The films in the running for the 2022 Best Visual Effects Oscar are “Dune,” “Free Guy,” “No Time to Die,” “Shang-Chi and the Legend of the Ten Rings,” and “Spider-Man: No Way Home.” Our odds currently indicate that “Dune” (31/10) is the frontrunner, followed in order by “Spider-Man: No Way Home” (4/1), “Shang-Chi and the Legend of the Ten Rings” (4/1), “No Time to Die” (9/2), and “Free Guy” (9/2).
Included among the 19 individuals are 12 past nominees, four of whom have triumphed at least once. The seven first-timers are Brian Connor (“Dune”), Nikos Kalaitzidis (“Free Guy”), Sean Noel Walker (“Shang-Chi and the Legend of the Ten Rings”), and pairs Joel Green and Charlie Noble (“No Time to Die”) and Scott Edelstein and Chris Waegner (“Spider-Man: No Way Home”).
Connor’s three fellow “Dune” nominees – Paul Lambert, Tristan Myles, and Gerd Nefzer – have each won this award at least once before. Lambert and Nefzer prevailed in 2018 for “Blade Runner 2049,...
Included among the 19 individuals are 12 past nominees, four of whom have triumphed at least once. The seven first-timers are Brian Connor (“Dune”), Nikos Kalaitzidis (“Free Guy”), Sean Noel Walker (“Shang-Chi and the Legend of the Ten Rings”), and pairs Joel Green and Charlie Noble (“No Time to Die”) and Scott Edelstein and Chris Waegner (“Spider-Man: No Way Home”).
Connor’s three fellow “Dune” nominees – Paul Lambert, Tristan Myles, and Gerd Nefzer – have each won this award at least once before. Lambert and Nefzer prevailed in 2018 for “Blade Runner 2049,...
- 3/23/2022
- by Matthew Stewart
- Gold Derby
The Morning Watch: Making Of Spider-Man: No Way Home VFX, Nicolas Cage Replies To Fans Online & More
(The Morning Watch is a recurring feature that highlights a handful of noteworthy videos from around the web. They could be video essays, fan-made productions, featurettes, short films, hilarious sketches, or just anything that has to do with our favorite movies and TV shows.)
In this edition, "Spider-Man: No Way Home" visual effects supervisor Kelly Port gives an inside look at all of the incredible computer-generated imagery that made the movie come to life. Plus, Nicolas Cage answers fan questions from all over the internet. And finally, comedian Taylor Tomlinson answers all of Netflix's burning questions like, "What is the...
The post The Morning Watch: Making of Spider-Man: No Way Home VFX, Nicolas Cage Replies to Fans Online & More appeared first on /Film.
In this edition, "Spider-Man: No Way Home" visual effects supervisor Kelly Port gives an inside look at all of the incredible computer-generated imagery that made the movie come to life. Plus, Nicolas Cage answers fan questions from all over the internet. And finally, comedian Taylor Tomlinson answers all of Netflix's burning questions like, "What is the...
The post The Morning Watch: Making of Spider-Man: No Way Home VFX, Nicolas Cage Replies to Fans Online & More appeared first on /Film.
- 3/23/2022
- by Danielle Ryan
- Slash Film
Updated March 9: In winning the photoreal feature VFX prize at the 20th Ves Awards on March 8 (at the Beverly Hilton), “Dune” is now a step closer to winning the VFX Oscar. It also collected three other awards for model (Royal Ornithopter), effects simulations (Dunes of Arrakis), and compositing & lighting (Attack on Arrakeen).
Updated February 9: Denis Villeneuve’s sweeping “Dune” (Warner Bros.) leads the way as the frontrunner in the VFX race. The other nominees include “No Time to Die” (MGM/UA), “Shang-Chi and the Legend of the Ten Rings” (Marvel/Disney), “Spider-Man: No Way Home” (Marvel/Disney), and the surprising “Free Guy” (20th Century/Disney).
Dneg created imaginative VFX for the otherworldly “Dune” (overseen by two-time Oscar-winning production VFX supervisor Paul Lambert and Oscar-winning SFX supervisor Gerd Nefzer). Shot in Budapest, Jordan, United Arab Emirates, and Norway, the work is both epic and intimate, from the wind blown sand,...
Updated February 9: Denis Villeneuve’s sweeping “Dune” (Warner Bros.) leads the way as the frontrunner in the VFX race. The other nominees include “No Time to Die” (MGM/UA), “Shang-Chi and the Legend of the Ten Rings” (Marvel/Disney), “Spider-Man: No Way Home” (Marvel/Disney), and the surprising “Free Guy” (20th Century/Disney).
Dneg created imaginative VFX for the otherworldly “Dune” (overseen by two-time Oscar-winning production VFX supervisor Paul Lambert and Oscar-winning SFX supervisor Gerd Nefzer). Shot in Budapest, Jordan, United Arab Emirates, and Norway, the work is both epic and intimate, from the wind blown sand,...
- 3/9/2022
- by Bill Desowitz
- Indiewire
“It’s a tough year and it keeps getting tougher!” declares visual effects maestro Kelly Port about the quality of films in contention this year for the Best Visual Effects at the Oscars, for which he is nominated for the second time in his career, this time for “Spider-Man: No Way Home.” “It seems like every year you look at the 10 films that had to be narrowed down to five and all were just excellent quality. When I think about it as an academy voter myself, you think,” me muses, “does it look good, does it fit in, is it consistent across the whole film? If it takes you out of the movie, that’s the worst thing that can happen for a visual effect.” Watch our exclusive video interview above.
See 2022 Oscar nominations: Full list of nominees in all 23 categories
“Spider-Man: No Way Home” is the 27th film in the MCU film franchise,...
See 2022 Oscar nominations: Full list of nominees in all 23 categories
“Spider-Man: No Way Home” is the 27th film in the MCU film franchise,...
- 3/9/2022
- by Rob Licuria
- Gold Derby
We conclude our look at the five movies nominated for Best Visual Effects at the Oscars with “Spider-Man: No Way Home,” currently the third highest-grossing domestic release of all time (not accounting for inflation), and Sony’s third “Spider-Man” movie with Tom Holland. Check out my write-ups on its fellow nominees “Dune,” “Free Guy,” “No Time to Die,” and “Shang-Chi and the Legend of the Ten Rings.”
One of the many reasons the fan-favorite movie has blown audiences away to the tune of over $1.8 billion worldwide is the way it brings back characters from all previous “Spider-Man” movies. Like any proper superhero film, visual effects were absolutely crucial in pulling this off, but they also were necessary in order to set the movie in New York City, despite actually filming in Georgia.
SEEDon’t worry, ‘Spider-Man: No Way Home,’ your category will still be presented live at Oscars — but these...
One of the many reasons the fan-favorite movie has blown audiences away to the tune of over $1.8 billion worldwide is the way it brings back characters from all previous “Spider-Man” movies. Like any proper superhero film, visual effects were absolutely crucial in pulling this off, but they also were necessary in order to set the movie in New York City, despite actually filming in Georgia.
SEEDon’t worry, ‘Spider-Man: No Way Home,’ your category will still be presented live at Oscars — but these...
- 3/6/2022
- by Edward Douglas
- Gold Derby
Oscar-Nominated Animation Filmmakers and VFX Artisans to Speak in Free Online View Conference Panels
The View Conference, in partnership with Ogr, presents a full slate of free virtual PreVIEW panels in March featuring an array of Oscar nominees.
First, on Friday, March 4, at 10 a.m. Pt, will be a talk with the filmmakers behind the five nominees for animated feature. Speakers are Byron Howard, Jared Bush and Charise Castro Smith of Disney’s “Encanto”; Jonas Poher Rasmussen and Charlotte De La Gournerie of the animated documentary “Flee”; Enrico Casarosa and Andrea Warren of Pixar’s “Luca”; Mike Rianda, Phil Lord and Chris Miller of Sony Pictures Animation and Netflix’s “The Mitchells vs. the Machines”; and Don Hall and Carlos Lopez Estrada of Disney’s “Raya and the Last Dragon.”
“This year’s list of Oscar contenders is truly breathtaking,” says conference director Maria Elena Gutierrez. “I have been blown away by the depth of creative thinking that has gone into their production, and...
First, on Friday, March 4, at 10 a.m. Pt, will be a talk with the filmmakers behind the five nominees for animated feature. Speakers are Byron Howard, Jared Bush and Charise Castro Smith of Disney’s “Encanto”; Jonas Poher Rasmussen and Charlotte De La Gournerie of the animated documentary “Flee”; Enrico Casarosa and Andrea Warren of Pixar’s “Luca”; Mike Rianda, Phil Lord and Chris Miller of Sony Pictures Animation and Netflix’s “The Mitchells vs. the Machines”; and Don Hall and Carlos Lopez Estrada of Disney’s “Raya and the Last Dragon.”
