The Visual Effects Society Award for Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project is one of the annual awards given by the Visual Effects Society, starting in 2012. It is awarded to visual effects artists for their work in effects simulations.
Outstanding FX and Simulation Animation in a Commercial or Broadcast Program
| Year | Project | Episode(s) | Nominees | Network |
|---|---|---|---|---|
| 2012 [1] [2] | Guinness: Cloud | Tom Bussell, Neil Davies | ||
| Last Resort | "Captain" | Matt Von Brock, Bruce Coy, Junaid Farooq, Aldo Ruggiero | ABC | |
| Nike: Biomorph | Aladino Debert, Eric Ebling, Ken Mitchel Jones | |||
| Nissan Altima: Wouldn't It Be Cool | Dale Fay, Laura Jones Turner, Nathan Matsuda, Andrew Orloff | |||
| 2013 [3] [4] | PETA: 98% Human | Vincent Baertsoen, Jimmy Gass, Dave Barosin | ||
| PlayStation: Perfect Day | Joji Tsuruga, Gavin Wellsman, Nick Couret, Hassan Taimur | |||
| Toyota Avalon: Perfect Day | Ed Laag, Eugene Gauran, Josh Hatton | |||
| Toy Story of Terror! | Paul Aichele, Kiki Mei Kee Poh, Andrew Coats | ABC | ||
Outstanding Effects Simulations in a Commercial, Broadcast Program, or Video Game
| Year | Program | Episode(s) | Nominees | Network |
|---|---|---|---|---|
| 2014 [5] [6] | Cosmos: A Spacetime Odyssey | Dominique Vidal, Isabelle Perin-Leduc, Sandrine Lurde, Alexandre Lerouge | Fox | |
| DirecTV | Jeffrey Dates, Jimmy Gass, Iwan Zwarts, Ryan Coster | |||
| SSE: Maya | Alex Hammond, Peter Agg, Sam Driscoll, Jimmy Gass | |||
| Vikings | "Invasion" (Storm Sequence) | Jeremy Dineen, Eric Lacroix, Kyle Yoneda, Norman Ran | History | |
Outstanding Effects Simulations in an Episode, Commercial, or Real-Time Project
| Year | Program | Episode(s) | Nominees | Network |
|---|---|---|---|---|
| 2015 [7] [8] | Game of Thrones | "Hardhome" | David Ramos, Antonio Lado, Piotr Weiss, Félix Bergés | HBO |
| Halo 5: The Hunt Begins | Vladislav Tushevskiy, Tomas Zaveckas, Sho Hasegawa, Sergey Kosarev | |||
| Lipton: The Revolution in Tea | Jonathan Westley, Tom Raynor, Christos Parliaros | |||
| SSE: Pier | Peter Agg, Sam Driscoll, Matthew Fuller | |||
| 2016 [9] [10] | Game of Thrones | "Battle of the Bastards" (Meereen City) | Thomas Hullin, Dominik Kirouac, James Dong, Xavier Fourmond | HBO |
| Game of Thrones | "Battle of the Bastards" | Kevin Blom, Sasmit Ranadive, Wanghua Huang, Benjamin Andersen | HBO | |
| John Lewis: Buster the Boxer | Diarmid Harrison-Murray, Tushar Kewlani, Radu Ciubotariu, Ben Thomas | |||
| Sky: Q | Michael Hunault, Gareth Bell, Paul Donnellan, Josh Curtis | |||
| 2017 [11] [12] | Game of Thrones | "The Dragon and the Wolf" (Wall Destruction) | Thomas Hullin, Dominik Kirouac, Sylvain Nouveau, Nathan Arbuckle | HBO |
| Game of Thrones | "Beyond the Wall" (Frozen Lake) | Manuel Ramírez, Oscar Marquez Chicharro, Pablo Hernández-Meléndez, David Gacituaga | HBO | |
| Heineken: The Trailblazers | Christian Bohm, Andreu Lucio Archs, Carsten Keller, Steve Oakley | |||
| Outlander | "Eye of the Storm" (Stormy Seas) | Jason Mortimer, Navin Pinto, Greg Teegarden, Steven Ong | Starz | |
| 2018 [13] [14] | Altered Carbon | Philipp Kratzer, Daniel Fernandez, Xavier Lestourneaud, Andrea Rosa | Netflix | |
| Lost in Space (The Getaway) | Juri Bryan, Will Elsdale, Hugo Medda, Maxime Marline | Netflix | ||
| Lost in Space | "Impact" (Jupiter is Falling) | Denys Shchukin, Heribert Raab, Michael Billette, Jaclyn Stauber | ||
