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.
Best Visual Effects Photography in a Motion Picture
Year | Film | Nominee(s) |
---|---|---|
2002 [1] [2] | The Lord of the Rings: The Two Towers | Alex Funke, Brian Van't Hul, Richard Bluck |
Star Wars: Episode II – Attack of the Clones | Patrick Sweeney, Marty Rosenberg, Carl Miller, Fred Meyers | |
Stuart Little 2 | Earl Wiggins, Mark Vargo, Tom Houghton, Anna Foerster | |
2003 | The Matrix Reloaded (U-Cap Facial Photography) | Kim Libreri, George Borshukov, Paul Ryan, John Gaeta |
The Lord of the Rings: The Return of the King | Alex Funke, Rob Kerr, Henk Prins | |
Pirates of the Caribbean: The Curse of the Black Pearl | Carl Miller, Mike Conte, Tami Carter | |
Terminator 3: Rise of the Machines | Pat Sweeney, Mike Bienstock, Grady Cofer, John Hansen |
Outstanding Virtual Cinematography in a Live Action Feature Motion Picture
Year | Film | Nominee(s) |
---|---|---|
2011 [3] [4] | Hugo | Martin Chamney, Rob Legato, Adam Watkins, Fabio Zangla |
Rise of the Planet of the Apes | Thelvin Cabezas, Mike Perry, R. Christopher White, Erik Winquist | |
Thor | Xavier Allard, Pierre Buffin, Nicolas Chevallier | |
Transformers: Dark of the Moon | Michael Balog, Richard Bluff, Shawn Kelly, Jeff White | |
2012 [5] [6] | The Hobbit: An Unexpected Journey | Matt Aitken, Victor Huang, Christian Rivers, R. Christopher White |
The Amazing Spider-Man | Rob Engle, David Schaub, Cosku Turhan, Max Tyrie | |
The Avengers ( Downtown Manhattan ) | Colin Benoit, Jeremy Goldman, Tory Mercer, Roger Liu | |
Total Recall (Hover Car Chase) | Daniel Baldwin, Mattias Forsstrom, Sam Schwier, Joshua Wassung | |
2013 [7] [8] | Gravity | Tim Webber, Emmanuel Lubezki, Richard McBride, Dale Newton |
The Hobbit: The Desolation of Smaug | Christian Rivers, Phil Barrenger, Mark Gee, Thelvin Cabezas | |
Iron Man 3 | Mark Smith, Aaron Gilman, Thelvin Cabezas, Gerardo Ramirez | |
Man of Steel | Daniel Paulsson, Edmund Kolloen, Joel Prager, David Stripinis | |
Pacific Rim (Hong Kong Ocean Brawl) | Colin Benoit, Nick Walker, Adam Schnitzer, Victor Schutz |
Outstanding Virtual Cinematography in an Animated Feature Motion Picture
Year | Film | Nominee(s) |
---|---|---|
2011 [9] [10] | Rango | Colin Benoit, Philippe Rebours, Nelson Sepulveda, Nick Walker |
The Adventures of Tintin | Matt Aitken, Matthias Menz, Keith F. Miller, Wayne Stables | |
Arthur Christmas | Jericca Cleland, Michael Ford, David Morehead, Emi Tahira | |
Cars 2 | Mahyar Abousaeedi, Sharon Calahan, Jeremy Lasky, Jonathan Pytko |
Outstanding Virtual Cinematography in a Broadcast Program or Commercial
Year | Commercial/Program | Nominee(s) |
---|---|---|
2011 [11] [12] | Gears of War 3: Dust to Dust | Niles Heckman, Richard Morton, Vernon Wilbert Jr. |
Ghost Recon: Future Soldier "Camo Up" | Matt Aitken, Matthias Menz, Keith F. Miller, Wayne Stables | |
Hot Wheels | Steve Beck, Robert Sethi, Felix Urquiza | |
Once Upon a Time (Cinderella's Courtyard) | Stephen Jackson, Sallyanne Massimini, Nathan Matsuda, Kevin Struckman | |