“This year’s list of Oscar contenders is truly breathtaking,” says conference director Maria Elena Gutierrez. “I have been blown away by the depth of creative thinking that has gone into their production, and...
- 3/3/2022
- by Terry Flores
- Variety Film + TV
Variety will return to an in-person Artisans Awards ceremony at this year’s Santa Barbara Film Festival, taking place on Monday, March 7 at 8 p.m. at the historic Arlington Theatre. Honoring those nominated for an Academy Award in below-the-line categories, this year’s Artisans Awards highlights those essential to the filmmaking process and who have exhibited the most exciting and innovative work in their respective fields.
“What I love so much about the Artisans Awards and honoring them here at Sbiff, is that this shines a spotlight on those essential to the art of filmmaking and storytelling,” said Variety senior artisans awards editor Jazz Tangcay. “This is their moment to shine and share how they tell a story through their craft and celebrate them. It’s so great to be back in person and to share this with an in-person crowd at the festival.”
Added Santa Barbara Film Festival executive...
“What I love so much about the Artisans Awards and honoring them here at Sbiff, is that this shines a spotlight on those essential to the art of filmmaking and storytelling,” said Variety senior artisans awards editor Jazz Tangcay. “This is their moment to shine and share how they tell a story through their craft and celebrate them. It’s so great to be back in person and to share this with an in-person crowd at the festival.”
Added Santa Barbara Film Festival executive...
- 2/18/2022
- by Jazz Tangcay
- Variety Film + TV
Variety's Awards Circuit is home to the official predictions for the upcoming Oscars and Emmys ceremonies from film awards editor Clayton Davis. Following history, buzz, news, reviews and sources, the Oscar and Emmy predictions are updated regularly with the current year's list of contenders in all categories. Variety's Awards Circuit Prediction schedule consists of four phases, running all year long: Draft, Pre-Season, Regular Season and Post Season. The eligibility calendar and dates of awards will determine how long each phase lasts and is subject to change.
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Visual Effects
Updated: Feb 6, 2022
Awards Prediction Commentary: Marvel Studios’ “Black Widow,” “Eternals” and “Shang-Chi and the Legend of the Ten Rings...
To see all the latest predictions, of all the categories, in one place, visit The Oscars Collective
Visit each category, per the individual awards show from The Oscars Hub
Revisit the prediction archive of the 2021 season The Archive
Link to television awards is atTHE Emmys Hub
2022 Oscars Predictions:
Best Visual Effects
Updated: Feb 6, 2022
Awards Prediction Commentary: Marvel Studios’ “Black Widow,” “Eternals” and “Shang-Chi and the Legend of the Ten Rings...
- 2/7/2022
- by Clayton Davis
- Variety Film + TV
Back in 2018, “Black Panther” cracked the best picture race and showed that the industry was ready to recognize the superhero movie. It also landed five other nominations and made Oscar history when Ruth E. Carter and Hannah Beachler won in their respective categories of costume design and production design.
This year, “Spider-Man: No Way Home,” which just swung back to the top of the box office is leading the conversation once again for all the reasons Owen Gleiberman mentioned here, showing why a superhero movie should be considered worthy of cracking the best picture race — especially as the number of nominees has expanded to 10 possible slots.
While “Spider-Man” didn’t land a SAG ensemble nomination, it has scored nominations with the Visual Effects Society and the Motion Picture of Sound Editors and the Cinema Audio Society. Additionally, it has all the elements of an emotional storyline grounded in reality with...
This year, “Spider-Man: No Way Home,” which just swung back to the top of the box office is leading the conversation once again for all the reasons Owen Gleiberman mentioned here, showing why a superhero movie should be considered worthy of cracking the best picture race — especially as the number of nominees has expanded to 10 possible slots.
While “Spider-Man” didn’t land a SAG ensemble nomination, it has scored nominations with the Visual Effects Society and the Motion Picture of Sound Editors and the Cinema Audio Society. Additionally, it has all the elements of an emotional storyline grounded in reality with...
- 1/25/2022
- by Jazz Tangcay
- Variety Film + TV
Denis Villeneuve’s sweeping “Dune” and Disney’s Golden Globe-winning animated musical, “Encanto” each scored six nominations Tuesday to lead the 20th annual Ves Awards nominations (awards ceremony details are in pandemic flux). Marvel’s trippy “Loki,” meanwhile, led the broadcast field with four nominations for the Disney+ series.
Competing for feature visual effects are the frontrunning “Dune,” “Godzilla vs. Kong,” “The Matrix Resurrections,” Daniel Craig’s Bond finale, “No Time to Die,” and Marvel’s “Shang-Chi and the Legend of the Ten Rings” and “Spider-Man: No Way Home.” All have been shortlisted for the VFX Oscar, with “Dune” as the heavy favorite, in which Dneg supplied windblown sand, raging sandstorms, flying insect-like ornithopters, and the iconic CG sandworms.
Supporting visual effects nominees include “Candyman,” “Last Night in Soho,” “Nightmare Alley,” “The Last Duel,” and “The Tragedy of Macbeth.”
The animated feature visual effects race pits “Encanto” against Pixar’s “Luca,...
Competing for feature visual effects are the frontrunning “Dune,” “Godzilla vs. Kong,” “The Matrix Resurrections,” Daniel Craig’s Bond finale, “No Time to Die,” and Marvel’s “Shang-Chi and the Legend of the Ten Rings” and “Spider-Man: No Way Home.” All have been shortlisted for the VFX Oscar, with “Dune” as the heavy favorite, in which Dneg supplied windblown sand, raging sandstorms, flying insect-like ornithopters, and the iconic CG sandworms.
Supporting visual effects nominees include “Candyman,” “Last Night in Soho,” “Nightmare Alley,” “The Last Duel,” and “The Tragedy of Macbeth.”
The animated feature visual effects race pits “Encanto” against Pixar’s “Luca,...
- 1/18/2022
- by Bill Desowitz
- Indiewire
The Visual Effects Society unveiled nominations Tuesday for its 20th annual Ves Awards, with Warner Bros’ Dune and Disney’s animated Encanto leading all nominees with six apiece, followed by the Disney+ Marvel series Loki which has four noms to lead all broadcast series.
The group, celebrating its 25th anniversary, recognizes the year’s best in outstanding visual effects artistry and innovation across film, animation, television, commercials and video games. With the Omicron variant surging, the Ves Awards ceremony does not have a date or format yet; those decisions are still to be made and tickets are not yet up for sale.
Last year, the Ves Awards went virtual in a ceremony hosted as per usual by Patton Oswalt. Netflix’s The Midnight Sky, Disney/Pixar’s eventual Animated Feature Oscar winner Soul and Disney+’s The Mandalorian were among the marquee winners.
Overall, this year’s nominees in 25 categories...
The group, celebrating its 25th anniversary, recognizes the year’s best in outstanding visual effects artistry and innovation across film, animation, television, commercials and video games. With the Omicron variant surging, the Ves Awards ceremony does not have a date or format yet; those decisions are still to be made and tickets are not yet up for sale.
Last year, the Ves Awards went virtual in a ceremony hosted as per usual by Patton Oswalt. Netflix’s The Midnight Sky, Disney/Pixar’s eventual Animated Feature Oscar winner Soul and Disney+’s The Mandalorian were among the marquee winners.
Overall, this year’s nominees in 25 categories...
- 1/18/2022
- by Patrick Hipes
- Deadline Film + TV
The Visual Effects Society (Ves) announced the nominees for the 20th Annual Ves Awards, with Denis Villeneuve’s “Dune” leading the feature film field with six nominations. Disney’s “Encanto” also landed six nominations and led the animated contenders.
This year marks the Visual Effects Society’s 25th anniversary. Ves recognizes outstanding visual effects artistry and innovation across 25 categories in film, animation, television, commercials and video games, plus the VFX supervisors, producers and hands-on artists who bring the work to life.
Due to the ongoing pandemic, the Ves is still considering the format and timing for this year’s show.
“As we celebrate the Society’s 25th anniversary and 20th Annual Ves Awards, we’re honored to keep shining a light on remarkable visual effects artistry and innovation,” said Lisa Cooke, Ves Chair. “In all of our nominees, we see best-in-class work that elevates the art of storytelling and exemplifies...