| The Man in the High Castle | "Jahr Null" (Statue of Liberty Destruction) | Saber Jlassi, Igor Zanic, Nick Chamberlain, Christopher Parks | Amazon | |
| 2019 [15] [16] | Stranger Things | "Chapter Six: E Pluribus Unum" (Melting Tom/Bruce) | Nathan Arbuckle, Christian Gaumond, James Dong, Aleksandr Starkov | Netflix |
| Game of Thrones | "The Bells" | Marcel Kern, Paul Fuller, Ryo Sakaguchi, Thomas Hartmann | HBO | |
| Hennessy XO: The Seven Worlds | Selcuk Ergen, Radu Ciubotariu, Andreu Lucio Archs, Vincent Ullmann | |||
| Lost in Space | "Precipice" (Water Planet) | Juri Bryan, Hugo Medda, Kristian Olsson, John Perrigo | Netflix | |
| The Mandalorian | "Chapter 2: The Child" (Mud Horn) | Xavier Martin, Ian Baxter, Fabio Siino, Andrea Rosa | Disney+ | |
| Year | Program | Episode(s) | Nominees | Network/Distributor |
|---|---|---|---|---|
| 2020 [17] | Lovecraft Country | "Strange Case" (Chrysalis) | Federica Foresti, Johan Gabrielsson, Hugo Medda, Andreas Krieg | HBO |
| PlayStation: "Play Has No Limits" | Tom Raynor, Andreu Lucio, Martin Aufinger, Platon Filimonov | Sony | ||
| The Mandalorian | "Chapter 9: The Marshal" (Krayt Dragon) | HuaiYuan Teh, Don Wong, Mathieu Chardonnet, Prashanth Bhagavan | Disney+ | |
| Tales from the Loop (Loretta's House) | Dominik Kirouac, Gaël Chopin, Sylvain Nouveau, Laurent Pancaccini | Amazon | ||
| 2021 [18] | Foundation (Collapse of the Galactic Empire) | Giovanni Casadei, Mikel Zuloaga, Steven Moor, Louis Manjarres | Apple TV+ | |
| Loki | "Journey Into Mystery" | Alioth Cloud, George Kuruvilla, Menno Dijkstra, Matthew Hanger, Jiyong Shin | Disney+ | |
| The Nevers | David Stopford, Michele Stocco, Mike Hsu, Justin Mitchell | HBO | ||
| WandaVision | All-New Halloween Spooktacular! (Vision's Destruction) | Sylvain Nouveau, Hakim Harrouche, Omar Meradi, Laurent Meste | Disney+ | |
| 2022 [19] | The Lord of the Rings: The Rings of Power (Water and Magma) | "Udûn" | Rick Hankins, Aron Bonar, Branko Grujcic, Laurent Kermel | Amazon Prime Video |
| Guillermo del Toro's Cabinet of Curiosities | "Graveyard Rats" | Amit Khanna, Oleg Memukhin, Mario Marengo, Josh George | Netflix | |
| Stranger Things 4 (Hawkins Destructive Fissures) | Ahmad Ghourab, Gavin Templer, Rachel Ajorque, Eri Ohno | Netflix | ||
| The Lord of the Rings: The Rings of Power (Volcano Destruction) | "Udûn" | Kurt Debens, Hamish Bell, Robert Kelly, Gabriel Roccisano | Amazon Prime Video | |
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The Visual Effects Society Award for Outstanding Animated Character in a Photoreal Feature is one of the annual awards given by the Visual Effects Society starting from 2002. Since its inception, the award's title has gone through six different title changes, and one major category shift. First awarded in 2002, the award was titled "Outstanding Character Animation in a Live Action Motion Picture" and given to the best character animation in a live action film, with no specific character cited. This would change in 2004, when the category was re-titled "Outstanding Performance by an Animated Character in a Live Action Motion Picture", and given to visual effects artists for work on a specified character. The category was again re-titled in 2008, this time to "Outstanding Animated Character in a Live Action Feature Motion Picture". In 2014, it was titled "Outstanding Performance of an Animated Character in a Photoreal/Live Action Feature Motion Picture", but changed in 2016 to "Outstanding Animated Performance in a Photoreal Feature" and once again in 2017 to its current title.
