominations for final voting for the Visual Effects award.\n
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"page_last_modified": " Wed, 20 Mar 2024 01:11:41 GMT"
},
{
"page_name": "Category:Films that won the Best Visual Effects Academy Award - ...",
"page_url": "https://en.wikipedia.org/wiki/Category:Films_that_won_the_Best_Visual_Effects_Academy_Award",
"page_snippet": "",
"page_result": "\n\n\n\nCategory:Films that won the Best Visual Effects Academy Award - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
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"page_last_modified": " Mon, 11 Mar 2024 00:48:52 GMT"
},
{
"page_name": "94th Academy Awards",
"page_url": "https://www.foundry.com/insights/film-tv/decade-of-vfx-winners",
"page_snippet": "Discover how Foundry provided the VFX tools behind every single film nominated in the Best Visual Effects category at the 94th Academy Awards.To celebrate this special anniversary, we've taken a look back at some of the most spectacular nominees and winners in the Best Visual Effects category. Explore the list on our interactive timeline below. 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 ... And just like 13 years ago, Avatar: The Way of Water is the winner! Led by Production VFX Supervisor Paul Lambert, alongside VFX Supervisors Tristan Myles and Brian Connor, the VFX elements in Dune were meticulously designed to immerse audiences into the dystopian world based on Frank Herbert\u2019s novel. With a mix of practical effects, impressive sets, FX simulations, and photorealistic VFX, it is truly a well-deserved Academy Award for the team at DNEG. ... This sci-fi, action-adventure sees another Oscar win for Christopher Nolan and the fantastic DNEG VFX team. Creating the illusion that 1917 had been captured in one continuous shot proved no easy feat, but VFX supervisor Guillaume Rocheron and his team at Moving Picture Company rose to the challenge, digitally stitching together scores of invisible moments and creating entire digital environments from scratch to win over worthy contenders such as The Lion King and The Irishman. ... The tale of Neil Armstrong in the launchpad years before his historic voyage took the honours in what was an eclectic but incredibly strong field for 2019\u2019s visual effects gong. British visual effects company Framestore spent over three years creating scenes that were both literally and figuratively out of this world. You can read how Nuke was fundamental in creating realistic outer space in Gravity in our case study. ... Winning Rhythm & Hues their third Academy Award, Ang Lee\u2019s survival drama film Life of Pi earned great acclaim for its mesmerising visual effects.",
"page_result": "\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Timeline of VFX Oscar Winners | Foundry\n \n\n\n\n \n\n\n\n\n\n \n \n \n \n\n \n\n
There is no greater achievement for VFX pioneers than recognition at the Academy Awards\u00ae\ufe0f. Here at Foundry, we're proud to have provided the VFX tools behind almost every film nominated in the Best Visual Effects category for over a decade.
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This year marks 95 years of the Academy Awards. To celebrate this special anniversary, we've taken a look back at some of the most spectacular nominees and winners in the Best Visual Effects category. Explore the list on our interactive timeline below.
And just like 13 years ago, Avatar: The Way of Water is the winner! Congratulations to W\u0113t\u0101 FX and all the VFX creatives that brought a mesmerizing story to our screens.\r\n\r\n \r\n \r\n James Cameron\u2019s sci-fi epic was led by Production Senior VFX Supervisor Joe Letteri, alongside VFX Supervisors Richard Baneham and Eric Saindon, as well as Senior Animation Supervisor Daniel Barrett. Similarly to Jake Sully\u2019s saying, \u201cLet\u2019s get it done\u201d, the VFX team indeed got it done. By combining enormous water tanks, real-size boats, and underwater performance capture, as well as bringing majestic creatures such as Tulkun, they created 192 minutes of pure aquatic and terrestrial magic.\r\n
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2021
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And the winner is...