This year marks the Visual Effects Society’s 25th anniversary. Ves recognizes outstanding visual effects artistry and innovation across 25 categories in film, animation, television, commercials and video games, plus the VFX supervisors, producers and hands-on artists who bring the work to life.
Due to the ongoing pandemic, the Ves is still considering the format and timing for this year’s show.
“As we celebrate the Society’s 25th anniversary and 20th Annual Ves Awards, we’re honored to keep shining a light on remarkable visual effects artistry and innovation,” said Lisa Cooke, Ves Chair. “In all of our nominees, we see best-in-class work that elevates the art of storytelling and exemplifies...
- 1/18/2022
- by Jazz Tangcay
- Variety Film + TV
“Spider-Man: No Way Home” shattered the pandemic box office at the end of December, but also sent fans into the social-media orbit with the return of villains from previous Spider-Man movies including Green Goblin, Doc Ock and Sandman. Working behind the scenes to bring those villains back to life was VFX supervisor Kelly Port.
“While technology had significantly advanced, the villains stayed the same,” says Port of the distinct looks they had to revive. “A lot of the digital assets from the [Sam] Raimi and [Marc] Webb films no longer exist, so those we had to get going from scratch.”
With that, Port and his team examined ideas such as looking at the most practical, efficient way to get Sandman across the living room floor. “Would you make yourself into a human form and walk? Or would you just blow over there? How would that work? Does he create vocal cords out of sand?...
“While technology had significantly advanced, the villains stayed the same,” says Port of the distinct looks they had to revive. “A lot of the digital assets from the [Sam] Raimi and [Marc] Webb films no longer exist, so those we had to get going from scratch.”
With that, Port and his team examined ideas such as looking at the most practical, efficient way to get Sandman across the living room floor. “Would you make yourself into a human form and walk? Or would you just blow over there? How would that work? Does he create vocal cords out of sand?...
- 1/11/2022
- by Jazz Tangcay
- Variety Film + TV
The bridge fight scene in “Spider-Man: No Way Home” between Spider-Man (Tom Holland) and Doc Ock (Alfred Molina) has already become an iconic set piece in the Marvel Cinematic Universe, and creating it was a Herculean task that wouldn’t have been possible to achieve a few years ago.
The film playing in theaters now and released by Sony Pictures featured a wealth of VFX shots mixed with in-camera action. “Shooting in Atlanta, we had didn’t have a very big section of road to work with in terms of the live-action,” explained VFX supervisor Kelly Port. “It was a bunch of cars and a cement pad in the backlot of Trilith Studios with 40-foot blue screen walls on three sides.” So, it was up to Scott Edelstein and the team at Digital Domain to recreate the real-life New York location.
Aside from Spider-Man’s Iron Spider armor and Doc Ock,...
The film playing in theaters now and released by Sony Pictures featured a wealth of VFX shots mixed with in-camera action. “Shooting in Atlanta, we had didn’t have a very big section of road to work with in terms of the live-action,” explained VFX supervisor Kelly Port. “It was a bunch of cars and a cement pad in the backlot of Trilith Studios with 40-foot blue screen walls on three sides.” So, it was up to Scott Edelstein and the team at Digital Domain to recreate the real-life New York location.
Aside from Spider-Man’s Iron Spider armor and Doc Ock,...
- 1/5/2022
- by Simon Thompson
- Variety Film + TV
Ron Howard’s “Apollo 13” celebrated its 25th anniversary on June 30. With the help of post house Digital Domain, the 1995 film depicted a 1970 space mission that turned into a fight for survival after an oxygen tank exploded in the service module.
Variety looked up Kelly Port (“Avengers: Endgame”) and Matthew Butler (“Ready Player One”), two VFX supervisors who worked on the film in their junior years at the house.
What are some of the memorable VFX scenes you worked on for “Apollo 13”?
Kelly Port: This was one of the first film projects I ever worked on. I was responsible for the directional thruster effects, floating debris after the explosion and, if I remember correctly, some parts of the moon.
Matthew Butler: This was a time when we were bootstrapping like crazy. Back then, there weren’t any set procedures or mechanisms at Digital Domain to facilitate the workflow, like there are now.
Variety looked up Kelly Port (“Avengers: Endgame”) and Matthew Butler (“Ready Player One”), two VFX supervisors who worked on the film in their junior years at the house.
What are some of the memorable VFX scenes you worked on for “Apollo 13”?
Kelly Port: This was one of the first film projects I ever worked on. I was responsible for the directional thruster effects, floating debris after the explosion and, if I remember correctly, some parts of the moon.
Matthew Butler: This was a time when we were bootstrapping like crazy. Back then, there weren’t any set procedures or mechanisms at Digital Domain to facilitate the workflow, like there are now.
- 7/3/2020
- by Jazz Tangcay
- Variety Film + TV
The 91st annual Academy Awards (Oscars) was a night of incredibly well-deserved wins, first time wins, and shocking wins. See the full list of nominees and winners below.
Performance by an actress in a supporting role Regina King in “If Beale Street Could Talk” (Winner) Amy Adams in “Vice” Marina de Tavira in “Roma” Emma Stone in “The Favourite” Rachel Weisz in “The Favourite” Best documentary feature “Free Solo” Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill (Winner) “Hale County This Morning, This Evening” RaMell Ross, Joslyn Barnes and Su Kim “Minding the Gap” Bing Liu and Diane Quon “Of Fathers and Sons” Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert “Rbg” Betsy West and Julie Cohen Achievement in makeup and hairstyling “Vice” Greg Cannom, Kate Biscoe and Patricia DeHaney (Winner) “Border” Goran Lundstrom and Pamela Goldammer “Mary Queen of Scots” Jenny Shircore, Marc Pilcher and...
Performance by an actress in a supporting role Regina King in “If Beale Street Could Talk” (Winner) Amy Adams in “Vice” Marina de Tavira in “Roma” Emma Stone in “The Favourite” Rachel Weisz in “The Favourite” Best documentary feature “Free Solo” Elizabeth Chai Vasarhelyi, Jimmy Chin, Evan Hayes and Shannon Dill (Winner) “Hale County This Morning, This Evening” RaMell Ross, Joslyn Barnes and Su Kim “Minding the Gap” Bing Liu and Diane Quon “Of Fathers and Sons” Talal Derki, Ansgar Frerich, Eva Kemme and Tobias N. Siebert “Rbg” Betsy West and Julie Cohen Achievement in makeup and hairstyling “Vice” Greg Cannom, Kate Biscoe and Patricia DeHaney (Winner) “Border” Goran Lundstrom and Pamela Goldammer “Mary Queen of Scots” Jenny Shircore, Marc Pilcher and...
- 2/25/2019
- by Andrew Wendowski
- Age of the Nerd
Gold Derby has conducted exclusive video chats with dozens of this year’s Oscar contenders across a wide variety of categories. That includes nine of this year’s nominees for Best Cinematography, Best Film Editing, and Best Visual Effects. Will they get a Gold Derby bump when the envelopes are opened on Sunday, February 24? Follow the links below to be taken to their full interviews.
Barry Alexander Brown: Spike Lee‘s longtime editor earned his first nomination in this category for this fact-based drama about an African-American police detective (John David Washington) who infiltrated the Ku Klux Klan in the 1970s. This film also brought Brown a bid at the Ace Eddie Awards. Before he joined forces with Lee he previously picked up an Oscar nom for Best Documentary Feature for “The War at Home” (1979). (Click here to be taken to his full interview)
See Watch 3 Gold Derby pundits argue over predictions: Thelma Adams,...
Barry Alexander Brown: Spike Lee‘s longtime editor earned his first nomination in this category for this fact-based drama about an African-American police detective (John David Washington) who infiltrated the Ku Klux Klan in the 1970s. This film also brought Brown a bid at the Ace Eddie Awards. Before he joined forces with Lee he previously picked up an Oscar nom for Best Documentary Feature for “The War at Home” (1979). (Click here to be taken to his full interview)
See Watch 3 Gold Derby pundits argue over predictions: Thelma Adams,...
- 2/21/2019
- by Zach Laws
- Gold Derby
For visual-effects artists, time is always a struggle. When the call comes in to create something spectacular, artists and supervisors have to calculate how much run-
way they have to get from the point of the idea for the vfx to the deadline. On “Avengers: Infinity War,” the vfx crew found that a new innovation — machine learning — made it possible to create the character Thanos in a way that would have simply been impossible without it.