The Visual Effects Society Award for Outstanding Created Environment in a Photoreal Feature is one of the annual awards given by the Visual Effects Society starting from 2004. The award was originally titled "Outstanding Created Environment in a Live Action Motion Picture", and changed in 2007 to "Outstanding Created Environment in a Live Action Feature Motion Picture". It was again changed in 2009, this time to "Outstanding Created Environment in a Feature Motion Picture", and again in 2011 to "Outstanding Created Environment in a Live Action Feature Motion Picture". Before its final change in 2015, to its current title, it was re-titled in 2014 to "Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture".
The Make-Up Artists and Hair Stylists Guild Award for Best Special Make-Up Effects in Television and New Media Series is one of the awards given annually to people working in the television industry by the Make-Up Artists and Hair Stylists Guild (MUAHS). It is presented to makeup artists who work in Special Effects makeup, or "Prosthetic makeup", whose work has been deemed "best" in a given year. The award was first given in 2000, during the first annual awards, and was given when the awards were brought back in 2014. During the 2001 and 2002 ceremonies, as well as ceremonies from 2015 to 2018, the awards made the distinction between regular series and miniseries/television films. This was amended in 2019, when miniseries nominees were placed alongside continuing series, while television films and specials were given their own category.
The Visual Effects Society Award for Outstanding Visual Effects in a Photoreal Picture is one of the annual awards given by the Visual Effects Society starting in 2002. While the award's title has changed several time within this period, the recipient has always been a visual effects-heavy feature film; film's with more background effects work have their own category, the Visual Effects Society Award for Outstanding Supporting Visual Effects in a Feature Motion Picture.
The Visual Effects Society Award for Outstanding Animated Character in an Animated Feature is one of the annual awards given by the Visual Effects Society starting from 2002. Since its inception, the award's title has gone through six title changes, and one major category shift. First awarded in 2002, the award was titled "Best Character Animation in an Animated Motion Picture" and given to the best character animation in an animated film, with no specific character cited. This would change in 2004, when the category was re-titled "Outstanding Performance by an Animated Character in an Animated Motion Picture", and given to visual effects artists for work on a specified character. as well as the voice actor for the character. The category was again re-titled in 2008, this time to "Outstanding Animated Character in an Animated Feature Motion Picture". In 2015, it was titled "Outstanding Animated Performance in an Animated Feature", but changed in 2017 to "Outstanding Animated Character in an Animated Feature", its current title.
The Visual Effects Society Award for Outstanding Created Environment in an Animated Feature is one of the annual awards given by the Visual Effects Society starting from 2011. The award was originally titled "Outstanding Created Environment in an Animated Feature Motion Picture", before being re-titled in 2016.
The Visual Effects Society Award for Outstanding Model in a Photoreal or Animated Project is one of the annual awards given by the Visual Effects Society. The award goes to artists whose work in models, miniatures, have been deemed worthy of recognition. Originally, the award was given separately to artists in both film and television, with the categories "Best Models and Miniatures in a Motion Picture" and "Best Models and Miniatures in a Televised Program, Music Video or Commercial". In 2004, there was only one category, recognizing only work in motion pictures with "Outstanding Models and Miniatures in a Motion Picture". In 2005, television was honored, once again, with "Outstanding Models and Miniatures in a Broadcast Program, Commercial or Music Video". Television series and/or televised content would be honored, intermittently, until 2015, when the category was redesigned to honor any motion media project. It has continued to do so since then.
The Visual Effects Society Award for Outstanding Virtual Cinematography in a CG Project is one of the annual awards given by the Visual Effects Society. The award goes to artists whose work in virtual cinematography. It was first awarded in 2003 and 2004 for, under the title "Best Visual Effects Photography in a Motion Picture", before being scrapped from the ceremony. The award was given separately to artists in live-action film, animated film, and commercials/television. These categories were first awarded in 2012. The following year, the category specifically awarding animated film was dropped, with only live-action film and commercial/television being awarded. In 2015, only live-action films were awarded. The following year, the category's title changed to "Outstanding Virtual Cinematography in a Photoreal Project". It has held its current title since 2020.
The Visual Effects Society Award for Outstanding Compositing in a Photoreal Feature is one of the annual awards given by the Visual Effects Society, starting in 2002. It is awarded to visual effects artists for their work in compositing.
The Visual Effects Society Award for Outstanding Visual Effects in a Photoreal Episode is one of the annual awards given by the Visual Effects Society starting in 2002. While the award's title has changed several time within this period, the recipient has always been a visual effects-heavy television episode. Episodes with more background effects work have their own category, the Outstanding Supporting Visual Effects in a Photoreal Episode. Until 2012, miniseries and television movies had their own category.