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Dune! Congratulations to DNEG and all the VFX creatives involved in the retelling of this beloved sci-fi epic! \r\n \r\n \r\n Led by Production VFX Supervisor Paul Lambert, alongside VFX Supervisors Tristan Myles and Brian Connor, the VFX elements in Dune were meticulously designed to immerse audiences into the dystopian world based on Frank Herbert\u2019s novel. With a mix of practical effects, impressive sets, FX simulations, and photorealistic VFX, it is truly a well-deserved Academy Award for the team at DNEG. \r\n
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2020
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Tenet
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This sci-fi, action-adventure sees another Oscar win for Christopher Nolan and the fantastic DNEG VFX team. With six wins in the past ten years, the creatives at DNEG played an integral part in executing the film's complex time-traveling narrative.
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2019
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1917
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\r\n Creating the illusion that 1917 had been captured in one continuous shot proved no easy feat, but VFX supervisor Guillaume Rocheron and his team at Moving Picture Company rose to the challenge, digitally stitching together scores of invisible moments and creating entire digital environments from scratch to win over worthy contenders such as The Lion King and The Irishman.
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2018
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First Man
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The tale of Neil Armstrong in the launchpad years before his historic voyage took the honours in what was an eclectic but incredibly strong field for 2019\u2019s visual effects gong. The team at DNEG pushed the boundaries of in-camera shooting for First Man, eschewing green screens in favour of a giant LED screen which featured subtle, true-to-life use of lighting, enhancing the realism of an otherwise fantastical spacecraft.
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2017
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Blade Runner 2049
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Last year's winner was the sci-fi epic Blade Runner 2049. Make sure you check out how deep compositing with Foundry\u2019s Nuke helped Atomic Fiction bring the eerie cityscapes of the film to life in our case study.
Jon Favreau\u2019s The Jungle Book put a modern spin on the Disney classic. Shot entirely against a blue screen, the only live action element came in the form of Mowgli (Neel Sethi), with the rest of the animals, jungle and environments being computer-generated. The deserved VFX victor at the 89th Academy Awards had its innovative work led by the team at MPC.
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2015
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Ex Machina
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VFX Winner
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Alex Garland made his directorial debut with the breathtaking sci-fi thriller Ex Machina. Telling the story of a programmer who is invited by his CEO to administer the Turing test to an intelligent humanoid robot, Ex Machina broke new ground in CGI. Double Negative were instrumental in bringing the Ava robot to life, using CG-rendered parts that moved internally. The result was the creation of the most realistic-looking humanoid in cinematic history, and won the company their third Best Visual Effects Oscar\u00ae.
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The Martian
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VFX Nominee
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The Martian picked up 26 Best Picture award nominations in 2015, including at the Academy Awards and\r\n Golden Globes. The Mars scenes were filmed in the Wadi Valley in Jordan, with the Moving Picture Company tackling the epic job of creating a realistic Martian world by adding mountains, hills and the iconic red tint to replicate the color of the planet.
JJ Abrams\u2019 epic film blew away audiences and set new global box-office records. In order to create a film that fans would remember and love, ILM used Foundry tools to bring their ideas to life. From the vivid textures of the Millennium Falcon, to the droid lighting and the immersive blast fire in the opening sequence, The Force Awakens was worthy of its Best Visual Effects nomination at the 88th Academy Awards.
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Read more about the VFX tools used in this film in our case study.
Interstellar was another Christopher Nolan blockbuster to challenge the boundaries of visual effects technology. Using projectors to eliminate the need for green screens, actors were able to see the near-final result during production. Visual effects company New Deal Studios used Modo to engineer overall models of the film's spaceships part by part. That work, along with Double Negative's, helped earn the film a Best Visual Effects award.
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Read our case study to find out more about New Deal Studio's work on Interstellar.
After opening the 70th Venice International Film Festival, Gravity\u2014Alfonso Cuar\u00f3n\u2019s science fiction blockbuster\u2014won the Best Visual Effects Oscar\u00ae in 2013. British visual effects company Framestore spent over three years creating scenes that were both literally and figuratively out of this world.
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You can read how Nuke was fundamental in creating realistic outer space in Gravity in our case study.
Winning Rhythm & Hues their third Academy Award, Ang Lee\u2019s survival drama film Life of Pi earned great acclaim for its mesmerising visual effects. The giant Bengal tiger present throughout the film never needed to appear on set, yet it roams the boat in post-production as if it had been there all along.