2012 [13] [14] | ZombiU | Dominique Boidin, Léon Bérelle, Rémi Kozyra, Maxime Luère |
Call of Duty - Eclipse: Surprise | Chris Bayol, Steve Beck, Chris Knight, Robert Sethi | |
Halo 4: Forward Unto Dawn | Colin Benoit, Jeremy Goldman, Tory Mercer, Roger Liu | |
Toyota: Real Deal | Adam Berg, Niles Heckman, Ronald Herbst, Vernon Wilbert |
Outstanding Virtual Cinematography in a Live-Action Commercial or Broadcast Program
Year | Commercial/Program | Nominee(s) |
---|---|---|
2013 [15] [16] | The Crew | Dominique Boidin, Rémi Kozyra, Léon Bérelle, Maxime Luère |
Mad Max: Ethos | Aladino Debert, Neil Huxley, David Liu, Michael Harbour | |
Murdered: Soul Suspect | Vernon Wilbert, Tim Jones, Rafael Colon, April Warren | |
Qualcomm Snapdragon: A Dragon is Coming | Joshua Wassung, Shannon Justison, Shayne Ryan, Seth Gollub |
Outstanding Virtual Cinematography in a Photoreal/Live Action Feature Motion Picture
Year | Film | Piece | Nominee(s) |
---|---|---|---|
2014 [17] [18] | X-Men: Days of Future Past | Kitchen Scene | Austin Bonang, Casey Schatz, Dennis Jones, Newton Thomas Sigel |
Dawn of the Planet of the Apes | Keith Miller, Jonathan Paquin, Alessandro Sapono, David Houghton Williams | ||
Edge of Tomorrow | Beach and Paris Attacks | Albert Cheng, Jose Enrique Astacio Jr., Michael Havart, Dion Beebe | |
Interstellar | Tesseract | Faraz Hameed, Stephen Painter, Hoyte van Hoytema, Dorian Knapp |
Outstanding Virtual Cinematography in a Photoreal Project
Year | Film/Program | Piece | Nominee(s) |
---|---|---|---|
2015 [19] [20] | Star Wars: The Force Awakens | Falcon Chase/Graveyard | Paul Kavanagh, Colin Benoit, Susumu Yukuhiro, Greg Salter |
Ant-Man | Macro Action | James Baker, Alex Kahn, Thomas Luff, Rebecca Baehler | |
Mission: Impossible – Rogue Nation | Underwater Torus Chamber | Vincent Aupetit, Margaux Durand-Rival, Christopher Anciaume, Robert Elswit | |
The Walk | Towers Walk | Shawn Hull, Suzanne Cipolletti, Laurent Taillefer, Dariusz Wolski | |
2016 [21] [22] | The Jungle Book | Bill Pope, Robert Legato, Gary Roberts, John Brennan | |
Doctor Strange | New York Mirror Dimension | Landis Fields, Mathew Cowie, Frederic Medioni, Faraz Hameed | |
Game of Thrones: "Battle of the Bastards" | Patrick Tiberius Gehlen, Michelle Blok, Christopher Baird, Drew Wood-Davies | ||
Rogue One: A Star Wars Story | Space Battle | John Levin, Euisung Lee, Steve Ellis, Barry Howell | |
2017 [23] [24] | Guardians of the Galaxy Vol. 2 | Groot Dance/Opening Fight | James Baker, Steven Lo, Alvise Avati, Robert Stipp |
Beauty and the Beast | Be Our Guest | Shannon Justison, Casey Schatz, Neil Weatherley, Claire Michaud | |
Star Wars: The Last Jedi | Crait Surface Battle | Cameron Nielsen, Albert Cheng, John Levin, Johanes Kurnia | |
Thor: Ragnarok | Valkyrie's Flashback | Hubert Maston, Arthur Moody, Adam Paschke, Casey Schatz | |
2018 [25] [26] | Ready Player One | New York Race | Daniele Bigi, Edmund Kolloen, Mathieu Vig, Jean-Baptiste Noyau |