The filmmakers envisioned a version of Thanos — played by Josh Brolin — that would be CG, but also incorporate all the subtle facial expressions and delicate hallmarks of a physical performance that could only been done by an actor. They knew that the facial tracking tech was there but asking vfx artists to manually adjust every inch of the CG version of the face of Thanos once they had all the tracking and scanning information would have been a disaster.
way they have to get from the point of the idea for the vfx to the deadline. On “Avengers: Infinity War,” the vfx crew found that a new innovation — machine learning — made it possible to create the character Thanos in a way that would have simply been impossible without it.
The filmmakers envisioned a version of Thanos — played by Josh Brolin — that would be CG, but also incorporate all the subtle facial expressions and delicate hallmarks of a physical performance that could only been done by an actor. They knew that the facial tracking tech was there but asking vfx artists to manually adjust every inch of the CG version of the face of Thanos once they had all the tracking and scanning information would have been a disaster.
- 2/15/2019
- by Karen Idelson
- Variety Film + TV
“Roma” was the big winner at the BAFTA Awards in London, winning Best Film and Best Director even as “The Favourite” won more prizes overall. Yorgos Lanthimos’ regal period piece led all film with seven wins after likewise picking up the most nominations (12), with Olivia Colman (Best Actress), Rachel Weisz (Best Supporting Actress), and screenwriters Deborah Davis and Tony McNamara among the honorees; it was also named Outstanding British Film.
“Bohemian Rhapsody” star Rami Malek continued his awards-season dominance after also winning Best Actor laurels at the Golden Globes and Screen Actors Guild, with Mahershala Ali doing the same in the Supporting category for “Green Book.”
Read the full list of winners below:
Best Film
“BlacKkKlansman”
“The Favourite”
“Green Book”
“Roma” (winner)
“A Star is Born”
Director
Bradley Cooper, “A Star is Born”
Alfonso Cuarón, “Roma” (winner)
Yorgos Lanthimos, “The Favourite”
Spike Lee, “BlacKkKlansman”
Paweł Pawlikowski, “Cold War”
Original Screenplay
“Cold War,...
“Bohemian Rhapsody” star Rami Malek continued his awards-season dominance after also winning Best Actor laurels at the Golden Globes and Screen Actors Guild, with Mahershala Ali doing the same in the Supporting category for “Green Book.”
Read the full list of winners below:
Best Film
“BlacKkKlansman”
“The Favourite”
“Green Book”
“Roma” (winner)
“A Star is Born”
Director
Bradley Cooper, “A Star is Born”
Alfonso Cuarón, “Roma” (winner)
Yorgos Lanthimos, “The Favourite”
Spike Lee, “BlacKkKlansman”
Paweł Pawlikowski, “Cold War”
Original Screenplay
“Cold War,...
- 2/10/2019
- by Michael Nordine
- Indiewire
It’s that time of year again when the great and good of the British Film Industry gather and celebrate the greatest cinematic achievements of the past year. The 2019 BAFTA awards took place at the Royal Albert Hall in London and we were on the red carpet to talk with the stars.
The interviews are below, and the full list of winners follow and are marked in Bold.
Related: Hear from some of the nominees from the 2019 BAFTA Sessions
The 2019 BAFTA Red Carpet Interviews
The 2019 BAFTA Winners Press Conferences
The 2019 BAFTA Awards Winners (updated Live) Best Film
BLACKkKLANSMAN
The Favourite
Green Book
Roma – Winner
A Star Is Born
Outstanding British Film
Beast
Bohemian Rhapsody
The Favourite- Winner
McQueen
Stan & Ollie
You Were Never Really Here
Leading Actress
Glenn Close – The Wife
Lady Gaga – A Star Is Born
Melissa McCarthy – Can You Ever Forgive Me?
Olivia Colman – The Favourite – Winner
Viola Davis...
The interviews are below, and the full list of winners follow and are marked in Bold.
Related: Hear from some of the nominees from the 2019 BAFTA Sessions
The 2019 BAFTA Red Carpet Interviews
The 2019 BAFTA Winners Press Conferences
The 2019 BAFTA Awards Winners (updated Live) Best Film
BLACKkKLANSMAN
The Favourite
Green Book
Roma – Winner
A Star Is Born
Outstanding British Film
Beast
Bohemian Rhapsody
The Favourite- Winner
McQueen
Stan & Ollie
You Were Never Really Here
Leading Actress
Glenn Close – The Wife
Lady Gaga – A Star Is Born
Melissa McCarthy – Can You Ever Forgive Me?
Olivia Colman – The Favourite – Winner
Viola Davis...
- 2/10/2019
- by Scott Davis
- HeyUGuys.co.uk
Many of us were surprised when Best Picture contender “Black Panther” was completely snubbed for its visual effects by the Oscars and the Visual Effects Society Awards. For a rare superhero blockbuster in the conversation for top prizes, visual effects seems like the strangest field not to nominate it in. The Marvel Cinematic Universe has actually never won an Oscar for its visual effects, but there is still another hope to make history this year: “Avengers: Infinity War.”
It does make sense that “Infinity War” made the cut instead of “Black Panther.” While “Panther” had better reviews and more overall awards appeal, “Infinity War” had showier effects with dozens of super-powered characters and alien locations, plus the motion capture performance by Josh Brolin as the villainous Thanos. And perhaps Ves and Oscar voters felt it would have been redundant to nominate both Marvel movies, especially since the “Panther” characters and...
It does make sense that “Infinity War” made the cut instead of “Black Panther.” While “Panther” had better reviews and more overall awards appeal, “Infinity War” had showier effects with dozens of super-powered characters and alien locations, plus the motion capture performance by Josh Brolin as the villainous Thanos. And perhaps Ves and Oscar voters felt it would have been redundant to nominate both Marvel movies, especially since the “Panther” characters and...
- 2/7/2019
- by Daniel Montgomery
- Gold Derby
Front Row Left to Right:
Graham King, Jason Ruder, Vincent Lambe, Rodney Rothman, Nuria González Blanco, Anthony Rossomando, Gabriela Rodríguez, Christopher Miller, Diane Quon, Brandon Proctor, Eric Roth, Raymond Mansfield, Mary Zophres, Sean McKittrick, Viggo Mortensen, Marianne Farley, Lee Magiday, Ceci Dempsey and Greg Cannom.
Second Row Left to Right:
Bobby Pontillas, Darren Mahon, Patrick J. Don Vito, Marie-Helene Panisset, Dan Deleeuw, John Casali, John Warhurst, Peter Devlin, Louise Bagnall, Jeffrey Friedman, Yorgos Mavropsaridis, Nicolas Britell, Talal Derki, Tristan Myles, Ethan Van der Ryn, Evan Hayes, Will Fetters, Gordon Sim, Skye Fitzgerald, Barbara Enriquez, Su Kim, Charles B. Wessler, Kathy Lucas.
Third Row Left to Right:
Adam McKay, Yuichiro Saito, Melissa Berton, Willem Dafoe, Diane Warren , Craig Henighan, Jeff Whitty, Barry Alexander Brown, Rich Moore, Mahershala Ali, Marc Shaiman, Bob Persichetti, Benjamin A. Burtt, David Rabinowitz, Jose Antonio Garcia, Mark Ronson, Patricia Dehaney, Dede Gardner, John Walker , Marshall Curry, Bing Liu,...
Graham King, Jason Ruder, Vincent Lambe, Rodney Rothman, Nuria González Blanco, Anthony Rossomando, Gabriela Rodríguez, Christopher Miller, Diane Quon, Brandon Proctor, Eric Roth, Raymond Mansfield, Mary Zophres, Sean McKittrick, Viggo Mortensen, Marianne Farley, Lee Magiday, Ceci Dempsey and Greg Cannom.
Second Row Left to Right:
Bobby Pontillas, Darren Mahon, Patrick J. Don Vito, Marie-Helene Panisset, Dan Deleeuw, John Casali, John Warhurst, Peter Devlin, Louise Bagnall, Jeffrey Friedman, Yorgos Mavropsaridis, Nicolas Britell, Talal Derki, Tristan Myles, Ethan Van der Ryn, Evan Hayes, Will Fetters, Gordon Sim, Skye Fitzgerald, Barbara Enriquez, Su Kim, Charles B. Wessler, Kathy Lucas.
Third Row Left to Right:
Adam McKay, Yuichiro Saito, Melissa Berton, Willem Dafoe, Diane Warren , Craig Henighan, Jeff Whitty, Barry Alexander Brown, Rich Moore, Mahershala Ali, Marc Shaiman, Bob Persichetti, Benjamin A. Burtt, David Rabinowitz, Jose Antonio Garcia, Mark Ronson, Patricia Dehaney, Dede Gardner, John Walker , Marshall Curry, Bing Liu,...