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2011
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Hugo
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VFX Winner
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In Martin Scorsese\u2019s first 3D film, Hugo\u2014the tale of a young boy living in the Gare Montparnasse railway station in the 1930s\u2014a total of 800 visual effects shots were used in the final cut of the epic adventure film. Visual effects company Pixomondo used a mix of Nuke, Ocula and Mari to innovate and develop new approaches as they brought Hugo to life.
Christopher Nolan\u2019s science fiction blockbuster Inception took audiences into a series of riveting dream worlds. With Double Negative's spectacular visuals that see Parisian architecture flipped upside down and a gravity-defying fist fight, the fast-paced thriller pushed the boundaries of physics, and with it the abilities of visual effects.
In Tim Burton\u2019s brilliantly bizarre fantasy film Alice in Wonderland, visual effects pioneers Sony Pictures Imageworks paved the way for the weird and wonderful. Using Nuke, artists were able to distort proportions, creating the Red Queen\u2019s larger-than-life head, Alice\u2019s ever-changing dimensions, and the Mad Hatter\u2019s outsized eyes.
Nominated for the Best Visual Effects Academy Award in 2010, Harry Potter and the Deathly Hallows Part One is one of the most celebrated films of the franchise for its visual effects work. While several companies contributed to the visual effects, boutique house Baseblack used Mari to perfect the texture of Dumbledore\u2019s tomb.
James Cameron\u2019s first feature film since Titanic in 1997, Avatar raised the bar for visual effects forever. Taking almost 10 years to create, Cameron and the team at Weta Digital evolved the use of visual effects tools to create this epic.
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You can read how Nuke and Ocula helped to deliver James Cameron\u2019s award-winning vision for Avatar in our case study.
Reversing the aging process is something many people dream of achieving, but the visual effects in David Fincher's The Curious Case of Benjamin Button not only make the feat look possible, but positively seamless. The team at Digital Domain employed astounding new \"emotion capture\" techniques to recreate Brad Pitt's facial expressions in CGI.
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2007
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The Golden Compass
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VFX Winner
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The Golden Compass won the Best Visual Effects category at the 80th Academy Awards. Set in a parallel universe, Rhythm & Hues' extensive VFX work helped create everything from battling armored polar bears, to the magical alethiometer from which the film takes its name.
Sign up for the latest trends shaping the animation and VFX industries.
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"page_last_modified": " Wed, 20 Mar 2024 06:48:13 GMT"
},
{
"page_name": "94th Academy Awards",
"page_url": "https://www.foundry.com/insights/film-tv/decade-of-vfx-winners",
"page_snippet": "Discover how Foundry provided the VFX tools behind every single film nominated in the Best Visual Effects category at the 94th Academy Awards.To celebrate this special anniversary, we've taken a look back at some of the most spectacular nominees and winners in the Best Visual Effects category. Explore the list on our interactive timeline below. 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 ... And just like 13 years ago, Avatar: The Way of Water is the winner! Led by Production VFX Supervisor Paul Lambert, alongside VFX Supervisors Tristan Myles and Brian Connor, the VFX elements in Dune were meticulously designed to immerse audiences into the dystopian world based on Frank Herbert\u2019s novel. With a mix of practical effects, impressive sets, FX simulations, and photorealistic VFX, it is truly a well-deserved Academy Award for the team at DNEG. ... This sci-fi, action-adventure sees another Oscar win for Christopher Nolan and the fantastic DNEG VFX team. Creating the illusion that 1917 had been captured in one continuous shot proved no easy feat, but VFX supervisor Guillaume Rocheron and his team at Moving Picture Company rose to the challenge, digitally stitching together scores of invisible moments and creating entire digital environments from scratch to win over worthy contenders such as The Lion King and The Irishman. ... The tale of Neil Armstrong in the launchpad years before his historic voyage took the honours in what was an eclectic but incredibly strong field for 2019\u2019s visual effects gong. British visual effects company Framestore spent over three years creating scenes that were both literally and figuratively out of this world. You can read how Nuke was fundamental in creating realistic outer space in Gravity in our case study. ... Winning Rhythm & Hues their third Academy Award, Ang Lee\u2019s survival drama film Life of Pi earned great acclaim for its mesmerising visual effects.",
"page_result": "\n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n Timeline of VFX Oscar Winners | Foundry\n \n\n\n\n \n\n\n\n\n\n \n \n \n \n\n \n\n
There is no greater achievement for VFX pioneers than recognition at the Academy Awards\u00ae\ufe0f. Here at Foundry, we're proud to have provided the VFX tools behind almost every film nominated in the Best Visual Effects category for over a decade.