Aquaman | Third Act Battle | Claus Pedersen, Mohammad Rastkar, Cedric Lo, Ryan McCoy | |
Echo | Time Displacement | Victor Perez, Tomas Tjernberg, Tomas Wall, Marcus Dineen | |
Jurassic World: Fallen Kingdom | Gyrosphere Escape | Pawl Fulker, Matt Perrin, Oscar Faura, David Vickery | |
Welcome to Marwen | Town of Marwen | C. Kim Miles, Matthew A. Ward, Ryan Beagan, Marc Chu |
Outstanding Virtual Cinematography in a CG Project
Year | Film/Program | Piece | Nominee(s) |
---|---|---|---|
2019 [27] [28] | The Lion King | Robert Legato, Caleb Deschanel, Ben Grossmann, AJ Sciutto | |
Alita: Battle Angel | Emile Ghorayeb, Simon Jung, Nick Epstein, Mike Perry | ||
The Mandalorian: "Chapter 6: The Prisoner" | The Roost | Richard Bluff, Jason Porter, Landis R. Fields IV, Barry Baz Idoine | |
Toy Story 4 | Jean-Claude Kalache, Patrick Lin |
Year | Project | Piece | Nominee(s) |
---|---|---|---|
2020 [29] [30] | Soul | Matt Aspbury, Ian Megibben | |
Ghost of Tsushima | A Storm is Coming | Aladino Debert, Matt Dougan, Eric Beaver, David Liu | |
The Mandalorian: "Chapter 12: The Siege" | Dave Crispino, Kyle Winkelman, Paul Kavanagh, Jose Burgos | ||
The Mandalorian: "Chapter 15: The Believer" | Richard Bluff, Matthew Jensen, Chris Williams, Landis Fields IV | ||
2021 [31] | Encanto | We Don't Talk About Bruno | Nathan Detroit Warner, Dorian Bustamante, Tyler Kupferer, Michael Woodside |
Godzilla vs. Kong | Ocean Battle | Shawn Hull, Robert Wiese, Steven Tom, Eric Petey | |
Loki : Lamentis | Race to the Ark | Jesse Lewis-Evans, Luke Avery, Autumn Durald Arkapaw, Scott Inkster | |
Raya and the Last Dragon | Rob Dressel, Adolph Lusinsky, Paul Felix | ||
Shang-Chi and the Legend of the Ten Rings | Sebastian Trujillo, Louis-Daniel Poulin, Nathan Abbot, Shannon Justison | ||
2022 [32] [33] | Avatar: The Way of Water | Richard Baneham, Dan Cox, Eric Reynolds, A.J Briones | |
ABBA Voyage | Pär M. Ekberg, John Galloway, Paolo Acri, Jose Burgos | ||
The Batman | Rain Soaked Car Chase | Dennis Yoo, Michael J. Hall, Jason Desjarlais, Ben Bigiel | |
Prehistoric Planet | Daniel Fotheringham, Krzysztof Szczepanski, Wei-Chaun Hsu, Claire Hill | ||
2023 [34] | Guardians of the Galaxy Vol. 3 | Joanna Davison, Cheyana Wilkinson, Michael Cozens, Jason Desjarlais | |
The Creator | Roel Coucke, Christopher Potter, Amanda Johnstone-Batt, Jeremy Bloch | ||
Migration | Guylo Homsy, Damien Bapst, Antoine Collet, David Dangin | ||
Spider-Man: Across the Spider-Verse | Rich Turner, Randolph Lizarda, Daniela Campos Little, Thomas Campos |
The Visual Effects Society Award for Outstanding Visual Effects in an Animated Feature is one of the annual awards given by the Visual Effects Society starting from 2008.
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 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 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 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.
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.