- 2/7/2019
- by Michelle Hannett
- WeAreMovieGeeks.com
Last night, the 17th annual Visual Effects Society Awards were held. The gala represented a moment to honor some of the types of films that don’t usually get cited during the precursor season. Mostly, it’s an opportunity to see which movie or movies are the frontrunners in the Best Visual Effects category at the Oscars. Even beyond the Academy Awards, it’s just a perfect time to honor the craftsmen and craftswomen who do the sort of work that’s too often overlooked. So, even though the Academy voters are looking at this for one specific reason, there’s multiple reasons to take interest in the Ves results from yesterday. Below you can see all of the Ves victors, though leading the way was Avengers: Infinity War and Spider-Man: Into the Spider-Verse, with four wins each. The former actually took the top honor of the night, which is...
- 2/6/2019
- by Joey Magidson
- Hollywoodnews.com
Congratulations to our User POR160893 for a perfect score of 100% when predicting the 2019 Visual Effects Society winners on Tuesday. He is actually tied with three other perfect people — Andre, leonardo martinelli and annamberg — but has a better point score total of 6,217 by using the 500 super bets wisely.
Over 700 people worldwide predicted these three film and two TV winners in a total of five categories chosen by Ves voters. The ceremony was held in Beverly Hills and was hosted by Patton Oswalt. Film winners were “Avengers: Infinity War,” “First Man” and “Spider-Man: Into the Spider-Verse.” TV winners were “Lost in Space” and “Jack Ryan.”
SEEDan DeLeeuw, Russell Earl, Kelly Port Interview: ‘Avengers: Infinity War’ VFX
You can see how your score compares to all others in our leaderboard rankings of all contestants, which also includes links to see each participant’s predictions. To see your own scores, go to the User...
Over 700 people worldwide predicted these three film and two TV winners in a total of five categories chosen by Ves voters. The ceremony was held in Beverly Hills and was hosted by Patton Oswalt. Film winners were “Avengers: Infinity War,” “First Man” and “Spider-Man: Into the Spider-Verse.” TV winners were “Lost in Space” and “Jack Ryan.”
SEEDan DeLeeuw, Russell Earl, Kelly Port Interview: ‘Avengers: Infinity War’ VFX
You can see how your score compares to all others in our leaderboard rankings of all contestants, which also includes links to see each participant’s predictions. To see your own scores, go to the User...
- 2/6/2019
- by Chris Beachum
- Gold Derby
Ves Awards 2019: ‘Avengers: Infinity War’ and ‘Spider-Man: Into the Spider-Verse’ Win Top VFX Prizes
Marvel’s “Avengers: Infinity War” was the big VFX winner at the 17th annual Ves Awards Tuesday at the Beverly Hilton, grabbing four prizes, including photoreal feature. And Sony’s animated Oscar favorite, “Spider-Man: Into the Spider-Verse,” also scored four awards, including animated feature.
While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.
“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.
On the TV side,...
While it’s a significant momentum builder for “Infinity War” in its quest to be the first VFX Oscar winner for the McU (and first superhero winner since 2004’s “Spider-Man 2”), there still remains competition from Damien Chazelle’s “First Man,” which won the Ves supporting prize. However, “Infinity War” boasts the stronger CG wow factor in the form of the brilliantly animated Thanos (peformance-captured by Josh Brolin) from Digital Domain and Weta Digital.
“Infinity War” also took home honors for animated character (Thanos), simulations (Titan), and compositing (Titan). “Spider-Verse” additionally snagged animated character (Miles Morales), environment (Graphic New York City), and simulations.
On the TV side,...
- 2/6/2019
- by Bill Desowitz
- Indiewire
It was a great night for Marvel at the 17th annual Visual Effects Society Awards on Tuesday night. The comic book publisher’s wares led the film fields, with “Avengers: Infinity War” and “Spider-Man: Into the Spider-Verse” nabbing four wins apiece.
“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”
“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.
On the television side, Netflix’s “Lost in Space” dominated with four wins as well.
“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...
“Spider-Verse,” a dominant animated feature on the awards circuit this year, swept each of its categories. “Avengers” nearly did the same, dropping just one to Universal’s “Mortal Engines.”
“Ready Player One” received two prizes, while “First Man” picked up one. They join “Avengers: Infinity War,” along with “Christopher Robin” and “Solo: A Star Wars Story,” in the Academy’s Oscar lineup of visual effects nominees this year.
On the television side, Netflix’s “Lost in Space” dominated with four wins as well.
“Westworld” co-creator Jonathan Nolan received the Visual Effects Society’s Visionary Award, while “Game of Thrones” creators David Benioff and D.B. Weiss accepted the organization’s...
- 2/6/2019
- by Kristopher Tapley
- Variety Film + TV
The 17th annual Ves Awards are being handed out tonight at the Beverly Hilton in Los Angeles, and Deadline will be live-blogging the affair and updating the winners list live. Patton Oswalt is hosting the Visual Effects Society’s gala, which celebrates the best VFX artistry and innovation in film, animation, TV, commercials and video games across 24 categories.
The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.
The winner of the Ves Award for Photoreal Feature has gone on to win the Visual Effects Oscar 10 of the 16 times it has been presented, but it hasn’t been much of a harbinger for the past half-decade or so. Last year the Ves Award went to War for the Planet of the Apes, while the Academy Award was claimed by Blade Runner 2049, as Roger Deakins won for the first time in his 14th nominations. The Jungle Book won both in 2017, but Ves and Oscar failed to match up in either of the previous two years.
- 2/6/2019
- by Erik Pedersen
- Deadline Film + TV
“Roma” was the big winner at the Latino Entertainment Journalists Association’s inaugural film awards, picking up a slew of prizes: Best Picture, Director, Actress, Original Screenplay, Production & Set Design, Cinematography, Editing, Sound, and Foreign-Language Film. Alfonso Cuarón’s black-and-white period piece has dominated this side of awards season, taking home top prizes from critics’ groups in Los Angeles, New York, and London, among others.
Also popular among the Leja was “If Beale Street Could Talk,” which won Best Supporting Actress for Regina King, Best Adapted Screenplay for Barry Jenkins, and Best Music for Nicholas Brittell. Full list of winners below.
Best Picture of the Year
“Black Panther”
“BlacKkKlansman”
“Bohemian Rhapsody”
“Cold War”
“The Favourite”
“Green Book”
“If Beale Street Could Talk”
“Roma”
“A Star is Born”
“Vice”
Best Achievement in Directing
Bradley Cooper, “A Star is Born”
Alfonso Cuarón, “Roma”
Barry Jenkins, “If Beale Street Could Talk”
Spike Lee,...
Also popular among the Leja was “If Beale Street Could Talk,” which won Best Supporting Actress for Regina King, Best Adapted Screenplay for Barry Jenkins, and Best Music for Nicholas Brittell. Full list of winners below.
Best Picture of the Year
“Black Panther”
“BlacKkKlansman”
“Bohemian Rhapsody”
“Cold War”
“The Favourite”
“Green Book”
“If Beale Street Could Talk”
“Roma”
“A Star is Born”
“Vice”
Best Achievement in Directing
Bradley Cooper, “A Star is Born”
Alfonso Cuarón, “Roma”
Barry Jenkins, “If Beale Street Could Talk”
Spike Lee,...
- 1/21/2019
- by Michael Nordine
- Indiewire
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
It’s a very competitive group of films vying for a visual effect nomination this year, but one movie that is almost certain to land in the final five is the already shortlisted “Avengers: Infinity War.” With so many characters from so many different Marvel Cinematic Universe films, it was a huge challenge for the massive VFX team under Visual Effects Supervisors Dan DeLeeuw, Kelly Port, Russell Earl and Special Effects Supervisor Dan Sudick.
Continue reading ‘Avengers: Infinity War’ Visual Effects Team Revisit The Film’s Iconic Dust Effect [Interview] at The Playlist.
Continue reading ‘Avengers: Infinity War’ Visual Effects Team Revisit The Film’s Iconic Dust Effect [Interview] at The Playlist.
- 1/6/2019
- by Gregory Ellwood
- The Playlist
Visual-effects artists battle to conquer many challenges on each project that comes their way. As the onslaught of superhero films continues, vfx teams must find ways to combine the intricate, organic work of actors with the enhancements of CG and vfx without landing somewhere that no one wants to go: the “uncanny valley” where things look artificial, unbelievable or downright disturbing.