\n\n
This year marks 95 years of the Academy Awards. To celebrate this special anniversary, we've taken a look back at some of the most spectacular nominees and winners in the Best Visual Effects category. Explore the list on our interactive timeline below.
And just like 13 years ago, Avatar: The Way of Water is the winner! Congratulations to W\u0113t\u0101 FX and all the VFX creatives that brought a mesmerizing story to our screens.\r\n\r\n \r\n \r\n James Cameron\u2019s sci-fi epic was led by Production Senior VFX Supervisor Joe Letteri, alongside VFX Supervisors Richard Baneham and Eric Saindon, as well as Senior Animation Supervisor Daniel Barrett. Similarly to Jake Sully\u2019s saying, \u201cLet\u2019s get it done\u201d, the VFX team indeed got it done. By combining enormous water tanks, real-size boats, and underwater performance capture, as well as bringing majestic creatures such as Tulkun, they created 192 minutes of pure aquatic and terrestrial magic.\r\n
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2021
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And the winner is...
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Dune! Congratulations to DNEG and all the VFX creatives involved in the retelling of this beloved sci-fi epic! \r\n \r\n \r\n Led by Production VFX Supervisor Paul Lambert, alongside VFX Supervisors Tristan Myles and Brian Connor, the VFX elements in Dune were meticulously designed to immerse audiences into the dystopian world based on Frank Herbert\u2019s novel. With a mix of practical effects, impressive sets, FX simulations, and photorealistic VFX, it is truly a well-deserved Academy Award for the team at DNEG. \r\n
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2020
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Tenet
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This sci-fi, action-adventure sees another Oscar win for Christopher Nolan and the fantastic DNEG VFX team. With six wins in the past ten years, the creatives at DNEG played an integral part in executing the film's complex time-traveling narrative.
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2019
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1917
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\r\n Creating the illusion that 1917 had been captured in one continuous shot proved no easy feat, but VFX supervisor Guillaume Rocheron and his team at Moving Picture Company rose to the challenge, digitally stitching together scores of invisible moments and creating entire digital environments from scratch to win over worthy contenders such as The Lion King and The Irishman.
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2018
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First Man
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The tale of Neil Armstrong in the launchpad years before his historic voyage took the honours in what was an eclectic but incredibly strong field for 2019\u2019s visual effects gong. The team at DNEG pushed the boundaries of in-camera shooting for First Man, eschewing green screens in favour of a giant LED screen which featured subtle, true-to-life use of lighting, enhancing the realism of an otherwise fantastical spacecraft.
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2017
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Blade Runner 2049
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Last year's winner was the sci-fi epic Blade Runner 2049. Make sure you check out how deep compositing with Foundry\u2019s Nuke helped Atomic Fiction bring the eerie cityscapes of the film to life in our case study.
Jon Favreau\u2019s The Jungle Book put a modern spin on the Disney classic. Shot entirely against a blue screen, the only live action element came in the form of Mowgli (Neel Sethi), with the rest of the animals, jungle and environments being computer-generated. The deserved VFX victor at the 89th Academy Awards had its innovative work led by the team at MPC.
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2015
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Ex Machina
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VFX Winner
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Alex Garland made his directorial debut with the breathtaking sci-fi thriller Ex Machina. Telling the story of a programmer who is invited by his CEO to administer the Turing test to an intelligent humanoid robot, Ex Machina broke new ground in CGI. Double Negative were instrumental in bringing the Ava robot to life, using CG-rendered parts that moved internally. The result was the creation of the most realistic-looking humanoid in cinematic history, and won the company their third Best Visual Effects Oscar\u00ae.