The Visual Effects Society Award for Outstanding Supporting Visual Effects in a Photoreal Episode is one of the annual awards given by the Visual Effects Society, starting in 2004. While the award's title has changed several time within this period, the recipients have been television episodes and/or movies or specials with less prominent, more subtle visual effects work.
The Visual Effects Society Award for Outstanding Compositing in a Photoreal Feature is one of the annual awards given by the Visual Effects Society, starting in 2012. It is awarded to visual effects artists for their work in effects simulations.
The Visual Effects Society Award for Outstanding Special (Practical) Effects in a Photoreal or Animated Project is one of the annual awards given by the Visual Effects Society. The award goes to artists whose work in special/practical effects, have been deemed worthy of recognition. The award has been handed out intermittently since the first VES awards. Only twice was it awarded to television broadcasts or commercials, and was award for film from 2003 to 2009, with the exception being 2006. It was reintroduced in 2020, awarding any photoreal and/or animated project.
The Visual Effects Society Award for Outstanding Compositing in a Photoreal Episode is one of the annual awards given by the Visual Effects Society, starting in 2003. It is awarded to visual effects artists for their work in compositing. It has gone through several title changes over the years; from 2003 to 2012, the category included commercials in the category, before refocusing in 2013, specifically nominating television programs.
The Visual Effects Society Award for Outstanding Animated Character in an Episode or Real-Time Project is one of the annual awards given by the Visual Effects Society, starting from 2002. Since its inception, the award's title has gone through several title changes, and one major category shift. First awarded in 2002, the award was titled "Best Character Animation in a Live Action Televised Program, Music Video or Commercial" and given to the best character animation in a televised program, with no specific character cited. This would change in 2004, when the category was re-titled "Outstanding Performance by an Animated Character in a Live Action Broadcast Program", and given to visual effects artists for work on a specified character. The category was again re-titled the following year, this time to "Outstanding Performance by an Animated Character in a Live Action Broadcast Program, Commercial, or Music Video". In 2008, it was titled "Outstanding Animated Character in a Live Action Broadcast Program or Commercial", but changed in 2014 to "Outstanding Performance of an Animated Character in a Commercial, Broadcast Program, or Video Game" and once again the next year to "Outstanding Animated Performance in an Episode, Commercial, or Real-Time Project". In the title changed to "Outstanding Animated Performance in an Episode or Real-Time Project" and, finally, in 2017 to "Outstanding Animated Character in an Episode or Real-Time Project"
The Visual Effects Society Award for Outstanding Created Environment in an Episode, Commercial, or Real-Time Project is one of the annual awards given by the Visual Effects Society starting from 2004. The award was originally titled "Outstanding Created Environment in a Live Action Broadcast Program", and changed in 2005 to "Outstanding Created Environment in a Live Action Broadcast Program, Commercial, or Music Video". It was again changed in 2009, this time to "Outstanding Created Environment in a Feature Motion Picture", and again in 2011 to "Outstanding Created Environment in a Live Action Feature Motion Picture". Before its final change in 2015, to its current title, it was re-titled in 2014 to "Outstanding Created Environment in a Photoreal/Live Action Feature Motion Picture".
The American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Motion Picture, Limited Series, or Pilot Made for Television is an annual award given by the American Society of Cinematographers to cinematographers working in the field of television film, limited series or television pilots. It has been awarded, in some capacity, since 1986. From 2009 to 2013, pilot episodes were moved in competition with regular series, but returned in 2014, where it has since remained.
The American Society of Cinematographers Award for Outstanding Achievement in Cinematography in an Episode of a One-Hour Television Series – Commercial is an annual award given by the American Society of Cinematographers to cinematographers working in commercial television. It was first awarded in 2016, when the awards separated it Regular Series award, splitting ad-sponsored television programs and non-sponsored, cable or streaming series into two categories. In 2020, the distinction of "One-Hour" was added, as half-hour programs were given their own categories.
The American Society of Cinematographers Award for Outstanding Achievement in Cinematography in an Episode of a One-Hour Television Series – Non-Commercial is an annual award given by the American Society of Cinematographers to cinematographers working in non-commercial television. It was first awarded in 2016, when the awards separated it Regular Series award, splitting ad-sponsored television programs and non-sponsored, cable or streaming series into two categories. In 2020, the distinction of "One-Hour" was added, as half-hour programs were given their own categories.
The American Society of Cinematographers Spotlight Award is an annual award given by the American Society of Cinematographers to cinematographers working in features and documentaries that are typically screened at film festivals, in limited theatrical release, or outside the United States. It was first awarded in 2014.