As such unforgettable characters as Gollum and work by vfx house Weta set a high-water mark in “The Lord of the Rings” and “Hobbit” films, vfx supervisors still push to fuse the work of actors and animators to find something new for audiences who may have already seen it all. That’s where machine learning — which teaches computer systems to make decisions from large data sets and is one of the biggest tech jumps in recent years — comes into play. Already in use to create the character Thanos for “Avengers: Infinity War,...
As such unforgettable characters as Gollum and work by vfx house Weta set a high-water mark in “The Lord of the Rings” and “Hobbit” films, vfx supervisors still push to fuse the work of actors and animators to find something new for audiences who may have already seen it all. That’s where machine learning — which teaches computer systems to make decisions from large data sets and is one of the biggest tech jumps in recent years — comes into play. Already in use to create the character Thanos for “Avengers: Infinity War,...
- 1/4/2019
- by Karen Idelson
- Variety Film + TV
“We knew from the beginning that this was going to be very big and very special,” says “Avengers: Infinity War” visual effects supervisor Kelly Port. The effects veteran knew he had his work cut out for him with this highly anticipated superhero epic. This VFX team is now on the official Academy short list for voter consideration. Watch our exclusive video interview with Port and fellow VFX supervisors Dan DeLeeuw and Russell Earl above.
See Josh Brolin could make Oscar history with his motion-capture performance in ‘Avengers: Infinity War’
Perhaps the greatest challenge for the effects team was creating the character of Thanos (Josh Brolin), a hulking purple baddie hell-bent on wiping out half the universe’s population by gathering the powerful Infinity Stones. DeLeeuw and his team wanted to incorporate as much of Brolin’s features as possible into the original Marvel design of the character. “A lot of...
See Josh Brolin could make Oscar history with his motion-capture performance in ‘Avengers: Infinity War’
Perhaps the greatest challenge for the effects team was creating the character of Thanos (Josh Brolin), a hulking purple baddie hell-bent on wiping out half the universe’s population by gathering the powerful Infinity Stones. DeLeeuw and his team wanted to incorporate as much of Brolin’s features as possible into the original Marvel design of the character. “A lot of...
- 12/17/2018
- by Zach Laws
- Gold Derby
Glenn Close, Hugh Jackman, Rachel Weisz, Timothee Chalamet and “Black Panther” are among the pre-announced winners in top categories for the Hollywood Film Awards, which will unofficially launch the 2018 awards season this Sunday, November 4. Actress and comedian Awkwafina will host the 22nd annual ceremony at the Beverly Hilton in Beverly Hills.
SEEBest Actress Oscar slugfest: Editors debate ‘exciting’ battle between Lady Gaga, Glenn Close, Olivia Colman and … [Watch]
While all of the awards have been arranged in advance by the studios and their campaigners, it is an important stop by contenders looking for success at the Oscars, Golden Globes and elsewhere. That’s because it is the first opportunity for many of the hopefuls to be on an awards red carpet with representatives from a wide variety of films and also be on stage accepting a trophy.
See‘Crazy Rich Asians’ scene-stealer Awkwafina pays tribute to Lucy Liu during emotional ‘Saturday Night Live...
SEEBest Actress Oscar slugfest: Editors debate ‘exciting’ battle between Lady Gaga, Glenn Close, Olivia Colman and … [Watch]
While all of the awards have been arranged in advance by the studios and their campaigners, it is an important stop by contenders looking for success at the Oscars, Golden Globes and elsewhere. That’s because it is the first opportunity for many of the hopefuls to be on an awards red carpet with representatives from a wide variety of films and also be on stage accepting a trophy.
See‘Crazy Rich Asians’ scene-stealer Awkwafina pays tribute to Lucy Liu during emotional ‘Saturday Night Live...
- 11/2/2018
- by Chris Beachum
- Gold Derby
dick clark productions announced today that actress, Awkwafina, will host the 22nd Annual “Hollywood Film Awards” on Sunday, November 4 at The Beverly Hilton in Beverly Hills. Deep in the midst of her star-making moment with key roles in the hit films Oceans 8 and Crazy Rich Asians, the recent SNL host will take the stage alongside some of the biggest names in entertainment to lead the audience through an incredible night of honoring the best in film. Honorees for the 2018 “Hollywood Film Awards” include Nicole Kidman, who will receive this year’s “Hollywood Career Achievement Award,” Glenn Close, who will receive the “Hollywood Actress Award,” Hugh Jackman, who will receive the “Hollywood Actor Award,” Damien Chazelle, who will receive the “Hollywood Director Award,” Timothée Chalamet, who will receive the “Hollywood Supporting Actor Award,” Green Book, which will receive the “Hollywood Ensemble Award,” Crazy Rich Asians, which will receive the “Hollywood Breakout Ensemble Award,...
- 11/1/2018
- by HollywoodNews.com
- Hollywoodnews.com
dick clark productions announced today that Ryan Coogler’s Black Panther will receive this year’s “Hollywood Film Award,” and Pixar Animation Studios’ Incredibles 2 will receive the “Hollywood Animation Award” at the 22ndAnnual “Hollywood Film Awards,” taking place on Sunday, November 4 at The Beverly Hilton.
Both films received wide critical acclaim and broke box office records this year. Black Panther became a cultural phenomenon that has broken boundaries and created a movement, gracing the cover of Time Magazine. Black Panther had the highest grossing non-sequel opening weekend of all time, showing that diversity and representation in front of and behind the camera can equal global box-office success.
Incredibles 2 marked the biggest opening weekend in history for an animated film, grossing more than $1.2 billion globally to date and garnering widespread critical acclaim. Two-time Oscar winner writer/director Brad Bird’s follow up to 2004’s Oscar-winning The Incredibles expands upon...
Both films received wide critical acclaim and broke box office records this year. Black Panther became a cultural phenomenon that has broken boundaries and created a movement, gracing the cover of Time Magazine. Black Panther had the highest grossing non-sequel opening weekend of all time, showing that diversity and representation in front of and behind the camera can equal global box-office success.
Incredibles 2 marked the biggest opening weekend in history for an animated film, grossing more than $1.2 billion globally to date and garnering widespread critical acclaim. Two-time Oscar winner writer/director Brad Bird’s follow up to 2004’s Oscar-winning The Incredibles expands upon...
- 10/30/2018
- by Kristyn Clarke
- Age of the Nerd
dick clark productions announced today that Ryan Coogler’s Black Panther will receive this year’s “Hollywood Film Award,” and Pixar Animation Studios’ Incredibles 2 will receive the “Hollywood Animation Award” at the 22nd Annual “Hollywood Film Awards,” taking place on Sunday, November 4 at The Beverly Hilton. Both films received wide critical acclaim and broke box office records this year. Black Panther became a cultural phenomenon that has broken boundaries and created a movement, gracing the cover of Time Magazine. Black Panther had the highest grossing non-sequel opening weekend of all time, showing that diversity and representation in front of and behind the camera can equal global box-office success. Incredibles 2 marked the biggest opening weekend in history for an animated film, grossing more than $1.2 billion globally to date and garnering widespread critical acclaim. Two-time Oscar winner writer/director Brad Bird’s follow up to 2004’s Oscar-winning The Incredibles expands...
- 10/30/2018
- by HollywoodNews.com
- Hollywoodnews.com
Pixar’s Incredibles 2 will receive the Hollywood Animation Award at the 22nd Annual Hollywood Film Awards, which will be held Nov. 4 at the Beverly Hilton Hotel. Directed by Brad Bird, the sequel to the 2004 hit The Incredibles features a voice cast that includes Holly Hunter and Craig T. Nelson.
The event will also present awards in various crafts, including cinematography, Matthew Libatique, A Star Is Born; composer, Justin Hurwitz, First Man; editor, Tom Cross, First Man; visual effects, Dan Deleeuw, Kelly Port, Russel Earl and Dan Sudick, Avengers: Infinity War; costume design, Sandy Powell, The Favourite; makeup and ...
The event will also present awards in various crafts, including cinematography, Matthew Libatique, A Star Is Born; composer, Justin Hurwitz, First Man; editor, Tom Cross, First Man; visual effects, Dan Deleeuw, Kelly Port, Russel Earl and Dan Sudick, Avengers: Infinity War; costume design, Sandy Powell, The Favourite; makeup and ...