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The Martian
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VFX Nominee
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The Martian picked up 26 Best Picture award nominations in 2015, including at the Academy Awards and\r\n Golden Globes. The Mars scenes were filmed in the Wadi Valley in Jordan, with the Moving Picture Company tackling the epic job of creating a realistic Martian world by adding mountains, hills and the iconic red tint to replicate the color of the planet.
JJ Abrams\u2019 epic film blew away audiences and set new global box-office records. In order to create a film that fans would remember and love, ILM used Foundry tools to bring their ideas to life. From the vivid textures of the Millennium Falcon, to the droid lighting and the immersive blast fire in the opening sequence, The Force Awakens was worthy of its Best Visual Effects nomination at the 88th Academy Awards.
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Read more about the VFX tools used in this film in our case study.
Interstellar was another Christopher Nolan blockbuster to challenge the boundaries of visual effects technology. Using projectors to eliminate the need for green screens, actors were able to see the near-final result during production. Visual effects company New Deal Studios used Modo to engineer overall models of the film's spaceships part by part. That work, along with Double Negative's, helped earn the film a Best Visual Effects award.
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Read our case study to find out more about New Deal Studio's work on Interstellar.
After opening the 70th Venice International Film Festival, Gravity\u2014Alfonso Cuar\u00f3n\u2019s science fiction blockbuster\u2014won the Best Visual Effects Oscar\u00ae in 2013. British visual effects company Framestore spent over three years creating scenes that were both literally and figuratively out of this world.
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You can read how Nuke was fundamental in creating realistic outer space in Gravity in our case study.
Winning Rhythm & Hues their third Academy Award, Ang Lee\u2019s survival drama film Life of Pi earned great acclaim for its mesmerising visual effects. The giant Bengal tiger present throughout the film never needed to appear on set, yet it roams the boat in post-production as if it had been there all along.
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2011
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Hugo
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VFX Winner
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In Martin Scorsese\u2019s first 3D film, Hugo\u2014the tale of a young boy living in the Gare Montparnasse railway station in the 1930s\u2014a total of 800 visual effects shots were used in the final cut of the epic adventure film. Visual effects company Pixomondo used a mix of Nuke, Ocula and Mari to innovate and develop new approaches as they brought Hugo to life.
Christopher Nolan\u2019s science fiction blockbuster Inception took audiences into a series of riveting dream worlds. With Double Negative's spectacular visuals that see Parisian architecture flipped upside down and a gravity-defying fist fight, the fast-paced thriller pushed the boundaries of physics, and with it the abilities of visual effects.
In Tim Burton\u2019s brilliantly bizarre fantasy film Alice in Wonderland, visual effects pioneers Sony Pictures Imageworks paved the way for the weird and wonderful. Using Nuke, artists were able to distort proportions, creating the Red Queen\u2019s larger-than-life head, Alice\u2019s ever-changing dimensions, and the Mad Hatter\u2019s outsized eyes.
Nominated for the Best Visual Effects Academy Award in 2010, Harry Potter and the Deathly Hallows Part One is one of the most celebrated films of the franchise for its visual effects work. While several companies contributed to the visual effects, boutique house Baseblack used Mari to perfect the texture of Dumbledore\u2019s tomb.
James Cameron\u2019s first feature film since Titanic in 1997, Avatar raised the bar for visual effects forever. Taking almost 10 years to create, Cameron and the team at Weta Digital evolved the use of visual effects tools to create this epic.
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You can read how Nuke and Ocula helped to deliver James Cameron\u2019s award-winning vision for Avatar in our case study.
Reversing the aging process is something many people dream of achieving, but the visual effects in David Fincher's The Curious Case of Benjamin Button not only make the feat look possible, but positively seamless. The team at Digital Domain employed astounding new \"emotion capture\" techniques to recreate Brad Pitt's facial expressions in CGI.
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2007
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The Golden Compass
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VFX Winner
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The Golden Compass won the Best Visual Effects category at the 80th Academy Awards. Set in a parallel universe, Rhythm & Hues' extensive VFX work helped create everything from battling armored polar bears, to the magical alethiometer from which the film takes its name.
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