- 10/30/2018
- The Hollywood Reporter - Film + TV
The summer movie season has arrived — bringing with it the usual panoply of blockbusters, spectacular action and eye-popping visual effects. And, as always, supporting this groundswell of big-budget extravaganzas, such as this year’s “Solo: A Star Wars Story” and “Avengers: Infinity War,” is the specialized work of thousands of highly skilled visual effects artists and technicians.
But somewhat counterintuitively, even though many of these films are breaking box office records, the effects houses that create this magic are struggling.
“It’s an incredibly competitive industry,” explains Kelly Port, a visual effects supervisor at VFX house Digital Domain, who worked on “Infinity War.” “For as much money that’s spent on visual effects, it’s an incredibly low-margin business.”
That’s partly because state-of-the-art effects work is hugely labor-intensive; it can take a massive crew eight months to a year of full-time work to finish one film. Such a large...
But somewhat counterintuitively, even though many of these films are breaking box office records, the effects houses that create this magic are struggling.
“It’s an incredibly competitive industry,” explains Kelly Port, a visual effects supervisor at VFX house Digital Domain, who worked on “Infinity War.” “For as much money that’s spent on visual effects, it’s an incredibly low-margin business.”
That’s partly because state-of-the-art effects work is hugely labor-intensive; it can take a massive crew eight months to a year of full-time work to finish one film. Such a large...
- 5/30/2018
- by Calum Marsh
- Variety Film + TV
Though Avengers: Infinity War was far from a strict adaptation of The Infinity Gauntlet comic book arc, it did feature more nods and callbacks to the storyline than we were expecting. From big moments such as Thanos’ peaceful ending to visuals such as Nebula’s torture and a character crashing into Doctor Strange’s Sanctum, there was a lot for fans to enjoy. At one point, though, an idea was floating around that probably would have given the film its best comic book easter egg.
Digital Domain’s VFX supervisor Kelly Port spoke to The Wrap and revealed that the climactic scene of Infinity War, in which Thanos finally snaps his fingers and halves the population of the universe, could have looked very different. Before finalizing the design of the sequence, Port and her team pitched the idea that the word “Snap,” surrounded by a splattering of yellow triangles, could appear on screen.
Digital Domain’s VFX supervisor Kelly Port spoke to The Wrap and revealed that the climactic scene of Infinity War, in which Thanos finally snaps his fingers and halves the population of the universe, could have looked very different. Before finalizing the design of the sequence, Port and her team pitched the idea that the word “Snap,” surrounded by a splattering of yellow triangles, could appear on screen.
- 5/9/2018
- by Christian Bone
- We Got This Covered
(Spoiler alert: Seriously, Do Not Read on if you haven’t seen “Avengers: Infinity War.”)
“Avengers: Infinity War” climaxes with a snap, and a white flash, as Thanos finally achieves his goal of eliminating half of all life in the universe. It’s quickly become an iconic moment, but the visual effects team behind the film originally wanted to include a deep cut Marvel Comics Easter egg that would have tied the scene back to an equally iconic moment in the source material.
Kelly Port, VFX Supervisor at Digital Domain, told TheWrap the team wanted to insert a graphic of Thanos’ finger-snap as it played out in the 1991 Marvel miniseries “Infinity Gauntlet,” on which “Infinity War” is loosely based. Meaning that in the moment Thanos snapped his fingers together, the word “snap!” would’ve actually appeared on movie screens for a split second.
“As a fun aside, we explored the idea of lifting the actual graphic from the frame of the comic showing the snap, the little yellow action triangles for a single frame of the moment of the snap. They appreciated the idea but didn’t ultimately go for it.”
Here are the original panels:
Also Read: 'Avengers: Infinity War' - Joe Russo's Comments Could Blow Out Fan Theories About That Ending
Easter egg aside, Port told TheWrap the creating actual scene went pretty smoothly.
“Weirdly enough, you would think this particular shot… this particular critical moment, would have a tremendous amount of pressure and back and forth to get it just right, but it actually went pretty smoothly,” he said. “I asked the compositor on this particular shot how it felt to be working on one of the most important shots in Marvel history. A shot representing the culmination of ten years of story. No pressure!”
20-plus people worked on building Thanos to get him just right, given the complexity and the amount of time Thanos is on screen in “Infinity War.”
“You saw how many close-ups and subtle dramatic and heavy moments Thanos went through that really needed to come across,” said Port. “We spent the extra time and attention on shots like that — Our animation and modeling teams would go in and refine these performances with shot by shot, frame by frame attention.“
He added, “The essence of the original Thanos design stayed true to comics and previous films, but of course, we had to improve the photorealistic nature of the character. We were better able to address the realism as technology has improved and better lighting and rendering solutions have become available. But just as important, if not critical, was that we had the ability to capture the subtle details of Brolin’s performance and make sure they come through on Thanos. So many people say that they have sympathy with him or at least an understanding of his motivation. He’s a complex character — that’s all in the writing and Brolin’s performance, so it was essential to get it right given the amount of screen time had. This had to work in order for the movie to work.“
Also Read: Here's What Happened to Thanos When He Snapped His Fingers in 'Avengers: Infinity War'
With new technology that’s become available and the improvement of light in motion capture, Port said he hasn’t done a project like this before.
“We started with an initial Thanos proof-of-concept test a few months before the live-action shooting began. We began developing and refining the character for the film which probably took another year. Even as we were finishing shots, we would still be refining, depending on the requirements of a specific shot or sequence,” he explained. “There were little tweaks here and there with costumes, the gauntlet, muscle simulations and skeletal considerations, and how the muscles move over his unique bone structure. All in, this probably took us two years.”
He added, “The techniques Digital Domain used for the facial capture have not been used before. We employed machine learning algorithms in several steps of the process, in addition to a lot of blood sweat and tears, but the end result was that we were able to capture an incredible amount of Brolin’s subtle performance and apply it to Thanos.”
Given the positive reaction of Thanos’ appearance, it wouldn’t be a surprise if the same VFX team worked on the uber-villain for “Avengers 4,” set for release next summer. But nothing has been set in stone.
“It would be an honor, obviously,” Port said.
Marvel did not immediately reply to TheWrap’s request for comment.
Read original story ‘Avengers: Infinity War’ Almost Included a Single Frame of a Single Word at a Crucial Moment At TheWrap...
“Avengers: Infinity War” climaxes with a snap, and a white flash, as Thanos finally achieves his goal of eliminating half of all life in the universe. It’s quickly become an iconic moment, but the visual effects team behind the film originally wanted to include a deep cut Marvel Comics Easter egg that would have tied the scene back to an equally iconic moment in the source material.
Kelly Port, VFX Supervisor at Digital Domain, told TheWrap the team wanted to insert a graphic of Thanos’ finger-snap as it played out in the 1991 Marvel miniseries “Infinity Gauntlet,” on which “Infinity War” is loosely based. Meaning that in the moment Thanos snapped his fingers together, the word “snap!” would’ve actually appeared on movie screens for a split second.
“As a fun aside, we explored the idea of lifting the actual graphic from the frame of the comic showing the snap, the little yellow action triangles for a single frame of the moment of the snap. They appreciated the idea but didn’t ultimately go for it.”
Here are the original panels:
Also Read: 'Avengers: Infinity War' - Joe Russo's Comments Could Blow Out Fan Theories About That Ending
Easter egg aside, Port told TheWrap the creating actual scene went pretty smoothly.
“Weirdly enough, you would think this particular shot… this particular critical moment, would have a tremendous amount of pressure and back and forth to get it just right, but it actually went pretty smoothly,” he said. “I asked the compositor on this particular shot how it felt to be working on one of the most important shots in Marvel history. A shot representing the culmination of ten years of story. No pressure!”
20-plus people worked on building Thanos to get him just right, given the complexity and the amount of time Thanos is on screen in “Infinity War.”
“You saw how many close-ups and subtle dramatic and heavy moments Thanos went through that really needed to come across,” said Port. “We spent the extra time and attention on shots like that — Our animation and modeling teams would go in and refine these performances with shot by shot, frame by frame attention.“
He added, “The essence of the original Thanos design stayed true to comics and previous films, but of course, we had to improve the photorealistic nature of the character. We were better able to address the realism as technology has improved and better lighting and rendering solutions have become available. But just as important, if not critical, was that we had the ability to capture the subtle details of Brolin’s performance and make sure they come through on Thanos. So many people say that they have sympathy with him or at least an understanding of his motivation. He’s a complex character — that’s all in the writing and Brolin’s performance, so it was essential to get it right given the amount of screen time had. This had to work in order for the movie to work.“
Also Read: Here's What Happened to Thanos When He Snapped His Fingers in 'Avengers: Infinity War'
With new technology that’s become available and the improvement of light in motion capture, Port said he hasn’t done a project like this before.
“We started with an initial Thanos proof-of-concept test a few months before the live-action shooting began. We began developing and refining the character for the film which probably took another year. Even as we were finishing shots, we would still be refining, depending on the requirements of a specific shot or sequence,” he explained. “There were little tweaks here and there with costumes, the gauntlet, muscle simulations and skeletal considerations, and how the muscles move over his unique bone structure. All in, this probably took us two years.”
He added, “The techniques Digital Domain used for the facial capture have not been used before. We employed machine learning algorithms in several steps of the process, in addition to a lot of blood sweat and tears, but the end result was that we were able to capture an incredible amount of Brolin’s subtle performance and apply it to Thanos.”
Given the positive reaction of Thanos’ appearance, it wouldn’t be a surprise if the same VFX team worked on the uber-villain for “Avengers 4,” set for release next summer. But nothing has been set in stone.
“It would be an honor, obviously,” Port said.
Marvel did not immediately reply to TheWrap’s request for comment.
Read original story ‘Avengers: Infinity War’ Almost Included a Single Frame of a Single Word at a Crucial Moment At TheWrap...
- 5/7/2018
- by Beatrice Verhoeven
- The Wrap
Marvel has never seen a VFX game-changer like Thanos. The star of “Infinity War” and the center of its record-breaking, $1 billion success, he’s performed with great intensity and inner turmoil by Josh Brolin — and brilliantly animated by Digital Domain and Weta Digital. Thanks to Thanos, “Infinity War” now becomes a serious VFX Oscar contender.
“I think Thanos is a marvel,” said Joe Russo, who co-directed with brother Anthony. “It really reflects every level of nuance in Josh Brolin’s performance. You’re watching Josh as a giant, purple alien, and you’re seeing all of his movement, all of his facial expressions, on the most subtle level. I don’t know that we’ve seen that level of photo-real performance capture before. Maybe in the ‘Apes’ films, but this is really groundbreaking.”
It was critical for Thanos to be completely human and relatable as a CG humanoid to carry the movie.
“I think Thanos is a marvel,” said Joe Russo, who co-directed with brother Anthony. “It really reflects every level of nuance in Josh Brolin’s performance. You’re watching Josh as a giant, purple alien, and you’re seeing all of his movement, all of his facial expressions, on the most subtle level. I don’t know that we’ve seen that level of photo-real performance capture before. Maybe in the ‘Apes’ films, but this is really groundbreaking.”
It was critical for Thanos to be completely human and relatable as a CG humanoid to carry the movie.
- 5/7/2018
- by Bill Desowitz
- Indiewire
A bunch of sequels and a remake are vying for the Best Visual Effects Oscar this year, many of them from Disney, including Bill Condon’s live-action remake of Disney’s classic “Beauty and the Beast,” Marvel’s “Thor: Ragnarok” and Lucasfilm’s upcoming “Star Wars: The Last Jedi.”
Three Fox films offer stunning VFX: “War for the Planet of the Apes,” which advances its visual effects technology over the last Matt Reeves installment featuring Weta Digital’s astonishing array of digital apes led by performance capture master Andy Serkis as Caesar, could win Weta’s Joe Letteri (“Avatar,” “King Kong,” “The Lord of the Rings”) his fifth Oscar. Another visually sumptuous sequel is Denis Villeneuve’s “Blade Runner 2049.” And Guillermo del Toro’s “The Shape of Water” is also impressive.
Two Warner Bros. blockbusters, Christopher Nolan’s World War II epic “Dunkirk” and Patty Jenkins’ World War I superhero origin myth “Wonder Woman,...
Three Fox films offer stunning VFX: “War for the Planet of the Apes,” which advances its visual effects technology over the last Matt Reeves installment featuring Weta Digital’s astonishing array of digital apes led by performance capture master Andy Serkis as Caesar, could win Weta’s Joe Letteri (“Avatar,” “King Kong,” “The Lord of the Rings”) his fifth Oscar. Another visually sumptuous sequel is Denis Villeneuve’s “Blade Runner 2049.” And Guillermo del Toro’s “The Shape of Water” is also impressive.
Two Warner Bros. blockbusters, Christopher Nolan’s World War II epic “Dunkirk” and Patty Jenkins’ World War I superhero origin myth “Wonder Woman,...
- 11/18/2017
- by Anne Thompson
- Indiewire
Bill Condon’s “Beauty and the Beast” is Disney’s latest live-action attempt to resurrect a beloved property, a big screen spectacle that harkens firmly back to their 1991 animated feature of the same name. It’s a dazzling reimagining of the classic characters, and it created a daunting challenge for the actors tasked with playing them. With a budget that reportedly totals $300 million, the effects had better be convincing — and the performances were part of that.
The live-action route required serious technological muscle, given that the story hinges on the trials and tribulations of not only a beastly leading man, but also a pack of loyal servants who are literally turned into household objects. To transform the film’s stars into their enchanted forms, the film relied on an ambitious mix of motion-capture and CGI, both on set and in the studio.
The result is a lush, sweeping fantasy that...
The live-action route required serious technological muscle, given that the story hinges on the trials and tribulations of not only a beastly leading man, but also a pack of loyal servants who are literally turned into household objects. To transform the film’s stars into their enchanted forms, the film relied on an ambitious mix of motion-capture and CGI, both on set and in the studio.
The result is a lush, sweeping fantasy that...
- 3/17/2017
- by Kate Erbland
- Indiewire
The Visual Effects Society has announced the nominations for the 13th Annual Ves awards "the prestigious yearly celebration that recognizes outstanding visual effects artistry and innovation in film, animation, television, commercials and video games and the VFX supervisors, VFX producers and hands-on-the-keys artists who bring this work to life."
Ves members selected the nominees and Laika's "The Boxtrolls," Disney's "Big Hero 6," and Fox's "Dawn of the Planet of the Apes" topped the nominations receiving 5 nods each.
The Visual Effects Society (Ves) is a global professional honorary society and the entertainment industry's only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio executives, supervisors, PR/marketing specialists and producers. Ves. almost 3,000 members in 33 countries worldwide contribute to all areas of entertainment . film, television, commercials, animation, music videos, games and new media. Headquartered in Los Angeles, the Ves has member Sections in Australia, Bay Area (CA), London,...
Ves members selected the nominees and Laika's "The Boxtrolls," Disney's "Big Hero 6," and Fox's "Dawn of the Planet of the Apes" topped the nominations receiving 5 nods each.
The Visual Effects Society (Ves) is a global professional honorary society and the entertainment industry's only organization representing the full breadth of visual effects practitioners including artists, technologists, model makers, educators, studio executives, supervisors, PR/marketing specialists and producers. Ves. almost 3,000 members in 33 countries worldwide contribute to all areas of entertainment . film, television, commercials, animation, music videos, games and new media. Headquartered in Los Angeles, the Ves has member Sections in Australia, Bay Area (CA), London,...
- 1/14/2015
- by Manny
- Manny the Movie Guy
The Visual Effects Society has announced the nominees for its 13th Annual Ves Awards, which recognize outstanding visual effects artistry and innovation in film, animation, television, commercials and video games. Among the nominees — Dawn Of The Planet Of The Apes, Guardians of the Galaxy, Interstellar, Maleficent, The Hobbit: The Battle Of The Five Armies and X-Men: Days Of Future Past – for Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture. The awards will be held February 4 at the Beverly Hilton Hotel. See the complete list below.
Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes
Joe Letteri
Ryan Stafford
Matt Kutcher
Dan Lemmon
Hannah Blanchini
Guardians of the Galaxy
Stephane Ceretti
Susan Pickett
Jonathan Fawkner
Nicolas Aithadi
Paul Corbould
Interstellar
Paul Franklin
Kevin Elam
Ann Podlozny
Andrew Lockley
Scott Fisher
Maleficent
Carey Villegas...
Outstanding Visual Effects in a Visual Effects-Driven Photoreal/Live Action Feature Motion Picture
Dawn of the Planet of the Apes
Joe Letteri
Ryan Stafford
Matt Kutcher
Dan Lemmon
Hannah Blanchini
Guardians of the Galaxy
Stephane Ceretti
Susan Pickett
Jonathan Fawkner
Nicolas Aithadi
Paul Corbould
Interstellar
Paul Franklin
Kevin Elam
Ann Podlozny
Andrew Lockley
Scott Fisher
Maleficent
Carey Villegas...
- 1/13/2015
- by The Deadline Team
- Deadline
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